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The chapel of the courtesan and the quarrel of the Magdalens
Art Bulletin, The, June, 2002 by Christopher L.C.E. Witcombe
(104.) Louvre, inv. no. 3468. Craig Hugh Smyth, Bronzino as Draughtsman: An Introduction (New York: J. J. Augustin, 1971), 29-30, had attributed the drawing to Raffaellino, but this was rejected by Catherine Monbeig Goguel, "Francesco Salviati e il tema della resurrezione di Cristo," Prospettiva 12-15 (1978): 14-15. The drawing is currently inventoried in the Louvre's Departement des Arts Graphiques as Raffaellino el Colle, and Ferino Pagden, 92, refers to it as by Raffaellino. See also Linda Wolk-Simon, "A New Drawing by Raffaellino del Colle and an Old Attribution Reconsidered," Master Drawings 29 (1991): 301 and n. 2. An anonymous print based on the drawing also exists. See Pietro Zani, Enciclopedia metodica critico-ragionata delle belle arti, pt. 2, vol. 9 (Parma: Tip. Ducale, 1822), 88; and Stefania Massari, Raphael Invenit (Rome: Quasar, 1983), 141, Arazzi Scuola Nuova, VI, no. 1. The inscription at the lower left of the print, "RA.VR.IN.," names Raphael as the designer (Raphael Urbinas Inventor). The i nscription at the lower right, "ROMAE. ANT.LAFRERY 1575," indicates that the print was published in Rome in 1575 by Antonio Lafrery. An example of the print is in the BNF (Ed. 105. fol.)
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(105.) See Witcombe (as in n. 100), 51; Franklin (as in n. 100), 146-48; and Giovanna Sapori, "Persorso di Raffaellino del Colle," Annuario dell'Istituto di Storia dell'Arte, Universita degli Studi di Roma, 1974/75-1975/76, 172-73.
(106.) Galleria Nazionale, Parma, inv. no. 371. See Ferino Pagden, 272-73.
(107.) Louvre, inv. no. 3867, Joannides (as in n. 18), cat. no. 457, believes the modello is by or after Penni; Hartt, 1958 (as in n. 7), 286, no. 6, gives it to Giulio Romano. For earlier attributions (all to Raphael), see Ferino Pagden, 272.
(108.) Bartsch, no. 113. See Shoemaker (as in n. 17), cat. no. 60. A drawing of the figure of Christ attributed to Raphael is in the J. Paul Getty Museum, Los Angeles (82, GG, 139). See George R. Goldner, J. Paul Getty Museum: European Drawings; Catalogue of the Collections (Malibu, Calif.: J. Paul Getty Museum, 1988), no. 40; and Joannides (as in n. 18), cat, no. 456. The figure of Christ also seems to be the basis for Raffaellino's own painting of Christ in Glory executed perhaps about 1530 for the Franciscan church in Citerna near Sansepolcro. See Bernhard Patzak, Die Villa Imperiale in Pesaro, Die Renaissance- und Barockvilla in Italian, vol. 3 (Leipzig: Klinkhardt und Biermann, 1908), 236; and Sapori (as in n. 105), 181-82. Sapori prefers to date the painting about 1540.
(109.) Ferino Pagden, 85, also wonders if perhaps the commission bad originally been given to Raphael.
Frequently Cited Sources
Bartsch, Adam von, Le peintre graveur, vol. 14 (Nieuwkoop: B. de Graaf, 1982). Ferino Pagden, Sylvia, "Giulio Romano pittore e disegnatore a Roma," in Giulio Romano (Milan: Electa, 1989), 65-95.
Graf, Arturo, Attraverso il cinquecento (Turin: Ermanno Loescher, 1888).
Gregorovius, Ferdinand, Lucretia Borgia (New York: D. Appleton, 1904).
