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Landscape

Drawings

by

Pietro

da

Cortona

JORG MARTIN MERZ
University of Augsburg Dedicated to Prof. Dr. Klaus Tubingen

Schwager,

Era Pietro un Pittore, chefaceva benecid die voleva, e cosi ancora i Paesi.
RIDOLFINO VENUTI

Berrettini da Cortona (Cortona did not a central role 1597-Rome 1669) play in Roman seventeenth-century landscape painting; he was more concerned with prestigious largescale fresco decorations and architectural projects. Yet, while acquiring fame in these fields, he also developed as a landscapist, adding a small but delectable body of work to the broad spectrum of landscapes by, among many others, the Carracci and their school; Agostino Tassi and his famous pupil, Claude Gellee, called Le Lorrain; Gaspard Dughet and Nicolas Poussin; and the Neapolitan Salvator Rosa.1 Cortona's most important contribution consists of a fresco cycle of landscapes with small religious scenes painted in 1628 on the chapel walls of the residence of his patrons the Sacchetti at Castel Fusano (now the Villa Chigi), a remote countryseat near Ostia.2 In these frescoes he exploited the classical ideal developed by Annibale Carracci and perpetuated by Annibale's pupil Pietro Paolo Bonzi - with whom Cortona collaborated on decorations in the gallery of the Palazzo Mattei (1622-23) - m landscape friezes executed in the mid- 1620s in the Palazzo Pallavicini-Rospigliosi in Rome.3 Regarding Cortona's frescoes at Castel Fusano, Rudolf Wittkower perspicaciously noted that "their painterly freedom is an unexpected revelation, and in a more accessible locality they would long have been given a place of honour in the development of Italian landscape painting."4 Besides this cycle of frescoes, Cortona executed several easel paintings incorporating landscapes, also mainly for the Sacchetti, which, however, do not form a homogeneous group. They include a pair of small © The Metropolitan Museum of Art 2004 Metropolitan Museum Journal 39 The notes for this article begin on page 149.

and charming oval panels of a river scene and a seascape, a dramatic view of the rocky alum mines at Tolfa that Marcello Sacchetti had rented from Pope Urban VIII (both, Pinacoteca Capitolina, Rome), a bird's-eye view of an unidentified rural estate (private collection, Naples), and a front view of the villa at Castel Fusano and its formal gardens (Galleria Nazionale d'Arte Antica, Palazzo Barberini, Rome), which originally formed a cycle with three other views- probably all by Cortona but now lost - of various Sacchetti estates.5 More ambitious is a landscape with the Calling of Peter and Andrew that exists in several versions and in which Cortona transposed the scene with figures from the homonymous fresco at Castel Fusano into a grandiose panorama, recalling the idealized landscapes of Domenichino.6 Comparable in this respect is a landscape with two temples recently discovered by Louise Rice in the apartment of a cardinal at the Vatican and traced back to the Sacchetti inventories.7 The latter two paintings suggest that Cortona's interest in landscape continued after the Castel Fusano frescoes. This is underscored by a number of his landscape drawings, which - unlike the paintings - have hitherto received only sporadic attention, as well as by a number of landscapes by his followers. An occasion to deal with them more comprehensively is offered by the exquisite Landscapewith WineHarvest (Colorplate 5; see also Figure 8) recently acquired by the Department of Drawings and Prints at The Metropolitan Museum of Art.8 This drawing, which is neither signed nor otherwise inscribed, does not bear a collector's mark or any hint as to its first owners, and - to the best of my knowledge - has never been mentioned in a sale catalogue or published before its inclusion in the Metropolitan Museum's bulletin of
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recent acquisitions.9 It was first shown to me in 1998 with the suggestion that it might be by Cortona, but confirmation of the attribution was complicated by the fact that another version had just surfaced on the art market that could be determined without doubt to be a faithful copy.10 The borders of the original drawing are shaded, partially overlapping the gray wash design.11 While the right and lower margins are tinted yellow, the opposite borders have a brown tonality, thus conveying the illusion of a gilt frame illuminated from the upper left, which corresponds to the direction of the light in the scene. Ultimately, it is difficult to say whether this "frame" was conceived by Cortona or added later, since some of his early drawings have similar, undoubtedly original borders,12 but all his other landscape studies and later drawings generally are without them. Unlike the framing lines in the early studies just mentioned, the border on the sheet in the Metropolitan Museum does not seem to have been drawn at the same time as the scene. Rather, it was added to the finished drawing and was therefore more likely the work of a later owner. The composition consists of scenery with small in the figures foreground, a town along a cascading river in the middle ground, a towering mountain overgrown with trees and bushes at the left, and a hill fading into the distance at the right. Rays of sunlight emanate from the cloudy sky, shining on the mountain and the river valley, which is dominated by a bastion and a church spire. Filling the left foreground is a huge tree, its trunk covered with vines, and a peasant on a ladder harvesting grapes. Behind the tree is the trellised ruin of a classical building serving as a wine cellar, and above it, in the middle ground, rises an antique temple, the town's most prominent feature. The themes of antiquity and wine making are also associated in the foreground, where architectural fragments lie scattered before a group of barrels being prepared for use. Several peasants carry baskets with grapes to a central point under the large tree, and, with the same intention, in front of some trees and a trellis at the far right a group of women are loading baskets onto their heads. In the valley toward the river, a herd of mules and a drover are moving in the opposite direction. While recession in space is rendered with a diminishingly intense gray wash, the outlines in the foreground are enhanced with pen and iron-gall ink, which originally was almost black and integrated with the gray wash but now has turned brown with age, thus making the overall appearance of the drawing more colorful.1 3 In its composition and motifs, the Metropolitan Museum's drawing closely resembles the painting in
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the Vatican of a landscape with two temples mentioned above, as well as a number of landscape drawings in brush and wash discussed below (see Figures 4-9), which are unanimously accepted as autograph works by Cortona. Traditionally, the majority of these drawings and paintings have been dated to the artist's early career, contemporary with the Castel Fusano frescoes.14 In favor of this assumption, one could argue that Marcello Sacchetti - as noted, Cortona's principal patron at the time - was, himself, an amateur landscape painter and certainly fostered activity in this field, but he had already died by indicate that 1629.15 However, a few documents Cortona drew landscapes even in the 1660s, and landscape motifs appear in some of his late compositional studies that are similar to the autonomous landscape drawings, thus suggesting that a number of the latter works might also have originated in this late period. This view, which was first expressed by Walter Vitzthum and variously endorsed by later scholars,16 seems correct, and will be supported in the following review of all of Cortona's extant drawings in combination with evidence from documents and early sources.

Early

Pen-and-Ink

Drawings

Cortona's earliest drawings of landscapes appear in the backgrounds of some of his anatomical illustrations of about 1618, which were engraved at the time by Luca Ciamberlano but remained unpublished until the in Drawn and brown ink, over eighteenth century. pen either black chalk or brush and brown wash, they were inspired thematically and stylistically by the landscape drawings of members of the Carracci school, such as Cortona's compatriot Pietro Paolo Bonzi.17 Early on, Cortona mastered the handling of pen and ink in studies that included landscapes. It is reported by Giulio Mancini in both versions of his short biography of the artist - dating slightly before and about 1625, respectively - that Cortona's virtuosity in this technique was equaled by only a few of his colleagues. Mancini had seen Cortona's Nocturnal View of the Ripa Grande, Rome's old harbor on the banks of the Tiber, opposite the Aventine, with a variety of boats in perspective, people milling about, and other details, which made him wonder how the artist could have drawn it with only the light from a lantern.18 At about the same time, according to Luca Berrettini, the artist's nephew, the extraordinary quality of a drawing in pen and ink, representing the burning of Troy, convinced Marcello Sacchetti of Cortona's

Gabinetto Disegni e Stampe degli Uffizi. like the View of theRipa Grande. and partsof the groundwith pen. at the south end of emperorSeptimiusSeverus's the Palatinefacing the Via Appia and was frequently drawnby Renaissanceartistsbefore it was torn down during the reign of Pope SixtusV in 1589. in a landscapesetting.withClassical and a Town at a DistantMountain.San Silvestroal Quirinale. under the Roman reign. but corresponds instead to the "Veduta grande di paese con antiche rovine.24The three-storiedstructurein the left foreground represents the ruins of the so-called Septizonium.19In held a place of honor in the Sacchetti fact. juxtapositionof a prominent antique ruin in the left foregroundwith a high. and pen and brown ink. 40. forming an imposing silhouette againstthe cloudless sky.or little landscape. but this . This sheet appearsfaded throughout. but a small.23 The ambitious panoramawas inspired by Northern Uberschaulandschaften (landscapesseen from a high viewand the point).22In addition." containing drawings attributed to Cortona.Rome. Brushwith brown and graywash. unfortunately The single extant landscape drawingwith an old attributionto Cortonawhich might be from his early with Classical period is the large Landscape Buildings and a Townat a DistantMountain(Figure 1) in the Uffizi. Landscape Buildings ca. 1620.21Recently. rockymountain in the distance recalls Polidoro da Caravaggio's fresco Landscapewith Noli me tangerein the Chapel of Fra Mariano.25All the other buildingsare productsof the artist's imagination and are freelyarrangedon the slope of the mountain.this drawing it is collection.The artistbegan with brush and brown and gray wash.it has tentatively been identified as the landscape that Cortona'spupil Ciro Ferrisent to Leopoldo de' Medici in Florence in 1662. Florence. later reinforcing the contours of the architecture. Figure 1.4 cm. whose monumental facade was erected. Pietro da Cortona (Italian. 424 P (photo: Soprintendenzaper i Beni Artisticie Storici.8 x 55. 1597-1669). with its terracesand exedra. circulartemple. the foliage. which is described in an inventory of 1784.20but. now lost.but the graphicqualityof the pen-and-ink 129 . a penna e acquerello bello" in Leopoldo's album "Universale XIII. it can hardly be labeled a paesino.unlike hypothesiscan be dismissedsince the drawing the description in Ferri'sletter.Florence) genius and induced him to become his patron.does not represent the Sanctuary of FortunaPrimigeniaat Palestrina. above a picturesquetown.almostas if it were a copy.

35 x 22 cm. 1630.witha Hermitage.996 130 . over black chalk. with brush and brown wash. 22. Museum of Fine Arts. over traces of black chalk. Pen and brown ink. Charles Potter Kling Fund. Pietro da Cortona. Landscape Pen and brown ink. Figure 2. ca. Boston. Landscape Building. Florence) with a Classical Figure 3. Pietro da Cortona. 1629. Gabinetto Disegni e Stampe degli Uffizi. 2000. Florence.5 x 42 cm. 841 P (photo: Soprintendenza per i Beni Artisticie Storici.

usuallyover blackchalk. scapemotifsare executed in the same techniqueas the figures. The rendering of the vegetation and the parallelhatchingsin pen and ink to designatethe terrain are almost identical to the technique employed in the studyfor the paintingin Toledo (see Figure2).he seems. Boston (Figure 3). the brushwork in the frescoesand in use of wash. for example.which provide a clue for dating them in relation to the frescoes at CastelFusano.35 ies of the 1630s with figuralscenes and landscapeele. Cortona handled the brush with an extraordinary mastery.must be fitted into Cortona's graphicoeuvre. Occasionally.Accordingly. obscure the peak of the distant mountain. Supportingevidence for this conclusionis provided by a spectacular landscape drawing recently purchased by the Museum of Fine Arts. A number of landscapes drawn in brush and wash. and closer scrutinyrevealsdifferentdegrees of successin rendering space and in the artist'stechnicalskill. was Cortona's preferred medium for compositional studies until the he used red or black chalk only. the close correspondence of its motifs with those in the painting might lead one to regardit as a the lines borderingthe landscapeon However.27 the left. Christ (now in Chicago). the landpublishedin 1646. and in two overdoor frescoes executed in 1628-29 in the galleryat CastelFusano.London).such as the Venus (Museedu Louvre.28 It represents various unidentified groups of figuresin front of a classicalbuilding under construction. since the rendering of the mountain and its vegetationcloselyresemblesthat of Cortona'scontemof FortunaPrimigeporarydrawingsof the Sanctuary nia at Palestrina. Jason CarryingOff in and the Lamentation over the Dead into which was Museum.but not all the drawings andAeneas ments. the landin the of such backgrounds drawingsas the scapes SaintMartinaon thePyre(British Museum) from the late 1650s or the Saint Ivo Assisting the Poor (National Gallery of Scotland. fresco. pont MorganLibrary. which remains visible the figuresand to achievepainterly values.From the mid-i65os.31In the latter two drawings. while continuing to use pen and ink. and indicate a downpour at the upper right. 3° made preparatory drawingsin pen and ink for them. it appears unlikely that Cortona CharlesAudranabout 1630-32. Since comparablepreparatory known.the drawingsis very similar. Takinginto account the testimonies of Giulio Manciniand LucaBerrettiniquoted above. or print. Edinburgh) of 1660 are also drawnwithbrushand wash.thick foliage of the tops of the trees.such as the lSl which was originallyin the Barberinicollection and for which payment was made by CardinalFrancesco Barberiniin August 1629.32In all of these drawings.All include smallfiguralelements. copy. varietyof flowersand grassesin the foreground. and in the adjoiningvalleyat the foot of a steep mountain. Hesperides (Kupferstichkabinett. foreground gathered around a globe with the zodiac recall the principalfiguralgroup in Cortona'sAllegory with wash. and airy clouds in the tranquil sky.indicate that it must be an original. usually over black chalk and frequently heightened with white gouache. While no studies for the on the Emblemof the Parthenian Academyengraved by frescoes are extant. including the dramatic clouds that partially overlapthe building. Beforehand. The drawing probably dates from the early 1630s.but none is connected with a painting. not executed directly in brush and wash but was white gouache was added to enhance the plasticityof first sketched in black chalk. knobbytree trunks. Flight Egypt Edinburgh (Figure 4). but there are considerable additions in brush and wash. on Trees as.which is typicalof his compositionalstud.29 the figuresin the left Furthermore.26This drawingis executed in pen and darkbrown iron-gallink over black chalk studies are not traces. match the masterlyskillof the frescoes. rather. Cortona graduallyfavored brush and washfor compositionalstudies. and a number of minor variationsand additions that do not appearin the painting. in the Nymphs (PierCarving from the New early1630s.tuosity.it is well to recall that in the landscape cycle in the chapel. The drawingin Boston (Figure 3) combines Cor. this workshould be considered an example of in pen and ink for which the young Corthe drawings tona wasfamousamong his contemporaries but which are no longer extant. 1640s. to have concentrated on related tona'smasterly pen-and-ink techniquewith a painterly studiesin brush and wash in order to increasehis virIn fact.34 Some touches were apparently added al seccoand partlyrubbed off over time. York) or in the design for the frontispieceof GiovanniBattista Ferrari's Berlin).36 Some detailsin blackchalk. the Golden Fleece(British This is particularlytrue of the Landscape with The Paris). The group is not entirely homogeneous.Pen and ink throughout.study drawingclosely resemblesthat of a preparatory in the Uffizi (Figure2) for the landscapein the backHis ground of the painting Saint PeterDamian Offering Bookof Rules to the Madonna (Toledo Museum of Art).inventing textures to convey the abundant vegetation.33 Early Brush-and-Wash Drawings .

Figure 5. 31 x 47. RSA 118 (photo: National Galleriesof Scotland) withClassical and a Wine ca. National Galleryof Scotland. Figure 4. National Galleryof Scotland.3 cm. Pietro da Cortona.5 cm. ca. 1628. Edinburgh. Brush and graywash. over Harvest. Edinburgh. 1628. Pietro da Cortona.3 x 49.withTheFlightintoEgypt. over black chalk. Landscape 33. Landscape Buildings black chalk. D 1837 (photo: National Galleriesof Scotland) 132 . Brush and graywash.

as. Landscape gouache.4 x 37 cm. highlighted with white Figure 6. the overallimpression resembles a decorative tapestry more than a deeplypenetrated. London) temple at the center left and the triangularpediment below it look as if they had been pasted onto the scene.washin strongcontrastto the light gray organically into the landscape setting.illusionisticspace.A peasantwith a basket of grapes at the lower right strikes the same pose as the peasantto the rightof the huge tree in the with WineHarvest MetropolitanMuseum'sLandscape and a (Figure 8.at the tops of the palm trees the washwasappliedwithoutregardto the indications in black chalk. The black chalk is less visible which was sold at auction in Switzerlandin 1996. 1628. mentioned above. Similarly. theirdarkgray .but still darkerthan the moun. The boats near the herm at the right are rendered ratherclumsily. relatedto the compositionalstudy againsta junglelike profusion of trees that cut diago.The two pyramidsat the right and the two otherspartlyobscuredby the palm trees at the left were conceivedin blackchalk. were added later. Privatecollection (photo: Colnaghi. ca. Thus. While the complex. the low viewpointmakes the composition less 4). and does not interfere with the wash. 24. for instance. demarcating The trees and in this includrari's book on horticulture area.and the plantsalong the shore. Pietro da Cortona. Colorplate5) correspondingfigure in the landscape in the Vatican.The elementsin the foregroundare arranged rural buildings in the foreground are integrated perfectlyparallelto the pictureplane. degree of masteryis displayedin than the foreground.3s a church are same drawn the considerably lighter Virtually ing spire. Brush and graywash. ground. the pose of the boy gathering Landscape with Classical Buildings and a Wine Harvest grapesis similarto that of the figure of Vertumnusin (Figure 5). Further to the left. in front of the Holy Family'sboat.The Triumph of NatureoverArt. Very similarvegetation appears in the Edinburgh . once the waterhad been executed.another Landscapewith TheFlight into Egypt(Figure 6).37 buildings publishedin 1633. were reinforced with wash. instead.whereasthe pairon the mountain slope were painted in afterwardwith the brush. the clouds behind the temple do not convincinglyoverlapthe mountainbut. tains in the distance. which consists of foreground scenes set a drawingfrom life. whereas in other passages.withTheFlightintoEgypt.39 than in the Landscapewith TheFlight into Egypt(Figure There. for an engraving by the the middle Friedrich Greuter in Giovanni Battista Fernally through Johann picture. the circular almostblack 133 figures in the boats to the right of the Holy Family.seem to have been cut out from it.

Sharing boat is the churchspire. the questionas to whethertheywere executed as practice exercises or as an end in themthe commisselvesmight be betterleft open. Colorplate5).a town.41It is hardto imaginethatthe competentbut ratherconventionallycomposed drawingin Montpellier (Figure7) frescoat CastelFusano. but obviously incorrect attribution to the Carracci school.Montpellier. 837. Probably. treeson the shore at the right. and an angel approachesthe *34 baptismalgroup from the right. and men in a boat.withTheBaptism ca. These figures correspond to the homonymous fresco at Castel Fusano.40It is also a landscape. Musee Fabre. although there Cortonadid not depict a town at the foot of a high mountainbut insteadportrayed an open riverviewwitha mountainin the far distancesimilarto that in the Edinburgh Landscape with TheFlightinto in thisfrescois the Egypt (Figure4) . the Baptismof Christis representedat the loweredge.whichturnsout to be a leitmotif in these drawings. Brush and graywash. Landscape of Christ. pellier.includinga churchspire. foreshadowingthe golden tonality of the landscapes of Claude Lorrain. postdatedthe avant-garde in the While none of these drawingsis preparatory proper sense.variations. 1628. In addition. some of them seem to have had a functionin thattheyrepresentformulative preparatory toward the skills displayedin the CastelFusano steps frescoes. MontFigure 7.with a riverin the foreground. Pietro da Cortona. the buildings of a town were added to counterbalance the slantingtree in the the same axis as the keel of the foreground. Whatis remarkable from behind the light radiating figure of God the Father seated on a cloud. with the figures in a similargroupingto that in the Edinburgh version a small island in the and the tall center. sion for the CastelFusanolandscapes generatedits own and independentapproachesto the studies. If so. in the MuseeFabre. Another drawingthat can be related to this group has an old (Figure7).whichrecallthe tree on the left in the Metropolitan Museum's drawing(Figure 8. task at hand.284 of the background: the boat at the left. At the foot of the distantmountain. while God the Father and the dove of the Holy Spirit appear in an opening in the clouds.1. then the MetropolitanMuseum's . Some dots of darkgraywashwere to the outlines of the town and the adjacent applied to mark the transitionbetween the foreground foliage and the middle distance.at the foot of a hill. which looms up at the right. (Figure 4).5 x 41 cm. 26.However.

since the artist himself obviously wanted to achieve perfect masteryof his technique. for the grand duke.42 Becausethe washdoes not cover the entire surface but leaves parts of the foreground and the skyblank.includingCortona himself. On the other hand.47Another single sheet.49Backin Rome in 1650. it seems unlikelythat the two landscapeswere intended as pendants from the outset. the sheet appearssketchily unfinished. it bearsthe old inscription"Livio fore. two drawings mentioned in the inventoriesof the Sacchetticollection were decidedly executed independently of each other. there are close similarities to Cortona's landscapes. the copy is not executed in the same as the technique original but. with gray and blackwash.or even 135 . can reasonably be excluded because one of the paintings is based on a copy (Art Instituteof Chicago.is more deliberatelybalanced. there9).Of course. the composition.which would serveas overdoorsfor a mezzanineroom in the palacein the Via Giuliathat recentlyhad been bought by the cardinal. Furthermore. Colorplate 5) would appearto be a revisedand improvedversion of the drawingwith the same subjectin Edinburgh(Figure 5). which outshinesthe examples hitherto discussedin its conception of space and free handling of the brush and brownwash. in the Uffizi (Figure 11). compositions. has been publishedrepeatedlyas by this Flemish artist. In his later career. were changed in the painting derived from it. the others are unattributed.in whichthe unfinishedareasin the foregroundare filled in withfiguresand vegetation. measuringfive palmi (about 110 cm).45 Since the proportions of the original drawing(Figure9) and the copy (Figure 10) do not correspond to the MetropolitanMuseum'ssheet (Figure8).so that it should no longer be regarded as preparatoryto the frescoesat CastelFusano.Finally. Cortona's authorship. for example.Ratherthan havingbeen carriedout solely for the artist's diversion. the two small oval panels in the Pinacoteca Capitolinacited above.48While no comparable drawingsoccur in Livio Mehus's oeuvre. an effect shared.Onofri'spaintingscan be identifiedwith the oblong canvasesfrom the Sacchetti collection now in the PinacotecaCapitolina. appears almostto be a detailof the drawingat Windsor(Figure Meus" and. and the frescoes at Castel Fusano.who workedat the Medicicourtin Florenceand was occasionallyCortona'spupil. which depicts a landscape with a group of trees on a slope and a mountain beyond.50 Two of the landscapes were by Dughet's pupil Crescenzio Onofri (after 1632-after and 1712).but the drawing could also be the work of a later follower. indeed. was influenced by Cortona.Figure 10). twowereby a certainGiovanni Fiammingo. and the brush is handled with greatermastery.the proportionsof the drawing in Chicago.and one wonders whether the artist. Later Brush-and-Wash Drawings It is not merely an academic exercise to classifyCortona's landscape drawingsaccording to their evident technical skill. which is slightly more oblong.44 To judge from the available small photographs. and the plants and tree trunk at the lower margin.Cortonadid not carryout landscape commissions. CardinalGiulio Sacchetti. the execution of pendants and cycles has alwaysappealed to artists who depictedlandscapesubjects. for example.as is the MetropolitanMuseum'sdrawing.which hinders an attribution. Cortonasupervisedthe commissionfor five landscape paintings and two canvaseswith festoons for his earlypatron.appear to have been introducedby the copy- ist to relate to the motifs in the Metropolitan Museum's drawing.but occasionallyhe helped other artiststo obtain or execute them. In addition. it is possible that Cortonahimself had receivedthe commissionfrom a patronfor thispairof pendantpaintings.certainly not by Cortonahimself. made without Cortona'sintervention. so that the latter became the same size as the painting executed from the Metropolitan Museum'ssheet. since the spatial conception is more developed. he is reported to have recommended Gaspard Dughet (1615-1675) to paint a landscape. however. by one of the few landscape drawings in brush and wash by Guercino. who is said to have paid the considerable sum of one hundred scudi for it. the figures and the horses in the foreground. who by then was barely twentyyears old. are positioned as pendants with contrasting However. Proof of this is the CoastalLandscapewith Mountain at WindsorCastle (Figure9). the pictures are sadly obscured by thick layersof yellowvarnish. instead.which includes motifs from the landscape in Montpellier (Figure 7) .46 only some of his other landscapeswere conceived as pairsor cycles. If the draftsman of the copy in Chicago (Figure10) was a member of Cortona'sstudio. it might well have been commissioned by a specific patron as an independent workof art.as.43 The drawingsin the MetropolitanMuseum (Figure 8) and at Windsor Castle (Figure 9) were used as models for a pair of paintingsof identical size (about 65 x 80 cm) and with the same frames and provenance.Landscapewith WineHarvest (Figure 8.of the Windsordrawing. During his stay in Florence in the 1640s.

33 x 48. Pietro da Cortona.ca. over black chalk. Pietro da Cortona. 1630. 2003 (2003. 2002 Benefit Fund. with pen and brown Harvest.7 x 48.withWine ca.RL 5797 (copyright© 2003 Her MajestyQueen ElizabethII) 136 . Coastal Landscape Royal Collection. Landscape ink. Brush and graywash.101). The MetropolitanMuseum of Art. Figure 9.9 cm. Figure 8. Brush and brown wash. 36. 1630. See also Colorplate 5 withMountain. Purchase.6 cm. Windsor Castle.

7 x 45. 13) very earlier (Figures 4-9). Florence) cm.which depicts a wine harvestand. Coastal Landscape were intended for a they specific commission. 741 P (photo: Soprintendenza per i Beni Artistici e Storici. Dancing nymphs representing Spring (Figure 12) appear in a rather faded drawing traditionallyattributedto Cortona (Museedu Louvre)but never seriouslyconsidered by modern scholarsas an A summergrainharvest(Figure13) work.2 cm. 1650-90. and in the two Art Institute of Chicago. 16x28. Brush and black and graywash.300R 12. for which scattered evidence exists in a group of lunette-shapeddrawings. whereas the figures closely resemblethose in Cortona'sdrawings from the 1650s. 28.ca.and the octagon in SantaMariadella Pace.executed by Cosimo Fancelli ramicviewsand the detailedrenderingof vegetation.1 Gabinetto Disegni e Stampe degli Uffizi.51 for the stucco figures On another occasion Cortonadoes actuallyseem to in the late 1650s. is an allegoryof Autumn.which Figure 1 1.54 The shapes of these drawand their finished ings quality strongly suggest that with Figure 10. with which is known as nothing yet. !37 .or the design at Windsor .55 It is temptingto add to thisgroupa studyfor a fourth ing the Four Seasons.53 A thirdlunette (Figure14).almost lunette (Figure15) thatI discovered amongthe anonyidentical in size. Pietro da Cortona. over black chalk. The Leonora Hall GurleyMemorial plants foliage originalstudies (Figures is similar in to that the drawings discussed Collection. Brush and gray wash.on the arch separating the nave haveprovideddesignsfor a cycleof landscapesdepict. 1922. Landscape with Treeson a Hill and a Mountain Beyond.52 autograph is the theme of another drawing (Philadelphia Museum of Art). which.is drawnso coarselythat it is most probablya copy of a lost original by Cortona. such as the compositionalstudyfor the SaintMartina instructedby him on how to achieve the broad pano. After Pietro da Cortona. in spite of its old attributionto Ferri. ca. hence. Rome.has to be given to Cortonaon stylistic grounds. The rendering of the touches of black gouache. three of which have comparable mous Italian drawingsin the BritishMuseum. in Bologna. about Mountain.on thePyre mentioned above. 1630.figural scenes. Florence.

contours partially Figure 12. over black chalk. 1984-56-240 138 . Pietro da Cortona. 1650. 1650. Harvest Philadelphia Museum of Art. ca.2 x 40. Scene.1 cm.withDancingNymphs. Landscape reinforced with pen and brown ink.Departement des Arts Graphiques. Paris. 24 x 40. Figure 13. Brush and brown wash. Pietro da Cortona.3 cm. Brush and brown wash. 24. Musee du Louvre.509 (photo: Reunion des Musees Nationaux. Paris) ca.

Wine Brush and brown wash. In fact. but the figures are much smaller and more like those in the other landscape drawings (Figures 4-9). alternating with small landscapes in the overdoors. it must have been made before Cortona decided upon scenes with larger figures. of the right half. Bologna. Ff. like the study in the Uffizi (Figure 11). 19). the rendering of the conifers in the British Museum's study (Figure 15) is close to that seen in the Wooded River Landscape with Fishermen(Figure in and the lunette in the Louvre (Figure 12) but 19) does not occur in the earlier drawings (Figures 4-9). Such scenes might have been conceived for a large decorative program. BritishMuseum. My initial suggestion. in a private collection (Figure 16). Pietro da Cortona. Pinacoteca Nazionale. that this drawing reflects Bonzi's influence on the early Cortona might be challenged in light of the late date that is proposed below for two ex-Holkham Hall landscape drawings (Figures 18. an allegory of Winter. it could also be related to another lunette for which there is a sketch.57 It is drawn very loosely. 1650-90. some felling trees and others gathered around a fire.1 x 39. when Cortona was commissioned by Pope Alexander VII to decorate the walls of the long gallery . Ultimately.56 In size it corresponds to the other lunettes (Figures 12-14).6 cm.the "gran Galleria". accepted by Nicholas Turner. and with only a few preliminary indications in black chalk. However. Landscape London. 1650. In an early detail study. Figure 14. If it is a late work and is related to the other lunettes. as was actually the case in 1656. 4-59 139 . Figure 15.ca. After Pietro da Cortona.8 cm. 22. now in Oxford.58 He proposed an architectural framework into which large historical scenes would be inserted. it is difficult to reach a conclusion about the drawing (Figure 15) since the wash is very faded (in photographs it appears darker than in reality) . 1908 shows foresters. it thus represents an iconographic link to the autumn scene in Figure 14. ca.7 x 39. of one and a half bays of this withForesters.Harvest. 24.in the Palazzo del Quirinale. showing a waterfall flanked by two hermitages. Brush and light brown wash.

Pietro da Cortona. Waterfallsin a Hilly Landscape. despite being withTrees strickenby gout almost half the time. Leopoldo should realize. Whereaboutsunknown (photo: Sotheby's.London) gallery. ca. The latestdocumentary evidenceof Cortonaas a landbe found in his correspondence with scapist may PrinceLeopoldode' Medici(createdcardinalin 1667) in Florence. and mentions that.one of them rather"domestic. were made 140 . 1666. he will be very Figure 17.In a letter datedJuly 17. OvalLandscape alonga Brush and over of black traces wash. over traces of black chalk. Brush and brown wash.although the brushwork and gray wash correspondperfectlyto Cortona'sstyle.7 x 28. 21.Norfolk.Figure 16." "wilder. chalk. Pietro da Cortona. and the form and content fit the scheme for the Quirinale gallery. foreshadowingthe landscapeswith religious scenes executed by his pupils and other artists. he suggested a landscape tondo with small figures. Ct. one of them depicting a landscape without this idea waspursuedfurtherin figures. he thanks Leopoldo for the medicine he has sent him through his Roman agent.60 Apparently. 1650.62Later that year. even if they might not match his expectations.61 The Pendants for Leopoldo de' Medici the Oval Landscapewith Trees along a Gully(Figure 17).9 cm. he commented that he had sent two the other landscapes." which. gray pleased to accommodateLeopoldo's taste by embark. on November6.26 x 21 cm. Privatecollection (photo: MiaWeiner. 1656.) ing on some landscapes in watercolor.59 This scheme was modified in a more elaboratedrawingin Berlin for seven bays with three oval vertical overdoors. which was recentlysold at auction in London with an attributionto Ferri. Gully.

London) 141 . Pietro da Cortona. Figure 18. Wooded 28.6 x 43. Jointly owned by the Trusteesof the BarberInstitute of Fine Arts. Brush and brown wash. 1666. BritishMuseum. over black chalk. Pietro da Cortona. Figure 19. Brush and graywash.5 cm.withWasherwomen.3 x 42.and the BirminghamMuseums and Art Gallery (photo: Christie's. 1997-6-7-11 (photo: Christie's.London) RiverLandscape withFishermen. RiverLandscape 27. London. over black chalk. Universityof Birmingham.2 cm. 1666.

K. The former work."while the river flanked by tall trees in the latter study perfectly fits the adjectives "wild" and "woody.after 1632-after 1712). on November from pain in the fingerjoints. ca. and that they remained at HolkhamHall until they were sold at auction in London in 1991. Three drawingsin Figure 20.but on the whole his approachis retrospective ratherthan innovative. mentioned above. and were listed in an appendix to the volumes along with a number of single drawingsand prints. in the mountainovergrown with treesand foliage. Copies Cortona'slandscapesappearto have been well known ings might be the River Landscape with Washerwomen and appreciated among artists.65Thus. after Pietro da Cortona. CrescenzioOnofri(?) (Italian. whichhas sustaineddamageby dampness. and he depicted a townverysimilarto that in the fresco of Christ and the Woman of Samariaat Castel Fusano.by someone suffering from gout and in particular. it is likelythat they left the Medicicollection sometime between 1687 and 1784. Cortona is still with the brush. in order to please the Medici prince he had to present him with something substantial. sometimes even twice. CortonathankedLeopoldo for his appreciationof the drawings. with even if brown wash was used for the Landscape and wash for the LandWasherwomen gray (Figure 18) scapewithFishermen (Figure 19). 1 propose that the drawmen(Figure 19) acquiredby ThomasCoke. or even humility.theywere not bound in an album. which besides the washerwomenand fishermen in a boat includes a town above a river. 19) are comparableto those at Windsorand in New York (Figures8. of course.64 These drawings are probably the "due paesi di Pietro da Cortona" mentioned in a Nota del i68y regardingLeopoldo'scollection.68 The RiverLandscapewithFishermen Wooded (Figure 19) rep- resentsa synthesisof all of his treatmentsof vegetation and waterin a verycomplex composition. Landscape Pen and brown ink. employeager to displayhis virtuosity ing basically the same repertoire of motifs and his 142 characteristic wayof rendering foliage.where most of Leopoldo's drawingsended up. could easily be labeled "domestic.9 x 26.63Finally.However.They are obviouslypendants. 29. 1650.drawings.on Cortona'spart towardhis distinguished patron. Haarlem.and a number of the frescoes. From a technical and compositional point of view. .2 cm. Teylers VIII. were copied (Figure 18) and the Wooded by others. this appearsto have been merely a show of modesty. since almost all the RiverLandscapewithFisher. which were described in the and inventoryof 1784 and included three watercolors a landscape. for.identicalin size and executed with the same degree of perfection. the two ex-Holkham Hall drawings(Figures 18.67 The principalreason behind this suggestionis that Cortona'scharacterization of the two drawingsmade for Leopoldo as contrastingdomestico and selvatico (or salvatico) landscapesaptly describesthe ex-Holkham Hall studies. 5). and black chalk.he summed of the Sanctuary up his experienceswith the drawings of FortunaPrimigeniaat Palestrina. 1st earl of Leicester. 37.undoubtedlyduring his grand tour of Italy between 1714 and 1718." The tone of two of Cortona's letters to Leopoldo convey the impression that the landscape drawings were only minor effortsby a decrepit artist. 9) and certainlymore advancedthan the Edinburghlandscapes (Figures4. they cannot be identified with the drawingsattributedto Cortonain two of these albums. In the River Landscape with Washerwomen(Figure 18).36 Museum.but kept separately.66 Since they did not surfaceelsewherein the Uffizi. withNoli metangere.

since the copy in Haarlem 143 . the studies basicallyconform to drawingstraditionallyattributed to Onofri. but the figureswere indicated faintlyin blackchalk. 22. FC 128571 (photo:Jorg MartinMerz) withMountains. Farnesina (Figure 23).1 cm. 71 The copies are roughly the samesize as the originaldrawings and weresketchedin blackchalkoverwhichbrushand graywashwererather schematically applied. Landscapewith The Baptism of Christ(Figure 21). which is intriguing since it would provide a link to Onofri's collaborationwith Cortonaon the Sacchetti paintingsmentioned above. 1670-90.2 cm. 1670-90. Landscape ca.8 cm. 1650. over black chalk. Clearly by the same hand.6 x 48. after the ex-Holkham Hall RiverLandscapewith Washerwomen (Figure 18). and black of Christ.69are all executed in pen and brownink.possiblyin a differenthand. 22) scape (Figure at Windsor a in sheet the originaldrawing (Figure9). Figure 24.16 withWasherFigure 23. After Pietro da Cortona.ca. 26.266) Haarlem. chalk. over black chalk. keptin the artist's Another group of copies includes the Coastal Landwith Mountain in after an Haarlem. Brush and graywash. TeylersMuseum. TeylersMuseum.9 Figure 22. Pen and brown ink. In fact. 32. The MetropolitanMuseum of Art.70 but it is notoriously difficult to in distinguishhis hand from that of other landscapists the Bolognese tradition such as GiovanniFrancesco Grimaldi. over black chalk. Rome. 1880 (80. Landscape withTheBaptism ca. 1670-90. after Pietro da Cortona. Haarlem. Gift of Cornelius Vanderbilt. Haarlem.VI. these copies have been attributedto Cortona'spupil Ciro Ferri (1633-1689). After Pietro da Cortona. Brush and graywash. studies after the frescoes in the chapel at Castel Fusano.6 cm.6 x 35. Coastal Landscape withMountain. K. and the withMountains Landscape (Figure24) in the Metropolitan Museum.Figure 21.3.VIII. Crescenzio Onofri(?). 22. in style.relatedto a print aftera lost drawingby Cortona (Figure 25). Istituto Nazionale per la Grafica (Farnesina).The three studies differ in various details from the frescoesand hence probably werenot actually drawnin the chapel at CastelFusanobut ratherwere basedon preparatory material studio. women. After Pietro da Cortona. and Christand the Womanof Samaria. Brush and graywash.a specialistin landscapedrawings.6 x 41.8 x 40. Landscape with Noli me tangere(Figure 20). K. The mount bearsa recent attributionto CrescenzioOnofri by MarcoChiarini. RiverLandscape ca.

Landscape and a Town ca. 21. this group of drawings(Figures 22-24) *sbetter left attributedto a later-sevenartistyet to be identified.who by then had his own studio.6 x 34. wash. 21 x 30.1990 (photo: Sotheby's. K. 179 (photo:Jorg MartinMerz) withMountains. including the figures.the Farnesinacopy (Figure23) is slightlycut at the lower margin so that the washerwomen are omitted and the fishermenin the boat are rendered only sketchily(see Figure 18). no. besitz. Brush and brown wash. Furthermore. After Pietro da Cortona.5 cm. identical size by Francesco Bartolozzi (published by witha Circular Figure 27. would have slavishlycopied one of them (Figure 23).Resta'sattributions to Cortona and his school have been and there is no stylisticconnotoriouslyunreliable. however. Francesco Bartolozzi (Italian. Therefore. 22 x 33. who added the drawing to a volume entitled Anfiteatro that he unsuccesspittorico to of offered sell to the king fully Spain in 1707.5 cm. BritishMuseum. after Pietro da Cortona. Figure 26. 1952-1-21-39 witha Circular Figure 28.). London) (Figure 22) is so inscribed by Padre Sebastiano Resta (1635-1714). 1670-90.4 cm. which would hardly havebeen the site chosen by Cortonato makethe original drawing(Figure0. Resta's inscription is.2 x 32. Brush and gray Temple bytheCoast. TeylersMuseum. teenth-century While the copy in Haarlem (Figure 22) faithfully reproduces the landscape at Windsor (Figure 9).if the ex-Holkham Hall drawings(Figures 18. The copy in the Metropolitan Museum (Figure24) is also without whereas in the engraving(Figure25) of almost figures. wash.it is unlikely that Ferri.far from conclusive.73 nection to the few landscapesby Ferridiscussedbelow. Kupferstichkabinett.Figure 25. After Pietro da Cortona. Engraving. StaatlicheMuseen zu Berlin-PreuBischerKulturKdZ 1. Landscape withMountains. Graphische Sammlung Albertina.VIII. After Pietro da Cortona. 19) are as late in date as 1666.72Furthermore.13 144 . Haarlem. 1727-1815). Brush and gray Temple bytheCoast. HB XV/i. 23. Landscape and a Town ca.as suggested above. 1670-90. Landscape ca. London. 1670-90. over black chalk.1763. since it statesthat the drawingwas made by Ferriin a vineyard belonging to his wife.4 cm. Vienna.

copyin Berlin (Figure26) in whichthe centralmountainand partsof the landscapeto the left and right are executed in brushand wash. 1670-90. Boulogne Billancourt. Formerlyprivatecollection. rather than from either the London or the Haarlemversions.79Judging from its overall composition and from the trees and other details. but the possibilityshould not be ruled out that the draftsman responsible for some of the other copies became an expert at inventing such a landscape a la Cortona. Just below this village.74It is possible that these figural elements were introduced by Bartolozzi. 25.at the far rightis a village with two pyramidal structures that also appears in the MetropolitanMuseum'scopy (Figure 24) but is reduced to a tiny cottagewith a pyramidal roof in the print (Figure25). Stormy Landscape ermenon a Lake and Boats on the Horizon. Yet another drawingformerly attributed to Cortona (Figure 30). These bordersand the clumsyrendering of the clouds are obviousindicationsthat the London drawingis a copy. and therecoarselyexecuted. which led Bert Meijer to consider it Cortona'soriginal.3 x 37 cm.France) withFishFigure 30. which shows some variationsin the mountain at the far left and in the clouds above the large trees in the foreground. Takentogether.This is evident if one comparesthe printwith the drawingin the MetropolitanMuseum (Figure 24) and with another.London) *45 . is a pairof trees.whereasin the printthere is only one tree behind the two peasants. lower.By Pietroda Cortona).75Forexample. 28) do not seem to be by the same hand as the group discussed above (Figures22-24). ca. as opposed to their rathersoft rendering in the NewYorkcopy. 1763.go.in both drawings. After Pietro da Cortona(?). the brushwork London copy (Figure 27). the StormyLandscapewith Fishermenon a Lake and Boats on the Horizon (formerly collection of C.compared to almost all the other drawingsaccepted here as by Cortona (Figures 4-9.The introductionof a darkcloud hoveringlike a fantasticbird over the landscapein the print differstotallyfrom the copy in the Metropolitan Museum and from any other landscape by Cortona.78 The copies in London and in Haarlem (Figures27. A copy in red chalk by Giuseppe Passeri (Figure 29).who seems to havemade furtherchangesaswell.these observations lead to the conclusion that the twocopies and the print (Figures24-26) were all conceived independently of each other and are based on a lost originaldrawing. 11-13. Landscape witha Circular and a Temple Town ca. it might well be based on a lost original by Cortona. derivesfrom Cortona'soriginal. as referred to in the inscription on the mount of the copy. bytheCoast. was associated with this group. The rocky mountainsin the printand in the Berlincopy are quite similar and solid. Giuseppe Passeri (Italian. 1654-1714). ing a stag were added at the lower left and a pair of peasantsat the lower right. in London (Figure 27) and in Haarlem (Figure 28). 1670.so that the images are almostidentical in size.but the drawing itself is confined by ruled bordersat the upper.while large areasof the foregroundare left only outlined in black chalk. particularly fore is more likely yet another copy. Rudolf). This also seems to be the case with two drawingsin brush and graywash. and right margins. In the version in Haarlem (Figure is slightlymore refined than in the 28). although the copy in the Farnesina (Figure 23) appears close to them. Boydell on March 21.8 cm. Whereaboutsunknown (photo: Sotheby's. each entitled Landscape witha and a Townby the Coast.77However. Paris (photo:Jacques Fryszman. Brush and graywash. and entitled Froman three dogs huntOriginalDrawing.J. 27 x 41. and the skyis blank except for the contoursof some clouds.76The former CircularTemple sheet is slightlylargerthan the latter. Red chalk. and attributed to Ferri. slightlysmaller. 15~19)' li *s rather the clouds. after Pietro da Cortona. Figure 29. R. too.

Pen and brown ink. 1634-1710). is shown disembarking from a boat. London) If all of the copies hitherto believed to be by Ferri . although much smaller.8o This drawing has been attributed to Ferri at least since the late eighteenth century. this attribution is not very likely. The same arrangement of figures. when Conrad Metz published an aquatint of it (in reverse). as seen here. which works are left. and to conclude that the pupil followed his master's footsteps by adapting and softening the patterns of his brushwork. National Galleryof Scotland. TheFlightintoEgypt. then. D 1836 (photo: National Galleriesof Scotland) 146 . Rudolf) representing the Flight into Egypt in a landscape setting (Figure 3 1 ) . 1670. Yet.to several artists to above be identisuggested yet fied. 1633-1689). Pietro Lucatelli(?) (Italwith ian. 27> 2&. ca. R. 30) have to be attributed . although Figure 32. for Cortona's most faithful pupil? A point of departure in reconstructing his oeuvre as a landscapist is provided by a drawing (formerly in the collection of C. for several reasons. 5) now attributed to Cortona.Landscape Drawings by Ciro Ferri Figure 31. brush and brown wash.81 The Holy Family. and the figures conform perfectly to Ferri 's style. which was considered to be by the same hand as the two other Edinburgh landscapes (Figures 4. against a wooded hill in the background covered with conifers and foliage rendered in brush and wash. ca. but less detailed than.as (Figures 22-24. ca. over black chalk.1 cm. First. and. there are no other comparable drawings that can be convincingly attributed to Ferri. similar to. Landscape TheFlightintoEgypt. over black chalk.4 cm.9 x 25. Edinburgh. Whereaboutsunknown (photo: CourtauldInstitute of Art. appears in the Landscape with The Flight into Egypt (Figure 32) in Edinburgh.82 It seems plausible to ascribe this Flight into Egypt to Ferri as well. ca. Brush and graywash. comparable foliage in Cortona's landscapes (see Figure 12). drawn in pen and ink and wash over black chalk. 36. 1670.8 x 46. 32. Ciro Ferri (Italian.

Landscape withBoarHunt. Red chalk. 1660.New York) 147 . Pietro da Cortona and Ciro Ferri. Ciro Ferri. over black chalk. ca. GraphischeSammlung Albertina.Landscape withStagHunt. 1680.Vienna. Pietro da Cortona and Ciro Ferri.1 cm.8 cm. 25. Brush and brown wash.86. ca.6 x 53. Whereaboutsunknown (photo: Christie's. 23 x 52. M.Figure 33. Brush and brown wash. Gift of the Lorser Feitelson and Helen Lundeberg Arts Foundation. 33.5 x 46 cm. SaintJohn the Baptist Revealing Christ to Saints Peter and Andrew. 1660. ca.66a Figure 34. over black chalk." Figure 35. 898 (photo: Lichtbildwerkstatte Vienna) "Alpenland. Los Angeles County Museum of Art.

a pair of landscapedrawings with hunting scenes should be consideredas a collaborationbetween Cortonaand Ferri.83 in interested ticularly independent landscape drawIn the such sheet knownis the landscape ings. which was sold twice at auction in the 1990s. are closer to that of the pupil. conformstylistically to the workof the master. was not entirelyfarfetchedafterall.for additionalsupport.Cambridge. 1986.freely drawnin brushand wash. in brush and wash over black chalk.1968. only the Saint Christ to SaintsPeter and John Baptist Revealing Andrew (Figure33) in the LosAngelesCountyMuseum of Art. Exh.only the figures. GabinettoDisegni e Stampedegli Uffizi 38.in the EdinburghLandscapewith TheFlight into Egypt(Figure 32) possibly might turn out to be by him. ABBREVIATIONS Andrews1968 KeithAndrews. after Ferri.who was 9° The Cortona'spupil before collaborating withFerri.Edinburgh. and the Gerda Henkel Stiftung. which is drawnrather summarilyin red chalk withfew detailsand presumably datesfrom Ferri 's late In earlier another. This would indicate. Chiarini1972 MarcoChiarini. are by an artisttrainedin the Bolognese tradition.who worked with Ferri at the Villa Falconieri in Frascati during the early 1670s. possibly Grimaldi. 1962) 2nd ed..88 the landscapemotifs. .is reminiscentof that in the Edinburgh Landscape with TheFlightinto the do not conform to his Egypt(Figure 32).Catalogue 2 vols. although the two artistscollaboratedclosely in the 1650s and early 1660s.89 It must be stressed that these are merely preliminaryconclusions. and was occasioned by the acquisitionof the landscape drawing by Cortona published here (Figure8. the LandscapewithStagHunt (Figure 34) in the Albertinawas attributedto Cortonabut was later given traditionally to Ferri. Chiarini1973 MarcoChiarini. whereas the figures.for which I would like to expressmy sincere gratitude. Briganti1982 GiulianoBriganti.NewYork.Ferri usually indicated landscape elements in his favorite black chalk.drawn in black chalk. Drawings Yorkand London. Clawson Mills Scholar in the Department of Drawings and Printsat The MetropolitanMuseumof Art.Mostra di disegni italianidipaesaggio delSeicento e delSettecento. are by Ferri. Treviso.The New of dm Ferri. period. among them certainlythat of PietroLucatelli. Colorplate5).traditionally given to Ferri. 1982. Davis1986 BruceWilliamDavis.the landscape motifs. further names will eventually be proposed.Edinburgh. in 2002/3. National cat. (isted. to which wash was sometimes added almost as an afterthought rather than serving as the basicmedium for introducingtextureand detail. 148 Figure 36.In fact. style.Dusseldorf. NationalGalleryof Scotland.1999. 1973. I wish to thank the Metropolitan Museum for the fellowship. Florence. fact.mistakenly attributionto "Locatelli" identifyinghim with Andrea Locatelli.87 As in the Landscape withBoarHunt (Figure 35).1972. ofItalianDrawings. it greatlybenefited from discussions with George Goldner and the staff of the department.Pietro da Cortona 0 della pittura barocca.at . of Galleryof Scotland.that Ferri'strainleast on the basisof these drawings ing only involvedmasteryof the figuralelements.86 Keeping this in mind. Florence.84 probably landscape. Betaradiographof the watermarkon Landscape with Wine Harvest(Figure 8) AUTHOR'S NOTE This articlewaswrittenduringmy tenure asJ. and that he did not borrow landscape motifs from Cortona. group of figures. No doubt. Edinburgh1999 The Art:Master Draughtsman's Drawings fromthe NationalGallery Scotland. in pen and ink.under which this drawing entered the National Gallery of Scotland.85Third. figures his oeuvre reveals that he wasnot parSecond.the brushworkin a group of four oval landscapes in the Uffizi./ disegni italianidipaesaggio dal 1600 al 1750.intended to reopen the question of attributionsto Ferri and to suggest that the body of landscape drawings by Cortona and his circle be examined from a more nuanced perspective. in his compositional drawings. thus provingthat the old .this one with Hercules and Cacus.

lot 128. (Harmondsworth. pp. The standard monograph is Luigi Salerno. TheSeventeenth in Italy. Exh. Rome (Rome. 277. fig. Figure 23 here. and Emmanuel Starcky. 295). New York (New York. cat. 8. p. Meijer. 164.III.5 cm) m tne Devonshire Collection at Chatsworth (now in the CityArt Gallery. Musee du Louvre.. Italian Drawin the ings Department of Prints and Drawings in the British Museum. in Figure 36. p. pp. colorpl. 2nd ed. 3 vols. !49 . 74-75 nn. therefore.c. 36.Drawings from New York CollecCentury tions 2. 2. Turner 1999 Nicholas Turner. as after Cortona. 1962).. und 1 7. 1977. TheFamousItalian Drawingsat the Museumin Haarlem. 1974. ill. 5. Vol. kindly pointed out to me by Michiel Plomp). Merz 1991. 20. The published version (1 17. 129-36. 2 vols. Ann Sutherland Harris. see most recently Maria Teresa Pugliatti. Classicismoe Natura: La lezionedel exh. cat. 92.I disegni dei Walter Vitzthum. Brigand 1982. figs. Exh. 1999. M. pp. Rome. Pietroda Cortona: im barocken Rom. 63. Rapporticon il mercato con il mercato emiliano(2 pts). The Metropolitan Museum of Art). "A Newly Discovered Landscape by Pietro da Cortona. Domenichino. no. the other (87 x 110. however. Rome 1997.. 2002-2003. p. for references to the inventories of 1688 and 1748. Art and Architecture ican History of Art. See also Uideale classico del Seicentoin Italia e la pittura di paesaggio. 10. pp. 1997). pp. 213-17." Burlington Magazine 129 (1987). Paris (Paris. Marchese d'Argens(Lucca. Before 1755 it was in the Pallavicini collection. attributed to the school of Cortona.i^y-i66cf. 3. 266-72. color ill. 273. the Metropolitan Museum. Teyler[s] Merz 1991 DerAufstiegzum Jorg Martin Merz. 325-28. Meijer 1984 Bert W. Milan. esp. The copy measures 32 x 44. Milan. Catherine Legrand. 2. no. sale 257. as. Rome. Akademie der Bildenden Kiinste. pp. fig. but the very lively brushwork and some minor compositional changes suggest that it might be an original. 36. vol. Similar figures were published by C. Provenance: private collection. 2. 1991. on a life drawing in the Akademie der Bildenden Kiinste. I. The painting probably can even be traced back to the Sacchetti inventory of 1639. 1977-78). Museumof Art Bulletin61 . 1987-98. cat. pp. Palazzo dell'Archiginnasio. New York 1967 Felice Stampfle and Jacob Bean. 1600 to 1750. in Italy. as pointed out by Walter Vitzthum. exh. 1971. see Erwin Pokorny. 20-21. LXI. 1965). 7. pp. The Pierpont Morgan Library.. A 5. (reprint. See the report by Marjorie Shelley. Landscape Painting in Rome. 1984.Lepaysageen Europedu XVfeau XVIIPsiecle:95* exposition du Cabinet des Dessins. Rome. see pp. Watermark: kneeling saint in a shield holding a cross (the beta-radiograph seen here. Milan. Milan and Naples. 25. Rapporti (2 pts. Vienna. p. Rudolf Wittkower. color ills. Risposta alle riflessioni critichesopra le differenti scuole di pittura NOTES The epigraph to this article is quoted from Ridolfino Venuti. Another landscape with a wine harvest by Cortona is cited in the sale catalogue of the Dutch collector De Vos in 1833 (portf. 186-88. 181) mentions three copies after the painting at Chatsworth without. Rome 1997 Anna Lo Bianco. 123. 23. no. (Rome. p.exh. See TheMetropolitan issue entitled Recent Acquisitions: A Selection. on brownish paper). For these frescoes. Musee du Louvre. Merz 1991. cat. // barocco maestri. p. 115. LandscapePaintersof the SeventeenthCenturyin Rome. Archivio del collezionismo mediceo. 1967. Giannatiempo 1977 Maria Giannatiempo. Pel4. no. See also the copy after a landscape drawing by Cortona in Rome. 1 veneto. Pietroda Cortona. 1. in the drawing's curatorial file. however. BurlingtonMagazine105 (1963). p. e libertd(Rome. figs. indicating their size. no. watermark no. Risposta alle reflessioni critiche sopra le differenti scuole di pittura del Sig. del Sig.1595-1675. 214.. 116. 98). Department of Paper Conservation. Feigen & Co. Lesfiligranes: Dictionnaire historique du papier des leur apparition vers 1282 jusqu 'en 1600. with Rhoda Eitel-Porter. 6.Milan. 64. 64. 1990). 75-81. the landscape in Naples was first published by Brigand (1982.5 cm) was sold at Finarte. 348-49. Roman Baroque Drawings. Bologna (Bologna. 9. 15.5 x 167.. 4 vols. II CardinalLeopoldo.). 304. Richard L. 1978). for instance. cat. Brigand (1982. 1755). 7628 (a seventeenth-century Fabriano paper). p. Maler Tubinger Studien zur fuhrenden Archaologie und Kunstgeschichte 8. 177-80. New York. 1 128 (84 x 1 10 cm). Vitzthum 1971 a Roma. 10. it is not clear whether any one of them corresponds to the versions cited above. see Merz 1991.9 centimeters and is slightly cut at the left and lower margins (contours outlined in black chalk. 73-77. mere guesswork. Vienna (Vienna. ed. 65-74. nos. sale 181. no. "Pietro da Cortona" [review of Brigand (1962) 1982]. no. AgostinoTassi:Traconformismo figs. Louise Rice. figs. see note 70 below and Giannatiempo 1977. Department of Paper Conservation. Lugano. Jean-Francois Mejanes. 1977. Musei Capitolini. Jahrhunderts aus demKupferstichkabinett derAkademie derBildendenKiinste.Manchester) is modeled rather smoothly (Brigand 1982. 3. A possible connection with the present sheet is. 304-5. 2 (Fall 2003). pl. ed. 199. Rome. p. London. XCI. see Ridolfino Venuti. 28-31. cat. 1996). colorpls. 3609. 181. p. MM 20. Vol. 1 1. May 17. Palazzo Venezia. Stampe. pl. New York. cat. May 16. 1966). 1755). Vol. 1997. 1985). and appear variously on sheets by Cortona and his circle. no. Villa della Farnesina alia Lungara. was kindly made by Yana Van Dyke. Disegni di Pietroda Cortonae Nazionaledelle Giro Ferridalle collezionidel Gabinetto Exh. exh. Briquet. pp. lot 71.Filed Mazza 1987-98 Miriam Filed Mazza. and brush and brown and gray wash. 6. 1700. Rapporticon il mercato romano. Pinacoteca Vaticana. New York.. Meisterzeichnungen des 16. cat.. exh. Vatican City. Two further versions were on the art market and are known to me only from photographs: One (120 x 170 cm) was sold at Finarte. Marchese dArgens (Lucca. 1620 to c. Tubingen. 4.

Edinburgh 21. color ill. reads as 1976). 441. XIV. ed. Edinburgh under no. Master 1. p. et altro che non so come le potesse ricavare di notte a lume di 219.TheFamous ItalianDrawings in theBerlin Printroom sized the artist's masterly skill: "disegniando da per se et (Milan. vol. In the firstversionof his biography of Cortona. Burlington Magache vi e in Pallestrinafatto dal signor Pietro. 3. 31-32. "Newly 12-15 1997.. p. drawing. See the drawing scenein the Departement Museedu Louvre. 54. 314. Pina..30. and the engraving studyin the Metropolitan under no. 92. pp. pl. figs. Vitzthum1971.29.p. p. vol. 73. also "ASelection of 2001 MuseumAcquisitions. attributed to Cortona and related by Briganti 1982. 3. 192. Liketwootherlandscape drawings al di lui merito. delsigloXVII."Archiviodi Stato. color ill. 15. vol. 332-33. for the painting. mentioned:"Disegnia molto bene di penna [. dovevi era prospettiva di barche. (Bergamo. ng. RomischeForschungender Bibliotheca Hertziana29 (Munich. 370." 29 (1991). National Galleryof arrivato". 86.] avendoveduto il talento incompara19. 3171972. 46. di credo che vi sien che l'habbino and in the ed. Paris.see note 82 below)is eithera late autograph work gio d'artisti. see most recently patrain the Museo del Prado. Luigi pp. Lanfranco pp. 54.Haarlem." 1999 . 46. Sculpture Design in the second version.che non lasciomai di favorirlo. di giorno et di notte. 18. vol. pp. no. italianos Dibujos de 6 Such 27. p. pp.104: Merz 1991. 262-63. figs. p. 17. Departement des Arts Graphiques. 1021. cat. Revue du Louvre 54 (2004).p. 38-39." Walter p. Chiarini1972.61. Library. 2. pp. ngs. "Drawings by Pietro Paolo Master Baldini. no. Edinburgh1999 ." in Lettere artistiche ed. 128-29.landscapepainting. 37. 2. See E. 1. The drawing of Christ and the Woman of Samaria in the sullapittura. 10.. 25. 1956-57). See. I acceptedonly twoof the three as earlydrawings by Cortonaand suggestedthat the per una certa curiosita. Madrid. 71-74. The reference in Ferri'sletter of January 27. vol. BritishMuseum. no.vol.1979). Briganti 1982. lot 116.IV. 11759 F. Pierpont MorganLibrary. colorpl. 56. 54. fig.1. 1. Vitzthum. and of 1973. 81.I. For the life drawingin the Uffizi. imaginum fama aliquaingenii& eruditionis illustrium see Roma Firenze novembre DiscovRice. See also Hugh Brigstocke. lanternache haveva seco con tanto particular come fece. 128. under no. 1662. 53-54. 311. "Marcello fig. color ill. no. 644) . ered Landscape Frommeland SebastianSchiitze (Milan. ill. 114. ill. 342-45.XV. 1648).the viewof the RipaGrandeis ford and Aidan Weston Lewis. 39-40. 88. esp. 31.2001). 214 (see note 6. 93. Edinburgh. 1. see Merz and Chiarini Greuter. See the referencesin Merz1991. 49-51. Merz 1991. MarcelloSacchetti'shobby. exh. pp. no. 32. esp. Marucchi and ed. 9. 1983). See Briganti 1982.1959-5-9-1: Turner1999. 1. Anna MariaPetrioliTofanisuggestedan attributionto Catalogo dibujos (Madrid. esP-P. by Pietroda Cortona. 37. 45. 18.Vienna (885). 107. (Rome. 82. to Anton DomenicoGabbiani. cat. 28. vol. pp. p. p. 1973. agli Uffizi(Rome. 188-89 n. pp. p. 25-35. 13. 51. colorpl."Giulio 35. Museum. 2 (1963). fig. (December2001). fig.4. Subsequently. 45-46. 218. Florence. "Pietro cotheca Tertia virorum sis Print. 78. fig. 510: Jorg MartinMerz. LouiseRice.Edinburgh. Kupferstichkabinett. 642. Paris.1998. FrancoBorsi.). Briganti1982. In fact. 3. no. above).pp.D. p.62. The relationship 38.r Pietro (con occasione principalmentedi un disto Baldini by Ursula FischerPace. pp. color ill. 1991. to the homonymous bile del Sig. . colorpls. 1976). inedite.. p. 23. una vedutadi Ripagrande egnio suo di penna dove era ritratta di notte. 54. Vitzthum. pp. pp. London. pp. 41-44. 3-29. attributed by Chiarini see Edinburgh 1999. 88. 46-47.H> 47"49. p. 39. p. pp. FiletiMazza1987-98.F. Briganti 1982. or is by Cortona's school (Merz1991.alias Gian Vittorio de' Rossi. p. Architektur derNeuzeit. p. 65-68. fol. 31.1998). Chicago. is reportedin da Cortonaand the RomanBaroqueTheJanus Nicius Erythraeus. . Chiarini1973. Glasgow. 2.KdZ15244: comparable landscapedrawing by Bonzi. figs. Drawings fromtheDavid exh. 2 Salerno. 45. quel gli mando zine122 (1980). among others." p. Andrews becameconvincedthatall three fig. no. no. al Quirinale a SanSilvestro Ravelli. 1. 1. vol. to the studioof Cortonaby Andrews(1968. 561. MenaMarques. Berlin. 181. esp. traditionally vols. Sold at Christie's. is a copy of 841 P. 54. 110-16. p. . 1999. p.NationalGallery of Scotland. 109. vol. figs. 287. 277. fig. color ill. egno fatto con la penna. 92. I wouldliketo thankMarjorie Shelley derFortuna in Palestrina unddie 14. 61-73. . 1. 1998). pp. pp. esp. Romaanticae i disegnidi architettura desArtsGraphiques. 1.DasHeiligtum Chiarini1973. no. Solomon and the Queen of Sheba (Teylers Museum. 17.^ British Art Vitzthum1971. pp.Polidoro 24. fig. figs. frescoin the chapel.movenzedi huomini 34. Andrews1968. Pietroda CortonaLandscape for Edinburgh. ed. 75.XII-XIII.University 1991.July 6. p.1. ManuelaB.Turner1999. color ill. 10671."Apollo154 for pointingthisout to me.] Etviddiun disScotland. color ill.see OldMaster 20. e venuto ad un termine che in questo D 5327: Effigies & Ecstasies: Roman 81. pp. ChristophLuitpold (Cologne. 60. "Pietro da Cortona.wasattributed Sacchetti [. it enteredthe museumas by Locatelli and wasattributed a Ciro Ferri (24 marzo 1679). were by Cortonahimself. che rappresental'incendio di Troia Drawings tesoroin vero e maraviglia mentionedbelowin notes 37 dell'arte)resto talmenteaffezionato 36.). no. See also Davis1986. 54. 297-98.Edinburgh(Edinburgh. the compositional drawing Polidoro'slandscapesin general was pointed out by Chiarini Museum. An albumwith twentydrawings by Cortonais in the Hunterian shelf mark D see Institute of Merz Collection. Museodel Prado.Musee du Louvre.Considerazioni GraphischeSammlungAlbertina. rifinendoparticularmente di penna le cose naturaliet artificiali 33. 315. 25.1941-11-8-16: 17."in Pietroda Cortona: Atti del convegno internazionale. p. LaingBequest. Rome 1997. p.reviewof Briganti (1962) 1982. of Cortona's to 1987). no. TimothyClifgenere disegnio pochi Baroque AgeofBernini. color ill. underno. "A 22. Giovanni Antonio Dosio: 12. 16.5°' is a New York. 46. Drawings no. GiuseppeCampori(Modena. 287. 112. p. The D 1906: and Abigail(NationalGalleryof Scotland. 507. framesappearless prominently in the relieflikescenes of David Cortona's teacherAndreaCommodi(note on the mount). 34. 53: see Meijer1984. TheSuicide of Cleopp. 505-15.of a feigned reliefwithan unidentifiedclassical 25. 189-200. 93. figs. by 150 ." follows:"Vie un paesino con dentro il tempio della Fortuna. 26. no.Merz 1991*ng.41.97)p. Adrianna Mancini. 58. see Filed Mazza1987-98. 91. 29. 13.Uffizi939 P. under no. under no. Cartegthird(D 1836.vol. 266-72.1866). p.173: New York 1967. (Edinburgh.ManciniemphaPeter Dreyer." "Luca Berettini and 82."Pierrede Cortone (1597-1669): Les dessins preparatoiresa ses peintures conservees en France.Jorg MartinMerz.2. 79.

141.17. si che Vostra Altezza li gradira comme fatti da uno che patisce [patiscie] di podagra e di ciragra. no. Jacob. Florence. 2000). 20.3. 1627-1691. Florence. 48. 52. 6. p. I wouldlike to thankNicholasTurner. Naumann. (Oxford. London (London.The drawing. 92. Die italienischen der Kunstbibliothek Berlin: Architektur undDekoraHandzeichnungen tion16. 42.and broughtto his attentionbyWalter the mountof the sheet. 66.On tonesque. Sacchetti Archives. 451. cat. 82.Julien Stockkindlyprovidedme with snapshotsof these paintare unknown. no. Ibid. 81... See Salerno. pt. Rome.Hdz 879. 2. colorpl. p. vol." Archiviodi Stato. 58-59. l'uno con essere domestico e l'altro piu selvatico [salvatico]. 33. Carteggio d'artisti. Minori XII. doc. Painters in Rome. RoyalAcademy of Arts. 65. Janlot color ill.Otto StephenOngpin.The attribution to Cortona wasproposedby Stock and Nicholas Turner communications. 1. lot 67 (attributedto Bartholomeus Breenbergh). A. 3..III. no. 56-57. see Fileti Mazza 1987-98^01. pp. ofPeter JaySharp. see Merz 1991. fig. p. 1.Amster57. p. pl. 40. cat. 54. fol.AnExhibition ofMaster Drawings.the draw55. Boisclair. vol. and also my cataloguePietro da Vart. 1. p. p. Merz1991. nel impiegarminel farli i paesi di aquarella. vol. quad.VI. 124-65. 68). MentionedbyAndrews 1968. Florence. p. p. 2. 18. Italian l51 . III.K. suggestedthat these drawingsmight referto the correspondence in 1666. vol. no. pp. at auctionby GalerieFischer. 2.. fol. ill. 54. 1971)." Archivio di Stato.see Merz 1991."UnproIIBuonarroti.se bene non corisponderanoalia aspettativa. I maestridel colore 41.datedApril 12. 6 stimato grandissimo favore il potere incontrare il gusto de V. ill. NewYork.from the Scholz 43. 46.University of Birmand the and Museums Art ingham. vol. 166. 1. figs. soplisce la buona volonta [che ho de servire Vostra Signoria]. 1992. 2. VIII. 46-47. pp. 12. under no. 97. pp. 22. The River with Washerwomen 67. che Vostra Serenissima Altezza 64. vol. on the basisof a photograph from the Gernsheim Corpus Photographicum of Drawings. p. no. partially tranderSelbstbildnisse scribed in WolframPrinz."Bollettino d'arte 45 Sabine "Pierre de Cortone et la (i960). 47. to my attentionand relatedthat.and Colnaghi. cat.December16. beforeit waspurchased see European Master by the BritishMuseum. p. Die Sammlung in den Uffizien. Drawings fromtheCollection exh. underD 1837. 48. pl.1994). esp." see note 33 above. color ill. 58. FilippoBaldinucci. 189. 186. 1998. Geschichte der Sammlung. no. centuryItaliandrawings. vol. 1996. 1975. Christ Church. 47. 44. who broughtthis drawing 40. and in FiletiMazza1987-98^01. P-37163.1985). 18. p. cat. pl. p. p. German Drawingsat Windsor Castleand a Supplement to the Catalogues of theItalian andFrench (London. 1. color ill.See NewYork1967. 16. 2. 51. 68. p.. vol. Birmingham Gallery. and Turner 1999. no. vol.3. p. 614. 1971).. For this aspectof the frescoesat CastelFusano. 47.1975). 86 (as Ferri). Edmund Schilling and Anthony Blunt.wassold from a privatecollectionin Switzerland. 68) . 70. respectively.508. to Cortona 53.1986).ed. 60. referring to the manuscript of my doctoraldissertation(Eberhard-KarlsUniversitat Tubingen." ser. deiprofessori deldisegno da Cimabue in 49. Briganti1982. 1998).Jahrhundert (Berlin. (oral Julien 1983). Davis1986. 39.III. pl. v°l. vol. New York. Kunstbibliothek. Santa for Maria della Pace (RL 445 1) wasmostrecentlypubing lished in Rome 1997. 20. 42-54. fig. 2005). fa pensarea CiroFerri. transcribedwith the variationsindicated in square brackets in Fileti Mazza 1987-98. of England:TheRegional exh. 1976). pl. FiletiMazza1987-98. 1974-75). 1677. 269. For the drawingof SaintMartina. 3-12. Unpublished. no. uary14. 347. pp.Drawings byOld Masters at Christ Church.Florence(Livorno. color ill.. Another single landscape drawingby Cortona is mentioned in the will of Jacob Alban Gibbes. 26. (Florence. 59. exh. 42 (as Mehus). Merz 1991. Palazzo Galleria Palatina. 68. p. Carteggio d'artisti. p." Revue de no. Lucerne. 1. The Wooded River with Fishermen Landscape (Figure19) is ownedjointlyby the Trustees of the BarberInstituteof FineArts.see exh. 11 (1971). no. Phillips. reprint. Coll. See Francesco Abbate. ed. fessorealiaSapienza. 251. 67.whosepresentwhereabouts 45. "Hosentitocontentoparticolare abbigraditoi disegnide' paesi de aquerella. 5' P-3O2'Marie-Nicole Gaspard Dughet: Sa vie et son oeuvre (1615-1675) (Paris. 102 (as Cortona). 3. and 268 and 270. 119. 98. 469.1-2.Italienische Institut in Florenz (FlorForschungen.as CorVitzthum. 4. Later the drawingwas with Colnaghi. "Sebene la podagra mi rende quasi inabile quasi la meta del tempo. pp. and with this attribution it wassold at Sotheby's. Mentionedby Turner(1999. pp. color ill. Kunsthistorisches ence. collection. 106. 82. ill. pp. June lot 4007. Cortona undseinKreis: DieZeichnungen in Dusseldorf (forthcoming. 1. see Norbert Wibiral. Forinstance. 94. Sold at auction at Kunstveilingen dam.see most recentlyArt Treasures Collections. 82. 2.Haarlem. 20. no.36.1975.che dove manca le forze.vol. NewYork(NewYork. Ibid. the painting has not been identified. Carteggiod'artisti.8 (1886). 1. vol. p. pp. 60-61. 266 and 269.NewYork. MarcoChiarini. 349.London. 237-39. 127-28. vol. p. 471. figs. Chiarini 1973.threedrawings 1999. see SabineJacob. 1845-57. lot 43. pl. 188 n. bis18. Munichand Berlin. 297.. For this commission.. 246. 80. 169. Drawings NewYork. 303. (Milan. 61. 1. 343. underno. 0973. Palazzo Sacchetti. no. 50. PierpontMorganLibrary. ings. p.1965).2' pls. NationalAcademyof Design.ca.237~39' and two drawings in Ottawa: see David Franklin. 50. 169. 371. cat.vol. 62. 371. see Antonio Bertolotti. 645. Makvan WaayB. Pitti.ed. fig. fol. ill. 7 vols.Landscape of theSeventeenth Century vol. PatrickMichel kindly helped me obtain a photograph of the drawing. 108." Archiviodi Stato. (as Mehus). Pietroda Cortona. 42. housedwiththe anonymous eighteenthis PhilipPouncey'snote: "Cortonesco. 56. Livio Mehus: Unpittore barocco alia corte medicea. no. 163-64. p. in the BritishMuseum:see Turner 70. pp. p. John Gere was the first to suggest the attributionto Cortona. vol. F. p. 1. see James ByamShaw.V. London (New Yorkand London. 69. cat.June 10. nos. Turner1999. 1997). 23. TeylersMuseum. Ranalli. decorationde la galeried'Alexandre VII au Quirinal. 46. "Non ho voluto trascurare e [a] mandare i paesi a Vostra Altezza Serenissima [SerenissimaAltezza] fatti de aquarello [acuarello]. vol. 3. "Contributialle ricerche sul cortonismo in Roma: I pittori della galleria di AlessandroVII nel Palazzodel Quirinale.Notizie qua. 68.The attribution wasfirstsuggestedbyTurner( 1999. Oxford no. no. Landscape (Figure18) wasbrieflyin the collectionof PeterSharp.

1992). p. Drawings salesat Sotheby's. 30. pls. The inscription "quigiasi troviamo ad una vedutadi Paese disegnataper passatempo da CiroFerri 82.and a thirdis illustrated 73. fentlichungen to Cor76. York.and Sotheby's. Q. For Cortona's da Cortona undseinKreis. pp. see WalterVitzthum. On the versois a scene of pagansacrifice. cataloguePietro *52 . 2. 58. fig. 76-77. 1998. 51 (see note 16.see see BruceDavis. Meijer1984. 123. fig. 74-77. For the Farnesinadrawing(Figure 23). 293.the drawingof a falcon hunt. p. Hotel Drouot.36.FC 125159: 85. Brigand 1982.p.1928). see Davis 1986.is unfortunatelynot raised in the basic publicathese artists of Giannatiempo [review egni di Pietroda Cortonae CiroFerri" tion by GenevieveWarwick. Christie's. no. This unpublisheddrawing is knownto me only from Courtauld byJ. 302-3. ConradMartinMetz. (Milan. 1. January reviewof Lesdessins italiens de la reineChristine deSuede. lot 110. The issue of Rome. 80. collaboration with Ferri. Departmentof Drawings in TheMetropolitan Museum and Prints.A copy pp. p. ill. cat. Figure28).and most recently Drawings. 2498 (22 x 33. for Drawings Europe landscapeto Grimaldi 86. Kunstmuseum . frequentmisattributions 1977. ed. 1979). esp. ill. Somerville 8cSimpson. Frommel and Schiitze. fig. pp. 179. 57-58. 1. 92.9 x 25. GabinettoDisegni e Stampe degli Uffizi."In pp. 77. 37. drawing. no. it wasnot included in the 4 (1966). 1993. June 2. 139. esp. Sammlung 87. photocopyin the Ferrifile. 64. 179-88. NewYork. Verof. Davis1986. pointedout by Meijer1984. ill. p. iyth Century 24. ill. 92.in spite of his familiarity Resta's with see Giannatiempo "DisTurner. (as Ferri). 1. see YvonneTan Bunzl. vol.90. p.p. 1. tona nella raccoltadi padre SebastianoResta. 94 (as Cortona). tianoRestaand theMarket in EarlyModern the attribution of the is suggested. See notes 36. 643. 71. ma.London (London. 71. 26.Drawings fromtheNationalGallery 79. 82. 466 (asFerri). 177. fig.May19 andJuly4. 93-94. (as Ferri).TheArtsof Collecting: PadreSebasno. 2.Nicholas . Drawings of Art (NewYork. Die tona). pp. van RegterenAltena.4 cm. 72 (as of Resta's Piccolo to CorFerri)."Idisegnidi Pietroda Corter in theLosAngeles Museum Drawings County ofArt(LosAngeles.. pp. 87. for instance. 78. ForLucatelli. SimonettaProsperi ValentiRodino. Rudolf London. 68-69. pp. 1977. and of Erminia and the Shepherds. 132. 89. OldMaster Ferri). reads: uscitidall'ANFiTEATRO the collectionof the RightHon.vol. n. of Canada(Ottawa. 265-70." The inconsistency was above. ill. Meijer 1984. ill. For the Haarlem drawing (Figure 22). see was in the collection of Robert Manning. see Jacob Bean. Davis 1986. fig. Prospettiva. pp. 87). IstitutoNazionaleper la Grafica(Farnesina). New York (36. For the one in the Italian Metropolitan(Figure24). fig. no. tona and his pupilsis more than doubtful. London.Imitations and Modern p.27>color ill. .2003). See Vitzthum. and myforthcoming videdby Hugo Chapman. 58 January30. Drawings. ill. p.and the ascription of (as Ferri). 81. Veronika Birkeandjanine Kertesz. Florence. The photographillustrated in Figure29 waskindlypro. vol. attribution of this group to Ferri. 76. no.withfiguresby Ferri) drawing. above). da Cortona undseinKreis. in a privatecol2000). pl. not numbered. an impressionis in the Graphische KA(FP)453. whowasthe firstto doubtthe 83. Passeri's copyis mentionedbyTurner( 1999. lot 24. p. (attributed Haarlem New lot color ill.Diisseldorf(formerly. May 19. 87 (the London 88. London.Master Institutephotograph154/17 (41A). in the Museum 74. 1977. 123. two are publishedby Chiarini1972. figs. of Briganti(1962) 1982 in Master review Albertina. tona. no. p.. vol. 305-6. ill. 608." in Pietro da Cor1997). Sold at Sotheby's. 1798). see Rome 1997.see my forthcomingcat77.ble LordSt. under alogue Pietro no. ill. no. Forexample. Bartolozzi: lection." 72. 842-45 P. 95. lot 20.April 14. . Sold at Sotheby's. pp. 63. (as Cor75. vol.the attribution preliminare by Davis1986. vol. 213-14. 40-41. where 1977]. aliaVignadi sua Mogliedettaal Truglio. pp. (the tona).Paris. Diisseldorf) Catalogue estampes biographique no. pp.Francesco des et notice KunstPalast. 224. p. pp. (as italienischen Zeichnungen derAlbertina: Generalverzeichnis.2 x Giannatiempo 1977. 1987). ofAncient Drawings (London. 1986. Andrews1968.5 cm. no. 301-4. See. (as Cortona.HB XV/ 1. 126. 2000. lot 137. 80. Turner1999. Alessandrode Vesme and Augusto Calabi. 206. inscribed. 17 (1979). 85 (as Ferri). Figure 27). 2.5 cm). Helens. 11 (as exh. 72.Masdrawings 84. derAlbertina Cortona) 33 (Vienna. p. For the whole group. (Cambridge. 81. figs.the Metropolitan Museum). 87 architectural in a volume in Palermois incorrect. pp. Vienna.

See pp.7 x 48. with pen and brown ink. 2003 (2003. 127-52 11 .101). 36. 2002 Benefit Fund.9 cm.Plate 5. 1597-1669). Landscape withWineHarvest. over black chalk. 1630.ca. Pietro da Cortona (Italian. Brush and graywash. The MetropolitanMuseum of Art. Purchase.