{"meta":{"version":"2.1","_links":{"self":{"href":"https://api.vam.ac.uk/v2/object/O138565"},"collection_page":{"href":"https://collections.vam.ac.uk/item/O138565/"}},"images":{"_primary_thumbnail":"https://framemark.vam.ac.uk/collections/2006AC9360/full/!100,100/0/default.jpg","_iiif_image":"https://framemark.vam.ac.uk/collections/2006AC9360/","_alt_iiif_image":[],"imageResolution":"high","_images_meta":[{"assetRef":"2006AC9360","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2018KX4306","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2018LH4290","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false}]},"see_also":{"_iiif_pres":"https://iiif.vam.ac.uk/collections/O138565/manifest.json","_alt_iiif_pres":[]}},"record":{"systemNumber":"O138565","accessionNumber":"8941","objectType":"Design","titles":[{"title":"The tomb of Pope Paul III in St. Peter's Rome, as it was in about 1575","type":"published title"}],"summaryDescription":"The tomb of Paul III was originally planned by della Porta as a free-standing monument. This drawing shows the monument as it was when erected under the Dome of St Peter's, in a niche in the south-east pier of the crossing.\r\n\r\nThe drawing was part of the collection assembled by John Talman (1677-1726). Talman was the son of the celebrated architect William Talman. From about 1698 he was employed by his father to help assemble material for his extensive collection of architectural drawings, prints and books. A keen traveller, he went  to the Continent twice in search of acquisitions. He visited the northern Netherlands, France, Germany and Italy, and he made numerous watercolour copies of altarpieces and churches in Rome. \r\n\r\nTalman was back in England in 1715. He was a founder-member of the Tavern Society, London, which later became the Society of Antiquaries, and he was appointed its first director. Like his father, Talman believed in the elevating purpose of art and in the use of art collections for the public good. Although his will indicates that he had wanted his vast collection (which contained over 32,000 prints and drawings), to go to Trinity College, Cambridge, he later changed his mind and instructed that it should be sold for the benefit of his children. A portion of the collection was nonetheless given outright to the Society of Antiquaries, who acquired further items from the auction in London on 19 April 1727.","physicalDescription":"Design for the tomb of Pope Paul III showing a pair of reclining figures on the base and another pair on the pediment above. The structure is surmounted by a statue of the Pope who extends his right hand in a gesture of blessing.","artistMakerPerson":[{"name":{"text":"Unknown","id":"A1848"},"association":{"text":"artist","id":"AAT25103"},"note":""},{"name":{"text":"della Porta, Gugliemo","id":"AUTH338498"},"association":{"text":"after","id":"THES283471"},"note":""}],"artistMakerOrganisations":[],"artistMakerPeople":[],"materials":[{"text":"pen and ink","id":"x30618"},{"text":"wash","id":"AAT11051"},{"text":"paper","id":"x30308"}],"techniques":[{"text":"drawing","id":"x32498"}],"materialsAndTechniques":"Pen and ink and wash","categories":[{"text":"Designs","id":"THES48968"}],"styles":[{"text":"Italian School","id":"x31264"}],"collectionCode":{"text":"PDP","id":"THES48595"},"images":["2006AC9360","2018KX4306","2018LH4290"],"imageResolution":"high","galleryLocations":[{"current":{"text":"LVLH","id":"THES49654"},"free":"","case":"PD","shelf":"114","box":""}],"partTypes":[[{"text":"designs","id":"AAT102051"}]],"contentWarnings":[{"apprise":"","note":""}],"placesOfOrigin":[{"place":{"text":"Italy","id":"x28927"},"association":{"text":"made","id":"x28654"},"note":""}],"productionDates":[{"date":{"text":"ca. 1575-1628","earliest":"1570-01-01","latest":"1628-12-31"},"association":{"text":"made","id":"x28654"},"note":""}],"associatedObjects":[],"creditLine":"","dimensions":[{"dimension":"Height","value":"550","unit":"mm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"","note":""},{"dimension":"Width","value":"339","unit":"mm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"","note":""}],"dimensionsNote":"","marksAndInscriptions":[],"objectHistory":"PROVENANCE J. Talman (Lugt 2884A); C. Rogers (Lugt 624); Sir T. Lawrence (Lugt 2445); bought 1883","historicalContext":"","briefDescription":"Drawing, The tomb of Pope Paul III in St Peter's, Rome, as it was in about 1575, after Gugliemo della Porta, Italian School, pen and ink and wash, ca. 1575-1628","bibliographicReferences":[{"reference":{"text":"","id":""},"details":"","free":"Ward-Jackson, Peter, <u>Italian Drawings. Volume One: 14th - 16th century</u>, London, 1979, cat. 256, pp. 128-129, illus.\n\nThe following is the full text of the entry:\n\n<i>after</i>\r\nPORTA, GUGLIELMO DELLA\r\n\r\n256\r\nThe tomb of Pope Paul III in St Peter’s, Rome, as it was in about 1575\r\nPen and ink and wash\r\n21 5/8 x 13 3/8 (550 x 339)\t\t\t\t8941\r\nPROVENANCE J. Talman (Lugt 2884A); C. Rogers (Lugt 624); Sir T. Lawrence (Lugt 2445); bought 1883\r\nLITERATURE F. Gregorovius, <i>Le tombe dei Papi</i>, 2nd edition (edited by C. Huelsen), Rome, 1931, pp. 88-90, p. 147 and pl. 65; H. Brauer and R. Wittkower, <i>Die Zeichnungen des Gianlorenzo Bernini</i>, Berlin, 1931, pp. 23-4; R.U. Montini, <i>Le tombe dei Papi</i>, Rome (Istituto di studi romani), 1957, pp. 320-23 and pl. 129; H. Siebenhuner, ‘Umrisse zur Geschichte der Ausstattung von St Peter in Rom von Paul III bis Paul V (1547-1606)’ in <i>Festschrift für Hans Sedlmayr</i>, Munich, 1963, pp. 266-67 and pl. 23\r\n\r\nCommissioned in 1549, the tomb of Paul III was originally planned by della Porta as a free-standing monument. The plan was defeated by Michelangelo after a dispute that lasted many years. The drawing shows the monument as it was when those parts of it that della Porta had gradually completed were at last erected under the dome of St Peter’s, not standing free, but in a niche in the south-east pier of the crossing, in the place now occupied by Disquesnoy’s statue of St Andrew. There is doubt about the exact date when it was erected there, but Siebenhuner is probably right in his opinion that it was in 1575. In 1628 the tomb was moved to its present place, a niche in the apse, opposite Bernini’s monument of Urban VIII. The arrangement of the tomb shown in the drawing is similar to that represetnted in two engravings by Martino Ferrabosco published in <i>Architettura della Basilica di San Pietro in Vaticano… da Gio. Battista Costaguti Seniore…fatta esprimere e intagliare in piu tavole da Martino Ferrabosco, e posta in luce l’anno MDCXX…Di nouvo dato alle stamped a Gio. Battista Costaguti Juniore</i>, Rome, 1684. Both the prints and the drawing show a pair of reclining figures on the base and another pair on the pediment above. The two upper figures were discarded when the tomb was moved to its present position, and they are now in the Farnese Palace. The drawing agrees with the prints, again, in defining the shape of the base, which has remained unchanged to this day. But it is inaccurate in representing those parts of the monument which della Porta had completed at an early stage. The Pope’s head is inclined to his right, whereas in the bronze it is inclined to his left: the lower pair of reclining figures hold their heads in position which do not correspond wit the marbles, and each of them is shown with one elg extended, whereas in the marbles both legs are bent back, an unusual pose which an artist might be expected to notice and remember. Still more remarkable is the artist’s failure to get the basic proportions right. In the sculpture as executed (and as shown in Ferrabosco’s engravings) the bronze figure of the Pope is on the same scale as the reclining marble figures, whereas in our drawings it is almost twice as big, These discrepancies provde that the drawing could not have been made by della Porta himself and must have been made partly from memory. It might conceivably have been made by an artist who had been commissioned to design a scheme for assembling the completed sculpture together in a niche, but it is scarcely likely that an artist entrusted with such a commission would have falsified the balance of the sculpture to this extent, even if he was working from memory, Our conclusion must be that the drawing is a copy of the monument as it was between 1575 and 1628, made party from memory. Siebenhuner (p.266) seems to imply that it is, or was, attributed to Sormani in our Museum, but this ius not so, nor does there seem to be any good reason to adopt the attribution now. A drawing ascribed to Sormani that embodies many features of della Porta’s original design is discussed in no. 320."},{"reference":{"text":"Franklin, David, Carlo Gasparri, Ingrid D. Rowland, Sebastian Schütze, <i>From Raphael to Carracci: The Art of Papal Rome</i>, Ottawa: National Gallery of Canada, 2009.","id":"AUTH348170"},"details":"","free":""}],"production":"","productionType":{"text":"Unique","id":"THES48864"},"contentDescription":"","contentPlaces":[{"text":"Rome (city)","id":"x29106"}],"associatedPlaces":[],"contentPerson":[],"associatedPerson":[],"contentOrganisations":[],"associatedOrganisations":[],"contentPeople":[],"associatedPeople":[],"contentEvents":[],"associatedEvents":[],"contentOthers":[],"contentConcepts":[],"contentLiteraryRefs":[],"galleryLabels":[],"partNumbers":["8941"],"accessionNumberNum":"8941","accessionNumberPrefix":"","accessionYear":null,"otherNumbers":[{"type":{"text":"Ward Jackson Catalogue Number","id":"THES57260"},"number":"PWJ 256"}],"copyNumber":"","aspects":["WHOLE"],"assets":[],"recordModificationDate":"2025-05-07","recordCreationDate":"2007-08-17","availableToBook":false}}