P 1 : KsF
0521551331 c 01 a CUNY 160 /Joannides 052155 133 1 January 10 , 2007 22 : 25
104 WHOLLY OR PARTIALLY AUTOGRAPH SHEETS CATALOGUE 11probability...for the foreshortened flying figure of the
Almighty dividing light from darkness.”). Fisher,187 2,I,
p. 14 , pl. 8 , left (Recto.); pl. 9 ,right (Verso.) (As 1852 .).
Springer,187 8,p. 116 ,pp. 501 – 2 (“Das Wunderbarste
durfte die Darstellung Gott Vaters, der das Licht von ̈
der Finstererniss scheidet sein. Trotz aller Kleinheit der
Verh ̈altnisse erkennt man die majestatische Kraft Jehovas, ̈
der wie in Sturme das Chaos durchsaut.” Reproduction
of recto on p. 502 .). Fisher,187 9, XVI. 3 / 15 left (Recto);
XVI. 3 a/ 16 right (Verso.). Springer, 1883 ,I,pp.15 9– 60
(As187 8. Reproduction of recto on p.15 9.). Justi, 1900 ,
p.15 8 (Sketches forIonasandGod the Father Separat-
ing Light from Darkness.). Steinmann, 1905 , II, p. 604 ,
no. 62 A, left (Recto: studies forGod the Father Separat-
ing Light from Darknessand for the Spinner at the left
of theIesselunette.); no. 62 B,r ight (Verso: studies for
God the Father,Ionas, and Jacob in lostPhares-Esron-
Aramlunette.). Thode, 1908 ,I,p. 242 (Michelangelo.
Recto: sketches for theGod the Father Separating Light
from Darkness“fur ein Hochbild, nicht f ̈ ur ein Breitbild”; ̈
[C and G] for woman with spindle inIesselunette. Verso:
[A] a small sketch perhaps for theSpirit Moving over the
Waters;[Dand ?E] forIonas; [F] for sleeping man inPhares-
Esron-Aramlunette, in reverse from [Cat. 15 recto D].). K.
Frey, 1909 – 11 ,no.15 2. 7 (Verso [now recto]: inscription
byMichelangelo. [D, H, I] afterGod the Father Separat-
ing Light from Darkness, Thode’s interpretation rejected;
[C and G] adapted from woman inJesselunette); no.
151. 4 (Recto [now verso]: [F] from figure inPhares-
Esron-Aramlunette. Motif of [A] recallsCascinacartoon,
no connection with theGod the Father Separating Light
from Darkness; [D] relates toIonasbut [E] does not; figures
resemble motifs of the slaves and theignudi,butno direct
links.). Thode, 1913 ,no. 410 (Verso: [now recto]: [D, H,
I] for theGod the Father Separating Light from Darkness;it
is uncertain whether the figure should be interpreted as
horizontal or vertical. [C and G] for woman with spin-
del inIesselunette. Recto [now verso]: [F] for sleeping
figure inPhares-Esron-Aramlunette; [A] a link with God
the Father doubtful; [D] link withIonasdoubtful; [E] not
forIonas; [G] perhaps for anignudo; [H] for a lunette
figure or anignudo.). Delacre, 1938 ,p. 123 (Michelan-
gelo. Verso: [E] “est pourJonas.Ilserait peut-etre dif-ˆ
ficile de nous d ́esigner un artiste qui, d’un oeuvre qui
ne serait pas la sienne, puisse donner un croquis aussi
nerveux, aussi personnel et aussi diff ́erent.”). Parker, 1956 ,
no. 301 (Recto: [C and G] correspond with woman on
right ofIesselunette. [D, H, I] variants ofGod the Father
Separating Light from Darkness.Verso: [F] in reverse for
figure on left ofPhares-Esron-Aramlunette. [D, E] per-
haps forIonas; [A] perhaps linked toSeparating.). Dussler,1959 ,no. 606 (Recto: link withGod the Father Separat-
ing Light from Darkness.Verso: links withPhares-Esron-
Aram lunette, Separatingand Ionas.). Berenson, 1961 ,
no. 1702 c (School of Michelangelo. Recto: [D, H, I] vari-
ants of theGod the Father Separating Light from Darkness;
[C, G] correspond to woman on right ofIesse-Salmon
lunette. Verso: [F] for figure at left ofPhares-Esron-Aram
lunette; four? sketches perhaps forIonas; upper left three
weak sketches perhaps forGod the Father Separating Light
from Darkness.). Hartt, 1971 ,p. 87 (Recto: mainly by
Falconi; two faint sketches by Michelangelo.); no. 114
(Verso: “Black chalk sketch forPhares-Esron-Aramlunette;
nudes in ink probably by Falconi.”). Gere and Turner,
1975 ,no. 26 (Recto: inscription not in Michelangelo’s
hand.). Hartt, 1975 ,no. 110 A (Recto now accepted.).
De Tolnay, 1975 , Corpus I, no. 168 (Recto: [D, H, I]
for theGod the Father Separating Light from Darkness; [C]
certainly, [G] probably for woman at right ofIesse-David-
Salmonlunette; [F] probably for man at left ofIesse-David-
Salmonlunette. Verso: [A] probably for theGod the Father
Separating Light from Darkness;[D,E]probably forIonas,
also sketched on [Cat. 13 recto, A]; [G] perhaps point
of departure for nude to right aboveLibica; [H] perhaps
forignudoleft aboveHieremias; [F] for figure inPhares-
Esron-Aramlunette, studied again in [Cats. 13 verso D
and 15 recto A].). Hirst, 1986 a,p. 214 (Recto: [D, H, I]
for theGod the Father Separating Light from Darkness:in
two of them God the Father is drawn vertically and the
hatching lines show that Michelangelo did not turn the
page: “the artist experimented with a figure drawn along
the axis of the chapel before establishing the final lateral
design drawn at the upper right.” Verso: [E] developed
from [D] on [Cat. 13 verso] and [A] on [Cat. 15 recto].
Two studies forignudi, one to the right ofLibicaflanking
the first Creation scene; a sketch forIonas[D], devel-
oped further on [Cat. 13 recto A]; the study upper left
forLibica.). Hirst, 1988 ,p. 37 (Recto: [D] “an astonish-
ingly complete little draft for the mural scene as painted;
even the framing lines are drawn in.”). Mancinelli, 1992 ,
p. 45 (Recto: sketches for God the Father and Spinning
Woman in lunette immediately below.). Hirst, 1990 ,no. 4
(Recto: three sketches for old woman spinning thread
on the right of theIesse-Salmonlunette; two studies for
theignudoat the right aboveHieremias; three studies for
God the Father. Direction of lower one suggests that
Michelangelo thought of arranging the figure longitudi-
nally. Sheet offers proof that all parts of the decoration
conceived simultaneously.). Hirst, 1992 ,p. 11 (Recto:
“the artist seems to have adopted this kind of small-scale
pensieromostly for single-figure inventions.”). Winner,
1994 ,p. 196 (Verso: E a first idea forIonas;DshowsIonas