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| Marcantonio Bassetti Transfiguration before 1630 drawing Teylers Museum, Haarlem |
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| Marcantonio Bassetti Flagellation before 1630 drawing Morgan Library, New York |
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| Marcantonio Bassetti St Carlo Borromeo venerating the Cross before 1630 drawing Teylers Museum, Haarlem |
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| Marcantonio Bassetti Triumph of Julius Caesar before 1630 drawing Royal Collection, Great Britain |
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| Marcantonio Bassetti Conspirators around Julius Caesar before 1630 drawing Royal Collection, Great Britain |
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| Marcantonio Bassetti Murder of Julius Caesar before 1630 drawing Royal Collection, Great Britain |
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| Marcantonio Bassetti Nymphs Bathing before 1630 drawing Metropolitan Museum of Art, New York |
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| Marcantonio Bassetti Mary Magdalen carried up to Heaven before 1630 drawing Royal Collection, Great Britain |
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| Marcantonio Bassetti Dives and Lazarus before 1630 drawing Royal Collection, Great Britain |
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| Marcantonio Bassetti Burial of the Virgin before 1630 drawing Royal Collection, Great Britain |
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| Marcantonio Bassetti after Jacopo Tintoretto Miracle of St Mark before 1630 drawing (copy of Tintoretto painting) Royal Collection, Great Britain |
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| Marcantonio Bassetti after Paolo Veronese Pool of Bethesda before 1630 drawing (copy of Veronese painting) Royal Collection, Great Britain |
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| Marcantonio Bassetti Presentation in the Temple ca. 1610 drawing Royal Collection, Great Britain |
"An oil drawing of the Virgin Mary presenting the Christ Child to the High Priest in the Temple: the temple is shown as a classical rotunda composed of two superimposed orders, the upper one of which encloses niches containing statues. The scene is viewed di sotto in su, so the composition must have been planned for a ceiling or the upper part of a wall. . . . The twenty-one drawings by Bassetti at Windsor come from one of George III's albums devoted to the Venetian school, and are described in an early inventory simply as 'after Tintoretto,' as one is a copy after that artist's Miracle of St Mark. Most are executed in Bassetti's distinctive technique of thick pen and wash on toned paper, with extensive highlights in worm-like ribbons of white oil paint; here the whole drawing is worked up with oil paint, though the absorbency of the paper has given it a rather flat appearance. The naivety of these drawings, with cramped compositions and doll-like figures, suggests that they date from the early part of Bassetti's career, when he was finding his way as an artist. The composition here is indebted to a favourite formula of Jacopo Bassano, with figures stacked up in a stepped, oblique architectural space to an event in the middle ground . . . "
– from curator's notes at the Royal Collection
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| Marcantonio Bassetti Presentation in the Temple before 1630 drawing Royal Collection, Great Britain |