P 1 : KsF
0521551331 c 01 -p 3 CUNY 160 /Joannides 052155 133 1 January 11 , 2007 10 : 14
250 WHOLLY OR PARTIALLY AUTOGRAPH SHEETS CATALOGUES 52–53Woodburn,184 6,no. 40 (As184 2.). Robinson,187 0,
no. 60. 3 (Michel Angelo. This drawing, and [Cats. 53
and 51 ], “of the later time of the master...apparently
all studies for the same work, of which nothing is
known.”). Gotti, 1875 ,II,p. 227. Berenson, 1903 ,I,
p. 222 ,no.15 6 9. 3 (c.155 0.For same unknown purpose
as [Cats. 51 and 53 and Washington 1991. 217. 2 a- 3 b].).
Thode, 1908 , II, p. 80 (For aCrucifixion of St. Peteror
aDeposition, with [Cats. 53 and 51 ].). Thode, 1913 ,no.
438 (For anEntombment, with [Cats. 53 and 51 ].). Beren-
son, 1938 ,no.15 6 9. 3 (As 1903 .). Wilde, 1953 a,pp. 114 ,
116 (With [Cats. 53 and 51 ).]. Not before155 0.). Wilde,
1953 exh., no. 127 c(With [Cats. 53 and 51 ], resemblance
to theEpifaniacartoon, but not certainly for it.). Parker,
1956 ,no. 336 (155 0s. “The larger figure resembles [Cat.
51 ]; the smaller is very like [Cat. 53 verso], and shows
affinity also with” the ex–Gathorne-Hardy drawing.).
Dussler, 1959 ,no.34 9 (Ascribed. c.155 0.Maybe for a
Pieta`.). De Tolnay, 1960 ,p. 205 ,no. 216 (Poses similar to
that of the Evangelist in theEpifania.With [Cats. 53 and
51 and Washington 1991. 217. 2 a- 3 b] for same project.).
Berenson, 1961 ,no.15 6 9. 3 (As 1903 / 1938 .). Hartt, 1971 ,
no. 507 (Recto:15 4 6; Apostle for dome of St Peter’s;
sketches of socles and columns show through from laid-
down verso.). Gere and Turner, 1975 ,no.15 7 (Same
period asEpifania,but not necessarily connected.). Joan-
nides, 1975 ,p. 262 (With [Cats. 53 and 51 and Washington
1991. 217. 2 a- 3 b], perhaps for theEntombmentrecorded
in the Gathorne-Hardy copy drawing; the date may be
c.15 6 0since the architectural sketches here recall the Porta
Pia.). De Tolnay, 1978 ,Corpus III, no. 427 (With [Cats.
53 and 51 and Washington 1991. 217. 2 a- 3 b] probably for
aPieta`recorded in copies attributed to Jacomo del Duca,
formerly Gathorne-Hardy Collection and Giulio Clovio,
Amsterdam, Stedelijk Museum.). Perrig, 1999 ,pp. 239 –
40 (By Ascanio Condivi; from Farnese Collection.).CATALOGUE 53Recto: A Draped Male Figure Displaying a Scroll
Ve r so: A Partly Draped Figure; Architectural Sketches
184 6. 80 ;R. 60 ( 1 ); P.II 334 ; Corpus 430
Dimensions: 200 × 120 mmMedium
Recto: Black chalk with touches of white heightening,
now oxidised.
Ve r so: Black chalk.Condition
There are minor tear repairs and skinning, ingrained dirt,
and accretions. The sheet has uneven discolouration, local
staining, and some foxing.Description
Recto
A draped male figure walking forward while apparently
supporting something to his left. The white heightening
is largely confined to the head, chest, and arms and was no
doubt applied to facilitate – or mask – pentiments. The
head is drawn in two positions, looking down frontally
and to the figure’s right.Verso
A.A partially draped figure presumably but not certainly
male – it is difficult to be sure that the pectoral muscles
are not in fact intended as breasts – walking forward while
apparently supporting something to his or her right. The
slightly curved line to the figure’s left might represent the
outline of a shield for a coat-of-arms, or a shroud.
With the left edge as the baseB.A partial ground plan of a rectangular structure, with
protruding apses or column bases.
C.The lower sections of two columns, flanking a round-
headed niche with, above, the lower edge of a rectangular
panel?Discussion
The recto figure, elaborately draped, the head tried in
at least two positions, poses many of the same problems
of interpretation as Cat. 52 .Hecould be a bearer in an
Entombment,but he does not seem to register weight, and
his hands seem to be holding some flexible form, rather
than supporting a body. This form might be a scroll, in
which case the figure is presumably a Prophet or, if the
context were secular (unlikely), a philosopher, in which
case the drawing might be a study for a statue. How-
ever, even though this is possible, the form seems more
mobile than one would expect from a statue at this stage
in Michelangelo’s career, and this figure’s role must, con-
sequently, remain unresolved.
The verso figure is also draped, but less fully than that
on the recto. The drapery starts at waist level, leaving
the torso exposed. It is a matter for debate whether the
figure is male or female, but the compiler is inclined to
think male. He supports something to his right. This is
not defined, but the long curve, which presumably estab-
lishes its edge, seems inappropriately regular for a body