P 1 : KsF
0521551331 c 01 a CUNY 160 /Joannides 052155 133 1 January 10 , 2007 22 : 25
CATALOGUES 8–9 WHOLLY OR PARTIALLY AUTOGRAPH SHEETS 95drawings.). Barocchi, 1962 ,p. 292 (“povertadifattura del`
tutto simile” to CB 24 F/B 242 /Corpus 160 [attributed
byHirst, 1963 ,toMichelangelo].). Levie, 1962 ,p. 162
(Attributed to Daniele.). Berti, 1965 ,p. 421 (Copies of
the lunettes, but with geometrical qualities akin to those
of Uffizi 17379 - 80 F/Barocchi 13 , 14 /Corpus 151 ,15 2.).
Hartt, 1971 ,p. 87 ( 1511. “[p]robably deriving from a
single large sheet of paper folded three times to make
an octavo signature....All but one of sixteen pages
relate to the Sistine Chapel, but not all the sketches
are by Michelangelo’s hand...some sketches appear to
be by a pupil, apparently Silvio Falconi...majority of
the drawings make sense only as Michelangelo’s origi-
nal sketches.” Greatest concentration of sketches relates
to the destroyed lunettes formerly above the altar, and
to those in the immediately adjacent bays.). Gere and
Tu rner, 1975 ,p. 34 (“Great majority of these sketches
are connected with the Ancestors of Christ.”). Wilde,
1978 ,p. 73 (“The riches of Michelangelo’s notebook
seem to be inexaustible...eight leaves of a small sketch-
book which he used when he started preparing the
second half of the Ceiling...they contain more ideas
for Antenati than he could dispose of in the eight
lunettes still to be painted.”). Barolsky, 1979 ,p. 149
(Notes Baumgart’s attribution to Daniele.). Hirst, 1986 a,
pp. 208 – 17 (Detailed discussion of sketchbook; the indi-
vidual observations listed later.). Hirst, 1988 ,pp. 35 –
7 (“Answering...closely to Vasari’s category of ‘primi
schizzi’....Fifteen of the sixteen pages contain studies
devoted to the inventing or developing figure motives
for the decoration. Michelangelo made these inven-
tion drawings only very shortly before he resumed
work in the Chapel in the early autumn of 1511 ...he
never made his designs until he had to....[T]he little
studies...display a spontaneity of invention and speed
of execution difficult to match among Michelangelo’s
other figurative drawings.”). Hirst, 1988 – 9 a, under no. 12
(As 1988 .).CATALOGUE 9Recto: Sketches for Parts of the Sistine Ceiling and
Lunettes
Ve r so: Sketches for Parts of the Sistine Ceiling and
Lunettes
184 6. 45 ;R. 24. 1 ;P.II 299 ; Corpus 166Dimensions: 140 × 132 mmMedium
Recto: Pen and ink with traces of an offset in black chalk.
Ve r so: Pen and ink and black chalk.Condition
There is a pressed-out horizontal fold, about 4. 5 cm from
the top, skinned edges with numerous nicks, discoloura-
tion and local media stains, and a show-through of ink.
Repair tissue of small infilled holes is visible.Description/Discussion
Recto
A.Inscription in Michelangelo’s hand:di quidici di sectebre;
a horizontal line crossed by three short diagonals
The year is not given but it is presumably 1511 , when painting
seems to have recommenced, following an interruption.
B.A draped seated figure in right profile, slumped for-
ward,inpen.
This must be a first idea for the figure at the right of theRoboam-
Abiaslunette; it was pursued on Cat. 10 verso Dand Cat. 12
recto A.
C.Anude seated figure in right profile with the left leg
bent under him, writing in a large book whilst looking
inwards, in pen.
This powerful figure seems much more likely to be a sketch for
aProphet than an Ancestor, although there are some similarities
with Cat. 10 recto D. Michelangelo did not pursue this design,
and it is conjectural which figure he was planning.
D. A seated figure in right profile, with legs crossed at the
calves?, looking outwards, in pen.
This figure might be a first idea for anignudo, either that right
aboveDanielor that left aboveHieremias.
E.An upright seated figure, facing half left, with legs
crossed at the knee, in pen.
This figure might be an early idea for anignudo.Michelangelo
did not pursue this design, and it is conjectural which figure he
may have been thinking about.
F. Anude seated figure facing half right, his left leg raised
and his hands folded across this knee, leaning forward on
his hands in a pensive pose, in pen.
Michelangelo did not pursue this design, and it is conjectural
which figure he may have been considering.
G.Offset of a seated figure in left (originally right) profile
leaning forward, in black chalk.
The original of this sketch is lost; the figure may be related to
Cat. 12 verso D.Verso
The sketches in black chalk were no doubt drawn before
those in pen.