The Drawings of Michelangelo and His Followers in the Ashmolean Museum

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0521551335 c 02 -p 4 CUNY 160 /Joannides 052155 133 1 January 11 , 2007 10 : 54

CATALOGUES 64–65 COPIES OF SURVIVING DRAWINGS 299

Medium

Pen and ink with grey wash over black chalk, with exten-

sive use of ruler and compasses, parts reinforced with pen

and ink. Later framing lines in pen and ink.

Condition

The sheet is undulating uncomfortably. There is a major,

discoloured, infill with in-drawing, a minor edge hole,

minor tear repairs with ingrained dirt, some abrasion, and

uneven discolouration. The primary support is drummed

byfour edges to the backboard of the mount.

Discussion

Another early copy after Michelangelo’s design of late

15 2 0for the tomb of the Magnifici in the New Sacristy.

This copy was no doubt originally complete, but at some

point the entire lower storey was cutaway.Robinson,

187 0,p. 104 , believed this drawing to be by the same

hand as Christ Church JBS 71 (version 4 in Cat. 63 ), an

opinion not shared by the compiler, who believes it rather

to be by the same hand as Musee du Louvre, Inv. ́ 18359

(version 9 in Cat. 63 ). For further discussion of this project

see Cat. 63.

Drawn Copy

Acopyofthe twoputtiflanking the tondo and the seated

figure on the left side of the attic was made by Sir Edward

Burne-Jones in186 6– 7 ,onfol. 40 recto of his sketchbook

in the Fitzwilliam Museum, Cambridge, 1070 - 2.

History

Paignon-Dijonval; Sir Thomas Lawrence (L. 2445 );

Samuel Woodburn.

References

Woodburn,184 2,no. 3 (A design for the tomb of the

Medici family.). Woodburn,184 6,no. 48 (As 184 2.).

Fisher, 1852 ,p. 5 , pl. 25 (As Woodburn,184 2.). Fisher,

1865 ,p. 18 , pl. 25 (As 1852 .). Robinson,187 0,no. 41

(Copy from Michel Angelo. “Design for a portion of

the wall-fac ̧ade of one of the Medici tombs....from a

lost original” made “perhaps as early asa.d. 1521.” “The

present example is perhaps the earliest and best rendering;

butitisless complete than the others.” Three other exam-

ples noted: in the Louvre, the Albertina, and the Uffizi.

That in the Louvre engraved by Caylus.). Fisher,187 2,I,

p. 16 , pl. 25 (As 1852 .). Gotti, 1875 , II, p. 229 (As in black

chalk.). Black, 1875 ,p. 214 ,no. 38. Springer,187 8,p. 382

(Copy of a study for a Medici double tomb.). Fisher,187 9,

XXX/ 32 (Copy.). Springer, 1883 , II, p. 218 (As187 8.).

Portheim,188 9,pp. 149 – 50 (By same hand as Christ

Church [ JBS 71 ] and drawings in Paris, Florence, and

Vienna; uncertain whether they are pastiches or whether

their weakness is the reflection of originals copied at

second or third hand.). Thode, 1908 ,I,p. 457 (Trun-

cated copy after Michelangelo’s lost definitive design for

Medici double tomb.). K. Frey, 1909 – 11 ,no. 265 (After

Michelangelo’s lost original.). Justi, 1909 ,p. 237 (One of

several copies.). Thode, 1913 ,no. 424 (As 1908 .). Fasolo,

1927 ,pp. 452 – 4 (“[S]pecialmente studiati le disposizione

delle sculture nel complesso architettonico.” Design fol-

lows on from BM W 28 and Louvre 686 /J 24 verso.).

Berenson, 1938 ,no. 1708 A (Replica of upper section of

Louvre, Inv. 837 /J 26 /Corpus 194 .). Delacre, 1938 ,p.34 0

(Copy.). Parker, 1956 ,no.35 0(Copy. Execution resembles

that of Louvre, Inv. 837 /J 26 /Corpus 194 .). Dussler, 1959 ,

no. 619 and under no. 699 (Copy; documentary value

questionable.). Berenson, 1961 ,no. 1708 A(As 1938 .).

Per rig, 1981 ,p. 282 (Copy after Michelangelo.). Joan-

nider, 2003 a, p. 137 (Copy.).

CATALOGUE 65

giuseppe bossi( 1777 – 1815 )

The Virgin? and Child with Singing Angels

184 6. 96 ;R. 14 ;P.II 351

Dimensions:35 0× 260 mm

Watermark: the letters F. G. A.

Medium

Black and white chalks.

Condition

There are handling creases, a small indentation/puncture

and some abrasion and foxing with slight general dis-

colouration.

Discussion

A same-size copy of Michelangelo’s drawing of c.153 0,

which is now in the Accademia in Venice (Inv. 199 recto/

Valenti Rodino,` 1989 ,no. 2 /Corpus 244 ;black chalk,

373 × 249 mm). The original entered the Accademia from

the collection of the artist and art historian Giuseppe

Bossi, and Bossi no doubt made the present copy as

agift for his friend Leopoldo Cicognara. Cicognara

in turn seems to have presented it to Lawrence, who

liked to acquire copies of drawings that he could not

possess in the original. It would not be fully clear

from Lawrence’s letter to Woodburn, quoted later, that

Lawrence knew the drawing to be a copy, but he must