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296 COPIES OF SURVIVING DRAWINGS CATALOGUE 63are eleven others. These are, in alphabetical order of
location:1. Florence, Uffizi, 258 F, sometimes attributed to Aris-
totile da Sangallo, but reminiscent of both Gherardi and
Naldini; pen and ink over black chalk, 400 × 260 mm.
This drawing is inscribed with the dimensions of the
tomb, 723 braccia in width and 1012 braccia in height,
measured to the level of the base of the candelabra on the
cornice.
2. Formerly London, sale at Phillips son and Neale,
6 December 1995 , lot no. 179 ,asItalian sixteenth-century
school after Michelangelo; brush and grey-brown wash
overblack chalk, compass-work and stylus indentation,
with many measurements inscribed on the tomb and a
braccio scale at lower left, 390 × 255 mm. Ex-collection
Beurdeley (L. 421 )–like the present drawing – subse-
quently with R. S. Johnson, Chicago (Johnson, 1996 ); at
the time of writing ( 1997 )inaU.S. private collection.
3. Munich, Graphische Sammlung, no. 4932 , anony-
mous; pen and ink over black chalk, 382 × 244 mm.
4. Oxford, Christ Church, JBS 71 , anonymous; pen and
brown ink with brown wash over black chalk, with exten-
sive use of ruler and compasses; badly damaged and torn,
with pieces missing from the right lower centre and the
upper right, 388 × 244 mm.
5. Oxford, Christ Church, JBS 72 , studio assistant of
Michelangelo; pen and dark brown ink, extensive use of
ruler and compasses; badly damaged with pieces torn from
the centre and lower left, 407 × 289 mm. Watermark: A
crowned eagle close to Briquet 86 and 87 , Pisa-Florence
c.15 0 0. This drawing, depicting the architectural mem-
bering in outline, was probably made in preparation for
ordering the marble.
6. Paris, Louvre, Inv. 837 /J 26 /Corpus 194 ;brush and
wash over black chalk and stylus indentation,37 9×
242 mm. In the compiler’s view, this is an autograph
modellobyMichelangelo; it is technically and stylistically
inseparable from a series of elaboratemodellibyMichelan-
gelo’s own hand.
7. Paris, Louvre, Inv. 789 /J 101 , anonymous; pen and ink
overblack chalk, brush and dark brown wash, extensive
use of ruler and compasses,37 8× 239 mm.
8. Paris, Louvre, Inv. 18359 /J 100 , anonymous; pen and
ink over black chalk, brush and dark brown wash,
extensive use of ruler and compasses,37 9× 244 mm.
Extensively inscribed with measurements. Watermark:
Crossed arrows below a six-pointed star (Roberts Arrows
B/Briquet 6291 , Rome c.15 6 0), the same as the present
drawing.
9. Vienna, Albertina, BT 112 , anonymous; pen and
brown ink over black chalk, brush and brown wash,extensive use of ruler and compasses, 390 × 257 mm. From
the collection of P.-J. Mariette who believed it to be
Michelangelo’s original (Abecedario,I,p. 208 ).All these versions are virtually identical in external and
internal dimensions, although there are minor differences
among them in the representation of the figures, in finish,
and the employment of wash.
Twofurther copies are also recorded:10. Berlin, Collection Dr. W. Kreis (formerly?); pen and
ink over black chalk without wash, dimensions unknown
(reproduced Laux, 1943 ,p. 327 )
11. Vienna, Hofbibliothek, medium and dimensions
unknown. The right side of the composition only
(Thode, 1913 ,no. 531 b).In addition, several sketch copies of parts of this design
survive: Among these may be cited Uffizi 607 E, 3912 A,
formerly attributed to Aristotile da Sangallo but now
agreed to be by Raffaello da Montelupo, and a number
of drawings in an album formerly given to Giovanni
Antonio Dosio in the Biblioteca Estense, Modena
(Luporini, 1957 – 8 ,pp. 442 – 67 ). This album, reat-
tributed to Raffaello da Montelupo by Nesselrath, 1986 ,
contains repetitions of his earlier? studies (cf. fols. 74
recto and verso of the Modena codex and Uffizi 607 E,
recto and verso).
Although Michelangelo’s authorship of this design has
frequently been doubted in the twentieth century, there
seems now to be fairly general agreement that it is his,
whether or not his authorship of Louvre 837 is accepted.
The number of replicas, which far outstrips any other
series of copies of a Michelangelo drawing, testifies to
the design’s authority, one that no later pastiche could
claim. A preparatory sketch by Michelangelo of the whole
scheme in the Louvre (Inv. 686 verso/J 24 /Corpus 193 ;
black chalk, 235 × 382 mm), sometimes dismissed in defi-
ance both of its components and its provenance, is patently
autograph and demonstrates that he conceived some-
thing very like the design displayed in the present draw-
ing. Also in the Louvre (Inv. 708 /J 25 /Corpus 228 ;red
chalk, 259 × 129 mm) is a study by Michelangelo for the
seated figure to the viewer’s left. Additionally, many of
the forms and features of this design can be paralleled
in others by Michelangelo datable to the15 2 0sorearly
153 0s. The Madonna, for example, is very close in form
to the female figure on a sheet in Paris (Louvre, Inv. 704
recto/J 36 /Corpus 243 ;red chalk, 290 × 174 mm), the
seated female figure on the cornice is re-employed in the
Dream of Human Life(Princes Gate Collection, Courtauld
Institute, London, Inv. no. 424 /Corpus 333 ;black chalk,