P 1 : JZP
0521551335 c 06 CUNY 160 /Joannides 052155 133 1 January 11 , 2007 11 : 50
35 0 COPIES AFTER PAINTINGS CATALOGUES 86–87
Museum, Haarlem (Inv. N 1 ∗–N 68 ∗/VT 71 ), was also
once more extensive; some of the mounts carry a second
sequence of numbers, of which the highest is 73. This set,
which contains no copies after the histories, comprises
eighteenignudi, nine Prophets and Sibyls, twenty-three
Ancestors from the spandrels (including one in duplicate),
six Ancestors from the triangles, and twelve of the bronze
nudes (including one in duplicate). The Haarlem draw-
ings are similar in technique to those in the other sets,
but come closest to the relatively less dense renderings in
the de Bruyn Album. Several of them are unfinished and
many display a black chalk underdrawing that differs dis-
tinctly from the final image. They are undoubtedly from
the same workshop if not from the same hand as the other
sets, but they are on a smaller scale than those – measuring
between 110 and 115 mm in height and between 90 and
116 mm in width – and the figures are all rendered at a
more or less constant size. The workshop responsible for
these sets evidently produced series in different categories,
on different scales, and subdivided differently, presumably
in response to the demands of individual clients.
These sets of drawings provide an interesting commen-
tary on the difficulties – both of access to the chapel and
of the fresco’s position – that copying in the Sistine posed
to artists and of the importance of engravings in dissemi-
nating knowledge of Michelangelo’s figures. Drawings of
this type, insouciant in their disregard of accuracy, may
have been intended for sale to tourists, offering an appar-
ently – but deceptively – more immediate impression of
the Sistine vault than the engravings from which they
derive.
In all the instances in which she is represented in these
sets of drawings,Delphicais identified asTiburtina.
History
Jonathan Richardson Senior (L. 2184 ); William Young
Ottley; Samuel Woodburn; Sir Thomas Lawrence (no
stamp); Samuel Woodburn.
References
Lawrence Inventory, 1830 , Case 12 , Drawer 4 ,Portfolio
H[ 1830 - 147 ] (“One an Elaborate Drawing of the whole
of the Ceiling of the Sistine Chapel from M. Angelo.”).
Woodburn,184 2,no. 52 (“By Julio Clovio.”). Woodburn,
184 6,no. 3 (As 184 2.). Fisher, 186 2,p. 3 , pl. 5 (By
Giulio Clovio.). Fisher, 1865 ,p. 22 , II, pl. 5 (As186 2.).
Robinson,187 0,no. 36 (Copy from Michel Angelo.
Nothing “to render the attribution to Clovio other
than conjectural. It may with more likelihood be sup-
posed to be the work of some eminent engraver of
the first half of the sixteenth century.” Includes lunette
compositions later destroyed by the Last Judgement.).
Fisher,187 2, II, p. 20 , pl. 5 (As186 2.). Springer,187 8,
p. 115 (Copy made before theLast Judgementwas painted.).
Fisher,187 9, XXVII/ 29 (“Probably the work of a con-
temporary student.”). Springer, 1883 ,I,15 9 (As187 8.).
Justi, 1900 ,p. 168 (Ascribed to Clovio; shows destroyed
lunettes.). Steinmann, II, 1905 ,p. 245 (Copy.). Thode,
1913 ,p. 210 (Copy.). Parker, 1956 ,no. 356 (Presumably
early, since it shows the lunettes destroyed to make place
for theLast Judgement.). Nesselrath, 1990 ,no. 31 (Must
antedate beginning ofLast Judgement;numerous differ-
ences between drawing and fresco: The smallputtoseen
from the rear between the end lunettes is unlike Ottley’s
engraving that shows thestemmaof Sixtus IV; position
ofJudith and HolofernesandDavid and Goliathinverted.
Anonexistentputtoincluded underZaccarias;Delphica
labelledTiburtina.).
CATALOGUE 87
Recto: The Head of theLibicaand a Study of a Right
Leg
Ve r so: Nude Torso of aPutto
184 6. 102 ;R. 68 ;P.II 357
Dimensions: 219 ×15 0mm
Medium
Black chalk.
Condition
There is a pressed-out vertical central fold and numer-
ous smaller creases and possible fractures. The sheet has
a narrow margin of uneven skinning around all edges,
major abrasions in the image, local staining, and uneven
discolouration.
Inscription
Recto: In ink at the lower right edge:KM?.
Discussion
Although obviously derived from the bust ofLibica, the
drawing on the recto of the present sheet does not show
her head covering and is not a direct copy of Michelan-
gelo’s figure. It might, in principle, have been made from
apreparatory drawing by Michelangelo, but it is more
likely that it is an adaptation by an independent artist.
The leg study seems, in the bulk and massiveness of
the forms, to reflect experience of theLast Judgement