P 1 : KsF
0521551331 c 01 CUNY 160 /Joannides 052155 133 1 January 10 , 2007 22 : 22
CATALOGUES 7–8 WHOLLY OR PARTIALLY AUTOGRAPH SHEETS 87the influence of nature.). Brinckmann, 1925 ,no. 7 (Verso:
Rejects Panofsky’s link withDiscobolus.). Popp, 1925 a,
p. 74 (Recto: “echt.” Verso: questionable; the horse type
is of the mid-sixteen century, various examples cited.).
It. exh., 1930 ,no. 519 .Popham, 1931 ,no. 210 (Verso:
forCascina.). Baumgart, 1937 ,p. 131 (Verso: Daniele da
Volterra.). Berenson, 1938 ,I,pp. 193 – 4 ,no.155 9 (As
1903 ;CB 9 Fverso/B 5 /Corpus 40 is a copy of torso.).
Delacre, 1938 ,p. 533. Bertini, 1942 [ed. 1983 ], p. 43
(Verso: typical of example of broader style “dal quale
resulta un effetto piu fluido e morbido.”). De Tolnay, ́
1943 ,p. 188 , nos. 27 , 28 (Recto and verso: copies; cites
Panofsky onDiscobolusmotif.). Goldscheider, 1951 ,p. 29
(Recto and verso: copies after Michelangelo.). Wilde,
1953 a,p. 8 (“[F]or a third group, representing the assem-
blyofthe Florentine cavalry.”). Wilde, 1953 exh., no. 11
(Verso scene no doubt forCascina; “Cf. also the figure
in the back row of [the Holkham grisaille].”). Parker,
1956 ,no. 296 (Both sides authentic, forCascina.CB 9 F
verso/B 5 /Corpus 40 also autograph. Inscription identi-
fied as Gibson’s.). Dussler, 1959 ,no.34 4(Verso: developed
from CB 9 Fverso/B 5 /Corpus 40. Questionable attribu-
tion but not by Daniele; uncertain which version ofDis-
cobolusMichelangelo might have seen.). Berenson, 1961 ,
no.155 9(As 1903 / 1938 .). Barocchi, 1962 ,p. 11 (Verso:
prepared by CB 9 Fverso/B 5 /Corpus 40 .). Barocchi,
1964 b,p. 8 (As 1962 .). Berti, 1965 ,pp. 406 , 410 – 11
(Both sides authentic, forCascina.Verso: style developed
from CB 73 F/B 6 /Corpus 49 ;relation toDiscobolusnoted
byPanofsky. Reminiscences ofBattle of Centaurs.). Gold-
scheider, 1965 ,no. 23 (Verso: “I am convinced now that
myformer doubts were not justified.” Recto: developed
from CB 9 F/B 5 /Corpus 40 .). Hartt, 1971 ,no. 35 (Recto:
15 0 4, “apparently from a nude model but possibly after a
piece of ancient sculpture.”); no. 32 (Verso:15 0 4.Prob-
ably for the upper left side ofCascina.). Salvini, 1971 ,
p. 142 .DeTolnay, 1975 , Corpus I, no. 41 (Recto: devel-
opment of CB 9 Fverso/B 5 /Corpus 40 :Probably for
Cascina.Proportions of horse Uccellesque.). Lamarche-
Vadel, 1981 ,p. 27 ,no. 29 (ForCascina,15 0 4.). Sisi, 1988 ,
no. 43 (Recto: probably for the group of horsemen ready
to “ ‘cominciare la zuffa’ ricordato dal Vasari.”); no. 52
(Verso: developed from CB 9 F/B 5 /Corpus 40 .). Perrig,
1991 ,p. 147 (By Cellini.).CATALOGUE 8Recto [formerly verso]: Drapery Study; An Inscription
Ve rso [formerly recto]: Head of a Laughing Boy
184 6. 121 ;R. 39 ;P.II 42 (recto) and 375 (verso); Corpus 7
Dimensions: 204 ×15 6mmMedium
Recto: Pen and ink.
Ve r so: Red chalk.Condition
Double-sided solid museum mount.
Recto: There is vertical cockling. There are various
historic repairs such as filled losses, some of which have
been toned. There is brown-black staining along the left
edge.
Ve r so: There is skinning at the top and bottom edges,
and staining near the centre of the top edge. There is
a horizontal tear between the eyebrows. Show-through
from the recto is visible.Inscription with the right edge as base
Recto: In Michelangelo’s hand[i]n se [...]neduco
(?) in chasa circha sei d`ıin ̃azi e navevo d(ato) [du]chati
eunterzo allodovicho assectigniano di grossi di ra[agione]
a mo(n)agniola sopra decta grossoni v ̃eti nove p(er) ch ̃oto di suo
salarioDiscussion
This, among the most problematic sheets in the Ash-
molean’s run of drawings attributed to Michelangelo,
has elicited radically different opinions from the schol-
ars who have discussed it. What has not been doubted
is that the inscription on the recto is in Michelan-
gelo’s hand and is datable 15 2 3– 4. The provenance
from Casa Buonarroti, which there is no reason to
query, implies that the sheet remained in Michelangelo’s
possession.
Parker, followed in 1968 byDegenhart and Schmitt,
gave the drapery study in pen on the recto to Jacopo
della Quercia (136 7– 1438 ), a view questioned by Gardner,
1972 .Very few pen drawings can plausibly be attributed to
Jacopo (for a survey of these, see Degenhart and Schmitt,
1968 ). The compiler is reluctant to discount the views
of scholars of such expertise, but he cannot see that it
is by the same hand as those, although he would admit
that it is not violently incompatible with them. In prin-
ciple, the recto drawing could be by another artist of
Jacopo’s generation; Michelangelo did on occasion use
old paper, as Louvre Inv. 685 /J 16 /Corpus 26 (pen and
ink, corrected in black chalk, 324 × 260 mm) demon-
strates, but that was a century-old page from an account
book that had descended in his family. It was not a draw-
ing by a quattrocento master whose only plausible rea-
son for preservation was precisely that it was a drawing
bya quattrocento master and next to which, one hopes,
Michelangelo would not casually have jotted down an