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0521551335 int 1 b CUNY 160 /Joannides 052155 133 1 January 11 , 2007 9 : 36
36 THE DRAWINGS OF MICHELANGELO AND HIS FOLLOWERS IN THE ASHMOLEAN MUSEUM93. Lot 1765 , theFall of Phaeton,isidentifiable with the copy
byAlessandro Allori in the Woodner Collection of the National
Gallery of Art, Washington. It no longer bears the memo on
its back. However, Lamberto Gori did own interesting drawings:
According to Ottley ( 1808 – 23 ,p. 17 ) theHorsemenbySignorelli,
now in the British Museum (Popham and Pouncey, 1950 ,no. 237 ),
came from his collection, “together with a few other studies by
Signorelli.”
94 .184 2nos.: 1 , 6 , 7 , 9 , 10 , 11 , 12 , 14 , 15 , 21 , 23 , 24 , 25 , 26 ,
27 , 28 , 29 , 32 , 34 , 35 , 37 , 38 , 40 , 42 , 49 , 53 , 57 , 60 , 62 , 65 , 66 , 67 ,
69 , 72 , 73 , 77 , 80 , 83 , 85 , 86 , 87 , 88 , 90 , 94 , 95 , 97 , 98 , 99 , and
100.
95 .184 2nos.: 4 , 7 , 9 , 11 , 13 , 17 , 26 , 27 , 28 , 31 , 35 , 37 , 38 , 42 ,
43 , 45 , 50 , 56 , 58 , 66 , 70 , 71 , 72 , and 78.
96 .184 2nos.: 2 , 12 , 24 , 51 , 54 , 67 , 76 , 77 , and 85.
97 .184 2nos.: 1 , 10 , 30 , 32 , 34 , 47 , 52 , 60 , 61 , 63 , 64 , 69 , 75 , 80.
98 .184 2no. 50 , Cat. 93 ,anuninspired copy after theLast Judge-
ment, which, if it ever was in Casa Buonarroti, can have been
acquired only for documentary purposes.
99. Respectively184 2, nos. 48 (from the King of Naples at
Capodimonte), 39 (from Revil and Ottley), and 44 (Richardson
Sr., Spencer and Ottley).
100. The following are not by Michelangelo:184 2nos.: 12 , 24 ,
51 , 76 , and 85 (this last probably did not come from Wicar).
101. The following are by Michelangelo:184 2- 2 ,184 2- 54 ,
184 2- 67 , and184 2- 77 .184 2- 67 /Cat. 6 ,was copied by Commodi;
see n. 118 ,no. 12.
102. The following are neither by Michelangelo nor his studio:
184 2- 1 ,184 2- 34 ,184 2- 52 ,184 2- 61 ,184 2- 69 ,184 2- 75 i, and184 2-
80.
103. The following are either by Michelangelo or his studio:
184 2- 10 ,184 2- 30 ,184 2- 32 ,184 2- 47 ,184 2- 60 (Mini),184 2- 63
(Piero d’Argenta?),184 2- 64 ,184 2- 69 , and184 2- 75 ii.
104. These are 1814 - 253 (the Window, 1836 - 49 /184 2- 42 ), 1814 -
254 (the Door, 1836 - 1 /184 2- 43 ), 1814 - 257 ( 1836 - 7 ), 1814 - 259
( 1836 - 90 ), 1814 - 260 b(184 2- 56 ), 1814 - 261 (184 2- 72 ), 1814 - 263
(184 2- 45 ), 1814 - 264 and 1814 - 265 ( 1836 - 2 or 1836 - 50 ), 1814 -
823 (184 2- 35 ), 1814 - 824 ( 1836 - 82 ), 1814 - 825 ( 1836 - 82 ), 1814 - 15 0 2
( 1836 - 98 ), 1814 - 15 0 4( 1836 - 82 ), 1814 - 15 8 7a(184 2- 28 ), 1814 - 1681
(184 2- 67 ;Wicar alone mentioned), 1814 - 1760 (184 2- 9 ), 1814 - 1767
(questionable).
105. Valenti Rodino,` 1996 ,pp. 137 – 8 ; theEpifaniawas acquired
at the posthumous sale of the collection of Cardinal Silvio Valenti’s
nephew, Cardinal Luigi Gonzaga, in 1809 byGuillaume Guillon-
Lethiere, who wrote about it to Vivant Denon on` 5 May (Bicart-
See and Dupuy, ́ 1999 – 2000 ,p. 452 , “J’ai achete ́alavente du Car-`
dinal Valenti une chose fort rare, c’est un carton de Michel-Ange,
figures un peu plus fortes que nature, savoir un vieillard, un homme
mur une femme et deux enfants.” Denon replied that he “desiderait
bien de l’acquerir pour le mus ́ee mais il n’a aucun fonds disponible
pour ses acquisitions. Cependent, comme il pr ́esume que votre
intention est de l’envoyer a Par is, il vous invitealajoindre` `ala
fresque que vous expedirez et peut-etre s’arrangera-t-il avec vous
pour le joindre au precieux cabinet de dessins qu’il possede et que
vous connoissez.”). Wicar (see Beaucamp, 1939 ,pp. 558 – 60 ) had
been on the track of this cartoon earlier that year, but his efforts to
obtain it failed. The cartoon is next recorded in the collection of
Lucien Bonaparte, Prince of Canino.
106. See Ragionieri, 2000 ,p. 12.
107. Uffizi 229 F, 230 F/Corpus 393 and 409.108. Uffizi 598 E, 599 E, 601 E/Corpus 307 , 308 , and 306.
109. Guasti, 1863 ,pp. lxi–lxiii, transcribes, from Codex XV in
Casa Buonarroti a text by Michelangelo the Younger recording
sheets of drawings by Michelangelo that also bore autograph poems,
which he had obtained directly or indirectly from Bernardo Buon-
talenti. It reads as follows:
Da disegni di mano [i.e. in the possession of] Bernardo Buontalenti,
oggi miei: [ 1 ]Daundisegno a penna, d’una Femmina ritta, con un
putto a piedi, oggi venatomi in mano e fatto mio: Tu ha’ ’l viso piu`
dolce che la sappa [Louvre RF 4112 /J 17 /Corpus 25 ,whichhad left Casa
Buonarroti by 1758 when it was recorded in the collection of Philip
vonStosch]. [ 2 ]Dauno, dove sono due sepolcri insieme accoppiate,
con queste parole “La Fama tiene gli epitaffi a giacere: non va ne`
innanzi neindietro, perche son morti, et loro opere e fermo [British`
Museum W 28 /Corpus18 9,partofthe 1859 purchase]. [ 3 ]Dauno
dove sono certi Sepolcri simili a quel di sopra. “Di te ne’ veggo, e
di lontan mi chiamo” [British Museum W 27 /Corpus 185 , part of the
1859 purchase]. [ 4 ]Daunaltra carta, dove`eungamba e altri schizzi,
“Sol’io ardendo all’ombra mi rimango” [British Museum W 5 /Corpus
46 , part of the 1859 purchase]. [ 5 ]Nel frontespizio d’un Porto “Chi
non vuol delle foglie” [Ashmolean Museum, Cat. 56 ].
110. Some of these were noted by Joannides, 1978 and 1981 b.
111. The 1684 inventory notes that before Leonardo Buonarroti
presented theMadonna of the Stairsto Cosimo I in15 6 5,hehad it
cast in the bronze still in Casa Buonarroti.
112. The relevant correspondence between Francesco and
Michelangelo the Younger was published by Sebregondi Fiorentini,
1986.
113. An instance of this may be the famous study forHaman
(British Museum, W 13 /Corpus 163 ), whose provenance is unani-
mously given as Casa Buonarroti. The reason for raising the pos-
sibility that it might not have entered the Casa before the early
seventeenth century is convoluted but worth considering. The
Hamanseems to be the only ex-Casa Buonarroti drawing of which
aprecise early same-size, same-medium copy exists, that in the
Royal Collection at Windsor Castle (red chalk, 390 × 222 mm;
PW 450 ;Joannides, 1996 – 8 ,no. 40 ). If this copy were isolated,
it would present no serious problem to assume that the copyist
had access to the collections of Casa Buonarroti (a second copy of
theHamandrawing, in the Isabella Stewart Gardner Museum, red
chalk, 363 × 290 mm, probably derives from the Windsor copy
rather than the original). However, the Windsor copy seems to be
bythe hand, perhaps that of a French artist, that also made copies of
two studies for the Sistine ceiling now in Haarlem (A 27 and A 20 ,
VT 48 and 49 /Corpus 135 and 136 ;originally on a single sheet
of paper but divided into two by the time the Irregular Number-
ings 62 and 63 wereapplied to them) and on a second sheet in
the Royal Collection at Windsor (red chalk, 390 × 235 mm; PW
449 ;Joannides 1996 – 8 ,no. 46 ). A further copy, in Florence (Uffizi
2318 F/B 268 ;red chalk 287 × 215 mm) of the study forLibica(New
York, Metropolitan Museum, Inv. 24. 197. 2 recto/BT 131 /Corpus
15 6;red chalk, 288 × 213 mm) seems, as Wilde, 1953 a,p. 26 ,first
suggested, to be by the same hand as the WindsorHamancopy. This
hand may also be responsible for a copy of two pages of drawings by
Michelangelo (Christ Church JBS. 62 verso/Corpus 86 verso; red
chalk, 291 × 211 mm [also copied in an etching made c. 1600 : see
n. 173 ] and Boymans-van Beuningen Museum, Rotterdam, Inv. I.
513 recto/Corpus 121 ;black chalk, 206 × 193 mm) on a sheet now
in the British Museum (W 86 ;red chalk, 306 × 202 mm, dated by