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![MAARTEN VAN HEEMSKERCK.
MADONNA LUCREZIA, 1532-1534. KUPFERSTICHKABINETT, BERLIN
Here we see a drawing in brown ink of the ancient colossal bust of Isis known as Madama Lucrezia, set on a low Renaissance pedestal. The figure’s weathered features are framed by wavy hair, with heavy drapery tied in an Isiac knot at her chest. On the base, Heemskerck sketched the heraldic shield of Cardinal Lorenzo Mari Cybo, the sponsor of this recovery project. The crest was meant to enhance his prestige as cardinal, but following the death of Alexander VI, Pasquino mocked Cybo, saying that if he were elected, "E bardasse in condotta arai [avrai] e peggio." (And rent-boys in your entourage you shall have, and worse.) The sketch captures a monument caught between the lofty public image Cybo sought to present and the ill fame of his far from saintly Roman existence.](https://venexa.site/media/HKxL-eHXMAAsAUF.jpg)
ALT MAARTEN VAN HEEMSKERCK. MADONNA LUCREZIA, 1532-1534. KUPFERSTICHKABINETT, BERLIN Here we see a drawing in brown ink of the ancient colossal bust of Isis known as Madama Lucrezia, set on a low Renaissance pedestal. The figure’s weathered features are framed by wavy hair, with heavy drapery tied in an Isiac knot at her chest. On the base, Heemskerck sketched the heraldic shield of Cardinal Lorenzo Mari Cybo, the sponsor of this recovery project. The crest was meant to enhance his prestige as cardinal, but following the death of Alexander VI, Pasquino mocked Cybo, saying that if he were elected, "E bardasse in condotta arai [avrai] e peggio." (And rent-boys in your entourage you shall have, and worse.) The sketch captures a monument caught between the lofty public image Cybo sought to present and the ill fame of his far from saintly Roman existence.