Design for a mace, Pietro da Cortona, ca. 1625-69
Pietro da Cortona, portraitPietro da CortonaItalie, 1596–1669

Design for a mace

ca. 1625-69 · Drawing · 41.2 × 18.3 cm

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Pas exposée actuellement

Où est « Design for a mace » aujourd’hui ? Collection: Victoria and Albert Museum, Londres. Pas exposée actuellement. Vérifié 25 septembre 2026.

Victoria and Albert Museum

Londres, Royaume-Uni

Elle appartient à la collection, mais n’est pas présentée en ce moment.

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Numéro d’inventaire
D.1708-1885

Ce qu’elle montre

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Dans la vie de Pietro da Cortona

La vie entière
  1. 1614–1669 · Lieu de travail

    Rome

  2. early 1620s

    Meets Marcello Sacchetti

    His acquaintance with the Marchese Marcello Sacchetti, later papal treasurer, proved decisive for his early career: it was his copy of Raphael's “Galatea” that caught Sacchetti's eye. For Sacchetti Pietro painted “The Sacrifice of Polyxena” and “The Triumph of Bacchus” (now in the Capitoline Museums), and through him he met the poet Giambattista Marino.

  3. c. 1626

    Meets Pope Urban VIII

    In the Sacchetti circle Pietro met Pope Urban VIII Barberini and his nephew Cardinal Francesco Barberini. The pope recognised his talent before others and became his chief patron; the Barberini tapestry works wove the series “The History of Alexander the Great” and “From the Life of Pope Urban VIII” after Cortona's designs.

  4. 8 January 1634

    Elected head of the Academy of Saint Luke

    Cortona was elected president of the Roman Academy of Saint Luke (he led it until 1638). By then he had a large workshop where pupils finished the details of big canvases; among them were Francesco Romanelli, Giovanni Maria Bottalla, Ciro Ferri and Guglielmo Cortese, known as il Borgognone.

  5. 1652

    A “Treatise on Painting and Sculpture” in code

    In Florence appeared the treatise “On Painting and Sculpture: Their Use and Abuse”, written with the Jesuit Giovanni Domenico Ottonelli; the authors' names were hidden in the anagram “Britio Prenetteri”. Cortona set out his ideas on the artist's method and the role of preparatory drawings, and the book was soon called “the Manifesto of the Baroque”.

  6. 16 mai 1669

    Died

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