Giovanni Paolo Panini (Italian, Piacenza 1691–1765 Rome)
Pen and black ink, watercolor, over graphite. Framing lines in pen and black ink at left, right, and upper margins
13 3/8 x 21 7/16in. (34 x 54.5cm)
Rogers Fund, 1968
Not on view
This large view is a highly finished preparatory sketch for a painting in the National Gallery, London (inv. NG6605), representing the drawing of the Roman lottery on the balcony of the Palazzo di Montecitorio (see here ‘references’: Draper 1969), as attested by a contemporary annotation in the lower margin of the sheet . The painting is said to have been commissioned by Cardinal Domenico Orsini (1719-1789; created September 9, 1743), and the annotation itself cannot predate October 1749, when Panini was granted the title Cavaliere dello Sperone d'oro. The view is very accurate, although Panini has taken certain liberties in showing, on the right, the whole Column of Marcus Aurelius, which in fact at the time was obscured by buildings separating the Piazza Colonna from the Piazza di Montecitorio. At the right is the base of the Column of Antoninus Pius, excavated near the Palazzo di Montecitorio in 1703 and in 1705 installed by Carlo Fontana in the square, where it remained until 1764. Today it is in the Cortile della Pigna of the Vatican. The obelisk that now stands in the center of the square was erected there between 1788 and 1792.
The Palazzo di Montecitorio was known in Panini's day as the Curia Innocenziana, so named for its connection with Popes Innocent XI and Innocent XII. It was commissioned from Bernini by Innocent XI Odescalchi, but actually constructed according to the design of Carlo Fontana for Innocent XII Pignatelli. Directly behind the Palazzo di Montecitorio, on the right, facing the column of Marcus Aurelius, is the Palazzo Chigi. The building behind and slightly to the left of the column of Marcus is the Palazzo Piombino, replaced in the late-nineteenth century by the Galleria Colonna. The bozzetto was apparently drawn directly in the Piazza, but Panini radically changed the foreground of the painting and restudied almost all the figures. The only figure specifically retained from the drawing is the seated man sketching or writing at lower left. Eight figure studies for the painting have been identified. In composition, the drawing corresponds quite closely to the painting, but in the latter the figures are larger in scale and grouped differently. Edward Croft-Murray identified two chalk figure studies by Panini for the painting in a sketchbook preserved in the British Museum, and James Draper found further figure studies in the Kupferstichkabinett, Berlin, in the Witt Collection at the Courtauld Institute, London, and in a Swiss private collection (all reproduced in Draper 1969).
As astutely pointed out by Simonetta Prosperi Valenti Rodinò, with regard to the provenance, the drawing can be identified as that mentioned by the painter Giuseppe Bossi on his Memoires of June 26, 1810: "I just bought six beautiful Panninis depicting Montecavallo, the Via del Corso, the broken atrium of the Porta Santa, Monte Citorio with the Lottery Game, and some minor views of the Colosseum, all for 18 soldi" (Ho acquistato sei stupendi Pannini rappresentanti Monte Cavallo, il Corso, l’atrio della rottura della Porta Santa, Monte Citorio coll’estrazione del Lotto e in forma minore due vedute del Colosseo, tutto per s.[oldi] 18.) (F. R. 2015)
Inscription: A fragment of an old mount attached to the backing of the frame. Fragment has annotation in pen and brown ink, "Bozzetto Originale del'Cavale = Gio Pavolo Panini del. Quadro dell'Estrazione del Lotto di Roma, da esso eseguito per £.Emo Cardinale Domenico Orsini."
Marking: Illegible black round stamp on fragment of old mount attached to the backing of frame. Sticker on backing: THOS AGNEW & SONS LTD / NO 28941 / LONDON. / 43. OLD BOND STREET. / PICCADILY.W.
Possibly Giuseppe Bossi(see Prosperi Valenti Rodinò 1989, p. 17); Zabert; Thomas Agnew & Sons, Ltd.; Vendor: Thomas Agnew & Sons, Ltd.
The Metropolitan Museum of Art. "Drawings from New York Collections. III: The Eighteenth Century in Italy," January 30, 1971–March 21, 1971.
The Metropolitan Museum of Art. "The Metropolitan Museum of Art: Notable Acquisitions 1965-1975," December 6, 1975–March 23, 1976.
The Metropolitan Museum of Art. "Artists in Rome in the 18th Century: Drawings and Prints," February 28, 1978–May 7, 1978.
Philadelphia Museum of Art. "Art in Rome in the Eighteenth Century," February 27, 2000–May 21, 2000.
Museum of Fine Arts, Houston. "Art in Rome in the Eighteenth Century," June 17, 2000–September 17, 2000.
Princeton University Art Museum. "Lasting Impressions of the Grand Tour: Guiseppe Vasi's Rome," March 5, 2011–June 12, 2011.
"in Apollo advertisement supplement". Apollo Magazine, vol. 85, May 1967, p. 65, ill.
James David Draper "The Lottery in Piazza di Montecitorio." Master Drawings. vol. 7, no. 1, 1969, pp. 27 - 34, pls. 15-17, Notes 2-6.
Jacob Bean "Ninety-ninth Annual Report of the Trustees for the Fiscal Year 1968-1969, Reports of the Departments: Drawings." in The Metropolitan Museum of Art Bulletin. The Metropolitan Museum of Art, n.s. vol. 28, no. 2, New York, October 1969, p. 67.
Immagini di Montecitorio, Rome. edited by Franco Borsi, Rome, 1970, pp. 96, 97 pl. 44, ill.
Jacob Bean, Felice Stampfle Drawings from New York Collections, vol. III: Eighteenth Century Italian Drawings. Exh. cat., The Metropolitan Museum of Art. The Metropolitan Museum of Art, Morgan Library & Museum, New York, 1971, pp. 39-40, no. 55, ill.
Carlo Pietrangeli Il Museo di Roma. Documenti e Iconografia. Bologna, 1971, p. 129.
Jacob Bean in The Metropolitan Museum of Art: Notable Acquisitions, 1965-1975: Drawings. New York, 1975, p. 58, ill.
Jacob Bean Patterns of Collecting: Selected Acquisitions, 1965-1975 Explanatory texts accompanying an exhibition: December 6, 1975 through March 23, 1976. The Metropolitan Museum of Art, New York, 1975, p. 58, ill.
Jacob Bean Artists in Rome in the 18th Century: Drawings and Prints Exh. cat., The Metropolitan Museum of Art, New York (February 7 - May 7, 1978). New York, 1978.
Franco Borsi, Giuliano Briganti, Marcello Ventruoli Il Palazzo di Motecitorio. 2nd ed., Rome, 1985, Reprinted in color on dust jacket.
Ferdinando Arisi Gian Paolo Panini e i fasti della Roma del '700. Rome, 1986, under no. 346, p. 404, ill.
John A. Pinto The Trevi Fountain. New Haven and London, 1986, fig. no. 127, pp. 173, 174, ill.
Simonetta Prosperi Valenti Rodinò Disegni Romani, Toscani e Napoletani. Gallerie dell'Accademia di Venezia. Milan, 1989, p. 17 (suggesting the early provenance from Giuseppe Bossi, on the basis of his journal annotations written on June 26, 1810: "Ho acquistato sei stupendi Pannini: [...] Monte Citorio con l'estrazione del Lotto", thus referring to the MMA sheet).
Jacob Bean, William M. Griswold 18th Century Italian Drawings in The Metropolitan Museum of Art. Exh. cat. The Metropolitan Museum of Art, New York, 1990, pp. 159-61 no. 150.
Edgar Peters Bowron, Edgar Peters Bowron, Joseph J. Rishel, Philadelphia Museum of Art Art in Rome in the Eighteenth Century. Philadelphia Museum of Art, Philadelphia, 2000, pp. 538-39, no. 383 (entry by Edgar Peters Bowron).
Anna Lo Bianco, Angela Negro Il Settecento a Roma Exh. cat., Museo Nazionale di Palazzo Venezia, Rome. Rome, 2005, p. 248.