Livro de Ioao Estrebèle, / em q[ue] tràta, das enmendas / dos sevs, mestres, con de / mostracoiñs, dos sevs, pe[n]- / samentos. / A.D. MDCCXLII. Romæ. (I, folio 1r) View larger
Livro de Ioao Estrebèle, / em q[ue] tràta, das enmendas / dos sevs, mestres, con de / mostracoiñs, dos sevs, pe[n]- / samentos. / A.D. MDCCXLII. Romæ. (I, folio 1r)
Glama Ströberle (João), 1708-1792

Group of three sketchbooks, the first with a frontispiece lettered: Livro de Ioao Estrebèle, em q[ue] tràta, das enmendas dos sevs, mestres, con de mostracoiñs, dos sevs, pe[n]samentos. A.D. MDCCXLII. Romæ

Rome, c. 1734-1742
Three volumes, I (227 × 167 mm): 80 ff. (of which 40 ff. are blank). II (220 × 132 mm): 93 ff. (of which 4 ff. are blank). III (188 × 130 mm): 55 ff., and three sheets loosely inserted. Contemporary vellum over pasteboards.

Provenance: Almirante Carlos Braga, Porto (c. 1940) – auction conducted by Livraria Manuel Ferreira, “Biblioteca do Dr. José Joaquim de Oliveira Bastos”, Porto, 4 November 2008, lot 2.

Three sketchbooks of a young Portuguese artist in early Settecento Rome, successively a pupil there of Marco Benefial (1684-1764) and Agostino Masucci (1691-1768). They contain drawings after antiquities (or studio casts of antique sculpture); drapery studies; figure studies (a few possibly from live models, but no nudes are present); drawn copies of paintings by Old Masters (notably Raphael’s frescoes in the Vatican Loggie, works located by Glama Ströberle in the Colonna Gallery, and “in the house” of his teacher, Marco Benefial); drawn copies of other studio materials, notably topographical drawings or prints (of Pisa, Siena, Mallorca, etc.), together with views of Rome probably made from direct observation; and portrait sketches (both of his teachers were prolific portrait painters). Some drawings record Glama Ströberle’s own compositions; annotations placed next to these relate the criticisms and contributions of Benefial and Masucci. At the front of one sketchbook (here designated, Sketchbook [I]), Glama Ströberle writes that his “main reason for compiling this book” was to “show the large difference that exists between my first and only teacher in Rome [Benefial] and the one who followed … him” [Masucci].

Sketchbook [I] contains a valuable, autobiographical statement. Glama Ströberle writes that he studied in Lisbon for six years with Francisco Vieira Lusitano and “various masters”, and went to Rome with the encouragement of the sculptor Caetano Pace “Romano” and financial assistance from his father, arriving there on 18 October 1734. Vieira Lusitano advised him to study with Marco Benefial, and he states that he received Benefial’s instruction for seven years, supported by the patronage of Jose Maria da Fonseca e Évora (minister for Portugal in Rome, Dom Joao V’s principal agent in the commission of works of art for Mafra). In 1741, Évora returned to Portugal (to become Bishop of Porto), and about the same time Glama Ströberle’s father died, causing Glama Ströberle to return to Portugal. While there, he found a new patron in Alexandre de Gusmão, a former special envoy to the Vatican, perhaps not incidentally a collector of paintings by Vieira Lusitano, and two months later Glama Ströberle was back in Rome. According to Glama Ströberle’s statement, De Gusmão stipulated that he become a student of Agostino Masucci, the past Principe (1736-1738) of the Accademia di San Luca, and in 1741 one of the leading painters in Rome.

This autobiographical statement supplements (and corrects) the notices of Glama Ströberle written by Machado, an eighteenth-century painter who chronicled the lives of his fellow artists (Collecçao de memorias relativas às vidas dos pintores, printed 1823) and Saraiva (Lista de alguns artistas Portuguezes, printed 1839, his entry based on an unpublished memoir by João Chiape, who had been a pupil of Glama Ströberle). Several biographical details given by Gerardo Casale, “Rapporti tra l’Accademia di San Luca e i Portoghesi a Roma” in Giovanni V di Portogallo (1707-1750) e la cultura romana del suo tempo (Rome 1995), pp.377-384, are proved erroneous: for instance, a claim that Glama Ströberle arrived in Rome in 1720.

Most – if not all – the drawings in sketchbook [I] appear to be original compositions of Glama Ströberle: a series of seventeen episodes from the Old Testament, executed in pen and ink and wash; twelve scenes from classical mythology, similarly executed; five studies executed in red chalk; and three more finished compositions in pen and ink and wash. These drawings date from 1734 until circa 1742 (i.e. during Glama Ströberle’s period of study under Benefial). Sketchbook [II] is inscribed “begun in the year 1741” and contains copies of paintings (or bozzetti) which Glama Ströberle locates in Benefial’s studio (“em sua casa particular”), views of Rome, Naples, Civitavecchia, Pisa and other cities in Italy, and drawings made in Portugal during Glama Ströbele’s brief visit in 1741. Other drawings in the same sketchbook perhaps were made after his final return home, such as one of the “Castelo de Santa Maria da Feira” and another of the church of Saint John Facundo at Vinhais, which has a lengthy caption added in September 1777. Sketchbook [III] likewise is a mixture of Roman and Portuguese drawings and inscriptions (including comparisons of the measurements of the cathedrals of Porto and Braga), none precisely dated.

The three sketchbooks first came to notice in 1940, when interest focused on the topographical views of Portugal, and in particular on “Castelo de Santa Maria da Feira” (II, f. 71 recto): that sheet was featured in Portucale: revista ilustrada de cultura, literária, scientifia, e artistica 13 (January-February 1940), and again in Arquivo do Distrito de Aveiro 8 (1942). Two other sheets were published by Pedro Vitorino, “Museus, Galerias e Colecções XXV. Álbuns de artistas” in Revista de Guimares 53 (January-June 1943). The sketchbooks are next mentioned by Jorge de Mello Azevedo, “O Pintor João Glama Stroeberle: Esboço biográfico e crítico” in Boletim da Academia Portuguesa de Ex-Libris 9 (January 1964), pp.1-11; Paula Mesquita Santos, “Croquis, academias e outros estudos de João Glama no Museu Nacional de Arte Antiga” in Vária escrita: cadernos do Gabinete de Estudos Históricos e Documentais 8 (2001), pp.161-189, where (p.171 no. 2985) a drawing of “Apollo and Daphne” in Lisbon is compared to one included here ([I], f.29 recto).
Subjects
Drawings - Artists, Portuguese - Glama Ströberle (João), 1708-1792
Drawings - Study and teaching
Authors/Creators
Glama Ströberle, João, 1708-1792
Artists/Illustrators
Glama Ströberle, João, 1708-1792
Owners
Braga, Almirante Carlos
Other names
Benefial, Marco, 1684-1764
Masucci, Agostino, 1690-1768

Volume I

Livro de Ioao Estrebèle, | em q[ue] tràta, das enmendas | dos sevs, mestres, con de | mostracoiñs, dos sevs, pe[n]- | samentos. | a.d. mdccxlii. Romæ.

quarto (227 × 167 mm), (80) ff. gathered [i]16 [ii]16 [iii]14 [iv]10 [v]14 [vi]10, of which 40 ff. are blank ([iii]3-14, [iv]1-10, [v]4-14, [vi]1-7).

paper watermark a Fleur de Lys in a circle (diameter 45 mm), surmounted by letter V.

Folio [v]1 loosely inserted in the binding.

bound in contemporary vellum over pasteboards (vellum lacking on lower cover).

contents

[folio 1] recto title (transcribed above), in pen and brown ink, aligned on graphite rules, within double ink framing lines; verso autobiographical notice, in pen and brown ink, aligned on graphite rules, within double ink framing lines:

O motivo principal q[ue] tive a fazer este livro, alem de querer con |
servar os meus primeiros pensamentos e juntamente con elles des- |
crever os preceitos dos meus mestres. quero demostrar a diferen- |
ca g[ran]de q[ue] há do meu primeiro e unico mestre em Roma a q[ue]m |
Siguo [?] q[ue] hé o cavalheiro Marcos Benefial ao Mestre pre- |
zente Agostinho Masucci pois sem duvida tenho diversa |
stimação pella vastidàde de novas Ideas de compor e pronte- |
za de obrar, no outro tanta falta á neste e a demonstração |
o faz ver pois nunca se parte dos meus pensamento e pouco muda |
e observem as suas obras as quais aprovão esta minha verdàde |
pois outra couza não hé q[ue] hum misto conposto de furtos e o q[ue] hé |
seu se conhece por ser meschino e açoins molhes e femininas |
sem Sprito. Pareseme necesita dar razão da mudaço de |
mestres aparentem[en]te. no ano 1734 stando em Lisboa minha |
Patria a studar de baixo da direção do Snr. Francisco Viei- |
ra ecelente pintor e tendo empregàdo seis annos con va- |
rios mestres fui stimulàdo do Snr. Caetano Páce Romano |
scultor de vir a Roma eu desejozo do meu aumento |
fis con meu Pai me déssem licenza e o sostento nece- |
ssario e tudo consegui falei con o Snr Francisco Vieira |
p[ar]a q[ue] mi avizasse q[uem] era o melhor pintor pois não me fiava |
na minha openião q[ue] sin duvida erraria se quizesse fiarme |
de aparencia e stimação q[ue] dão os principes e Snres q[ue] m[uit]as vezes |
premejão q[ue]m menos merece pois conhecem a virtudes pellas |
orelhas. finalm[en]te parti de Lisboa e cheguei a Roma a 18 |
de outubro 1734 e fui ao d[i]to Benefial a studar donde stive |
sette annos e gozava o Patrocinio do P[adr]e R[om]ano Frei José d’Evora |
Ministro del Rei nesta corte. com a morte de meu Pai e a hida |
do d[i]to P[adr]e a Lisboa fui obrigàdo de hir a Lisboa a ordem e custo do |
d[i]to P[adr]e e stive dous mezes e tornei a Roma a mesma e custa do |
Snr Alesandre de Gusmão con a condição de studar con Masu- |
cci neste modo foi presiso segundar a vontade de destes Snres

[The main reason for compiling this book, apart from wanting to preserve my original assessments and set out together with them the guidelines of my teachers. I want to show the large difference that exists between my first and only teacher in Rome and the one who followed [?] him, that is [between] Cavalier Marco Benefial and my present teacher Agostino Masucci as without doubt I hold in high regard the vastness of his new ideas of composition and skilful artistry, the other lacks [---- ?] and the demonstration reveals it because he never questions my assessments and makes few changes and to observe [?] his works is to prove that I am correct since anything else is no more than a mixture composed of counterfeit art and what is characterized as deceitful and feeble, effeminate and lifeless work. It seems to me that I should explain the apparent change in my teachers. In the year 1734 I was in Lisbon my home country studying under the tuition of Sr. Francisco Vieira an excellent painter and being employed for six years with various masters I was encouraged by Sr. Caetano Pàce a Roman sculptor to come to Rome and wishing to improve myself I went [to] my Father who gave his permission and the necessary funds and I achieved everything [.] I asked Sr. Francisco Vieira to advise me who the best painter was as I did not trust my own impressions which no doubt would be wrong if I were to believe in the appearance and esteem of the princes and gentlemen who often reward those who least deserve it as they know nothing of the subject. I finally left Lisbon and arrived in Rome on 18 October 1734 and went to the said Benefial to study where I remained for seven years and enjoyed the patronage of Padre Rmo. Frei José d’Evora Minster to the King in this court. When my Father died and the said Prelate left for Lisbon I was obliged to go to Lisbon on the orders and at the expense of the said Prelate and I stayed there for two months and returned to Rome at the expense of Sr. Alexandre de Gusmão on condition that I study with Masucci in this way I was required to comply with the will of those gentlemen.]

Left Autobiographical notice: "The main reason for compiling this book, apart from wanting to preserve my original assessments and set out together with them the guidelines of my teachers. I want to show the large difference that exists between my first and only teacher in Rome and the one who followed him, that is [between] Cavalier Marco Benefial and my present teacher Agostino Masucci…".
Right Drawing: The Creation of Light (scene from Genesis), witrh caption:
"This concept has been modified by the two teachers…" (I, folios 1v-2r)

[folio 2] recto The Creation of Light (Scene from Genesis), red chalk, pen and brown ink, with grey wash, framing line in brown ink, numbered 1, captioned (above):

Este pensamento já hé enmendàdo dos dous mestres e o primeiro meu pensamento não tinha os dous meninos, e o anjo grande abaixava a cabesa ao q[eu] tivè e parecer de Benefial q[eu] Masucci era contente do primeiro. 1° pensam[en]to

[This concept has been modified by the two teachers and my first idea did not include the two boys, and the large angel bowed his head which Benefial agreed with but Masucci preferred the first. 1st concept]

verso legend for next drawing:

Este pensamento hè emendàdo de Marucci e me fes aumentar do meu; os dois meninos q[ue] [e]stão a mão direita de Deos P[adr]e e a perna direita era escondida o mais hè parecer meu. 2° pensam[en]to

[This concept is altered by Marucci and he made me enlarge mine; the two boys who are on the right hand of God the Father and the right leg was hidden[,] the rest is my viewpoint. 2nd concept.]

[folio 3] recto God commands the sea and the sky to teem with fish and birds (Scene from Genesis), red chalk, pen and brown ink, with brown and grey washes, framing line in brown ink, numbered 2; verso legends for next drawing:

Omonte atras das fig[ura]s q[ue] acaba, è contorna as memas è mal feito, è hè parecer de Benefial.

[The hill behind the figures that frames (?) and surrounds them and [is] badly done and follows Benefial’s opinion.]

este pensamento foi emendado pelo Snr Massucci. Me-fes mudar os pes a D.ta p[ar]a q[ue] erão ao contrario q[ue] o direito vinha adiante o mais hè parecer meu. 5° pensam[en]to

[This concept was modified by Sr. Masucci. He made me change the feet to the right so that they were the opposite of that before, the rest is my composition. 5th concept]

[folio 4] recto, God charges Adams to tend the Garden (Scene from Genesis), black chalk, pen and brown ink, with grey wash, framing line in brown ink, numbered 3; verso legend for next drawing:

L’Adamo dovrà tener la mano manche sotto il bracio dritto che fara intendere la cognitione diche Eva nacqui della sua costa

[Adam should have his left hand under his right arm which implies the understanding that Eve was born from his rib.]

[folio 5] recto Original Sin (Scene from Genesis), black chalk, with grey wash, framing line in black chalk, numbered 4; verso blank

[folio 6] recto God judges Adam and Eve (Scene from Genesis), red chalk, with red and brown washes, numbered 5, captioned (below) pensamento 7; verso blank

[folio 7] recto Eve persuades Adam to eat from the Tree of Knowledge (Scene from Genesis), red chalk, with red and brown washes, numbered 6; verso blank

[folio 8] recto The Labours of Adam and Eve; Infancy of Cain and Abel (Scene from Genesis), red chalk, pen and brown ink, with red and brown washes, numbered 7; verso blank

[folio 9] recto Expulsion from the Garden (Scene from Genesis), red chalk, pen and brown ink, with red and brown washes, numbered 8; verso blank

[folio 10] recto Cain and Abel present their offerings to the Lord (Scene from Genesis), red chalk, pen and brown ink, with red wash, numbered 9; verso blank

[folio 11] recto Cain attacks his brother Abel and kills him (Scene from Genesis), red chalk, pen and brown ink, with red and brown washes, numbered 10; verso blank

[folio 12] recto God banishes Cain (Scene from Genesis), red chalk, pen and brown ink, with red wash, numbered 11; verso blank

[folio 13] recto The Sacrifice of Isaac (Scene from Genesis), red chalk, with red wash, numbered 12; verso blank

[folio 14] recto [Subject not identified: from the Story of Abraham?], red chalk, with red wash, numbered 13; verso blank

[folio 15] recto [Subject not identified: Abraham and his people journey to the land of Canaan?], red chalk, with red wash, numbered 14; verso blank

[folio 16] recto Drunkenness of Noah (Scene from Genesis), red chalk, with red wash, numbered 15; verso blank

[folio 17] recto Joseph and Potiphar’s Wife (Scene from Genesis), red chalk, with red wash, framing line in red chalk, numbered 16; verso blank

[folio 18] recto Noah offers a sacrifice to God (Scene from Genesis), red chalk, with red and brown washes, numbered 17; verso blank

[folio 19] recto Tablet with Egyptian Hieroglyphs, pen and brown ink, numbered 18, captioned (above) Descrizione de un Sepolcro Egizio; verso blank

[folio 20] recto Acis and Galatea flee from Polyphemus (Scene from Ovid’s Metamorphoses), red chalk, pen and brown ink, with red wash, numbered 19; verso blank

[folio 21] recto Syrinx changed into a reed while fleeing from Pan (Scene from Ovid’s Metamorphoses), red chalk, with red wash, numbered 20; verso blank

[folio 22] recto The Finding of Moses (Scene from Exodus), red chalk, with red wash, numbered 21; verso blank

[folio 23] recto The Giants; Jupiter sends a shower of stones (Scene from Ovid’s Metamorphoses), red chalk, with red wash, numbered 22; verso blank

[folio 24] recto [Subject not identified: blindfolded men gather stones], red chalk, pen and brown ink, with red wash; verso blank

[folio 25] recto The Rape of Europa (Scene from Ovid’s Metamorphoses), red chalk, pen and brown ink, with brown wash; verso blank

[folio 26] recto Apollo gives his Caduceus to Mercury in return for the Lyre (Scene from Ovid’s Metamorphoses), red chalk, pen and brown ink, with brown wash; verso blank

[folio 27] recto Mercury steals the herd which Apollo is tending (Scene from Ovid’s Metamorphoses), red chalk, pen and brown ink, with brown wash; verso blank

[folio 28] recto The Fall of Phaeton (Scene from Ovid’s Metamorphoses), red chalk, pen and brown ink, with grey wash; verso blank

[folio 29] recto Daphne changed into a laurel-tree while fleeing from Apollo (Scene from Ovid’s Metamorphoses), red chalk, pen and brown ink, with red and grey washes; verso legend for next drawing:

Neste pensam[en]to devemo star prizentes as nimfas hirmans de Io trasformata em vitella.

[In this concept the nymphs, Io’s brothers [or sisters?], should appear transformed into calves.]

[folio 30] recto Io changed into a cow to avoid detection by Juno (Scene from Ovid’s Metamorphoses), red chalk, pen and brown ink, with grey wash; verso blank

[folio 31] recto Mercury beheads Argos (Scene from Ovid’s Metamorphoses), red chalk, pen and brown ink, with grey wash; verso blank

[folio 32] recto Jupiter, shrouded in a cloud, woos Io (Scene from Ovid’s Metamorphoses), red chalk, pen and brown ink, with grey wash, caption (above)

Neste pensam[ent]o não deve-lo corresponder, ao afasto furtivo de Jupiter, e afim não deve ter os braços enlaçados ao Pescopo, e as nuvens deve ser nevoas

[This concept should not correspond to the furtive distancing of Jupiter, and thus he should not have his arms clasped around Pescopo, and the clouds should be misty]

[folio 33] recto Diana and Callisto (Scene from Ovid’s Metamorphoses), red chalk; verso blank

[folio 34] recto Study of the Head and Torso of Christ on the Cross, red chalk; verso blank

[folio 35] recto blank; verso blank

[folio 36] recto blank; verso blank

[folio 37] recto blank; verso blank

[folio 38] recto blank; verso blank

[folio 39] recto blank; verso blank

[folio 40] recto blank; verso blank

[folio 41] recto blank; verso blank

[folio 42] recto blank; verso blank

[folio 43] recto blank; verso blank

[folio 44] recto blank; verso blank

[folio 45] recto blank; verso blank

[folio 46] recto blank; verso blank

[folio 47] recto blank; verso blank

[folio 48] recto blank; verso blank

[folio 49] recto blank; verso blank

[folio 50] recto blank; verso blank

[folio 51] recto blank; verso blank

[folio 52] recto blank; verso blank

[folio 53] recto blank; verso blank

[folio 54] recto blank; verso blank

[folio 55] recto blank; verso blank

[folio 56] recto blank; verso blank

[folio 57] recto Study of a recumbent man (on a litter or bier), red chalk; verso blank

[folio 58] recto Study of a seated man, red chalk; verso blank

[folio 59] recto Study of the head of a turbaned man, red chalk; verso blank

[folio 60] recto blank; verso blank

[folio 61] recto blank; verso blank

[folio 62] recto blank; verso blank

[folio 63] recto blank; verso blank

[folio 64] recto blank; verso blank

[folio 65] recto blank; verso blank

[folio 66] recto blank; verso blank

[folio 67] recto blank; verso blank

[folio 68] recto blank; verso blank

[folio 69] recto blank; verso blank

[folio 70] recto blank; verso blank

[folio 71] recto blank; verso blank

[folio 72] recto blank; verso blank

[folio 73] recto blank; verso blank

[folio 74] recto blank; verso blank

[folio 75] recto blank; verso blank

[folio 76] recto blank; verso blank

Left Annotation for drawing at right: "This concept was changed in several ways, finally according to my way of thinking, as Sr. Masucci held that Susanna should recoil to the right from the temptation of the elders, but it seemed to me that on similar occasions each one defends himself as he thinks fit. Benefial agreed."
Right Drawing: Susanna and the Elders (I, folios 77v-78r)

[folio 77] recto blank; verso legend for next drawing:

este pensam[en]to foi emendàdo em diversos modos, finalm[en]te finalm[en]te e meu parecer, pois o Snr Masuci pertendia q[ue] Susana recorrese a D.t na tentação dos velhos, mas me parece a mim q[ue] em semelhantes ocaziões cada qual se defende querendo salvarsi. Benefial aprovou

[This concept was changed in several ways, finally according to my way of thinking, as Sr. Masucci held that Susanna should recoil to the right from the temptation of the elders, but it seemed to me that on similar occasions each one defends himself as he thinks fit. Benefial agreed.]

[folio 78] recto Susanna and the Elders, red chalk, brown ink, with grey wash, framing line in red chalk; verso legend for next drawing:

este meu pensamento já hè émendado pello Snr Agostinho Masucci e a emmenda, foi mudar ò pãno de Jupiter, e fes me engrandecer a figura di Licaone trasformado em lohbo. O parecer de Benefial leverà na seguinte. 3° pensam[en]to

[This concept has already been altered by Sr. Agostino Masucci and in altering it he changed Jupiter’s garment and made me enlarge the figure of Lycaon transformed into a wolf. Benefial’s opinion concurred with the following. 3rd concept.]

[folio 79] recto The Banquet of Lycaon (Scene from Ovid’s Metamorphoses), red chalk, pen and brown ink, with red wash; verso legend for next drawing:

este pensamento hè parecer de Benefial, e querendo eu fazer o painel delle fiz a fig[ura] de Licaone vestida de Rei e Jupiter o pus a sentàdo p[ar]a mostrar che hum [---- ?] nao nessecita levantarse p[ara] castigar os deos e tambem istoria melhor a composição. 4° pensam[en]to

[This concept is Benefial’s opinion, and as I wanted to depict the scene I portrayed the figure of Lycaon clothed as a King and Jupiter seated to show that a (?) does not have to rise up to punish the offender and also this would improve the composition. 4th concept.]

[folio 80] recto The Banquet of Lycaon (Scene from Ovid’s Metamorphoses), red chalk, pen and brown ink, grey and red washes; verso blank

Volume II

[without title]

quarto (220 × 132 mm), (93) ff. gathered [i]16 [ii]16 [iii]15 (of 16, lacking [iii]8) [iv]16 [v]15 (of 16, lacking [v]8) [vi]15 (of 16, lacking [vi]5), of which 4 ff. are blank ([v]10-13).

paper watermark a Fleur de Lys within a circle (diameter 45 mm), surmounted by letter V.

Corner of [ii]11 torn away; waterstain in upper margins of the last two gatherings.

bound in contemporary vellum over pasteboards (vellum lacking on lower cover).

contents

[folio 1] recto heading in brown ink:

Il Sig.r Abate Gioachino Pizzi1 Segretario del [Regimento?] di Ferrara habita al vicolo de la corda p[er] andar da Farnesi [---?] Roma

with beneath recipes for varnish and aqua fortis:

Per fare la Vernice… Per fare L’aqua forte

verso Betrayal of Christ (after Marco Benefial), black chalk, pen and brown ink, graphite framing lines, on paper prepared with brown wash;

Two background figures are omitted by Glama Ströberle; compare with a drawing by Benefial in Vienna (Veronika Birke and Janine Kertész, Die Italienischen Zeichnungen der Albertina: Generalverzeichnis, Vienna & Cologne 1994, pp.697-698 no.1278; Falcidia 1978 p.32 and Tavola.44a) and a painting in Rome (Giorgio Falcidia, ‘Per una definizione del “caso” Benefial’ in Paragone Arte 29, no. 343, 1978, pp.24–51, Tavola 42; Lorenza Mochi Onori, Galleria Nazionale d’Arte Antica, Palazzo Barberini: I dipinti, Rome 2008, p.86 no.1134)

Sketches by Glama Ströberle after Marco Benefial's Betrayal of Christ and The Entombment; compare the drawings by Benefial in Vienna (Birke & Kertész, nos. 1278-1279) and paintings in Rome (Lorenza Mochi Onori, Galleria Nazionale d’Arte Antica, Palazzo Barberini: I dipinti, Rome 2008, nos. 1131, 1134) (II, folios 1v-2r)

[folio 2] recto The Entombment (after Marco Benefial), black chalk, pen and brown ink, graphite framing lines, on paper prepared with brown wash;

Compare with a drawing by Benefial in Vienna (Birke and Kertész, op. cit., no.1279; Falcidia, op. cit., p.32 Tavola 44b) and a painting in Rome (Falcidia, op. cit., Tavola 43; Lorenza Mochi Onori, Galleria Nazionale d’Arte Antica, Palazzo Barberini: I dipinti, Rome 2008, p.86 no.1131)

verso inscription in brown ink

Rome aos 14 de fevereiro 1741 | João Strebelle Luzitano fes | este Livro, e o principiou no | anno de 1741 che tratta de | paízes, alguns orginais e outros | copiàdos tambem alguns pensa | mentos de paineis eixelentes

[Rome, 14 February 1741. João Strebelle, Portuguese, compiled this book which he began in the year 1741 [and] which deals with landscapes, some original and others copied[,] also some notable concepts.]

[folio 3] recto Detail of antique entablature, black chalk (or graphite?), with grey wash; verso legend for next drawing:

Templo de S. Jorge

Portico of S. Giorgio al Velabro, Rome (II, folio 4r)

[folio 4] recto Portico of S. Giorgio al Velabro, Rome, black chalk (or graphite?), with brown wash; verso legend for next drawing:

Roina interior do Colezeo

[folio 5] recto Antique ruins (Roman Colosseum), black chalk, pen and brown ink, with grey wash; verso legend for next drawing:

Roina interior do Colezeo

[folio 6] recto Antique ruins (Roman Colosseum), black chalk, pen and brown ink, with grey wash; verso legend for next drawing:

Vista de Monte losa

[folio 7] recto Topographical view (Monte Losa, Friuli - Venezia Giulia?), black chalk (or graphite?), with brown wash; verso legend for next drawing:

Vista do Carcere de Viterbo

[folio 8] recto Topographical view (Carcere di Viterbo), black chalk (or graphite?), pen and brown ink, with brown wash; verso legend for next drawing:

Vista da Porta d’Agoa pendente

[folio 9] recto Topographical view (Acquapendente), black chalk (or graphite?), with brown wash; verso legend for next drawing:

na d.ta Terra

[folio 10] recto Topographical view (Acquapendente), black chalk (or graphite?), with brown wash; verso blank

[folio 11] recto Study (foliage?), black chalk (or graphite?); verso legend for next drawing (in brown ink over pencil):

Dal Sittarelli

[folio 12] recto Topographical view (Cittadella), black chalk (or graphite?), pen and brown ink, with grey wash; verso legend for next drawing:

Vista da Cidade de Pisa

[folio 13] recto Topographical view (Pisa), black chalk (or graphite?), with brown wash; verso legend for next drawing:

Vista de Siena

[folio 14] recto Topographical view (Siena), black chalk (or graphite?), with brown wash; verso legend for next drawing:

Vista de Roncilhone

[folio 15] recto Topographical view (Ronciglione), black chalk (or graphite?), pen and brown ink, with brown wash; verso legend for next drawing:

Torre d’[E]scravos antigam[en]te Templo da Fortuna em Roma

[folio 16] recto Topographical view (Tor de’Schiavi, Via Praenestina, Rome), black chalk (or graphite?), with brown wash; verso legend for next drawing:

Vista de Fonte Grana em Siena

[folio 17] recto Topographical view (Siena), black chalk (or graphite?), pen and brown ink, with brown wash; verso legend for next drawing:

Vista de Campo Vachino em Roma

[folio 18] recto Topographical view (Campo Vaccino, Rome), black chalk (and graphite?), with grey wash; verso legend for next drawing:

Vista da d.a Torre d’[E]scravos

[folio 19] recto Topographical view (Tor de’Schiavi, Via Praenestina, Rome), black chalk; verso legend for next drawing:

Pedaços de Roinas nos Campos de Roma

[folio 20] recto Topographical view (Rome), black chalk; verso legend for next drawing:

Ruina interior do Colozeo

[folio 21] recto Topographical view (Roman Colosseum), black chalk (or graphite?), with brown wash; verso legend for next drawing:

Ruina interior do Colozeo

[folio 22] recto Topographical view (Roman Colosseum), black chalk (or graphite?), with brown wash; verso legend for next drawing:

Ruina interior do Colozeo

[folio 23] recto Topographical view (Roman Colosseum), black chalk (or graphite?), with brown wash; verso legend for next drawing:

Ruina interior do Colozeo

[folio 24] recto Topographical view (Roman Colosseum), black chalk (or graphite?), pen and brown ink, with brown wash; verso legend for next drawing:

Ruina interior do Colozeo

[folio 25] recto Topographical view (Roman Colosseum), black chalk (or graphite?), pen and brown ink, with brown wash; verso legend for next drawing:

P[on]ta da roina do Templo do Sol e da Lua em Roma

[Part of the ruins of the Temple of the Sun and the Moon in Rome.]

[folio 26] recto Topographical view (Temple of Venus and Roma, Forum Romanum), black chalk (or graphite?), pen and brown ink, with brown wash; verso legend for next drawing:

Vista a Garilhano p.ta hir a Napoles

[folio 27] recto Topographical view (Naples), black chalk (or graphite?), pen and brown ink, with brown wash; verso legend for next drawing:

Roina d’hum Anfiteatro do mesmo Lugar em Garilhana

[Ruins of the amphitheatre in the same place in Garilhana.]

[folio 28] recto Topographical view (Naples), black chalk (or graphite?), pen and brown ink, with brown wash; verso legend for next drawing:

Vista de piede Grotta p.ta hir a Napoles

[folio 29] recto Topographical view (Naples), black chalk (or graphite?), pen and brown ink, with brown wash; verso legend for next drawing:

Vista do Templo de Apollo em Baja [perto de?] a Napoles

[View of the Temple of Apollo in Baja near Naples.]

View of the Temple of Apollo in Baja near Naples (II, folio 30r)

[folio 30] recto Topographical view (Naples), black chalk (or graphite?), pen and brown ink, with brown wash; verso legend for next drawing:

Vista do Templo d’Hercoles presentam[en]te N[ossa] S[enhora] do Sol em Roma

[folio 31] recto Topographical view (Temple of Hercules, rededicated, to Santa Maria del Sole, Rome), black chalk (or graphite?), pen and brown ink, with brown wash; verso legend for next drawing:

Vista da Porto de S. Paolo em Roma

[folio 32] recto Topographical view (Porta San Paolo, originally Porta Ostiensis, Rome), black chalk (or graphite?), pen and brown ink, with brown wash; verso legend for next drawing:

Vista da Ruina do Templo da pas, em Roma 1741

[folio 33] recto Topographical view (ruins of the gallery from Nero’s Domus Aurea, commonly called the Temple of Peace, Rome), black chalk (or graphite?), pen and brown ink, with brown wash; verso legend for next drawing:

Vista da Porta de S. Paolo e Sepoltura de Chajo Sexto

[folio 34] recto Topographical view (Gate of St. Paul and Pyramid of Gaius Cestius, Rome), black chalk (or graphite?), with brown wash; verso legend for next drawing:

Vista do Archo de Janno

[folio 35] recto Topographical view (Arch of Janus, Rome), black chalk (or graphite?), with brown wash; verso legend for next drawing:

Vista do Colizeu em Roma ou Anfiteatro dos Spetacolos antigam[en]te

[folio 36] recto Topographical view (Roman Colisseum), black chalk (or graphite?), with brown wash; verso legend for next drawing:

Vista da ruina do Templo de Venus em Franca

[folio 37] recto Topographical view (Rome), black chalk (or graphite?), pen and brown ink, with brown wash; verso legend for next drawing (in pen and brown ink, with the correction in red chalk):

Templo da Sibilla [Sibylla deleted, Minerva Medica superscript] em Roma

[folio 38] recto Topographical view (Temple of Minerva Medica, Rome), black chalk (or graphite?), with brown wash; verso legend for next drawing:

Vista de hum Anfiteatro a[n]tigo, e da Igreja de S[an]ta Constanza antigam[en]te Templo de Bacco fora dos muros de Roma

[folio 39] recto Topographical view (Mausoleum of Santa Costanza, Rome), black chalk (or graphite?), with brown wash; verso legend for next drawing:

Vista da Torre de [fiumicino, deleted] em Roma [ou lanterna de civita vechia, added]

[folio 40] recto Topographical view (Lighthouse on the harbour, Civitavecchia), black chalk (or graphite?), with brown wash; verso legend for next drawing:

Vista da Fortaleza de civita vechia

[folio 41] recto Topographical view (Forte Michelangelo, Civitavecchia), black chalk (or graphite?), pen and brown ink, with brown wash; verso legend for next drawing:

Vista de Bisagno em Jenoa

[folio 42] recto Topographical view (Bisagno river, Genoa), black chalk (or graphite?), pen and brown ink, with brown wash; verso legend for next drawing:

Vista do Porto da Cidade de Palma em Maiorcha

[folio 43] recto Topographical view (Palma, Majorca, and Bellver Castle, on a hill to the north of the city), black chalk (or graphite?), pen and brown ink, with brown wash; verso blank

[folio 44] recto Study of a classical sculpture, black chalk (or graphite?), pen and brown ink, with grey wash; verso blank

[folio 45] recto Study of antique ruins, black chalk; verso blank

[folio 46] recto Topographical view (Roman cityscape?), black chalk (or graphite?), with grey wash; verso blank

[folio 47] recto Interior of a distillery, with two pot stills tended by a workman, black chalk (or graphite?), pen and brown ink, with grey wash; verso blank

[folio 48] recto Study of antique ruins, black chalk (or graphite?), with grey wash; verso blank

[folio 49] recto Uncompleted sketch, black chalk (or graphite?); verso legend for next drawing:

Porta e Carcere de Biagno antiguam[en]te Riano ou ara de Fano

[folio 50] recto Topographical view, black chalk (or graphite?), pen and brown ink, with grey wash; verso blank

[folio 51] recto Topographical view (architectural capriccio?), black chalk (or graphite?); verso blank

[folio 52] recto Topographical view (architectural capriccio?), black chalk (or graphite?), with grey wash; verso blank

[folio 53] recto Topographical view (cityscape), red chalk, with grey wash; verso blank

[folio 54] recto Uncompleted sketch, red chalk; verso blank

[folio 55] recto Topographical view (landscape), red chalk; verso legend for next drawing:

Jardim ou Villa Corsini

[folio 56] recto View of gardens (Palazzo Corsini alla Lungara, Rome), black chalk (or graphite?), pen and brown ink, with brown wash; verso blank

[folio 57] recto Topographical view (Giardini Vaticani?), black chalk (or graphite?), with grey wash; verso blank

[folio 58] recto Topographical view, black chalk (or graphite?), with grey wash; verso blank

[folio 59] recto Uncompleted pencil sketch (landscape), black chalk (or graphite?); verso blank

[folio 60] recto Uncompleted pencil sketch of a fortified harbour (Civitavecchia?), black chalk (or graphite?); verso blank

[folio 61] recto Topographical view (harbour of Civitavecchia?), black chalk (or graphite?), with grey wash; verso blank

[folio 62] recto Uncompleted topographical view, black chalk (or graphite?); verso blank

[folio 63] recto Uncompleted topographical view, black chalk (or graphite?); verso blank

[folio 64] recto blank verso legend for next drawing, in pencil:

Vista no Porto

[folio 65] recto Topographical view, black chalk (or graphite?), pen and brown ink, with grey wash; verso legend for next drawing, in pen and brown ink:

Vista da ponte velha na Villa de Vinhaes detras dos montes

[View of the old bridge at Villa de Vinhaes from behind the hills.]

[folio 66] recto Topographical view (bridge across a river gorge), black chalk; verso legend for next drawing:

Vista da Igreja de S. Facundo.Matriz da villa de Vinhais antiquíssima |
aonde concorrino os Cristãos a ouvir missas de tres legoas distante. Esta Villa |
teve prim[eiramen]te o nome de Villa Rica de grande comercio de sedas em q[ue] estacão 2 |
mil fabricas ou casas de theares, padeceu huma epidemia e foi abandonada e |
depois tornada a povoar fabricandose m[ui]tas vinhais e tomou o nome q[ue] tem presentem[en]te |
A villa em si he m[ui]to tenue e suja e mal tratada inda q[ue] cercada de muros he |
povoada de cristãos novos, e alguns ricos contratadores de sedas, os cavalheiros há- |
bitos nos suburbios, onde esta hum g[ran]de Semin[ari]o de Misionarios Santos

[View of the Church of S. Facundo. The very ancient main church of the town of Vinhais where Christians assembled to hear mass from three leagues away. This town was originally called Villa Rica. From the extensive commerce in silk in which there were 2 thousand workshops or weavers’ sheds it suffered an epidemic and was abandoned and afterwards it became re-inhabited producing many vines and took on the name it now has. The town itself is very small and dirty and ill-kept [and still?] surrounded by walls and inhabited by New Christians [i.e. converted Jews], and some rich silk merchants, the gentlemen live in the outskirts, where there is a large seminary for missionaries.]

View of church of Saint John Facundo (Vinhais) (II, folio 66v-67r)

[folio 67] recto View of church of Saint John Facundo (Vinhais), black chalk; verso legend for next drawing:

Vestígios dos fragmentos embutidos na fachada da capella antecedente e sua |
significação – 1 – S[antissi]mo Trin[da]de – 2 – outras pessoas distintas – 3 – hum só D[on]a [Virgem ?] |
tem esta capella dous sinos de tom m[ui]to argentino antigos, e dizem que hum dele |
foi [---- ?] em hum lameiro pouco distante. tem obrigação o Sancristão de os tocar |
continuam[en]te em ouvindo trovoes, para o q[ue] [---- ?] as casas principaes e os devotos |
40 alqueires de trigo cada anno, e tem a confiança de serem livres de rayos en |
me achei no dia 22 de Setembro 1777 principiou pella [---- ---- ?] tem g[ran]de |
temporal de continuou rayos q[ue] fazia horror. Sem este lugar lhe succedeu dis- |
graças e ao mesmo tempo sucedeu pellos circumvezinho m[ui]ta mortante de gente |
e gado e inundações

[Remains of fragments of sculpture relief in the preceding chapel and its significance – 1 – Holy Trinity - 2 - other distinguished personages – 3 – a lone female [Virgin?]. This chapel has two ancient bells with a very silvery tone, [- ?] one of them fell [- ?] into a [- ?] a short distance away. The sacristan is obliged to ring them continually when he hears thunder, so that [- ?] the principal houses and the [- ?]40 alqueires of wheat each year, and they may be sure that they are protected from lightning, I found myself [- ?] [here] on 22 September 1777 there began [- ?]a violent storm with continuous lightning flashes which was a terrifying experience. [- ?] calamities occurred here and in the surroundings there were frequent deaths and disastrous floods.

[folio 68] recto Sketches of sculptural decoration in the facade of Igreja de São Facundo (Vinhais),2 black chalk, numbered 3 2 1; verso blank

[folio 69] recto Uncompleted topographical view (cityscape), black chalk (or graphite?); verso legend for next drawing:

Vista de ponte de Murça

[folio 70] recto Topographical view (Bridge over the Rio Tinela, Murça), black chalk; verso legend for next drawing, in pencil:

Castelo de Vila da Feire

View of the Castelo de Santa Maria da Feira (II, folios 70v-71r)

[folio 71] recto Topographical view (Castelo de Santa Maria da Feira), black chalk, with grey wash;

Cited or reproduced in Portucale: revista ilustrada de cultura, literária, scientifia, e artistica 13 (no.73, January–February 1940), p.17,3 Vaz Ferreira, ‘Santo Luzia do Castelo da Feira’ in Arquivo do Distrito de Aveiro 8 (1942), p.7;4 Roberto Vaz de Oliveira, ‘Freguesia de S. Nicolau da Vila da Feira’in Aveiro e o seu distrito (Publicação Semestral da Junta Distrital de Aveiro) 14 (December 1972), pp.86–885

verso blank

[folio 72] recto blank; verso blank

[folio 73] recto blank; verso blank

[folio 74] recto blank; verso blank

[folio 75] recto blank; verso blank

[folio 76] recto Sketches of three figures in full-length, black chalk (or graphite?), pen and brown ink; verso legend for next drawing:

outro painel pintàdo na dit.a Baranda do Palacio Vaticano 1744

[folio 77] recto Isaac and Rebekah Spied on by Abimelech (after the fresco in the Vatican Loggie by Raphael and others), black chalk (or graphite?), pen and brown ink, with grey wash, framing line in brown ink, numbered 1 (in pencil, in a later hand); verso blank

[folio 78] recto Abraham and Melchisedek (after the fresco in the Vatican Loggie by Raphael and others), black chalk (or graphite?), pen and brown ink, with grey wash, framing lines in chalk, numbered 2 (in pencil, in a later hand); verso legend for next drawing:

Painel de Rafael d’Urbino pintàdo a fresco na baranda do Palasio Vaticano Roma 1742

Annotation: "Painel de Rafael d’Urbino pintàdo a fresco na baranda do Palasio Vaticano Roma 1742".
Drawing: Original Sin (after the fresco in the Vatican Loggie by Raphael and others) (II, folios 78v-79r)

[folio 79] recto Original Sin (after the fresco in the Vatican Loggie by Raphael and others), black chalk (or graphite?), pen and brown ink, with grey wash, framing line in brown ink, numbered 3 (in pencil, in a later hand); verso legend for next drawing:

Painel de Rafael de Urbino pintado a fresco na baranda do Palasio Vaticano 1742

[folio 80] recto The building of the Ark (after the fresco in the Vatican Loggie by Raphael and others), black chalk (or graphite?), pen and brown ink, with grey wash, framing line in grey wash, numbered 4 (in pencil, in a later hand); verso legend for next drawing:

Painel do Sr. Paolo Verones

Annotation: "Painel do Sr. Paolo Verones". Drawing: Venus disarming Cupid (after the painting by Paolo Veronese formerly in the Galleria Colonna, Rome; now the property of Dexia Crediop, Rome) (II, folio 80 v-81r)

[folio 81] recto Venus disarming Cupid (after the painting by Paolo Veronese formerly in the Galleria Colonna, Rome), black chalk (or graphite?), pen and brown ink, with grey wash, framing line in brown ink, numbered 5 (in pencil, in a later hand), with caption (above), in brown ink:

na Galaria de S.r Contestabile Colona

One of the Colonna pictures dispersed at the end of the 18th or early 19th century, now the property of Crediop, Rome; see Terisio Pignatti, Veronese (Venice 1976), I, p.150 no. 255, and Fasto romano: dipinti, sculture, arredi dai palazzi di Roma, edited by Alvar González-Palacios (Rome 1991), pp.117-118 no. 18

verso legend for next drawing:

Painel de Gaspar Molla na Galaria do S.r contestabile colona Roma 1742

[folio 82] recto Rebecca and Eliezer at the Well (after the painting by Pier Francesco Mola in the Galleria Colonna, Rome), black chalk (or graphite?), pen and brown ink, with grey wash, framing line in brown ink, numbered 6 (in pencil, in a later hand);

For the painting, see Richard Cocke, Pier Francesco Mola (Oxford 1972), p.55 no. 41; Eduard A. Safarik, Catalogo sommario della Galleria Colonna in Roma: dipinti (Busto Arsizio 1981), pp.93-94 no. 124

verso legend for next drawing:

Painel do S.r. Salvador Rosa em hume camera de ded.to Eccl.mo Snr contestabile colona Roma 1742

[folio 83] recto The Angel appearing to Hagar and Ishmael (after the painting by Pier Francesco Mola in Galleria Colonna, Rome), black chalk (or graphite?), pen and brown ink, with grey wash, framing line in brown ink, numbered 7 (in pencil, in a later hand);

For the painting, see Richard Cocke, Pier Francesco Mola (Oxford 1972), p.55 no.42; Eduard A. Safarik, Catalogo sommario della Galleria Colonna in Roma: dipinti (Busto Arsizio 1981), pp.93-94 no.123

verso legend for next drawing:

Painel feito por Carlos Maratta na Galeria do Ecc.mo S.r. contestabile colona 1742

[folio 84] recto Joseph fleeing from Potiphar’s wife (after the painting by Carlo Maratti formerly in the Galleria Colonna, Rome), black chalk (or graphite?), pen and brown ink, with grey wash, framing line in brown ink, numbered 8 (in pencil, in a later hand);

The painting is last recorded in the Colonna inventories in 1783, as ‘Un Quadro di misura d’Imperatore per traverso = Giuseppe il Casto colla Moglie di Putifar = Maniera di Carlo Maratta’ (Eduard A. Safarik, Collezione dei dipinti Colonna: inventari 1611–1795, Munich 1996, p.638 no. 29–175), and is shown in Giuseppe Bartolomeo Chiari’s drawing of the ‘Parete nord’ of that gallery (Fasto romano: dipinti, sculture, arredi dai palazzi di Roma, edited by Alvar González-Palacios, Rome 1991, pp.121–122 no. 25 Tav. VIII).

verso blank

[folio 85] recto Study of a crowned woman with outstretched hand; another figure with hands clasped, black chalk or graphite?); verso blank

[folio 86] recto blank; verso legend for next drawing:

Painel do S.r. Carloni na Igreja de S. Filipe Neri, en Jenoa 1741

[folio 87] recto A Benediction (of a Capuchin?), black chalk (or graphite?), pen and brown ink, with grey wash;

Unlikely to be by Giovanni Andrea Carlone (1639–1697), or in the Chiesa e Oratorio di San Filippo Neri in Genoa; cf. Mary Newcome, ‘Giovanni Andrea Carlone’ in Paragone, 409 (1984), pp.40-61. The beard with the hood or capuccio are typical of the Order of Friars Minor Capuchin.

verso legend for next drawing:

Painel do S.r. Cavalheiro Marco Benefial em sua propia casa Roma 1742

Annotation: "Painel do S.r. Cavalheiro Marco Benefial em sua propia casa Roma 1742". Sibilla Delfica; compare the fresco by Benefial in the cycle executed circa 1733 in the Palazzo Chigi Zondadari, Siena (II, folios 87v-88r)

[folio 88] recto Sibilla Delfica (after Marco Benefial), black chalk (or graphite?), pen and brown ink, with brown wash;

Compare with the fresco by Benefial in the Palazzo Chigi Zondadari, Siena (reproduced by Giancarlo Sestieri, Repertorio della Pittura Romana della fine del Seicento e del Settecento, Turin 1994, II, fig. 77; and by Liliana Barroero, Benefial, Milan 2005, Tav. 10). The Sibilla Libica in this cycle is dated 1733 (Falcidia, op. cit., pp.46-47 note 31; Steffi Roettgen, ‘Tre pittori romani del Settecento a Siena: Marco Benefial, Placido Costanzi e Giovanni Odazzi a Palazzo Chigi-Zondadari’ in Studi di storia dell’arte in onore di Mina Gregori, Cinisello Balsamo 1994, p.343). Other versions of the ‘Sibille’ are mentioned by Ponfredi (‘Lettera di Gio. Batista Ponfredi al signor conte Nicola Soderini’ in Raccolta di lettere sulla pittura, scultura e architettura, edited by Giovanni Gaetano Bottari and Stefano Ticozzi, Milan, 1822, V, p.17).

verso legend for next drawing:

Painel ded[ica]to cavalheiro Benefial em caza particular Roma 1741

[Wall painting dedicated [by?] the gentleman Benefial in [a] private house Rome 1741.]

[folio 89] recto Bacchus and Venus, with Cupid and a satyr, black chalk (or graphite?), pen and brown ink, with brown wash, framing line in brown ink; verso legend for next drawing:

Painel ou boseto do mesmo 1741

[folio 90] recto The Virgin and Child enthroned, with Saint Anthony of Padua, and other saints, black chalk (or graphite?), pen and brown ink, with grey wash, framing line in grey wash; verso legend for next drawing:

Boseto do mesmo Roma 1741

[folio 91] recto Adoration of the Madonna and Child, by [unidentified Saint], black chalk (or graphite?), pen and brown ink, with grey wash, framing line in grey wash; verso legend for next drawing:

Bosèto do mesmo 1741

[folio 92] recto Saint of Anthony of Padua receives the Christ Child into his arms, Madonna and Joseph behind, and angels (after Marco Benefial), black chalk (or graphite?), pen and brown ink, with grey wash, framing lines in grey wash;

Compare the altarpiece ‘Sant’Antonio da Padova riceve il Bambino dalle Vergine’ painted by Benefial in 1718 for San Giovanni a Porta Latina, Rome, now in the Convento della Santissima Annunziata, Rome (Falcidia, op. cit., pp.27-28 and Tavola 28; Sestieri, op. cit., I, p.26).

verso recipes in pen and brown ink:

Riceta per la Tartiana[- ?]; Richeta p[er] la [- ?]

[folio 93] recto recipes in pen and brown ink:

Ricetta p[er] far orinarRicetta p[er] le leni p[er] [---- ?] procedutti di [Zena]

verso inscriptions in brown ink:

Al Ill.mo Sig. e [- ?] Calmo |

Il. Sig. Antonio Albarelli

Volume III

[without title]

quarto (188 × 130 mm), (55) ff. gathered [i]16 (first leaf laid to upper board) [ii]7 (of 16, lacking [ii]1-3, 10-11, 13-16) [iii]5 (of 16, lacking [iii]2-3, 6-8, 10, 12-16) [iv]11 (of 14, lacking [iv]3, 4, 11) [v]16 (last leaf laid to lower board), of which 5 ff. blank ([ii]5, [ii]6, [iii]9, [iv]2, [v]5); plus three sheets loosely inserted (after folios 8, 16, 31).

paper watermark a dove on a mound within a circle (diameter 45 mm), surmounted by letter F. Contemporary interleaves.

Bifolium [i]8-9 loosening in sewing; folio [v]1 almost detached.

bound in contemporary vellum over pasteboards.

contents

[folio 1] recto pasted to front board by binder; verso blank

[folio 2] recto Head of a man in profile, graphite, with illegible pencilled notes;

verso Measured plan of a rectangular building with a narrow apse, graphite, pen and brown ink

[folio 3] recto Sketch of two columns and vault, graphite; verso offset of drawing on opposite recto

Drapery study, offset on preceding page (III, folios 3v-4r)

[folio 4] recto Drapery study, red chalk; verso offset of drawing on opposite recto

[folio 5] recto Classical bust, red chalk; verso blank

[folio 6] recto Study of a tree trunk and foliage, black chalk (or graphite?); verso blank

[folio 7] recto Study of a Pope in prayer, black chalk (or graphite?); verso blank

[folio 8] recto Study of a saddled horse, black chalk (or graphite?), with illegible pencilled caption; verso blank

[inserted sheet, 68 × 82 mm] recto Portrait of a woman, black chalk (or graphite?), circular framing lines in black chalk; verso blank

[folio 9] recto Oval portrait of a woman (Flora or Pomona?), black chalk (or graphite?), framing line in black chalk; verso blank

[folio 10] recto Sailors (or fisherman), black chalk (or graphite?); verso offset of drawing on opposite recto

[folio 11] recto A cloaked man prostate in prayer (drapery study?), red chalk; verso blank

[folio 12] recto Study of kneeling friar clutching an urn, with behind a female with an outstretched arm, black chalk (or graphite?); verso blank

[folio 13] recto Outline sketch of a kneeling man clutching an urn, black chalk (or graphite?); verso offset of drawing on opposite recto

[folio 14] recto Study of a barking dog, red chalk; verso offset of drawing on opposite recto

[folio 15] recto Study of a ladened mule, red chalk; verso offset of drawing on opposite recto

[folio 16] recto Study of an ox, red chalk; verso blank

[inserted sheet, 190 × 130 mm] recto Head of a boy, in profile, red chalk; verso blank

[folio 17] recto Head of a man, black chalk (or graphite?)

verso Sketch of a seaside village, red chalk

[folio 18] recto offset of drawing on opposite verso; verso blank

[folio 19] recto blank; verso offset of drawing on opposite recto

[folio 20] recto Head of an old man, red chalk; verso offset of drawing opposite recto

[folio 21] recto Seated Madonna and Child with a kneeling Saint (or donor), red chalk; verso blank

[folio 22] recto blank; verso Oval portrait of a young man, red chalk, framing line in red chalk

[folio 23] recto offset of drawing on opposite verso; verso Oval portrait of a man, red chalk

[folio 24] recto blank; verso Stationery hoist (device for raising or lowering a load, with pulley and two rope drums), black chalk (or graphite?)

[folio 25] recto Chair back, with a detail of its decoration, black chalk (or graphite?); verso blank

[folio 26] recto blank; verso Head of a young girl, red chalk

[folio 27] recto offset of drawing on opposite verso; verso offset of drawing on opposite recto

[folio 28] recto A Prelate seated at a table, with a book, red chalk;

verso Head of a man, red chalk

[folio 29] recto Head of a sleeping man, black chalk (or graphite?);

verso Head of a girl, red chalk

[folio 30] recto offset of drawing on opposite verso; verso offset of drawing on opposite recto

[folio 31] recto Head of a girl, red chalk; verso blank

[inserted sheet, 120 × 85 mm] recto Head of a man, red chalk; verso blank

[folio 32] recto Head of a man, red chalk;

verso Head of a man, black chalk (or graphite?)

[folio 33] recto An altar, shown in profile, red chalk;

verso Façade of a church, black chalk (or graphite?)

[folio 34] recto Head of a man, red chalk;

verso Studies of the head of a man, black chalk (or graphite?)

[folio 35] recto Architectural study (?), black chalk (or graphite?)

verso Head of a cleric (?), black chalk (or graphite?), with inscription above (in ink)

A cor da carne clara e não corado, cabello louro grisalha, olhos pequenos e vivos, boca desmayada

[The flesh is light-coloured and not florid, the hair fair turning grey, the eyes small and lively, the mouth faded (?)]

Red chalk drawing, perhaps depicting Agostino Masucci; compare the self-portrait of Masucci (circa 1721) in the Nationalmuseum, Stockholm (III, folio 36v)

[folio 36] recto Head of a man, red chalk;

verso Three-quarter-length Portrait of A Gentleman, his right hand tucked inside his waistcoat, red chalk;

The gentleman is perhaps Agostino Masucci; compare the self-portrait of Masucci (circa 1721) in the Nationalmuseum, Stockholm (reproduced by Anthony M. Clark, ‘Agostino Masucci: A Conclusion and a Reformation of the Roman Baroque’ in Essays in the History of Art presented to Rudolf Wittkower, edited by Douglas Fraser, London 1967, p.259 and Plate xxxvii Fig.1).

[folio 37] recto Measurements of an altarpiece (height: p.26-p 5 [last figure deleted]; width: p.11-p-6), red chalk;

verso Columns and vault of a church (?), black chalk (or graphite?)

[folio 38] recto Details of a church (?) interior, black chalk (or graphite?);

verso Half-length Portrait of a young Woman in religious habit, in an oval, red chalk, framing lines in red chalk

[folio 39] recto offset of drawing on opposite verso; verso Head of a young woman in religious habit, in an oval, red chalk, framing lines in red chalk

[folio 40] recto Plan of a church, black chalk (or graphite?), pen and brown ink, with caption:

Pranta do Templo de Vesta. ruinado em huma [vista, or vinha?]dentro os muros de Roma

[Plan of the ruined Temple of Vesta in a [view, or vineyard?] inside the walls of Rome]

verso blank

[folio 41] recto blank; verso Head of a child, red chalk

[folio 42] recto Heads of a cleric (?) and of a Gentleman, black chalk (or graphite?); verso blank

[folio 43] recto blank; verso Head of a sleeping man, red chalk

[folio 44] recto blank; verso blank

[folio 45] recto Half-length figure of a man, his right hand tucked inside his waistcoat, black chalk (or graphite?);

verso Full-length figure of a young girl, black chalk (or graphite?)

[folio 46] recto blank; verso A boat with a canopy, black chalk, with grey wash

[folio 47] recto blank; verso A ship, black chalk (or graphite?)

[folio 48] recto blank; verso A Queen, seated, with her crown and sceptre, red chalk

[folio 49] recto Gateway, black chalk (or graphite?);

verso Ornamental grill (?), black chalk (or graphite?)

[folio 50] recto Details of the façades of churches, black chalk (or graphite?);

verso Architectural details, black chalk (or graphite?)

[folio 51] recto The Virgin and Child enthroned, red chalk; verso blank

[folio 52] recto Sketch of two cats, red chalk;

verso Measurements of an altarpiece? (height p[assos].-12-ou 6 ½ width p.-3 ou 2 ½), red chalk

[folio 53] recto Church façade, black chalk (or graphite?);

verso inscription in graphite:

Parti di Lisbona la mattina 15 d’ottobre p[ara] il Porto pransai a castagneira cenaj azanbuje

[I left Lisbon in the morning of 15 October for Oporto [or “for the port”] I lunched [under] a chestnut tree [and] dined [under] an olive tree.]

[folio 54] recto inscription in pen and brown ink:

p. la Erisipola si prendere la pelle de Testicoli del Cervio e si porterà al collo che tochi la carne rimedio singular maxima e pendo morto nel mese di maggio [etc.]

verso inscriptions in pen and brown ink:

[T]o | Mr Alex[ande]r Cozens | at Mr. Pines Engraver | in Piccadilly | London6

A Monsieur | Monsieur Gläßer | Peintre de la Cour de | Son Altes Sereniss. le Munggrave | de Brandenbourg coulmbaerzi | à | Bayreuth7

A Monsieur | Monsieur Sigismondo Streit | Banquier à | Venise8

[folio 55] recto inscriptions:

[list of names, in pen and brown ink]

Domenico Corvi9

Giuseppe Benedetti10

Pietro [Frasi?]

Giovanni Batt[ist]a Ponfreni11

Madalena fatturini

Cavaglier Benefial12

Agostino Masucci13

[Dimensions of the Cathedrals of Porto (in brown ink) and Braga (in red chalk)]

a See do Porto | diferença da See Braga

de Comp.to passos 60 | p. 48

e largo passos 24 | 12 ½

naves Lat. pez. 8 ½ | 6

do meyo pez 18 ¼ | 2

[in brown ink]

[-] Vara, a hum covado aferido | p[-] a consul d’Inglaterra

verso laid to lower cover

1. Gioacchino Pizzi (1716–1790), member of the Accademia degli Arcadi (his Arcadian pseudonym ‘Nivaldo Amarinzio’), custode generale from 1772 until 1790.

2. See generally, Cristina Costa, Gabriel De Andrade E Silva, and Beatriz Albuquerque, ‘Igreja de Sâo Facundo, Vinhais’ in Monumentos: Revista semestral de edifícios e monumentos 14 (2001), pp.98–105.

3. ‘desenho com aguadas a nanquim, de João Glama Stroberle (século XVIII) – de um álbum pertencente ao Sr. Almirante Carlos Braga’.

4. ‘Possui o Sr. Almirante Carlos Braga, do Porto, uns álbuns ou, melhor direi, cadernos, de desenhos dum estudante de pintura em Roma, como se vê dos dizeres do frontespício dum deles. No caderno datado de 1741 encontram-se reproduções de monumentos italianos, quase todos de Roma, e nas quatro últimas folhas vêem-se representados: o convento de S. Francisco de Vinhais, pormenores de figura do mesmo convento, a ponte de Murça e numa sanguínea, o Castelo da Feira. Nas páginas anteriores aos desenhos de Vinhais e de Murça está escrito por mão do desenhista a nota do que representam. Mas na página anterior ao desenho do Castelo da Feira não há nota nenhuma. Parece que o autor sabia bem o que reproduzira, sem necessidade de pôr-lhe a indicação. Por três maneiras escreve o seu nome este artista: – “João Esterbele”, no referido frontespício (talvez italianizando o apelido alemão) – “João Stroberle” e depois “João Glama” – explica uma nota escrita com a sua própria letra...’.

5. ‘Este desenho, cuja fotografia se publica, deu-nos, também, conhecimento da verdadeira localização da ermida de Santa Luzia. | Embora a reprodução não esteja muito clara, pode-se ver que, na generalidade, a estrutura exterior da capela e casa anexa é sensivelmente igual à de hoje, verificando-se que aquela está encimada, no seu tapo mais alto, por um motivo que me parece semelhante àquele que ainda existia na primeira década deste século, como se vê das fotografias que se publicam. | Tem duas pirâmides nos topos superiores dos cunhais da sua face poente, onde está praticada a porta de entrada, como ainda hoje se verifica. | A casa anexa, da sacristia e andar superior, também se apresentam com estrutura semelhante à de hoje. | No desenho não vejo reproduzida a escadaria de acesso àquele andar, hoje habitação da guarda, parecendo que a parte da muralha, onde ela hoje encosta, está livre. | A omissão pode ser atribuida ao pintor, mas também se pode admitir, para não falar de defeito de fotografia, que o acesso à parte superior se fizesse interiormente a partir da sacristia, ou pela parte traseira, do que ainda há vestígios.’

6. Alexander Cozens (1717–1786); John Pine (1690–1756).

7. Martin Simon Gläser (1684–1746), court painter at Bayreuth in the service of Markgraf Georg Wilhelm von Brandenburg.

8. Sigismund Streit (1687–1775), merchant and art patron at Venice.

9. Domenico Corvi (1721–1803), painter.

10. Giuseppe Benedetti (1707–1782), engraver.

11. Giovanni Battista Ponfredi (1715–1795), pupil of Marco Benefial, painter.

12. Marco Benefial (1684–1764), painter, Glama Ströberle’s teacher.

13. Agostino Masucci (1690–1768), painter, Glama Ströberle’s teacher.

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