Pen and brown ink, highlighted with white gouache, over red chalk, on light brown washed paper (the form of the spandrel is indicated in brown wash)
9 1/2 x 9 1/8in. (24.1 x 23.1cm)
Rogers Fund, 1966
Not on view
Maratti, the last major artist of the classical tradition that originated with Raphael, worked in a monumental decorative style that brought him official patronage and international renown. In 1674 he was commissioned by Pope Clement X Altieri (r. 1670-1674) to decorate the audience room of the family palace in Rome (Palazzo Altieri), and he prepared a complex decorative scheme for every part of the room. The room remained unfinished, however, because of the pope's death in 1676; only the fresco on the main vault was completed.
This drawing intended for a spandrel, one of the many unexecuted compositions, shows Peace holding an olive branch, pointing to an angel with a plaque inscribed "PAX," and triumphing over the bound Fury of Hell below. Consistent with the description of this figure provided by Maratti's biographer, Giovanni Pietro Bellori, who devised the content of the painted decoration, Peace holds an olive branch and tramples underfoot a shackled Fury symbolizing War, whose bellicosity is vanquished: "Siegue la Pace apportato al mondo con l'umanità di Cristo, a' cui piedi gilace it Future d'Averno incatenato; tiene ella in una mano il ramo dell'olivo e con l'altra addita un angiolo che spiega it motto: ET IN TERRA PAX" (from Bellori's Life of Carlo Maratti).
For other preparatory studies by Carlo Maratti in the Metropolitan Museum of Art for the decoration of Palazzo Altieri see inv. nos. 64.295.1 and 61.169 (Virtue crowned by Honor), 66.137 (Allegory of Divine Wisdom or Divina Sapienza), 2008.334.1 (Study of a Putto), and 65.206 (Plan for a Ceiling and Nude Figures).
Inscription: Inscribed in pen and brown ink at upper left by the artist within the tablet: "PAX." Annotated by an early collector in pen and brown ink at lower right: "N. 15." Annotated in graphite by modern hands on reverse of old mount: "Design for a Spandril / 'Peace' (Pax) / Original drawing by Domenichino."
Sir Karl T. Parker; P. & D. Colnaghi & Co.
Morgan Library & Museum, New York. "Drawings from New York Collections, II. The Seventeenth Century in Italy," February 23, 1967–April 22, 1967.
Pennsylvania State University, Museum of Art. "Carlo Maratti and His Contemporaries: Figurative Drawings from the Roman Baroque," January 19, 1975–March 16, 1975.
The Metropolitan Museum of Art. "Roman Artists of the 17th Century: Drawings and Prints," November 2, 1976–January 16, 1977.
The Metropolitan Museum of Art. "Drawings and Prints: Selections from the Permanent Collection," January 5, 1998–March 8, 1998.
The Metropolitan Museum of Art. "Drawings and Prints: Selections from the Permanent Collection," January 12, 2009–April 12, 2009.
Jacob Bean, Felice Stampfle Drawings from New York Collections, Vol. II: The Seventeenth Century in Italy. Exh. cat. The Metropolitan Museum of Art, Morgan Library & Museum, New York, 1967, cat. no. 114, ill.
Jacob Bean "Ninety-seventh Annual Report of the Trustees for the Fiscal Year Annual Report 1966-1967, Reports of the Departments: Drawings." in The Metropolitan Museum of Art Bulletin. The Metropolitan Museum of Art, n.s. vol. 24, no. 2, New York, October 1967, cat. no. 114, fig. no. 114, ill.
Walter Vitzthum "Review: Drawings from New York Collections, Vol. 2: The Seventeenth Century in Italy (Exh. cat., New York, MMA and PML, by Jacob Bean and Felice Stampfle, 1967)." Burlington Magazine. vol. 109, London, April 1967, p. 253.
Jacob Bean Patterns of Collecting: Selected Acquisitions, 1965-1975 Explanatory texts accompanying an exhibition: December 6, 1975 through March 23, 1976. The Metropolitan Museum of Art, New York, 1975.
Jean K. Westin, Robert H. Westin Carlo Maratti and His Contemporaries, Figurative Drawing from the Roman Baroque. Exh. cat., Museum of Art, Penn State University (19 Jan. - 16 Mar., 1975). Pennsylvania State University, Museum of Art, University Park, 1975, pp. 45, 47, no. 27.
Jacob Bean (but catalogue not signed), The Metropolitan Museum of Art Roman Artists of the 17th Century: Drawings and Prints. Exh. cat., The Metropolitan Museum of Art. New York, 1976, n.p.
Jennifer Montagu "Bellori, Maratti, and the Palazzo Altieri." Journal of the Warburg and Courtauld Institutes. vol. 41, London, 1978, p. 340.
Jacob Bean, Lawrence Turčić 17th century Italian Drawings in The Metropolitan Museum of Art. The Metropolitan Museum of Art, New York, 1979, cat. no. 271, fig. no. 271, pp. 205-06, ill.
Ebria Feinblatt "A Drawing by Carlo Maratta." Los Angeles County Museum of Art Bulletin. vol. 25, 1979, p. 16, fig. 22, ill.
Veronika Birke, Janine Kertész Die italienischen Zeichnungen der Albertina. Generalverzeichnis Band I: inv. 1-1200. Vienna, Cologne and Weimar, 1992, p. 551, under inv. 1978.
Simonetta Prosperi Valenti Rodinò "Maratti e il 'primato del disegno': il caso di Palazzo Altieri." Maratti e l'Europa. Ed. by Simonetta Prosperi Valenti Rodinò, and Sebastian Schütze, Rome, 2015, pp. 98, fig. 8, p. 123 and pl. 8.
Artist: Circle of Carlo Maratti (Italian, Camerano 1625–1713 Rome)Date: 1625–1713Medium: Pen and brown ink, brush and brown wash, highlighted with white, over black chalk, on beige paperAccession: 1977.312On view in:Not on view
Artist: Carlo Maratti (Italian, Camerano 1625–1713 Rome)Date: 1625–1713Medium: Pen and brown ink, brush and brown wash, highlighted with white, over black chalk, on beige paperAccession: 1985.29On view in:Not on view