P 1 : KsF
0521551331 c 01 a CUNY 160 /Joannides 052155 133 1 January 10 , 2007 22 : 25
CATALOGUE 11 WHOLLY OR PARTIALLY AUTOGRAPH SHEETS 103This seems to have been drawn in preparation for anignudo,
butitwas not used in a recognisably connected form on the
vault. It does, however, possess the energy of the laterignudi.It
appears to have been drawn after H.
F. Seated figure seen frontally, turning round to his left.
This might have been drawn in preparation for anignudo,butit
could also be a first idea for the figure at the left of thePhares-
Esron-Aramstudied on a larger scale, and probably from life, on
Cat. 16 recto.
G.Aseated figure in right profile with the left arm
stretched out
This is presumably a revision of C.
H.God the Father Separating Light from Darkness, upper
torso.
I.God the Father separating Light from Darkness, upper
torso, more lightly sketched.
It seems probable that the three sketches forGod the Father Sep-
arating Light from Darknesswere made before the other drawings
on this page.Verso
A.Areclining nude figure, in foreshortening, turned to
right and reaching upwards and backwards, in pen.
The purpose of this figure is uncertain. Seen in strong foreshort-
ening and in a complex, sensuous, pose, it is immediately remi-
niscent of Eve in theFall.However,theFallwaspart of the first
campaign, and no other sketch in this series of drawings ante-
dates the second campaign, so this figure presumably reprises
rather than prepares the Eve. Robinson and others thought of
it either as a sketch for theGod the Father Separating Light from
Darknessor asGod the Father Moving Above the Waters,butnei-
ther view appears tenable to the compiler. The pose also seems
improbable for an Ancestor or for a Sibyl – although it is identi-
fied by Hirst as a sketch forLibica– and, if it must be connected
with an executed fresco, it is more likely to be for one of the
stricken in theBrazen Serpent,which does contain female figures
in complex poses.
B.Perhaps a modification of the head position of D,
in pen.
C.(Located immediately below B.) Detail of the head
and upper arm of A, in pen.
D. Seated figure seen frontally, with legs spread, leaning
backwards to his right, in pen.
This is clearly an idea forIonas, the figure in the vault brought
into closest proximity with God the Father in theGod the Father
Separating Light from Darkness.
E.Seated figure in right profile, left leg raised and bent
at the knee and left arm brought across chest, in pen.
This figure is probably a first idea for anignudo,whichwas
not pursued further on the vault. It anticipates, in reverse, the
reclining youth in theDream of Human Life, datable c.153 0.It
is interpreted by Winner, 1994 ,asafirst idea forIonas,butthe
compiler does not find this convincing.
F. Seated figure seen from the front, leaning to his left
with head resting on his hands, in black chalk.This large sketch, which was no doubt the first to be made on
this side of the sheet, clearly prepares the Ancestor at the left of
thePhares-Esron-Aramlunette, the left-hand lunette on the altar
wall, destroyed in the153 0stomake way for theLast Judgement
and known from engravings. It was developed in reverse from
the sketch on Cat. 13 versoD,which was further developed, in
the same direction, on Cat. 15 recto A.
G.Anude figure in profile to left, his right leg raised and
bent at the knee, and his back turned inwards, in pen.
This figure, which is clearly standing rather than seated, may
nevertheless be a preliminary idea for theignudoto the right
aboveLibica.Thissketchor, morelikely, a drawing devel-
oped from it, seems to have inspired, in reverse, a draw-
ing by Bandinelli in the British Museum ( 1946 - 7 - 13 - 268
recto/Ward, 1988 ,no. 35 recto; red chalk 404 × 277 mm).
Although placed by Ward in the15 4 0s, the compiler is inclined
to think that Bandinelli’s sketch was made shortly after the
time of his closest association with Michelangelo, in the
15 2 0s.
H.(Located to the right of G.) A light sketch of the upper
part of G, in pen.
I. (Located immediately below and to the right of G.) A
light sketch of the upper part of G, in pen.
J. A seated nude figure in profile to the right, turned
outwards toward the viewer, his right leg folded over his
left knee.
This may be a preliminary idea for theignudoto the right above
Hieremias.Alternatively, it may prepare an Ancestor.
K.Standing figure seen frontally (lightly outlined); this
may have been intended for a figure in theHamanpen-
dentive.Copies
The recto was etched in facsimile in Ottley, 1808 – 23 ,
p. 30 , 148 × 153 mm. This etching is undated and un-
signed.References
Ottley, 1808 – 23 ,pp. 29 – 30 (Recto etched in facsimile.
“[T]hree sketches for the outline representation of the
Almighty disentangling Chaos, and two design for the
admired figure of the female winding thread [one of them
as executed in the fresco] which is painted in the com-
partment under...Daniel.”). Woodburn, 1836 b, included
in no. 50. Fisher, 1852 ,p. 1 , pl. 8 , left (Recto.); pl. 9 ,
right (Verso.). Fisher, 1865 ,p. 16 ,I,pl. 8 , left (Recto.);
pl. 9 ,right (Verso.). Robinson,187 0,no. 24. 3 (Michel
Angelo. Recto: same identifications as Ottley: [D, H, I]
for “the Almighty disentangling chaos.” [C] for the Jesse
lunette. Verso: larger sketch [F] for figure now destroyed
painted underIonas;twoof the others [D and E?] “seem
to be very rudimentary sketches for...Ionas”[A]“in all