P 1 : JZP
0521551335 c 07 CUNY 160 /Joannides 052155 133 1 January 11 , 2007 13 : 37
38 0 MISCELLANEOUS CATALOGUES 108–109Discussion
While the pose of this figure has generally been con-
nected with that of Michelangelo’s marbleDavid,itis
closer to that of Apollo in Benvenuto Cellini’s stone
group ofApollo and Hyacinthof15 4 6– 7 (Florence, Museo
Nazionale del Bargello). However, the present drawing
cannot be claimed to be a copy of Cellini’s figure, whose
pose is, in any case, not particularly original, and the
relation may be no more than coincidental. It does not
necessarily enjoin a date after15 4 7. The drawing may well
have been made from life, with the artist setting a model
in a familiar stance.
The handling of red chalk, with repeated strokes of
a sharp point, tight even contours, and local modelling
much suppressed, is reminiscent of that of Rosso, but the
draughtsman was clearly not at Rosso’s level. Cellini’s few
surviving drawings, none in chalk, would also seem to
identify him as a draughtsman of higher quality than the
artist responsible for the present drawing, although it is
not without elegance. It was presumably made in the153 0s
bya Florentine artist unconnected with Michelangelo
or his workshop, but one who may have worked with
Rosso.History
William Young Ottley? (his sale, 11 April 1804 and fol-
lowing days, lot 264 , “One – a naked youth standing, red
chalk, very fine.”); William Roscoe (his sale, September
1816 , lot 70 , “One, Design of a Figure intended for the
Statue ofDavid, afterwards executed by Michelangelo
with an alteration in one arm. Red chalk, highly fin-
ished. Size, 1212 h. 6 w.”); Bought by Watson (i.e., the
London bookseller William Carey) 10 / 6 d; Sir Thomas
Lawrence (L. 2445 ); Samuel Woodburn.References
Ottley sale?, 11 April 1804 , lot 264 (“One – a naked
youth standing, red chalk, very fine.”). William Roscoe,
his sale September 1816 , lot 70 (“One, Design of a Figure
intended for the Statue ofDavid, afterwards executed
byMichelagnolo with an alteration in one arm. Red
chalk, highly finished. Size, 1212 h. 6 w.”). Woodburn,
184 2,no. 61 (“A male figure – evidently a study from
the life for the Fresco [sic] ofDavidwith the sling, in
the Piazza Grand Duca at Florence.”). Woodburn,184 6,
no. 16 (As184 2.). Fisher, 1852 ,p. 4 , pl. 11 (As Woodburn,
184 2.). Fisher, 1865 ,I,p. 16 , pl. 11 (As 1852 .). Robinson,
187 0,no. 85 (Not by Michelangelo, not improbably by
Bandinelli.). Fisher,187 2,I,p. 14 , pl. 11 (As 1852 .).Fisher,187 9, LIII/ 54 (Erroneously ascribed to Michelan-
gelo.). Parker, 1956 ,no.37 1 (“[N]o doubt of the six-
teenth century, but very indifferent, and certainly not by
Bandinelli.”).CATALOGUE 109battista franco(c.151 0– 1561 )
Recto:Jupiter and Mercury
Ve r so: Figure Studies
184 6. 128 ;R. 57 ;P.II 407Dimensions: 252 × 181 mm.Medium
Recto: Pen and ink over red chalk.
Ve r so: Pen and ink.Condition
Double-sided window mount. The sheet is undulating
slightly.
Recto: There is overall discolouration, ingrained sur-
face dirt, and various surface abrasions, particularly in the
bottom right corner. All losses have been filled, one of
which – in the shoulder area – has gold paint on it. There
is a crease in the bottom left corner and various horizontal
and vertical fold lines, which have led to loss of media.
Ve r so: Overall surface dirt.Description
The recto is orientated vertically; the verso seems to have
been used first horizontally and then vertically.Verso
A.A full length male or female figure seen from the left,
moving to the left, the head turned to the viewer (over-
lapped by G and H).
B.The torso of a male figure bending forward, seen from
the right rear.
C.The torso of a bending male or female figure, turning
to his/her left, his/her head indicated in two positions,
seen from the left.
D.The torso of a male nude from the rear, his body
turned to his left, his head turned to his right. On a
larger scale than the other drawings.
E.Immediately below B and C, partly overlapped by I.
A left knee with a portion of thigh and calf, seen in left
profile, no doubt a study for the knee of Jupiter on the
recto and perhaps the first drawing to be made on this
side of the sheet.