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.
As in previous weeks, my intention is to explore all the name drawings,
whether from the artist's own hand or in the form of copies of lost originals that can be associated with a
single project and to investigate the ways in which the artist in question used drawings to make paintings.
Today, it is the turn of Francesco Massola,
who was born in Parma in 15th three and died in nearby on Majaw Majaw in fifteen, forty, precisely twenty years.
In each case, after his great model, Rafael, he was known as parentage.
I mean, you know, not I think because he was small of stature, but because his genius manifested itself at such a young age.
Well within his teens. For all that,
there are more surviving drawings connected with Parman Janina's work at the Church of
Santa Maria Della Stark Arthur in Parma than there are for the Madonna of the long neck,
which was painted for the Church of Santa Maria. They found a partner, a married lives in new faiths in Florence.
It is the altarpiece that is the inevitable choice for an enterprise of this kind.
There are a number of reasons for this, but the principle one is that the drawings from the Monongah of the long neck
represent an exemplary case study of the evolution of the artist's ideas,
both with regard to issues of form and content. Whereas previous studies of the OP's piece have tended to focus either on its
iconography or on the sequence of preliminary drawings for it in isolation.
The approach adopted here is intended to show that the two are indissolubly linked.
A document connected with the commissioning of the Madonna of the Long Magg, which is dated the twenty third of December 15 34,
has generally been described as the contract that the altarpiece but is in fact some agreement involving Parmigiani,
those friend, the architect Damiano P.E.T. to prepare the chapel for the altarpiece.
It does not represent a permanent post KWEM for drawings.
Not only because Parmigiani, they may have been commissioned to paint the altarpiece at a somewhat earlier date,
but also because artists must habitually of executed drawings before winning contracts in order to win contracts.
It names both the patroness of the altarpiece, Ellen Bialystok,
who was the sister of To Niños great patron Magavern Lira Franchesco by Outro and Eleanore's late husband, Francesco Tallia Fairy.
The fact that the number of considerable body of preparatory drawings for the altarpiece
and or be it far less obviously the unfinished work itself includes Frances,
or in the case of the altarpiece, at least, his right foot. That's his right foot.
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.
The discovery of Francesco's will, which was drawn up on the 19th of October fifteen twenty nine,
tends to confirm this because it reveals that he in effect initiated the commission.
He did so by enjoining his wife Eleanor, to see to the decoration of his chapel in the church of the Southey.
Unusually, he did not specify how much money should be spent, but instead left it up to her discretion.
The relevant clause reads as follows. And so they said,
testator wills orders and decrees that the aforementioned lady and his wife
can and should expand out of his moneys towards the adornment of the chapel.
And the latter is in northern Maine, took up a left.
So it was the adornment of the chapel, which is situated in the aforementioned Church of Santa Maria.
Sadly, the quantity of money which the same lady, Elena, his wife, seems to be appropriate and that pleases her the.
Word of men top in that document has a multitude of meanings, including Freyne.
But in this context, it seems to refer the altarpiece as well as to a general remodelling of the chapel, clearly.
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.
In effect, the resulting altarpiece was a collaboration between the dead patron, his widow and the artist.
But it is only through Pamina Janina's drawings,
rather than many written instructions from Francesco Taleo Faery or Aaron by our bill that we are able to follow its progress.
What must be the earliest extant drawing for the Madonna of the long neck on the left here?
A design in the British Museum for around TopT altarpiece shows the virgin and child enthroned between Saints Jarome and Francis.
By an odd chance, I am virtually certain it was the first work of art a I read Tributed in the early 1980s.
It had been bought by the British Museum not long before.
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.
So it's upgrading was something of a mixed blessing.
I mention this not to blow my own trumpet,
but because it seems important to underline just how many significant works of Renaissance art paintings as well as drawings.
I should perhaps add reappear, if not every day, then certainly every week.
I grew up on a Pop HM's magisterial catalogue of Pamoja Niños drawings, which came out in nineteen seventy one.
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.
No, indeed, since my own monograph on Pamela Geneina was published in Two Thousand and six to return
to the drawing St Jerrems presence on the Virgin's proper and privileged right side,
it's thus far unexplained. And while it may be tempting to suppose that Francesco Tallia Fairy had some relative brother,
perhaps called Girolamo, it is worth noting that his father was called Ludovico.
So it's not him. And also the gentleman Francis are frequently pad in Renaissance.
Altarpiece is presumably as fellow permit's Saints compositionally.
This drawing is extremely conventional and consciously echoes the scheme of Pamoja Niños.
But the mystic marriage of some Katherine, which is the painting you're seeing of around fifteen twenty one,
the Bannisters of the throne, the curving acts behind the figures,
even the pages of the Christ child in reverse are all remarkably reminiscent and confirm the artist's tendency
to treat his own previous serve as a kind of visual archive for January two new ideas Pamoja Nina transformed,
this time beginning in all sorts of ways, but was to remain went.
But amazingly enough,
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.
The fact that the design is so fully evolved, together with the meticulously finished nature of the drawing,
have been taken as possibly suggesting that it was made to be shown to the patron.
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,
whether informally or in the guise of drawings and contracts for there to be any
degree of certainty that such sheets were in the customarily highly finished.
But what is clear is that this drawing must have been preceded by an unspecified number of far
more sketchy attempts to establish the composition drawings by the artist for other projects,
as well as later drawings from Madonna of the Long Neck, which will be discussed in due course,
give a good indication of what these missing studies must have looked like.
As a rule, they would have been executed in pen, although PAMA Janina's use of media was strikingly and regimented and freely executed.
First ideas and chalk by no means unknown in his practise.
A closely related drawing in the Albertina in Vienna, which is on the right here sometimes.
Claimed as North Graph drawing. But on balance, probably no copy retains the rounded top and a basically unchanged arrangement.
The lands head, which company saying Jerrems stolen cross in the British Museum drawing has disappeared.
Jerram has acquired a forward brush quiff of hair.
The virgin looks towards Francis rather than Jerram, and the Christ child is sitting in a more upright position in her lap.
But the most significant modification concerns the setting in the Vienna drawing background.
Foliage is visible through and beyond the colonnade of the Alps.
And this signals the fact that the setting is now an outdoor one again.
The sheet is painstakingly finished and the addition of watercolour washes wrap all green for the leaves and grass and sleep blue grey.
The architecture and draperies adds an unwanted but not on that account in authentic native colour for the line.
There also exist to drawings which you see here respectively, in Windsor and Ballu for the figure of St. Jerram.
At this stage in the information of the design, the former, which is the black and white one,
has what seems to be a study for a chapel on its reverse, which is above.
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.
A third drawing in Red Chalk explores the figure in still greater detail and differs from the other two in showing him more
fully clothed in another related drawing for the whole composition badly stained sheet executed in red chalk with sorry,
I'm sorry. That's one filled here. Red chalk with white piping in the loop.
The one on the right here, the rounded top seems to have been abandoned.
Given that the altarpiece was going to be painted on panel,
a final decision concerning whether the top was to be round or flat had to be taken before the panel maker actually constructed it.
Additional figures appear behind the two scenes, and the one with St Jerome on the Vergence proper right is bearded and therefore uncomplicated male.
While Francis's companion is less obviously female but does seem to boast a feminine carfare,
Jérome no longer has his cross the attribute he initially had in common with Francis.
And it could be argued that even at this early stage, Pamoja Neno is consciously beginning to differentiate between them.
Turning finally, the Christ child. Instead of extending one of his hands in an entirely traditional gesture of benediction,
he's now reaching up and back towards the upper edge of his mother's dress.
And thus already Adam bracing the Madonna, the latter, the suppling motif,
which is explored in a variety of later sheets before ultimately being abandoned.
The urge to distinguish between the Saints is certainly apparent and what gives every indication of being the next drawing in the sequence.
A study in the Accademia in Venice, which Popham compared drawings he believed were for the Bard,
the altarpiece of fifteen twenty one and therefore dated the artist pre Roman period.
In spite of the presence of Saints Jarome and Francis, as in the Madama of the Long Neck,
that always made me suspect that this sheet was for the Madonna of the long neck.
Although in theory, Pamoja Nina might have another commission for a Madonna with identical things, you're wrong.
When the sheet was removed from its mound in the early 1980s for Sketchers,
for the altarpiece were uncovered on its VASSO, which you see on the right here.
These sketches belong to different moments in the sequence of preliminary drawings for the picture as it is customarily reconstructed.
But that should not be construed as undermining the general validity of such exercises.
Rather, it serves as a reminder that their inevitable over neatness must never be intended to conceal or deny
the fact that a variety of visual ideas must often have been jockeying for position in artists minds.
Thankfully, all four will be examined in due course,
but only one tragically faint design of red chalk round top conception at bottom left, which I suspect you can hardly see.
Alas, only one comes close to the recto while seeming to proceed it,
since it does not yet show the figures on a diagonal moving in depth from left to right.
Both, however, Jerrems sits cross-legged and looks away to his right on the recto skull in his right hand,
while Francis kneels in the attitude found in the earlier drawings.
The other notable innovations of the Recto, while the introduction of a stumpy ionic column upon which the Christ child is seated,
and the inclusion of three supplementary figures who are evidently meant to be either angels or Puti,
the notion of incorporating a column which once again harks back to the Bard domestic marriage was not pursued.
By contrast, the angelic attendants are a major feature of the painting as executed,
the experiment of topping the Virgin with a Pantheon style done with the Central Occulus found on the VASSO,
which I really fear you cannot see with similarly without issue.
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.
Here is a small Panama sketch and we caught old institute gallery where he is once again standing.
The other, drawing a metal point on a prepared white ground empowered map is a curious conception in which Jarome
is lying on the ground with his nose plunged into his book and his left arm wrapped around his head.
While the Christ child, his athletic pose borrowed from his counterpart in Rafael's Holy Family of France by Pommier,
is suckling at his mother's breast. At this stage, therefore, the artist undeniably intended to show the Virgin as a Madonna,
Lactaid and iconography by no means without precedent in the context of altarpiece.
Crucially, it is this sheet which introduces the attitude of the virgins left arm as it remained
in the picture and which also explains that its origins were strictly pragmatic.
Another extremely schematic wrang top design on the Accademia vast.
So at the bottom right, which is executed in spidery pan and brown ink,
is almost identical in conception to a drawing in Ottawa, which you see on the right here.
Were it not for the fact that the figure of St. Jarome in the middle ground is reading in the form.
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.
In the Ottawa version, a nude winged angel is clearly represented,
receiving the Christ child from the Virgin and the flight of steps leads up to an ionic temple
in the background and allows one to decipher the corresponding passages of the Venetian vessel.
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,
a parallel conception in which the angel is substituted by a young saint, John the Baptist,
and the format is rectangular, is found in an inspired drawing in red chalk, which you see in the middle here.
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,
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.
Jeremy old piece in the National Gallery, which you see on the right here.
The point and gesture ultimately derives from Leonardo by way of Rafil.
But there are other Parmigiani no drawings in which it is found that may perhaps be connected with the altar piece.
One of these is known through a leaf etching and shows the boy Baptiste with the Lamb of God.
While the less exact version of the pose is repeated twice in Pam.
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.
Fifteen thirty one since they are on the VASSO of a design for the coronation of the Virgin Parmigiani.
And I was commissioned to Fresco for the acts of the Church of Santamaría of Elastic Carter on that day.
Conversely, there is no proof that the drawing does not date from years later,
although it has to be admitted that there is an equal absence of evidence that these sketches were executed with the altarpiece in mind.
It is at least as likely that they were conceived of as independent studies,
although the inclusion of the lamb is not of itself a point against the connexion with the Madonna of the long neck,
since it companies the Infant Baptist and an eccentric and wash study for the painting in Rotterdam,
which is the one on the left here, and which I'm pairing with another distinctly anomalous study.
If the altarpiece, which likewise shows the virgin impure creature, the Young Baptist,
goes on to appear in a number of other sheets, definitely for the altarpiece,
the most developed as a study in red chalk over stylus indentations in the loof on the right here,
which is extremely similar in design to the new drawing just discussed on the left.
The only difference of any consequence being that following what by this date was the traditional
iconography the Christ child appears to be reaching out for or grasping the Baptist's cross.
This also seems to be the case in yet another drawing,
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.
Between them, I'm showing you a pen drawing in the Getty with fragmentary studies of the head of the Virgin,
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.
The fact that the Baptist and the Angel were alternative iconographic possibilities
concurrently is graphically demonstrated by the existence of two small scale drawings.
One on the left and the academic. The son Mando in Madrid and the other in the middle.
In the Folk Art Museum in Cambridge, Mass. Which both showed Virgin and Child Group almost identically with the two respective options.
Both are around 12 centimetres high, and this may well have been the artist's approximate standard size for the area for thinking drawings.
At this juncture, the format consists exclusively of the figure group and is freely executed in black chalk.
The infant Baptiste's has been severely crocked as a result of the sheets having been trimmed down at some point in its history.
But enough remains to confirm that his pose is essentially unchanged.
The same cannot be said of the virgin and child.
The form is bent back.
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,
twisting attitude. This stage in the evolution of the composition is also recorded in a wiry, energetic little pen drawing,
which I'm showing you on the right ear and in a large scale sheet in the private collection on the left.
Here again, in Black Chalk,
which only includes the virgin and child pen drawing was unknown to pop and whereas the latter the chalk drawing was accepted by him.
Does not name to me in the original,
but gives the impression of being a reliable old copy in which the anxious security of the Virgin's expression is particularly weak.
The most fascinating thing about this power, however, is the fact that the Chalkie is an enlarged but modified,
tidied up version of the PEN sketch and another comparable pair of drawings suggests this was Parmigiani nose usual practise.
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.
Additionally demonstrates that there could be.
Media stages between these two phases, the Recto, which you see here,
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.
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.
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.
Where, however, there is indeed a marked division between the index and middle fingers of that hand hand,
it actually corresponds to exactly if the sheet is turned upside down.
Is the left hand of the Virgin in the artist's Madonna. De la Rosa, which you see here in Dresden.
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.
She's the one in the middle here, which is mostly brown watch with only sporadic pen lines.
The Virgin is almost identical to her opposite number in the Madrid drawing,
does less frontal and looks further away to her left while the child appears to turn his back on us to suckhole.
But at the same time extend his left hand towards the angel.
The profile angel. By contrast, is wholly new.
Proffering his vessel and boasting a huge extended win comes remarkably close to his appearance in the painting.
That of itself suggests that a number of surviving drawings, which will be discussed later, may well have intervened before this stage was reached.
Beyond the figure of the permanent cloth of Vonna is more extensive than before,
and the awful lot of columns of the temple is more clearly defined and differs from its precursors in
having a Corinthian or composite order as opposed to an ionic one in a rapid pen sketch in Stockholm,
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
and the charge is shown in some sort of communion with them on his mother's right thigh.
The angel is shown nude, presumably to establish his pose,
rather than because he was ever intended to remain unclaimed in the painting
and does not yet hold what the Saria refers to as his order from the Stylo.
His crystal, which is conceivably first introduced in a very damaged scribble, which you are seeing on the right here in Naples.
That is honestly a Parmigiani no drawing. Forgive me for not P4P.
The meaning of this vessel, which is far from straightforward, will be explored more fully in due course.
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.
This particular is already visible in some of the drawings, but most palpably in a highly worked,
if in parts incomplete red chalk drawing in the move which are seeing here,
which is arguably the most beautiful as well as the most punctilious touches of partially off state of white painting.
Bear witness to this exactitude, most punctilious of all the studies from the Madonna of the long neck.
It is just less than 20 centimetres high and in conjunction with the other extant,
more or less finished chalk studies for the altarpiece indicates the Palmer Janina was making the measure about 20 to 25 centimetres in height,
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.
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.
As for the angel, he is less upright than in the painting or indeed the fold drawing and explicitly points.
And the cross with his left hand while holding the vessel underneath with his right.
By contrast. And the altarpiece, he envelops its circular foot with his left hand and supports its upper.
With his elegantly splayed right hand, the loose drawing also clarifies the fact that at this stage,
the architectural order is intended to be composite and emphasise that the raised plinth on which the Virgin is seated,
as well as the three exceptionally shallow steps surrounding the temple beyond in all the drawing is considered.
Thus far, the Christ child has been, broadly speaking, in his mother's lap or arms.
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,
even including Raef like Background Saints. And the move which you see here,
is exactly the same character as the fog sheet discussed earlier on and shows the Virgin seated with two children at her feet.
One of the children, either the Infant Baptist or an angel, is holding the vessel, while the other, who is presumably Christ,
seems to be trying to remove it from his grasp and looks back and up in profile of the Virgin,
as if seeking her approval or signifying his wish to present the vessel to her.
She, in her turn, looks down towards the children and extends her right arm listlessly in their direction while her
left arm remains folded back on itself in the by now familiar attitude beyond the foreground group.
The second on fill out of columns is more clearly visible than in any other study.
And there is a Trajan's column style spiral on the formation columns.
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.
What might be dubbed the chalk fat copy of this sketch.
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.
The vergence left hand is in her lap the child's pose as more of a control posture.
His head is more frontal and he's plainly pointing out the cross schematically represented on the vessel as the Maloof Pensky Vieira.
She looks down to her right, but it should be stressed that they are virtually unique having this orientation.
The Vasso of this new sheet comprises a rough mirror image of the virgin and child of the rector.
But there are numerous changes and it is additionally executed in panch Parmigiani Nethers reverted to the folded arms gesture.
This time necessarily at the right time. Since Mary now looks to her left and the child is shown half lying in her lap,
while at the same time half stretching up towards her breast, which seems to be exposed.
The area around the Virgin's left elbow, within which the child's head is Crookes,
represents the most spontaneous and undecided pen work on the sheet and gives one a real sense of panic.
Janina engaged in the graphic equivalent of thinking lined.
These two drawings are not the only ones in which the Christ child is shown.
Standing beside the Virgin to them may be added a little pendant drawing on the left here in the Goldman collection in Chicago,
which is uncontroversially for the Madonna of a long neck and a pen and wash sheet in the wake of the bazaar in Paris,
which is the middle one here, which has not previously been associated with it in the former.
There was an explosion of pen lines around the vergence left thigh may indicate an alternative option for the Christ child,
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.
The metal drawing and the standing Christ child in the kneeling in Baptista, cradling a lamb.
Christ is leaning against an indeterminate fall in the reproductive prints after the she made later on,
it was turned into a rock, but it is more likely to be the Virgin's right leg.
Not least since the drawing makes more sense as a detail from a larger hole than as an independent composition.
A third sheet on the right here, a red chalk fragment, and the move shows the angel in folding the vulnerable.
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
than an implied presence to further studies rediscovered since the publication of Papuans Parmigiani Corpus.
Show the angel with the urn and a child who must again be Christ in one on the left here.
A small pan and wash scatch in Munich, the Virgin is shown full length and unusually full face,
with her right hand folded back over her breast and the left hand in her lap with the angel approaching.
And an attitude is very similar to that found in the painting is executed.
He's holding the Christ child, who in his turn is carrying the urn here for the first time with a very pronounced spanked.
And there is a second angel beyond who also corresponds to his counterpart in the altarpiece in an even smaller ritual scrap.
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.
It is the child who looks up towards his mother and points back at the end.
In neither case is that any indication of a cross, whether on or indeed within the urn.
But this submission should not necessarily be regarded as significant to other drawings.
One on the left here in Budapest, executed in Pan Am, Wash.
On Pink White Paper. The answer? An old copy in a similar technique in the Louv on the right here.
Both include parrot genuflecting angels and show the cross plainly marked in the form of the child,
and partially his outstretched right leg is indicated on the Virgin's lap.
Whereas in the Louv copy, the angels are studied in isolation.
All the remaining drawings connected with the altarpiece. I have to show the virgin and child all one or the other.
Or alternatively, the two sense in the background, either together or singly,
it is consequently impossible to be sure how the varying attitudes of the central figures were intended to be related to the subsidiary figures,
and especially for the personnel to their proper right.
Not to mention whether those figures were meant to consist of the Baptist, a single angel or a group of angels.
It seems plausible to argue that one of the reasons why Parmigiani may may have elected,
studied the different elements of the composition in isolation was precisely that this this you did
not need to be addressed and that a multiplicity of combinations of figures could be envisaged.
What is striking, furthermore, is the number of stages in the evolution of the design that must be missing.
Thus, the instance only the most obvious lacuna.
There is not a single drawing that shows the group of attendant angels who accompanied the principal angel holding the vessel.
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.
Yeah, we can move on to that. But even then, there is no trace.
Prominent and uncovered right leg, which is such a remarkable feature of the work as executed.
That idea is only adumbrated in the pen drawing in Stockholm, which you see on the right here,
again, where its exposure is without significance because the figure is new.
Similarly, there are whole categories of drawing, such as very detailed head studies that are known in the artist's practise more generally,
but are simply not represented amongst the extant drawings for this project.
Furthermore, while there is no evidence that Angelino made a full scale top tunes for this work,
it is hard to imagine that he did not prepare the heads with inordinate thoroughness.
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,
which is the portrait I'm you on the left and the detail of the head of it would saved him
a great deal of trouble if he was working from a pre-existing head study when it comes.
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.
You see here this drawing sometimes thought to derive one of the sons of Larcom in the celebrated group in Rome.
I don't believe that the connexion between these two heads either way,
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.
The Christ child's head is to the left of the composition and he's lying down.
But otherwise he invariably faces in the opposite direction.
In contrast, the more animated conception is considered thus far, almost without exception,
all the detailed drawings of him with his mother or alone, either at her breast or asleep on lap.
The iconography of the Virgin with the sleeping Christ child whose sleep was explicitly meant,
foreshadowed the sleep of death and whose pain is so often consciously echoes that the adult saviour and images of the dark,
like the presentation of the Virgin of the Madonna. The latter was by no means a novelty by this date.
It is incontrovertibly represented in two closely related pendent drawings on pink tinted paper in the British Museum, which I am showing you here,
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.
One side of it, which comprises four distinct repetitions of the Virgin's torso,
is technically unusual by virtue of its combination of red and black chocks with pen.
And the point of a brush in almost all of these studies,
the Virgin's folded back right hand seems to be pulling her dress to one side to reveal her left breast.
By comparison, the sleeping or in any event, reclining child is found on a significantly larger number of sheets.
These include two smallish pen drawings, one top left here, Budapest and the other bottom left, and the move again,
both on tainted paper, in both of which the child appears to be awake and is shown looking a way to his left.
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.
This is extremely close in character to the studies in the British Museum in Stockholm just discussed.
But its main interest is a far more resolved study in red chalk over stylus, which is in the middle here on its recto.
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
her body acts as a kind of misty backdrop for the far more fully worth sleeping Christ child.
His left ha hangs lifelessly down in anticipation of the painted version.
Two major differences between them are that he has a full head of hair and that his right arm is not visible,
whereas it is stretched out vertically in the altarpiece. Stay with that for a second.
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
another even bigger double-sided drawing connected with the later stages of the composition's evolution is in the Huntington Library in San Marino,
California. It's Vasso, which I am not showing contains a running figure of Ganymede, while its recto which you see here again,
black and red chalk is given over to a whole mass of studies for the Madonna of the long neck.
The upper half of the sheet consists of two complete and two partial nude studies perversions, torso and legs,
which are two schematic for it to be possible to judge whether they were drawn from the life.
Together with five studies of her uncovered left leg or foot, the most detailed of these.
Is painstakingly copied from the sound old left foot of the Apollo bell for dairy,
while the others are seemingly drawn from opposed model in the picture as executed,
the virgins left foot ends up being almost wholly freighted in shadow.
But this is entirely characteristic of Parmigiani. Emotion reveal a virtually limitless capacity for taking pains in his preparatory studies.
The lower half of the sheet turned.
It obviously is a line 90 degrees.
The upper part conceivably along an original fold and includes two evanescent and all but invisible red chalk sketches for the sleeping Christ child.
He has seen in an intermediate altitude between the more upright Morgan's solution
and the total abandon of the altarpiece in both a tiny Pens sketch in the Getty,
which is the bottom right.
Whose Vasso you saw earlier and the far more involved and extensively prepped drawing in the private collection, which is left and centre.
Christ right arm is wrapped around his head in an attitude which is denoted sleep since classical times and
had previously been employed by Pamoja Neno for the figure of Jarome in his National Gallery altarpiece.
This second, Cheves was recently removed from its mind, and the hitherto unknown tracing was revealed on its Vasso.
That's what you see in black and white, above all, concentrated upon the Christ child.
He has also more worked up than the rest of the rector.
But here the Virgin is fully represented in delicate washes, applied with the point of the brush past.
The colonnade is even shown beyond. In spite of the difference of technique,
pieces of four figures are once again almost identical to those of their counterparts in the highly worked read shop study in the Louvre,
which I showed you earlier. As stated, the present drawing is extensively PreK, but it is important to recognise that this prickling,
which is easier to read on the last thing in LASO, does not invariably follow the drawn contours of either side.
This. Instead, it must be a record of yet another PreK design,
as is most apparent in such passages of pricking as those that define the internal modelling of Virgin's torso and the child.
The even more the cushions that the Virgin's feet, which are pricked but not actually drawn in at all,
is only in the final Penman's sketch on the Accademia Vasso here on top right
that Parmigiani no tentatively explores the possibility of showing Christ.
Right arm outstretched in such a way that his pose comes to mirror the cross on the earth.
As with so many other elements of the evolving iconography of the work, and this is a point to which I will return.
One has a sense that the artist only arrived at the solution gradually and almost painfully.
The remaining drawings are from the pad figures of Saints Francis and Joe in the earliest studies for the whole composition.
It is possible to trace their gradual withdrawal into the distance in all of these sheets.
However, one of them is invariably further removed than the other,
and it is not clear at which juncture Parmigiani are determined to re unite them on an equal footing.
When he did so, he employed perspectival recession to subordinated them and conceived of them on
an unprecedentedly diminutive scale for the principle sense and an altarpiece.
The result is that their reduced scale is suggestive of the figures of donors or subsidiaries.
Thanks on much older pieces, although some commentators have been unnecessarily tentative about their identities.
There's no reason to doubt that they were intended to feature in the altarpiece from first to last,
and Jarome is even shown with his lione in one pen fragment in the loof, which is the metal drawing here.
Gerrand is almost unfailingly represented either with the book or ultimately with the scroll as on the left here.
And the final conception involves some expanding on its contents to the by now subordinate figure of some Francis in a particularly.
Bold conception on the left here, which he explored twice on the Pan Am, throwing in the Smolan,
which is currently on display in the museum and in the drawing in the Ft.
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,
briefly toyed with the notion of him resting his right hand on his hand in a pensive gesture,
but also concerned that the possibility of Harring having Jérome adopt a declamatory Allen take a stance as seen in a quick
but disciplined pen study in Palmer on the left here and took the idea seriously enough to have a nude model repeat the pose.
The result is the centre drawing. Here was the largest surviving drawing field, QIf Castle Academy in Red Chalk,
whose classical credentials made particularly apparent when it is compared with a fragmentary bronze,
a Roman emperor in Houston dating from this period of the virus.
The Houston bronze was certainly not Parmigiani.
No sauce, not yet having been excavated, but is a common a nice example,
Zorya of a common type ultimately derived from the celebrated statue of Alexander the Great.
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
studies on the Ashmolean drawing and on what looks to be an autograph studying black chalk on blue paper,
which is what you see on the right here,
which I find courtesy of Google when applying the finishing touches to this lecture and therefore rather frustratingly as work.
I do not know when the original Parmigiani, the restudy, the bearded head and upper torso of St.
Jeremy Red chalk on the other side of the Ashmolean sheet.
The two figures do nevertheless differ in one significant respect, because in the altarpiece, Jeremy is both bold and beardless.
There are, of course, numerous other Italian Renaissance artists book portrayed and thus.
But it is typical of Parman Janina to make this change of plan at the 11th hour.
This decision may once again have been inspired by an urge to differentiate between the two things.
It is impossible to be sure, though, since the figure of Saint Francis, who is invariably bearded in the drawings,
is one of the least finished elements of the painting, as I shared with only his ghostly right foot.
Actually, having been painted live last amongst the drawings is one of two recently rediscovered a coffee studies of legs.
That's the one on the left that relates whether the pose corresponds compellingly with that of Jahren.
The fact that the altarpiece was left unfinished on Parmigiani death that comes on
Majaw in fifteen forty after his flight from Palm Mabie jumped bail the previous year,
he'd been imprisoned for not finishing a different project.
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.
So we'll never read that well,
for it is hard to believe that it could have failed to contain fascinating material concerning the altarpiece and indeed its absentee painter.
An inscription on the panel itself. I hope you can maybe just back to writing.
This inscription names the artist and alludes to his untimely end and records that the picture was placed
in the Talia Fairy Chapel in fifteen forty two and there was now lost wall clerk with the same date,
which in addition refer to the works being in honour of the most blessed virgin and for her count.
So everything all seems to match up that it would be interesting to know.
Whether I am and by Armondo or that would be interesting to know whether either alien by
armed or all Parmigiani know sought guidance concerning the works iconography from Frass,
they follow the prah of the Church of the South.
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,
the winery that area above manuscript chronicle of 15 72, which is a bag.
This section of the book sort of celebrates people in Parliament. Fran Stephano must have been available in any event.
But while the drawings seem to indicate is the gradual evolution of the works iconography around a very few constants,
turning to the picture itself, it seems appropriate to start from the Sirees description of it.
But I can only offer a distinctly abridged version of what I say about it in my book on the artist.
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.
Our lady with her son asleep in her arms. And on one side, some angels, one of whom is shown his story,
is holding a crystal urn from within, which there shines forth across contemplated by our lady.
This worked because he was not very happy with.
It remained unfinished, but nevertheless, it is much praised and executed in his most graceful, beautiful manner in essence.
As for Sara, in large measure, understood, even if he made the odd mistake,
since the Cross is surely construed as a symbolic reflection of Christ pose on the surface,
on the curving surface of the vessel and not within it, the iconography of the work centres around two principal ideas.
One is the Virgin's awareness of her son's ultimate fate.
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.
His death crosses in the custody of Saint Francis and Jerram, a present from the very earliest drawings and remains central to the works,
meaning throughout the prominence accorded to the cross, was evidently a subtle allusion to the name of the patroness a line by our door.
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.
It is indeed, in a sense, it is possible to read the compositions evolution as a progression away from
an emphasis on Franchesco Tallia Ferarri as patron in favour of his widow,
while at the same time accepting that some of the purely visual experiments may ultimately have led to new iconographic developments.
Thanks very much.