P 1 : KsF
0521551331 c 01 CUNY 160 /Joannides 052155 133 1 January 10 , 2007 22 : 22
80 WHOLLY OR PARTIALLY AUTOGRAPH SHEETS CATALOGUE 5(“[O]ne of Michelangelo’s most spontaneous and brilliant
drawings...[impossible] without the impulse given by
Leonardo.” Probably for Cascina but possibly for a
Sistine medallion.). Thode, 1908 ,I,p. 101 (ForCascina.).
K. Frey, 1909 – 11 ,no. 132 (ForCascina;pyramidal compo-
sition characteristic of Florentine pictorial organisation.).
Thode, 1913 ,no. 400 (ForCascina,but uncertain where
it was to be placed; technical influence of Leonardo.).
Popp, 1922 ,pp. 98 , 15 9– 62 (c. 153 0, follows from
[Cat. 4 D]. “Aus dem Reiterangriff, den eruber dem ̈
Giuliano-grabmal geplant hatte, macht er einen Angriff
der Schlangen auf des israelitisiche Volk,” in upper sec-
tion of [Cat. 34 ].). Zoff, 1923 , pl. 21. Baumgart, 1937 ,
pp. 5 – 6 (Follows the right-hand half of BM W 3 /Corpus
36 and [Cat. 4 D]. These drawings raise the question of
how they were to be related to the Bathers.). Beren-
son, 1938 ,I,p. 193 ,no.155 6(As 1903 .). Bertini, 1942
[ed. 1983 ], pp. 42 – 3 (“la mischia confusa...in cui
il tratteggio a penna crea un effetto di sgorbio o di
macchia quasi informe, ma dall’informe massa erompe
l’impressione travolgente di un impeto vorticoso...e`
evidente il...stimolo leonardesco.”). De Tolnay, 1948 ,
p. 218 ,no. 106 (Developed from [Cat. 4 ], c. 1525. Related
in spirit to [Cat. 34 ], for Medici Chapel lunettes.). Gold-
scheider, 1951 ,no. 46 (Not forCascina. Datable in15 2 0s,
perhaps for a battle in the Sala di Costantino, a commis-
sion Sebastiano was attempting to wrest from Raphael’s
pupils.). Wilde, 1953 a,p. 8 (“[M]ore elaborate version of
the right half of BM W 3 /Corpus 36 .”). Wilde, 1953 b,
p. 74 (“Michelangelo’s nearest approach to the world
of forms contained in Leonardo’sAnghiaristudies. The
rider and the two foot-soldiers on the right may have
been borrowed from them; the one fallen on his back
with his left leg stretched upwards is...found in three
variants on...Venice [Inv. 214 ; pen and ink over black
chalk, 87 ×15 2mm]....[T]he violence of the fighting
is truly Leonardesque. In this and the fullness of plastic
effect the group equals theFight for the Standard.Yet...the
arrangement of forms follows the principle...underlying
Michelangelo’s inventions: on the sides forms which are
close to an imaginary ground-plane; between them an
articulate mass of bulging but continuous convexity, with
avertical axis or strong accent (the horse’s neck and head)
in the centre. The square block within which the limits of
which this extreme example of high relief has been con-
ceived is tangible.”). Wilde, 1953 exh., no. 10 (c.15 0 6,
probably forCascina.). Parker, 1956 , II, no. 294 (For
Cascina;developed from the composition lightly sketched
on [Cat. 4 ].). Dussler, 1959 ,no. 190 (c.15 0 5. Linked with
BM W 3 /Corpus 36 and [Cat. 4 ], certainly forCascina.
Disagrees with Popp’s dating, notes that she acceptedan early date for W 3 ; disagrees also with Goldscheider’s
suggestion.). Berenson, 1961 ,no.155 6(As 1903 / 1938 .).
Barocchi, 1962 ,p. 18 (Similarities to CB 23 F/B 9 /Corpus
29 , forDoni Tondo.). Brugnoli, 1964 ,no. 15 (ForCascina;
inspiration of Leonardo’sBattle of Anghiari.). Barocchi,
1964 c,no. 13 (15 0 5seems most likely date. Inscription
in the hand of Michelangelo the Younger.). 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’sBattle of Anghiari;buthe
seems to have realised he could not compete in this field,
so he decided to confine himself 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 (ForCascina.
Follows from BM W 3 /Corpus 36 .). Goldscheider, 1965 ,
no. 46 (As 1951 .). Keller, 1966 , II, p. 8 (ForCascina.). For-
lani Tempesti, 1970 ,no.XII (ForCascina.). Hartt, 1971 ,
no. 31 (15 0 4.“One of the most powerful battle scenes
in Western art.” Probably forCascina;developed from
W 3 /Corpus 36 and [Cat. 4 ].). De Tolnay, 1972 ,pp. 70 – 1
(Battle scene not forCascinabutrelated to a design by
Michelangelo for aConversion of Saul, planned for the
fac ̧ade of San Lorenzo, c. 1518 .). Gere and Turner, 1975 ,
no. 9 (“Probably connected with...Cascina.”). Keller,
1975 ,no. 22 (For Cascina, shortly before November
15 0 4.). De Tolnay, Corpus I, 1975 ,no. 103 (c. 1517 :ACon-
version of Saint PaulorExpulsion of Heliodorusfor the fac ̧ade
of San Lorenzo.). Keller, 1976 ,fig.15 0 (For Cascina,
shortly before November15 0 4.). Joannides, 1981 b,p. 681
(ForCascina; influence of Leonardo.). Lamarche-Vadel,
1981 ,p. 27 ,no. 27 (ForCascina,15 0 4.). De Vecchi, 1984 ,
pl. 10 (ForCascina.). Hirst, 1986 a,p. 48 (“[U]n idea
per un elemento in distanza o di secondaria importanza
nelle scena;eilarghi tratti ‘astratti’ a penna, anticipano
le larghe pennellate della distante figura di Noe” [in the
Drunkenness of Noah].). Hirst, 1988 ,p. 45 (ForCascina.
“could have been made before he left Florence...in
the spring of15 0 5....Or they may date from after his
return, nearly a year later.” This sheet “takes up a theme
sketched in...[Cat. 4 ].” “made for a part of the fresco
of secondary importance, for figures substantially distant
from the front plane...this fact explains its impression-
ist appearance.”). Hirst, 1988 – 9 a, 1988 – 9 b, no. 8 (As
1988. This episode was probably situated to the right.
Significance of differential definition in Michelangelo’s
painting.). Perrig, 1999 ,p. 247 (By Michelangelo; from
via Mozza studio.). Franklin, 2001 ,p. 69 (“[C]learly
intended for a different part of the image – the artist’s
only formal concession to Leonardo relegated to the deep
background.”).