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184 WHOLLY OR PARTIALLY AUTOGRAPH SHEETS CATALOGUE 33References
Richardson, 1719 ,pp. 167 – 9 (“I have perhaps one of the
greatest Curiosities of This kind that can be seen, because
Ihave both the Coppy, and the Original; both are of Great
Masters, the Coppier was moreover the Disciple of him
he endeavour’d to Imitate, and had Accustom’d himself
to do so, for I have several Instances of it, which I am very
certain of tho’ I have not seen the Originals.Michelangelo
made That I am now speaking of, and which I Joyfully
purchased lately of one who had just brought it from
Abroad; ’tis a Drawing with a Pen upon a large half sheet,
and consists of 3 Standing Figures: the Coppy is ofBattista
Franco, and which I have had for several years, and always
judg’d it to be what I Now find it is. ’Tis an amazing thing
to see how Exactly the Measures are follow’d, for it does
not appear to have been done with any other help than
the Correctness of the Eye, if it has been trac’d off, or
measur’d throughout, it is strange that the Liberty should
be preserv’d that is seen in it;Battistahas also been exact
in following every stroak, even what is purely Acciden-
tal, and without any meaning; so that one woud think
he endeavoured to make as just a Coppy as possible, both
as to the Freedom, and Exactness. But Himself is seen
thoughout most apparently: as great a Master as he was,
he could no more counterfeit the Vigorous, Blunt pen
ofMichelangelo, and that Terrible Fire that is always seen
in Him, than he could have manag’d the club ofHer-
cules.”). Ottley, 1808 – 23 ,p. 33 (cites Richardson; notes
that Franco’s copy is engraved in Rogers, adds “another
old copy is in my own possession; and I have seen others.”
Reproduced following p. 3 .). Lord Spencer, his sale, 10
June 1811 , etc., lot 475 (“A conversation of three figures –
masterly pen–R–The original from which Baptista Franco
made that which is engraved in Roger’s work of imitations”).
Ottley sale, 6 June 1814 , etc., lot 1766 (“One – three
figures in conversation – masterly pen – R[ichardson].
The original from which Baptista Franco made the copy,
engraved in Mr Rogers’s work.capital. See note on
the back.”). Lawrence Inventory, 1830 ,M.A.Buonaroti,
Case 3 , Drawer 3 [ 1830 - 68 i] (“Two [sic] figures convers-
ing, pen, with a copy by B. Franco, very capital.”). Wood-
burn, 1836 b, no. 52 (“[T]he copy by B. Franco is also in
this Cabinet, so that the comparison can still be readily
made.”). The Athenaeum, 16 July 1836 (“no. 53 , ‘Figures
Disputing’. Battista Franco’s imitation overhead (not, bye
the bye, so faithful to the line as Richardson pronounces)
is the best evidence of that amazing vigour and boldness,
distinguishing the original.”). Woodburn,184 2,no. 44
(“There is a copy of it by B. Franco which belonged to
Sir T. Lawrence.”). Woodburn,184 6,no. 8 (As184 2.).
Fisher, 1852 ,p. 4 , pl. 14 (“[I]nteresting...observations ofits former possessor.”). Fisher, 1865 ,I,p. 17 , pl. 14 (As
1852 .). Fisher,187 2,I,p. 15 , pl. 14 (As 1852 .). Robin-
son,187 0,no. 1 (Perhaps before15 0 0; like [Cats. 24 ,
58 ].). Black, 1875 ,p. 213 ,no. 1. Gotti, 1875 , II, p. 237.
Fisher,187 9,I/ 1 (“A soldier with a sympathizing com-
panion apparently debating some matter with a civil-
ian.”). Wolfflin, ̈ 18 91,p. 66 (Michelangelo: “Anfang
des zweiten romischen Aufenthalts.”). Morelli, ̈ 18 91– 2 ,
col. 544 (“Cambiaso als Nachahmer des Michelangelo.”).
Berenson, 1903 ,I,p. 184 ,no.15 4 5(“One of the most bril-
liant and, in some respects, one of the most troublesome
of Michelangelo’s drawings,” with close analysis of tech-
nique. Sistine period, perhaps for a medallion.). Thode,
1908 ,I,p. 264 (Michelangelo, perhaps for a Sistine medal-
lion.). K. Frey, 1909 – 11 ,no. 197 (Not Michelangelo.
Umbrian, near Signorelli, but verso inscription in part by
Michelangelo relating to concerns of15 2 6.). Thode, 1913 ,
no. 38 7 (“[D]es Feldherrn Auftrag”; has doubted it
butnowaccepts it; no longer believes it to be of the
Sistine period, but of the time of siege of Florence.).
Voss, 1920 ,I,p. 118 (p. 100 of English ed.), (Battista
Franco). Zoff, 1923 , pl. 52. Berenson, 1935 ,pp. 263 –
4 .(By Andrea di Michelangelo who may be Stefano di
Tommaso Lunetti.). Berenson, 1938 ,I,p.36 2,no.15 4 5
(As 1935 .). Delacre, 1938 ,pp. 77 – 8 (Michelangelo: “par-
ticuli`erement fort et jamais contest ́e” [sic]; critique of
Berenson’s reconstruction of “Andrea.”). Goldscheider,
1951 ,p. 179 and fig. 203 (Battista Franco.). Wilde,
1953 exh., no. 49 (“[T]his brilliant if unusual draw-
ing...can be by no one butMichelangelo” c. 15 2 6.
Copy by Battista Franco in Plymouth.). Parker, 1956 ,
no. 326 (“[I]nscriptions by Michelangelo and Bernardino
di Pietro Basso show that the sheet must have been
verymuch larger, and that the writing preceded the
drawing in date.” Attribution to Michelangelo “on bal-
ance of evidence remains preferable to any other yet
made” but an attribution to Battista Franco “not to be
lightly dismissed.” Link with [Cat. 24 ].). Dussler, 1959 ,
no. 596 (Rejected. Not Mini, perhaps Battista Franco.
Ricordion verso by Michelangelo and Mini and dat-
able 23 June– 5 July15 2 6.). Berenson, 1961 ,no.15 4 5(As
1903 / 1938 .). Goldscheider, 1965 , pl. Xe (As 1951 .). Hartt,
1971 ,p. 390 (Rejected.). Gere and Turner, 1975 ,no. 102
(“Wilde surely right in his emphatic acceptance of the
traditional attribution...superficial resemblance of the
graphic technique to Franco’s can be accounted for by
his intense admiration for Michelangelo;...fullycom-
patible with...Michelangelo’s rough pen sketches.”). De
Tolnay, 1975 , Corpus I, no. 9 (Michelangelo, c.15 2 6.
Position of legs of central figure derives, according to P.
Meller, from a Bacchic sarcophagus engraved by Battista