1 00:00:00,360 --> 00:00:10,200 I think I'm very proud. But I've got a bit more than I sometimes have to say, so maybe I'll just start. 2 00:00:10,200 --> 00:00:15,180 As in previous weeks, my intention is to explore all the name drawings, 3 00:00:15,180 --> 00:00:22,560 whether from the artist's own hand or in the form of copies of lost originals that can be associated with a 4 00:00:22,560 --> 00:00:29,730 single project and to investigate the ways in which the artist in question used drawings to make paintings. 5 00:00:29,730 --> 00:00:33,150 Today, it is the turn of Francesco Massola, 6 00:00:33,150 --> 00:00:42,090 who was born in Parma in 15th three and died in nearby on Majaw Majaw in fifteen, forty, precisely twenty years. 7 00:00:42,090 --> 00:00:48,120 In each case, after his great model, Rafael, he was known as parentage. 8 00:00:48,120 --> 00:00:57,090 I mean, you know, not I think because he was small of stature, but because his genius manifested itself at such a young age. 9 00:00:57,090 --> 00:01:01,500 Well within his teens. For all that, 10 00:01:01,500 --> 00:01:05,970 there are more surviving drawings connected with Parman Janina's work at the Church of 11 00:01:05,970 --> 00:01:12,720 Santa Maria Della Stark Arthur in Parma than there are for the Madonna of the long neck, 12 00:01:12,720 --> 00:01:20,460 which was painted for the Church of Santa Maria. They found a partner, a married lives in new faiths in Florence. 13 00:01:20,460 --> 00:01:26,550 It is the altarpiece that is the inevitable choice for an enterprise of this kind. 14 00:01:26,550 --> 00:01:33,210 There are a number of reasons for this, but the principle one is that the drawings from the Monongah of the long neck 15 00:01:33,210 --> 00:01:39,480 represent an exemplary case study of the evolution of the artist's ideas, 16 00:01:39,480 --> 00:01:49,260 both with regard to issues of form and content. Whereas previous studies of the OP's piece have tended to focus either on its 17 00:01:49,260 --> 00:01:56,130 iconography or on the sequence of preliminary drawings for it in isolation. 18 00:01:56,130 --> 00:02:04,020 The approach adopted here is intended to show that the two are indissolubly linked. 19 00:02:04,020 --> 00:02:12,600 A document connected with the commissioning of the Madonna of the Long Magg, which is dated the twenty third of December 15 34, 20 00:02:12,600 --> 00:02:19,710 has generally been described as the contract that the altarpiece but is in fact some agreement involving Parmigiani, 21 00:02:19,710 --> 00:02:28,470 those friend, the architect Damiano P.E.T. to prepare the chapel for the altarpiece. 22 00:02:28,470 --> 00:02:33,300 It does not represent a permanent post KWEM for drawings. 23 00:02:33,300 --> 00:02:39,570 Not only because Parmigiani, they may have been commissioned to paint the altarpiece at a somewhat earlier date, 24 00:02:39,570 --> 00:02:48,710 but also because artists must habitually of executed drawings before winning contracts in order to win contracts. 25 00:02:48,710 --> 00:02:54,750 It names both the patroness of the altarpiece, Ellen Bialystok, 26 00:02:54,750 --> 00:03:05,220 who was the sister of To Niños great patron Magavern Lira Franchesco by Outro and Eleanore's late husband, Francesco Tallia Fairy. 27 00:03:05,220 --> 00:03:10,290 The fact that the number of considerable body of preparatory drawings for the altarpiece 28 00:03:10,290 --> 00:03:18,120 and or be it far less obviously the unfinished work itself includes Frances, 29 00:03:18,120 --> 00:03:28,330 or in the case of the altarpiece, at least, his right foot. That's his right foot. 30 00:03:28,330 --> 00:03:39,720 The to never got around to spending the rest, but we'll see. Drawing that connexion is just explained by his having been Francesco's named St. 31 00:03:39,720 --> 00:03:46,620 The discovery of Francesco's will, which was drawn up on the 19th of October fifteen twenty nine, 32 00:03:46,620 --> 00:03:52,770 tends to confirm this because it reveals that he in effect initiated the commission. 33 00:03:52,770 --> 00:04:00,240 He did so by enjoining his wife Eleanor, to see to the decoration of his chapel in the church of the Southey. 34 00:04:00,240 --> 00:04:07,980 Unusually, he did not specify how much money should be spent, but instead left it up to her discretion. 35 00:04:07,980 --> 00:04:12,990 The relevant clause reads as follows. And so they said, 36 00:04:12,990 --> 00:04:21,540 testator wills orders and decrees that the aforementioned lady and his wife 37 00:04:21,540 --> 00:04:32,070 can and should expand out of his moneys towards the adornment of the chapel. 38 00:04:32,070 --> 00:04:36,840 And the latter is in northern Maine, took up a left. 39 00:04:36,840 --> 00:04:44,610 So it was the adornment of the chapel, which is situated in the aforementioned Church of Santa Maria. 40 00:04:44,610 --> 00:04:59,870 Sadly, the quantity of money which the same lady, Elena, his wife, seems to be appropriate and that pleases her the. 41 00:04:59,870 --> 00:05:07,910 Word of men top in that document has a multitude of meanings, including Freyne. 42 00:05:07,910 --> 00:05:16,220 But in this context, it seems to refer the altarpiece as well as to a general remodelling of the chapel, clearly. 43 00:05:16,220 --> 00:05:27,260 And regardless of the exceptional leeway she was granted, a man was engaged in honouring what I like to describe as an act of testamentary patronage. 44 00:05:27,260 --> 00:05:35,090 In effect, the resulting altarpiece was a collaboration between the dead patron, his widow and the artist. 45 00:05:35,090 --> 00:05:37,790 But it is only through Pamina Janina's drawings, 46 00:05:37,790 --> 00:05:48,320 rather than many written instructions from Francesco Taleo Faery or Aaron by our bill that we are able to follow its progress. 47 00:05:48,320 --> 00:05:54,040 What must be the earliest extant drawing for the Madonna of the long neck on the left here? 48 00:05:54,040 --> 00:06:03,950 A design in the British Museum for around TopT altarpiece shows the virgin and child enthroned between Saints Jarome and Francis. 49 00:06:03,950 --> 00:06:11,960 By an odd chance, I am virtually certain it was the first work of art a I read Tributed in the early 1980s. 50 00:06:11,960 --> 00:06:15,150 It had been bought by the British Museum not long before. 51 00:06:15,150 --> 00:06:25,880 As the work of the artist's cousin by marriage and disciple Jerusalem a month so badly in order to fill a gap in the collections holdings. 52 00:06:25,880 --> 00:06:30,860 So it's upgrading was something of a mixed blessing. 53 00:06:30,860 --> 00:06:33,920 I mention this not to blow my own trumpet, 54 00:06:33,920 --> 00:06:42,260 but because it seems important to underline just how many significant works of Renaissance art paintings as well as drawings. 55 00:06:42,260 --> 00:06:48,500 I should perhaps add reappear, if not every day, then certainly every week. 56 00:06:48,500 --> 00:06:57,350 I grew up on a Pop HM's magisterial catalogue of Pamoja Niños drawings, which came out in nineteen seventy one. 57 00:06:57,350 --> 00:07:09,830 Since then, around 15 new drawings counting Raptor's and Vassos, separately for the Madonna of the long neck, have been added to the artist's corpus. 58 00:07:09,830 --> 00:07:17,270 No, indeed, since my own monograph on Pamela Geneina was published in Two Thousand and six to return 59 00:07:17,270 --> 00:07:23,210 to the drawing St Jerrems presence on the Virgin's proper and privileged right side, 60 00:07:23,210 --> 00:07:31,370 it's thus far unexplained. And while it may be tempting to suppose that Francesco Tallia Fairy had some relative brother, 61 00:07:31,370 --> 00:07:37,660 perhaps called Girolamo, it is worth noting that his father was called Ludovico. 62 00:07:37,660 --> 00:07:43,760 So it's not him. And also the gentleman Francis are frequently pad in Renaissance. 63 00:07:43,760 --> 00:07:50,540 Altarpiece is presumably as fellow permit's Saints compositionally. 64 00:07:50,540 --> 00:07:56,810 This drawing is extremely conventional and consciously echoes the scheme of Pamoja Niños. 65 00:07:56,810 --> 00:08:04,630 But the mystic marriage of some Katherine, which is the painting you're seeing of around fifteen twenty one, 66 00:08:04,630 --> 00:08:08,270 the Bannisters of the throne, the curving acts behind the figures, 67 00:08:08,270 --> 00:08:15,320 even the pages of the Christ child in reverse are all remarkably reminiscent and confirm the artist's tendency 68 00:08:15,320 --> 00:08:24,410 to treat his own previous serve as a kind of visual archive for January two new ideas Pamoja Nina transformed, 69 00:08:24,410 --> 00:08:29,480 this time beginning in all sorts of ways, but was to remain went. 70 00:08:29,480 --> 00:08:30,920 But amazingly enough, 71 00:08:30,920 --> 00:08:41,360 the manner in which the Virgin's head is tilted to one side was to remain a virtual constant all the way through until the painting itself. 72 00:08:41,360 --> 00:08:47,630 The fact that the design is so fully evolved, together with the meticulously finished nature of the drawing, 73 00:08:47,630 --> 00:08:53,120 have been taken as possibly suggesting that it was made to be shown to the patron. 74 00:08:53,120 --> 00:09:02,990 In fact, as I pointed out in my first lecture, too little is known about the ways in which artists presented ideas to potential or actual patrons, 75 00:09:02,990 --> 00:09:08,360 whether informally or in the guise of drawings and contracts for there to be any 76 00:09:08,360 --> 00:09:13,970 degree of certainty that such sheets were in the customarily highly finished. 77 00:09:13,970 --> 00:09:20,450 But what is clear is that this drawing must have been preceded by an unspecified number of far 78 00:09:20,450 --> 00:09:28,010 more sketchy attempts to establish the composition drawings by the artist for other projects, 79 00:09:28,010 --> 00:09:33,320 as well as later drawings from Madonna of the Long Neck, which will be discussed in due course, 80 00:09:33,320 --> 00:09:38,630 give a good indication of what these missing studies must have looked like. 81 00:09:38,630 --> 00:09:48,200 As a rule, they would have been executed in pen, although PAMA Janina's use of media was strikingly and regimented and freely executed. 82 00:09:48,200 --> 00:09:53,420 First ideas and chalk by no means unknown in his practise. 83 00:09:53,420 --> 00:09:59,730 A closely related drawing in the Albertina in Vienna, which is on the right here sometimes. 84 00:09:59,730 --> 00:10:10,200 Claimed as North Graph drawing. But on balance, probably no copy retains the rounded top and a basically unchanged arrangement. 85 00:10:10,200 --> 00:10:17,610 The lands head, which company saying Jerrems stolen cross in the British Museum drawing has disappeared. 86 00:10:17,610 --> 00:10:21,240 Jerram has acquired a forward brush quiff of hair. 87 00:10:21,240 --> 00:10:28,860 The virgin looks towards Francis rather than Jerram, and the Christ child is sitting in a more upright position in her lap. 88 00:10:28,860 --> 00:10:35,760 But the most significant modification concerns the setting in the Vienna drawing background. 89 00:10:35,760 --> 00:10:40,110 Foliage is visible through and beyond the colonnade of the Alps. 90 00:10:40,110 --> 00:10:45,150 And this signals the fact that the setting is now an outdoor one again. 91 00:10:45,150 --> 00:10:54,720 The sheet is painstakingly finished and the addition of watercolour washes wrap all green for the leaves and grass and sleep blue grey. 92 00:10:54,720 --> 00:11:04,050 The architecture and draperies adds an unwanted but not on that account in authentic native colour for the line. 93 00:11:04,050 --> 00:11:15,270 There also exist to drawings which you see here respectively, in Windsor and Ballu for the figure of St. Jerram. 94 00:11:15,270 --> 00:11:21,990 At this stage in the information of the design, the former, which is the black and white one, 95 00:11:21,990 --> 00:11:28,080 has what seems to be a study for a chapel on its reverse, which is above. 96 00:11:28,080 --> 00:11:37,320 But nothing survives in the Church of the Sauvie to allow us to say whether this has anything to do with the intended destination of the altarpiece. 97 00:11:37,320 --> 00:11:46,560 A third drawing in Red Chalk explores the figure in still greater detail and differs from the other two in showing him more 98 00:11:46,560 --> 00:12:02,310 fully clothed in another related drawing for the whole composition badly stained sheet executed in red chalk with sorry, 99 00:12:02,310 --> 00:12:07,710 I'm sorry. That's one filled here. Red chalk with white piping in the loop. 100 00:12:07,710 --> 00:12:12,810 The one on the right here, the rounded top seems to have been abandoned. 101 00:12:12,810 --> 00:12:16,200 Given that the altarpiece was going to be painted on panel, 102 00:12:16,200 --> 00:12:26,460 a final decision concerning whether the top was to be round or flat had to be taken before the panel maker actually constructed it. 103 00:12:26,460 --> 00:12:37,200 Additional figures appear behind the two scenes, and the one with St Jerome on the Vergence proper right is bearded and therefore uncomplicated male. 104 00:12:37,200 --> 00:12:45,560 While Francis's companion is less obviously female but does seem to boast a feminine carfare, 105 00:12:45,560 --> 00:12:51,980 Jérome no longer has his cross the attribute he initially had in common with Francis. 106 00:12:51,980 --> 00:13:01,410 And it could be argued that even at this early stage, Pamoja Neno is consciously beginning to differentiate between them. 107 00:13:01,410 --> 00:13:09,510 Turning finally, the Christ child. Instead of extending one of his hands in an entirely traditional gesture of benediction, 108 00:13:09,510 --> 00:13:15,240 he's now reaching up and back towards the upper edge of his mother's dress. 109 00:13:15,240 --> 00:13:22,590 And thus already Adam bracing the Madonna, the latter, the suppling motif, 110 00:13:22,590 --> 00:13:29,850 which is explored in a variety of later sheets before ultimately being abandoned. 111 00:13:29,850 --> 00:13:40,110 The urge to distinguish between the Saints is certainly apparent and what gives every indication of being the next drawing in the sequence. 112 00:13:40,110 --> 00:13:47,440 A study in the Accademia in Venice, which Popham compared drawings he believed were for the Bard, 113 00:13:47,440 --> 00:13:54,150 the altarpiece of fifteen twenty one and therefore dated the artist pre Roman period. 114 00:13:54,150 --> 00:14:02,550 In spite of the presence of Saints Jarome and Francis, as in the Madama of the Long Neck, 115 00:14:02,550 --> 00:14:08,790 that always made me suspect that this sheet was for the Madonna of the long neck. 116 00:14:08,790 --> 00:14:15,450 Although in theory, Pamoja Nina might have another commission for a Madonna with identical things, you're wrong. 117 00:14:15,450 --> 00:14:21,630 When the sheet was removed from its mound in the early 1980s for Sketchers, 118 00:14:21,630 --> 00:14:27,180 for the altarpiece were uncovered on its VASSO, which you see on the right here. 119 00:14:27,180 --> 00:14:36,420 These sketches belong to different moments in the sequence of preliminary drawings for the picture as it is customarily reconstructed. 120 00:14:36,420 --> 00:14:42,510 But that should not be construed as undermining the general validity of such exercises. 121 00:14:42,510 --> 00:14:51,150 Rather, it serves as a reminder that their inevitable over neatness must never be intended to conceal or deny 122 00:14:51,150 --> 00:14:59,570 the fact that a variety of visual ideas must often have been jockeying for position in artists minds. 123 00:14:59,570 --> 00:15:04,360 Thankfully, all four will be examined in due course, 124 00:15:04,360 --> 00:15:16,840 but only one tragically faint design of red chalk round top conception at bottom left, which I suspect you can hardly see. 125 00:15:16,840 --> 00:15:22,510 Alas, only one comes close to the recto while seeming to proceed it, 126 00:15:22,510 --> 00:15:29,320 since it does not yet show the figures on a diagonal moving in depth from left to right. 127 00:15:29,320 --> 00:15:37,690 Both, however, Jerrems sits cross-legged and looks away to his right on the recto skull in his right hand, 128 00:15:37,690 --> 00:15:42,160 while Francis kneels in the attitude found in the earlier drawings. 129 00:15:42,160 --> 00:15:50,900 The other notable innovations of the Recto, while the introduction of a stumpy ionic column upon which the Christ child is seated, 130 00:15:50,900 --> 00:15:57,700 and the inclusion of three supplementary figures who are evidently meant to be either angels or Puti, 131 00:15:57,700 --> 00:16:05,290 the notion of incorporating a column which once again harks back to the Bard domestic marriage was not pursued. 132 00:16:05,290 --> 00:16:11,570 By contrast, the angelic attendants are a major feature of the painting as executed, 133 00:16:11,570 --> 00:16:19,150 the experiment of topping the Virgin with a Pantheon style done with the Central Occulus found on the VASSO, 134 00:16:19,150 --> 00:16:25,210 which I really fear you cannot see with similarly without issue. 135 00:16:25,210 --> 00:16:38,410 Only two other drawings for the altarpiece place Gerrand on the left nearer to the picture plane than the Virgin and Child one which is on the right. 136 00:16:38,410 --> 00:16:46,450 Here is a small Panama sketch and we caught old institute gallery where he is once again standing. 137 00:16:46,450 --> 00:16:55,120 The other, drawing a metal point on a prepared white ground empowered map is a curious conception in which Jarome 138 00:16:55,120 --> 00:17:02,170 is lying on the ground with his nose plunged into his book and his left arm wrapped around his head. 139 00:17:02,170 --> 00:17:11,220 While the Christ child, his athletic pose borrowed from his counterpart in Rafael's Holy Family of France by Pommier, 140 00:17:11,220 --> 00:17:20,700 is suckling at his mother's breast. At this stage, therefore, the artist undeniably intended to show the Virgin as a Madonna, 141 00:17:20,700 --> 00:17:27,370 Lactaid and iconography by no means without precedent in the context of altarpiece. 142 00:17:27,370 --> 00:17:35,050 Crucially, it is this sheet which introduces the attitude of the virgins left arm as it remained 143 00:17:35,050 --> 00:17:45,850 in the picture and which also explains that its origins were strictly pragmatic. 144 00:17:45,850 --> 00:17:52,180 Another extremely schematic wrang top design on the Accademia vast. 145 00:17:52,180 --> 00:17:58,060 So at the bottom right, which is executed in spidery pan and brown ink, 146 00:17:58,060 --> 00:18:04,510 is almost identical in conception to a drawing in Ottawa, which you see on the right here. 147 00:18:04,510 --> 00:18:10,480 Were it not for the fact that the figure of St. Jarome in the middle ground is reading in the form. 148 00:18:10,480 --> 00:18:21,340 But has his arms folded, folded across his breast in the latter? It would be hard to resist describing the one as an enlarged fair copy of the other. 149 00:18:21,340 --> 00:18:26,680 In the Ottawa version, a nude winged angel is clearly represented, 150 00:18:26,680 --> 00:18:33,700 receiving the Christ child from the Virgin and the flight of steps leads up to an ionic temple 151 00:18:33,700 --> 00:18:42,460 in the background and allows one to decipher the corresponding passages of the Venetian vessel. 152 00:18:42,460 --> 00:18:52,840 There also exists a small panel study for the angel, which is in the middle here, no doubt extracted from a once much larger sheet of studies, 153 00:18:52,840 --> 00:19:01,120 a parallel conception in which the angel is substituted by a young saint, John the Baptist, 154 00:19:01,120 --> 00:19:09,500 and the format is rectangular, is found in an inspired drawing in red chalk, which you see in the middle here. 155 00:19:09,500 --> 00:19:19,450 The re-emerged as recently as 2009. The invention was previously only known in the form of a double copy in Pendant Bosch in the Loop, 156 00:19:19,450 --> 00:19:28,140 both the kneeling pose of the Baptist and the way he points back over his shoulder derived from his counterpart in Pommer Janina's vision of. 157 00:19:28,140 --> 00:19:32,620 Jeremy old piece in the National Gallery, which you see on the right here. 158 00:19:32,620 --> 00:19:37,420 The point and gesture ultimately derives from Leonardo by way of Rafil. 159 00:19:37,420 --> 00:19:47,080 But there are other Parmigiani no drawings in which it is found that may perhaps be connected with the altar piece. 160 00:19:47,080 --> 00:19:54,910 One of these is known through a leaf etching and shows the boy Baptiste with the Lamb of God. 161 00:19:54,910 --> 00:19:59,730 While the less exact version of the pose is repeated twice in Pam. 162 00:19:59,730 --> 00:20:08,830 On a sheet in Windsor, which you see on the right here, these latter studies are unlikely today from much before the 10th of May. 163 00:20:08,830 --> 00:20:16,280 Fifteen thirty one since they are on the VASSO of a design for the coronation of the Virgin Parmigiani. 164 00:20:16,280 --> 00:20:22,920 And I was commissioned to Fresco for the acts of the Church of Santamaría of Elastic Carter on that day. 165 00:20:22,920 --> 00:20:28,170 Conversely, there is no proof that the drawing does not date from years later, 166 00:20:28,170 --> 00:20:36,630 although it has to be admitted that there is an equal absence of evidence that these sketches were executed with the altarpiece in mind. 167 00:20:36,630 --> 00:20:41,250 It is at least as likely that they were conceived of as independent studies, 168 00:20:41,250 --> 00:20:49,110 although the inclusion of the lamb is not of itself a point against the connexion with the Madonna of the long neck, 169 00:20:49,110 --> 00:20:57,360 since it companies the Infant Baptist and an eccentric and wash study for the painting in Rotterdam, 170 00:20:57,360 --> 00:21:03,530 which is the one on the left here, and which I'm pairing with another distinctly anomalous study. 171 00:21:03,530 --> 00:21:11,490 If the altarpiece, which likewise shows the virgin impure creature, the Young Baptist, 172 00:21:11,490 --> 00:21:19,080 goes on to appear in a number of other sheets, definitely for the altarpiece, 173 00:21:19,080 --> 00:21:25,830 the most developed as a study in red chalk over stylus indentations in the loof on the right here, 174 00:21:25,830 --> 00:21:31,890 which is extremely similar in design to the new drawing just discussed on the left. 175 00:21:31,890 --> 00:21:38,010 The only difference of any consequence being that following what by this date was the traditional 176 00:21:38,010 --> 00:21:45,930 iconography the Christ child appears to be reaching out for or grasping the Baptist's cross. 177 00:21:45,930 --> 00:21:49,770 This also seems to be the case in yet another drawing, 178 00:21:49,770 --> 00:22:03,690 in the move again in Red Chalk in which the Virgin is studied twice and the infant Savir sits unusually upright on his mother's lap. 179 00:22:03,690 --> 00:22:10,070 Between them, I'm showing you a pen drawing in the Getty with fragmentary studies of the head of the Virgin, 180 00:22:10,070 --> 00:22:18,960 the colonnade beyond and the profile head of one of the attempt women in the middle distance of the new drawing, the one on the left. 181 00:22:18,960 --> 00:22:24,240 The fact that the Baptist and the Angel were alternative iconographic possibilities 182 00:22:24,240 --> 00:22:32,370 concurrently is graphically demonstrated by the existence of two small scale drawings. 183 00:22:32,370 --> 00:22:38,700 One on the left and the academic. The son Mando in Madrid and the other in the middle. 184 00:22:38,700 --> 00:22:50,620 In the Folk Art Museum in Cambridge, Mass. Which both showed Virgin and Child Group almost identically with the two respective options. 185 00:22:50,620 --> 00:22:59,400 Both are around 12 centimetres high, and this may well have been the artist's approximate standard size for the area for thinking drawings. 186 00:22:59,400 --> 00:23:07,980 At this juncture, the format consists exclusively of the figure group and is freely executed in black chalk. 187 00:23:07,980 --> 00:23:15,300 The infant Baptiste's has been severely crocked as a result of the sheets having been trimmed down at some point in its history. 188 00:23:15,300 --> 00:23:20,580 But enough remains to confirm that his pose is essentially unchanged. 189 00:23:20,580 --> 00:23:25,580 The same cannot be said of the virgin and child. 190 00:23:25,580 --> 00:23:27,120 The form is bent back. 191 00:23:27,120 --> 00:23:37,500 Arm has now been transferred from left to right and is only in part associated with the idea of suckling her child while he now adopts a more complex, 192 00:23:37,500 --> 00:23:47,700 twisting attitude. This stage in the evolution of the composition is also recorded in a wiry, energetic little pen drawing, 193 00:23:47,700 --> 00:23:58,130 which I'm showing you on the right ear and in a large scale sheet in the private collection on the left. 194 00:23:58,130 --> 00:24:00,630 Here again, in Black Chalk, 195 00:24:00,630 --> 00:24:12,840 which only includes the virgin and child pen drawing was unknown to pop and whereas the latter the chalk drawing was accepted by him. 196 00:24:12,840 --> 00:24:15,270 Does not name to me in the original, 197 00:24:15,270 --> 00:24:26,010 but gives the impression of being a reliable old copy in which the anxious security of the Virgin's expression is particularly weak. 198 00:24:26,010 --> 00:24:33,150 The most fascinating thing about this power, however, is the fact that the Chalkie is an enlarged but modified, 199 00:24:33,150 --> 00:24:42,810 tidied up version of the PEN sketch and another comparable pair of drawings suggests this was Parmigiani nose usual practise. 200 00:24:42,810 --> 00:24:55,740 In any event, in any event, in connexion with this project, a Double-Sided Sheet in Stockholm, I'm showing you the recto on the right here. 201 00:24:55,740 --> 00:24:59,520 Additionally demonstrates that there could be. 202 00:24:59,520 --> 00:25:06,330 Media stages between these two phases, the Recto, which you see here, 203 00:25:06,330 --> 00:25:17,790 consists of a partial study of the same figure group with such emendations as the child no longer stretching out his arm, but is otherwise very close. 204 00:25:17,790 --> 00:25:29,730 While the Vasso contains a large scale but notably less complete study of the figure, the group together with a close up of a hand. 205 00:25:29,730 --> 00:25:39,840 This is more of an oddity than it man first appeared to be because it is the left hand and therefore only in part preparatory for the picture. 206 00:25:39,840 --> 00:25:48,060 Where, however, there is indeed a marked division between the index and middle fingers of that hand hand, 207 00:25:48,060 --> 00:25:56,760 it actually corresponds to exactly if the sheet is turned upside down. 208 00:25:56,760 --> 00:26:03,690 Is the left hand of the Virgin in the artist's Madonna. De la Rosa, which you see here in Dresden. 209 00:26:03,690 --> 00:26:14,360 And it's then in essence repeated in the Madonna of the long neck will be reversed and turn through 90 degrees, returning to the funk. 210 00:26:14,360 --> 00:26:21,480 She's the one in the middle here, which is mostly brown watch with only sporadic pen lines. 211 00:26:21,480 --> 00:26:27,040 The Virgin is almost identical to her opposite number in the Madrid drawing, 212 00:26:27,040 --> 00:26:35,400 does less frontal and looks further away to her left while the child appears to turn his back on us to suckhole. 213 00:26:35,400 --> 00:26:41,170 But at the same time extend his left hand towards the angel. 214 00:26:41,170 --> 00:26:44,520 The profile angel. By contrast, is wholly new. 215 00:26:44,520 --> 00:26:53,400 Proffering his vessel and boasting a huge extended win comes remarkably close to his appearance in the painting. 216 00:26:53,400 --> 00:27:03,930 That of itself suggests that a number of surviving drawings, which will be discussed later, may well have intervened before this stage was reached. 217 00:27:03,930 --> 00:27:08,790 Beyond the figure of the permanent cloth of Vonna is more extensive than before, 218 00:27:08,790 --> 00:27:15,060 and the awful lot of columns of the temple is more clearly defined and differs from its precursors in 219 00:27:15,060 --> 00:27:25,560 having a Corinthian or composite order as opposed to an ionic one in a rapid pen sketch in Stockholm, 220 00:27:25,560 --> 00:27:34,340 which you see on the right here. Both the Baptist and the Angel seem to be included with the format being drawn over the latter 221 00:27:34,340 --> 00:27:39,930 and the charge is shown in some sort of communion with them on his mother's right thigh. 222 00:27:39,930 --> 00:27:44,490 The angel is shown nude, presumably to establish his pose, 223 00:27:44,490 --> 00:27:49,200 rather than because he was ever intended to remain unclaimed in the painting 224 00:27:49,200 --> 00:27:55,130 and does not yet hold what the Saria refers to as his order from the Stylo. 225 00:27:55,130 --> 00:28:07,530 His crystal, which is conceivably first introduced in a very damaged scribble, which you are seeing on the right here in Naples. 226 00:28:07,530 --> 00:28:12,900 That is honestly a Parmigiani no drawing. Forgive me for not P4P. 227 00:28:12,900 --> 00:28:18,660 The meaning of this vessel, which is far from straightforward, will be explored more fully in due course. 228 00:28:18,660 --> 00:28:30,810 But the most arresting aspect of its appearance in the altarpiece has also remarked upon by the sari is the inclusion of a cross form. 229 00:28:30,810 --> 00:28:37,830 This particular is already visible in some of the drawings, but most palpably in a highly worked, 230 00:28:37,830 --> 00:28:43,560 if in parts incomplete red chalk drawing in the move which are seeing here, 231 00:28:43,560 --> 00:28:50,960 which is arguably the most beautiful as well as the most punctilious touches of partially off state of white painting. 232 00:28:50,960 --> 00:28:58,480 Bear witness to this exactitude, most punctilious of all the studies from the Madonna of the long neck. 233 00:28:58,480 --> 00:29:04,500 It is just less than 20 centimetres high and in conjunction with the other extant, 234 00:29:04,500 --> 00:29:14,820 more or less finished chalk studies for the altarpiece indicates the Palmer Janina was making the measure about 20 to 25 centimetres in height, 235 00:29:14,820 --> 00:29:24,700 which is about twice the size of his pen pencil. Yet here it is, the child who is only half drawn in roughly up to his navel. 236 00:29:24,700 --> 00:29:37,110 He appears to be reclining more than sitting in his mother's lap, a fair distance from her very prominent and seemingly exposed left breast. 237 00:29:37,110 --> 00:29:45,600 As for the angel, he is less upright than in the painting or indeed the fold drawing and explicitly points. 238 00:29:45,600 --> 00:29:51,510 And the cross with his left hand while holding the vessel underneath with his right. 239 00:29:51,510 --> 00:29:59,560 By contrast. And the altarpiece, he envelops its circular foot with his left hand and supports its upper. 240 00:29:59,560 --> 00:30:08,500 With his elegantly splayed right hand, the loose drawing also clarifies the fact that at this stage, 241 00:30:08,500 --> 00:30:18,010 the architectural order is intended to be composite and emphasise that the raised plinth on which the Virgin is seated, 242 00:30:18,010 --> 00:30:27,730 as well as the three exceptionally shallow steps surrounding the temple beyond in all the drawing is considered. 243 00:30:27,730 --> 00:30:33,220 Thus far, the Christ child has been, broadly speaking, in his mother's lap or arms. 244 00:30:33,220 --> 00:30:45,190 But it was around this stage that Pamoja Neno explode the idea of just encumbering her small scale Pamplin wash scatch for the whole composition, 245 00:30:45,190 --> 00:30:51,220 even including Raef like Background Saints. And the move which you see here, 246 00:30:51,220 --> 00:31:01,000 is exactly the same character as the fog sheet discussed earlier on and shows the Virgin seated with two children at her feet. 247 00:31:01,000 --> 00:31:10,060 One of the children, either the Infant Baptist or an angel, is holding the vessel, while the other, who is presumably Christ, 248 00:31:10,060 --> 00:31:17,620 seems to be trying to remove it from his grasp and looks back and up in profile of the Virgin, 249 00:31:17,620 --> 00:31:24,820 as if seeking her approval or signifying his wish to present the vessel to her. 250 00:31:24,820 --> 00:31:32,980 She, in her turn, looks down towards the children and extends her right arm listlessly in their direction while her 251 00:31:32,980 --> 00:31:41,150 left arm remains folded back on itself in the by now familiar attitude beyond the foreground group. 252 00:31:41,150 --> 00:31:46,330 The second on fill out of columns is more clearly visible than in any other study. 253 00:31:46,330 --> 00:31:52,390 And there is a Trajan's column style spiral on the formation columns. 254 00:31:52,390 --> 00:32:03,640 What is more and this was to prove the short lived innovation. Second, Curth or cloth of honour is shown hanging down to the right. 255 00:32:03,640 --> 00:32:07,090 What might be dubbed the chalk fat copy of this sketch. 256 00:32:07,090 --> 00:32:17,640 In this instance, in red chalk and rather frère in touch than some of its fellows has recently re-emerged and reveals only minor differences. 257 00:32:17,640 --> 00:32:23,300 The vergence left hand is in her lap the child's pose as more of a control posture. 258 00:32:23,300 --> 00:32:34,480 His head is more frontal and he's plainly pointing out the cross schematically represented on the vessel as the Maloof Pensky Vieira. 259 00:32:34,480 --> 00:32:43,320 She looks down to her right, but it should be stressed that they are virtually unique having this orientation. 260 00:32:43,320 --> 00:32:50,060 The Vasso of this new sheet comprises a rough mirror image of the virgin and child of the rector. 261 00:32:50,060 --> 00:32:58,300 But there are numerous changes and it is additionally executed in panch Parmigiani Nethers reverted to the folded arms gesture. 262 00:32:58,300 --> 00:33:08,050 This time necessarily at the right time. Since Mary now looks to her left and the child is shown half lying in her lap, 263 00:33:08,050 --> 00:33:14,650 while at the same time half stretching up towards her breast, which seems to be exposed. 264 00:33:14,650 --> 00:33:20,080 The area around the Virgin's left elbow, within which the child's head is Crookes, 265 00:33:20,080 --> 00:33:26,630 represents the most spontaneous and undecided pen work on the sheet and gives one a real sense of panic. 266 00:33:26,630 --> 00:33:32,260 Janina engaged in the graphic equivalent of thinking lined. 267 00:33:32,260 --> 00:33:37,540 These two drawings are not the only ones in which the Christ child is shown. 268 00:33:37,540 --> 00:33:47,530 Standing beside the Virgin to them may be added a little pendant drawing on the left here in the Goldman collection in Chicago, 269 00:33:47,530 --> 00:33:56,260 which is uncontroversially for the Madonna of a long neck and a pen and wash sheet in the wake of the bazaar in Paris, 270 00:33:56,260 --> 00:34:03,010 which is the middle one here, which has not previously been associated with it in the former. 271 00:34:03,010 --> 00:34:12,010 There was an explosion of pen lines around the vergence left thigh may indicate an alternative option for the Christ child, 272 00:34:12,010 --> 00:34:23,110 but its main oddity is the two figures behind to the main group, to the left, who may be intended for Francis and Gerard in the latter. 273 00:34:23,110 --> 00:34:28,270 The metal drawing and the standing Christ child in the kneeling in Baptista, cradling a lamb. 274 00:34:28,270 --> 00:34:37,060 Christ is leaning against an indeterminate fall in the reproductive prints after the she made later on, 275 00:34:37,060 --> 00:34:42,430 it was turned into a rock, but it is more likely to be the Virgin's right leg. 276 00:34:42,430 --> 00:34:50,920 Not least since the drawing makes more sense as a detail from a larger hole than as an independent composition. 277 00:34:50,920 --> 00:34:59,400 A third sheet on the right here, a red chalk fragment, and the move shows the angel in folding the vulnerable. 278 00:34:59,400 --> 00:35:09,500 Naked. Christ child and the vessel, while at the same time looking up to the Virgin and pointing back at the earth here to the Virgin is no more 279 00:35:09,500 --> 00:35:19,010 than an implied presence to further studies rediscovered since the publication of Papuans Parmigiani Corpus. 280 00:35:19,010 --> 00:35:28,400 Show the angel with the urn and a child who must again be Christ in one on the left here. 281 00:35:28,400 --> 00:35:35,450 A small pan and wash scatch in Munich, the Virgin is shown full length and unusually full face, 282 00:35:35,450 --> 00:35:41,120 with her right hand folded back over her breast and the left hand in her lap with the angel approaching. 283 00:35:41,120 --> 00:35:46,010 And an attitude is very similar to that found in the painting is executed. 284 00:35:46,010 --> 00:35:54,590 He's holding the Christ child, who in his turn is carrying the urn here for the first time with a very pronounced spanked. 285 00:35:54,590 --> 00:36:03,860 And there is a second angel beyond who also corresponds to his counterpart in the altarpiece in an even smaller ritual scrap. 286 00:36:03,860 --> 00:36:12,610 And I'm sorry, it's a blurry which is mounted together with another study in the same technique for the angel on his own. 287 00:36:12,610 --> 00:36:17,590 It is the child who looks up towards his mother and points back at the end. 288 00:36:17,590 --> 00:36:25,610 In neither case is that any indication of a cross, whether on or indeed within the urn. 289 00:36:25,610 --> 00:36:34,910 But this submission should not necessarily be regarded as significant to other drawings. 290 00:36:34,910 --> 00:36:39,560 One on the left here in Budapest, executed in Pan Am, Wash. 291 00:36:39,560 --> 00:36:47,510 On Pink White Paper. The answer? An old copy in a similar technique in the Louv on the right here. 292 00:36:47,510 --> 00:36:57,200 Both include parrot genuflecting angels and show the cross plainly marked in the form of the child, 293 00:36:57,200 --> 00:37:03,770 and partially his outstretched right leg is indicated on the Virgin's lap. 294 00:37:03,770 --> 00:37:11,090 Whereas in the Louv copy, the angels are studied in isolation. 295 00:37:11,090 --> 00:37:18,950 All the remaining drawings connected with the altarpiece. I have to show the virgin and child all one or the other. 296 00:37:18,950 --> 00:37:25,090 Or alternatively, the two sense in the background, either together or singly, 297 00:37:25,090 --> 00:37:35,040 it is consequently impossible to be sure how the varying attitudes of the central figures were intended to be related to the subsidiary figures, 298 00:37:35,040 --> 00:37:38,630 and especially for the personnel to their proper right. 299 00:37:38,630 --> 00:37:46,970 Not to mention whether those figures were meant to consist of the Baptist, a single angel or a group of angels. 300 00:37:46,970 --> 00:37:51,410 It seems plausible to argue that one of the reasons why Parmigiani may may have elected, 301 00:37:51,410 --> 00:37:58,460 studied the different elements of the composition in isolation was precisely that this this you did 302 00:37:58,460 --> 00:38:06,740 not need to be addressed and that a multiplicity of combinations of figures could be envisaged. 303 00:38:06,740 --> 00:38:15,050 What is striking, furthermore, is the number of stages in the evolution of the design that must be missing. 304 00:38:15,050 --> 00:38:18,890 Thus, the instance only the most obvious lacuna. 305 00:38:18,890 --> 00:38:27,590 There is not a single drawing that shows the group of attendant angels who accompanied the principal angel holding the vessel. 306 00:38:27,590 --> 00:38:40,300 In addition, it is only in Madrid drawing that I showed you that he's represented standing up as in the painting, as opposed to kneeling. 307 00:38:40,300 --> 00:38:46,050 Yeah, we can move on to that. But even then, there is no trace. 308 00:38:46,050 --> 00:38:53,840 Prominent and uncovered right leg, which is such a remarkable feature of the work as executed. 309 00:38:53,840 --> 00:39:01,490 That idea is only adumbrated in the pen drawing in Stockholm, which you see on the right here, 310 00:39:01,490 --> 00:39:07,070 again, where its exposure is without significance because the figure is new. 311 00:39:07,070 --> 00:39:16,460 Similarly, there are whole categories of drawing, such as very detailed head studies that are known in the artist's practise more generally, 312 00:39:16,460 --> 00:39:21,650 but are simply not represented amongst the extant drawings for this project. 313 00:39:21,650 --> 00:39:28,400 Furthermore, while there is no evidence that Angelino made a full scale top tunes for this work, 314 00:39:28,400 --> 00:39:36,230 it is hard to imagine that he did not prepare the heads with inordinate thoroughness. 315 00:39:36,230 --> 00:39:47,240 Moreover, in the case of the angel who you see on the right here, who is related to the so-called and Tayah in Naples, 316 00:39:47,240 --> 00:39:52,580 which is the portrait I'm you on the left and the detail of the head of it would saved him 317 00:39:52,580 --> 00:39:59,170 a great deal of trouble if he was working from a pre-existing head study when it comes. 318 00:39:59,170 --> 00:40:13,920 The head of the Virgin, its relationship with the red chalk heads study with an admittedly slightly shorter neck after the MTC, which is the drawing. 319 00:40:13,920 --> 00:40:23,140 You see here this drawing sometimes thought to derive one of the sons of Larcom in the celebrated group in Rome. 320 00:40:23,140 --> 00:40:27,550 I don't believe that the connexion between these two heads either way, 321 00:40:27,550 --> 00:40:38,590 can hardly be doubted in one of the pen scribbles on the Vasso of the Accademia drawing, and you're seeing it on the left massively blown up. 322 00:40:38,590 --> 00:40:44,380 The Christ child's head is to the left of the composition and he's lying down. 323 00:40:44,380 --> 00:40:49,780 But otherwise he invariably faces in the opposite direction. 324 00:40:49,780 --> 00:40:55,930 In contrast, the more animated conception is considered thus far, almost without exception, 325 00:40:55,930 --> 00:41:05,500 all the detailed drawings of him with his mother or alone, either at her breast or asleep on lap. 326 00:41:05,500 --> 00:41:11,640 The iconography of the Virgin with the sleeping Christ child whose sleep was explicitly meant, 327 00:41:11,640 --> 00:41:19,960 foreshadowed the sleep of death and whose pain is so often consciously echoes that the adult saviour and images of the dark, 328 00:41:19,960 --> 00:41:30,310 like the presentation of the Virgin of the Madonna. The latter was by no means a novelty by this date. 329 00:41:30,310 --> 00:41:43,300 It is incontrovertibly represented in two closely related pendent drawings on pink tinted paper in the British Museum, which I am showing you here, 330 00:41:43,300 --> 00:41:56,440 which were perhaps originally parts of a single sheet and in a third double sided sheet in Stockholm, which you see on the right here. 331 00:41:56,440 --> 00:42:02,940 One side of it, which comprises four distinct repetitions of the Virgin's torso, 332 00:42:02,940 --> 00:42:08,340 is technically unusual by virtue of its combination of red and black chocks with pen. 333 00:42:08,340 --> 00:42:12,660 And the point of a brush in almost all of these studies, 334 00:42:12,660 --> 00:42:22,180 the Virgin's folded back right hand seems to be pulling her dress to one side to reveal her left breast. 335 00:42:22,180 --> 00:42:32,680 By comparison, the sleeping or in any event, reclining child is found on a significantly larger number of sheets. 336 00:42:32,680 --> 00:42:44,470 These include two smallish pen drawings, one top left here, Budapest and the other bottom left, and the move again, 337 00:42:44,470 --> 00:42:53,600 both on tainted paper, in both of which the child appears to be awake and is shown looking a way to his left. 338 00:42:53,600 --> 00:43:04,720 A more substantial drawing in the Morgan Library in New York has a study of the Vergence torso and wash on its Vasso that's on the right here. 339 00:43:04,720 --> 00:43:10,810 This is extremely close in character to the studies in the British Museum in Stockholm just discussed. 340 00:43:10,810 --> 00:43:22,060 But its main interest is a far more resolved study in red chalk over stylus, which is in the middle here on its recto. 341 00:43:22,060 --> 00:43:32,050 This is probably somewhat truncated at the top, but may well never have included the Virgin's head in any detail and is striking the way in which 342 00:43:32,050 --> 00:43:39,820 her body acts as a kind of misty backdrop for the far more fully worth sleeping Christ child. 343 00:43:39,820 --> 00:43:46,660 His left ha hangs lifelessly down in anticipation of the painted version. 344 00:43:46,660 --> 00:43:56,650 Two major differences between them are that he has a full head of hair and that his right arm is not visible, 345 00:43:56,650 --> 00:44:07,150 whereas it is stretched out vertically in the altarpiece. Stay with that for a second. 346 00:44:07,150 --> 00:44:18,340 His overall Poes is also more outright with the position of his legs corresponding to that found in the highly polished loop drawing referred to above 347 00:44:18,340 --> 00:44:26,920 another even bigger double-sided drawing connected with the later stages of the composition's evolution is in the Huntington Library in San Marino, 348 00:44:26,920 --> 00:44:37,810 California. It's Vasso, which I am not showing contains a running figure of Ganymede, while its recto which you see here again, 349 00:44:37,810 --> 00:44:45,970 black and red chalk is given over to a whole mass of studies for the Madonna of the long neck. 350 00:44:45,970 --> 00:44:53,530 The upper half of the sheet consists of two complete and two partial nude studies perversions, torso and legs, 351 00:44:53,530 --> 00:44:58,860 which are two schematic for it to be possible to judge whether they were drawn from the life. 352 00:44:58,860 --> 00:45:11,430 Together with five studies of her uncovered left leg or foot, the most detailed of these. 353 00:45:11,430 --> 00:45:20,370 Is painstakingly copied from the sound old left foot of the Apollo bell for dairy, 354 00:45:20,370 --> 00:45:26,600 while the others are seemingly drawn from opposed model in the picture as executed, 355 00:45:26,600 --> 00:45:32,850 the virgins left foot ends up being almost wholly freighted in shadow. 356 00:45:32,850 --> 00:45:42,840 But this is entirely characteristic of Parmigiani. Emotion reveal a virtually limitless capacity for taking pains in his preparatory studies. 357 00:45:42,840 --> 00:45:48,000 The lower half of the sheet turned. 358 00:45:48,000 --> 00:45:51,990 It obviously is a line 90 degrees. 359 00:45:51,990 --> 00:46:05,610 The upper part conceivably along an original fold and includes two evanescent and all but invisible red chalk sketches for the sleeping Christ child. 360 00:46:05,610 --> 00:46:11,520 He has seen in an intermediate altitude between the more upright Morgan's solution 361 00:46:11,520 --> 00:46:21,510 and the total abandon of the altarpiece in both a tiny Pens sketch in the Getty, 362 00:46:21,510 --> 00:46:22,740 which is the bottom right. 363 00:46:22,740 --> 00:46:32,850 Whose Vasso you saw earlier and the far more involved and extensively prepped drawing in the private collection, which is left and centre. 364 00:46:32,850 --> 00:46:40,260 Christ right arm is wrapped around his head in an attitude which is denoted sleep since classical times and 365 00:46:40,260 --> 00:46:46,650 had previously been employed by Pamoja Neno for the figure of Jarome in his National Gallery altarpiece. 366 00:46:46,650 --> 00:46:54,750 This second, Cheves was recently removed from its mind, and the hitherto unknown tracing was revealed on its Vasso. 367 00:46:54,750 --> 00:46:59,960 That's what you see in black and white, above all, concentrated upon the Christ child. 368 00:46:59,960 --> 00:47:03,390 He has also more worked up than the rest of the rector. 369 00:47:03,390 --> 00:47:09,010 But here the Virgin is fully represented in delicate washes, applied with the point of the brush past. 370 00:47:09,010 --> 00:47:14,300 The colonnade is even shown beyond. In spite of the difference of technique, 371 00:47:14,300 --> 00:47:23,490 pieces of four figures are once again almost identical to those of their counterparts in the highly worked read shop study in the Louvre, 372 00:47:23,490 --> 00:47:33,570 which I showed you earlier. As stated, the present drawing is extensively PreK, but it is important to recognise that this prickling, 373 00:47:33,570 --> 00:47:42,880 which is easier to read on the last thing in LASO, does not invariably follow the drawn contours of either side. 374 00:47:42,880 --> 00:47:48,960 This. Instead, it must be a record of yet another PreK design, 375 00:47:48,960 --> 00:47:57,900 as is most apparent in such passages of pricking as those that define the internal modelling of Virgin's torso and the child. 376 00:47:57,900 --> 00:48:06,610 The even more the cushions that the Virgin's feet, which are pricked but not actually drawn in at all, 377 00:48:06,610 --> 00:48:13,410 is only in the final Penman's sketch on the Accademia Vasso here on top right 378 00:48:13,410 --> 00:48:18,540 that Parmigiani no tentatively explores the possibility of showing Christ. 379 00:48:18,540 --> 00:48:27,390 Right arm outstretched in such a way that his pose comes to mirror the cross on the earth. 380 00:48:27,390 --> 00:48:34,560 As with so many other elements of the evolving iconography of the work, and this is a point to which I will return. 381 00:48:34,560 --> 00:48:41,760 One has a sense that the artist only arrived at the solution gradually and almost painfully. 382 00:48:41,760 --> 00:48:50,970 The remaining drawings are from the pad figures of Saints Francis and Joe in the earliest studies for the whole composition. 383 00:48:50,970 --> 00:48:56,700 It is possible to trace their gradual withdrawal into the distance in all of these sheets. 384 00:48:56,700 --> 00:49:01,000 However, one of them is invariably further removed than the other, 385 00:49:01,000 --> 00:49:07,830 and it is not clear at which juncture Parmigiani are determined to re unite them on an equal footing. 386 00:49:07,830 --> 00:49:14,610 When he did so, he employed perspectival recession to subordinated them and conceived of them on 387 00:49:14,610 --> 00:49:21,330 an unprecedentedly diminutive scale for the principle sense and an altarpiece. 388 00:49:21,330 --> 00:49:28,200 The result is that their reduced scale is suggestive of the figures of donors or subsidiaries. 389 00:49:28,200 --> 00:49:37,370 Thanks on much older pieces, although some commentators have been unnecessarily tentative about their identities. 390 00:49:37,370 --> 00:49:43,100 There's no reason to doubt that they were intended to feature in the altarpiece from first to last, 391 00:49:43,100 --> 00:49:53,160 and Jarome is even shown with his lione in one pen fragment in the loof, which is the metal drawing here. 392 00:49:53,160 --> 00:50:00,780 Gerrand is almost unfailingly represented either with the book or ultimately with the scroll as on the left here. 393 00:50:00,780 --> 00:50:11,190 And the final conception involves some expanding on its contents to the by now subordinate figure of some Francis in a particularly. 394 00:50:11,190 --> 00:50:19,710 Bold conception on the left here, which he explored twice on the Pan Am, throwing in the Smolan, 395 00:50:19,710 --> 00:50:24,800 which is currently on display in the museum and in the drawing in the Ft. 396 00:50:24,800 --> 00:50:37,020 Sea, which you see on the right here. The artist experimented with the notion of showing Joram from the rear so that his face was all but invisible, 397 00:50:37,020 --> 00:50:46,140 briefly toyed with the notion of him resting his right hand on his hand in a pensive gesture, 398 00:50:46,140 --> 00:50:57,030 but also concerned that the possibility of Harring having Jérome adopt a declamatory Allen take a stance as seen in a quick 399 00:50:57,030 --> 00:51:08,250 but disciplined pen study in Palmer on the left here and took the idea seriously enough to have a nude model repeat the pose. 400 00:51:08,250 --> 00:51:17,160 The result is the centre drawing. Here was the largest surviving drawing field, QIf Castle Academy in Red Chalk, 401 00:51:17,160 --> 00:51:24,260 whose classical credentials made particularly apparent when it is compared with a fragmentary bronze, 402 00:51:24,260 --> 00:51:32,360 a Roman emperor in Houston dating from this period of the virus. 403 00:51:32,360 --> 00:51:36,180 The Houston bronze was certainly not Parmigiani. 404 00:51:36,180 --> 00:51:43,230 No sauce, not yet having been excavated, but is a common a nice example, 405 00:51:43,230 --> 00:51:49,010 Zorya of a common type ultimately derived from the celebrated statue of Alexander the Great. 406 00:51:49,010 --> 00:52:01,440 By myself. In the end, however, Jeremy's attitude in the painting is almost identical to that found in the most substantial of the three 407 00:52:01,440 --> 00:52:09,420 studies on the Ashmolean drawing and on what looks to be an autograph studying black chalk on blue paper, 408 00:52:09,420 --> 00:52:11,910 which is what you see on the right here, 409 00:52:11,910 --> 00:52:19,530 which I find courtesy of Google when applying the finishing touches to this lecture and therefore rather frustratingly as work. 410 00:52:19,530 --> 00:52:30,170 I do not know when the original Parmigiani, the restudy, the bearded head and upper torso of St. 411 00:52:30,170 --> 00:52:34,920 Jeremy Red chalk on the other side of the Ashmolean sheet. 412 00:52:34,920 --> 00:52:45,600 The two figures do nevertheless differ in one significant respect, because in the altarpiece, Jeremy is both bold and beardless. 413 00:52:45,600 --> 00:52:52,410 There are, of course, numerous other Italian Renaissance artists book portrayed and thus. 414 00:52:52,410 --> 00:52:57,990 But it is typical of Parman Janina to make this change of plan at the 11th hour. 415 00:52:57,990 --> 00:53:05,340 This decision may once again have been inspired by an urge to differentiate between the two things. 416 00:53:05,340 --> 00:53:13,200 It is impossible to be sure, though, since the figure of Saint Francis, who is invariably bearded in the drawings, 417 00:53:13,200 --> 00:53:19,140 is one of the least finished elements of the painting, as I shared with only his ghostly right foot. 418 00:53:19,140 --> 00:53:30,210 Actually, having been painted live last amongst the drawings is one of two recently rediscovered a coffee studies of legs. 419 00:53:30,210 --> 00:53:39,300 That's the one on the left that relates whether the pose corresponds compellingly with that of Jahren. 420 00:53:39,300 --> 00:53:44,820 The fact that the altarpiece was left unfinished on Parmigiani death that comes on 421 00:53:44,820 --> 00:53:53,060 Majaw in fifteen forty after his flight from Palm Mabie jumped bail the previous year, 422 00:53:53,060 --> 00:53:57,060 he'd been imprisoned for not finishing a different project. 423 00:53:57,060 --> 00:54:10,740 All of this makes it peculiarly frustrating that Eleanor by the Italian ferry should have drawn up a will with a notary whose papers do not survive. 424 00:54:10,740 --> 00:54:12,770 So we'll never read that well, 425 00:54:12,770 --> 00:54:22,290 for it is hard to believe that it could have failed to contain fascinating material concerning the altarpiece and indeed its absentee painter. 426 00:54:22,290 --> 00:54:38,220 An inscription on the panel itself. I hope you can maybe just back to writing. 427 00:54:38,220 --> 00:54:46,170 This inscription names the artist and alludes to his untimely end and records that the picture was placed 428 00:54:46,170 --> 00:54:57,000 in the Talia Fairy Chapel in fifteen forty two and there was now lost wall clerk with the same date, 429 00:54:57,000 --> 00:55:04,830 which in addition refer to the works being in honour of the most blessed virgin and for her count. 430 00:55:04,830 --> 00:55:11,040 So everything all seems to match up that it would be interesting to know. 431 00:55:11,040 --> 00:55:21,600 Whether I am and by Armondo or that would be interesting to know whether either alien by 432 00:55:21,600 --> 00:55:28,120 armed or all Parmigiani know sought guidance concerning the works iconography from Frass, 433 00:55:28,120 --> 00:55:31,530 they follow the prah of the Church of the South. 434 00:55:31,530 --> 00:55:45,690 It around the right time who is listed in the section devoted to religious friars and priests of great learning and fame in Angela Marryat, 435 00:55:45,690 --> 00:55:53,790 the winery that area above manuscript chronicle of 15 72, which is a bag. 436 00:55:53,790 --> 00:56:03,060 This section of the book sort of celebrates people in Parliament. Fran Stephano must have been available in any event. 437 00:56:03,060 --> 00:56:11,530 But while the drawings seem to indicate is the gradual evolution of the works iconography around a very few constants, 438 00:56:11,530 --> 00:56:18,630 turning to the picture itself, it seems appropriate to start from the Sirees description of it. 439 00:56:18,630 --> 00:56:26,090 But I can only offer a distinctly abridged version of what I say about it in my book on the artist. 440 00:56:26,090 --> 00:56:35,680 There's more in there. The theory states that, and I quote, In the Church of Santa Maria, they found three Parmigiani in a made in a panel. 441 00:56:35,680 --> 00:56:45,960 Our lady with her son asleep in her arms. And on one side, some angels, one of whom is shown his story, 442 00:56:45,960 --> 00:56:56,700 is holding a crystal urn from within, which there shines forth across contemplated by our lady. 443 00:56:56,700 --> 00:56:59,520 This worked because he was not very happy with. 444 00:56:59,520 --> 00:57:11,040 It remained unfinished, but nevertheless, it is much praised and executed in his most graceful, beautiful manner in essence. 445 00:57:11,040 --> 00:57:16,110 As for Sara, in large measure, understood, even if he made the odd mistake, 446 00:57:16,110 --> 00:57:23,490 since the Cross is surely construed as a symbolic reflection of Christ pose on the surface, 447 00:57:23,490 --> 00:57:33,900 on the curving surface of the vessel and not within it, the iconography of the work centres around two principal ideas. 448 00:57:33,900 --> 00:57:39,270 One is the Virgin's awareness of her son's ultimate fate. 449 00:57:39,270 --> 00:57:48,690 And the other is the way his pose with his arms flung wide is mirrored by the form of the cross upon which he will meet. 450 00:57:48,690 --> 00:57:59,340 His death crosses in the custody of Saint Francis and Jerram, a present from the very earliest drawings and remains central to the works, 451 00:57:59,340 --> 00:58:13,680 meaning throughout the prominence accorded to the cross, was evidently a subtle allusion to the name of the patroness a line by our door. 452 00:58:13,680 --> 00:58:24,360 For it was Saint Helena who recovered the true cross and whose attribute as, for example, in this painting by Jema Dacron Illiana in Washington. 453 00:58:24,360 --> 00:58:33,360 It is indeed, in a sense, it is possible to read the compositions evolution as a progression away from 454 00:58:33,360 --> 00:58:41,070 an emphasis on Franchesco Tallia Ferarri as patron in favour of his widow, 455 00:58:41,070 --> 00:58:53,070 while at the same time accepting that some of the purely visual experiments may ultimately have led to new iconographic developments. 456 00:58:53,070 --> 00:58:57,606 Thanks very much.