Pierre Le Gros the Younger

This work has always been compared to Théodon's counterpart Triumph of Faith over Idolatry, carved in a much more classicising, rigid style.[note 9] The rivalry between the two Frenchmen was to play out repeatedly over the next few years. The sheer panache and virtuosity of this group launched Le Gros' career. He was in great demand and, indeed, the busiest sculptor in Rome at the time.^{[1]: Cat. 4}

Silver statue of St. Ignatius

In 1697, with his group nearly complete, he won the competition for the altar's main image, the silver statue of St. Ignatius. It was a peculiar competition as the twelve sculptors taking part had to decide the winner themselves by pointing out the best model of their competitors. When Le Gros' victory was announced his compatriots were ecstatic and carried him through the streets in triumph.^{[10]: 180-181}

The statue was cast in silver by

^{: Cat. 10}

He also started his extensive work for

Santa Maria Maggiore. Its main function is to contain the saint's body and make it visible to the faithful for veneration on limited occasions. Usually, however, it was to be hidden^{[note 12]} by a flap made of gilded bronze which bears his effigy in very shallow relief.^{[note 13][1]}

^{: Cat. 9}

To fulfil all these concurrent commissions Le Gros required assistants and a suitable workshop. With the help of the Jesuits, he had found an ideal space in 1695 in a back wing of the Palazzo Farnese which he was to occupy for all his life.^[12]

High hopes

All his work so far as an independent master had a clearly defined deadline: the celebrations of the

Holy Year

1700.

Married life

In 1701, Le Gros married a young woman from Paris, Marie Petit. She died in June 1704 leaving Le Gros with his first son (a second son only lived for a week) who was in need of a mother. So he immediately married again in October 1704. His bride was another French woman, Marie-Charlotte, daughter of the outgoing director of the French Academy in Rome, René-Antoine Houasse. Witness to this wedding was Vleughels who at the time lived at Le Gros' studio. The couple was to have two daughters and a son (Filippo Juvarra was his godfather in 1712) who lived to be adults while his first son with Marie Petit died as a child in 1710.^{[1]: 13 [12]}

Pope Clement XI

At the end of the year 1700, it fell to Cardinal de Bouillon as the longest serving cardinal to

consecrate his friend, the art loving Giovanni Francesco Albani, as Pope Clement XI

. The many years of papal frugality were over, and Le Gros decided that this was the time to be ambitious.

Elected a member of the Accademia di San Luca in 1700, he presented the terracotta relief The Arts Paying Tribute to Pope Clement XI as his reception piece in 1702. The iconography of this flattering scene was telling and unmistakably expressed the high hopes Le Gros had for the patronage of the newly elected pontiff.^{[1]: Cat. 17}

Antonin Cloche as patron

He also remained the sculptor of choice for Cloche who was eager to promote the status of the Dominicans. Following the death of Cloche's friend Cardinal

Lateran Basilica (1700–03) and subsequently the Statue of Cardinal Casanate^{[note 14]} in the Biblioteca Casanatense (1706–08).^[13]

When the new pope offered the many

Saint Peter's to the religious orders to erect an honorary statue to their founders, Cloche jumped at the opportunity and commissioned the Statue of Saint Dominic from Le Gros (1702–06). It epitomises his dynamic mature style.^[14] Since no other religious order saw the necessity to hurry, Saint Dominic was the very first and for decades the only monumental statue of a founder in Saint Peter's.^[1]

^{: Cat. 21}

Other important commissions

Le Gros also continued to be employed by several branches of the Jesuit order for work such as the statue of

St. Petersburg, Hermitage Museum, presents an alternative idea in which the Jesuit missionary appears much fiercer, probably preaching, with the right arm raised. For the mellower mood displayed in Sant'Apollinare, Le Gros decided on a mirror image of that pose. ^[1]

^{: Cat. 16}

Also in 1702, the board of the

Carlo Francesco Bizzaccheri. They were now looking to commission two large reliefs for the side walls and made a list of sculptors currently in the limelight. Their choice was to stage another head to head of Le Gros, who was to carve the relief of Tobit Lending Money to Gabael, and Théodon, creating its companion piece, Joseph Distributing Grain to the Egyptians, on the opposite wall (both 1702–05).^{[1]: Cat. 19 [note 15]}

Stanislas Kostka

External videos
Stanislas Kostka on his Deathbed, 1702–03, Novitiate of the Jesuits Video from Smarthistory

The polychrome statue of Stanislas Kostka on his Deathbed (1702–03) is today Le Gros's best-known work. Since his normal practice was to evoke naturalistic impressions by an extraordinarily fine surface treatment of a monochrome white marble, this multi-coloured tableau-like depiction is quite untypical for Le Gros. But it would be untypical for any sculptor because it is unique in the history of sculpture on the whole.^{[note 16]}

Unapologetically, the statue was created to emotionally move the visitor in the room where the blessed (soon to be canonised) Jesuit novice died, next to a chapel in the Jesuit novitiate at Sant'Andrea al Quirinale. The pope honoured the new devotional site with his visit – on foot – the day following its inauguration in 1703.

The figure still moves to this day, and much of the effect is due to the aura created with the staging. The site is not something one would stumble across by accident like a chapel in a church, one has to seek it out. A visitor would enter the quiet, dimly lit rooms carefully with a sense of apprehension and awe, and then see the striking silhouette of a motionless life size figure on a bed, approachable without a barrier.^{[note 17]}

It is astonishing that one of the first things a first time visitor mentions is that Kostka looks so lifelike when, in fact, the statue couldn't be more artificial. Head, hands, feet and pillows are of white Carrara marble, the thin shirt is of a different white stone and the habit is of a black stone at the time known as "paragone". The saint's head would originally have been emphasised by a nimbus, he held an image of the Madonna in his left hand and a large crucifix would have extended from his right hand into the crook of his right elbow. Stanislas would be looking at the crucified Christ with eyes already delirious. With the large crucifix missing, an important iconographic dimension is lost today, i.e. the connection between Stanislas and Christ (similar to the statue of St. Francis Xavier of the same time) which would also round up the composition.^{[note 18]} The mattress, bed cover with bronze fringes and bed step are from coloured ornamental stones common to Roman baroque art but used in a highly original and effective manner.^{[1]: Cat. 20}

Bouillon Monument

At some point after 1697, Le Gros was employed by

dynastic monument for his family to be erected in a funerary chapel in Cluny Abbey, of which the cardinal was the abbot. Apart from being a compatriot, Bouillon might have known the sculptor through the Jesuits as he habitually lived as their guest in the Jesuit novitiate at Sant'Andrea al Quirinale. Le Gros's work was completed by 1707 and sent to Cluny

, where it arrived in 1709. He worked on this project in as much a French manner as he ever would and invented a spectacular sepulchral monument, at once continuing in the French baroque tradition as well as opening up new formal and iconographic avenues.

The chapel was meant to receive several family members, including the cardinal himself, but first and foremost his parents,

postulation of a royal rank and sovereignty of the family dating back to the 9th century, the same message Cardinal de Bouillon tried to support by commissioning a written history of his ancestry from the historiographer Étienne Baluze,^{[note 19]} published in 1708 and containing an engraving

of the envisaged funeral chapel with an idealised view of Le Gros's monument.

None of this highly original concept influenced the development of monumental funerary sculpture. Apart from a thorough inspection by royal officials to determine whether they expressed any pretentious dynastic claims, the sculptures were not even unpacked in

Sun King, that he was declared an enemy of the state and all construction stopped. Le Gros' marbles and bronzes were stored, undisturbed in their sealed crates, for nearly 80 years. In the aftermath of the French Revolution they were in danger of being sold as stone material together with Cluny abbey but saved by Alexandre Lenoir who wanted them for his Musée des Monuments français

.

The animated marble figures of the Duke and Duchess de Bouillon together with the angel (minus Turenne's heart) and a finely detailed relief showing the duke as a battle hero never made it to Paris and are today installed at the Hôtel-Dieu in Cluny.^{[note 20]} A fragment of the heraldic tower is kept in the granary of the abbey.^{[1]: Cat. 11 [16]}

Apostle Thomas by Le Gros

Terracotta model, 1703–04
Los Angeles County Museum of Art

Marble, 1703–11
San Giovanni in Laterano

Lateran Apostles

At the end of 1702, Pope Clement XI announced his intention to finally have

Lateran basilica filled with twelve heroic-scaled figures of the Apostles.^{[note 21]} Clement's idea was very similar to filling the niches of St. Peter's initiated at the same time: get your church embellished but find others to pay for it. So, he called on prelates

and princes to sponsor individual statues but handed the task to choose sculptors to a committee created to run the project. The statue of St. Peter he intended to finance himself and had Théodon commissioned.

Like Théodon, Le Gros was given not only one but two statues:

Saint Bartholomew (1703–12)^{[1]: Cat. 23} who displays his own flayed skin,^{[note 22]} sponsored by the pope's treasurer Lorenzo Corsini,^{[note 23]} and Saint Thomas (1703–11), sponsored by King Peter II of Portugal

.

From the outset it was recognised that the overall unity of all the Apostle statues was of paramount importance. The architect

Carlo Maratti, the pope's favourite artist, was given the task to achieve a stylistic unity by preparing drawings for each statue which were then given to the sculptors as a guideline.^{[17]: 98-105} This forced submission enraged many of them who, in 1703, voiced their discontent,^[17]: 263 Théodon even resigned because of it, eventually returning to France in 1705.^{[note 24]}

.

Le Gros went one step further and decided to challenge Maratti's authority by submitting a model which was radically different from the latter's sober, classicising style. With his model for Saint Thomas from around 1703–04, the most intricate and detailed terracotta he ever produced, he harked back to the highly emotional baroque of

His model was not approved and the Late Baroque classicism, as Wittkower^[18] calls it, prevailed. While Le Gros was the only sculptor who was not held to work from drawings by Maratti,^{[note 25][17]: 218} he must have been forced into an act of self-censorship. While essentially the same figure, each and every exuberance was ironed out in his monumental marble figure: the drapery is more ordered, the head lost its visionary vigour, the unruly pages of the book gave way to a carpenter's square, the naturalistic rock became a flat plinth, the weathered tomb stone turned pristine and, of course, the putto vanished. A dynamic group of a saint with a putto in the landscape became a solid statue in a niche.^{[1]: Cat. 22}

While Le Gros was put in his place, he was not down and out. When it transpired that the undistinguished Florentine sculptor Antonio Andreozzi would not finish his

Le Gros thrived on playful invention. When, some time between 1706 and 1715, he was asked by the Portuguese

In 1714, Le Gros' father died in Paris and he himself was close to death's door, suffering from gall stones.[1]^: 16

Paris

In order to have an operation done and also to settle his inheritance, in 1715 he travelled to Paris, where he stayed with his great friend

Rome

Back in Rome, the last sad chapter of his life unfolded. His absence had been a great excuse to give the last Lateran apostle to Rusconi. The reason given was that de' Rossi was dead, Le Gros abroad, and therefore Rusconi the only good sculptor available.^{[17]: 123, 332}

It was, however, of far greater consequence what happened at the Accademia di San Luca. Led by Marco Benefial and Michelangelo Cerruti (both non-academicians), a protest arose in 1716 against newly introduced rules of the academy which subjected non-members to financial injustice. Francesco Trevisani and three other academicians (Pasquale de' Rossi, Giovanni Maria Morandi and Bonaventura Lamberti) distanced themselves from subscribing to these new rules, and Le Gros sided with them on his return. As a result, all five were unceremoniously expelled. This meant that they were then unable to carry out any more public commissions in Rome in their own right.^[1]: 18-19

The rich Roman art market was effectively closed to Le Gros, and he had to settle for a few works outside. After being first approached by the

In a letter from 6 January 1719 to Rosalba Carriera, hoping to introduce the two on her planned visit to Rome, Crozat described Le Gros as "without question the best sculptor there is in Europe, and the most honest man and the most endearing there is."^[23]

While Le Gros' great achievement was appreciated elsewhere, he would wait in vain for a similar adulation in Rome. Rusconi received a knighthood from Clement XI for his contribution to the Lateran project in late 1718 while Le Gros went empty handed.^[17]: 123

Pierre Le Gros died from pneumonia half a year later on 3 May 1719 and was buried in the French national church in Rome. If we believe Pierre-Jean Mariette, disappointment advanced his early death:

"If he was indisposed against the Parisian academy, he was even more piqued by the honours conferred on Camillo Rusconi for the figures this able sculptor has made for Saint John Lateran. He expected to at least share them with him, and that would have been right; ... one more miserable cross^{[note 28]} might have preserved him for us, because one suspects that the chagrin has advanced his days."^[24]

Only in 1725, with the painter Giuseppe Chiari being its principe, were the five dissenters rehabilitated and reinstated as members of the Accademia di San Luca, four of them posthumously as only Trevisani was still alive at the time.^[1]: 18

Importance

Today, Le Gros is largely forgotten but shares this fate with almost all the artists working in Rome in his time. After a blanket condemnation of the Baroque period by critics from the 18th to well into the 20th century,

That said, because of his nearly exclusive presence in Rome, he must be seen within the context of Italian art history and made virtually no direct impact on the development of French art of his own time.[14] His French contemporaries would have heard about him but wouldn't have seen his works. His Vetturie, a student work, arrived in France 20 years overdue and the Bouillon Monument was not even unpacked until the end of the 18th century and, therefore, not known to anybody.^[15] Moreover, the exuberance of Le Gros' work would have met with reserve or even disapproval^[14] in Versailles just as Bernini's did in the 1660s.

At the same time, it is impossible to characterise his art as purely Italian. His artistic training at the Académie royale and the experience in the workshops of his father and uncles gave him a very different starting point. He built on this experience and mixed it with an admiration for Bernini's high baroque. His love for fine detail is something he shared with older French sculptors like François Girardon and Antoine Coysevox. Imbued with the French academic practice of searching for exemplary prototypes, Le Gros looked very closely at all the art around him and found solutions by today less well known sculptors like Melchiorre Cafà and Domenico Guidi but also painters like Giovanni Battista Gaulli helpful, and he adapted them for his own work, often transformed to such a degree that the prototype is hard to pinpoint. There were only very few artists who worked successfully in a similarly playful style as Le Gros in early 18th century Rome, namely Angelo de' Rossi, Bernardino Cametti and Agostino Cornacchini. But the mood of the time drifted more and more towards classicism and made them a dying breed.^[1]: 28-30

Style

According to Gerhard Bissell, Le Gros was a sculptor of brilliant technical ability:

The most virtuoso marble worker of his time, he excelled in convincing the eye to see the depicted materials rather than stone. His surfaces are so nuanced they nearly appear as different colours. And yet, he achieved that very rare feat of integrating these fine details into monumental sculptures without appearing grotesque.^[15]

He always tended to compose his sculptures like a relief. For his picturesque approach, an expansive shape mattered more to him than the distribution of mass and space. While the detail as well as the large form are very three-dimensional, their volume is usually tied into a system of layers. This leads by no means to a single point of view. Quite the contrary because Le Gros developed all his composition into space and entices the viewer to go around the figure. While a classicist like Rusconi linked a spatial development closely to the anatomy of the figure, Le Gros achieved this with an abundance of highly malleable drapery and extrovert gestures. In addition, he showed a keen sense for nuanced effects of light and shadow, whether it was to make the heavily polished, white as snow figure of Luigi Gonzaga stand out, or to cast Filippo Neri into a mystical shade. All of Le Gros' work is characterised by a dynamic of far and near view. It is worth getting close up to even his most heroic-scale figures.^[1]: 21-30

Gallery

Chronological gallery of most of the major works by Le Gros not already illustrated - some dates are uncertain or overlap, therefore the sequence is only roughly chronological.

• 
  Silver statue of St. Ignatius, 1697–1699, Rome, Il Gesù
• 
  S. Luigi Gonzaga in Gloria, 1697–99, Rome, Sant'Ignazio
• 
  Tomb of St. Pius V, 1697–98, Rome, S. Maria Maggiore
• 
  Tomb of Cardinal Girolamo Casanate, 1700–1703, Rome, S. Giovanni in Laterano
• 
  St. Francis Xavier, 1702, Rome, Sant'Apollinare
• 
  Stanislas Kostka on his Deathbed, 1702–03, Rome, Jesuit Novitiate
• 
  St. Dominic, 1702–06, Rome, St. Peters
• 
  The Duc de Bouillon in Battle, finished by 1707, Cluny, Hôtel-Dieu
• 
  Frédéric Maurice de La Tour d'Auvergne, Duc de Bouillon, finished by 1707, Cluny, Hôtel-Dieu
• 
  Éléonor de Bergh, Duchesse de Bouillon, finished by 1707, Cluny, Hôtel-Dieu
• 
  Tomb of Cardinal

  Carlo Francesco Bizzaccheri, sculpture by Le Gros, Rome, San Pietro in Vincoli
• 
  Statue of Cardinal Girolamo Casanate, 1706–1708, Rome, Biblioteca Casanatense
• 
  St. Bartholomew, c. 1703–1712, Rome, S. Giovanni in Laterano
• 
  Caunus and Byblis, plaster cast after Le Gros, Schloss Tiefurt
• 
  Chapel of St. Francesco di Paola, 1711–1714, Rome, S. Giacomo degli Incurabili
• 
  St. Francesco di Paola intervening to cure the sick, 1711–1714, Rome, S. Giacomo degli Incurabili
• 
  Emperor Henry II, 1714–1719, Montecassino, Chiostro dei Benefattori
• 
  Statues of St.Christina and St.Teresa of Avila, c. 1717–1719, Turin, Duomo
• 
  Angels and putti above the statue of Saint Sebastian by Paolo Campi, c. 1717–1719, Rome, Sant'Agnese in Agone

Notes

Citations

1. ^ ^{a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad ae af ag} Gerhard Bissell, Pierre le Gros, 1666–1719, Reading, Berkshire 1997.
2. ^ ^{a b} Robert Enggass, Early Eighteenth-Century Sculpture in Rome, University Park and London (Pennsylvania State University Press) 1976.
3. ^ ^{a b c} François Souchal, French Sculptors of the 17th and 18th Centuries. The Reign of Louis XIV, vol. II, Oxford (Cassirer) 1981, vol. IV, London (Faber) 1993.
4. ^ Thomas Hedin, The Sculpture of Gaspard and Balthazard Marsy, Columbia (University of Missouri Press) 1983, pp. 232–233.
5. ^ Legros (Le Gros), Jean, in: Ulrich Thieme, Felix Becker (editors): Allgemeines Lexikon der Bildenden Künstler von der Antike bis zur Gegenwart, XXII, Leipzig (E. A. Seemann) 1928, p. 575.
6. ^ ^{a b c d e f g h i} Anatole de Montaiglon and Jules Guiffrey (eds.), Correspondance des directeurs de l’Académie de France à Rome avec les surintendants des bâtiments, vol. I-XVIII, Paris 1887–1912.
7. ^ Francis Haskell and Nicholas Penny, Taste and the Antique: The Lure of Classical Sculpture, 1500–1900, (Yale University Press) 1981, p. 40.
8. ^ M.-F. Dandré-Bardon, Traité de Peinture suivi d’un essai sur la sculpture, Paris 1765, Vol. II, pp. 190–191 (Minkoff Reprint 1972).
9. ^ Tableau de Paris
10. ^ ^{a b c} Pio Pecchiai, Il Gesù di Roma, Rome 1952, pp. 139–196 (in Italian).
11. Allgemeines Künstlerlexikon
    , vol. 107, Berlin (de Gruyter) 2020, p. 413.
12. ^ ^{a b c} Olivier Michel, L’Accademia, in: Le Palais Farnèse, Rome 1981, Vol. I/2, pp. 567–609, in particular pp. 572–579 (in French).
13. ^ Gerhard Schuster, Zu Ehren Casanates. Père Cloches Kunstaufträge in der Frühzeit der Biblioteca Casanatense, in: Mitteilungen des Kunsthistorischen Institutes in Florenz, Vol. 35, 1991, pp. 323–336.
14. ^ ^{a b c} Michael Levey, Painting and Sculpture in France 1700–1789, (Yale University Press) 1993, p. 82 (originally published as part of the Pelican History of Art: Wend Graf von Kalnein and Michael Levey, Art and Architecture of the Eighteenth Century in France, Harmondsworth 1972 and several new editions).
15. ^ ^{a b c} Gerhard Bissell, On the Tercentenary of the Death of Pierre Le Gros, Italian Art Society blog, 2 May 2019
16. ^ See also: Mary Jackson Harvey, Death and Dynasty in the Bouillon Tomb Commissions, in: Art Bulletin 74, June 1992, pp. 272–296.
17. ^ ^{a b c d e f g h i j} Michael Conforti, The Lateran Apostles, Ph.D. thesis Harvard University 1977.
18. ^ Rudolf Wittkower, Art and Architecture in Italy 1600–1750 (The Pelican History of Art), Harmondsworth (5th ed.) 1982, p. 436.
19. ^ Gerhard Bissell, Haud dubiè Amoris & Psyches imagines fuerunt statuæ istæ, in: Max Kunze, Axel Rügler (ed.), Wiedererstandene Antike. Ergänzungen antiker Kunstwerke seit der Renaissance (Cyriacus. Studien zur Rezeption der Antike, Band 1), Munich 2003, pp. 73–80.
20. ^ Gerhard Bissell, A "Dialogue" between Sculptor and Architect: the Statue of S. Filippo Neri in the Cappella Antamori, in: Stuart Currie, Peta Motture (ed.), The Sculpted Object 1400–1700, Aldershot 1997, pp. 221–237.
21. ^ ^{a b} Daniel Büchel, Arne Karsten and Philipp Zitzlsperger, Mit Kunst aus der Krise? Pierre Legros' Grabmal für Papst Gregor XV. Ludovisi in der römischen Kirche S. Ignazio, in: Marburger Jahrbuch für Kunstwissenschaft 29:2002, pp. 165–197.
22. ^ See also: Francis Haskell, Pierre Legros and a Statue of the Blessed Stanislas Kostka, in: Burlington Magazine, vol. 97, 1955, pp. 287–291.
23. ^ Le Gros "sans contredit, est le meilleur sculpteur qu’il y ait en Europe, et le plus honnête homme et le plus aimable qu’il y ait", as quoted by Vittorio Malamanni, Rosalba Carriera, in: Le Gallerie Italiane 4:1896–97, p. 51.
24. ^ "S’il fut indisposé contre l’Académie de Paris, il étoit encore plus piqué des honneurs qu’avoient procurés à Camille Ruscone les figures que cet habile sculpteur avoit faites pour Saint-Jean de Latran. Il s’attendoit à les partager du moins avec lui, et cela étoit juste; ... Une misérable croix de plus nous l’auroit peut-être conservé, car on soupçonne que le chagrin avoit avancé ses jours." Pierre-Jean Mariette, "Abecedario", vol. III, edited by Philippe de Chennevières and Anatole de Montaiglon, in: Archives de l’Art Français 6, 1854–56, p. 120.
25. ^ First and foremost Jennifer Montagu, Alessandro Algardi, New Haven (Yale University Press) 1985.
26. ^ See Montagu's remarks in her interview with João R. Figueiredo in Forma de vida.
27. ^ The latest extensive collection is: Giuseppe Bonaccorso and Francesco Moschini (ed.), Carlo Fontana 1638–1714, Rome (Accademia Nazionale di San Luca) 2017.
28. ^ Rudolph's publications related to Maratti.
29. ^ Frank Martin, Camillo Rusconi. Ein Bildhauer des Spätbarock in Rom, Berlin and Munich (Deutscher Kunstverlag) 2019.
30. ^ Stephanie Walker, The sculptor Pietro Stefano Monnot in Rome, 1695 – 1713, Ph.D. thesis New York University 1994.
31. ^ Alicia Adamczak, De Paris à Rome. Jean-Baptiste Théodon (1645–1713) et la sculpture française après Bernin, Thèse de doctorat Université de Paris IV 2009.

Further reading

• Gerhard Bissell, Pierre le Gros, 1666–1719,
  ISBN 0-9529925-0-7
  (in German).
• Gerhard Bissell, Le Gros, Pierre (1666), in:
  Allgemeines Künstlerlexikon
  online, de Gruyter, Berlin 2014 (in German).
• Robert Enggass, Early Eighteenth-Century Sculpture in Rome, University Park and London (Pennsylvania State University Press) 1976.
• Pascal Julien, Pierre Legros, sculpteur romain, in: Gazette des Beaux-Arts 135:2000(no. 1574), pp. 189–214 (in French).
• François Souchal, French Sculptors of the 17th and 18th Centuries. The Reign of Louis XIV, vol. II, Oxford (Cassirer) 1981, vol. IV, London (Faber) 1993.

External links

Wikimedia Commons has media related to Pierre Legros the Younger.

• Pierre Le Gros II on-line
• Web Gallery of Art: Pierre Le Gros the Younger
• St. Petersburg, Hermitage Museum, terracotta bozzetto for St. Francis Xavier