P 1 : KsF
0521551331 c 01 b CUNY 160 /Joannides 052155 133 1 January 11 , 2007 6 : 36
CATALOGUE 18 WHOLLY OR PARTIALLY AUTOGRAPH SHEETS 125(Pen sketches prepare the LouvreSlaves. Red chalk sketch
interpreted as a study for a figure on the platform of the
tomb. Pen sketches reproduced on p. 507 .). Fisher,187 9,
XV/ 12 (Studies for Julius Tomb, c.15 0 6.). Springer, 1883 ,
II, pp. 25 – 7 (As187 8; pen sketches reproduced on p. 25 .).
Portheim,188 9,p. 148 (“Ausgangspunkt zur Erkennt-
niss des Echten und zweifellos Entwurfe des Meisters.”). ̈
Morelli,18 91– 2 , col. 544 (Ech.). Justi, 1900 ,p. 224 (Slave
motifs more energetic in contrast with Florence drawing;
[C] and [G] related to LouvreSlaves.). Berenson, 1903 ,I,
pp. 183 – 4 , 187 ,no.15 6 2 (Recto: may “bear witness to
a suspension of work on the Ceiling at the moment
thatLibicawastobepainted” when Michelangelo turned
back to the tomb. “Originally...[the slaves] perhaps had
no allegorical intentions” and “in15 0 5...[they] would
have been less restless...less charged.” The Slave draw-
ings demonstrate the inauthenticity of the full herms on
the “wretched drawings” in Berlin [153 0 5recto/Corpus
55 and Florence 608 Erecto/B 244 /Corpus 56 ]but that
these “knob-heads” should be introduced “on pilasters
is an ingenuity of bad taste, of which I should be will-
ing to accuse Michelangelo only on convincing proof.”).
Colvin, 1903 ,I,no. 6 (Recto: life study for theputto
accompaningLibicaand her right hand, no doubt of151 0–
11 ; the small-scale sketches for slaves probably made at
the same period, during the break in work on the ceil-
ing.). Steinmann, 1905 , II, pp. 419 , 601 ,no. 44 (Recto:
Michelangelo, for left hand ofLibica[B] and accompany-
ingputto[A]; pen studies for Julius Tomb.). Mackowsky,
1908 (and subsequent editions), pp. 248 – 9 (Recto: pen
sketches for slaves “Hier sieht man den Keim, aus dem sich
das m ̈achtige Gew ̈achs seiner marmorstatuen entwick-
elt hat.” Red chalk study demonstrates “neue malerische
Art des Zeichens.” Importance of Leonardo’s influence.).
Thode, 1908 ,I,pp. 151 – 2 ,no. 254 (Recto: [A] forputto
next toLibica; [C] forRebellious Slave, [G] resembles slave
second from right on Berlinmodello; [H] resembles slave
second from left on Berlinmodello. These sketches con-
tradict Berenson’s conviction that Michelangelo would
not have placed figures before herm pilasters.). K. Frey,
1909 – 11 ,no. 3 (Recto: intimately related to Metropoli-
tan drawing, 24. 197. 2 /BT 131 /Corpus15 6, done shortly
before the fresco. The slave studies placed last on the
paper important for the development of the Julius Tomb.
They relate to the 1513 project but only [C] certainly for
an executed statue: theRebellious Slave.); no.15 6(Verso:
[B] for theRebellious Slave, [A] for the same figure as
recto [H].). Thode, 1913 ,no. 407 (Recto: as 1908 .Verso:
[B] for the legs of theRebellious Slave, [A] for theDying
Slave.). Zoff, 1923 , pl. 29 (Recto). Brinckmann, 1925 ,
no. 33 (Linked with MMA 24. 197. 2 /Corpus15 6; pensketches somewhat later.). Burroughs, 1925 ,pp. 10 – 12
(Recto: main study and MMA 24. 197. 2 /BT 131 /Corpus
15 6probably “done at one sitting.”). Venturi, 1926 ,p. 56 ,
pl. CLXIV. De Tolnay, 1928 a,pp. 78 – 80 (Recto: three
pairs of slaves. [C and H] for, respectively, the left and
right pilasters of the front face of the tomb. [D and G]
for, respectively, the nearest pilasters to the front on the
left and right side faces of the tomb. [E and F] for, respec-
tively, the pilasters abutting the church wall of, respec-
tively, the left and right side faces of the tomb.). Popham,
1930 b, pl. 7 (Recto: main study must have been drawn
at the same time as MMA 24. 197. 2 /BT 131 /Corpus15 6;
but subsidiary drawings probably were drawn some years
later.). Popham, 1930 a,no. 511 .Popham, 1931 ,no. 213.
Berenson, 1938 ,I,pp. 198 , 200 – 1 ,no.15 6 2(Slaves shown
here were probably quieter in15 0 5; modifies strictures of
1903 on the herm-pilasters.). Delacre, 1938 ,pp. 328 – 9 ,
482 – 3 (“Magnifique dessin” for the putto accompanying
Libica; and Julius Tomb slaves and cornice.). Bertini, 1942
[ed. 1983 ], p. 110. Laux, 1943 ,pp. 43 , 73 – 4 , 77 , 80 , 415
(Slave sketches must antedatemodelloin Berlin. Difficulty
of attaching them to specific positions on the tomb. [E]
only apparently similar toYoung Slavein the Accademia;
embryonic conception ofAwakening Slavefound in [G],
which also leads to the New SacristyDay.Some similari-
ties suggested between sketches and the earlyignudion the
Sistine ceiling.). De Tolnay, 1945 ,pp. 61 – 2 , 204 – 5 ,no. 47
(Michelangelo made a careful study of a slender tall mus-
cular youth, which he transformed into the fleshy body of
a child. To emphasizeLibicathe artist was constrained to
reduce the rhythm in thespiritello.). Popham and Wilde,
1949 ,no. 785 (Pupini copy identified.). Goldscheider,
1951 ,no. 32 (Recto: whole drawing may date from151 2.).
De Tolnay, 1951 ,pp. 110 , 295 (151 2– 13 ; slave sketches, as
1929 .). Janson, 1952 ,pp.31 9– 20 (“Michelangelo may well
have considered...converting the ‘Slaves’ into subdued
provinces...; this would explain why...[C]...shows a
figure [presumably theRebellious Slave]wearing a hel-
met and accompanied by a piece of armour....[T]hese
sketches must have been made either shortly before or
shortly after the death of the Pontiff. In any event, the
notion of adding trophies in the form of armour to
the ‘Slaves’ seems to have been purely a tentative one,
for the other ‘Slaves’ on...[Cat. 18 ]aresimple nudes
without attributes of any sort.”). Wilde, 1953 a,pp. 7 , 28
(Slave studies, 1513 .). Wilde, 1953 exh., no. 18 ( 1511 – 12.
Hand for the left hand ofLibica; pen drawings for cor-
nice and slaves of Julius Tomb, [C] corresponds closely
toRebellious Slave.). De Tolnay, 1954 ,p. 34 (Slaves much
developed from the “relatively calm and delicate slaves of
15 0 5.” All intended for the six corner pilasters of the 1513