The Chalk Drawings of Ludovico Carracci

Author(s): Babette Bohn

Source: Master Drawings, Vol. 22, No. 4 (Winter, 1984), pp. 405-488
Published by: Master Drawings Association
Stable URL: http://www.jstor.org/stable/1553733
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THE CHALK DRAWINGS OF

LUDOVICO CARRACCI

Babette Bohn

Ludovico Carracciis generallyconsideredthe manneristof the Carracci

family. Althoughhe collaboratedwith AnnibaleandAgostinoin foundingthe
CarracciAcademy, both his activityas a teacherand his commitmentto life
drawinghave been disparagedor ignoredby every writer except Malvasia,
whose reliabilityis usuallydiscountedforits Bolognesecampanilismo.
Particu-
larly since Bodmer's work on the Carracci in the I930's, writers have con-
trasted Ludovico the mannerist with Annibale the classicist, a distinction that
has been applied with particularemphasis to the drawings.2 Annibale's char-
acteristic drawings are vibrant figure studies in black or red chalk, drawn from
life and made in preparationfor paintings. Modem scholarship has contrasted
Annibale's preference for chalk with Ludovico's predilection for pen and ink.
For Ludovico, the calligraphicpotential of the pen promoted a linear elegance
and expressiveness that ultimately superseded its functional role in pictorial
design. Most of Ludovico's drawings are thought to be polished virtuoso
performances, more like finished works of art than working drawings. In his
compositional drawings like the Martyrdomof St. Ursula (Fig. I),3 lavishly
pictorial in the use of colored paper, washes, and white heightening, Ludovico
seems to have abandoned the verisimilitude of the life study and the rough
spontaneity of the working drawing for the sake of ornamental arabesquesand
color.
The visual evidence of such "mannerist" compositional drawings as the
St. Ursula supports this notion, and all previous comprehensive studies of
Ludovico's draughtsmanship have suggested the proliferation of such draw-
ings throughout his career, arguing that he increasingly abandoned life studies
and preparatory designs for his paintings. A succession of recent discoveries,

[ 405 ]
 % ilp_h:(?Li?
"`???Y
i t 'LC-.. *
-?? ;a-?_I?
? ??
c?
j I
?r. ??1 ..u.r r
Y. i

C; ,-C?:
-r
8,ul r
_?L?
r"-"' : _ "-

Fig. 1 LUDOVICO CARRACCI.

Martyrdom of St. Ursula.

_
'!~t
^JMll^SPJ^^^f^BWindsor Castle, Royal Library(Reproduced
bygraciouspermis-
sionofH.M. theQueen).

however, indicate that all these "mannerist" compositions date from his late
period. Denis Mahon was the first to suggest that the Windsor Martyrdomof St.
Ursulawas not, as Wittkower thought, one of Ludovico's earliestextant draw-
ings, but was rather a preparatory study for a late painting of I6I5.4 This
drawing exemplifies Ludovico's ultimamanierawith its colorism, its compres-
sion of the figures into a narrow foreground space, its elongated bodies buried
underneath complex draperies, and its florid pen work. I have been able to
identify forty-one preparatory designs for paintings from Ludovico's last
fifteen years, demonstrating that he never abandoned the preparation of his
pictures to the extent that has been thought.5 If we examine the first twenty-
five years of Ludovico's graphic production, now considerably depleted by the
re-dating of these late compositional studies, it also appears that a group of
chalk drawings, predominantly figure studies from life, should be attributedto
Ludovico in lieu of their former associations with Annibale, Correggio, and
others.
Ludovico was evidently much more active as a draughtsman in chalk and
much more committed to the use of life studies than we have supposed. His
extant graphic ceuvre,numbering approximately 450 sheets, includes about Ioo
works in chalk. One of Ludovico's earliest known chalk drawings is a pre-

[406 ]
 Fig. 2 LUDOVICO CARRACCI.
The Vision of St. Francis.
Amsterdam,Rijksmuseum.

paratory sketch for his painting The Visionof St. Francisin the Rijksmuseum
(Checklist No. I, P1. I and Fig. 2). This drawing, presently attributed to
Annibale at the British Museum, appears to be Ludovico's first idea for the
Rijksmuseum painting and employs the saccharine facial types, rubbery fin-
gers, and angular draperies characteristicof Ludovico's style during the mid-
58o's. The loose handling of the chalk and uncertain command of form are
consistent with Ludovico's other early chalk drawings, like the study at Wind-
sor for a terminus figure in the Aeneas frieze of the Palazzo Fava of ca. 1586
(Fig. 3).6
The faulty anatomy and loose handling of the Windsor drawing also
characterizeanother contemporaneous study for a painting. A red chalk sketch
of the head and shoulders of a young boy, presently ascribedto Annibale at the
Uffizi (Checklist, No. 2, P1. 2), is a study by Ludovico for the figure of Isaacin
his painting The Sacrificeof Isaac(Fig. 4) of ca. I586-87.7 The Uffizi drawing is
ostensibly the type of life study intended to perfect the detailed verisimilitude
of an individual figure, but, with its delight in tactile effects and disregard for
anatomical accuracyin the chest and right shoulder, it exemplifies the tendency
of form to supersede function in Ludovico's preparatory drawings.8 For Lu-
dovico, this work was above all a means of developing the Correggesque

[407 ]
 4_I'~^ -- Fig. 3 LUDOVICO CARRACCI.

TerminusFigure.
,t9~
--'- 'Windsor
&B
?^ Castle, Royal Library(Reproduced
bygraciouspermis-
sion ofH.M. the Queen).

sensuality and active play of light and dark that were, for him, the most
interesting aspects of the figure.
The Uffizi drawing, like the British Museum sketch, illustrates Ludo-
vico's assimilation during the I 58's of the sweetness and sensuality of Correg-
gesque figure style.9 This quality is especially evident in a drawing at Windsor
of two heads, a study for Ludovico's MadonnaandChildwith St. Pellegrino(Fig.
5).10 These dreamy visages, softly modeled in red chalk, the favorite medium
of Correggio,11 are so reminiscent of that master that the drawing was once
attributed to him. The Windsor sheet shows how Ludovico adopted the tech-
nique and surface quality of Correggio, whose chalk style was the most in-
fluential model for the early chalk drawings of both Ludovico and Annibale.12
Correggio's preparatorydrawings for paintings were typically roughed out in
sanguine and then defined more clearly by liberal applications of white height-
ening. 13Ludovico, too, used red chalk in combination with white heightening
during the I58o's and early I590's, especially during his painterly period
around 1592, but, unlike Correggio, who invariably drew on white paper,14
Ludovico frequently used red chalk on gray-green sheets. Thus, although

[408 ]
Fig. 4 L U D O V I C O C A R R A C CI. The Sacrificeof Isaac. Rome, Vatican.

attracted to the active surface quality of Correggio's drawings, Ludovico was

never committed to the monochromatic integrity of his model.
Most of Ludovico's chalk drawings from the later i 8o's are figure studies
in black or red chalk, often highlighted with white. Ludovico's drawing of St.
Dominic in the Bologna Pinacoteca (Fig. 6) is a preparatorystudy for the figure
of that saint in the BargelliniMadonna of I588 (Fig. 7).15 In its use of loose
shading that allows the coarse texture of the paper to show through and in its
employment of scattered areasof deep shadow across the draperies, this draw-
ing is similar to a contemporary study of a monk in Munich (Checklist, No. 3,
P1. 3). The stiff pose and awkward anatomy of the monk also recalla study of a
boy on a ladder in the British Museum (Checklist, No. 4) that illustrates the
closeness of Ludovico's figure style to Annibale's during this period. Another

[409 ]
 I-c? - .-. ? ? . '
i
???. ? :-z
.-e,
? .:, .:-??
* r? .. _,:'L?ru?
?, 't3e i ??r
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c...?
r
.1 r,, ?:'"
:I .. *. ..
'' -
; . n
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r ;T- ?;
J.?_: C'Ls
''

Fig. 5 LUDOVICO CARRACCI.

'
WindsorCastle, Royal Library(Reproduced
bygraciouspermis-
sion of H.M. the Queen).

'-4
?.":
'?~i ' !i

Bologna, Pinacotecanazionale.

drawing that exhibits the minor anatomical errors and corrected contours of
Ludovico's first manner is a study in theJohn Winter collection for Ludovico's
engraving of the Holy Family underan Arch (Fig. 8) .16 The Madonna's draperies
in the Winter drawing form a prominent, multi-faceted mass that truncatesthe
convincing representation of her body. This tendency of drapery to interfere
with the depiction of the body also characterizes a drawing of two figures in the
Codice Resta (Checklist, No. 5, Pl. 4). The body of the prone youth in this
drawing appears truncated under the copious folds, a mass of flattened geo-
metrical planes reminiscent of the stylized garments in the Bargellini Madonna.
Padre Resta attributed this drawing to Annibale, but its style clearly suggests
an attribution to Ludovico. Moreover, it is a study for a lost painting ofJael and
Sisera, which is known to us through a studio copy (see Checklist, No. 5).

[ 410 ]
 Fig. 7 LUDOVICO CARRACCI. I
BargelliniMadonna.
Bologna, Pinacotecanazionale.

IfLudovico was still struggling during the i58o's with the technical rudi-
ments of his art, in the early i59o's he graduated to a new mastery. This
development may be seen above all in three chalk figure studies of I590-92.
The earliest is a study for the Flagellationin the Museum of Douai (P1. 5).17
Ludovico handled the chalk in this drawing with unprecedented control and
restraint, particularly exemplified by the regularity of the shading, a feature
that became characteristicof his chalk manner in I592. Here, however, the
graphic control is not accompanied by a corresponding command of anatomy,
as evidenced by the awkward position of the right arm and shoulder, the

[411 ]
B. BOHN

Fig. 8 LUDOVICO CARRACCI. .

MadonnaandChild.
London,John WinterCollection.

repeated rendition of the left leg, and the frequent corrections of contours. An
autograph study for the figure of a serving girl in his lost Birth of St. John the
Baptistof ca. 159I (Checklist, No. 6, P1.6) has the same corrected contours and
illustrates a growing capacity to depict figures in more complicated poses.
Ludovico's evolving facility with the figure during the early 1590's was
founded on his extensive practice of drawing from life and his conscientious
use of detailed preparatorystudies for his paintings, both aspects of his work-
ing procedure that were at their height during these years. This practice is
evident in Ludovico's preparatory studies for the Martyrdomof St. Ursula of
1592 (Checklist, Nos. 7 and 8, P1. 7 and Fig. 9) and above all in his preliminary
designs for another work of 1592, an oval canvas of Ops (Fig. Io). Ops is one of
four oval pictures painted by the three Carraccifor a ceiling in the Palazzo dei
Diamanti, Ferrara.A black chalk drawing in the Ashmolean (Checklist, No. 9,
P1. 8) appears to be Ludovico's primopensierofor the painting. This drawing
depicts a nude woman in the clouds, within an oval frame whose contours are
visible in the four comers. Here, Ludovico oriented the figure along the main
axis of the oval, presumably before the three artists decided to design all four
canvases with the figures on the short axes. At this early point in his creative
deliberations, Ludovico was more concerned with finding the pose that would
best express the subject than with naturalisticappearance.In a later preliminary
study (Checklist, No. io, P1.9), he went on to study the pose of his figure from
life. The figure in the Ashmolean sketch leans back and strains her neck and
head forward, molding her body into the form of an arc that is continued in her
extended right arm and in the unnaturally concave contour of her left upper
leg. This posture is an awkward one, but the compression of the figure into an
arched form produces a sense of fluid cohesion with the ambience of flowing
draperiesand gently modulated clouds. Once we understandthat this is a study
for Ops, the earth goddess, Ludovico's use of ovoid form in the drawing serves

[412 ]
 Fig. 9 LUDOVICO CARRACCI.
The Martyrdomof St. Ursula.
Bologna, Pinacotecanazionale. I,

as a visual metaphor for the femininity and fecundity that are her appropriate
attributes.18
A group of studies for three securely dated pictures of 159219reveals for
the first time Ludovico's full technical mastery of chalk. This is demonstrated
above all in a magnificent compositional study at Windsor for the Preachingof
the Baptist(Fig. I I).20 Ludovico's use of chalk as the primary medium for this
drawing, his earliest lavishly colored compositional design for a painting,
reflects a new sense of confidence in his ability as a draughtsman, a confidence
that is justified by the work's impressive mastery of complex spatial arrange-
ments, flickering light, and complicated poses. A rhythmical regularity in

[413 ]
Fig. 10 LUDOVICO CARRACCI. Ops. Modena, GalleriaEstense.

shading that produces a wide range of tonality is particularly noticeable in a

drawing in the Uffizi for four figures in the Supperof St. Peterin the House of
Simon Coriarius(P1. Io)21 and in the study of a nude boy sleeping in the Ash-
molean Museum, Oxford (P1. I).22 The control and subtlety of Ludovico's
shading in these works creates a new sense of three-dimensionality and a
heightened dramatic effect, achieved through the interplay of light and dark.
Ludovico's improved technical means include a firm understanding of anat-
omy and foreshortening, which made it possible for him to produce complex
figure studies like the Ops in Besancon and the severely foreshortened, reclin-
ing nude in Denys Sutton's collection in London.23
The refinement of his technique also enabled Ludovico to express in chalk
the painterly, soft focus that is the hallmark of this stage of his development.
He achieved this effect in oils of the period, such as the Preachingof the Baptist,

[ 414 ]
 t i :~~~~~
:
-~~~~~-~~1? ~DRAWINGS OF
CARACCI

~~~~~~~~~~~~i~~~~~~~~~??
i~L
~.~?

broken eig ...In his chalk drawings, the ne Fig. 11 LUDOVICO CARRACCI.
characte_ize
twochalksdiesfortThe
s Preachingof St.Johnthe Baptist.
drawingoafuWindsor Castle, RoyalLibrary(reproduced
bygraciouspermis-
_ L L ~~~~~~~~~~~~~~sion
ofH.M. the Queen).

drawing of a faun at Windsor, presently attributed to Annibale (Checklist, No.

I Ih, Pa. 2), possesses this same quality. There, the synthesrisof theactive platey
of
light and shadow with the casual repetition ofreworked contouresresults in a
dissolution of solid form that renders physical being ephemeral and heightens
the figure's wistful sadness. This combination of painterly effect and poignant
expression also characterizestwo more evenly finished life studies at Lille and
Chatsworth(Checklist,Nos. c 2 and I3, Pls. 13 and 14) that are also in red
chalk, a favorite medium during Ludovico's Correggesque period of the later
5S8o's
I58o's and early
and early 159o's. They belong
I50o's. They to a
belong to a group of figure
group of studies from
figure studies from around
around

[415 ]
B. BOHN _

Fig. 12 LUDOVICO CARRACCI.

St. Francis.
Rome, CapitolineMuseum. i

1592 that are not connected with paintings or prints. These drawings, sketched
from life in black or red chalk, all tackle a problem in foreshortening or a
complex pose, with the figure almost invariably at rest. In the study of a young
man at Lille, the model is seated in a static pose enlivened only by the right arm
that cuts diagonally across his body. The drawings of a nude boy in the Ash-
molean and of a youth in Denys Sutton's collection both confront the problem
of foreshortening a reclining figure. Even the slightly earlierBoy on a Ladderin
the British Museum (Checklist, No. 4) halts his ascent and turns awkwardly to
strike a rigid, frontal pose. The immobility of the figures in these chalk draw-
ings is consistent with a characteristicfeature of Ludovico's paintings, namely
his greater capability in quiet scenes ratherthan in depictions of violent action.
Even when a subject required movement, as in the Flagellationat Douai of
about 590, the actors generally retainedthe stilted, frozen quality of the chalk
studies.
After they produced a series of impressive works between 1585 and 1592
for private palaces and churches in Bologna, the Carracciwere established as
the premier artists of the city, a position that reverted to Ludovico when
Annibale and Agostino departed for Rome in 1595 and 1597 respectively. For
Ludovico, this new status resulted in a series of important commissions for
major altarpieces and a number of smaller commissions between 1593 and

[416 ]
 DRAWINGS OF
CARACCI

Z
f ,, Fig. 13 LUDOVICO CARRACCI.
The Fallof Phaethon.
Bologna, Istitutoper la storiadi Bologna.

I600. Five figure drawings in chalk can be associatedwith these works. Two of
these, a sanguine drawing for his Penitenceof St. Peterofca. 1593 and a study for
the angel in St. Roch of about 1595, have been published in recent years.25 A
sketch in the Ashmolean that has been connected with a fresco of 1593-94
might better be associated with Ludovico's Herculesfresco of 1594 in the Vic-
toria and Albert Museum.26 An unpublished sheet in the Louvre (Checklist,
No. 14, P1. I5) was discovered among the Correggio School drawings by
Street, who recognized it as a study by Ludovico for a painting in the Capi-
toline Museum (Fig. I2). Finally, a black chalk drawing of a falling youth in the
Victoria and Albert Museum (Checklist, No. I5, P1. 17) is a preparatorystudy
for Ludovico's fresco of the Fall of Phaethon.These five drawings are charac-
terized above all by a commitment to emphatically three-dimensional form,
outlined in clear, strong contours and modeled extensively by a system of
meticulous hatching. This technique, reminiscent of works by Agostino,27
was an effective means of depicting the bulging musculature of Hercules and
Phaethon, and also createdthe subtle Correggesque sfumatoof the three Louvre

[417 ]
B. BOHN drawings. It is a singular aspect of Ludovico's graphic manner at this time that,
just when his technique imparted its maximum of volume and mass to the
figures, the same stylistic qualities contributed to the dissolution of form be-
neath the velvety mantle ofsfumato.
After 600o,Ludovico's use of chalkin preparatorystudies for his paintings
and in drawings of the figure from life began to diminish. He discovered
during these years his affinityfor lavishly washed pen drawings, and his use of
chalk was for the most part relegated to a preliminary role in roughing out
contours before they were given their final definition in ink. There are a few
simple chalk studies for two or three figures from this period; but, for the most
part, particularly after 1604, drawing with chalk was no longer a satisfying
means of expression for Ludovico.28
The paucity of preparatoryfigure studies in chalkis particularlysurprising
for Ludovico's two major fresco cycles after 1600: the paintings in the cloister
of S. Michele in Bosco, of I604-05; and the works in the choir of the Duomo in
Piacenza of 1605-09. Only two figure studies for S. Michele in Bosco have
come to light, both black chalk drawings for St. BenedictExpelling the Devil
WhoHas Made the Stone Immovable(P1. I6).29 They reveal a new tendency in
Ludovico's draughtsmanship towards a linear and hard-edged manner, in
which he abandoned his interest in the nuances of light and dark for a more
detailed definition of form. This new style resembles Annibale's early Roman
manner of 1595-I600, and may reflect Ludovico's assimilation of Annibale's
graphic style during Ludovico's visit to Rome in 1602.30 Only a few well-
known compositional drawings at Windsor and the Louvre and two little-
known studies in the Hermitage31have been related to Ludovico's extensive
undertaking in the Piacenza Duomo. Two chalk studies by Ludovico, as well
as a studio assistant'sfinished compositional design,32 may now also be asso-
ciated with these frescoes. A study of an angel in the British Museum (Check-
list, No. I6, P1. I8) and a drawing of four angels catalogued as Bolognese
School at Windsor Castle (Checklist, No. 17, P1. I9) appearto be preliminary
studies for the frescoes on the choir vaults at Piacenza. Both display the atten-
uated figures, graphic shorthand, and weakening fluidity of line that are char-
acteristic of Ludovico's late style. Apart from four compositional designs for
his Adorationof the ChristChild of ca. 16I6 and the monumental Annunciation
fresco of I618-I9,33 these are Ludovico's latest extant chalk drawings.
The surviving evidence indicates that although Ludovico continued to
rely on drawings for developing his pictorial ideas, his use of chalk for life
studies and preparatory work declined after 1604. A comparison of the few
studies for his Piacenzafrescoes with the enormous body of preparatorymater-
ial by Annibale for the FarneseGallery points up the tremendous discrepancy

[ 418 ]
in the scope of theirrespective studiopracticesafter the periodof theircollabo- DRAWINGS OF
ration in Bologna.34 It is important to emphasize, however, that although CARACCI

Ludovico'srelianceon life drawingsand chalkpreparatorystudiesfor paint-

ings diminished in the last fifteen years of his career, during the first quarter
century of his artisticactivity he made many more such drawings than we have
hitherto supposed. In the light of this new body of chalk drawings, we may
need to modify our characterizationofLudovico Carraccias the mannerist and
Carracci.
retardataire

AUTHOR'S NOTE: This articleis dedicated to the memory of Howard Hibbard, my dissertation
advisor at Columbia University, who provided continual inspiration and support during every
stage of my work.

1. This critical view of Malvasia is expressed by F. Arcangeli in "Sugli inizi dei Carracci,"
Paragone,vn, 1956, no. 79, I7. D. S. Pepper argued for a reassessmentof Malvasia's credibil-
ity, given his extensive use of documents and his personal acquaintance with numerous
Bolognese artists, GuidoReni'sActivityin RomeandBologna,1595-1614, unpublished Ph.D.
dissertation, New York, Columbia University, 1969, pp. 3 ff. For Malvasia's discussion of
Ludovico's activity as a teacher, see FelsinaPittrice.Vitede'pittoribolognesi,Bologna, 1678, ed.
G. P. Zanotti, Bologna, I84I, I, especially pp. 327 and 330.

2. See especially H. Bodmer, "Drawings by the Carracci:An Aesthetic Analysis," Old Master
Drawings, vmi, 1934, pp. 5i ff.; idem, LodovicoCarracci,Burg bei Magdeburg, 1939; R.
Wittkower, The Drawingsof the Carracciin the Collectionof Her Majestythe Queenat Windsor
Castle, London, 1952; and D. Mahon, MostradeiCarracci:Catalogocriticodeidisegni,Bologna,
Pinacoteca Nazionale, I956.

3. The Martyrdomof St. Ursula,in pen and gray ink over black chalk, with gray and yellowish
wash, heightened with white, on paper preparedwith wash, is at Windsor Castle, inv. no.
2326; Wittkower, no I. Wittkower considered this one of Ludovico's earliest extant draw-
ings and connected it with the altarpiece in the Bologna Pinacoteca, which he dated ca.
I584-88.

4. Mahon suggested that the drawing was a study for a lost painting of this subject, commis-
sioned from Ludovico by Margherita Gonzaga for the church of St. Ursula in Mantua,
"Afterthoughts on the Carracciexhibition," GazettedesBeaux-Arts,XLIX, 1957, p. 199, no.
15. A letter of 6I 5 from Ludovico to Margheritaestablishes that the work was in progress
during that year, and its arrival in Mantua in 1616 is corroborated by a letter from the
Gonzaga agent in Bologna. Both letters are published in A. Luzio, La Galleriadei Gonzaga
vendutaall'Inghilterranel 1627-28, Milan, 1913, p. 128.

5. I will discuss these late drawings and their implications for a reassessmentof Ludovico's later
works in a forthcoming article.

6. Windsor Castle, inv. no. 2082, Wittkower, no. 3, in black chalk, heightened with white, on
gray-blue paper. It is interesting to note that even this drawing, which is now usually
considered "one of the key drawings for determining Ludovico's early chalk manner," was
attributed to Annibale until Bodmer assigned it to Ludovico in I935. See Wittkower, no. 3.

[ 419 ]
B. BOHN 7. Attributed to Ludovico by L. Street in the extensive collection of unpublished notes for L.
Street's never-completed doctoral dissertationfor the Instituteof Fine Arts, New York. The
notes are now owned by Princeton University. I am indebted to Ms. Street for the discovery
of several drawings by Ludovico.

8. This is quite different from Annibale's characteristicfigure studies in chalk, such as his
preparatory studies for the Baptismof Christ in S. Gregorio, Bologna, of 1585, British
Museum, inv. no. 895-9-15-723, and Louvre, inv. no. 7320; both illustratedin D. Posner,
AnnibaleCarracci,A Study in the Reformof ItalianPaintingaround1590, New York, I971, II,
pls. 2ic and 2Id.

9. The question of who was the first of the three Carraccito assimilate Correggio's style and
was consequently responsible for transmittingCorreggesque influences to the other two has
been debated since the time ofMalvasia. Malvasia argued for Ludovico's primacy and even
attributed to him a role in one of Annibale's most Correggesque paintings, the Baptismof
585. Modern critics have tended to favor Annibale. For a summary of the latterposition, see
Posner, I, pp. 26 ff. Like C. Dempsey, AnnibaleCarracciandthe Beginningsof BaroqueStyle,
Gliickstadt, 1977, pp. 2I ff., I see no reason to preclude a simultaneous assimilation of
Correggesque style by Annibale and Ludovico, beginning in 585. All three of the Carracci
developed a strong interest in Correggio at about this time. Agostino was in Parma during
1586 and 1587, when he made reproductive engravings after two paintings by Correggio.
See D. DeGrazia Bohlin, PrintsandRelatedDrawingsby the CarracciFamily,National Gallery
of Art, Washington, D.C., 1979, nos. 142 and I43.

10. Windsor Castle, inv. no. 0598, in red chalk on light brownish-gray paper. This drawing was
ascribed to Correggio until Mahon attributed it to Ludovico. See M. Jaffe, "Annibale and
Ludovico Carracci:Notes on Drawings," BurlingtonMagazine, CII, 1960, pp. 27 ff., who
suggested that this sketch and two others were preparatory studies for Ludovico's fresco
Madonnaand Child with St. Pellegrino,in the Oratory of S. Pellegrino in Bologna, of ca.
1588-90. Like many of Ludovico's works from the I580's, this painting was once attributed
to Annibale. See F. Arcangeli et al., Mostradei Carracci,Bologna, Pinacoteca Nazionale,
1956, no. 9.

11. For a discussion of Correggio's use of red chalk in most of his drawings, see A. E. Popham,
Correggio'sDrawings,London, 1957, pp. 2 ff.

12. Correggio's influence on the chalk drawings of the Carraccihas often been mentioned, for
example, by C. de Tolnay, HistoryandTechniqueof OldMasterDrawings,New York, 1972, p.
48, but has never been discussed in referenceto Ludovico.
13. Popham, Correggio'sDrawings,p. 3.

14. Ibid., p. 4.

15. Bologna, Pinacoteca nazionale, inv. no. 6478, in charcoal, heightened with white on gray
paper. See G. G. Bertela, ArtistiitalianidalXVIal XIXsecolo:Mostradi 200 disegnidallaraccolta
della Pinacotecanazionale di Bologna, Bologna, Museo Civico, 1976, no. 8. The Bargellini
Madonnais signed and dated I588 and is now in the Bologna Pinacoteca.

16. A study in black chalk, in reverse, for two figures in Ludovico's engraving The Holy Family
underan Archof ca. 1588 (B. 4). See Bohlin, p. 480, no. I.

17. Chatsworth, inv. no. 4o0, in black chalk. Arcangeli was the first to identify the drawing as a
preparatorystudy for the figure of an executioner in the Douai picture, Naturaed espressione
nell'artebolognese-emiliana,
Bologna, Palazzo dell'Archiginnario, no. 56. The painting, pre-

[420 ]
 viously ascribed to Annibale, was recognized by Mahon as the work ofLudovico, ca. 1590, DRAWINGS OF
"Stock-taking in Seicentostudies," Apollo, LXXXII, 1965, p. 383. Ludovico's primopensierofor CARACCI
the Flagellationis in the Uffizi, inv. no. I2305 F., in pen and brown ink.

18. J. R. Martin, "Four ceiling paintings by the Carracci," GazettedesBeaux-Arts,LXVII, I966,

pp. o0 ff., identified Ludovico's goddess as Ops rather than Flora. Martin pointed out that
the pictures symbolize the four elements, with Ops, the Roman earth goddess and divinity
of plenty and fertility, personifying earth.

19. These three paintings are: The Preachingof the Baptist,signed and dated 1592, in the Pinaco-
teca, Bologna; The Supperof St. Peterin the House of SimonCoriarius,a fresco in the Istituto
Ortopedico Rizzoli, Bologna, documented during 1592;and the Ops in the GalleriaEstense,
Modena, commissioned by Cesare d'Este in 1592 for the Palazzo dei Diamanti in Ferrara.

20. Windsor Castle, inv. no. 2124, Wittkower, no. 7, in red chalk heightened with white, with
some pen and ink, on green paper. A study for the boatman in this painting, in red chalk
heightened with white on blue-green paper, is in the collection of the Home Foundation in
Florence, inv. no. 5698, illustratedin Mahon, Disegni, no. 9.

21. Uffizi, inv. no. 761 E, Mahon, Disegni, no. 7, in red chalk, heightened with white, on blue
paper that has turned grayish-yellow. The Supperof St. Peterin theHouseof SimonCoriariusis
a fresco in the foresteria of S. Michele in Bosco, Bologna, now the Istituto Ortopedico
Rizzoli. Ludovico received a payment for the work on May 14, 1592, Archivio di Stato,
Bologna, I77/2349-c. 57v., incorrectly transcribedby Bodmer, p. 120, no. 6, as datedJune
14, 1592. Two other figure studies for the fresco, in red chalk, heightened with white, are
also in the Uffizi, inv. nos. 12320 F. and 12302 F.

22. Ashmolean, inv. no. 171, Mahon, Disegni, no. 23, in red chalk.

23. This red chalk drawing, now in the collection of Mrs. Denys Sutton in London, is illustrated
in Bodmer, pl. io6. Another sanguine drawing by Ludovico from ca. 1590-92 is presently
attributed to Annibale at Windsor Castle (inv. no. 6759, Wittkower, no. 372A, as Annibale,
ca. 1585).

24. The Preachingof theBaptistand The Martyrdomof St. Ursulaare in the Pinacoteca of Bologna
and are both signed and dated 1592. The Trinity with the Dead Christis in the Pinacoteca
Vaticana. See Mostra,nos. I , 15, I6, and 17.

25. Ludovico's drawing of The Penitenceof St. Peterin the Louvre, inv. no. 12.579, in red chalk,
heightened with white, was discovered among the anonymous Italianseventeenth-century
drawings in the Louvre by D. Miller, "A drawing by Ludovico Carraccifor his lost Penitence
of St. Peter,"BurlingtonMagazine,cvI, 1964, p. 374. Ludovico's half-length study of an angel,
also in the Louvre, inv. no. 7361, in black chalk on blue-gray paper, was recognized by
Roseline Bacou as a study for Ludovico's St. Roch in the Dondini Chapel, S. Giacomo
Maggiore, Bologna.

26. The Herculesin the Ashmolean Museum, inv. no. 182, in red chalk on faded blue paper, is
clearly the work of Ludovico, ca. 1593, but it cannot be definitely associated with any of
Ludovico's paintings. Ludovico painted two frescoes of Hercules at this time that show
some similarity to the drawing: HerculesandJupiterin the Palazzo Sampieri-Talon, Bologna,
of I 593-94; and Herculesin the Victoria and Albert Museum, dated 1594. The resting attitude
of the figure in the drawing seems to suggest a closer relationship to the Victoria and Albert
fresco.

[421 ]
B . B 0 HN 27. The drawing of a standing nude youth in the Fitzwilliam Museum, Cambridge, inv. no. PD
Io-I959, in black chalk heightened with white, that has been attributed to both Agostino
and Annibale is stylistically similar to Ludovico's Herculesin the Ashmolean and illustrates
the closeness of the three artists during this period. The Cambridge drawing should be
ascribed to Annibale and may be related to one of the Sampieri-Talon frescoes.

28. Apart from the drawings discussed below, only three chalk figure studies can be associated
with pictures datable after I600: two studies for the St. Sebastian,of ca. I603 in the Doria
Pamphili Gallery, Rome, Albertina, inv. no. 2173, in black chalk on blue paper;and Naples,
Museo nazionale di Capodimonte, inv. no. 1289, in black chalk on green paper;and a study
of three figures for Ludovico's tiny Visitationon the main altar of the Cappella del SS.
Rosario in S. Domenico, Bologna, Windsor Castle, inv. no. 782, I220B, in red chalk. The
Visitationdrawing was attributedto Ludovico and associatedwith the painting by R. Spear,
"The early drawings of Domenichino and some drawings by the Carracci," Art Bulletin,
XLIX, 1967, pp. 52 if. Two other autograph studies for Ludovico's Visitationare in a private
collection in New York and in the Museum of Rennes. Another drawing in the Cini
Foundation, Venice, that was published by Spear as a study by Ludovico for the figure of
Abraham in the Crucifixionof 1614, "A Late Drawing by Ludovico Carracci,"MasterDraw-
ings, XVII, 1979, pp. 51 if., appears to be a study after the figure. The style of the drawing
precludes an attribution to Ludovico, and the almost exact correspondence between the
drawing and the figure in the painting suggests that the drawing was made after the picture. I
see no reason to contest the drawing's prior attributionto Domenichino.

29. St. BenedictExpellingtheDevil WhoHas MadetheStoneImmovablewas one of the seven scenes

painted by Ludovico for the cloister of S. Michele in Bosco during 1604-05. I will discuss
Ludovico's ten extant compositional designs for these frescoes in my forthcoming articleon
the late works. The only two known figure studies in chalk are at Windsor, inv. no. 2200,
Wittkower, no. 15, in black chalk, heightened with white, on gray-green paper, pl. I6, and
Budapest, National Museum of Fine Arts, inv. no. I817, in black chalk on blue paper. The
Budapest drawing, known to me only from a photograph, was published by I. Fenyo,
"Dessins inconnus des Carracci," Bulletindu MuseeNationalHongroisdes Beaux-Arts,xvII,
960, pp. 31 ff.

30. See, for example, Annibale's study for the figure of Pan in the Farese Gallery, Louvre, inv.
no. 7190, in black chalk, heightened with white, on gray-green paper, Mahon, Disegni, no.
160, fig. 76, and Posner, p. 108, pl. II y.
31. Highly finished, final studies for the archway fresco of angels carrying vases and plumes are
in the Hermitage, inv. no. 1675, in red chalk, pen and brown ink, heightened with white and
squared for transfer, and inv. no. 1676, in the same media. These drawings, known to me
only from photographs, were published by M. V. Dobroklonski, CatalogueofDrawingsof the
ItalianSchoolsofthe 17thand18thCenturiesattheHermitage,Leningrad, 1961, nos. 957 and958.

32. Louvre, inv. no. 7799, in pen and brown ink with brown wash.

33. Although Bodmer identified Louvre, inv. no. 7756 as an autograph study for Ludovico's
painting in the Pinacotecaof Forli, p. 153, no. 148, the weakness of the drawing has caused it
to be grouped among the works only tentatively attributedto Ludovico at the Louvre. The
awkward anatomy and shaky control of the chalk are characteristic,however, of Ludovico's
late manner. Both the painting and drawing, in red chalk heightened with white, should be
dated ca. I6I6. For the painting, see Bodmer, p. I32, no. 56, and Malvasia, I, p. 353, who
listed the picture among Ludovico's "ultime cose." Ludovico's three extant preparatory
studies for his Annunciationfresco areat Windsor, inv. nos. 2180 and 2182, both in red chalk,

[ 422 ]
 Wittkower, nos. 23 and 24, and Oxford, Ashmolean Museum, inv. no. 179, in black chalk, DRAWINGS OF
retouched with some pen and ink. K. T. Parker, Catalogueof the Collectionof Drawingsin the CARACCI
AshmoleanMuseum,II: ItalianSchools,Oxford, 1956, no. I79.

34. A discussion of the approximately ninety studies by Annibale for the vault of the gallery is in
J. R. Martin, The FarneseGallery, Princeton, 1965, and in D. Posner's review in the Art
Bulletin,XLIv, 1966, p. 113. See also the discussion in G. P. Bellori, Le Vitede'pittori,scultori
e architettimoderi, Rome, 1672, ed. E. Borea, Turin, 1976, pp. 47 and 81.

Checklist of Drawings

1. The Vision of St. Francis P1. I 4. Boy on a ladder

Red chalk. 264 X 207 mm. Inscribed, A. Caraccio.
Ludovico's first idea for The Vision of St. Francis in the
Rijksmuseum, Amsterdam, of ca. 1586 (Fig. 2). This canvas has
been dated as early as 1581-82 (Dempsey, AnnibaleCarracci,p.
I9) and as late as 1591-92 (Bodmer, pp. 43ff.), but fits best into
Ludovico's development around 1586 (Mostra,no. 5; F. Arc-
angeli, Maestridellapitturadel Seicentoemiliano,exhibition cata-
logue, Palazzo dell'Archiginnasio, Bologna, I970, p. I6; and
Mahon, "Afterthoughts," p. 195). The drawing is presently
ascribed to Annibale at the British Museum. On the identifica-
tion of the saint, formerly considered to be St. Anthony, see M.
Gregori et al., The Age of Caravaggio,New York, Metropolitan
Museum of Art, 1985, p. 120, no. 28.
London, British Museum, inv. Sloane 5236-96.
2. Isaac P1. 2
Red chalk on gray-green paper. I25 X I 18 mm. Inscribedin ink,
at lower left, Polidoro;inscribed below, in pencil, An. C.
This unpublished drawing, still catalogued among the draw-
ings attributed to Annibale at the Uffizi, was recognized by L.
Street (unpublished notes) as a study by Ludovico for his paint-
ing in the Pinacoteca Vaticana, The Sacrificeof Isaac(Fig. 4). The
picture was ascribed to Annibale by Longhi, but was restored to
Ludovico by Cavalli (Mostra,no. 6, where it is dated ca. 1586-
87).
Florence, Uffizi, inv. no. 1543 F.
3. Standing Monk (St. Francis?) P1. 3
Black chalk. 347 X i60 mm. Arched top.
This figure, with his legs showing through his robes and
elongated proportions, is close in style and feeling to works by
earlier Bolognese mannerists like Bartolomeo Passarotti and
Prospero Fontana. Ludovico might have made the drawing after
a painting or drawing by one of these masters. Date: ca. 1586-
87.
Munich, Staatliche Graphische Sammlung, inv. no. 2806 (as
attributedto Ludovico Carracci).
Red chalk. 370 X 182 mm.
An early, Annibalesque study of ca. 1588-90.
London, British Museum, inv. no. Fawkener 521 I-I4.
P1. 4
5. Jael and Sisera
Black chalk, heightened with white, on blue-gray paper. 517 X
338 mm.
Padre Resta ascribed this drawing to Annibale (accepted by
Giulio Bora, I disegnidel CodiceResta, Milan, 1976, p. 215, nos.
237-38), but Street (unpublishednotes) convincingly suggested
that the drawing was a study by Ludovico for a lost painting of
Jael andSisera.The composition of the lost picture is preservedin
a studio copy in the Louvre (inv. no. 7898, in pen and brown ink
over red chalk). The shape of the Louvre drawing suggests that
Ludovico's painting might have decorated a chapel ceiling. Date:
ca. I588.
Milan, Biblioteca Ambrosiana, Codice Resta, F. 2I5, no. 238
recto.
6. Serving Girl P1. 6
Black chalk on gray-green paper. 444 X 268 mm. Inscription in
pencil at lower right, Cavedone.
Although currently attributed to Cavedone at the Uffizi (C.
Johnston, Mostradi disegnibolognesi,Florence, Uffizi, 1973, no.
67), Street (unpublished notes) suggested that this drawing is an
autograph study by Ludovico for a figure in his lost painting The
Birth of St. John the Baptist, which is known through an en-
graving by Domenico Cunego of 1769 (published in Gavin
Hamilton's ScholaItalicaPicturaeof 1769). The Uffizi figure ap-
pearsin Ludovico's final study for the painting (Ashmolean, inv.
no. 194 recto. See H. MacAndrew, AshmoleanMuseum,Oxford,
Catalogueof the Collectionof Drawings, III. Italian Schools:Sup-
plement, Oxford, I98I, no. I94 A), but was eliminated from the
painting, as the Cunego engravingshows. Although MacAndrew
and Johnston maintain that the Uffizi figure is a copy by Gia-
como Cavedone, I agree with Street that it is an autograph study
by Ludovico. It fits very well with his chalk style of ca. 1591.
Florence, Uffizi, inv. no. 9I08 Santarelli.

[ 423 ]
B. BOHN STUDIES FOR "THE MARTYRDOM OF
ST. URSULA"
The painting (Fig. 9), now in the Pinacoteca nazionale, Bolo-
gna, is dated 1592. It stood originally on the main altar of the
church of S. Leonardo, Bologna. See Bodmer, p. 128, no. 37;
and Mostra,no. I6.
10. Ops
7. Madonna and Child P1. 7
Verso: A hand and the head of a young man looking up. Red and
white chalk (recto); red chalk (verso); on blue paper. 282 X 245
mm.
Bodmer, p. 150, no. 53; P. A. Tomory, The EllesmereCollec-
tion of Old MasterDrawings, Leicester, I954, no. io; Mahon,
Disegni, no. 29; andJ. Stock, Sotheby'sSale of theEllesmereCollec-
tion of Old MasterDrawings, London, 1972, no. io. All writers
have accepted Tomory's dating of the drawing during the early
I590's, but there has been some disagreement over its connec-
tion with a specific painting. Mahon tentatively accepted Arc-
angeli's suggestion that the recto was a preparatory study for
Ludovico's Madonnaand Child Appearingto St. Pellegrino,but a
more convincing relationship exists between the drawing and
Ludovico's Martyrdomof St. Ursula. The facial types of the
Madonna and Child in the drawing correspond exactly to their
11. Study of a Faun
painted counterpartsin the St. Ursula.In the painting, Ludovico
gave greater prominence to the Christ Child by moving the
Madonna's right arm to the side and by emphasizing the divine
radiancethat emanates from the Child's now unclothed and fully
revealed body.
Ottawa, National Gallery, inv. no. I8457.
12. Nude Youth Seated
8. Christ Child
Red chalk. 215 X 137 mm. Inscription on the verso, Ludovico
Caracci.
Johnston, no. 28. Both Tomory andJohnston noted the con-
nection between this and the preceding drawing, without relat-
Catalogueof the Collectionof Drawingsin the AshmoleanMusuem,
II: ItalianSchools,Oxford, I956, no. I80 (as A Nymph (Flora?)
amidClouds). This drawing, Ludovico's first idea for the paint-
ing, was formerly attributed to Annibale. It has not previously
been associated with the Ops oval.
Oxford, Ashmolean Museum, inv. no. I80.
P1. 9
Red chalk, heightened with white. 320 x 275 mm.
Once ascribedto Barocci and then to Correggio, this drawing
was first recognized as Ludovico's by D. S. Pepper (cited in
Street, unpublished notes). Here, Ludovico reversed the pose of
the figure and increased the di sottoin su perspective, arriving at
an arrangement that is very close to his final solution. Another
drawing, almost identical to the example in Besancon, is in
Budapest (National Museum of Fine Arts, inv. no. 1822, in red
chalk). The Budapest drawing, known to me only from a
photograph, was published with an attributionto Annibale by I.
Feny6 ("Dessins inconnus des Carracci," Bulletindu MuseeNa-
tional Hongroisdes Beaux-Arts,XVII, 1960, p. 44 and Fig. 39).
Feny6 cites yet another drawing of this figure in the Hermitage
(inv. no. 2852).
Besancon, Musee des Beaux-Arts, inv. no. D. 996.
P1. 12
Red chalk. 293 X 248 mm.
Wittkower (no. 328) attributed this drawing to Annibale
"with strong reservations";it appears,however, to be by Ludo-
vico, ca. 1592.
Windsor Castle, inv. no. 5309.
P1. 13
Red chalk on blue-gray paper. 290 X 170 mm.
Apparently a study from the same model as No. 13.
Date: ca. 1592.
Lille, Musee des Beaux-Arts, inv. no. I60.

ing either to the Martyrdomof St. Ursula. It appears to be a later
study for the Christ Child, who is now in the fuller profile.
Florence, Uffizi, inv. no. 1509 F. recto.
STUDIES FOR 'OPS" Fig. Io
Ludovico's picture is one of four oval canvases painted by the
three Carracciin 1592 for a ceiling in the Palazzo dei Diamanti,
Ferrara and now in the Galleria Estense, Modena. On these
works, see Mostra, nos. I8 and 72. No studies for Ludovico's
other canvas of Galateaare known. A drawing by Agostino for
his Pluto is at Windsor (Wittkower, no. 98 and pl. 29). An un-
published drawing in the Castello Sforzesco, Milan is an auto-
graph study by Annibale for his oval canvas of Venus(black and
white chalk on gray-green paper, laid down; 290 X 425 mm.
Inscribed, Carrazoat lower right).
9. Ops P1. 8
Black chalk, heightened with white, retouched in places with
graphite. 207 x 154 mm.
Bodmer, 15I, no. 74 (as Nymph in the Clouds);K. T. Parker,
13. Nude Youth Standing P1. 14
Red chalk. 285 X 154 mm.
Bodmer considered this an early drawing by Annibale, but the
chalk style and characteristicfigure type indicate that both this
life study and No. 12 are by Ludovico, ca. 1592.
Chatsworth, Collection of the Duke of Devonshire, inv. no.
44I.
14. St. Francis P1. I5
Red chalk. 3 I X 280 mm.
A study for Ludovico's painting St. FrancisKneelingbeforea
Crucifixin the Capitoline Museum, Rome (Fig. 12) of ca. 1593.
On the painting, see Mahon, "Afterthoughts," p. 196 and
Mostra,no. I. The drawing was discovered among the Correg-
gio School drawings in the Louvre by Street (unpublished
notes), who recognized it as a study by Ludovico for his painting
in the Capitoline Museum. Another unpublished drawing in
Copenhagen (Royal Museum of Fine Arts, inv. no. 742 I, in pen
and brown ink with brown wash), which I know only from a
photograph, is currently attributed to Ludovico but has not

[ 424 ]
 previously been associated with the Capitoline picture. Here,
Ludovico devised his landscapesetting for the painting. He later
reversed the composition and rearrangedits elements to tighten
the connection between St. Francis and the crucifix, thereby
emphasizing the saint's imitation of his Savior. The loose hatch-
ing employed in the Copenhagen drawing is typical of Ludo-
vico's pen style around 1593-94.
Paris, Musee du Louvre, inv. no. 6020.
15. Phaethon PI. 17
Verso: Boy drinking from a stream. Black chalk. 382 X 270 mm.
InscribedLod.? CaraccidoppovistoAnnibale.
P. Ward-Jackson, VictoriaandAlbertMuseumCatalogues:Ital-
ian Drawings, II: 17th-18th Century, London, 1980, p. 32, no.
657. As Street suggested (unpublishednotes), the recto is a study
for Ludovico's Fall of Phaethon(Fig. 13), a hexagonal fresco
transferredto canvas that is now in the Istituto per la storia di
Bologna, in Bologna. On the fresco, see G. Zucchini, Catalogo
delle Collezioni Comunalid'Artedi Bologna, Bologna, 1938, pp.
380 ff. Date: ca. 1593.
London, Victoria and Albert Museum, Dyce Collection, inv.
no. 297 recto.
STUDIES FOR THE FRESCOES OF THE CHOIR
VAULTING OF THE DUOMO OF PIACENZA
Ludovico and Camillo Procaccini shared the commission for
the frescoed decoration of the apse and choir of the Piacenza
Duomo, carriedout between 1605 and 1609. The dates of Ludo-
vico's involvement at Piacenza are established in his correspon-
dence with Don FerranteCarlo (Bottari-Ticozzi, I, pp. 271 ff.);
in addition, Street (unpublished notes) discovered documents in
the Cathedralarchive confirming that the rebuilding and redeco-
ration of the presbytery was carriedout between 1599 and 1609.
Ludovico painted three of the four frescoed fields of the choir
vault, the ring-shaped area over the archway before the apse,
two frescoes of the Annunciationand the Birth of the Virgin
adjacentto and above the choir organ (now detached and housed
in the Palazzo Vescovile of Piacenza), two enormous canvases
for the choir, The Apostles at the Tomb of the Virgin, and The
Funeralof the Virgin(now in the ParmaPinacoteca), and a canvas
of St. MartinDividing His Cloak for the main altarof the Chapel
of St. Martin. See Bodmer, p. 123, nos. I5 and I6; Mostra,98;
and N. Ward Neilson, CamilloProcacciniPaintingsandDrawings,
New York, 1979, pp. 56 if.
16. Seated Angel Playing a Harp PI. 18
Black chalk. 285 X 222 mm.
This drawing was given to Correggio when it entered the
British Museum in I895, an attribution that was rejected by
A. E. Popham in I942. Both Popham and Philip Pouncey appar-
ently suggested that the drawing was a study by Ludovico for an
angel in the Piacenza frescoes (British Museum dossier, 1946),
although Popham later published the sketch as a work of the late
i6th century, close to Roncalli (Correggio'sDrawings,no. A 62).
Street later accepted no. I6 as a work by Ludovico of ca. 1605
(unpublished notes).
London, British Museum, inv. no. I895-9-15-729.
17. Four Angels PI. 19
Red chalk heightened with white. 120 X 191 mm.
O. Kurz, The BologneseDrawingsof the XVII and XVIII Cen-
turiesat WindsorCastle, London, 1955, no. 620. This drawing
was catalogued by Kurz as the work of an anonymous Bolo-
gnese artist, but the line quality, abbreviated graphic style, and
facial types are all characteristicof Ludovico. The central figure
derives from Raphael's much-copied figure, seated and seen
from the rear, in the Feast of Cupid and Psychein the Faresina.
This early study for the vault frescoes appears to be related to
some of the music-making angels to the left of Procaccini's
Coronationof the Virgin.
Windsor Castle, inv. no. 3691.
[ 425 ]
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Plate 4 LUDOVICO CARRACCI.

Jael and Sisera.
Milan, BibliotecaAmbrosiana.
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5 LUDOVICO CARRACCI.
Executioner.
Chatsworth,
Devonshire
Collection
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Plate 6 LUDOVICO CARRACCI.

Serving Girl.
Florence,Uffizi, GabinettoDisegni e Stampe.
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Madonna and Child.

Ottawa, National Gallery.
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Plate 8 LUDOVICO CARRACCI.

Ops.
Oxford, AshmoleanMuseum.
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Plate 9 LUDOVICO CARRACCI.

Ops.
Besanfon,MuseedesBeaux-Arts.
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Plate lo LUDOVICO CARRACCI.

Study of Four Figures.
Florence,Uffizi, GabinettoDisegni e Stampe.
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Plate 11 LUDOVICO CARRACCI.

Nude Boy Sleeping.
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Plate 12 LUDOVICO CARRACCI.

Faun.
Windsor Castle, Royal Library (Reproduced by gracious pernnission of H. M. the Queen).
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Plate 13 LUDOVICO CARRACCI.

Nude Youth Seated.
Lille, MuseedesBeaux-Arts.
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Plate 14 LUDOVICO CARRACCI.

Nude Youth Standing.
Chatsworth,DevonshireCollection(Reproduced
by Permissionof the
Trusteesof the ChatsworthSettlement).
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Plate 15 LUDOVICO CARRACCI.

St. Francis.
Paris, Louvre,CabinetdesDessins.
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Plate 16 LUDOVICO CARRACCI.

Manwitha Pole.
WindsorCastle, Royal Library(Reproduced of H.M. theQueen).
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Plate 17 LUDOVICO CARRACCI.

Phaethon.
London, VictoriaandAlbertMuseum(By courtesyof theBoardof Trustees).
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Plate 18 LUDOVICO CARRACCI.

Angel.
London,BritishMuseum.
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Plate 19 LUDOVICO CARRACCI.

Four Angels.
bygraciouspermissionofH.M. the Queen).
WindsorCastle, Royal Library(Reproduced