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Design for the Decoration of the Facade of the Apse and Two Side Chapels of a Gothic Church

Date

1560-1570

Creator

Giorgio Vasari

Location

Raclin Murphy Museum of Art

In spite of Vasari's recognition as an architect, the Snite compositional study is one of the few architectural drawings by Vasari that have survived. [...] The drawing reveals an elaborate design for decorations in front of an apse and two side chapels. The patron for this decoration is unknown, since the two coats of arms in the frieze to the left and right of the main arch are blank. Above the main arch, is a Sacrifice of Isaac, and on the left and right is a seated prophet and a prophetess or sibyl. It is probable that these depictions were to be painted in fresco. The inscription in the cartouche below the Sacrifice of Isaac, PROPRIO FILIO NON EVERCIT (HIS OWN SON DOES NOT TURN AWAY) references Abraham's sacrifice of his son Isaac, and prefigures God's willingness to sacrifice Christ upon the cross. Above the side chapels are two standing figures: Moses, on the left, and Aaron, on the right. Texts relevant to their person would have been included in the cartouches on the socles in the frieze below. Vasari may have also considered these figures as sculpture in stucco. These figures may also have been intended as sculpture, or as painted figures standing illusionistically in niches. According to Stephen Ongpin, Florian Härb, who is preparing a catalogue of Vasari's drawings,...has not been able to connect the Snite drawing to any specific commission by Vasari to renovate a Gothic church. from Coleman, Seminar in Italian Baroque Drawings (Notre Dame, 2006)

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In spite of Vasari's recognition as an architect, the Snite compositional study is one of the few architectural drawings by Vasari that have survived. [...] The drawing reveals an elaborate design for decorations in front of an apse and two side chapels. The patron for this decoration is unknown, since the two coats of arms in the frieze to the left and right of the main arch are blank. Above the main arch, is a Sacrifice of Isaac, and on the left and right is a seated prophet and a prophetess or sibyl. It is probable that these depictions were to be painted in fresco. The inscription in the cartouche below the Sacrifice of Isaac, PROPRIO FILIO NON EVERCIT (HIS OWN SON DOES NOT TURN AWAY) references Abraham's sacrifice of his son Isaac, and prefigures God's willingness to sacrifice Christ upon the cross. Above the side chapels are two standing figures: Moses, on the left, and Aaron, on the right. Texts relevant to their person would have been included in the cartouches on the socles in the frieze below. Vasari may have also considered these figures as sculpture in stucco. These figures may also have been intended as sculpture, or as painted figures standing illusionistically in niches. According to Stephen Ongpin, Florian Härb, who is preparing a catalogue of Vasari's drawings,...has not been able to connect the Snite drawing to any specific commission by Vasari to renovate a Gothic church. from Coleman, Seminar in Italian Baroque Drawings (Notre Dame, 2006)
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  • In spite of Vasari's recognition as an architect, the Snite compositional study is one of the few architectural drawings by Vasari that have survived. [...] The drawing reveals an elaborate design for decorations in front of an apse and two side chapels. The patron for this decoration is unknown, since the two coats of arms in the frieze to the left and right of the main arch are blank. Above the main arch, is a Sacrifice of Isaac, and on the left and right is a seated prophet and a prophetess or sibyl. It is probable that these depictions were to be painted in fresco. The inscription in the cartouche below the Sacrifice of Isaac, PROPRIO FILIO NON EVERCIT (HIS OWN SON DOES NOT TURN AWAY) references Abraham's sacrifice of his son Isaac, and prefigures God's willingness to sacrifice Christ upon the cross. Above the side chapels are two standing figures: Moses, on the left, and Aaron, on the right. Texts relevant to their person would have been included in the cartouches on the socles in the frieze below. Vasari may have also considered these figures as sculpture in stucco. These figures may also have been intended as sculpture, or as painted figures standing illusionistically in niches. According to Stephen Ongpin, Florian Härb, who is preparing a catalogue of Vasari's drawings,...has not been able to connect the Snite drawing to any specific commission by Vasari to renovate a Gothic church. from Coleman, Seminar in Italian Baroque Drawings (Notre Dame, 2006)
  • In spite of Vasari's recognition as an architect, the Snite compositional study is one of the few architectural drawings by Vasari that have survived. [...] The drawing reveals an elaborate design for decorations in front of an apse and two side chapels. The patron for this decoration is unknown, since the two coats of arms in the frieze to the left and right of the main arch are blank. Above the main arch, is a Sacrifice of Isaac, and on the left and right is a seated prophet and a prophetess or sibyl. It is probable that these depictions were to be painted in fresco. The inscription in the cartouche below the Sacrifice of Isaac, PROPRIO FILIO NON EVERCIT (HIS OWN SON DOES NOT TURN AWAY) references Abraham's sacrifice of his son Isaac, and prefigures God's willingness to sacrifice Christ upon the cross. Above the side chapels are two standing figures: Moses, on the left, and Aaron, on the right. Texts relevant to their person would have been included in the cartouches on the socles in the frieze below. Vasari may have also considered these figures as sculpture in stucco. These figures may also have been intended as sculpture, or as painted figures standing illusionistically in niches. According to Stephen Ongpin, Florian Härb, who is preparing a catalogue of Vasari's drawings,...has not been able to connect the Snite drawing to any specific commission by Vasari to renovate a Gothic church. from Coleman, Seminar in Italian Baroque Drawings (Notre Dame, 2006)
Giorgio Vasari (Italian, 1511 - 1574)
1560-1570
Drawings
Pen and brown ink and brown wash over traces of black chalk on laid paper
2014.061.209
architecture
Not on view, please request access
17 5/8 x 23 3/8 in. (44.77 x 59.37 cm)
Bequest of John D. Reilly, ND '63, '64

Our collection information is a work in progress and may be updated as new research findings emerge. If you have spotted an error, please contact Raclin Murphy Museum of Art at RMMACollections@nd.edu.