Studies of modelli for sculptural projects by Giambologna, on the front the Apennine and detail from the base of the fountain of Samson and on the back a fountain, possibly with the figure of Neptune

Executed in pen with cross‑hatching and stippling, the drawings convey volume through layered lines that model stone and foliage. The handling is characteristic of late Renaissance workshop practice, balancing precise architectural outlines with freer, gestural marks that suggest texture in rock, foliage, and drapery. The dual‑sided format allowed the artists to juxtapose multiple design ideas on a single sheet.

The sheet likely functioned as an internal studio record of terracotta maquettes, some of which have not survived or were never realized in marble or bronze. Giambologna’s workshop used such drawings to communicate designs to patrons and collaborators. The drawing entered a private collection in the 19th century before being acquired by its present institution, where it serves as documentary evidence of the sculptor’s preparatory process.

During the late Renaissance, Florentine and Tuscan patrons commissioned elaborate fountains to adorn public squares, merging engineering, sculpture, and urban planning. Giambologna’s projects, such as the Samson fountain in Bologna, exemplify this trend. The studies on this sheet illustrate the collaborative nature of large‑scale commissions, where master and assistant jointly refined compositional and structural details.