P 1 : JZP
0521551335 c 02 -p 4 CUNY 160 /Joannides 052155 133 1 January 11 , 2007 10 : 54
288 COPIES OF LOST OR PARTIALLY LOST DRAWINGS CATALOGUE 59platform in the various drawings for the15 0 5and 1513
phases of the Julius Tomb, but these are insufficient to
connect it securely with that project. It might be a judging
figure in theMartyrdom of the Ten Thousand,but, unlike
two figures found on the ex-Neerman page, it is diffi-
cult to see how this figure would have fitted into that
composition. The arrangement might also suggest Pilate
washing his hands, but Michelangelo was involved with
no known commission that might have included Pilate
until he came to sketch out ideas for the Borgherini
Chapel in San Pietro in Montorio for his friend Sebas-
tiano in 1516 , and the present figure can hardly be
so late.
The figure K – clearer in the ex-Neerman page – was
employed by Primaticcio in the design of aBacchanal,fr es-
coed in a pendentive of the Salle de Bal at Fontainebleau
byNiccolo dell’Abbate` 155 2– 6. Another fresco in the Salle
de Bal, theConcerton the end wall, contains twoputtibor-
rowedfromthe verso of the British Museum drawing.
The figure of Saint John [J] was also adapted by Primatic-
cio for the pose of Hercules in the scene ofUlysses Meeting
Hercules in Hades,the twenty-fourth in the series of nar-
ratives from the Odyssey frescoed in the Gal ́erie d’Ulysse
at Fontainebleau. The figure [A] on BM W 4 , also has a
French linking: It was employed, clad in armour, for that
brandishing a severed head in Antoine Caron’sMassacres
of the Triumvirateof15 6 6(Mus ́ee du Louvre). It is reason-
able to conclude, therefore, that both W 4 , whose earliest
recorded provenance is French, and the original(s) of the
other sketches on the present and ex-Neerman pages,
were by c.155 0in France and probably in the possession
of Primaticcio. It is likely that the present tracing was
made in France and was acquired there by Lanier; the
British Museum sheet remained in France at least until
the Mariette sale. At least two companion “anthology”
pages of copies of lost and surviving sheets of drawings
byMichelangelo, which were probably made in France
in the sixteenth century, are known:
1. Montpellier, Mus ́ee Atger, Inv. 375 ; pen and ink,
300 × 200 mm.
2. Montpellier, Mus ́ee Fabre, Inv. 864 - 2 - 195 ; pen and
ink over black chalk, 294 × 199 mm.It would be tempting to add to these a third sheet, now
in Dublin (National Gallery of Ireland, Inv. 2666 ; pen and
ink, 405 × 251 mm, bearing the stamp of Sir Peter Lely),
but none of the originals copied on it can be placed in
France during the sixteenth century.Drawn Copies
A copy of figure A from the present sheet was made by
Sir Edward Burne-Jones in186 6- 7 ,onfol. 11 recto ofhis sketchbook in the Fitzwilliam Museum, Cambridge,
1070 - 2 (see Østermark-Johansen, 1998 ,pp. 123 and 126 ,
fig. 34 , who thought that it was made after Michelangelo’s
original, W 4 , and dated it187 0– 2 ).History
Nicholas Lanier? (probably L. 2885 ,but so smudged that
it is difficult to be sure; for the stamps of the Lanier broth-
ers see Wood, 2003 ); Unidentified collector (unidentified
mark); Lord Hampden; William Young Ottley?, his sale
6 – 13 July, 1807 lot37 7? (“One – the Fall of the Giants,
pen and bistre –capital–fromK.Cha.I cabinet.”); Sir
Thomas Lawrence (L. 2445 ); Samuel Woodburn.References
Ottley sale, 6 – 13 July 1807 , lot37 7? (“One – the Fall
of the Giants, pen and bistre –capital–fromK.Cha.I
cabinet.”). Woodburn,184 2,no. 19 (“A beautiful sheet
of studies, for the David Conqueror of Goliath...From
the Collections of King Charles I, and Lord Hamp-
den.”). Woodburn,184 6,no. 38 (As184 2). Fisher, 1852 ,
p. 3 , pl. 10 (As Woodburn,184 2.). Fisher, 1865 ,I,p. 16 ,
pl. 10 (As 1852 .). Robinson,187 0,no. 15 (Michel Angelo
“ancient tracings, on thick oiled paper” from recto and
versoofdrawing in Vaughan Collection [BM W 4 /
Corpus 48 ]ofc.15 0 0–15 0 4 and other drawings no
longer extant.” Woodburn wrongly described main fig-
ure in original as being connected with the marbleDavid.
More probably executed in connection withCascina.).
Fisher,187 2,I,p. 14 , pl. 10 (As 1852 .). Black, 1875 ,
p. 213 ,no. 15. Gotti, 1875 , II, p. 221. Fisher, 187 9,
XI/ 10 (Ancient tracing of drawing in Vaughan Collec-
tion [BM W 4 /Corpus 48 ].). Thode, 1908 ,I,pp. 101 , 113
(Copies of BM W 4 /Corpus 48 ] etc.). K. Frey, 1909 – 11 ,
under no. 92 (After BM W 4 /Corpus 48 and other lost
originals.). Thode, 1913 ,no. 399 (Copies. Small figures
probably connected withCascinabut possibly with Sis-
tineignudi.). De Tolnay, 1943 a, p. 187 (Sixteenth-century
copy ofBMW 4 /Corpus 48 .). Goldscheider, 1951 , under
no. 16 (Copy of BM W 4 /Corpus 48 .). Parker, 1956 ,
no.34 6 (Copies from BM W 4 /Corpus 48 and other
sketches.). Dussler, 1959 ,under no. 169 (Copies from
recto and verso of BM W 4 /Corpus 48 .). Joannides,
1994 a,p. 23 (Figure [J] employed by Primaticcio in his
design for the fresco ofUlysses Meeting Hercules in Hades
formerly at Fontainebleau.). Joannides, 1994 c,pp. 6 – 7
(Figure [K] connected with composition of theMartyrdom
of the Ten Thousand, known in fragmentary copy drawings
in Madrid and Hamburg.). Joannides 2002 b,pp. 8 – 10 ,
12 – 14 (Connection established with ex-Neerman sheet,
which is analysed in detail; discussion of the John the
Baptist composition.).