This view of Saint Peter’s basilica is testimony to the fascination and attraction that Rome exerted on European artists in the mid-sixteenth century. Presumably executed in a workshop far from the papal city, the drawing combines studies of the basilica with various architectural projects that were planned but never built, such as the tower at left. Although not entirely based on observation, this panorama nonetheless evokes the experience of the wonders of the Eternal City.

Professor Anthony Blunt (1907-1983); Blunt Bequest via the Art Fund 1984

Drawings Gallery Display - Renaissance Modern, The Courtauld Gallery, London, 22/04/2015-07/06/2015

Rebecchini, Guido, The Rome of Paul III (1534-1549): Art, Ritual and Urban Renewal, Turnhout, 2020
p. 31
ill. on p. 33

Dunbar III, Burton L., 'A rediscovered sixteenth century drawing of the Vatican with constructions for the entry of Charles V into Rome', The Sixteenth Century Journal, 23, 2, Summer 1992, pp. 195-204
p. 198
fig. 5 on p. 200

Rubinstein, Ruth O., 'Pius II's Piazza S. Pietro and St. Andrew's Head,' in Essays in the History of Architecture presented to Rudolf Wittkower, London, 1967
p. 27
fig. 3
(note 70) states that there are many differences which show that the Blunt drawing could not be a copy of the Dresden view.

Watermark: Watermarks: centre of left sheet and centre of centre sheet: vase with one handle, on top is a fan of six parts topped by a quatrefoil, inside vase are two lines of text, mark is approx. 5.4 cm high x 2.2 cm wide (matches Piccard 31463 – Dorpat, 1552). Backing sheets, Verso: right centre of right sheet and left centre of right sheet, and reversed orientation but probably same marks on the left sheet: two lines of text countermarked with a triangular bunch of eight large, round grapes with a long, hooked stem composed of double lines (text illegible but similar composition to Heawood 2422 – Paris c. 1781, though text on backing sheets is not enclosed by a banner; however, the lines of text in the two backing sheets may not be the same, the lines on the left sheet are so unclear it is difficult to say).

Inscription: Verso (hidden under backing sheets, visible via transmitted light): lower centre, pen and brown ink: Blunt read it as "[...] BI", upside down could be "18 [...]"; centre, pen and brown ink: symbols [not in Lugt]; right centre, on a separate scrap of paper, pen and ink: read by Blunt as "n.MfB" [not in Lugt], turned upside down could be "D. Ghill" or "Shill".