P 1 : KsF
0521551331 c 01 CUNY 160 /Joannides 052155 133 1 January 10 , 2007 22 : 22
CATALOGUES 4–5 WHOLLY OR PARTIALLY AUTOGRAPH SHEETS 77Colvin, 1904 , IV, no. 6 (Recto: probably of15 0 4 for
background incidents inCascina; “Michelangelo’s com-
manding power of eye and hand as a pen-draughtsman in
his earlier years is scarcely anywhere better illustrated than
here.”). Thode, 1908 ,I,p. 101 (ForCascina.). K. Frey,
1909 – 11 ,no. 141 (Life studies in preparation forCascina.
The small battle scene follows [Cat. 7 ] and prepares [Cat.
5 ].). Thode, 1913 ,no. 402 (As 1908. Battle sketch shows
technical influence of Leonardo.). Panofsky, 1921 – 2 ,
col. 52 (Second poem probably dates151 0– 11 , not15 0 6.).
Popp, 1922 ,pp.15 9– 62 (c. 1525 – 6. [D] a study for [Cat. 5 ];
both transformed by Michelangelo in the upper part of
[Cat. 34 ].). Zoff, 1923 , pl. 18 (Recto.). It. exh., 1930 ,
no. 500 .Popham, 1931 ,no. 209 .DeTolnay, 1935 ,p. 43
(This and [Cat. 5 ]are,as“Popp has convincingly shown,
studies for the upper scene of...the Brazen Serpent”
[Cat. 34 ] [which]...are probably designs for the lunettes
above the Medici Tombs.”). Baumgart, 1937 ,pp. 3 – 5 , 29 –
30 (Horse studies support the view that a cavalry battle
wasproposed forCascina.Dfollows the right-hand half
of BM W 3 /Corpus 36 and prepares [Cat. 5 ]. Competi-
tion with Leonardo’sAnghiari.). Berenson, 1938 ,I,p. 193 ,
no.155 8(As 1903 .). Bertini, 1942 [ed. 1983 ], p. 54 (For
Cascina.). De Tolnay, 1948 ,pp. 49 , 215 ,no. 96 ([D] “a first
draft for” [Cat. 34 ]; c. 1525 .). Goldscheider, 1951 , nos. 44
recto, 45 verso (Not forCascina. Datable in15 2 0s, per-
haps for a battle scene in the Sala di Costantino, which
Sebastiano was attempting to wrest from Raphael’s pupils;
sonnets probably connected with Clement VII.). Wilde,
1953 a,p. 8 ([Cats. 4 , 5 ] “more elaborate versions of the
right half” of W 3 /Corpus 36 .). Wilde, 1953 b,p. 74 ([D]
is “a more clearly defined variant of the right half of the
battle-scene in” BM W 3 /Corpus 36 .). Wilde, 1953 exh.,
no. 8 (c.15 0 6,probably forCascina.Sketch links with
BM W 3 /Corpus 36 and [Cat. 5 ].). Parker, 1956 ,no. 293
(About15 0 5forCascina. Battle sketch relates to BM W 3
recto/Corpus 36 and [Cat. 5 ]. Reports Goldscheider’s
connection of horse studies with a wax model of a horse
[ex-Volpi Collection] which he attributes to Michelan-
gelo.). Dussler, 1959 ,no. 191 (Recto: horse studies drawn
first. Battle sketch connected with BM W 3 /Corpus 36
and [Cat. 5 ] forCascina. Influence of Leonardo.). Girardi,
1960 / 1967 ,pp. 3 – 6 (Transcriptions of the poems.). Exh.
London, 1960 ,no. 531. Berenson, 1961 ,no.155 8 (As
1903 / 1938 .). Barocchi, 1962 ,p. 257. Gilbert, 1963 / 1970 ,
pp. 4 , 6 – 8 (Verse translations of the poems.). Barocchi,
1964 c,no. 14 (15 0 5seems most likely date. Transcrip-
tion of poems.). De Tolnay, 1964 e, col. 878 (Sketches for
cavalry battles; “It may be deduced that at the beginning
he tried to harmonise his composition with Leonardo’s
Battle of Anghiari;but he seems to have realised he could
not compete in this field, so he decided to confine him-self to the representation of nudes....In the last version
there appear to have been no horsemen, or, if there were,
they must have been in the background.”). Berti, 1965 ,
pp. 408 , 411 (Leonardesque in inspiration; forCascina.).
Goldscheider, 1965 , nos. 43 , 44 recto, 45 verso (As 1951 ;
“no definite proof that Michelangelo made any stud-
ies of horses and cavalry battles for...[Cascina]. Studies
linked...sonnet refers to Cardinal Giulio and cancella-
tion of San Lorenzo fac ̧ade.”). De Tolnay, 1965 / 1966 ,
pp. 506 , 515 (Study of a horse perhaps made in preparation
for a bronze handle of an ink stand, designed for the Duke
of Urbino in 1537. The script of the poems on the verso
suggests a date of c. 1525 and that of the poetical fragments
in the margins, c. 1537. The drawing perhaps related to
the wax model formerly in the Volpi Collection.). Sut-
ton, 1970 ,no. 12 (Summary of divergent views.). Hartt,
1971 ,no. 30 (Recto: “quiet body of a horse is studied as if
it were a human nude.” Link with BMW 3 /Corpus 36 .).
De Tolnay, 1972 ,pp. 70 – 1 (Battle scene not forCascina
butrelated to a design by Michelangelo for aConversion of
Saul, planned for the fac ̧ade of San Lorenzo, c. 1518 .). Gere
and Turner, 1975 ,no. 7 (The small battle scene connects
with BM W 3 /Corpus 36 and [Cat. 5 ]; the “static poses of
the larger-scale horses hardly suggest a connexion with
this spirited composition, unless they are studies made
from the life in preparation for representing horses in
movement.”). De Tolnay, 1975 ,Corpus I, no. 102 (Recto:
c. 1517 , connected with project for fac ̧ade of San Lorenzo.
Ve r so: right-hand column seems to be in handwriting of
c.15 0 6, the other writing c. 1515 – 20 .). Macandrew, 1980 ,
p. 264 (“The principal study on the rectowascopied
byAndrea Commodi on Uffizi186 22F.”). Joannides,
1981 b,p. 681 (For Cascina; influence of Leonardo.).
Hirst, 1988 ,p. 11 (“Michelangelo was here prepared to
follow Leonardo’s example in studying...[horses] from
life.”). Ryan, 1996 ,pp. 3 – 7 (Transcriptions, following
Girardi, and prose translations of the poems.); pp. 259 – 63
(Notes on the poems.). Ryan, 1998 ,pp. 43 – 5 (Discus-
sion of “Signor, se veroe.`...”). Perrig, 1999 ,p. 247 (By
Michelangelo; from via Mozza studio.).CATALOGUE 5A Combat Between a Cavalryman and Six Infantrymen
184 6. 40 ;R. 16 ;P.II 294 ; Corpus 103Dimensions: 179 × 251 mmMedium
Pen and iron gall ink, which has corroded the paper, with
and over black chalk; traces of stylus indentation.