The Palazzo Chigi at Ariccia

Claude

Summary

A reproduction produced by the Vasari Society of a drawing by Claude. The drawing shows a sprawling, multi-storey building. It has a number of arched windows, and on its right-hand side is a rectangular structure with railings around the top. On the left of the building, attached to it, is a tall archway. A path runs in front of the building, forking off towards the archway and into the foreground. Several people and an animal are on the path. There is some foliage in the foreground. Text from the accompanying booklet produced by the Vasari Society: "18. CLAUDE (b. 1600; d. 1682) THE PALAZZO CHIGI AT ARICCIA Collection of Henry Oppenheimer, Esq. From the Dimsdale, Lawrence, Coningham (?), Wellesley, and Sir James Knowles Collections. Pen and sepia, and sepia wash. 27.4 x 41 cm. (10 3/4 x 16 1/8 in.). This drawing raises an interesting problem of topography. It has long been known as 'the Gate of Genazzano', this on the strength of an inscription in Claude's own hand, visible in the upper left-hand corner, but unfortunately considerably mutilated. It seems, however, that it should be read 'Vue de la reche du coté de gancane'. The last word is quite unmistakable, and it seems more natural to interpret it as 'Genzano' (in the Alban mountains) than as 'Genazzano' (in the Sabine mountains). 'La reche' is probably French of Claude's own invention for La Riccia (or Ariccia), the little town between Albano and Genzano. As a matter of fact, the great palace seen in the drawing bears considerable resemblance in its general configuration to the Palazzo Chigi (formerly Savelli) at Ariccia, though only an investigation in situ could determine if the identification here put forward is correct. These topographical considerations of course in no wise exhaust the interest of the drawing, which, indeed, for largeness of design and effective massing and contrasting of light and shade - combined with great delicacy and sensitiveness - occupies a very distinguished position among Claude's drawings. T. B. Dr. Borenius's identification has happily been authenticated by Dr. Thomas Ashby, Director of the British School of Rome, who writes that it is the Palazzo Chigi from the Rocca di Papa road, i.e. from the back. The arch at the beginning of that road, looking back towards the village, is seen on the left. At that time the route from Rome to Naples did not pass through Ariccia, but by Marino to Velletri, keeping above and behind Nemi. It was only Pius VI who brought it through Ariccia. The old Via Appia runs in the valley below. Mr. A. P. Oppé has pointed out the attribution to Poussin in an old hand in the upper r. of the drawing, and raises the question of the authorship of a group of drawings in similar style: (1) The Temple of Vesta. British Museum. Pp. 4-70. Attributed to Poussin; (2) Buildings in Rome. Christ Church, Oxford. Old attribution to Poussin. Reproduced in Colvin, Oxford Drawings, III. 34, and C. F. Bell, Drawings by the Old Masters in the Library of Christ Church, Oxford, 1914, pl. 92; (3) Italian Buildings. Albertina. Reproduced by Braun, 1067. Old attribution to Poussin. On the other hand, even granting the possibility of the present drawing being by Poussin, the mixture of French and Italian (characteristic of Claude), and the manner of writing, e.g. different form of h, are at variance with Poussin's autograph (e.g. several letters in the British Museum MS. Department). M. Louis Demonts, of the Louvre, has also kindly written me his criticism, which adheres to the attribution of the present drawing to Claude (regarding Nos. 1 and 2 cited above as also by the same master), while suspecting that No. 3 and certain other landscape drawings in the Albertina may be by Pierre (Jean?) Lemaire (called Lemaire-Poussin) (1597-1659), who was a close follower, as well as a copyist, of Poussin in Rome. ED."