Cristofano Roncalli, called Il Pomarancio

With The Folio Society, London, from whom purchased, 1962

Newcastle, 1964, no. 16 (as Attributed to Cristoforo Roncalli);
Newcastle, 1974, no. 34, reproduced pl. XII;
London, 1975, no. 24;
Newcastle, 1982, no. 22

J.A. Gere and P. Pouncey, Italian Drawings...in the British Museum, Artists working in Rome c.1550 to c.1640, London 1983, p. 153

Window mounted. Overall in good condition. Slight foxing and very light small stains. Minor rubbing of the surface, chalk still strong. Around the margins the remains of an old mount with black chalk lines.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

In a 1963 letter to Mr. Holland, Philip Pouncey accepted the traditional attribution and suggested that this was an early drawing by the artist.  This was substantiated when Ralph Holland wrote in the 1974 exhibition catalogue that he noticed it is connected with one of the smaller scenes frescoed below the balcony at the entrance of the Oratorio del SS. Crocifisso, in Rome.  These frescoes, executed between 1583-84 by Paris Nogari, Baldassare Croce and Pomarancio and illustrating the legend of the True Cross, completed the main decoration of the Oratory.  Roncalli is responsible for two of the smaller frescoes: The crucifix of S. Marcello miraculously survives the fire and The Confraternity founds a convent of Capuchin nuns.  Roncalli was paid for his work in February and May 1583.¹  An inscription underneath the fresco, which differs considerably from the present drawing, is dated 1589 and identifies the subject as the Foundation of the Church and Convent of Santa Chiara al Quirinale in 1575.  Ralph Holland pointed out a pen and ink study by Roncalli for the same composition in the Städelsches Kunstinstitut, Frankfurt,²  which seems to be very much a preliminary study.

 

1.  R. Eitel-Porter, 'The Oratorio del SS. Crocifisso in Rome revisited,' The Burlington Magazine, CXLII, October 2000, p. 613, note 9 
2.  Inv. no. 3965 (attributed to Boscoli, image at the Witt Library)