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| Daniel Seiter Archangel Michael rousing the Dead on Judgement Day 1690s drawing on blue paper British Museum |
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| Daniel Seiter Virgin and Child appearing to St Geneviève 1690s drawing on blue paper British Museum |
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| Giacomo Cortese Conversion of Paul before 1675 drawing British Museum |
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| Domenichino Landscape with two shepherds ca. 1600-1620 drawing British Museum |
"The pentimento for the left leg of the left-hand shepherd as well as the other, fainter passages of black chalk underdrawing speak for Domenichino's authorship. The corrections in grey-black ink seem at first sight to be later retouches, but they are surely by the same hand as the rest of the drawing. The penwork recalls the technique of the landscape drawings of both Annibale and Agostino Carracci and would imply a date from the first or possibly second decade of the seventeenth century. As Robinson noted, a weaker version is in the Royal Library, Windsor Castle. This was formerly placed in the volumes of drawings by Domenichino, but was catalogued by Kurz as Grimaldi, following Pope-Hennessy's observation that it is connected with one of the artist's etchings, which reverses the design. Although the print is signed 'Gio. Fran.co grimaldi fecit' the composition must have been derived, with substantial elaborations in the background, from Domenichino's design. The likelihood that the Windsor copy provided the model is suggested by the meaningless empty space between the two shepherds in both works, a passage which is treated more intelligently in the British Museum drawing. The question as to whether the Windsor drawing is itself by Grimaldi must, however, remain open. A free copy by Giacinto Calandrucci of the central motif of the two shepherds and the goats butting is in the Kunstmuseum, Düsseldorf. Since it is in the same direction as the British Museum and Windsor drawings, it must have been taken from one or other of these rather than from Grimaldi's print."
– notes by Nicholas Turner from Italian Drawings in the British Museum : Roman Baroque Drawings, ca. 1620-ca. 1700 (British Museum Press, 1999)
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| Domenichino Study of model posed as St John with book before 1641 drawing Royal Collection, Windsor |
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| François Duquesnoy Studies of Infants before 1643 drawing British Museum |
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| François Duquesnoy Four Putti before 1643 drawing British Museum |
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| Aniello Falcone Deborah and Barak ca. 1640-42 drawing Royal Collection, Windsor |
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| Aniello Falcone Entombment ca. 1640 drawing Cooper Hewitt, Smithsonian Design Museum |
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| Inigo Jones Head of child, possibly after Rubens before 1652 drawing British Museum |
Inigo Jones (1573-1652) successfully imported the classical language of architecture from Italy into England, and has ever since his death been piously remembered with the title of honor, 'Vitruvius Britannicus'. "He was born to a clothworker in Smithfield in London, and was baptised on 19 July 1573. Not much is known about his early life. According to George Vertue, Christopher Wren had information that Jones had served as an apprentice to a joiner in St. Paul's churchyard. At some point he became painter to the Manners family, for in June 1603 he was paid £10 as a 'picture maker' to Roger Manners, 5th Earl of Rutland (1576-1612). Jones's pupil John Webb noted that the architect was 'particularly taken notice of for his skill in the practice of landscape painting'. His early years are shadowy, and his travels uncertain. It is possible he accompanied Roger's brother Francis Manners, Lord Roos (1578-1632) on a tour of Europe in 1598, and he may well have made his first visit to Italy in 1601: there is a worn inscription placing him in Venice on that date written on a flyleaf of his now-famous 1601 edition of Palladio's I quattro libri dell'architettura (held at Worcester College, Oxford). In Jones's only publication, a book on Stonehenge produced posthumously by Webb in 1653 from 'some few indigested notes', Jones (or Webb writing for him) echoed Palladio's opening lines when reporting at the outset: 'Being naturally inclined in my younger years to study the Arts of Design, I passed into forrain parts to converse with the great Masters thereof in Italy, where I applied myself to search out the ruines of those ancient Buildings, which in despight of Time itself, and violence of the Barbarians, are yet remaining. Having satisfied myself in these, and returning to my native Country, I applied my minde more particularly to the study of Architecture.'
– from Inigo Jones: The Architect of Kings by Vaughan Hart (Yale University Press, 2011)
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| Inigo Jones Head of old man in profile before 1652 drawing British Museum |
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| Inigo Jones Sheet of studies before 1652 drawing British Museum |
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| Inigo Jones Study of two heads, possibly after Polidoro da Caravaggio before 1652 drawing British Museum |
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| Inigo Jones Three studies of female heads before 1652 drawing British Museum |
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| Inigo Jones Three studies of heads before 1652 drawing British Museum |