P 1 : JZP
0521551335 c 06 CUNY 160 /Joannides 052155 133 1 January 11 , 2007 11 : 50
CATALOGUES 104–105 COPIES OF ARCHITECTURE 373Ve r so:In the handwriting of Jonathan Richardson
Junior, copying Padre Resta:
Nella Capella Paolina havera dipinto la crocefissione di S.
Pietro con un altra istoria di S. Paolo
Michel Angelo nella sua Vecchiaia.
Questo resta veramte`e scoretta (?), ma sia come si vuole non s`o
segurta p copia ne originale tiena la me(m)
moria della maniera grande, che e qtto che ti serve.
Per l’occasione della 40 hore s’attac`oilfuoco nella sudetta
Capella Paolina, e tutte la Pitture di Loren
zino di Bologna, di Fedco Zuccaro, e ci`ochepiu importa q.te`
istorie di M. Angelo si affumicarono e si p(e)
dettero affatto. Percio ti sia cara questa reliquia di memoria
ch’io crede di mano di Michelangelo, non
di Daniele da Volterra suo allievo. Va peroinStampa. P.`
Resta.In the handwriting of Jonathan Richardson Junior:
This was part of a book that was Father Resta’s, but was never
myLord Somers’s being parted with bi/fore my Lord bought
that Collection.Remnants of annotations at the left
edge of the backing sheet:in...questa, om
Shelfmarks above the inscription:N.36 Zm.17 Th.30:
Zm.63Discussion
The present drawing seems to have been made soon after
Michelangelo completed the fresco, probably in the early
155 0s. The attribution to Michelangelo himself, suggested
byRobbins et al., and, apparently, by Hardy, seems to the
compiler entirely untenable, but it does register some-
thing of the drawing’s quality. The connection they pro-
pose between it and a privately owned panel painting of
theCrucifixion of Saint Peter– which they, like Hardy,
believe to be by Michelangelo – would reinforce the pos-
sibility that the present drawing was made to prepare a
painted replica. To the compiler, the nature of the chalk
work, with quite widely spaced hatching lines and lim-
ited cross-hatching in some areas, would suggest an artist
in the circle of Daniele da Volterra, despite Padre Resta’s
denial of this. The verso inscription seems to indicate that
it was presented by Resta to an artist who had need to
refer to its “maniera grande”; if this interpretation is cor-
rect, this must be among the earliest instances of a revival
of artistic interest in Michelangelo’sultima maniera.
An unexplained oddity is the sketch of the sole of a
right foot found at the right margin.
This drawing, minus the right foot, was copied on a
sheet now in Christ Church ( 0081 /Byam-Shaw S151 9;
black chalk, 414 × 268 mm).History
Padre Resta; Jonathan Richardson Senior (no stamp);
Jonathan Richardson Junior (no stamp); Francis Douce
bequest to the Bodleian Library, 1834 , transferred to the
Ashmolean in 1863.References
Parker, 1956 ,no.36 8∗. Hardy, 1992 ,p. 30 (“[U]seful
for the placement of the left hand upon the cross. In
the sketch and themodellothe cross extends only three-
quarters of the way across the executioner’s back and the
fingers of the Apostle are almost inchoate.”). Robbins
et al., 2000 ,p. 27 (By Michelangelo, made in prepara-
tion for a privately owned panel claimed by the authors
as Michelangelo’smodellofor the fresco.).CATALOGUE 105Half Plan of San Giovanni dei Fiorentini
WA 1944. 102. 7. Largest Talman album, Fol. 7Dimensions: 413 × 278 mm, laid into a sheet 587 ×
450 mm.Watermark: Fleur de lys in a circle surmounted by a B
close to but more regular than Briquet 7118 (Salerno 1595 )
and 7119 (Salerno 1600 ).Medium
Penand ink with brown wash over stylus indentation and
compass holes.Condition
Single-sided window mount. The sheet is undulating
overall. There are various creases at the top edge and a
diagonal crease across the top left corner.Discussion
The version of Michelangelo’s design for San Giovanni
dei Fiorentini chosen by the commissioners of the project
was made under Michelangelo’s supervision in a wooden
model by his assistant Tiberio Calcagni. A drawn plan
generally attributed to Calcagni and thought to have
been used to prepare the model, is in the Uffizi (318 5A;
pen and ink and grey wash over black chalk and stylus
work, 492 × 424 mm; see Cat. 54 ). The wooden model
seems to have been destroyed in the eighteenth century,
butanumber of records of its appearance survive. It was
engraved by Jacques Le Mercier in 1607 in a slightly tilted