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0521551335 c 02 -p 4 CUNY 160 /Joannides 052155 133 1 January 11 , 2007 10 : 54
304 COPIES OF SURVIVING DRAWINGS CATALOGUES 66–67original, of Michelangelo’s so-calledAllegory of Prudence
(?): Montelupo’s drawings are in the British Museum
(W 89 ; pen and ink, 261 ×35 9 mm) and the Mus ́ee
Conde, Chantilly (Lanfranc de Panthou ́ 48 ; pen and ink,
251 × 197 mm, the composition divided between recto
and verso). In all these cases – with the possible exception
of the“Prudentia”copies – Raffaello made his copies in
a medium different from that of Michelangelo’s original.
Raffaello copied other drawings by Michelangelo. A
drawing by him (Christie’s, New York, 30 January 1997 ,
lot 1 ; pen and ink, 268 × 203 mm, probably of 1534 )
records a lost sketch by Michelangelo made at a prelimi-
nary stage in the development of his design for Sebastiano
del Piombo’sPieta`, painted for the Cobos family chapel
in San Salvador, Ubeda (now Madrid, Museo del Prado).
Raffaello’s sketchbook in the Musee des Beaux-Arts Lille ́
(Brejon de Lavergn ́ee 717 – 808 ), which contains mostly
architectural drawings, includes several after projects by
Michelangelo. Related sheets by Raffaello in Florence
and Budapest, which may once have formed part of the
same or a similar sketchbook, carry figural sketches fur-
ther demonstrating his interest in Michelangelo’s designs
(see Cat. 34 ).Verso
The pose of A, modified for the lower part of the figure
in the sketches D, E, F, is loosely based on Michelangelo’s
marbleDavid,arelation seen particularly clearly in the
arrangement of the right arm, and again in the supple-
mentary studies of the legs. The sketch was probably made
from memory and not directly from the statue, although
it is possible that it reflects a lost preparatory drawing for
it by Michelangelo. A sketch by Antonio Mini after a
preparatory drawing or a model for the statue was sold at
Bonhams, London, 8 July 2002 , lot 69 (pen and ink over
red chalk, 208 × 172 mm); even though it bears no close
relation to the present sketches, it again demonstrates the
attention of Michelangelo’s pupils and associates to his
earlier work.History
Pierre Crozat, a fragment of his numbering at lower right,
presumably part of his sale of 1741 ?; Gerhard Michael
Jabach, his sale, Amsterdam, 16 October 1753 , lot 15 ?;
Pierre-Jean Mariette (L. 1852 ); the Marquis de Lagoy
(no stamp); Thomas Dimsdale; Samuel Woodburn; Sir
Thomas Lawrence (L. 2445 ); Samuel Woodburn.References
Lawrence Inventory, 1830 ,M.A.Buonaroti Case 3 ,
Drawer 3 ,no. 19 [ 1830 - 22 ] (“A magnificent sheet ofSporting Boys etc for a baccanalian subject, free pen
on both sides the paper.”). Woodburn, 1836 b,no. 17
(“[C]hiefly of sporting boys; most admirably drawn with
the pen.”). The Athenaeum, 16 July 1836 (“[F]or the
cognoscenti.”). Woodburn, 184 2,no. 16 (As 1836 .).
Fisher, 1852 ,p. 5 , pl. 24 (Recto: as Woodburn,184 2.).
Fisher, 1865 ,p. 18 ,I,pl. 24 (As 1852 .). Robinson,
187 0,no. 52 (Michelangelo, study for WindsorBacchanal,
PW 431 /Corpus 338 .). Fisher,187 2,I,p. 16 , pl. 24 (As
1852 .). Black, 1875 ,p. 214 ,no. 47 .Gotti, 1875 , II, p. 237.
Springer,187 8,p. 522 (Michelangelo; no mention of
Windsor version.). Fisher,187 9, XXXVI/ 38 (“[O]riginal
design for...Windsor drawing” PW 431 /Corpus 338 .).
Springer, 1883 , II, p.38 9 (Sketch for Windsor draw-
ing, PW 431 /Corpus 338 .). Berenson, 1903 ,I,pp. 255 –
7 ,no. 1716 (Recto: Montelupo after Michelangelo’s
Windsor drawing, PW 431 /Corpus 338 ;resemblance to
Montelupo’s Uffizi 619 E/B 204 .Verso: Montelupo.). K.
Frey, 1909 – 11 ,p. 91 , under no. 187 (Recto: free copy
of Windsor PW 431 /Corpus 338 .). Thode, 1913 ,p. 210
and under no. 543 (Copy of Windsor PW 431 /Corpus
338 .). Berenson, 1935 ,p. 107 (Montelupo?. Resemblance
to Uffizi 619 E, inscribed by Baldinucci with Mon-
telupo’s name.). Berenson, 1938 ,I,pp. 257 – 8 ,no. 1716
(As 1903 .). Delacre, 1938 ,pp. 410 – 12 (Surprising from
Montelupo; many differences from WindsorBacchanal,
PW 431 /Corpus 338 , and perhaps preparatory.). Wilde,
1949 ,p. 254 (Montelupo.). Parker, 1956 ,no. 410 (Free
copy by Montelupo after Michelangelo’s drawing at
Windsor, PW 431 /Corpus 338 .). Dussler, 1959 , under
no. 365 (Free copy of PW 431 /Corpus 338 byMontelupo,
summer 1533 .). Berenson, 1961 ,no. 1716 (As 1903 / 1938 .)
Barocchi, 1962 ,pp. 256 , 258 (Similarity to Uffizi 619 E
supports its attribution to Montelupo.). Gatteschi, 1998 ,
pp. 54 – 5 (Recto: cites Berenson; probably drawn from
memory.). Py, 2001 ,p. 185 (Perhaps identical with lot 15
in the Gerhard Michael Jabach sale of 1753 .).CATALOGUE 67giulio clovio?( 1498 – 15 7 8)
Christ on the Cross
184 6. 97 ;R. 73 ;P.II 352Dimensions:37 0× 250 mm, irregular, made up at the
lower left and most of the lower and right edges, and
the left upper corner.Medium
Black chalk.