P 1 : KsF
0521551331 c 01 -p 3 CUNY 160 /Joannides 052155 133 1 January 11 , 2007 10 : 14
CATALOGUE 46 WHOLLY OR PARTIALLY AUTOGRAPH SHEETS 229produced without knowledge of Michelangelo’s compo-
sition. And the treatment of the subject by Alessandro
Allori in the Montauto Chapel in Santissima Annunziata
in Florence, painted in15 6 0immediately upon his return
from Rome, might also reflect knowledge of the phase of
Michelangelo’s design in which the action runs parallel
to the picture surface and does not strike out from it.Verso
46 b. It is hard to be sure whether the very slight sketch on
the verso of the fragment is drawn with the lower edge or
the left edge as the base. If the latter, then it might repre-
sent one of the money-changers quailing before Christ’s
advance; if the former, as the compiler is inclined to think,
it would be the floored Goliath, awaiting the coup de
grace.History
The provenance is given by Woodburn 1836 b as M.
Buonarroti; however, the inscription would imply that it
wasnot originally in Casa Buonarroti, for nothing like it
appears on any drawing still there or known to have been
there. Therefore, if Woodburn is correct, it must be pre-
sumed that this drawing was an acquisition by the Buonar-
roti made well after Michelangelo’s death. However, a
more likely provenance before Lawrence is: Daniele da
Volterra, Giacomo Rocca, Cavaliere d’Arpino; the Cic-
ciaporci family and Filippo Cicciaporci; Bartolommeo
Cavaceppi; William Young Ottley; Sir Thomas Lawrence
(L. 2445 ); Samuel Woodburn.References
Lawrence Inventory, 1830 ,M.A.Buonaroti Case 3 ,
Drawer 3 [ 1830 - 102 ] (“A sheet of Studies for the David
and Goliath, black Chalk, highly finished, fine.”). Wood-
burn, 1836 b,no. 67 (“Various studies for Samson slay-
ing a Philistine.”). The Literary Gazette, July 1836
(“[A]mong the many productions in this gallery which
rivetted our attention.”). Woodburn,184 2,no. 37 (As
1836 .). Woodburn,184 6,no. 23 (As184 2.). Robinson,
187 0,no. 69 (Michel Angelo. “Sampson [sic] slaying a
Philistine...variations and progressive emendations of
the same design...it may have been intended as a design
for a medal or a small circular relievo...made about
1534 .” “The small leaf attached to it has no connec-
tion with it. It contains studies for Christ expelling the
Money-Changers for which other drawings are extant...
later than the Last Judgement.”). Black, 1875 ,p. 215 ,
no. 59. Gotti, 1875 , II, p. 221. Berenson, 1903 ,I,p. 214 ,
no.15 7 1 ([ 46 a]: Samson slaying a Philistine. [ 46 b]: forthe cleansing of the Temple pasted on.). Ferri and Jacob-
sen, 1905 , 36 (Relation to Uffizi 18733 F.). Colvin, 1904 ,
IV, no. 7 (Samson slaying a Philistine, c. 1535 – 45 ; added
sheet with studies for theCleansing of the Temple.). Thode,
1908 , II, pp.37 7– 8 , 455 (Michelangelo. Studies on [ 46 a
recto] related to the fighting men in theDream of Human
Life. Subsidiary study [ 46 b]: for theCleansing of the Tem-
ple.). K. Frey, 1909 – 11 ,no.15 7.I (Recto: studies on [ 46 a]
belong with Morgan Library series, representing Sam-
son and a Philistine. No connection with theDream,
as suggested by Thode.153 0s.); no.15 7.II (Recto: sub-
sidiary study attached by a later collector; for theCleans-
ing of the Temple; link with BM drawings.); no.15 8(Verso:
not Michelangelo, perhaps modern.). Thode, 1913 ,no.
441 (Recto [ 46 a]: David and Goliath rather than Samson
and a Philistine; unconnected with Sistine. Repudiates
suggested connection with theDream. Link with drawings
in Morgan Library. Subsidiary scene, for theCleansing of
the Temple.Ve r so: probably not by Michelangelo.). Panof-
sky, 1921 – 2 , col. 5 (Hercules and Cacus rather than a Sam-
son or a David and Goliath. E reproduced in relation to
Signorelli’s group of a devil beating a recumbent man from
the Brizio chapel in Orvieto.). Brinckmann, 1925 ,no. 44
(Main sheet c. 1525 ; studies for sculpture ofHercules and
Cacus, taken over by Bandinelli; similar sheet for Christ in
Last Judgement.). Popp, 1925 b,p. 75 (Nothing to do with
Hercules and Antaeus; period of Pauline Chapel.). Beren-
son, 1938 ,no.15 7 1(Recto: as 1903 .Verso: not Michelan-
gelo.). Goldscheider, 1951 ,no. 105 (Recto: all sketches
datable c. 1538 – 40. The “smaller drawing was made first
and then pasted on to the large sheet, and the battle
scenes were developed out of the sketches of Christ.” The
combat represents not an heroic feat but a murder: mod-
elled on Hans Sebald Beham’s Bible illustration of Cain
and Abel, of 1533 .Verso: not by Michelangelo. Under
nos. 106 , 107 : Morgan LibaryDavid and Goliath“devel-
oped out of battle scenes in Oxford drawing.”). Wilde,
1953 a,p. 117 [ 46 b] for theCleansing of the Temple,“afrag-
ment now replacing the corner of another sheet which
had been cutaway.”). Wilde, 1953 exh., no. 102 (c.155 0–
2. 46 a. Samson slaying Philistine, purpose unknown. 46 b.
Insertion from another sheet of theCleansing of the Tem-
ple.). Parker, 1956 ,no. 328 [ 46 a]. Recto:Samson Slaying
the Philistine; Morgan Library drawings representDavid
and Goliath; late153 0s. Verso: not Michelangelo, pos-
sibly Montelupo. [ 46 b] Recto:Cleansing of the Temple
for Marcello Venusti; related to BM W 76 – 8 .). Dussler,
1959 ,no. 200 (Recto: battle scene, subject uncertain.
Linked with Morgan drawings, perhaps all c.155 0.[ 46 b]
Linked with BM drawings for theCleansing of the Temple);
no. 630 (Parker’s attribution to Montelupo correct.). De