P 1 : JZP
0521551335 int 1 b CUNY 160 /Joannides 052155 133 1 January 11 , 2007 9 : 36
38 THE DRAWINGS OF MICHELANGELO AND HIS FOLLOWERS IN THE ASHMOLEAN MUSEUM8 .5400A
Left side
a. Profile of a cornice, after CB 62 Arecto/B 84 /Corpus 532 , upper
right.
b.>A sarcophagus, after CB 19 Fverso/B15 0/Corpus36 8, centre.
c.>A sarcophagus, after CB 19 Fverso/B15 0/Corpus36 8, upper
centre.
d.Profile of a cornice, after CB 62 Arecto/B 84 /Corpus 532 , middle
right.
e. Profile of a cornice, after CB 62 Arecto/B 84 /Corpus 532 ,
centre.
f. Profile of a cornice, after CB 62 Arecto/B 84 /Corpus 532 , left.
g.Profile of a cornice, after CB 62 Arecto/B 84 /Corpus 532 ,right.
Right side
a.>Profile labelledpiedestallo; source unidentified.
b. Awall tomb, after CB 114 Averso/B 37 /Corpus 176 ,lower
right.
c. Asarcophagus, probably either an adapted copy of CB 19 F
verso/B15 0/Corpus36 8, upper right, or after a variant of this now
excised from that sheet.
d.∧Profile labelledpiedestallo; source unidentified.
e. Awall tomb after that on CB 88 Arecto/B 57 /Corpus 181 ,lower
left.
f. A sarcophagus, interpreted after CB 19 Fverso/B15 0/Corpus36 8,
lower left.
9 .5403A
Left side
a. After the tomb design on BM W 25 recto/Corpus 184 , upper
right.
b. After the tomb design on BM W 25 recto/Corpus 184 ,lower
left.
c.>Cornice profiles, source unidentified.
d.>After the tomb design on CB 71 Arecto/B 58 /Corpus 183.
e.∧Cornice profiles, source unidentified.
Right side
a. Enlarged copy of the tomb design CB 49 Arecto/B 59 /Corpus
182.
b.<Copy of the tomb design CB 128 A/B 87 /Corpus 279.
c. ?Medici ring with diamond, source unidentified.
d.Cornice profiles, source unidentified.
10 .5406A
Left side
a. Enlarged version of CB 84 Arecto/B 166 /Corpus 614.
b.>Enlarged copy of a wall tomb design CB 114 Averso/B 37 /
Corpus 176.
c.>Enlarged copy of a wall tomb design CB 114 Averso/B 37 /
Corpus 176.
d.>Copy of the central section of CB 52 A/B 258 /Corpus 188.
Right side
a. Somewhat regularised and enlarged copy of the central section
of W 38 recto/Corpus 561 (N.B.: Unlike the other originals in
the British Museum recorded in Francesco’s copies, this drawing
wasnot part of the 1859 purchase but entered the museum from
the collections of Lawrence, Samuel Woodburn [it was obviously
among those not offered to Oxford], his sale of186 0, and Phillips-
Fenwick).
b. Wall tomb, after CB 114 Averso/B 37 /Corpus 176.
c. Wall tomb, after JBS 64 verso/Corpus 280 , study at lower right.
See note 60.116. From a record of books and papers taken by Francesco to
Malta in 1607 , Sebregondi Fiorentini, 1986 ,pp. 72 – 4 , suggests
that at least two figurative drawings by Michelangelo – thePieta`
(Corpus 426 ;black chalk, 295 × 195 mm [cut down]) now in
the Isabella Stewart Gardner Museum, Boston, drawn for Vittoria
Colonna, and aPhaeton–aswell as several architectural drawings –
travelled to Malta with Francesco. However, it is unclear from the
phrasing whetherdisegnomeans drawing or design, and because
the two identifiable figurative compositions were widely known in
engraving, and because there is no evidence that the BostonPieta`
or any version of thePhaetonwaseverinBuonarroti possession,
this suggestion must be treated with caution.
117. These groups of drawings are discussed with great insight
byPapi, 1989 ,pp. 35 – 6 and 1994 ,pp.15 0– 4 , who illustrates and
analyses a selection of them.
118. The compiler is at present aware of twenty-seven sheets by
Commodi that certainly or probably contain copies after drawings
byMichelangelo or his studio, of which a summary listing follows.
Those sheets that certainly or probably formed part of the sketch-
book are indicated by an asterisk (∗). Some of the Michelangelesque
sources were noted on the copies by P. N. Ferri:
1 .18528F,red chalk, 234 × 185 mm (Illustrated Corpus, I, p. 118 ),
same-size copy of CB 1 F/B 8 /Corpus15 8. (Recognised as by Com-
modi by Annamaria Petrioli Tofani, in an inscription on the
mount.)
2 .18535F,black chalk, 250 × 103 mm, Papi, 1994 ,D 1
a. Same-size copy after the raised right hand on CB 52 F
recto/B 227 /Corpus 142.
b. Same-size copy after the leg on CB 52 Frecto/B 227 /Corpus 142.
(Recognised as by Commodi by Annamaria Petrioli Tofani, in an
inscription on the mount.)
3 .∗18599F, 289 × 214 mm
Recto, pen and ink and wash over traces of black chalk (Papi, 1989 ,
fig. 10 a; 1994 ,D 2 , fig. 48 , with sources identified).
a.St. John Filling His Bowl,probably after CB 19 Frecto/B15 0/
Corpus36 8.
b.Head of a Man, after CB 69 Fverso/B 143 /Corpus 91.
c. A clenched hand, probably abbreviated from CB 69 Frecto/
B 143 /Corpus 91.
d.TheVirgin and Child, after BM W 83 /Corpus 391 ( 1859 pur-
chase).
Ve r s o,pen and ink and wash
a. An upward reaching figure, after BM W 33 verso/Corpus 236.
b. A striding nude man, after BM W 48 recto/Corpus 208 verso
(this drawing is given by Wilde to a pupil of Michelangelo; the
other side of the sheet contains an autograph study for a reclining,
figure which is identified by Wilde asLedabut which the compiler
is inclined to think is theNight).
c.Hercules and Antaeus,after BM W 33 recto/Corpus 236.
d.Areclining youth; source unidentified.
4 .18603F,red chalk, 106 × 148 mm
Same-size copy of theBed of Polycleitus,CB 53 Frecto/B 174 /
Corpus 229 bis.
5 .∗18607F, 213 × 155 mm
Recto, black chalk
Anude standing figure, probably after a lost sketch for Christ in
theLast Judgement.
Ve rso, black chalk and pen
a. Aface looking down, after CB 47 F/B 22 /Corpus 124 (pen).