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| Andrea Sacchi Daedalus and Icarus ca. 1645 oil on canvas Musei di Strada Nuova, Genoa |
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| Andrea Sacchi Figure-study (for vault fresco, S. Luigi dei Francesi, Rome) ca. 1653-60 drawing Royal Collection, Great Britain |
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| Andrea Sacchi Figure-studies (for vault fresco, S. Luigi dei Francesi, Rome) ca. 1653-60 drawing Royal Collection, Great Britain |
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| Andrea Sacchi Triumph of Divine Wisdom 1629-30 ceiling fresco Palazzo Barberini, Rome |
"Sacchi's position in the history of Roman painting rests upon the unforced grandeur of his style, in which he maintained a happy balance between the rather dry severity of the Carracci tradition and the decorative exuberance of a Lanfranco or a Cortona. Everything that Sacchi created – not much in respect to number – appears to have been thoroughly considered and to contain the extract of a broad and profound knowledge of art. . . . Anton Raphael Mengs found fault with Sacchi because 'his pictures to a certain degree were only suggestive and lacked any degree of exactitude in the imitation of nature.' But the current judgment would find it difficult to agree with such petty criticism."
– Hermann Voss, from Baroque Painting in Rome (1925), revised and translated by Thomas Pelzel (San Francisco: Alan Wofsy, 1997)
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| Andrea Sacchi The Three Magdalenes (study for painting) ca. 1632-33 drawing Royal Collection, Great Britain |
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| Andrea Sacchi Studies of Putti for Destruction of the Pagan Idols (fresco executed by Carlo Maratti in St John Lateran, Rome) ca. 1645 drawing Royal Collection, Great Britain |
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| Andrea Sacchi Vision of St Romuald ca. 1631 oil on canvas Pinacoteca Vaticana, Rome |
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| Andrea Sacchi Study of Onlooker (for painting, St Anthony of Padua reviving a Dead Man) ca. 1632-35 drawing Royal Collection, Great Britain |
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| workshop of Andrea Sacchi after Correggio Winged Cupid (copy after detail in cupola fresco, Parma Cathedral) ca. 1630-70 drawing Royal Collection, Great Britain |
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| Andrea Sacchi Birth of St John the Baptist ca. 1628-29 oil on canvas Museo del Prado, Madrid |
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| Andrea Sacchi Outstretched Arm of St John the Baptist (study for painting) before 1661 drawing Royal Collection, Great Britain |
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| Andrea Sacchi Leg and Hand of St John the Baptist (study for painting) before 1661 drawing Royal Collection, Great Britain |
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| Andrea Sacchi Marcantonio Pasqualini crowned by Apollo 1641 oil on canvas Metropolitan Museum of Art, New York |
"A celebrated male soprano, Pasqualini is crowned by Apollo, who had been victorious in a musical contest with the satyr Marsyas (shown in the background, defeated and tied to a tree with his bagpipes beside him). . . . The singer plays an upright harpsichord decorated with the figures of Daphne and a bound satyr. Apollo is loosely based on the famous ancient sculpture known as the Apollo Belvedere."
"Marc'Antonio Pasqualini (1614-1691) was perhaps the leading castrato of his day and was also a composer. Following his training at the French national church of S. Luigi dei Francesi in Rome, he came to the attention of Antonio Barberini, who is cited as the singer's protector upon his entry into the Sistine Choir in 1631. During the following decade he starred in most of the operas staged by the Barberini in their palace, establishing a reputation for vocal brilliance as well as arrogance."
– from curator's notes at the Metropolitan Museum
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| Andrea Sacchi Figure-study before 1661 drawing Royal Collection, Great Britain |
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| Andrea Sacchi Figure-studies (for vault fresco, S. Luigi dei Francesi, Rome) ca. 1653-60 drawing Royal Collection, Great Britain |