The Drawings of Michelangelo and His Followers in the Ashmolean Museum

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0521551335 c 06 CUNY 160 /Joannides 052155 133 1 January 11 , 2007 11 : 50

CATALOGUES 89–90 COPIES AFTER PAINTINGS 355

have sometimes been attributed to Daniele himself. A

third copy of theIonas, which may perhaps depend from

the present version, is in the Uffizi (15 092F; black chalk,

329 × 272 mm) as Daniele da Volterra, but bearing the

annotationClovio?byPh. Costamagna.

The letter D at the bottom, in pen and ink, suggests that

the present sheet was the fourth in a series of copies after

Michelangelo’s Prophets and Sibyls, but no companion

drawings are known to the compiler.

Comparable colour indications in pen (R,B,V) are

found upon a copy by an unidentified draughtsman after

the figures in theIoram-Iosaphat lunette in Liverpool

(Walker Art Gallery, 1995 , 204 /Brooke, 1998 – 9 ,pp. 183 –

4 ;black chalk, 266 × 425 mm); more elaborate ones, also

in pen, are on a drawing in the Uffizi which, although fre-

quently doubted, may be an autograph study by Daniele

da Volterra for the upper part of hisAssumption of the

Virginin the Della Rovere Chapel in the Trinita dei Monti`

( 203 S; black chalk, 269 × 285 mm).

History

Jeremiah Harman; Samuel Woodburn (Parker’s inclusion

of Sir Thomas Lawrence, whose blind stamp is not to be

found on the sheet, must be an error).

References

Woodburn,184 2,no. 59 (“A highly finished study of the

Jonahfor the Fresco in the Sistine Chapel.”). Woodburn,

184 6,no. 17 (As184 2.). Fisher, 1852 ,p. 4 , pl. 19 (As

Woodburn,184 2.). Fisher, 1865 ,I,p. 17 , pl. 19 (As 1852 .).

Robinson,187 0,no. 35 (Copy from Michel Angelo. It

“seems to reveal the hand of Giulio Clovio.”). Fisher,

187 2,I,p. 15 , pl. 19 (As 1852 .). Fisher,187 9, XXVI/ 28

(“[A]n old and finished drawing from the fresco.”). Gotti,

1875 , II, p. 221. Thode, 1913 ,p. 210 (Copy.). Parker, 1956 ,

no.35 9(“[C]learly old and betrays some skill” but nothing

to warrant attribution to Clovio. Another copy in the

Louvre Inv. 741 /J 264. Colour indications are presumably

B for bianco, V for verde, R for rosso.). Joannides, 2003 a,

p. 327 (Discussion of Louvre Inv. 741 /J 264 .).

CATALOGUE 90

The Woman at the Right of the Iesse-David-Salmon

Lunette

184 6. 105 ;R. 26 ;P.II36 0

Dimensions: 260 × 188 mm

Medium

Red chalk.

Condition

There are wrinkles in the lower right corner and what

appears to be a fracture. There are several areas of abra-

sion, a major area of skinning, accretions, local staining,

widespread foxing, and general uneven discolouration.

There is mould damage along the left edge. The primary

support is drummed by the four edges to the backboard

of the mount, so the verso is not visible.

Inscription

Lower left corner, in pen:michal agnolopreceded by muti-

lated and illegible letters.

Discussion

The provenance from Casa Buonarroti, if correct, opens

the possibility that this drawing might be by an artist who

worked with Michelangelo or one acquainted with him.

The changes of position of the fingers of the right hand

might suggest that the present drawing was made not after

the fresco but after a lost study for it by Michelangelo;

alternatively it might arouse suspicions that this copy was

made to deceive. Neither inference is likely to be correct,

and it seems more probable that this minor pentimento

represents no more than the copyist’s self-correction.

The style suggests an early date, and there are some fea-

tures in common with works by Rosso, as indicated in the

subtle analysis of Nesselrath. However, the drawing lacks

the sharpness and intensity characteristic of Rosso and

the employment of loose, somewhat lack-lustre hatching,

seems alien to him. It may be by the same hand as a copy

of a section from the pendentive of theBrazen Serpentin

Paris (Louvre Inv. 769 /J 218 ;red chalk, 257 × 253 mm).

History

Casa Buonarroti? (the nature of the inscription rather sug-

gests provenance from a group of drawings that seems

to have been in the Cicciaporci Collection); Filippo

Cicciaporci?; Bartolommeo Cavaceppi?; Jean-Baptiste

Wicar; Samuel Woodburn; Sir Thomas Lawrence

(L. 2445 ); Samuel Woodburn.

References

Woodburn, 1836 b,no. 97 (“[E]vidently from nature;

treated in a grand style.”). Woodburn,184 2,no. 7 (As

1836 .). Woodburn,184 6,no. 14 (As184 2.). Fisher,186 2,

p. 4 , pl. 15 (“[A] design for one of the Sibyls in the

Sistine Chapel.15 0 9.”). Fisher, 1865 ,I,p. 23 , pl. 15 (As

186 2.). Robinson,187 0,no. 26 (Michel Angelo; “in all