P 1 : KsF
0521551331 c 01 -p 3 CUNY 160 /Joannides 052155 133 1 January 11 , 2007 10 : 14
CATALOGUES 51–52 WHOLLY OR PARTIALLY AUTOGRAPH SHEETS 247no. 40 (As184 2.). Robinson, 187 0,no. 60. 2 (Michel
Angelo. This drawing, and [Cats. 53 verso and 52 recto],
“of the later time of the master...apparently all studies
for the same work, of which nothing is known.”). Gotti,
1875 , II, p. 227. Berenson, 1903 ,I,p. 222 ,no.15 6 9. 2
(c.155 0.For same unknown purpose as [Cats. 52 and
53 ] and [Washington 1991. 217. 2 a- 3 b]. This would sug-
gest anEntombment.). Thode, 1908 , II, p. 80 (For aCru-
cifixion of St. Peteror aDeposition, with [Cats. 52 and
53 ].). Thode, 1913 ,no. 437 (For anEntombment, with
[Cats. 52 and 53 ].).Berenson, 1938 ,no.15 6 9. 2 (As 1903 .).
Wilde, 1953 a,pp. 114 , 116 (With [Cats. 52 and 53 ]. Not
before155 0). Wilde, exh. 1953 ,no. 127 b(With [Cats.
52 and 53 ], resemblance to theEpifaniacartoon, but not
certainly for it.). Parker, 1956 ,no. 335 (155 0s; resembles
[Cats. 53 verso and 52 recto].). Dussler, 1959 ,no.34 8
(Ascribed. c.155 0.Maybe for aPieta`.). De Tolnay, 1960 ,
pp. 205 – 6 ,no. 218 (Doubts attribution. “If original, it
would be a preparatory sketch for [Cat. 51 ].”). Berenson,
1961 ,no.15 6 9. 2 (As 1903 / 1938 .). Hartt, 1971 ,no. 508
(15 4 6. Apostle for dome of St. Peter’s.). Gere and Turner,
1975 ,no. 155 (Same period asEpifania,but not necessar-
ily connected.). Joannides, 1975 ,p. 262 (Together with
[Cats. 52 and 53 ], and Washington 1991. 217. 2 a- 3 b, per-
haps for theEntombmentrecorded in the Gathorne-Hardy
copy drawing; the date may be c.15 6 0since the archi-
tectural sketches on [Cat. 52 ]recall the Porta Pia.). De
Tolnay, 1978 , Corpus III, no. 428 (With [Cats. 52 and
53 and Washington 1991. 217. 2 a- 3 b] probably for aPiet`a
recorded in copies attributed to Jacomo del Duca, for-
merly Gathorne-Hardy Collection, and Giulio Clovio,
Amsterdam, Stedelijk Museum.). Perrig, 1991 ,p. 91 , fig.
92 (Condivi.). Perrig, 1999 ,pp. 239 – 40 (As 1991 ;from
Farnese Collection.).CATALOGUE 52Recto: Two Male Figures and Architectural Sketches
Ve r so: A Pedestal
184 6. 82 ;R. 60 ( 3 ); P.II 336 ; Corpus 427Dimensions: 202 × 120 mm
Watermark: Roberts Bird D.Medium
Black chalk.Condition
There is a major edge repair, minor nicks, some infills, and
inherent pressed-in wrinkles and pressed-out creases. Thesheet has scored indentations, some skinning, and fibrous
accretions, with general uneven discolouration and local
staining.Description
Recto
A.A male figure moving forward, supporting something
to his left.
B.An abbreviated pediment or cornice, perhaps related
to the verso drawing or possibly of an unrelated window
or door.
C.A male figure moving forward, supporting something
to his right.
D. A fragmentary form.
E.Aground plan with a line through it?
F. Fragment of a rectangular ground plan with inset
columns?Verso
Half of a pedestal with a console or scroll in profile at
the right. In the lower moulding is a very faint and no
doubt partly erased inscription that the compiler cannot
decipher. It may be no more than Michelangelo’s name
added by a later cataloguer.Discussion
Recto
Interpretation of the two figure drawings on the recto
of this sheet is uncertain. An obvious possibility is that
they are bearers in anEntombment,but there is no clear
indication of this, and the left-hand figure could well be
displaying something for the viewer’s attention: The line
that links the two hands could be interpreted as a scroll;
the draped figure on Cat. 53 recto could also be displaying
a scroll. On the other hand, the smaller figure would make
an effective counterpart to the figure on Cat. 53 verso.
The larger figure, on the right, might well be clothed
rather than nude – there seems to be some indication of
drapery around his ankles – and he too could be a Prophet
or a Saint, conceivably with an attribute of martyrdom.
Although we know of no project of Michelangelo’s own
during his last years in which statues of Prophets or Saints
were involved, he was certainly active in planning statuary
for others. He provided designs of Daniele da Volterra’s
statues of Peter and Paul in the Ricci Chapel of San Pietro
in Montorio, on which work seems to have begun in the
mid-155 0s, he was involved in the planning of a mon-
umental gate for the Castel Sant’Angelo, which was to
be peopled with statues of the Apostles; it is even pos-
sible that he was consulted about the completion of the
set of twelve Apostles planned for the Florence Duomo,