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CATALOGUE 22 WHOLLY OR PARTIALLY AUTOGRAPH SHEETS 139door level. Most of these figures are taken from those by
Michelangelo on the Sistine ceiling, but because they are
given different identities from the originals, no trust can
be put in the labelSamia. Thus, Michelangelo’sDelphica
in the same scheme is labelledTiburtina, following the
erroneous inscription on the engraving by Adamo Ghisi,
Zacheriasis labelledOsea, andIoelis labelledZacharias.It
seems evident that whatever the criterion of the selection
of Prophets and Sibyls to be represented, Michelangelo’s
figures were taken over casually, without attention to their
identities. The series of Prophets and Sibyls also includes
Ioram, taken from a drawing by Daniele da Volterra of
an unidentified king (Mus ́ee du Louvre, Inv. 1525 ;black
chalk, 486 × 322 mm), probably made for the Sala Regia
but either never executed as a painting or destroyed. Three
other figures,Salomon,Roboam, andEzechiasmight be
after designs by either Daniele or Girolamo Muziano.
Nevertheless, even if the present figure’s employment in
such a context reveals nothing of Michelangelo’s original
conception, the figure was at least not felt to be incom-
patible with those borrowed from the Sistine.
Above the Prophets and Sibyls, a frescoed frieze
extends around the Galleria. In this are represented some
of Michelangelo’s narrative scenes from the Sistine ceil-
ing plus copies after theDavid and GoliathbyDaniele da
Volterra, now at Fontainebleau (see Cat. 46 a), Raphael’s
Judgement of Solomonfrom the vault of the Stanza della Seg-
natura and the upper group from Michelangelo’s drawing
of theAttack of and Salvation from the Serpents, Cat. 34.
These scenes are adapted to fit the horizontal spaces, and
some of them include additional figures taken from other
sources: In the SacchettiSacrifice of Noah, for example, are
found two bystanders borrowed from Michelangelo’sLast
Judgement.
Although the construction of the Galleria was proba-
bly completed in15 7 3(Haslam, 1996 ) this series of fres-
coes was painted for the Cevoli family, who acquired
the palace only in15 7 6after the death of Cardinal Gio-
vanni Ricci of Montepulciano, the previous owner. The
scheme was, with virtual certainty, executed by Daniele
da Volterra’s pupil, Giacomo Rocca, and its attribution
to him is due to Salerno ( 1973 ,p. 304 ) who points
out that while Rocca is not documented as their exe-
cutant, his authorship may be inferred from the infor-
mation provided by Baglione ( 1642 ,p. 66 ), who states
“per li Signori Cevoli nel lor palagio di strada Giulio
opero tutte le facciate, che guardano verso il Tevere lavo-`
rate con grand numero di figure, ma vi si scorge la sua
maniera, benche si prevalesse delli disegni di Danielle,
et d’altri, e in questi lavori metesse in opera diversi pit-
tori, poiched` asestesso poco atto a farli si scorgeva.”Although, as Salerno admits, Baglione’s reference is to
now-lost exterior frescoes, he points out that the attri-
bution is supported by what Baglione tells us about Gia-
como’s collection of drawings. Baglione says that Rocca
inherited the drawings of his master when Daniele died
in15 6 6, and the borrowing ofIoramfrom Daniele would
also support this linking. Baglione adds that Rocca inher-
ited from Daniele a number of drawings by Michelangelo,
which would suggest that the present drawing was once
owned by Daniele. These precise relations provide signifi-
cant support for Salerno’s attribution. It has not previously
been noted that the figure in the present drawing recurs –
in its true direction – in a secure work by Rocca, the
unnamed Sibyl in the Cevoli chapel in Santa Maria degli
Angeli (listed by Baglione and reproduced in Pugliatti,
1984 , fig. 337 ). Giacomo Rocca was a relatively minor
artist about whom little is known, but he produced a
number of paintings in the15 6 0s and15 7 0sinRoman
churches.
The Palazzo Sacchetti copies of the Prophets and
Sibyls, which place Michelangelo’s figures within rect-
angular frames, are reasonably accurate renderings of the
originals both in form and colour. They seem, indeed,
of higher quality than much of Rocca’s surviving work
as reproduced in the study by Pugliatti ( 1984 ). How-
ever, it is worth noting, as well as remarking, that Rocca
set other painters to work in Palazzo Sacchetti. Baglione
also informs us that, as a youth, Giuseppe Cesari, the
Cavaliere d’Arpino, worked for Rocca and was much
impressed with his employer’s collection of Michelangelo
drawings. It may be, therefore, that the young Giuseppe
wasinvolved in the execution of the Galleria.Painted Copies
1. Rome Palazzo Sacchetti, Galleria, included, in reverse,
labelledSamia.Probably painted by Giacomo Rocca,
15 7 0s, for the Cevoli family who then owned the palace.
2. Santa Maria degli Angeli, Cevoli chapel, lunette, also
byGiacomo Rocca (listed as his by Baglione; reproduced
Pugliatti, 1984 , fig. 337 ).History
Daniele da Volterra?; Giacomo Rocca?; Giuseppe
Cesari, the Cavaliere d’Arpino?; the Cicciaporci family
and Filippo Cicciaporci?; Bartolommeo Cavaceppi?;
Dominique-Vivant Denon (L. 779 ); Sir Thomas
Lawrence (L. 2445 ); Samuel Woodburn.References
Lawrence Inventory, 1830 ,M.A.Buonaroti, Case 3 ,
Drawer 3 [ 1830 - 115 ] (“The Delphic Sibyl, bold pen,