Skizzen von Figuren der Jungfrau kniend, Saint Peter stehenden, sitzenden Allegorische Figuren des Glaubens und der Nächstenliebe, und das Kind steht auf einer Corbel (?) (recto); Skizzen von Figuren der Heiligen Sebastian und die Jungfrau und Kind mit Engel (verso). Artist: zugeschrieben Francesco Di Simone Ferrucci (Italienisch, Fiesole Florenz 1437-1493). Abmessungen: 10 13/16 x 7 13/16-in. (27,4 x 19,8 cm). Datum: 1487-88. Vom Zeichenstil und Gegenstand zu richten, Ferrucci wurde stark beeinflusst durch die florentiner Bildhauers Andrea Verrocchio (1435-1488). Obwohl er wurde von seinem Vater, Ferrucc geschult
Dieses Bild kann kleinere Mängel aufweisen, da es sich um ein historisches Bild oder ein Reportagebild handel
Sketches of Figures of the Virgin Kneeling, Saint Peter Standing, Seated Allegorical Figures of Faith and Charity, and Child Standing on a Corbel (?) (recto); Sketches of Figures of Saint Sebastian Standing and the Virgin and Child with Angels (verso). Artist: Attributed to Francesco di Simone Ferrucci (Italian, Fiesole 1437-1493 Florence). Dimensions: 10 13/16 x 7 13/16in. (27.4 x 19.8cm). Date: 1487-88. To judge from the drawing style and subject matter, Ferrucci was strongly influenced by the Florentine sculptor Andrea Verrocchio (1435-1488). Although he was trained by his father, Ferrucci may have been Verrocchio's assistant in the 1470s; Verrocchio's workshop offered a training ground for many of the brilliant draftsmen of late-fifteenth-century Florence. This drawing once formed part of the sketchbook formerly attributed to Verrocchio himself: the great nineteenth-century art historian and connoisseur Giovanni Morelli was the first to propose the name of Francesco di Simone, and this attribution has been generally accepted by later scholars. This boldly drawn double-sided sheet is part of a well-known dismembered Florentine sketchbook (now dispersed in a variety of collections) that apparently records sculptural models, most of which can be associated with the style of Andrea del Verrocchio's workshop. It also includes, however, motifs inspired by the work of such other Florentine sculptors as Antonio del Pollaiuolo, Benedetto da Maiano, Desiderio da Settignano, Luca della Robbia, and Bernardo Rossellino. This and nineteen other pages of the sketchbook are currently known, all of a similar size and drawing technique on rose-washed paper, and at least nine of these bear the same watermark (a Gothic M). The codicological evidence has been examined with particular attention by Albert J. Elen. Like catalogue number 8, most of the sheets are also drawn on both sides and bear inscriptions of many types, from dates to debit accounts to the names of individuals.
