Studies for the figure of Christ in the painting Noli me tangere

This drawing originally served as a preliminary study for the central figure of a painting held in Viscount Allendale’s collection at Bywell Hall. The painting has sadly only survived in a parlous condition. An impression of this composition can however be gleaned from Luca Ciamberlano’s engraving, dated 1609. In addition to studies for the more famous version of the work, which was painted in 1590 and is today located in Munich, the Kupferstichkabinett boasts a collection of drawings by Barocci on this same theme. Although suggestions of muscle tone and light accents are visible in the drawing – features that Barocci always defined at a relatively early stage of the creative process – the figure’s somewhat angular stance indicates that it was not a human model who stood for the artist. Known for his obsessive approach to drawing, it seems that Barocci instead opted to work from a manichino. The work represents an intermediary creative stage towards the final composition, which in the classical tradition follows the sketch. It allowed Barocci to make considerable progress in capturing the inner structure of a single figure, which would subsequently be further developed, draped in garments, and eventually incorporated into the overall design.