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94 WHOLLY OR PARTIALLY AUTOGRAPH SHEETS CATALOGUE 8General References
Ottley, 1808 – 23 ,p. 29 (“[A] fragment, in my pos-
session, of four leaves of a small pocket sketch-
book,...containing the first thoughts for many of the
figures which we admire in the vault of the Sistine Chapel;
some of them hints taken hastily from nature in the streets
of Rome.”). Ottley sale, 1814 , lot 264 (“One–asheet
with two leaves of his sketch book containing pen stud-
ies on both sides, for the vault of the Capella Sistina –
most interesting. From the Buonarroti collection.”) and
lot 265 (“One – a sheet with two ditto, for ditto, ditto.”).
Lawrence Inventory, 1830 ,M.A.Buonaroti, Case 3 ,
Drawer 3 [ 1830 - 53 i, ii, iii, iv] (“A very interesting sheet
composed of Four Sheets from his Sketch Book con-
taining studies for the Sistine Chapel.”) [and 61 a,b,c,d]
(“A Sheet of four leaves of his Sketch Book contain-
ing designs for the Sistine Chapel and some words writ-
ten by himself.”). Woodburn, 1836 b,no. 2 (“Four leaves
of his pocket book – pasted together; on which he has
drawn several small figures, which have served for his
grand works in the Sistine Chapel. These first thoughts
are particularly interesting; they show the progress of his
method of art; slightly sketched from nature, merely as
atttitudes.”); no. 50 (“These finely executed sketches are
particularly interesting, as shewing from what trifling ori-
gin the finest work in the pictorial art was imagined.”).
The Athenaeum, 16 July 1836 (“ ‘Leaves from M. A.’s
Pocket Book’ for the cognoscenti.”). Woodburn,184 2,
no. 47 (As 1836 ,no. 2 .); no. 66 (As 1836 ,no. 50 .).
Fisher, 1852 ,p. 1 , pls. 1 – 9. Fisher, 1865 ,pp. 15 – 16 ,I,
pls. 1 – 9 .Robinson,187 0,pp. 28 – 31 (For details, see
individual entries.). Fisher,187 2,I,pp. 13 – 14 , pls. 2 – 10
(As 1852 .). Black, 1875 ,p. 214 , nos. 24 , 25. Gotti, 1875 ,
II, p. 222. Springer,187 8,pp. 115 – 16 (“Fragmente eines
Skizzenbuches. Acht kleine Blattchen.”). Fisher, ̈ 187 9,
XVI–XVII. Springer, 1883 ,I,p.15 9(As187 8.). Portheim,
188 9,p. 145 (Demonstrates that at this period Michelan-
gelo used pen for “die ersten entwurfe oder f ̈ ur die Bewe- ̈
gung der einzelnen Figuren.”). Berenson, 1903 ,I,p. 249
(“That they ever could have been attributed to the great
master, witnesses to a sad state of ignorance regarding his
manner and style as a draughtsman.”); nos. 1702 , 1703
(“These sketches are positively not Michelangelo’s, but
bysome pupil who naturally took up the master’s man-
nerisms and tricks of shorthand. It is conceivable that
some of these scrawls were made after Michelangelo’s own
sketches which would of course have been accessible to
the pupil...[but] the author may have entered Michelan-
gelo’s service just when the ceiling was finished, and, after
attaining to a certain mastery, been put for practice inrapid dawing to make these hasty notes after the fres-
coes. The sketch book...must have been given to his
apprentice by Michelangelo himself, for” there are two
inscriptions in his hand. The pupil may have been Sil-
vio Falconi, mentioned on [Cat. 11 recto].). Steinmann,
1905 , II, pp. 603 – 4 (Notes Berenson’s rejection; chalk
work by Michelangelo, penwork by a pupil.). K. Frey,
1909 – 11 , under nos. 151 – 4 ,p. 74 (“Von Michelangelo
nun konnen diese Zeichnungen nicht stammen; daf ̈ ur ̈
sind sie zu geringwertig.” But “stehen die skizzen in
unmittelbarer Beziehung zu Michelangiolo, schon der
Schrift halber.” Done by an associate after whatever
drawings by Michelangelo lay before him. Perhaps, but
not certainly Silvio Falconi.). Thode, 1913 ,pp. 184 – 9
(Opposes Berenson’s dismissal and Frey’s doubts. All are
autograph sketches by Michelangelo, primarily for the
lunettes. “Die Skizzen verrathen in keinerlei Weise di
Hand eines ungeubten Sch ̈ ulers ̈ ...sondern die eines
sehr geistreichen, mit wenigsten Strichen Bewegungsmo-
tive charackteristisch verdeutlichenden Kunstlers, eine ̈
Meisterhand.”). Popp, 1925 a,p. 27 (Probably by Silvio
Falconi, who is also responsible for the ex-Wauters draw-
ing [K. Frey, 1909 – 11 ,no. 249 arecto; pen and ink,
220 × 160 mm], and the verso of the study for the
MinervaChrist/Corpus 94 .). Baumgart, 1935 a,p.34 9
(All by Daniele da Volterra.). Berenson, 1938 ,I,p. 252 ,
nos. 1702 , 1703 (As 1903 .). Delacre, 1938 , 121 – 4 (Cri-
tique of the dismissal of these drawings by Berenson and
Frey. Obervations on their qualities and the differences
between them and the frescoes. “La grandeur d’un dessin
ne se juge pasasadimension et ces` ...croquis micro-
scopique sont reellement grands.”). De Tolnay, ́ 1945 ,
pp. 214 – 15 ,no. 28 A (The inscriptions by Michelangelo
are in his handwriting of the15 2 0s; that on [Cat. 11
recto] is by a pupil, probably Silvio Falconi who joined
Michelangelo only after the completion of the Sistine
ceiling. Two different hands discernible but even the
drawings of higher quality – those in chalk – are copies
after, not studies for the lunettes.). Wilde, 1953 exh.,
nos. 19 , 22 (“All [these sheets] contain studies for fig-
ures in the Sistine ceiling.”). Dussler, 1959 ,pp. 276 – 7
(All rejected. No logic to organisation of drawings: “es
fehlt ihm eine bestimmte Vorstellung der Korperstruktur, ̈
der plastischen Formierung, er ist unsicher im Propor-
tionalen und in den Verkurzungen.” Done in Michelan- ̈
gelo’s workshop and with annotations by him, but no
corrections “die Skizzen stammen voneinerHand.” Sil-
vio Falconi a possibility, but disagrees with Popp’s and
Baumgart’s suggestions.). Berenson, 1961 ,nos. 1702 ,
1703 (As 1903 , 1938 ,but with detailed account of the