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0521551331 c 01 -p 2 CUNY 160 /Joannides 052155 133 1 January 11 , 2007 10 : 5
CATALOGUE 34 WHOLLY OR PARTIALLY AUTOGRAPH SHEETS 18 9d. 14766 F, pen and ink, 427 × 261 mm, copied after
Raffaello da Montelupo’s copy of a lost Michelan-
gelo drawing of the legs of a seated figure, no doubt
for one of the Medici dukes (Uffizi 622 E/B 205 /
Corpus 223 ; pen and ink, 212 × 268 mm).
e. 14776 F, pen and ink, 258 × 219 mm, copied after
Uffizi 607 Erecto (identified by Annamaria Petri-
oli Tofani, inscription on mount). This drawing is
on paper bearing the watermark Roberts Cross B,
datable around15 0 0, implying that it, and presum-
ably the other copies in this series, are of sixteenth-
rather than eighteenth-century origin.
f. 16292 F, pen and ink, 140 × 200 mm, copied after
Michelangelo’s two preliminary sketches, once
joined, ofProphetsfor the Sistine ceiling (Uffizi
17379 F and 17380 F/B 13 and B 14 /Corpus 151 and
15 2; pen and ink, both 108 × 62 mm).
6. Formerly Hugh Blaker Collection, from the collection
of Sir Thomas Lawrence (L. 2445 ), red chalk,13 0× 194
mm. Exhibited Leicester Galleries Exhibition, no. 877 ,
March 1948 ,no. 41 .Asame-size copy of the lower group,
tentatively attributed by Parker to Giulio Clovio.
7. Copies of sections of both groups were made by
Sir Edward Burne-Jones in 186 6– 7 ,onfols. 9 recto,
16 recto, and 17 recto of his sketchbook in the
Fitzwilliam Museum, 1070 - 2 (see Østermark-Johansen,
1998 ,pp. 122 , 125 , fig. 31 ).Painted Copy
Rome, Palazzo Sacchetti, Galleria, fresco in the frieze,
which makes use, in modified form, of the upper group
from the present drawing, not the abbreviated version on
Uffizi 606 E. The frescoes in this room are undocumented
butwere in all probability commissioned in the15 7 0s
for the Ceuli family who then owned the palace. They
were plausibly attributed by Luigi Salerno to Daniele da
Volterra’s pupil Giacomo Rocca (see Cat. 22 ).History
A. Daniele da Volterra?; Giacomo Rocca?; Giuseppe
Cesari, Il Cavaliere d’Arpino?; the Cicciaporci family and
Filippo Cicciaporci?; Bartolommeo Cavaceppi?.
or
B.Casa Buonarroti?; Jean-Baptiste Wicar; Samuel
Woodburn; Sir Thomas Lawrence (L. 2445 ); Samuel
Woodburn.References
Lawrence Inventory, 1830 ,M.A.Buonarroti Case 3 ,
Drawer 3 [ 1830 - 58 ] (“A Crowd of persons looking at
the Brazen Serpent, highly finished in red chalk, twodifferent studies on the same leaf.”). Woodburn, 1836 b,
no. 32 (“It forms part of the vault of the Sistine Chapel”;
provenance given as M. Buonarroti and Wicar.). The
Athenaeum, 16 July 1836 (One of the “[S]triking proofs
of the ultimate degree to which Michael Angelo as well
as Raffael, Leonardo, and all the great artists, carried
elaboration; 32 ,inparticular, is finished with a smooth-
ness that Vanderwerff could not surpass, yet with a great-
ness of style such as no Dutchman ever dreamt of.”).
Woodburn,184 2,no. 11 (As 1836 .). Woodburn,184 6,no.
37 (As184 2.). Robinson,187 0,no. 29 (Michel Angelo.
“Although these admirable designs are entirely different
from the well-known fresco on the ceiling, the agreement
in the style of design render it highly probable that they
were executed at the same time.” Two separate episodes:
the attack of the serpents above and salvation sought from
the brazen serpent below. A “pen sketch of the two men
lifting up a third...[in theUffizi]... does not appear to
be an exact replica or copy of the group in the present
drawing.”). Black, 1875 ,p. 214 ,no. 29. Gotti, 1875 , II,
p. 221. Springer,187 8,p. 501 (Variant of Sistine com-
position.). Springer, 1883 ,I,p. 192 (As187 8.). Berenson,
1903 ,I,pp. 184 – 5 ,no.15 6 4(For the Sistine spandrel. “An
unsurpassed masterpiece of draughtsmanship...almost
an epitome of Michelangelo, for, while we are, on the
one hand, reminded of the juvenileCentaurs and Lapi-
thae,weare,onthe other hand, shot forward as far as
theLast Judgement.Ofparts of this late work there are
suggestions here...intheverytouchofthemoreloosely
drawn figures. Indeed, had I but these figures alone, I
should scarcely have suspected their having been done
at so early a date.”). Ferri and Jacobsen, 1905 ,p. 32 (In
relation to Uffizi187 21F/B 175 /Corpus 149 which shows
subject in a roundel. An incomplete copy of the present
drawing by Gabbiani in the Uffizi, 17371 F, was made
before it left the Buonarroti Collection.). Steinmann,
1905 , II, pp. 296 , 596 , 635 (Studies for the pendentive
composition in the Sistine chapel, but very different from
it.); pp. 597 , 636 (Gabbiani’s copy reproduced.). Jacobsen,
1907 ,p. 396 (Any connection with Sistine fresco doubt-
ful.). Thode, 1908 ,I,p. 251 ; II, p. 444 (Not for Sistine;
link with “Acrobat” group on BM W 5 recto/Corpus 46
and Louvre Inv. 718 /J 9 /Corpus 47 ,but this not made for
that. Datable to early153 0s, as Frey proposed. Notes Gab-
biani copy and Dusseldorf FP ̈ 151. Connects subject with
drawings in Casa Buonarroti 37 F/B 170 and Dusseldorf FP ̈
138 and 139 .). K. Frey, 1909 – 11 , 51 (Not for Sistine; dat-
able to153 0s; mood reminiscent of drawings for Cavalieri;
some copies listed.). Thode, 1913 ,no. 417 (As 1908 .For
the middle group Michelangelo made use of an earlier