Connoisseurship in Italian Figural Compositions

Paolo Veronese, Various Sketches of the Madonna and Child (recto); Architectural Studies (verso) [partially visible on recto], c. 1570, pen and brown ink (iron gall) and brush and brown wash, Cleveland Museum of Art, Cleveland.

Michelangelo Buonarroti, Study for the Nude Youth over the Prophet Daniel (recto); Figure Studies for the Sistine Ceiling (verso), 1510–11, red chalk over black chalk or charcoal, Cleveland Museum of Art, Cleveland.

Domenico Campagnola, Saint Jerome in a Landscape, c. 1530, pen and brown ink, Cleveland Museum of Art, Cleveland.

Federico Barocci, Aeneas Saving Anchises at the Fall of Troy, 1587–88, Pen and brown ink, brush and brown wash and yellow gouache heightened with traces of white, over black chalk, with stylus (banister); framing lines in pen and brown ink, Cleveland Museum of Art, Cleveland.

Giulio Campagnola, Venus Reclining in a Landscape, c. 1508–9, engraving, Cleveland Museum of Art, Cleveland.

Guercino, Venus and Cupid in a Chariot, 1615–17, Pen and brown ink and brush and brown wash over red chalk, Cleveland Museum of Art, Cleveland.

Bernardo Strozzi, Allegorical Figure, c. 1635, black chalk with red chalk , Cleveland Museum of Art, Cleveland.

Pietro Perugino, Saint Sebastian, c. 1493, metalpoint, Cleveland Museum of Art, Cleveland.

Raphael, Studies of a Seated Female, Child's Head, and Three Studies of a Baby, c. 1507–8, metalpoint, Cleveland Museum of Art, Cleveland.

Domenichino, Temperance, 1628–30, black chalk heightened with white chalk, squared with black chalk, Cleveland Museum of Art, Cleveland.