P 1 : JZP
0521551335 c 02 -p 4 CUNY 160 /Joannides 052155 133 1 January 11 , 2007 10 : 54
294 COPIES OF SURVIVING DRAWINGS CATALOGUES 62–63Inscription
At lower right, in pen:n◦ 67 ; partially in Greek:δττω ́...
Mich: Buonti.Discussion
Tothe compiler and to A. V. Lauder, the attribution by
Robinson and Thode of this somewhat varied copy after
Cat. 31 to Battista Franco, doubted by Parker, is convinc-
ing. The doubled contours are characteristic of his work
as are the slightly over-emphatic internal demarcations. It
may be compared, for example, with Franco’sMale Head
in the Museo Horne in Florence (Inv. 5749 ;black chalk,
208 × 181 mm; see Garofalo, 2000 ,no. 12 ).
Franco often – although not invariably – copied draw-
ings by other artists, including those by Michelangelo,
in a medium different from the original: Indeed, the
Ashmolean Museum owns his spendid pen and ink copy
(Parker, II, 236 ; 294 × 126 mm) after Rosso’s red chalk
Old Woman(perhaps a Sibyl) at Chatsworth (Inv. 712 ;
Jaffe, ́ 1994 ,no. 58 ; 274 × 136 mm).
The present copy is drawn freely and makes no
attempt to replicate the original. It was probably exe-
cuted shortly after15 4 0, when Franco was liberating
himself from Michelangelo’s spell. There exists another
copy of Michelangelo’s original, more exact than the
present drawing and probably made a little earlier, that
the compiler and A. V. Lauder also believe to be by
Battista Franco: Oxfordshire, Private Collection; black
chalk, 176 × 132 mm, from the collection of Carlo Prayer
(L. 2044 ).
The early collector (see also Cat. 70 ) who inscribed
the drawing in Greek may have done so in imitation of
the practice of Vincenzo Borghini, but is, as the compiler
is assured by R. Scorza, distinct from him. A sheet of
studies in the British Museum as Raffaello da Montelupo
but not quite certainly by him ( 1946 - 7 - 13 - 374 ; pen and
ink, 146 × 202 mm) bears the same inscription and the
same number as the present sheet suggesting that the two
were once mounted together. Like Cat. 70 , the British
Museum sheet bears the stamp of Sir Joshua Reynolds
and it was also owned by Sir Thomas Lawrence.History
The Greek inscriber, presumably Florentine late sixteenth
century (see also Cat. 70 ); William Young Ottley; Sir
Thomas Lawrence (L. 2445 ); Samuel Woodburn.References
Lawrence Inventory, 1830 ,M.A.Buonaroti Case 3 ,
Drawer 3 [ 1830 - 108 i] (“Two studies in black chalk, one a
head in a Helmet, the other [Cat. 31 ].”). Woodburn,184 2,no. 75. 1 (“Two studies upon one mount – for a female
head.”). Woodburn,184 6,no. 52 (As184 2.). Robin-
son,187 0,no. 53. 2 (“[O]bviously an inferior copy” of
[Cat. 31 ]; “The peculiar unmeaning flourish or ‘bravura’
style of execution seems to betray the hand of Battista
Franco; and it will be seen, that the noble features of
the original countenance are here distorted and carica-
tured, and a comparatively mean and vulgar expression
superinduced.”). Black, 1875 ,p. 214 ,no. 48 b. Gotti, 1875 ,
II, p. 239. Berenson, 1903 , under no.155 2(“[E]xcellent
copy” of [Cat. 31 ]. Uffizi 602 E/B 188 is “of no inter-
est, except that it impudently passes for an original.”).
Thode, 1908 , II, p. 337 (Battista Franco.). K. Frey 1909 –
11 , under no. 172 b (Attribution to Franco question-
able.). Thode, 1913 , under no. 394 (As 1908 .). Berenson,
1938 , under no.155 2(“[P]robably done by [Francesco]
Salviati.”). Delacre, 1938 ,pp. 173 – 5 , 221 (Copy; attribu-
tion to Franco disconcerting but tempted to accept it.).
Goldscheider, 1951 ,p. 42 (“[A]ttributed to Salviati
or...Battista Franco.”). Parker, 1956 ,no.34 8(Neither by
Battista Franco nor Francesco Salviati; Uffizi copy con-
ceivably by Bacchiacca.). Dussler, 1959 , under no.34 2
(Attributions recorded.). Berenson, 1961 ,under no.155 2
(As 1938 .). Lauder, 2003 ,pp. 95 – 6 (Publication of a sec-
ond copy by Franco of Michelangelo’s drawing in an
Oxfordshire private collection.).CATALOGUE 63A Copy of Michelangelo’s Design for the Magnifici Tomb
1954. 68 ;P.II34 9Dimensions:38 4× 244 mm
Watermark: Crossed arrows below a six-pointed star (very
close to Roberts Arrows B/Briquet 6291 ,Romec.15 6 0).Medium
Pen and ink with brown wash over black chalk, with
extensive employment of ruler and compasses.Condition
There is a major horizontal score line and other small
indentations at the upper edge. A repaired tear, abrasion,
some pulp imperfections, accretions, and general uneven
discolouration are visible.Discussion
This and Cat. 64 are same-size replicas of a double
tomb design by Michelangelo made in early15 2 1. There