39 Saint Paul Rending His
Garments
Metalpoint and white gouache heightening on lilac-gray
prepared paper; H: 23 cm (9^16 in.); W: 10.3 cm (4I/i6in.)
84.00.919 (SEE PLATE 2)MARKS AND INSCRIPTIONS: At bottom left corner, col-
lection mark of William, second duke of Devonshire
(L. 718); at bottom right corner, collection mark of Sir
Peter Lely (L. 2092).
PROVENANCE: Sir Peter Lely, London; William, second
duke of Devonshire, Chats worth; by descent to the cur-
rent duke (sale, Christie's, London, July 3, 1984, lot 40).
EXHIBITIONS: Drawings by Old Masters, Royal Academy
of Arts, London, 1953, no. 62 (catalogue by K. T. Parker
and J. Byam Shaw). Old Master Drawings from Chats-
worth, City Art Gallery, Manchester, July-September
1961, no. 52. Old Master Drawings from Chatsworth, Na-
tional Gallery of Art, Washington, D.C., and other in-
stitutions, 1962-1963," no. 58 (catalogue by A. E. Pop-
ham). Drawings by Raphael, British Museum, London,
1983, no. 157 (catalogue byj. Gere and N. Turner).
BIBLIOGRAPHY: J. D. Passavant, Tour of a German Artist
in England (London, 1836), vol. 2, p. 142; G. F. Waagen,
Treasures of Art in Great Britain (London, 1854), vol. 3, p.
355; J. D. Passavant, Raphael d'Urbin et sonpere Giovanni
Santi (Paris, 1860), p. 515, no. 563; C. Ruland, The Works
of Raphael Santi da Urbino (London, 1876), p. 251, no.
viii, 8; J. A. Crowe and C. B. Cavalcaselle, Raphael: Sein
Leben undseine Werke (Leipzig, 1885), vol. 2, p. 246; S. A.
Strong, Reproductions of Drawings by Old Masters in the
Collection of the Duke of Devonshire at Chatsworth (Lon-
don, 1902), p. 8, no. 7; A. P. Oppe, "Right and Left in
Raphael's Cartoons," Journal of the Warburg and Courtauld
Institutes 7-8 (1944), p. 90; J. Shearman, "Review of F.
Hartt, Giulio Romano," Burlington Magazine 101, no. 681
(December 1959), p. 457, n. 4; S.J. Freedberg, Painting
of the High Renaissance in Rome and Florence (Cambridge,
Mass., 1961), vols. i, pp. 273-274; 2, p. 256, no. 351;
L. Dussler, Rqffaeh Kritisches Verzeichnis der Gemdlde,
Wandbilder und Bildteppiche (Munich, 1966), p. 114; R.
Cocke, The Drawings of Raphael (London, 1969), pi. 119;
A. Forlani-Tempesti, "TheDrawings," inM. Salmi, ed.,
The Complete Works of Raphael (New York, 1969), p. 426,
n. i66;J. Pope-Hennessy, Raphael (London, 1970), pp.
164-165; K. Oberhuber, Raphaels Zeichnungen (Berlin,
1972), vol. 9, p. 136, no. 449; J. Shearman, Raphael's Car-
toons in the Royal Collection (London, 1972), pp. 103-105;
P.Joannides, The Drawings of Raphael (Oxford, 1983), p.
255, no. 364; E. Knab, E. Mitsch, and K. Oberhuber,
Rajfaello: I Disegni (Florence, 1983), p. 631, no. 520;
idem, Raphael: Die Zeichnungen (Stuttgart, 1983), pp.
142 , 607, no. 520; C. Monbeig Goguel, in A. Chastel et
al., Raphael dans les collections fran^aises, exh. cat., Grand
Palais, Paris, 1983, p. 285 , under no. ioi;J. Byam Shaw,
"Drawings from Chatsworth," Apollo 119, no. 268
(June 1984), p. 457; R. Harprath, "Raffaels Zeichnung
Merkur und Psyche," Zeitschriftfur Kunstgeschichte 48, no.
i (1985), pp. 408, n. 5; 423; F. Ames-Lewis, The Drafts-
man Raphael (New Haven and London, 1986), pp. 130-
131, no. 139.THIS PREPARATORY STUDY WAS MADE FOR THE FIGURE
of Saint Paul at the left of Raphael's tapestry cartoon for
the Sacrifice at Lystra (London, Victoria and Albert Mu-
seum; on deposit, Royal Collection). The dramatic ges-
ture of Saint Paul arises out of his anger that the people
of Lystra intended to offer a sacrifice to him and Saint
Barnabas.
The use of metalpoint in this drawing is not unusual
for Raphael, who continued to employ this technique
throughout his career. Another metalpoint drawing con-
sisting of a study for the center and right side of the car-
toon was discovered recently in France and acquired by
the Louvre (inv. R.F. 38813; Chastel etal. 1983, no. 101).
It is similar to the Museum's drawing not only in me-
dium and development of the figures but also in scale.
This similarity has led C. Monbeig Goguel to suggest
that the Museum's drawing may have been part of a
larger sheet that also included the Louvre drawing.^1 No
judgment can be made until the two are seen together. If
true, the sheet would have been divided by the seven-
teenth century, given the placement of Peter Lely's mark
at the lower right of the Museum's drawing.i. Conversation with the author, Malibu, 1985.100 ITALIAN SCHOOL • RAPHAEL