SANTI DI TITO
1536-160 344 The Resurrection
Pen and brown ink and black chalk on blue paper; H:
31.5 cm (i4^3 / 4 in.); W: 25.3 cm (loin.)
86.GA.i8
MARKS AND INSCRIPTIONS: (Recto) at bottom right
corner, collection mark mistakenly associated with
Pierre Crozat (L. 474), unidentified collection mark;
(verso) inscribed C-/-i5.7(?) in brown ink.
PROVENANCE: Private collection, Switzerland; private
collection, United States (sale, Sotheby's, New York,
January 16, 1985, lot 4); art market, New York.
EXHIBITIONS: From Studio to Studiolo: Florentine Drafts-
manship under the First Medici Grand Dukes, Allen Me-
morial Art Museum, Oberlin College, October-De-
cember 1991, no. 41 (catalogue entry by L. Feinberg).
BIBLIOGRAPHY: None.THIS IS A RELATIVELY EARLY STUDY FOR THE ALTAR-
piece painted by Santi di Tito for the Cappella Medicea,
Santa Croce, Florence, that appears to date to circa 1572-- Other major compositional drawings for the same
project are in the Gabinetto Nazionale delle Stampe,
Rome (inv. F. c. 130629), the Art Institute of Chicago
(inv. 1922.5509), and the Uffizi (inv. 7687 F). The Getty
study certainly precedes those in Chicago and Florence
and very probably also the one in Rome, although in a
few respects—such as the soldier at the left, who is shown
on all but the sheet in Rome with his left arm extended—
it has more in common with the later studies and the
painting. In this connection it is noteworthy that al-
though there were numerous small changes in the de-
velopment of the altarpiece from the Museum's study to
the final project, the essential components of the com-
position are already present in the drawing.
The Museum's drawing was first sketched in black
chalk and then reworked by the artist in pen and ink.
There are several visible pentimenti, notably in the posi-
tioning of Christ's legs. There is also one detail—the staff
to which his standard is attached—that is drawn in black
chalk without pen and ink.
114 ITALIAN SCHOOL • SANTI DI TITO