Drawings are not usually on display in a museum because generally they are sketches or studies or precursors to other, more 'finished' works of art. But the 77 drawings on display in "Figurative Drawings of the 17th and 18th century from the Accademia Nazionale di San Luca" on the third floor in the Palmer Museum of Art are finished works themselves.

"These 77 were chosen out of the more than 350 drawings because they show the development of the Academy, make good comparisons of the competition, and are good to compare in how the students faired against each other," said Hellmut Hager, head of the art history department. "They were also chosen because they give a good idea of the period."

The Academy di San Luca, in Rome, was in the forefront of art, sculpture, and architecture in the late Baroque period. It was at the Academy that artists would go to learn the classical methods for creating works of art and to create a name for themselves.

The Papacy played a role in the school's direction and choices. This helped advance the church's interests in its cultural and political role through the financial support it offered to the Academy. According to the exhibition catalogue, the Academy began holding art competitions in 1663 and continued them at various intervals until 1754.

Although none of the contests were mandatory for the students, they were the only ones allowed to compete. As enrolled students they had to attend weekly classes and choose a master to whom they would submit their work.

In all these disciplines the emphasis was on classicism, but realism was also taken into account.

"Realism and classism were brought together in the Baroque period," said Michael Tomor (graduate-art history), contributor to the catalogue.

The students studied and learned from live models and the classes were in perspective, anatomy and architecture. The competitions were divided into three divisions; the third class was for the youngest students and required them to make a copy of an existing work of art or life. "Copy of the so-called 'Urania' in the Capitoline Museum" by Luigi Vanvitelli is an example of third class work, but also of the subject matter that dominated works by the students. In addition, the "Drawings from the Nude" by Vincenzo Franceschini denotes the increasing importance of drawing from a live model.

The second class competitors were given a theme chosen specifically to avoid complication of crowding figures and difficult composition. An example of this is evident in "Romulus and Remus pursue and kill the Thieves" by Ludovico Mazzanti, drawn in red chalk. The drawing, done with a typical subject matter, is an excellent example of the type of simple composition that a second class competitor would use, and is a beautiful rendering of the flowing, moving figures as well.

"First class competitors were given one scene that was prescribed by a congregation from the academy or else chosen by the Pope. It was similar to the same exam that all the students must take so they can be judged equally," Hager said.

The subject matter that was usually chosen was a religious or mythological topic, with complicated compositions consisting of entangled bodies. These works are reminiscent of Michaelangelo's classic style, which influenced almost every student of the prestigious school.

"The artists would use a vocabulary of images that were familiar to the public. For instance in the "Rape of the Sabine Women" there is the familiar figure of a man carrying a woman that is symbolic of a rape," Tomor said.

In addition, there are quite a few drawings that have the same theme and subject matter, but are treated differently.

The exhibit follows the chronological order that the Academy used when the works were displayed. In addition, Tomor wrote brief summaries of the legends that are depicted by each work of art so that the viewer knows what the artist is picturing.

This is the first time the show has been exhibited in the United States.