While skimming through the bibliography on Girolamo Siciolante da Sermoneta, one is astonished to see that, even considering the most recent contributions, the corpus of the drawings of the artist remains rather small. There exist only about twenty sheets against Siciolante’s extensive activity as a painter during four decades, across various regions of central Italy, principally in Rome. However, drawing exercise was vital for Siciolante; he used that medium not only as an aid while preparing larger compositions but also to note some detailed solutions.

Surprising is also the fact that among the drawings recognised today more or less securely as the works of Siciolante, there are still a few, whose attribution is traditional. The majority of the sheets which nowadays constitute the corpus of the artist was discovered under names of other artists, or in collections of anonymous works, and the attributions to Siciolante are due to various scholars: Philip Pouncey, Berenice Davidson and Konrad Oberhuber, among others.