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0521551331 c 01 a CUNY 160 /Joannides 052155 133 1 January 10 , 2007 22 : 25
124 WHOLLY OR PARTIALLY AUTOGRAPH SHEETS CATALOGUE 18elements of themodellibut later modifications of them.
Thus, theRebellious Slaveas seen here [C] is not found
at all on themodelli,but the present drawing is similar to
the figure as carved. The case of H, which resembles the
Dying Slave,isdifferent again. TheDying Slaveas carved
is closer to the figure on the Berlin and Uffizimodellithan
it is to the present figure, but the present figure is more
compact and expressive than the corresponding figure on
themodelli.Itthus seems more likely that it is an indepen-
dent variant of both the figure in themodelliand of the
statue as carved, rather than a sketch made in preparation
for either the one or the other. It is interesting that Laux
( 1943 ) specifically discussed two of these sketches in rela-
tion to the Accademiaprigioni, for some features of those
figures are anticipated here.
The cornice is of exceptional richness and may well
have been intended for the tomb. It is, however, much
more complicated – and beautiful – either than that seen
in themodellior that actually carved by Antonio da Pon-
teassieve from July 1513 onwards and may represent no
more than a fantasy on Michelangelo’s part. Although not
derived, so far as the compiler is aware, precisely from any
antique type, it does seem to respond to the most deco-
rated type of Hellenistic architecture.
De Tolnay used these drawings to reconstruct Michel-
angelo’s intended placing of theprigionion the front face
lower story of the tomb, but the compiler finds his views
difficult to accept. However, because the front face was
to contain only fourprigioni, the additional two were pre-
sumably intended for the side faces. Obviously, the two
lower figures [F and G] form a pair and might well have
been placed at either end; theRebellious Slave[C], whose
main view is clearly indicated here to be profile, was prob-
ably at the near end of the right side of the tomb, but the
positioning of the others is even more conjectural. At the
time this drawing was made, Michelangelo needed to pre-
pare twelveprigionifor the lower story; his ideas were no
doubt in flux, and what may initially have been planned as
a symmetrical layout could have ended as something very
different, as with the Sistineignudi. Certainly, symmetry
had been abandoned by the time he came to work on the
Accademiaprigioni. Thus, any attempt to argue placing
from the present sketches requires great caution, as Laux
prudently remarked.Verso
These pen studies were probably made in connection with
the advanced preparation for carving theprigioni; they
concentrate on surface modelling. The study of the knee
is no doubt related, as noted previously, to the left leg of
theDying Slave; the slightly awkward sketch of a left calfand foot may have some relation to that of theRebellious
Slave.Copies
1. Windsor Castle, Royal Collection, by Biagio Pupini,
PW 785 verso/Joannides, 1996 – 8 ,no. 30 ; pen and ink
with white heightening and yellow pastel, 290 × 202 mm.
This copies loosely theputtoand study ofLibica’s r i g h t
hand from the recto. It includes two other unrelated
figures, which might be copies after lost drawings by
Michelangelo. Pupini’s pen work and formal interpre-
tation have a Parmigianinesque flavour, which suggests
that here his copies may have been indirect. In any case,
it is evident that the present sheet was very early available
to other artists.
2. Primaticcio employed the pose of theprigioneHon
the recto in his drapedAtlante(Paris, Mus ́ee du Louvre,
RF5302 9red and white chalk, 240 × 110 mm) of c.155 0;
it is probable that the present sheet entered his possession
after Mini’s death.History
Antonio Mini?; Francesco Primaticcio?; Everard Jabach?;
Pierre Crozat, his number, 63 ,atlowerright; Pierre-
Jean Mariette (L. 1852 ), his sale, beginning 15 November
1775 ,nodoubt included in one of the lots of Michelan-
gelo drawings; Marquis de Lagoy (L. 1710 ); Sir Thomas
Lawrence (L. 2445 ); Samuel Woodburn.References
Mariette, 1746 ,I,p. 218 – 19 (“J’ai une premiere pens` ́ee
pour la statue de Moyse peu differente, pour la disposition ́
g ́en ́erale, de ce qui aet ́ ́eexecut ́ ́e, et sur la mˆeme feuille,
plusieurs petites esquisses pour les attitudes des figures
d’esclaves.”). Lawrence Inventory, 1830 ,M.A.Buonaroti
Case 3 , Drawer 3 [ 1830 – 54 ] (“A sheet of studies in pen and
red chalk, on the reverse studies of a Leg.”). Woodburn,
1836 b,no. 89 (“[P]art of the male subject and a hand are
admirably executed in red chalk, and several small figures
are sketched with great spirit with the pen.”). Woodburn,
184 2,no. 21 (“A sheet of studies.”). Woodburn,184 6,no.
51 (As184 2.). Fisher,186 2,p. 5 , pl. 21 [sic: pl. 16 ] (Recto:
as Woodburn.). Fisher, 1865 , II, p. 24 , pl. 16 (As186 2.).
Robinson,187 0,no. 23 (Michel Angelo, c.15 0 6. “[S]tudy
in red chalk)...drawn from the living model...one of
the preparatory drawings for the tomb of Julius II. Two
of the small sketches of slaves...[are]...first thoughts for
the two celebrated marble statues in the Louvre.”). Fisher,
187 2, II, p. 22 , pl. 16 (As186 2.). Black, 1875 ,p. 214 ,no.
23. Gotti, 1875 , II, p. 230. Springer,187 8,pp. 238 – 9 , 507