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MICHAEL W. KWAKKELSTEIN
ForDaniela
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MICHAELW. KWAKKELSTEIN
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ANDITALIAN
ART
EARLY
THEMODEL'SPOSE:RAPHAEL'S
USE OF ANTIQUE
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W. KWAKKELSTEIN
MICHAEL
his so-called closed rightand his open left side, are much less
evident. By emphasizing the model's torsion, and placing the
right arm slightly bent behind the prominent hip instead of
hanging down heavily, Raphael rendered the contrapposto
posture more conspicuous than the figure Michelangelo
carved. The differentposition of the arms, the stronger torsion
and sideward thrust of the model in Raphael's drawing indicate that the scope of this study was to explore the impression
of animation, depth and volume produced by this classical
stance. Though Raphael may have looked at similarrepresentations in the works of fifteenth century masters such as
Donatello, Verrocchio, Pollaiuolo and Mantegna, in this case,
as I aim to show, he turned directlyto antique art as a source
of inspiration.
The pose Raphael depicted in the Oxforddrawing bears
a strikingresemblance to that of the soldier standing to the left
of Trajanin the Adventus relieffrieze of the central passage of
the Arch of Constantine in Rome [Fig. 5].5 Since the dating of
the Oxfordsheet to Raphael's Florentineperiod has long been
accepted, this connection to the Antique would lend further
support for the intriguingtheory advanced by John Shearman
that Raphael had visited Rome in 1503 and again in 1506 or
1507.6 Unfortunately,Raphael's drawings which are datable to
1503-1508 provide scanty evidence for these experiences.
One might assume that during these hypothetical Roman
sojourns Raphael, then a diligent and inquisitive student,
made numerous drawings afterthe Antiqueand other works of
art for study and documentary purposes. He would certainly
not have limited himself to drawing the few references to
Rome mentioned by Shearman. If we are inclined to believe
Raphael travelled to Rome prior to 1508 then we have to
accept that, with the exception of a few drawings which could
support Shearman's theory, all of the records from these two
journeys are lost. However, upon careful examination of the
poses illustratedin a numberof Raphael'sfigure studies dated
to his Florentineperiod, it is possible to cite additionalexamples which give weight to the theory of Raphael's presence in
Rome on earlieroccasions.
In seeking to demonstrate furtherthe validityof this theoit
ry, is necessary to consider firstthe availabilityto Raphael of
intermediate sources. As has often been pointed out, drawings after the Trajanicbattle reliefs on Constantine's Arch circulated in Florentineworkshops from the 1460s.7 The heroic
stance of the Roman soldier from the Arch of Constantine
relief in particularhad appealed to Maso Finiguerraand David
Ghirlandaio [Fig. 6] who both drew the rear view of a life
model holding that pose. Domenico Ghirlandaio made few
alterations when he borrowed this antique soldier for his
depiction of MutiusScaevola on the right-handwall of the Sala
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THEMODEL'SPOSE:RAPHAEL'S
EARLY
ANDITALIAN
ART
USE OF ANTIQUE
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W. KWAKKELSTEIN
MICHAEL
42
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ART
ANDITALIAN
EARLY
THEMODEL'SPOSE:RAPHAEL'S
USE OF ANTIQUE
[Fig.8]. Artistswho copied afterthis headless marblewere particularlyinterested in the emphasized torsion of the muscular
back. In Raphael's renderings this is shown in the British
Museum drawing more clearly than in the drawing in the
GraphischeSammlungAlbertinain Viennaforwhichthis antique
model fromthe Casa Sassi had previouslybeen recognized as
a source [Fig.9].14 The Albertinadrawingis dated to 1509-1511,
but a datingto Raphael'sFlorentineperiodshould be preferred.
Not only does it reveal Raphaelas a less maturedraftsman,as
Shearman also observed, but it contains a sketch of a bound
captive,the figureto the rightof the torso in the center,which is
identicalto a figure appearing in the lower left-handcorner of
a sheet from the so-called Verrocchio-sketchbook[Fig. 10]. In
fact the resemblance is so close that Raphael may well have
copied from this sheet. On the other hand, both figures could
share a common source which was also knownto the sculptor
of a Flagellationreliefformerlyattributedto Donatello.15
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W. KWAKKELSTEIN
MICHAEL
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9) Raphael, (<Sheetwith Studies of a Male Torso Seen on the Back and Four Studies of a Naked Youth,
his Hands Tied Behind his Back)), Graphische Sammlung Albertina, Vienna.
file to the left who carries a krater of wine. This model was
copied by a draftsman from the circle of Giovanni Bellini on
a sheet with other studies afterthe Antiqueand seems to have
inspired Raphael for the unusually dynamic pose of
Hercules.21 Interestingly, in adapting the satyr's somewhat
awkward pose, Raphael and the Venetian artist made similar
adjustments. In Raphael's drawing this is understandable
because the figure's action serves a particularfunction within
the narrative context. Naturally the possibility can not be
excluded that Raphael worked from sheets with other artists'
44
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ANDITALIAN
ART
EARLY
THEMODEL'SPOSE:RAPHAEL'S
USE OF ANTIQUE
copies afterthe Antique.Those scholars who have considered
the possibility of a tripto Venice made by Raphael in 1505, and
where he would have met Giovanni Bellini, will welcome the
thesis that Raphael's Hercules is borrowed from the abovementioned drawingfrom Bellini'sworkshop. However,the dating of the Uffizi drawing to about 1503 does not permit to
assume such a connection.22
Be that as it may, the Uffizi drawing unmistakably suggests direct contact withworks of art in Florence. Forinstance,
the position of the arms of the left-handcentaur corresponds
to that of two soldiers painted by Bartolomeo di Giovanni in
the background of Domenico Ghirlandaio'sAdoration of the
Magi, dated 1488, in the Ospedale degli Innocentiand to that
of the soldier Ghirlandaiodepicted in the background of his
fresco of the Slaughter of the Innocents in the Tornabuoni
Chapel in the Santa MariaNovella. Given Raphael's early interest in the work of Donatello, he may have known the latter's
Medici-Crucifixion relief (Museo Nazionale del Bargello,
Florence) in which this movement is adopted for the profilefigure who is shown hammeringa nail in the right-handcross.23
Furthermore,the torsion of the pose of the left-handcentaur is
similarto that of the centaur in Antonio Pollaiuolo's Hercules,
Nessus and Deianeira in New Haven. Finally, in Raphael's
drawing the lower part of the body of the right-handcentaur
resembles that of the rearing horse on the left in the background of Pollaiuolo's Martyrdomof St Sebastian, while the
centaur's upper part suggests Raphael's close study of
Pollaiuolo's pen drawings (e.g. Hercules and the Hydrain the
BritishMuseum in London).24
With regard to Raphael's interest in Pollaiuolo's models,
a pen and ink drawing of a Horseman Fighting Two Foot
Soldiers on the recto of a sheet in the Accademia in Venice
[Fig. 13] presents an interesting case. This drawing has been
connected to Raphael's study for the Stormingof Perugia and
a Pollaiuolesque drawingof the Battle of Nude Men in Windsor
for which an attributionto the young Raphael has been suggested on various occasions [Fig. 14].25 While it is true that
the representationof nude combatants in energetic movement
is what these drawings have in common, the fact remains that
the nude figure seen from the back in the Venice drawing,
recurringin reverse in the Storming of Perugia, provides the
only direct link with the Windsor drawing in which the figure
standing to the left of the central warriorassumes an identical
posture. The action is the same, both raise a shield with their
left arm while in the right hand one holds a spear and one
a sword. Did Raphael borrow this figure from the Windsor
drawingor do both figures share a common source? Though
the MonteCavalloDioscuri may come to mindfirst,the closest
parallelto this figure is provided by a soldier standing in the
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W. KWAKKELSTEIN
MICHAEL
46
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ART
ANDITALIAN
THEMODEL'SPOSE:RAPHAEL'S
EARLY
USE OF ANTIQUE
motion and at rest, Pollaiuolocontributedin a significant manner to the dissemination of the classical language of form and
expression. In addition to his famous print and a now lost
bronze relief showing the battle of nude men, of which,
according to Vasari, every artist in Florence owned a plaster
cast, his drawings above all were greatly admired by the
"sculptorsand painters of the first rank"who kept on studying
and copying them well into the sixteenth century.29
In the lost figure-group drawing Pollaiuolo represented
a battleof nude men.30Thoughthe compositioncannot be related to a specific antiquesource, as we have seen some of the figures can. The warriorraising his shield on the far right of the
Windsordrawing derives from a figure represented on a now
dismantled Amazonomachia sarcophagus, which about 1491
47
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W. KWAKKELSTEIN
MICHAEL
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14) After Pollaiuolo, ((Battleof Nude Men,, The Royal Collection ? 2001, Her Majesty Queen Elizabeth II.
48
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ANDITALIAN
ART
EARLY
THEMODEL'SPOSE:RAPHAEL'S
USE OF ANTIQUE
15) ((Battlefrieze,,, Trajan'sColumn, Rome. Photo: Deutsches Archaologisches Institut,Rome, neg. no. 89. 764
ing to Raphael's Umbrianperiod seems preferablefor a number of reasons. First,the facial type of the figure, its pointed
features, the inclinationof the head and the manner in which
the curly hairis indicated, are closely reminiscentof the model
Raphael depicted in two early drawings of about 1500.36
Second, the pose of the nude figure seen on the back on the
recto is identical, in reverse, to that of the soldier on the left of
Raphael's Saint Jerome Punishing the Heretic Sabinian in
Raleigh, usually dated to 1503. In the same year Raphael
adopted this pose for the foot soldier in the foreground of the
modello for Pintoricchio's fresco of The Journey of Aeneas
49
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W. KWAKKELSTEIN
MICHAEL
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17) Raphael, ((Studies for Two Guards in a Resurrection,,,
Ashmolean Museum, Oxford.
50
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1490 for the Jesuits of the San Giusto in Florence and now in
the Uffizi.40That in addition Raphael may have used a sculptural model when faced with the problem of drawinga rearing
horse is suggested by the fact that the horse illustratedin the
Venice drawing recurs, seen from another angle, in the cartoon for the St George and the Dragon in Washingtonof about
1505 where the horse's head is similarly turned to the left.
Given Raphael's special interest in Pollaiuolo and the latter's
practice of sculpting or clay-modelling figures as devices for
study and aids for working out compositions, Pollaiuolo may
well have been the author of this particular model as it
appears, seen from yet another viewpoint, in his Hercules,
Nessus and Deianeira.Clearlythe horse's head and neck have
been replaced by the human body of the centaur, but the torsion and pose, like the position of the hind legs, are similar.41
In turningour attention to the drawing on the verso of the
Venice sheet [Fig. 16], we find that the walking pose of the
youth is closely comparable to that of a figure on a famous
antique gem illustratingthe Triumphof Dionysus in the Museo
Nazionale in Naples. Renaissance derivations of the gem,
bearing Lorenzode Medici's inscription,circulatedin Florence
and were knownto Peruginowho adopted the pose of the psychiai pulling Dionysius' chariot for the two soldiers advancing
on the right in the background of the Agony in the Garden.
Close comparison between the nude in Raphael's drawing
and the left-handsoldier reveals that he copied Perugino's figure, only changing the position of the head and arms.
Perugino reused the soldier's pose, in reverse, for the soldier
walking next to Judas in the Agony in the Garden which, as
mentioned earlier,served as the model for the right-handfoot
soldier on the recto of the sheet in Venice. Withregard to the
availability of drawings after the Antique to Raphael while
working with Perugino, it is interesting to see that the soldier
and Judas in Perugino's picture both derive from a pair of
advancing soldiers in a battle relief on Trajan'scolumn.42
In view of the relationships here presented, it can be concluded that the drawings on both sides of the sheet in Venice
provide additional examples of how, early in his career,
Raphael assimilated classical motifs through drawings after
the Antiqueby Peruginoand Pollaiuoloand perhaps the latter's
sculptural models all'antica. A dating to about 1502-1503 for
the drawingin Venice entails a similardating of the stylistically
close studies for the Stormingof Perugia in Paris and Vienna,
usually dated to about 1505. These studies not only reflect
Raphael's interest in Pollaiuolo, as has often been noted, but
also contain the reversed image of the model viewed on the
back in the drawingon the recto of the sheet in Venice.43
The use of various sources withina single composition is
indicativefor the eclectic method Raphael adopted for work-
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W. KWAKKELSTEIN
MICHAEL
of Bacchus in Mantegna's engraving of a Bacchanal with
a WineVatdatable to the early 1470s, whereas the position of
the figure's legs corresponds to a classical type of walking
pose which was adopted frequently by Verrocchio,Pollaiuolo
and members fromtheir workshop.45Comparably,the pose of
the figure shown fleeing to the rightin Raphael's St Jerome in
Raleigh is an exact copy, in reverse, of that of the figure of St
John the Baptist in Ghirlandaio's Meeting of Christ and St
John the Baptist in the Wilderness in the Staatliche Museen
Gemaldegalerie in Berlin;Raphael only changed the position
of the figure's head.
Untilhis move to Florence in 1504 Raphaelclearlyadhered
to the persisting medieval pattern-bookapproach in which he
followed Perugino's example. About 1503 the art of Pollaiuolo
aroused his interest in the representationof the nude figure in
action. As illustratedby the Uffizidrawingand the drawings on
the two sides of the sheet in Venice, Raphael constructed his
animated figures for narrativescenes by combining stereotyped movements, poses, and gestures which he borrowed
fromother artists'work.Incases when he faithfullyadopted the
entire pose of a figure, he variedon the source by simple reversal, sometimes changing the position of the arms or the
head.46 Once in Florence, he began to abandon this method
for the study fromthe live nude model. Atfirst Raphaelshowed
littleinterest in active poses, portrayingthe nude figure in balanced contrapposto poses inspired by Florentinesculptures.
Inthis study some of these figure studies have been relatedto
antique sculptures in Rome thereby lending furthersupport to
the theory that Raphael had visited Rome before his firstdocumented stay in that city on January13, 1509.47
In concluding this review of Raphael's sources and the
working methods he adopted in studying the human figure, it
may be useful to reconsiderthe sources upon which the following four relatedfigure studies are usuallybelieved to depend.
Raphael's use of live models for the study of animated
poses represented in famous works of art, whether painted or
sculpted, ancient or 'modern',may be inferredfrom a drawing
on the verso of the above-mentioned sheet in the Ashmolean
Museum [Fig. 19]. Amidst sketches of a man's legs appears
a full length study of a male nude whose attributes,a book and
a sword, would identifyhim as St Paul. However,the combination of the model's sullen looks, slightly bent head and relaxed
pose would speak against such an identification.Despite salient
differences, it has often been stated that the model's pose is
inspiredby Donatello'sOrSan MicheleSt George.48This statue
has been praised and admiredby its earliestcommentatorsparticularlybecause of its strikingpose and bearingthat was interpreted to convey alertness, proudness and vividness.49 On
anotheroccasion, in a drawingalso in the Ashmolean, Raphael
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MICHAEL
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MICHAELW. KWAKKELSTEIN
men and women.57 In further support for Raphael's authorship
of the Albertina drawing is the possibility that the pair of nudes
on the recto originated in connection with Raphael's design
for a group of disputants in the left foreground of the Disputa.
At the far left in the famous preparatory study in Frankfurtwe
find a pair of similarly grouped and posed nudes.58 The drawing in Vienna is dated to the end of Raphael's Florentine period, but a dating to the early Roman years, 1508-1509, during
which he worked on the Disputa, now seems more plausible.
Moreover, the man viewed on the back lends itself for stylistic
comparison to a study in the British Museum which presents
a variant of the left-hand figure seen on the back in the
Frankfurtdrawing.59 Though it is always assumed that the figures in the Frankfurtstudy are drawn from the live model, it is
instructive to see that the left-hand figure seen on the back is
a copy, in reverse, of a soldier in Luca Signorelli's fresco St
Benedict Welcomes the Real King Totila in Monteoliveto of
1497-1498, while the three kneeling men are clearly reminiscent of the kneeling figures on the left side foreground in
Donatello's relief of the Miracle of the Miser's Heart in the
Church of the Santo in Padua from which Raphael would borrow figures on a later occasion.60
The relationships suggested so far demonstrate Raphael's close adherence to standard Quattrocento workshop procedures. About 1503 the study of the art of Pollaiuolo prompted his shift away from Perugino and aroused his interest in
dynamic figural poses, convincingly rendered muscular bodies and the Antique. But only after his arrival in Florence did
Raphael turn to drawing from the live nude model, at first at
rest and from about 1506-1507 onward in action. In doing so,
he abandoned his treatment of the human figure as a composite of individual limb motifs for that of the human figure as an
organic whole. The proposed links to the Antique confirm the
view that Raphael visited Rome prior to 1508 as proposed by
Shearman. Since Pollaiuolo and Perugino used sculptural
models in addition to live models for the study of the human
figure, it seems reasonable to assume Raphael adopted a similar working method. Without the attentive study of these various types of naturalistic models, especially those made by
Pollaiuolo, once in Florence Raphael would not have been
able to understand and assimilate as quickly and successfully
as he did the new ideals concerning the representation of the
active male nude he witnessed in the exemplary works of
Leonardo and Michelangelo.
ing was no longer possible once the statue was erected. Also referring
to this problem is P.Joannides, The Drawingsof Raphael with a complete catalogue, Oxford,1983, no. 97 (c. 1505), who suggests Raphael
drew from "a plasteror wax model or assembled it fromdifferentstudies". E. Mitsch, in: E. Knab, E. Mitsch, K. Oberhuber,Raphael: Die
Zeichnungen,Stuttgart,1983, p. 100, believes Raphael'sdrawingafter
Michelangelo'sDavid constitutes "keine eigenstandige kunstlerische
Variation,sondern eine relativ getreue Kopie." For Michelangelo's
influence on Raphael, see A. ForlaniTempesti, Raffaello e Michelangelo, exh. cat. Florence, 1984, and by the same author, "Per
Raffaelloe Michelangeloe Viceversa",in: Studi su Raffaello,Atti del
Congresso Internazionaledi Studi (Urbino-Firenze6-14 aprile 1984),
Urbino,1987, pp. 365-376.
3 K.T. Parker,Catalogue of the Collection of Drawings in the
Ashmolean Museum, vol. ii, The Italian Schools, Oxford, 1956, no.
56
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im Statuenhofdes Belvedere",in: II Cortiledelle Statue. Der Statuenhof des Belvedere im Vatikan,Akten des internationalenKongresses
zu Ehren von RichardKrautheimer,Rom, 21-23 Oktober1992, Mainz
am Rhein 1998, p. 386, fig. 19.
11 Compare illustration in N. Himmelman, "Apollo vom Belvedere", in: 1Cortiledelle Statue, 1998, p. 212, fig. 4.
12 See Ragghianti-DalliRegoli, 1975, cat. nos. 35, 71, 109, 168,
195, 204 (poses corresponding to antique sculpture). For drawings
afterthe nude model posing as Verrocchio'sDavid,see A. Butterfield,
The Sculptures of Andrea del Verrocchio, New Haven and London,
1997, p. 26, fig. 29 ("anonymous draftsman of Verrocchio's workshop"); P.L. Rubin and A. Wright(eds.), Renaissance Florence. The
Art of the 1470s, exh. cat. London, 1999, p. 272, no. 60 (Lorenzodi
Credi).FerinoPagden, 1982, no. 7, fig. 11 (Perugino?).ForPerugino's
method of workingout poses, see S. FerinoPagden, "Perugino'sUse
of Drawing:Convention and Invention",in W. Strauss and T. Felker,
eds., Drawings Defined with a preface and commentary by K.
Oberhuber,New York,1987, pp. 77-102, in particular,pp. 90ff.
13 Pouncey-Gere, 1962, no. 16; Gere-Turner,1983, no. 48;
Joannides, 1983, no. 89.
14 Cf. G. Becatti, "Raphaeland Antiquity",in: M. Salmi ed., The
Complete Workof Raphael, New York,1969, p. 514; Mitsch,1983, no.
30. Joannides, 1983, no. 264r, who refers to three other examples
illustratingRaphael's use of the Casa Sassi torso though withoutmentioningthe Londondrawinghere proposed (his no. 89). Drawingsafter
the antiquetorso by Michelangeloand Parmigianinoare discussed by
D. Ekserdjian,"Parmigianinoand Michelangelo",MasterDrawings31
(1989), pp. 390-394.
15 Shearman, 1977, p. 136, adduces the Viennadrawingas possible evidence of Raphael's stay in Rome prior to 1508. Francesco
Simone Ferrucci, Sheet with Figure Studies, Departement des Arts
Graphiquesdu Musee du Louvre,Paris R.F.447 verso. H. Janson, The
Sculptureof Donatello, PrincetonN.J. 1957, pp. 240-242, pl. 495.
16 C. Hulsen and H. Egger, Die Romischen Skizzenbuchervon
Martenvan Heemskerck,3 vols., Berlin,1913-1916, I, pp. 42ff., pi. 81
and p. 27-28, fol. 51v. G. Schweikhart, Der Codex Wolfegg. Zeichnungen nach derAntikevon AmicoAspertini,London, 1986, p. 98, fig.
25. In reverse the pose of the left-hand figure represented in the
Raphael drawing in London has been compared to that of the nude
figure at the rightin the Oxforddrawingof FourWarriors.It is generally believed that the latterfigure derives from a classical prototypeas
found on a Roman relief in the Museo dei Terminiin Rome. Cf. Parker
1956, no. 523; Becatti, 1969, p. 496, fig. 8 and p. 504; Joannides, 1983,
no. 88r.
17 It has long been pointed out that Fischel's hypotheticaltheory
of Raphael's 'Large Florentinesketchbook', should be rejected, see
1983, no. 37.
Pouncey-Gere1962, no. 14 and Gere-Turner,
18 R. Weiss, The Renaissance Discovery of Classical Antiquity,
Oxford1969, pp. 180ff.and F.Ames-Lewis,The IntellectualLifeof the
EarlyRenaissance Artist,New Haven and London,2000, pp. 79-80.
19 Ferino Pagden, 1982, no. 56; Becatti, 1969, pp. 503-504;
Joannides, 1983, no. 53v: "probablyderived from a lost composition
by AntonioPollaiuolo".S. FerinoPagden in:Raffaelloa Firenze.Dipinti
e disegni delle collezioni fiorentine, exh. cat. Florence, 1984, Milan,
1984, pp. 310-312, no. 17.
20 Gronau 1902, p. 28; Ferino Pagden, 1982, p. 92; Joannides,
1983, no. 53v. Accordingto L. D. Ettlingerand H. S. Ettlinger,Raphael,
Oxford, 1987, p. 43, the Uffizi-drawing,"reveals a careful study of
Pollaiuolo'sfamous engravingof the Battle of TenNudes."
21 Bober-Rubinstein,1986, no. 81; and 69a for the drawingfrom
the circle of Bellini. Degenhart and A. Schmitt, "EinMusterblattdes
57
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MICHAELW. KWAKKELSTEIN
Jacopo Bellini mit Zeichnungen nach der Antike", in: Festschrift
LuitpoldDussler, Munich,1972, pp. 139-168, in particular,p. 158, fig.
21 (as circle of Jacopo Bellini).C. Eisler,TheGenius of Jacopo Bellini.
The Complete Paintings and Drawings, New York,1989, p. 206, as
"close to the art of GiovanniBellini".Whileworkingout the composition for the Massacre of the Innocents Raphaelturnedto a sarcophagus relief of Mars and Rhea Silviafrom which he borrowedthe nude
soldier seen from the back to the rightof the center. The mother protecting her infantto the left of the centralfigure in the Massacre corresponds to the central figure of Achilles in the Amazonomachia,with
Achilles and PenthesiliaCf. Bober-Rubinstein,1986, nos. 25 and 139.
22 C. Gould, "Raffaelloa Venezia?"in: Studi su Raffaello, 1987,
pp. 111-115; G. Mulazzani,"Raphael and Venice: Giovanni Bellini,
Durerand Bosch" in: J. Beck (ed.), Raphael Before Rome, Studies in
the Historyof Art,vol. 17, Washington,1986, pp. 149-153.
23 Raphael reused this pose for the warrioron the left in a drawing in Oxford(Joannides, 1983, no. 185) and for the figureof Hercules
in a drawingin London (Joannides, 1983, no. 188). Gronau,1902, pp.
27-28, recognized the model for this motif in the engraving after
Pollaiuolo's design Hercules and the TwelveGiants. The position of
the arm of the relevantwarrior(second from the left) in the engraving
is however quite different.FerinoPagden, 1984, p. 310, notes the difficulty in identifyingfromwhich sources Raphaelmay have drawninspiration. F. Coarelli, La Colonna Traiana,Rome, 1999, pi. 113 (scene
XCIV).For Donatello's relief, see J. Poeschke, Donatello and his
World.Sculptureof the ItalianRenaissance, New York1993, pi. 129. In
classical art this type of strikingpose is usually represented with the
raised arm bent furtherbackwards(e.g. on Trajan'scolumn).
24 L. D. Ettlinger,Antonioand Piero Pollaiuolo.Complete edition
with a criticalcatalogue, Oxford1978, pls. 83, 94 and 90. Though frequently represented in antique art, the pose of the warriorstanding
next to the rearinghorse on the left in the backgroundof Pollaiuolo's
Martyrdomof St Sebastian is most probablyderived from one of the
Dioscuriof MonteCavallo,see Bober-Rubinstein,1986, no. 125.
25 The drawinginVeniceis discussed by S. FerinoPagden,Gallerie
dell'Accademiadi Venezia:Disegniumbri,Milan,1984, no. 60 recto. The
most recentattemptto attributethe Windsordrawingto Raphaelis made
by M. Clayton,Raphaeland his Circle.Drawingsfrom WindsorCastle,
London,1999, pp. 50-51, cat. no. 10 (witholder bibliography).
26 L. Fusco, "AntonioPollaiuolo'sUse of the Antique",Journalof
the Warburgand CourtauldInstitutes,XLII(1979), pp. 257-263, in particular, p. 261, note 19. For the drawings, see A. Cavallaro, in: Da
Pisanello alla Nascita dei Musei Capitolini.LAnticoa Roma alla vigilia
del Rinascimento,exh. cat. MuseiCapitolini,Rome 1988, pp. 187-189,
cat. no. 58. Pollaiuolo's presence in Rome in the 1460s would also
explain the reference to the Dioscurion the left in the backgroundof
his The Martyrdomof St Sebastian in the NationalGalleryin London
and datable to 1475.
27 F.Ames-Lewisand E. Clegg, "AContributionto an Inventoryof
Pollaiuolo Figure-groupDrawings",Master Drawings, 25 (1987), pp.
237-241. Itwas R. Van Marie,The Development of the ItalianSchools
of Painting,18 vols., The Hague, 1922-1937, XI,p. 356, who believed
the Windsorsketch to be "a copy from a lost drawingby Pollaiuolo."
Pollaiuolo's Uffizidrawing (97F) is discussed by C. Sisi in: A. Petrioli
Tofani(ed.), II disegno fiorentinodel tempo di Lorenzo il Magnifico,
Florence 1992, pp. 50-51, cat. no. 2.9. (as Maso Finiguerra?).
28 Fora reproductionof Bartolomeodi Giovanni'spainting,see M.
Lisner,"Formund Sinngehaltvon MichelangelosKentaurenschlachtmit
Notizienzu Bertoldodi Giovanni",Mitteilungendes Kunsthistorischen
Institutesin Florenz,24, 1980, p. 329, fig. 25. Cf. FerinoPagden, 1982,
no. 49 as "Perugino(?)"and withoutreferenceto Pollaiuolo.
29
Ettlinger,1978, p. 12, quoting Celllini'sreference to Pollaiuolo
and p. 35 for the lost relief.
30 A similar drawing, also lost, entered into the workshop of
Francesco Squarcione in the early 1460s. That this cartonum of
nudes, mentioned in a document dated 2 January 1474, refers to
a highly finished drawing instead of to Pollaiuolo'sfamous Battle of
Nude Men engraving, is suggested by A. Wright,"AntonioPollaiuolo,
"Maestrodi disegno", in: FlorentineDrawingat the Time of Lorenzo
the Magnificent.Papers from a colloquium held at the VillaSpelman,
Florence, 1992, Bologna 1994, pp. 131-146, in particularp. 141.
31 Bober-Rubinstein,1986, no. 142. The drawingis attributedby
J. Byam Shaw, Drawings by Old Masters at ChristChurchOxford,2
vols., Oxford,1976, no. 40, pi. 33, to the studio of FilippinoLippiand
dated about 1500. For a better reproduction, see Ragghianti-Dalli
Regoli, 1975, p. 239, cat. no. 133, fig. 165. Lippiwas in Rome in 1489
and enjoyed a reputationof being an expert on antique art. In his discussion of the Windsor drawing, A. Natali, in: II disegno fiorentino,
1992, pp. 26-27, points to a battlescene on Trajan'scolumn, however,
the two models he singles out for comparison present only generic
similarities. Not mentioned by Bober-Rubinstein is Piero della
Francesca's quotation of four figures from the Amazonomachiasarcophagus for the warriorsin the foregroundof his fresco representing
the Battle between Heracliusand Chosroes in the main chapel of San
Francesco at Arezzo, executed in the 1450s.
32 R. Krautheimer,Lorenzo Ghiberti, Princeton, 1970, pl. 113.
Ghiberti'sstudy of battle scenes on Trajan'scolumn is suggested by
Cavallaro,in Da Pisanello..., 1988, p. 181. Ettlinger,1978, p. 9. The
prostratewarriorin the printof the Battle of Hercules and the giants
afterPollaiuolo'sdesign closely resembles the nude figureon the right
of a sarcophagus with the Battle of 'Romans against Barbarians,'
Bober-Rubinstein,1986, no. 153.
33 Bober-Rubinstein,1986, nos. 112 and 113. Meleager's pose is
repeated in a putto standing in the center of a sarcophagus with
a huntingscene in the Belvedere Statue Courtin Rome, see Andreae,
1998, p. 386, fig. 20.
34 For Pollaiuolo'sArcetrifresco, see Ettlinger,1978, pi. 22. The
sarcophagus is reproduced in Andreae, 1998, p. 382, fig. 9. Fusco,
1979, p. 258, relates the dancer to Pollaiuolo'sAntaeus figure in the
bronze of Hercules and Antaeus in the Bargello in Florence. The
Pollaiuolesqueterracottarelief is reproduced in Ettlinger,1978, p. 44,
fig. 16. Forthe battlefrieze, see Bober-Rubinstein,1986, no. 154. This
view is expressed by A. Wright,"Dimensionaltension in the works of
Antonio Pollaiuolo",in: Stuart Currie and Peta Motture (eds.), The
Sculpted Object 1400-1700, Aldershot,1997, pp. 65-79.
58
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46 Additional
examples of working method are given by R.
Quednau, "'Imitationed'altrui'.Anmerkungenzu Raphaels Verarbeitung entlehnter Motive",De Arte et Libris.Festschrift Erasmus 19341984, Amsterdam1984, pp. 349-367. The figure holding the rope tied
to Christin the LondonProcession to Calvaryis a copy, in reverse, of
the left-hand soldier advancing on the right in the background of
Perugino'sAgony in the Garden;only the arms are in a differentposition. This type of figuralpose had been adopted by Peruginofor one
of the figures in the Collegio del Cambio fresco illustratingthe Moon
for which an antique gem served as a model, see note 42, above.
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MICHAELW. KWAKKELSTEIN
David attributedto the Masterof the David and St John Statuettes in
the Victoria and Albert Museum, see J. Pope-Hennessy and R.
Lightbown,Catalogue of ItalianSculpture in the Victoriaand Albert
Museum, 3 vols., London, 1964, I, pp. 191-192, nos. 169-170, noting
thatthese sculptures represent "variantsof a popularterracottamodel
derived fromthe bronze Davidby Verrocchio."
56 The attributionof the drawingto Raphael has been repeatedly questioned, see K. Oberhuberand A. Gnann, Roma e lo stile classico di Raffaello 1515-1527, Milan,1999, no. 71 (witholder bibliography). For a reproductionof the Grimani-Apollo,see Becatti, 1969, p.
550, fig. 117. J. Pope-Henessy and A. Radcliffe,The FrickCollection.
An illustrated catalogue. Volume IIl: Sculpture. Italian, New York,
1970, pp. 48-52.
57 New York,MetropolitanMuseum of Art, Fletcher Fund 1927,
Inv. no 27.45 and Rome, Vatican Museums, Saletta degli Originali
Greci, inv.559.
60
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