40 Christ in Glory
Black chalk, gray wash, and white chalk on pale gray pre-
pared paper, cut down on sides, strips of paper added
outside design; H: 22. 5 cm (8^7 /s in.); W: 17.9 cm (7 Vie in.)
82.GG.I39
MARKS AND INSCRIPTIONS: At bottom left corner, col-
lection mark of Sir Thomas Lawrence (L. 2445); at bot-
tom right corner, inscribed Raphaello da Urbino fe in
brown ink; at right, an indecipherable inscription in
graphite.
PROVENANCE: C. Ploos van Amstel, Amsterdam; Dirk
Versteegh, Amsterdam; Thomas Dimsdale, London; Sir
Thomas Lawrence, London; King William II of Hol-
land, Amsterdam (sale, Het Paleis, The Hague, August
12-20, 1850, lot 55); Grand Duke Charles Alexander
of Saxe-Weimar-Eisenach, Thuringia; Schlossmuseum
Weimar; Dr. Anton Schrafl, Zurich (sale, Christie's,
London, December 9, 1982, lot 17).
EXHIBITIONS: One Hundred Original Drawings by Raf-
faelle Collected % by Sir Thomas Lawrence, Woodburn-
Lawrence Gallery, London, 1836, no. 18.
BIBLIOGRAPHY: J. D. Passavant, Raphael d'Urbin et son
pere Giovanni Santi (Paris, 1860), vol. 2, p. 536; C. Ru-
land, The Works of Raphael Santi da Urbino (London,
1876), p. 49, no. viii, 5; O. Fischel, Raphaels Zeichnungen,
Versuch einer Kritik der bisher veroffentlichten Blatter (Stras-
bourg, 1898), p. 146, no. 362; K. Oberhuber, Raphaels
"Transfiguration," Stil und Bedeutung (Stuttgart, 1982),
pp. 43, 77, n. 17; P. Joannides, The Drawings of Raphael
(Oxford, 1983), p. 247, no. 456; E. Knab, E. Mitsch, and
K. Oberhuber, Rqffaello: I Disegni (Florence, 1983), pp.
138 , 642, no. 618; idem, Raphael: Die Zeichnungen (Stutt-
gart, 1983), pp. 142, 619, no. 618; C. Monbeig Goguel,
in A. Chastel et al., Raphael dans les collections fran^aises,
Grand Palais, Paris, 1983 , pp. 240, 307, under no. 117;
358, under no. 43.
ALTHOUGH ALREADY RECOGNIZED AS THE WORK OF
Raphael by Lawrence, in whose collection it resided for
a time, this drawing received little attention until its ap-
pearance at Christie's (1982, lot 17). Since its publication
by Passavant (1860, vol. 2, p. 536), scholars have noted
its relationship to a late composition by the Raphael stu-
dio, showing the Deesis with saints Paul and Catherine
of Alexandria below, which is preserved in a drawing by
Giulio Romano in the Louvre, Paris (inv. 3867; Chastel
et al. 1983, no. 117); an engraving by Marcantonio Rai-
mondi (B. 113 [100] v.26,14); and a painting in the Galleria
Nazionale, Parma, possibly by Penni.^1 It seems quite clear
that the Museum's drawing of Christ was used by Giulio
Romano as the basis for the same figure in the Louvre
drawing, which in turn served as the final design for the
engraving by Marcantonio Raimondi and the painting
attributed to Penni.
The Museum's drawing was attributed by Fischel to
Giulio Romano (1898, p. 146), but has been accepted as
the work of Raphael by all other scholars. Joannides has
correctly associated it with a drawing of the Virgin and
Child at Chatsworth (inv. 902; Joannides 1983, no. 458).
The broad, painterly use of black chalk and rich chiar-
oscuro tie them together. Joannides also has noted the re-
lationship of the Museum's sheet to Raphael's earlier
work, especially his Christ in the Disputa. The change
between the draughtsmanship of his study for that figure
in the Musee des Beaux-Arts, Lille (inv. PI.471 Joan-
nides 1983 , no. 212), and that of the Museum's drawing
is analogous to the difference between the Disputa and the
Transfiguration. The alternative possibility of Giulio s au-
thorship of the Museum's drawing is disallowed by com-
parison of it with his study of the entire composition in
the Louvre and with his early drawings in chalk (Joan-
nides 1983, figs. 11-13), which are both harder in form
and outline and less convincing in anatomical descrip-
tion. In none of them can one find modeling as subtle as
that of Christ's torso in the Museum's sheet, nor are there
passages of comparably brilliant free drawing, as in the
quickly sketched legs below the drapery.i. A. Rosenberg, Rafael (Stuttgart and Berlin, 1922), no. 216.IO 2 ITALIAN SCHOOL- RAPHAEL