The Drawings of Michelangelo and His Followers in the Ashmolean Museum

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CATALOGUES 101–102 COPIES AFTER PAINTINGS 36 9

washed with grey.). Fisher, 1865 , II, p. 22 , pl. 4 (As186 2.).

Robinson,187 0,no. 60. 4 (Michel Angelo. For theLast

Judgement,“afragment cut from a larger sheet.”). Fisher,

187 2, II, p. 20 , pl. 4 (As186 2.). Black, 1875 ,p. 215 ,

no. 55. Gotti, 1875 , II, p. 227. Fisher,187 9, XXXVIII/ 40

(For theLast Judgement.). Steinmann, 1905 , II, p. 604

(Copy; erroneously located in Casa Buonarroti.).

Thode, 1913 ,p. 210 (Copy.). Delacre, 1938 ,p.38 9

(Reproduced as Michelangelo.). Parker, 1956 ,no.36 7

(Early copy.). Dussler, 1959 ,no. 627 (Copy.). De Tolnay,

1978 , Corpus III, no. 365 (Not copied from the fresco,

“data l’asimmetria piu marcata e la minor monumen-`

talita.`...Le cavita degli occhi sono qui pi` ui` rregolari

ed espressive, piu vicine ad una fisionomia umana nella

metamorfosi della morte.”). Perrig, 1999 ,pp. 225 – 6 ,

274 (By Giulio Clovio, from the Farnese group, perhaps

acquired in Italy in 1785 – 7 byJoseph von Fries, Moritz’s

brother; the Casa Buonarroti provenance a falsification by

Woodburn.).

CATALOGUE 102

The Damned in the Lower Right Corner

1863. 770 ; Macandrew A 25

Dimensions: 548 ×116 0mm

Medium

Black chalk.

Condition

There is overall discolouration and surface dirt. The sheet

has suffered severe damage in the form of tears, losses,

creases, and abrasions to the surfaces both of the support

and of the medium. There are numerous losses with fill-

ings of varying quality. There is insect damage, mostly

grazing, which is particularly obvious in the top right

edge.

Numbering

6Ron the back of the mount.

Discussion

If Macandrew’s view that this drawing was made in the

early seventeenth century is correct, the similarity that he

detected to the manner of Alessandro Allori, who copied

theLast Judgementextensively during his stay in Rome

in the first half of the155 0s, might be explained by the

assumption that it was made by one of Allori’s many pupils

after an earlier copy by the master. A more economical

explanation, however, and one preferred by the compiler,

is that it is indeed a copy of the mid-sixteenth century,

made before Daniele da Volterra’s repainting of part of

the fresco in15 6 5.If, as one would imagine, this is a

fragment of a full copy, that would have been very large

indeed, some 2. 8 mhigh by 2. 5 mwide, larger in fact

than the painted copy of theLast JudgementbyMarcello

Ve n usti, now in Capodimonte.

Whether or not the present drawing is by the same

hand as Cat. 93 ,towhich it is linked by size, condition,