Frames for drawings in Roman collections: A case study
by Adriano Amendola
This paper was first published in the Getty Research Journal, no 4, 2012, and is republished here with the permission of the Getty Research Institute.
It makes use of a wealth of digitized documentary material in the Getty Research Institute’s Provenance Index Database in order to investigate a little-known aspect of the display of Roman collections in the 17th and 18th centuries: namely, the typology and decorative function of the frames chosen for drawings. The origins of this phenomenon, which still awaits a thorough analysis, can be traced to the early years of the 17th century, when the fashion for putting drawings in frames emerged, initially among refined collectors. By the next century, it had become standard practice in interior decoration to place drawings in frames [1].
Even though frames were often quite costly, during this period they were more affected by changes in taste and underwent more substitutions and modifications than any other artistic product [2]. Regilding and re-lacquering or changing frames was common practice. For example, when Mattia Capocaccia’s paintings were sold to Cardinale Francesco Maidalchini, we know that the frames of those paintings were gilded and reworked [3]; whilst in the accounts of the Corsini family there are repeated payments for old frames having been ‘patched with gold’, in other words, newly-gilded, and ‘shortened’, or made smaller [4].
If we compare inventories from different periods listing the same paintings, we often find that frames have been altered to go with a changed interior decor, as in the case of the Caetani family between 1661 and 1760 [5], or in the Giustiniani collection between 1600 and 1793, where Baglione’s Sacred and profane love (today in the Gemäldegalerie, Berlin) has a black frame in 1621, a frame which is ‘black with gold trim and arabesques’ in 1638, and finally a ‘modern Salvator Rosa frame gilded with good gold’ in 1793 [6]. Inventories of picture galleries – whether those of patricians, prelates, middle-class amateurs, or the curiosi (amateur collectors) [7] – frequently give only a summary description of the pictures but almost always provide essential information about the frames, allowing us an idea of what they looked like.
Battista dell’Angelo del Moro (c.1515-73), The Virgin washing the Christ Child, after Raphael, c.1550, etching, 35.7 x 24.8 cm., and detail, Trustees of the British Museum
In the 16th century, the interest of collectors in drawings grew noticeably. These works were often hung on walls, frequently without a frame, as seen in The Virgin washing the Christ Child, a print after Raphael in which two unframed sheets are attached to a panel at the back of the room. Sometime between the 16th and 17th centuries, it became customary to protect the more valuable works on paper – more often drawings than prints – by storing them in small chests or in the drawers of furniture or cabinets.
Carlo Maratti (1625-1713), Padre Sebastiano Resta examining a folio of drawings, sanguine on paper, © The Devonshire Collections, Chatsworth Settlement Trustees
Occasionally, the sheets were kept in specially made, sumptuously bound albums. Indeed, albums were preferred by the foremost collectors of graphic art, such as Giorgio Vasari [8], Padre Sebastiano Resta [9], and Giovanni Pietro Bellori [10], who assembled extraordinary sets of drawings from leading artists of their time. Unfortunately, part of Bellori’s collection – including the nucleus of Carracciesque sheets and an album with drawings of battles by Jacques Courtois, mentioned by Pierre-Jean Mariette [11] – was dispersed after his death.
The collection of Giuseppe Acquaviva, about which little is now known, suffered a similar misfortune. Acquaviva was a passionate botanist and floriculturist whose tulip garden at Palazzo Ceoli in via Giulia was unsurpassed. He commissioned Pietro Paolo Bonzi, called Gobbo dei Carracci, an artist who painted exquisite still lifes, to portray some of his rarest plant varieties, gathered at the time of their inflorescence. Bonzi’s drawings, veritable botanical illustrations, were inserted in an album, which Acquaviva jealously guarded. All trace of the album has been lost, although it is often mentioned in Acquaviva’s voluminous correspondence, now conserved in France [12].
The aesthetic value of botanical illlustrations was clearly much appreciated by Acquaviva’s contemporaries. For example, sometime between 1675 and 1700, Duca Francesco IV Caetani – the greatest Roman collector of bulbs, celebrated by Giovan Battista Ferrari and friend of the most important European physicians and botanists [13] – dedicated an entire room in his apartment to flowers. Hanging in this room were eighteen drawings, each depicting eight flowers, alternating with eighteen canvas and panel paintings of flowers, all with black frames chosen specifically to set off the exquisite colours of the flowers [14].
Even if they were not hung on the walls, drawings formed a fundamental part of the distinguished Roman collections of other learned men and art lovers. Two inventories compiled after the death of Ferrante Carlo, the Borghese’s maestro di casa and friend of the Carracci and Giovanni Lanfranco, reveal that he kept 546 sheets and seventeen cartoons, all unframed, in the three rooms of his apartment so that he might share them with friends, art lovers, and artists [15].
17th century Flemish School, Cognoscenti in a room hung with pictures, c.1620, o/ panel, 95.9 x 123.5 cm., and detail, National Gallery. NG1287
Placed on small tables or appearing from the chests on the floor, we often see the drawings in paintings where Flemish artists celebrate the cabinet d’amateur. Scenes such as Cognoscenti in a room hung with pictures, or The cabinet of a collector can be used to illustrate a Roman reality which was rarely depicted by Italian artists.
Frans Francken II (1581-1642), The cabinet of a collector, 1617, o/panel, 76.7 x 119.1 cm., Royal Collection Trust. RCIN 405781
It is important to note that in Flanders, drawings were never put into frames. Most often they were simply placed on shelves or, sometimes, attached directly to the wall or to doors of cabinets. In the damp Flemish climate, covering paper with glass caused humidity to be retained, which in turn would damage the paper and, together with the effect of light, produce mould and stains; all of this would cause the work to deteriorate quickly, compromising its legibility. In Italy, on the other hand, the temperate climate created conditions suitable for the use of protective glass, and inventories often mention its presence.
The framed drawing seems to have found widespread favour in Rome, thanks in part to a flourishing market which could count on an increasing number of artists with workshops, merchants, and street vendors active within the city limits [16]. The contribution of the leading families, such as the Barberini [17], Muti [18], Crescenzi [19], and Caetani [20], was also very important. In the first half of the 17th century, they began promoting life-drawing academies (accademie del nudo) under the aegis of established artists who helped students to learn the techniques of drawing. Giovanni Baglione and Giovanni Battista Passeri mention how some of these institutions functioned [21], whilst Filippo Baldinucci emphasizes – significantly – that many academy test pieces (that is, drawings) were hung on the walls of houses in Rome, indicating that the phenomenon had reached major proportions.
Annibale Carracci (school of; 1560-1609), Scena di academia, mid-1580s-90s, pen-&-ink, wash, black chalk, 24 x 39.5 cm., Nationalmuseum, Stockholm
A drawing (attributed to the Carracci school) of an academy confirms what the biographers wrote about Rome, and which can be extended to other centres [22]. The artists, with their boards, paper, and pencils, concentrate on drawing a nude model standing on a podium; the model is viewed from the back and illuminated by an oil lamp which also lights the room. The scene is concealed from prying eyes by closed shutters and appears to take place in winter, as suggested by the brazier at the model’s feet and the jackets, cloaks, and hats worn by the artists.
The custom of framing one’s finest drawings had become widely established by about 1630 to 1640, in parallel with the increase in public and private academies. Evidence for this is found not only in the documentary sources but also in the writings of the papal physician Giulio Mancini, who gives a few rules for the choice of frames most suitable for showing drawings [23]. Five basic types of frames were used in this period:
1) The cassetta: ebonized or lacquered brown with inner and outer mouldings enclosing a flat frieze, often decorated with stylized scrolling ornament
2) The Salvator Rosa: with plain borders characterized by alternating convex and concave mouldings, without any carved decoration, and gilded or lacquered
3) The Pietro da Cortona: profuse use of decorative elements such as egg-&-dart at the back or top edge enclosing a ribbon-&-stave moulding, a cavetto or hollow moulding, and a stylized leaf decoration carved on the sight edge, and gilded or lacquered brown
4) The Berniniesque: derived from designs by Gian Lorenzo Bernini, often executed by the woodcarver Antonio Chicari (in Rome 1652-71), with sumptuous carving at the crest (above, Chicari’s frame for Gaulli Il Baciccio ‘s Portrait of Pope Clement IX, 1667-69, Palazzo Chigi, Ariccia) or with scrolling leaves and heraldic emblems on the frieze
5) The Maratta: ebonized, highlighted with gilded mouldings such as an egg-&-dart or acanthus-&-shield at the back edge, a gilt ribbon-&-stave moulding, and an acanthus leaf on the ogee at the sight edge. Bellori states that the painter Carlo Maratta
‘…had introduced new models of black frames in pearwood, which imitate ebony, with exquisite carved giltwood ornament set against this fine dark background, and which today are in use everywhere, lending much grace to painting’ [24]. 25
Finishes of frames used for the display of drawings in Roman collections from the 17th and 18th centuries. Total sample size: 1,190. Data from the Getty Research Institute, Provenance Index Database, 4 August 2010
The Roman inventories in the Getty Research Institute’s Provenance Index Database provide 2,089 references to drawings, of which 1,190 include frames. Frames with a simple profile (cassetta or Salvator Rosa) can be connected with 661 drawings, divided between 316 gilt frames [25], equivalent to 27 percent of the samples, and 290 black ones, equivalent to 24 percent [26]. There are 147 references to drawings – with a total of 440 items – in brown frames [27], of which 52 are carved with a more elaborate profile (probably in a Pietro da Cortona pattern). The brown frames are equivalent to 37 percent of the sample. Forty-one items, equivalent to 4 percent, are frames in wood lacquered white [28]. The frames in the remaining samples of the survey, about 100 records, equivalent to 8 percent, are summarily described.
From the data examined, it becomes clear that there are no more than a few simple types of frames suitable for setting off drawings, as well as engravings and pastels. The inventories often use the term ‘smooth frame’, which can be identified with the cassetta and Salvator Rosa types, either ebonized, gilded, or lacquered in brown or white. As is shown in the chart above, they appear to be the most commonly used frames.
Salvator Rosa giltwood frame with plain moulding; 17th century, and detail of profile
It was important that the frames enhance the characteristics of the paper, the primary support of the drawings, which was generally of a pale and neutral tone, from yellowish to grey and azure. The type of frame which best serves this purpose is known as the Salvator Rosa (also called Salvadora or Salvadorina), which – as Filippo Baldinucci [29] and Bernardo De Dominici [30] mention – was designed by the artist of that name. The Salvator Rosa’s profile, alternating convex and concave mouldings which increase the depth of the frame in cross-section, stands in stark contrast to the elaborate lines of sumptuous Baroque furniture.
Ignazio Hugford (Italian, 1703-1778), Drawings with frames, from the collection of Ignazio Hugford, black and red chalk, pen-&- ink, watercolour, white/coloured paper; Gabinetto di disegni e stampe degli Uffizi, Florence; from left: Neapolitan School (c.1600-50), Hermit saint; Francesco Solimena (1657-1747), Mary Magdalen at the foot of the Cross; Ventura Salimbeni (1568-pre-1613), figure studies; Francesco Solimena (1657-1747), Two angels in a spandrel
The assemblage made by the painter and collector Ignazio Enrico Hugford indicates the popularity of the Salvator Rosa: the frame he preferred for the drawings in his collection was an ephemeral Salvator Rosa, made of strips of paper glued and painted in watercolour to form a simulated frame. The mouldings, drawn in pen-&-ink, are given a realistic touch through the play of light and shadow, as can be seen in a series of sheets in the Uffizi which show four Salvator Rosa frames, painted in different colours from green to brown, in imitation of different kinds of finish [31].
Amongst the many collections which include framed drawings, three are particularly significant: that of Abate Giovan Cristoforo Rovelli, whose inventory of 1647 includes academic drawings by Luigi Bernini and Andrea Sacchi, in black frames. The inventory mentions a portrait of Rovelli by Gian Lorenzo Bernini in a black frame with silver historiated decorations; this type of more formal, ceremonial Berniniesque frame would have emphasized the importance of the sheet [32]. Eight drawings by Bernini are mentioned in Cardinale Flavio Chigi’s 1692 inventory of the Casino alle Quattro Fontane. They are in simpler frames, either brown or black, sometimes with decorative gilded elements (a ribbon-&-stave, and a stylized leaf sight edge), to indicate a Pietro da Cortona or Carlo Maratta pattern. In Agostino Chigi’s inventory of 1705, twenty-eight Bernini drawings are in black frames and two are in gilt frames, confirming that by
‘…placing them in frames… [drawings served] as ornaments for a whole room’,
as Bernardo De Dominici, the famous collector of graphic art, observed [33].
The library walls of the playwright Giovanni Azzavedi in piazza Pasquino were decorated with
‘twelve pastels by Padovanino with ebony frames and four gilt decorative appliqués each’,
a reference to a series of portraits of noble ladies, evocatively called The Beauties, which were installed between the shelves. The series included portraits of the Principessa di Rossano, Marchesa Santoviti, Duchessa Strozzi, the Contestabilessa Colonna and Signora Perla [34]. The inventory, drawn up in 1667, reveals that Azzavedi’s choice to replace the canonical series of illustrious men with female portraits aligned – to a certain extent – with the contemporary mode of display preferred by the Chigi family.
Based on the inventories cited and the Getty Research Institute’s database, we can conclude that for their drawings Roman collectors generally used the undecorated or smooth type of frame, the so-called Salvator Rosa. The choice of the frame seems to have been dictated by the aesthetic impression the graphic work conferred on the room, and the desire to isolate it from the rich and often sumptuous surroundings.
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Adriano Amendola holds a doctorate in art history from Sapienza Università di Roma and is the author of I Caetani di Sermoneta: Storia artistica di un antico casato tra Roma e l’Europa nel Seicento (Rome: Campisano, 2010).
This essay was translated from the Italian by Sabine Eiche. I would like to express my most sincere thanks to Gail Feigenbaum, Silvia Danesi Squarzina, and Caterina Volpi for their valuable suggestions and for having encouraged me to investigate the subject further.
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[1] I presented some initial thoughts on this topic in the workshop, ‘Display of art in Roman palaces in the long 17th century (1550-1750)’, organized by the Getty Research Institute at the American Academy in Rome, 1-2 July 2009, with a paper titled ‘Funzione e tipologia delle cornici nell’allestimento delle collezioni romane’; and also in the seminar, ‘Display of art in Roman palaces in the long 17th century (1550-1750)’, co-organized by Sapienza Università di Roma and the Getty Research Institute at Sapienza Università di Roma, Ex Vetreria Sciarra, 16-17 June 2010, with a paper titled ‘Ornamenti per disegni: alcuni esempi’
[2] For the cost of frames in the second half of the 17th century, see Loredana Lorizzo, Pellegrino Peri: Il mercato dell’arte nella Roma barocca, Rome, 2010, pp. 29-31
[3] Loredana Lorizzo, ‘People and practices in the paintings trade of 17th century Rome’, in Neil De Marchi & Hans J. Van Miegroet, eds., Mapping markets for paintings in Europe, 1450-1750, Turnhout, Belgium, 2006, p. 448
[4] Maria Letizia Papini, L’ornamento della pittura. Cornici, arredo e disposizione della Collezione Corsini di Roma nel XVIII secolo, Rome, 1998, 261 (no. 13), 266 (no. 34), 269 (nos. 47, 51)
[5] For the Caetani, see the concordance between the two inventories in Adriano Amendola, I Caetani di Sermoneta. Strategie politiche e storia artistica tra Roma e l’Europa nel Seicento, PhD diss., Sapienza Università di Roma, 2010, pp. 392-421
[6] Silvia Danesi Squarzina, La collezione Giustiniani. Inventari, 3 vols., Turin, 2003, 1:121 (no. 54), 348-49 (no. 185); 2:292-93 (no. 96)
[7] On collecting amongst the middle classes, see Patrizia Cavazzini, Painting as business in early 17th century Rome, Pennsylvania State University Press, 2008, pp. 95-111
[8] Licia Ragghianti Collobi, Il libro de ‘ disegni del Vasari, 2 vols., Florence, 1974
[9] Giulio Bora, I disegni del Codice Resta, Cinisello Balsamo, Italy, 1976; Simonetta Prosperi Valenti, I disegni del Codice Resta di Palermo, Cinisello Balsamo, Italy, 2007
[10] Simonetta Prosperi Valenti Rodino, ‘La collezione di grafica di Giovan Pietro Bellori: Traccia per una ricostruzione’, in Maria Teresa Caracciolo, ed., Hommage au dessin. Mélanges offerts à Roseline Bacou, Rimini, 1996, pp. 357-77
[11] Pierre-Jean Mariette, Abecedario de P. J. Mariette et autres notes inédites de cet amateur sur les arts et les artistes, annoté par Ph. de Chennevières et A. de Montaiglon, Paris, 1854, vol. 2, p. 20
[12] Fascinating aspects of Giuseppe Acquaviva’s collecting of botanical drawings and his relations with Pietro Paolo Bonzi can be found in Margherita Zalum Cardon, Passione e cultura dei fiori tra Firenze e Roma nel XVI e XVII secoli, Florence, 2008, pp. 89-91
[13] Adriano Amendola, ‘Matteo Caccini, Emanuel Sweerts e il giardino di Francesco IV Caetani: Un caso emblematico di collezionismo floreale’, in Cecilia Mazzetti di Pietralata, ed., Giardini storici : Artificiose nature a Roma e nel Lazio, Rome, 2009, pp. 273-83
[14] Adriano Amendola, I Caetani di Sermoneta: Storia artistica di un antico casato tra Roma e l’Europa nel Seicento, Rome, 2010, pp. 200-201
[15] Rome, Archivio di Stato (henceforth ASR), Notai Tribunale Auditor Camerae, notaio Pasquettus, voi. 5395, fols. 865r-865v/9o6r; ASR, 30 Notai Capitolini, ufficio 19, notaio Pizzutus, voi. 217, fols. 6ior-6i3v/6i8r-6i9v. For Ferrante Carlo and the Barberini’s Rome see Francesco Solinas, ‘Ferrante Carlo, Simon Vouet et Cassiano dal Pozzo: Notes et document inédits sur la période romaine’, in Stéphan Loire, ed., Simon Vouet: Actes du colloque international ; Galeries nationales du Grand Palais, 5-6-7 février 1991, Paris: La Documentation Française, 1992, pp. 135-47; see also Nicholas Turner, ‘Ferrante Carlo’s “Descrittione della Cupola di S. Andrea della Valle depinta dal Cavalier Gio: Lanfranchi”: A source for Bellori’s descriptive method’, Storia dell’Arte, vol. 12, 1971, pp. 297-325
[16] For example, the inventory of the painter-vendor Cornelis de Wael, resident in via Rasella, Rome, where he died in 1667, mentions three chests containing ‘120 images painted on Royal sheets. 130 images painted on Half Royal. 188 images on Imperial. 150 images painted on Quarter Royal. 280 images on white Royal. 112 images on white Imperial’; ‘one thousand one hundred images on large parchment sorted into eleven bundles. And then two thousand six hundred images on small parchment sorted into twenty-six bundles’, ‘inside of which are n° 267 painted coloured papers of divers parts of the world and another 422 white and four large papers of the Holy Land. Item n° 430 figures, various, on white paper’. The quantity of sheets is so enormous that they must have been intended for sale. For the citations from the inventory see Maurice Vaes, ‘Corneille De Wael (1592-1667)’, Bulletin de l’Institut Historique Belge de Rome, 1925, p. 230
[17] Nikolaus Pevsner, Le accademie d’arte, transl. Laura Loviseti Fuà, Turin, 1982, pp. 81-83. See also Tomaso Montanari, ‘Storia di Bernini pittore’, in idem, ed., Bernini pittore, exh. cat., Cinisello Balsamo, Italy, 2007, pp. 21-85, esp. pp. 37-38
[18] For the painters protected by the Muti, see Erich Schleier, ‘Charles Mellin and the Marchese Muti’, The Burlington Magazine, vol. 118, 1976, pp. 837-44; Erich Schleier, ‘Nuove proposte per Simon Vouet, Charles Mellin e Giovan Battista Muti’, in Olivier Bonfait & Christoph Luitpold Frommel, eds., Poussin et Rome: Actes du colloque à l’Académie de France à Rome et à la Bibliotheca Hertziana, 16-18 novembre 1994, Paris, Editions de la Réunion des Musées Nationaux, 1996, pp. 153-67; Philippe Malgouyres, ‘Mellin, les Muti et les Barberini’, in idem, ed., Charles Mellin, un Lorrain entre Rome et Naples, exh. cat., Paris, 2007, pp. 56-85
[19] Marco Pupillo, ‘”Allettati dal diletto delle virtù”. Giovanni Baglione, i Crescenzi e l’Accademia di S. Luca’, in Stefania Macioce, ed., Giovanni Baglione (1566-1644): Pittore e biografo di artisti, Rome, 2002, pp. 140-59
[20] Adriano Amendola, I Caetani di Sermoneta…, op. cit., pp. 92-97
[21] Giovanni Baglione, Le vite de’ pittori, scultori et architetti: Dalpontificato di Gregorio XIII del 1572; Infino a’ tempi di Papa Urbano Ottavo nel 1642, Rome, 1642, ed. Jacob Hess & Herwarth Röttgen, Vatican City: Biblioteca Apostolica Vaticana, 1995, pp. 133, 249. Giovan Battista Passeri, Vite de pittori, scultori ed architetti che anno lavorato in Roma morti dal 1644 fino al 1673. Rome, 1673; reprinted, Rome, 1976, p. 326
[22] The presence of the nude model and the large number of artists suggests that the drawing represents the Accademia degli Incamminati, founded by the Carracci in Bologna at the end of the 16th century, for which see Gail Feigenbaum, ‘Drawing and collaboration in the Carracci Academy’, in Marilyn Aronberg Lavin, ed., IL 60: Essays honouring Irving Lavin on his sixtieth birthday, New York, 1990, pp. 145-48
[23] Giulio Mancini, Considerazioni sulla pittura, ed. Adriana Marucchi & Luigi Salerno, Rome, 1956, pp. 145-46, indicates the chromatic and tonal value of the painting as the decisive factor in choosing a gilt frame if the picture is old or Caravaggesque, but he suggests using a dark frame if the painting contains bright colours. He adds that an ebony frame, which increases the refinement and preciousness of the object, is reserved for gifts to the prince
[24] Giovan Pietro Bellori, The lives of the modern painters, sculptors, and architects: A new translation and critical edition, transl. Alice Sedgwick Wohl, ed. Hellmut Wohl & Tomaso Montanari, New York, 2005, p. 414
[25] Drawings in gilt frames are found in the following collections: Ugo Ottaviano Accoramboni (I-614), Giovanni Francesco Albani (I-864), Pompeo Aldovrandi (1-737), Filippo Astalli (I-990), Giovanni Battista d’Aste (I-1861), Pietro Paolo Avila (I-609), Decio Azzolini (I-3443), Antonio Barberini Jr. (I-3722), Francesco Barberini Jr. (I-527), Francesco Barberini Sr. (I-3730), Olimpia Barberini Pamphilj Giustiniani (I-528), Taddeo Barberini (I-3562; 3723), Bartolomeo Barzi (I-1060), Cornelio Bentivoglio d’Aragona (I-4924), Gioacchino Besozzi (I-2390), Giovan Battista Borghese (I-190), Alessandro Gregorio Capponi (I-1034), Giovanni Ceci (I-1112), Michelangelo Cerquozzi (I-824), Agostino Chigi (1-724), Famiglia Colonna (I-538; 903; 909), Filippo II Colonna (I-77), Girolamo I Colonna (I-912), Girolamo II Colonna (I-632), Lorenzo Onofrio Colonna (I-902), Carlo Conti (1-1779), Federico Cornaro (1-999), Placido Costanzi (I-361), Giulio Donati (I-1014), Gerolamo Farnese (I-2274), Francesco Antonio Fini (I-1031), Astolfo Galloppi (I-615), Marzio Ginetti (I-630), Lelio Guidiccioni (I-2248), Giuseppe Lironi (I-325), Paolo Maccarani (I-2621), Adrien Manglard (I-358), Francesca Gommi Maratti (I-748), Prospero Marefoschi (I-616), Francesco Marucelli (I-2253), Girolamo Mercuri (I-1024), Pietro Millini (I-4733), Francesco Maria Del Monte (I-3849), Isabella Moroni (I-877), Vincenzo Nuñez (I-547), Luigi Omodei (I-2263), Giuseppe Origo (I-1832), Anne-Marie de la Trémoille Orsini (I-419), Giuseppe Paolucci (1-744), Giovan Battista Pasqualoni (I-1089), Costanzo Patrizi (I-2279), Anna Maria Petrolini Minutilli Caffarelli (I-800), Giovan Battista Piccini (I-956), Carlo Pio di Savoia (I-2088), Alessandro Rondinini (I-1117), Giuseppe Rospigliosi (I-318), Carlo de Rossi (I-2247), Matteo Sacchetti (I-881), Urbano Sacchetti (I-880), Faustina Santacroce Mattei Orsini (I-596), Giuseppe Sforza Cesarmi (I-1046), Alessandro Vittrice (I-2251)
[26] Drawings in black frames are found in the following collections: Francesco Albizi (1-779, Pompeo Aldovrandi (I-737), Pompeo Angelotti (I-1090), Pietro Paolo Avila (I-609), Olimpia Barberini Pamphilj Giustiniani (I-528), Bartolomeo Barzi (I-1060), Vincenzo Buzi (I-2244), Giovanni Ceci (I-1112), Michelangelo Cerquozzi (I-824), Agostino Chigi (I-724), Flavio Chigi (I-249), Giovanni Cipolla (I-806), Famiglia Colonna (I-903; 974), Filippo I (I-816), Filippo II Colonna (I-77), Girolamo I Colonna (I-912; 972), Girolamo II Colonna (I-632), Lorenzo Onofrio Colonna (I-902), Federico Cornaro (I-999), Domenico Maria Corsi (I-2249), Charles Errand (I-1860), Carlo Agostino Fabroni (I-367), Astolfo Galloppi (I-615), Lelio Guidiccioni (I-2248), Francesco Marucelli (I-2253), Polidoro Neruzzi (I-984), Livio Odescalchi (I-629), Luigi Omodei (I-2254; 2263), Giuseppe Paolucci (I-744), Giovan Battista Pasqualoni (I-1089), Giuseppe Pignatelli (I-1103), Carlo Pio di Savoia (I-2088), Francesco Recalcati (I-952), Giuseppe Rospigliosi (I-318), Carlo de Rossi (I-2247), Mattia de Rossi (I-735), Matteo Sacchetti (I-881), Urbano Sacchetti (I-880), Andrea Sacchi (I-722), Faustina Santacroce Mattei Orsini (I-596), Ludovico Sergardi (I-470)
[27] Drawings in brown frames are found in the following collections: Giovan Giorgio Aldobrandi (I-998), Pietro Paolo Avila (I-609), Décio Azzolini (I-3443), Carlo Barberini (I-3736), Francesco Barberini Jr. (I-527), Taddeo Barberini (I-3723), Carlo Pietro Luigi Carafa (I-2089), Giuseppe Cesari (I-3589), Agostino Chigi (I-724), Famiglia Colonna (I-903), Filippo II Colonna (I-77), Lorenzo Onofrio Colonna (I-902), Carlo Conti (1-1779), Ludovico Ludovisi (I-822), Paolo Mercati (I-2252), Girolamo Mercuri (I-1024), Isabella Moroni (I-877), Livio Odescalchi (I-629), Luigi Omodei (I-2263), Anne-Marie de la Trémoille Orsini (I-419), Fulvio Orsini (I-2092), Benedetto Pamphilj (I-626), Francesco Patrizi Naro (I-3811), Giuseppe Paolucci (I-744), Anna Maria Petrolini Minutilli Caffarelli (I-800), Rodolfo Pio da Carpi (I-3963), Carlo Pio di Savoia (I-2088), Alessandro Rondinini (I-1117), Carlo de Rossi (I-2247), Urbano Sacchetti (I-880), Francesco Sannesio (I-2270).
[28] Drawings in white frames are found in the following collections: Pietro Paolo Avila (I-609), Bartolomeo Barzi (I-1060), Famiglia Colonna (I-904), Filippo II Colonna (I-77), Girolamo I Colonna (I-912), Lorenzo Onofrio Colonna (I-902), Pitero Colonna (I-911), Carlo Agostino Fabroni (I-367), Lelio Guidiccioni (I-2248), Giuseppe Lironi (I-325), Livio Odescalchi (I-629), Luigi Omodei (I-2263), Carlo Pio di Savoia (I-2088), Carlo de Rossi (I-2247), Matteo Sacchetti (I-881), Alessandro Vittrice (I-2251)
[29] Filippo Baldinucci, Notizie de’ Professori del disegno da Cimabue in qua, Florence, 1681; reprinted, Florence, 1974-75, vol. 5, p. 485
[30] Bernardo De Dominici, Vite de’ pittori, scultori ed architetti napoletani, ed. Fiorella Sricchia Santoro & Andrea Zezza, Naples, 2008, vol. 3, pp. 473-74. For the frame designed by Salvator Rosa and its commercial success see Adriano Amendola, ‘”Questa signor mio è la ruffiana delle pitture”: Salvator Rosa e l’invenzione di un nuovo modello di cornice’, in Sybille Ebert Schifferer, Helen Langdon, & Caterina Volpi, eds., Salvator Rosa e il suo tempo 1615-1673, Rome, 2010, pp. 255-65
[31] Francesco Grisolia, ‘Disegni napoletani nella collezione Hugford agli Uffizi’, in Francesco Solinas & Sebastian Schütze, eds., Le dessin Napolitain, Rome, 2010, pp. 261-80
[32] Adriano Amendola, ‘L’abate Giovan Cristoforo Rovelli, Frans Luycx, François Du Quesnoy, Andrea Sacchi e il mecenatismo artistico dei Caetani nel Seicento’, Storia dell’ Arte, nos. 122-123, 2009, pp. 147-76
[33] Bernardo De Dominici, Vite..., 2008, op. cit., vol. 3, p.c967. For De Dominici’s collection of drawings see Mario Epifani, ‘Il libro de’ disegni di Bernardo De Dominici’, in Francesco Solinas & Sebastian Schütze, eds., op. cit., pp. 253-60
[34] Luigi Spezzaferro, ‘Per il collezionismo dei Bamboccianti a Roma nel Seicento: Qualche appunto e qualche riflessione’, in Francesco Porzio, ed., Da Caravaggio a Ceruti: La scena di genere e l’immagine dei pitocchi nella pittura italiana, exh. cat., Milan, 1998, p. 86. Azzavedi’s inventory can be consulted online at the site of the Getty Provenance Index ® Database under ‘archival inventories’ (I-1961)