P 1 : KsF
0521551331 c 01 b CUNY 160 /Joannides 052155 133 1 January 11 , 2007 6 : 36
15 2 WHOLLY OR PARTIALLY AUTOGRAPH SHEETS CATALOGUES 25–26(Recto: study for tomb of one of Medici Popes; elab-
orated in CB 52 A/Corpus 188 .). De Tolnay, 1976 , Cor-
pus II, no. 187 (Recto: Studio of Michelangelo, proba-
bly for a papal tomb; inscription not autograph. Verso:
probably autograph, female figure for a flanking allegory
on a ducal tomb, pairing clay model in Casa Buonar-
roti.). Nova, 1984 , pl. 23 (Studies for a tomb.). Ackerman
and Newman, 1986 ,p. 299 (As 1964 .). Contardi, 1990 ,
p. 184 (Recto: Michelangelo: with CB 52 A/Corpus 188 ,
for a papal tomb in one of thelavamani.). Perrig, 1999 ,
p. 224 (By Michelangelo,15 2 0s, probably from via Mozza
studio.).CATALOGUE 26Recto: A Recumbent Male Figure in Profile to Right
Ve r so: Partial Tracing of Recto Drawing (Unseen)
184 6. 56 ;R. 7 ;P.II31 0; Corpus 212Dimensions: 176 × 270 mmMedium
Black chalk.Condition
The upper and lower right corners are irregular and worn.
There is skinning, with some repair, extensive, uneven
discolouration, and patches of staining. The primary sup-
port is drummed by four edges to the backboard of the
mount, so the verso is not visible.Inscriptions
Recto: With the right edge as the base:di Michel Angelo
bfollowed by other indecipherable letters (no doubt an
abbreviation of Buonarroti). The placing of this and the
Reynolds stamp suggest that the drawing was then inter-
preted as a kneeling figure.
Ve r so: Old numbering (by the Irregular Numbering
Collector?):n◦ 37.Discussion
The outline of a head, drawn with the upper edge as base,
appears at the top right, probably by a pupil. This study, no
doubt made from a mature and muscular male model, was
drawn in preparation for the figure ofDay, the first of the
Allegories to be carved for the ducal tombs. It has often
been pointed out that theDayandNighton the tomb of
Duke Giuliano, unlikeDawnandEveningon that of Duke
Lorenzo, do not acknowledge the curve of the sarcoph-agus on which they are placed, and various explanations
have been proposed for this. However, from the moment
he finalised the design of the ducal tombs in late15 2 0,
Michelangelo, as seen in hismodellofor the tomb of Giu-
liano in the Louvre (Inv. 838 /J 27 /Corpus 186 ,brush and
wash over black chalk and stylus indentation, 321 × 205
mm), had planned the wrap-around effect. In the Louvre
modello, the forms ofDayandNightare congruent with
those ofDawnandEveningand different from the figures
finally carved. Wilde ( 1954 )provided a convincing expla-
nation of this difference. It seems that when the blocks
for these figures arrived in Florence in15 2 4,Michelan-
gelo found them unsatisfactory and, in order to avoid
further delays on the project, decided to employ blocks
not expressly excavated for the tomb. Aricordosurvives
for the transport of a block from Michelangelo’s studio in
via Mozza to San Lorenzo on 27 October15 2 4, which
Michelangelo specifically noted would serve him for one
of the reclining figures, and it was probably from this
block, ordered for some other project, that either the
Dayor theNightwas carved. It is unclear whether the
block employed by Michelangelo had been excavated for
the Julius Tomb or for the fac ̧ade of San Lorenzo.
Compelled to use shorter, more rectangular blocks
than he had envisaged, Michelangelo devised for them
an expressive range different from the smooth, sinuous
effect that he had planned. In the present drawing, and in
others that he made at the same time, he simultaneously
sketched out revised poses and created a more aggressively
plastic figure style, like that of the AccademiaPrigioni.
Characteristic of these drawings is the indication of rub-
bery convexities of form, and the enlivening of the sur-
faces with vibrating strokes. Wilde suggests that this and
companion drawings both in pen and ink and chalk for
theDayandNightweremade after the live model and
examination of them supports his view: Among the other
black chalk studies for theDayin this series are Cat. 27
and the following:1. London, BM W 46 verso/Corpus 214 ; 275 ×35 9mm,
studies for the back of theDay.
2. Haarlem, Teyler Museum A 36 recto/VT 57 /Corpus
215 ; 162 × 266 mm, studies for the back and left arm of
Day.
3. Haarlem, Teyler Museum A 30 recto/VT 56 /Corpus
216 ; 192 × 257 mm, studies for the back and left arm of
Day(the study on the verso, in red chalk, may be for the
right shoulder ofDay).
4. London, BL, Department of Manuscripts Add. Ms
21907 , fol. 1 recto/Corpus 217 verso;15 0× 185 mm,
structural sketch for the left leg of theDay.