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0521551331 c 01 -p 3 a CUNY 160 /Joannides 052155 133 1 January 11 , 2007 10 : 18
280 WHOLLY OR PARTIALLY AUTOGRAPH SHEETS CATALOGUE 57Jean-Baptiste Wicar; Samuel Woodburn; Sir Thomas
Lawrence (L. 2445 ); Samuel Woodburn.References
Lawrence Inventory, 1830 ,M.A.Buonaroti Case 3 ,
Drawer 3 [ 1830 - 50 ] (“Another design [of Our Lord on the
Cross], smaller, in which two figures are introduced.”).
Woodburn, 1836 b,no. 23 (“[A] very noble study....On
the reverse is a study for the Saviour.”). The Athenaeum,
16 July 1836 (“ ‘Crucifixions;’ interesting to the student;
of some we cannot pronounce upon the authenticity, but
all displaying a style of design reprehended in Zeuxis, –
gross rather than grand.”). Woodburn,184 2,no. 38 (As
1836 .). Fisher,186 2,pp. 3 – 4 , pl. 6 (As Woodburn,184 2.).
Fisher, 1865 , II, p. 20 , pl. 6 (As186 2.). Robinson,187 0,
no. 72 (Preliminary design for aCrucifixionfor Vitto-
ria Colonna; related to six other studies in various col-
lections, and one in Christ Church. “Michel Angelo’s
intention seems to have been to invest each separate essay
with some special and novel feature, and whilst confining
himself strictly to the orthodox symmetrical ordonnance
of three figures only, to give to each composition a dis-
tinctive character of dramatic action and expression. In
the present design, it may be inferred from the droop-
ing head of our Saviour that He has just expired, and
the Virgin, seen directly in front and standing rigidly
erect, her head bowed down and the palms of her hands
pressed convulsively against her temples, may be sup-
posed to be uttering a wail of anguish. St John on the
opposite side...standing somewhat behind the cross,
steps forward on the instant and with the upper part
of his body bent forward, hands outspread, and eager
sympathetic countenance, directs his gaze towards the
stricken mother of our Lord. This is probably the most
naturalistic and touching of the several designs.”) Fisher,
187 2, II, p. 20 , pl. 6 (As 1852 .). Black, 1875 ,p. 215 ,
no. 62. Gotti, 1875 ,II,p. 224. Fisher,187 9, XLV/ 47
(“This drawing exhibits many alterations, only partly
indicated in the plate.”). Berenson, 1903 ,I,p. 225 ,no.
15 7 4(With Virgin and St John. “The types are those we
encounter in the Cappella Paolina.”). Thode, 1908 , II,
p. 472 (Late, one of a series: Mary at left, St. John at
right.). K. Frey, 1909 - 11 ,no.18 0 (Mary on the right;
St John on the left. Linked with other Crucifixion draw-
ings.). Thode, 1913 ,no. 446 (Inversion of Mary and
St. John seen by Robinson and Frey incorrect.). Panofsky,
1922 ,p. 12 (c.15 4 0or later; related to Crucifix drawn for
Vittoria Colonna. The St. John resembles the figure in the
right foreground of theCrucifixion of St. Peter.). Baumgart,
1935 b,p. 54 (Crucifixion series probably of the late155 0sor early15 6 0s; self-sufficient works.). Berenson, 1938 ,I,
p. 234 ,no.15 7 4 (As 1903 .). Wilde, 1949 ,p. 260 (One
of series of late Golgotha groups: “independent works
of graphic art.”). Goldscheider, 1951 ,no. 125 (“[M]uch
earlier than the series of late Crucifixion drawings,”
c.15 4 6.StPeter on the left, St John on the right.).
De Tolnay, 1951 ,pp. 153 , 293 (Recto: “la Vierge et
Saint Jean ont l’air de fuir avec horreur le lieu du sup-
plice.” c.15 4 5– 50 .). Wilde, 1953 a,p. 120 (One of at
least seven known treatments.). Wilde, 1953 exh., no.
99 (c.155 7). Parker, 1956 ,no. 343 (Recto: one of a
group of late Crucifixion drawings. Generally dated c.
155 4. Identification of figures uncertain. Verso: uncov-
ered in 1953. Essentially the same as recto figure.). Dus-
sler, 1959 ,no. 204 (Michelangelo, early 155 0s. Recto
shows Christ on the Cross with the Virgin and John.
Ve r so: Michelangelo.). De Tolnay, 1960 ,pp. 223 – 4 ,no.
254 (c.155 0– 6 , one of a series of Crucifixion drawings
done in preparation for a projected marble group. Recto:
figure on the right probably the centurion Stephaton,
that on the left Longinus.); no. 255 (Verso: not prepara-
tory for recto but “a fair copy made by Michelangelo
shortly after.”). Berenson, 1961 ,no.15 7 4(As 1903 / 1938 .).
Barocchi, 1964 c,no. 69 (Identification of lateral figures
uncertain.). Brugnoli, 1964 ,no. 58 (155 0s; the Centu-
rion and Longinus, responding to the darkness that falls.).
Berti, 1965 ,pp. 480 – 1 , 491 (Recto: elements that sug-
gest Grunwald). Goldscheider, ̈ 1965 ,no. 124 (Redated
1553 – 6 ;deTolnay’s identifications “much more plausi-
ble.”). Hartt, 1971 ,no. 426 (Recto:155 0– 5. Virgin at the
right and St John at the left.); no. 427 (Verso:155 0– 5 .).
Gere and Turner, 1975 ,no. 182 (One of a series of late
drawings.). Keller, 1975 ,no. 63 (After155 0.). De Tol-
nay, 1975 ,p. 247 (“The two figures appear to bear all
the responsibility for the crime which has been commit-
ted.”). Keller, 1976 , fig. 173 (As 1975 .). De Tolnay, 1978 ,
Corpus III, no. 415 (As 1960 .). Liebert, 1983 ,pp. 409
(Recto: “the naked John and Mary march forward, drawn
like uncomprehending primeval beings.”). De Vecchi,
1984 , pl. 118 (Michelangelo, late.). Hirst, 1988 ,p. 58
(The mourners “are male and female, but...clearly not
the Virgin and St. John.”). Joannides, 1992 a,pp. 253 – 4
(Recto: pose of Christ based on Giotto’sCrucifixin Santa
Maria Novella.). Perrig, 1991 ,pp. 94 – 8 , fig. 105 (Recto:
byVe n usti.). Perrig, 1999 ,pp. 240 – 1 (As 1991 ;from
Farnese Collection.). Paoletti, 2000 ,pp. 58 – 9 , 77 (The
clothed figure begun nude and then draped, firstly with a
short tunic exposing the lower legs, identifying the figure
as male, and then with a sash and trailing robe identifying
it as female – the Virgin. The features of the left-hand
figure “bear a distinct similarity to Michelangelo.”).