picture, or even exactly where it is. Doubtful.
BRUSSELS.
Coll. of Baron Leon de Somzee. (Now dispersed.)
The Holy Family.
No. 449. Sale Catalogue, bought by M. von
Mallenant (Boheme). Doubtful.
The Catalogue of the Somzee Sale also included
Madonna and Saints. No. 447.
Holy Family. No. 448.
A Seated Saint. No. 450. Described as ''School
of Sodoma."
ST. PETERSBURG.
The Hermitage.
No. 21. T/ie Marriage of S. Catherine, with SS.
John Evan, and Bapt., Nicholas, Stephen,
Francis, Jerome, and two others.
(See Crowe and Cavalcaselle, History of Painting,
ed. 1866 vol. iii. p. 491. Called there Mariotto
Albertinelli.)
Private Apartments of the Imperial Family.
The Adoration of the Magi. 91 x 75 in.
Bought by M. Vivant-Denon for Alexander I.
between 1808-12. (See Catalogue pub. by E. Pratz.
St. Petersburg, 1838.) Certainly not by Sodoma.
ATTRIBUTED PICTURES 383
NEWHAVEN, U.S.A.
Jarvis Collection.
The Holy Family with SS. Catherine, Bernardino,
and John Bapt.
Fine work ; but attributed by Mr. Berenson to
School of Bazzi.
PHILADELPHIA, U.S.A.
Coll. of John E. Johnson, Esq.
Salvator Mundi.
Authority Mrs. Bernhard Berenson.
BALTIMORE, U.S,A.
Coll. of Henry Walters, Esq.
Holy Family.
Authority Mrs. B. Berenson. From the Mas-
sarenti Collection.
LONDON.
Coll. of Dr. L. Mond.
Ecce Homo.
Unfinished. Doubtful.
Coll. of Wayne, Esq.
Madonna and Child. 18 x 14 in.
Extremely doubtful.
Bridgewater House, Coll. of the Earl of
Ellesmere.
No. 39. Procession of Nymphs.
Attributed to Francesco Primaticcio, but given to
Bazzi by Waagen. Small narrow oblong picture,
bought by the first Earl of Ellesmere in Rome from
the collection of a surgeon.
Coll. of Lady Pirbright.
Madonna and Child with SS. Joseph and John Bapt.
23I X 18 in.
Probably Riccio. Exhibited at Burlington House
(Old Masters), 1904. No. 18.
MISSING PICTURES PAINTED BY
GIOVANNI ANTONIO BAZZI, CALLED
"SODOM A."
SIENA.
Church of S. Francesco.
Invention of the Cross. Destroyed in the fire in 1655.
School of Design. (Accademia).
Decoration for a cupboard.
Water-colour copy only, by Sig. Bandini. It
was formerly in the Casa Venturi Gallerani, but
has been sold and has since disappeared.
House of Agostino Bardi, Piazza Postierla.
Facade. Subject unknown. Destroyed by time
and weather.
House of Sigismondo Chigi, Via del Casato.
Scenes from Ovid and other Classical Subjects.
Frescoes. Now disappeared.
Palazzo Savin i.
Madonna and Child with SS. Joseph and John Bapt.
3 X I j^ braccie.
Frame by Antonio Barili. Painted for yEnea
Savini della Costarella. Sold to a foreigner by the
widow of the last Savini for 120 scudi. (See Vasari,
Op. cit.y p. 396 ; Della Valle, Alfonso Landi, etc.)
Madonna and Child with SS. Joseph, John Baptist,
S. Catherine of Siena. 2 x if braccie.
Frame also by Antonio Barili. (See Delia Valle,
Landi, etc.)
384
MISSING PICTURES 385
Church of S. Gismondo alle Volte, near Siena.
The Holy Family. Panel.
Fine picture. Disappeared in the War of 1553.
(See Dionisotti, Notizie Biografiche de Vercellese
lUustri, p. 199. Cf. also Mancini, 1697.)
Oratorio of S. Gherardo, Piccolomini Chapel.
The Holy Family.
Cannot be found. Mentioned only by Mr. Bevir
in his Guide to Siena.
GUBBIO.
Palazzo Ranghiasci Brancaleoni.
No. 90. H Presepio.
Mentioned in the Guida Storica di Gubbio of
Oderigi Lucarelli, p. 32. In a note on p. 29 the
author states that some time subsequent to 1882 more
than a hundred of these pictures were sold, and the
rest divided among the four heirs of the Marchese
Francesco Ranghiasci. Perhaps the painting now
owned by Ernest Hartland, Esq., Hardwick Court,
Chepstow. (See above, p. 360.)
CHIUSURI.
Parish Church.
The Baptism, of Christ. Fresco.
SS. Benedict and Michael and other Saints. Fresco.
Recorded by Romagnoli as certainly genuine,
though in bad condition. The church collapsed
through a landslip at the beginning of the last
century. Consequently the frescoes perished.
LUCCA.
Convent of S. Ponziano.
Madonna.
Perished. Convent destroyed.
25
386 APPENDIX
FLORENCE.
Church of the Convent of the Mantellate.
Head of a Madonna. Fresco (?) Tondo. Recorded
by Romagnoli {Op. cit.)
Coll. of Cav. Giuseppe d'Este.
The Trinitct.
Milanesi MS., Commentary on\ 2,s,2iX\. Bib. Com.
Siena, P. III. 45, p. 174. Engraved in VApe
Italiana, vol. v., tav. xxii.
Lamponi Sale, Nov. loth, 1902.
Christ carrying His Cross. Canvas. i'ioxo*72cm.
Carved gilded frame. Fine painting attributed to
Bazzi.
Uffizi (Corridor). Case 95, No. 188.
Engraving by Marc Antonio of a picture o{ Orpheus
and Eurydice. Said to be by Bazz'i.
Eurydice's head, hair, and pose resemble Eve,
but the figure is generally coarse and heavy in
modelling, especially in the hands.
This may perhaps have been engraved from the
sketch mentioned below : Coll. of Senator G. Morelli.
MILAN.
Coll. of Count Cereda Bonomi.
Afadonna.
See Morelli, Op. cit., p. 152. This collection was
sold and dispersed on the 1 4th- 1 6th December, 1896.
(See an account of the sale by Frizzoni in Arte e
Storia, February loth, 1897. He, however, does
not mention the Bazzi picture.)
SAVONA. -
Madonna.
See Mancini and Romagnoli, {^Op. cit.) Now
disappeared.
MISSING PICTURES 387
TURIN.
Royal Palace.
The Virgin and Child, with SS. John Baptist and
Jerome. Tondo. (Dionisotti, Op. cit., p. 199.)
ROME.
Chapel of Cardinal Salviatl
Christ bearing His Cross. Panel.
Mentioned by Delia Valle, Mancini, and Romag-
noli. The latter speaks of it as being in the Cardinal's
private chapel in the Palazzo Salviati, Lungara,
Rome, in 1690. In a note among the Ciaccheri
MSS. it is said to have been given by the painter
himself to a friend, one Fedeli, apparently a tailor,
and perhaps, says the annotator, a descendant of
the painter, Bartolo di Maestro Fede [sic). Romag-
noli calls it a Way of the Cross. Perhaps he confuses
the Salviati private chapel in Rome with the Salviati
altar in San Francesco, Siena. In any case the
mistakes in some of the above statements are obvious.
MoNTE DI PietA.
Madonna and Child, with SS. Paul and Bernardino.
Panel 065 x o 83 cm.
Described by Paul Mundler. (See Dr. Julius
Meyer, List of Bazzis Works ^
PARIS.
Coll. of M. de Maulde.
Head of Christ.
Exhibited at the Turin Exhibition in 1898. (See
Official Catalogue, p. 196, Sala L, No. 35, and
HArte Sacra, p. 107. See also Antonio Taramelli
in H Archivio Storico dell' Arte, 1898, p. 181.)
LONDON.
Sold at Christie's, 1847, and again in 1859.
The Countess of Spannocchi and Family; called also
''Charity:' Panel.
388 APPENDIX
Bought the first time by N.N. for igg los.
Sold again, fi-om the Northwick Collection, and
bought by J. W. Brett for 67 4s.
Sold at the Hamilton Palace Sale, 1882.
Lot 339. S. Christopher with the Infant Christ and
SS. Sebastian and Roch. 16 X 14 in.
Mentioned by Waagen (vol. iii., p. 300) as in
the Collection of Capt. Stirling, M.P., Glentyan,
Renfrewshire. Bought by Banting for ^44 2s.
Lot. 716. '' Riposo," with SS. Francis, Catherine,
George, and Theresa. 29 x 22 in.
Called in the Catalogue " Venetian School,'' but
corrected in pencil by Mr. Christie himself to Razzi
(sic). Bought by Mr. Boore (on commission) for
^136 io.y.
NEWHAVEN, U.S.A.
Jarvis Coll.
5*. Sebastian. Attributed to Bazzi.
COLOGNE.
Picture Gallery.
No. 784. Sta Chiara.
Catalogued as by Bazzi, but probably by Riccio.
(Dr. Thode, Archivio Storico dell' Arte, 1889, p. 52.)
Disappeared.
COLL. OF THE LATE VICOMTE DE TAUZIA.
Scenes from Ancient Mythology.
It is uncertain where these are. (Frizzoni, Op.cit.,
P- 213.)
COLL. OF BARON RUMOHR.
The Story of Cefalus and Procris. On muslin.
(See Rumohr, Ital. Forschungen, vol. ii. p. 386 ;
and Frizzoni, Op. cit., p. 149.)
MISSING PICTURES 389
COLL. OF W. SICHEL, ESQ. (?)
The Holy Family. Panel. 26 x 18 in.
Exhibited at the Burlington Fine Arts Club, 1898.
Bought by Mr. M. Colnaghi from the Coll. of the
Rev. A. H. Clementi Smith, at Christie's, 1899.
Disappeared.
ONCE BELONGING TO SENATOR G.
MORELLI.
Orpheus and Etirydice. Sketch.
Early Sienese period. Frizzoni, Op. cit. ; Meyer,
Op. cit., Catalogue B.
It is as well to note that Romagnoli giv^es a very long
list of suggested pictures by Bazzi, many of which it
is hopeless now to endeavour to identify. It is hardly
probable that they were important : very likely the work
of imitators. Moreover, in the Sale Catalogues in the
big towns of Italy and elsewhere, so-called Bazzi's are
continually appearing, which more often than not may
come under the same category. Now and then a genuine
picture turns up, but it is usually in some private family,
and often passing under another name. Others may
still be found in American collections as yet unidentified,
but we have not had the opportunity of surveying that
vast field.
Note. Whilst this work was in the press our attention was drawn to
the following passage in a catalogue of pictures collected by Mr. William
Young Ottley in Rome during the years 1798 and 1799, and sold at
Christie's on May i6th, 1801 (W. Buchanan, Memoirs of Painting, etc.,
vol. ii. p. 22. London : R. Ackermann, 1824) :
" No. 6. SoDOMO DE Sienna. Madonna, with the Infant Christ
and S. John. Probably the only picture in England of this great master,
who was the first of the Sienese School and a worthy concurrent of
Raphael. His cabinet pictures are extremely rare even in his own
country. i ft. 6 in. x 2 ft. 2 in. 170 guineas."
Can this be the painting formerly belonging to the Rev. A. Clementi
Smith (see above) ? The extract has a further interest inasmuch as it
illustrates the extraordinary ignorance of the so-called critic, barely
eighty years since, as soon as he strayed from the then orthodox beaten
track of connoisseurship.
DRAWINGS ATTRIBUTED TO GIOVANNI
ANTONIO BAZZI, CALLED " SODOMA."
SIENA.
Spannocchi Coll.
Flagellatori. Pencil. 0*24 x o'i6 cm.
" Maniera del Sodoma." Exhib. Siena, 1904, as
above.
FLORENCE.
Uffizl
Case 344. No. 567. Risen Christ. Pencil.
Doubtful. Very florid.
Case No. 343. No. 121 2. Pietd. Pen and ink.
Doubtful. Scratchy and poor.
Case 103. No. 414. Drawing of a Lady. Red chalk.
Generally attributed to Leonardo, and by Mr.
Berenson to Pontormo.
Case 343. No. 1933. Portrait of a Youth. Pencil.
Doubtful.
Case 93. No. 421. Madonna and Child with a cat.
Pen and ink.
Attributed to Leonardo, but given to Bazzi by
Morelli {Op. cit., p. 154).
(In Portfolios not Exhibited.)
Sheet 324. No. 1932. Study of a kneeling bearded
Saint. 6 X 9 in. Pencil.
Perhaps a S. Jerome.
390
ATTRIBUTED PICTURES 391
(In another Portfolio.)
No. 10779. Two Apostles. Red chalk. T6xi9:|-in.
Very fine. Rather too studied to be by Bazzi.
Fine draperies. Border much cut down ; evidently
injured.
No. 10777. Seated figure.
Huge torso and thighs. Absurdly small head,
hands, and feet. Before him kneels another mis-
formed figure. A very doubtful work.
No. 1940. Figure of a young bearded Man. Washed
drawing.
Attributed to Bazzi. Certainly Luini.
No. 1 94 1. Study of figures. Pen and ink.
Large, very doubtful. Possibly Peruzzi.
No. 1942. The Swoon of S Catherine.
Probably a Sienese copy.
No. 1944. The Way of the Cross. Washed drawing.
Figure of Christ inked over at a later date.
Santarelli Coll. Sheet 4.
T. 29. 256. Pieta. Pencil, wash and Chinese white.
Holy women and Joseph of Arimathea. Rocks
behind to the left. Cross in the distance to the
right.
T. 29. 266. 5". Sebastian. Pale ink and wash.
Careful drawing for a niche. A beautiful youth
bound to a pillar; left arm raised above his head,
right bound behind him. Legs over-developed.
(This drawing is described in Philpot's catalogue as
Christ bound to the Column, No. 3082.)
T. 29. 267. Venus sailing over the sea in her shell,
with her maittle for a sail. Pencil and Chinese
white.
Careful drawing. Coarse modelling.
39^ APPENDIX
T. 31. 269. Preparations for the Crucifixion. Sepia.
Large drawing ; high lights touched up with white.
T. 32. 272. Sketch for S. Sebastiaft in the Uffizi.
Probably a copy sketch from the picture. Poor.
T. 33. 273. Lucifer devouring souls. Sepia and ink.
Winged allegorical figure. Probably an illustration
to some legend or poem. Very carefully finished.
Obviously not by Bazzi, though a very clever drawing.
Stradano (?).
T. 33. 274. Man struggling with a serpent. Pen
and ink.
One of the sons of Laocoon, from the celebrated
group. Careful drawing. Anonimo, XVIII. Cent.
T. 34. 275. l^he Crucifixion. Sepia and ink.
Signed " raffael cC urbino." One cross with many
figures.
T. 34. 276. Ecce Homo. Sepia.
Full length, with many figures. Small drawing.
T. 35. 277. Large head of a nun. Pencil, red chalk
and Chinese white.
Perhaps a study for S. Catherine ; but more pro-
bably a copy.
T. 36. 278. The Virgin and Child enthroned;
S. George and the Dragon; S. John the Baptist.
Pen and ink.
Signed Anno Domini MDLVIII. Probably by
Pacchia.
T. 37. 279. Christ in the attitude of Benediction.
Sepia and ink.
School of Bazzi.
Coll. of the Dow. Duchess of Sermoneta.
Two female heads facing each other. 5 J x 9 J in.
Coloured sketch in distemper, on coarse drawing-
paper. Perhaps Pacchia.
ATTRIBUTED PICTURES 393
TURIN.
Royal Library.
i5590- Classical subject. Warriors with a woman.
7| X 5i in.
Attributed by L. von F. to Peruzzi, which is much
more probable.
MILAN.
Ambrosiana.
S. Mary Magdalen seated reading.
(Morelli, Op. cit., p. 155. note.)
Mused Civico.
S". Christopher.
Not by Bazzi.
VIENNA.
Albertina.
Drawing for the Marriage of Alexander and Roxana.
Formerly attributed to Raphael.
MUNICH.
Alt Pinakothek.
Fol. 109. No. 2514. Diana and her Nymphs.
Washed drawing. Attributed to Maturino. (See
Morelli, German Galleries, p. 97.) Probably
Genga.
HAMBURG.
KiJNSTHALLE (HaRZEN CoLL.).
Two drawings for Leda.
On both sides of a sheet of paper. Attributed to
Raphael. But see articleby W. }^oo^xn2inn,JahrdMcher
fiir Kon. Preuss. Sam., vol. xii. Heft. i. pp. 43-4.
394 APPENDIX
BERLIN.
Royal Museum (Beckerath Coll.).
Dead Christ supported by two figures. Pen on brown
paper.
Exhib. Milan, 1879. Scribbled all over ; drawn
and over-drawn several times.
Madonna and Child with another figure. Red
crayon,
Signed " Andrea del Sarto.'' Probably a copy.
Madonna and Child with S. Joseph. Pencil, touched
with red crayon.
Copy of a composition. Diagonal lines across it.
5*. Catherine of Siena. Three-quarter length. Pencil.
Washed with sepia and heightened with white.
Probably a copy.
Group of Adoring Shepherds. Pencil, pen and ink.
Part of a larger composition. Grey paper.
RENNES.
MUSEE PUBLIQUE.
Frame 57 (P) 4. S. Sebastian. Pen and ink.
0*29 X 07 cm.
Formerly belonging to the Marquis de Robien,
and perhaps before that in the Crozat Collection.
PARIS.
Louvre (His de la Salle Coll.).
'No. 18. (2200.) Leda. Pencil.
Attributed. Doubtful.
No. 19. (2201.) Leda. Red chalk.
Attributed. Doubtful.
ATTRIBUTED PICTURES 395
Louvre.
No. 9173. The Adoration of the Magi. Pen and
ink.
No. 9177. (1244.) Head of a Woman. Pencil and
crayon.
Doubtful.
No. 89. (a) Julius Ccesar.
(b) Augustus.
Two drawings on one sheet of paper. Painted in
water colour touched with gold.
No. 90. (a) Tibe7'ius.
(b) Caligula.
Same as above.
No. 91. (a) Claudius.
(b) Nero.
Same as above.
No. 92. (a) Vespasian.
(b) Nerva.
Same as above.
No. 93. (a) Trajan.
(b) Hadrian.
Same as above.
On the back of this last design the following
signature is written in large capitals in three lines
ANTONIUS
VERCELLENSIS
PINGEBAT.
These are all generally considered very doubtful.
LONDON.
British Museum.
Leda. Brown ink.
Small oblong, signed Giorgione. Wrongly
attributed.
396 APPENDIX
No. 316. Group of Sibyls with small figures below.
Pen and bistre. 12J x lof in.
Has been attributed to Verrocchio and even to
Botticelli. Attributed with no reason to Bazzi.
Frizzoni suggests that this drawing may be by
Baldassare Peruzzi. (See Z' Arte del Rinascimento,
p. 193, note.) Exhib. Grosvenor Gallery (Winter,
1877^8).
No. 734. Angel's head. From the Lawrence
Collection.
Catalogue of Exhibition of Drawings in the British
Museum, 1895. Attributed to Raphael, but given
to Bazzi by Crowe and Cavalcaselle {Raphael, vol. ii.
p. 374, note).
Coll., of J. P. Heseltine, Esq., 98, Queen's Gate.
Marriage of Alexander and Roxana.
Attributed to a pupil of Raphael. From the
Lagoz Coll.
Mathey, Esq.
Four figures, two kneeling. Black chalk.
Formerly in the Collection of Sir J. C. Robinson
Squared for painting.
Coll. of C. P." Rowley, Esq.
Pieta. Christ supported by angels. Panel.
Exhibited at the New Gallery (Early Italian Art,
1893-4. No. 1 561).
Coll. of E. Cheney, Esq.
Head of Christ. Black and red chalk.
Exhibited at the Grosvenor Gallery (Winter,
1877-8. No. 719). Attributed to Giovanni Razzi(^2V).
ATTRIBUTED PICTURES 397
Coll. of J. Knowles, Esq., Queen Anne's Lodge,
St. James's Park.
Head of a Girl. Three chalks. Grey paper.
Exhibited at same Exhibition as above (1878-9.
No. 571).
OXFORD.
Christ Church Library.
Drawing for a Triumph. On yellow paper.
Attributed to Bazzi, but probably by Peruzzi.
The Triumph of Bacchus. Oval sketch Sepia and
Chinese white.
Attributed to Bazzi, but by Berenson to Perino
del Vaga.
MISSING DRAWINGS BY GIOVANNI
ANTONIO BAZZI, CALLED " SODOMA."
PARIS.
Coll. of M. Destailleur.
The Fall of Phaethon.
Design for a ceiling. (See Frizzoni, Op. cit.,
p. 149.) Sold at M. Destailleur's sale in 1896 for
6 fr, to M. Calendaudour, and has since disappeared.
FLORENCE.
Uffizl
^^'\ Studies of many figures. Photographed by
;; 5^;| j. b. Phiipot.
,, 376. S.Rock. Photographed by J . B. Phiipot.
,, 2957. S. John the Baptist. Photographed by J. B.
Phiipot.
All these have disappeared.
Lamponi Sale.
Half-length -inale figure.
Attributed to G. A. Bazzi. {L'Arte, Jan. to April
1903, p. n-)
LONDON.
Formerly in Sir Thomas Lawrence's Coll. (Dis-
persed June 4th, i860.)
The Head of the Saviour. Coloured chalks. Said
to be a fine work.
Attributed to Gio. A. Razzi (sic). (Christie's Cata-
logue, p. 51, No. 699.)
Two heads of young men. Pen and ink.
On one sheet. Highly finished. Attributed to
G. A. Razzi {sic). (No. 700.)
398
AUTHORITIES CONSULTED.
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Cartwright, Julia. Isabella d'Este, Marchioness of Mantua, 1474
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Guide to an Exhibition of Drawings and Engravings by the Old
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Selected Drawings by Old Masters in the University Galleries and
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Crowe, J. A., & Cavalcaselle, G. B. A New History of Painting in
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399
400 AUTHORITIES CONSULTED
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The Burlington Magazine. Vol. I., No. 3. London, May 1903.
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