P 1 : KsF
0521551331 c 01 -p 3 CUNY 160 /Joannides 052155 133 1 January 11 , 2007 10 : 14
CATALOGUE 48 WHOLLY OR PARTIALLY AUTOGRAPH SHEETS 237
(Michelangelo: sketches forRondanini Piet`a,andfor an
Entombment, reworking the motif of National Gallery
Entombment.). K. Frey, 1909 – 11 ,no. 239 (Michelangelo’s
late period.). Thode, 1913 ,no. 442 (As 1908 .). Brinck-
mann, 1925 ,no. 80 (Late155 0s. Two-figure composi-
tions forRondanini Pieta`.). De Tolnay, 1934 ,pp.15 0– 2
(Three drawings for theRondanini Pieta`, datable155 0– 6 ,
in the order [D, G, B]; “the original version of the marble
group corresponded with [B] [and] was probably begun
soon afterwards.”). Baumgart, 1935 b,pp. 46 , 48 , 53 (The
two three-figure groups probably drawn first; sketches
at left and right for first version of theRondanini Piet`a,
late15 4 0s–early155 0s.). Berenson, 1938 ,I,pp. 235 – 6 ,
no.15 7 2(As 1903 .). Goldscheider, 1951 ,no. 111 (c.15 4 2.
Link with theRondanini Pieta`explained by Michelan-
gelo’s habit of returning “time after time to the same
motive – especially to body motives.”). De Tolnay, 1951 ,
pp.15 8, 293 (c. 1555 ; for the first version of theRon-
danini Piet`a.). Schiavo, 1953 , figs. 9 , 10 ([C] a study for
thePalestrina Piet`a.). Wilde, 1953 exh., no 81 A(c. 1555 ;
probably connected with theRondanini Piet`a.). D. Frey,
1956 ,pp. 210 , 217 – 18 (Significant for reconstructing the
stages of theRondanini Pieta`. Accepts de Tolnay’s order-
ing of sketches. Only in [B] is the Virgin’s head tilted
upwards, which corresponds to the first stage. The sheet
datable c.155 2. The three-figure groups, which refer back
to thePieta`drawn for Vittoria Colonna, perhaps respond
to Cardinal Pole’s comparison of the body of Christ to the
state of the church, expressed in a letter of155 2.). Parker,
1956 ,no. 339 (Originally part of same sheet as [Cat. 47 ].
Piet`asketches connected withRondanini Piet`a; Deposi-
tion sketches show some affinity with thePieta`drawn for
Vittoria Colonna.). Dussler, 1959 ,no. 201 (Michelan-
gelo,155 0– 5. The three-figure Entombments drawn first.
The two-figure groups related to theRondanini Piet`a.). De
Tolnay, 1960 ,pp. 219 – 20 ,no. 246 (Once formed part of
[Cat. 47 ], c.155 0– 6 .As 1934 .). Berenson, 1961 ,no.15 7 2
(As 1903 / 1938 .). Barocchi, 1964 c,no. 65 ([C, D, G] for
Rondanini Pieta`; perhaps once part of [Cat. 47 ].). Brug-
noli, 1964 ,no. 57 (Late “whittlingaway of theplasticity
of the figure, to the point where it becomes an image of
purely spiritual value.”). De Tolnay, 1964 c, col. 899 (The
“three sketches...permit the reconstruction of the first
version” of theRondanini Pieta`.). Berti, 1965 ,pp. 490 , 494
(c. 1555. Linked with [Cat. 47 ]; two studies for a Deposi-
tion, three of a group which was to become theRondanini
Piet`a.). Goldscheider, 1965 ,no. 123 (Redated to 1555 – 6 ;
[Cat. 47 ]originally part of same sheet, as Parker discov-
ered.). Keller, 1966 ,I,p. 15 (For theRondanini Pieta`.).
Hartt, 1971 ,no. 459 (155 0– 5 .FortheRondanini Pieta`.).
Mantura, 1973 ,p. 199 (Sketches [C, D, and G] rightly
related to theRondanini Piet`a, “propongono un Cristo piu`
strapiombante con il peso del torso e del corpo in fuori
elaMadonna che, nel sostenendo, gira la testa nel grave
sforzo.” In [C]-“in particolare, il problema del corpo della
Ve rgine interessa intensamente Michelangelo: lo presenta
in diverse posizione piuo` meno alto, piuo` rmeno girata
a sinistra or a destra.”). Gere and Turner, 1975 ,no.15 8
(For theRondanini Piet`a; three figure groups “presum-
ably also for a sculptural group, and might have been the
germ of the Piet`a.”). Keller, 1975 ,no. 60 (155 0– 5 ; three
figure groups develop scheme of thePieta`[in Boston]
for Vittoria Colonna; the other groups prepare the first
version of theRondanini Pieta`.). De Tolnay, 1975 ,p. 120
(As 1951 .). Keller, 1976 , fig. 172 (As 1975 .). De Tolnay,
1978 , Corpus III, no. 433 (155 0– 5. Deposition drawings
reprise compositional scheme of Michelangelo’s National
GalleryEntombment. Piet`agroups; link with thePalestrina
Piet`a,probably by Tiberio Calcagni. [B, D] look back
to Northern Piet`as of the type painted by the Master
of Flemalle in Frankfurt. [B] shows movement from first
to second versions of theRondanini Piet`a.). Wilde, 1978 ,
pp. 184 – 7 (“Michelangelo...was experimenting with a
[three-figure] group of the Deposition which would con-
form to” the principles of the block from which the
Palestrina Pieta`was carved. “[T]hese drawings point to
the end of the sixth decade...and there are at least two
designs by Michelangelo dating from this period, but
only known in copies by pupils, which show proportions
such as these....The other sketches...have usually been
connected with...the...Rondanini Piet`a...[which]
appears to be a palimpsest of several successive designs.
Vasari states that Michelangelo had begun working on
it before he started on the group of four figures...and
Daniele da Volterra...says that Michelangelo worked on
this group as late as six days before his death.”). Murray,
1980 ,pp. 201 – 2 (“The first state of theRondanini Piet`a
must represent a translation into marble of this two-figure
group, and the figure behind Christ must originally have
been intended as a man, since it is inconceivable that
the Virgin should ever have been represented with one
stalwart leg bare to the knee”). Liebert, 1983 ,pp. 410 –
11 (“Tolnay has persuasively reasoned...[from E and
F]...which in chronology were the first and second,
that the Rondanini group was originally intended to
be an Entombment.”). Guazzoni, 1984 , pl. 114 (Stud-
ies forPalestrina Piet`a.). Hirst, 1988 ,p. 40 (With [Cat.
47 ]originally part of one sheet, which was still larger;
c.15 6 0.Piet`asketches connected with theRondanini
Piet`a; Entombmenthas some relation toPalestrina Piet`a,
and recalls a late invention known in a copy formerly in
the Gathorne-Hardy Collection.). Perrig, 1991 ,pp. 49 ,