P 1 : KsF
0521551331 c 01 -p 2 CUNY 160 /Joannides 052155 133 1 January 11 , 2007 10 : 5
188 WHOLLY OR PARTIALLY AUTOGRAPH SHEETS CATALOGUE 34Drawn Copies
1. Uffizi 606 Erecto/Petrioli Tofani, 1986 ,p. 269 ; pen
and ink, 202 × 139 mm. Abbreviated copy of the lower
episode of theBrazen Serpent.Attributed in the Uffizi to
Aristotile da Sangallo but undoubtedly by Raffaello da
Montelupo, predominantly a left-handed draughtsman.
Raffaello on occasion collaborated with both Francesco
and Aristotile da Sangallo, which may explain the confu-
sion. The companion sheet, Uffizi 607 E/Petrioli Tofani,
1986 ,p. 270 ; pen, 200 × 136 mm, which contains sketches
after the whole (recto) and details (verso) of an earlymod-
ellobyMichelangelo for the Magnifici Tomb is also by
Raffaello. The page sizes of 606 E and 607 Earevery
close to that of the 92 leaf sketchbook, 210 × 138 mm,
in the Mus ́ee des Beaux-Arts, Lille (Brejon de Lavergnee, ́
717 - 808 ), which is predominantly by Raffaello but which
includes a few pages by Aristotile. The Lille sketchbook
largely comprises architectural drawings, and Raffaello
could have kept a second sketchbook devoted to copies
of sculptural projects. However, the final page of the
Lille sketchbook contains a copy after a lost drawing by
Michelangelo for theHercules and Antaeusproject (see
Cat. 30 ) and it may be that it was followed by pages com-
prising primarily figure drawings, including Uffizi 606 E
and 607 E, Budapest 1959 , and the lost sheet formerly in
Dresden.
2. Budapest 1959 , pen and ink, 192 × 141 mm. Formerly
attributed to Aristotile da Sangallo but now accepted as
byRaffaello da Montelupo (Zentai, 1998 ,no. 23 ) and
perhaps from the same sketchbook as Uffizi 606 E and
607 E. The recto carries an abbreviated copy of the upper
episode of theBrazen Serpent. The verso bears a loose
copy of some of the figures on Michelangelo’smodello
for a ducal tomb, now in the Louvre, Inv. 837 /J 27 (see
Cat. 63 for some discussion of the companion sheet,
Inv. 838 /J 26 ). This has been taken to support the con-
nection of the recto group – and hence the present
sheet – with the New Sacristy. Zentai points out that
a lost sheet of drawings of unrecorded dimensions, for-
merly in Dresden (illustrated by de Tolnay, 1948 , fig. 230 )
wasprobably en-suite with Uffizi 606 E and 607 E and
Budapest 1959.
3. Dusseldorf, Kunst Palast, F. P. ̈ 151 ,penand ink over
traces of black chalk, 230 × 160 mm. The recto, divided
into two levels, which are drawn in different colours
of ink, carries a copy of Uffizi 606 Erecto (i.e., the
lower episode of theBrazen Serpent, above) and a copy
of Budapest 1959 recto (i.e., the upper episode of the
Brazen Serpent, below). It was presumably made by a right-
handed pupil or associate of Raffaello: It is attributedat Dusseldorf to Guglielmo della Porta, but Giovanni ̈
Antonio Dosio is also a possible candidate. The upper part
of the verso of Dusseldorf F. P. ̈ 151 contains part copies
after Uffizi 607 verso and the lower part a simplified
and more compact variant of the fac ̧ade of San Silve-
stro al Quirinale as found on page 23 versoofthe Lille
sketchbook. This conjunction implies that Uffizi 607 E,
Budapest 1959 , and the Lille sketchbook were together
when the Dusseldorf draughtsman copied them. ̈
4. Uffizi 6907 F; pen and ink, brush and wash, 128 ×
259 mm (irregular). A partial copy of the upper episode,
probably indirect. Now classed as Clemente Bandinelli,
the sheet bears an old inscription to Baccio Bandinelli. It
seems to the compiler to have nothing to do with either
artist but rather to stem from the circle of Guglielmo della
Porta.
5. Uffizi 17371 F; black chalk, 174 × 265 mm. Copy in
outline of part of the upper episode of theBrazen Serpent,
attributed to an anonymous eighteenth-century artist.
This drawing, formerly given to Antonio Domenico
Gabbiani, 1652 – 1726 , and illustrated as such by Stein-
mann, 1905 , II, p. 636 ,was certainly not made from
Michelangelo’s original, but from an earlier copy, prob-
ably, but not certainly, 2 .Itthus provides no evidence
for the location of the original during the seventeenth or
eighteenth centuries. However, copies after Michelan-
gelo are uncommon in this period and reproductions of
his drawings, even indirect, are rare; in this context, it
is worth mentioning several relevant copies among the
Gabbiani drawings in the Uffizi (although whether they
are by him is debatable; in the compiler’s view, it is more
likely that they simply formed part of his estate). They
are:
a. 14722 F, pen and ink, 110 × 219 mm, copied after
Uffizi 607 Everso, upper reclining figure.
b. 14724 F, pen and ink, 162 × 219 mm, copied after
Uffizi 607 Everso, lower reclining figure and relief
compositions.
These two copies were no doubt made on
the same sheet and subsequently divided: Taken
together they reproduce accurately the layout of
Uffizi 607 Everso.
c. 14723 F, pen and ink, 167 × 198 mm, copied
after the two figures in Michelangelo’s fragmen-
tary drawing of an unidentified subject (Uffizi
618 E/B 145 /Corpus 355 ; pen and ink, 90 × 65 mm),
and the sketch of a figure carrying another on his
back from a copy after a lost drawing by Michelan-
gelo for the SistineFlood(Uffizi 617 E/B 212 /Corpus
127 ; pen and ink, 149 × 212 mm).