P 1 : KsF
0521551331 c 01 CUNY 160 /Joannides 052155 133 1 January 10 , 2007 22 : 22
CATALOGUE 5 WHOLLY OR PARTIALLY AUTOGRAPH SHEETS 79proved. It might, for example, be argued that Michelan-
gelo volunteered to take over theBattle of Anghiarias
well when it became evident that Leonardo would not
proceed. Such an argument might be reinforced by
repeating the observation made by Clark (see Clark and
Pedretti, 1969 ,p. 34 ) that the foremost horse and rider
on the British Museum drawing – and indeed some
other sketches on Michelangelo’s sheet – is very similar
in form to a group on a drawing by Leonardo in the
Royal Collection at Windsor Castle ( 12340 /CP p. 34 ;red
chalk, 168 × 240 mm). It could also be argued that these
drawings copy groups conceived by Leonardo, but this,
while not impossible, seems improbable. It could hardly
be denied, however, that the group reflects Leonardo’s
influence.
Adating of the British Museum sketch to around
15 0 4seems secure because it is surmounted by a drawing
intended for one of the Duomo Apostles – probably Saint
John the Evangelist – commissioned from him in April
1503. This sketch shows a clash between two sets of caval-
rymen, with two pairs on each side, a fallen man and horse
on the left, and several infantrymen attempting to engage
with the far right-hand horseman. This group, although
verylightly sketched, contains a figure running forward,
worked out more fully in Cat. 4 and the present draw-
ing, and re-used some twenty-five years later in Cat. 34
recto. The pose of the rider here, incidentally, may reflect
knowledge of the same antique to which Michelangelo
referred in Cat. 7 : theDiscobolus.
As in Cat. 4 ,the head of the horse is no more than out-
lined, but its terrified twist to the right is clearly conveyed
and highly expressive, demonstrating Michelangelo’s
command of animal as well as human body-language.Drawn Copies
1. A copy in black chalk and charcoal with touches of
red chalk, is in the Accademia, Venice (Inv. 78 /Valenti
Rodino,` 1989 ,no. 2 ; 210 × 228 mm). This bears on its
verso the number 1663 (probably an inventory number
rather than a date), and a nineteenth-century inscription,
probably by Bossi,Siciolante da Sermoneta, which is clearly
incorrect. Valenti Rodino suggests that it is by a sixteenth-`
century artist not far from Naldini, which seems plausible
to the compiler. Some details of the figures are clearer in
the copy than they now are in the original, and it also
includes, at the right edge, the head of another horse not
(or not now) found in the original.
2. Two partial copies of sections of this composition were
made by Sir Edward Burne-Jones in186 6– 7 ,onfols. 40
verso and 41 recto of his sketchbook in the FitzwilliamMuseum, Cambridge, 1070 - 2 (see Østermark-Johansen,
1998 ,pp. 122 , 124 , fig. 30 ).History
Parker gives the provenance as Casa Buonarroti, pre-
sumably in the belief that the inscription was made by
Michelangelo the Younger, but no other evidence sub-
stantiates such a provenance, which is not followed by
any later writer. It is possible, but far from certain, that
this drawing isUn Viluppo de cavallinibyMichelangelo,
recorded in the posthumous inventory of Antonio Tron-
sarelli in 1601 as A 50 , with no mention of medium. If
so, then 1601 would be either aterminus post quemfor the
entry of the drawing into the collections of theBuona
RotaCollector and the Irregular Numbering Collector,
or aterminus ante quemfor the dispersal of the collections
of theBuona RotaCollector and the Irregular Number-
ing Collector; William Young Ottley (his sale, 6 June
1814 , etc., lot 1759 , “One – a masterly pen sketch for
a battle or skirmish intended perhaps for the same car-
toon [as Cat. 7 ]–veryfine.” £ 9. 9. 0 .) [In contrast with
the immediately preceding drawing lot 1958 [Cat. 4 ], no
provenance is given.]; Samuel Woodburn; Sir Thomas
Lawrence (L. 2445 ); Samuel Woodburn.References
Ottley, 1808 – 23 ,p. 27 n (“There exists no doubt in my
mind as to the introduction of these groups [of cavalry-
men] in the background; though I consider them to have
been represented at a great distance, and consequently
in figures of very small dimensions. I possess, indeed,
two slight pen sketches which I have always been con-
vinced were made by Michelangiolo for this part of the
work. The one [Cat. 5 ]; the other [Cat. 7 ]askirmish
between two small bodies of cavaliers.”). Ottley sale, 6
June 1814 , etc., lot 1759 (“One–amasterly pen sketch
for a battle or skirmish intended perhaps for the same car-
toon [as Cat. 7 ]–very fine”.£ 9. 9. 0 .). Lawrence Inven-
tory, 1830 ,M.A.Buonaroti Case 3 , Drawer 3 [ 1830 - 106 ]
(“An idea for the Fighting of the Standard differently
composed to that of L. da Vinci.”?). Woodburn,184 2,
no. 10 (“Warriors fighting, for the Cartoon...also the
Conversion of Saint Paul....From the Collection of
W.Y. Ottley Esq.”). Woodburn,184 6,no. 23 (As184 2.).
Robinson,187 0,no. 16 (Michel Angelo. Probably for
Cascina; linked with “the smaller and still more rudi-
mentary sketch of fighting soldiers on [Cat. 4 ].).” Black,
1875 ,p. 213 ,no. 16. Gotti, 1875 ,II,p. 231. Fisher,
187 9,p. 4 , pl. 12 (Probably forCascina.). K. Frey, 1897 ,
p. 305 (Cascinaincluded cavalrymen; drawings done in
second half of15 0 4.). Berenson, 1903 ,I,p. 177 ,no.155 6