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        <summary_title>paper</summary_title>
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    <name>Support</name>
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    <value>Paintings, Drawings and Prints</value>
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    <summary_title>An exhibition of Master Drawings</summary_title>
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    <summary_title>L'Idea del Bello</summary_title>
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    <summary_title>Roma antica e moderna nel seicento vista da un contemporaneo Giovan Pietro Bellori</summary_title>
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    <summary_title>Italian Drawings: Highlights from the Collection</summary_title>
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    <accession_number>PD.18-1996</accession_number>
    <primary>1</primary>
    <type>accession number</type>
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    <type>uri</type>
    <uri>https://data.fitzmuseum.cam.ac.uk/id/object/32975</uri>
    <value>https://data.fitzmuseum.cam.ac.uk/id/object/32975</value>
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    <summary_title>The Fitzwilliam Museum</summary_title>
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  <legal>
    <credit_line>From the Rylands Fund.</credit_line>
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          <id>agent-150572</id>
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          <uuid>203a05fe-9747-3509-a9fe-50d6ef6476a2</uuid>
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        <summary_title>Colnaghi</summary_title>
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      <date>
        <earliest>1996</earliest>
        <latest>1996</latest>
        <value>1996</value>
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        <value>bought</value>
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        <summary_title>Sacchi, Andrea</summary_title>
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        <value>This drawing is a preparatory study for Sacchi's most famous painting, 'The Vision of St Romuald' of 1631, now in the Pinacoteca Vaticana [see Ann Sutherland Harris, 'Andrea Sacchi', Princeton, 1977, pp. 61-62, no. 20, pl. 41]. Commissioned by the Camaldolese order in Rome for the high altar of their new church of San Romualdo, the painting depicts the saint describing his vision of Camaldolese monks ascending a ladder to Heaven. Possibly commissioned by Cardinal Lelio Biscia, Vice-Proctor of the Camaldolese order, the painting remained in the church until 1797, when it was taken to Paris to be part of the Mus&#xE9;e Napol&#xE9;on. The painting was back in Rome by 1823 and entered the Pinacoteca Vatican soon after. The 'Vision of St Romuald' was widely copied and secured Sacchi's reputation. Another compositional study for the painting is at Stockholm [NM 1274/1863] [Bjurstr&#xF6;m and Magnusson, loc. cit.]. Unlike the Fitzwilliam drawing, which is very close to the painting, this differs in that the saint is accompanied by angels rather that by monks. It is likely therefore that the Stockholm drawing was made before the Fitzwilliam one. Further studies for different details of the composition are at Windsor, Paris, D&#xFC;sseldforf and Besan&#xE7;on. Ann Sutherland Harris [op. cit. p.14] has shown that Sacchi originally was inspired by Antiveduto Grammatica's painting of the same subject at Frascati, probably painted c. 1620.</value>
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        <summary_title>red chalk wash</summary_title>
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    <value>Private collection, Britain; with Luca Baroni [P. &amp; D. Colnaghi]</value>
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