P 1 : JZP
0521551335 int 1 b CUNY 160 /Joannides 052155 133 1 January 11 , 2007 9 : 36
THE DISPERSAL AND FORMATION OF SIR THOMAS LAWRENCE’S COLLECTION OF DRAWINGS 4116. 1862 6F,red chalk, 252 × 172 mm (Papi, 1994 ,D 6 , fig. 53 )
Ahalf-seated man? seen obliquely from the front with right
arm raised, slightly enlarged, after Uffizi 18729 F/B 52 /Corpus 294.
(Source identified in an inscription on the drawing.)
17 .18629F,black chalk 216 × 149 mm
The back of a statue of Venus, after CB 16 F/B 69 /Corpus 234.
18. 186 32F,red chalk, 251 ×18 9mm
Enlarged copy after the head of anignudoon Louvre Inv. 860
recto/J 19 /Corpus 143.
19 .18633F, pen over red chalk, 260 ×18 9mm
After CB 43 Frecto/B 239 /Corpus 128 , not by Michelangelo.
(Source noted by Ferri.)
20 .18634F,red chalk, 280 × 184 mm
Same size, after Uffizi 233 Frecto/B 1 /Corpus 37. (Source noted
by Ferri.)
21 .∗ 18654 , pen, 212 × 293 mm
Recto only
a. Sketch for an ?ignudo,facing left, adapted from Cat. 13 ,recto F
(inverted)/PII 303 /Corpus 170.
b. Sketch for anignudo,facing right, after Cat. 14 versoB/P.II
304 /Corpus 171.
c. Sketch for an ancestor reading, after Cat. 9 verso C/P.II
299 /Corpus 166.
22. 1865 5F, pen, 233 ×15 6mm
Recto
A genre sketch by Commodi with no connection to Michelan-
gelo.
Ve r s o
A same-size copy of the small standing figure at the lower left of
Uffizi 233 Frecto/ B 1 /Corpus 37.
23 .∗18659F, pen, 295 × 425 mm
Recto (Papi, 1994 ,D 7 fig 54 ; sources identified)
Left side
Virgin and Childafter CB 72 F/B 203 ,probably by NiccoloTri-`
bolo.
Right side
A Virtue striking downwards for theLast Judgement, after BM
1980 - 10 - 11 - 46 /Turner, 1999 ,no. 355 recto/Corpus35 9(acquired
in Italy in the182 0sfrom the Florentine sculptor Aristodemo Cos-
toli by Rev. Robert Sandford).
Ve r s o
A left hand resting on an unidentifiable form; source unidenti-
fied.
24 .∗ 18660 , pen and red chalk, 212 × 293 mm
Recto
a. A standing man adapted and enlarged from a figure at the left of
the roundel design on Uffizi187 21Frecto/B 175 /Corpus 149.
b. Probably after a lost drawing by Antonio Mini, similar to
CB 74 F/B 177.
Ve r s o
a. Two men moving left to right, one with hands bound behind
him, the other with his right arm raised; source unidentified.
25 .∗18661F, pen and black chalk, 209 × 295 mm
Recto
a. A half-length figure, seen frontally, with his left arm raised, in
pen; source unidentified.
b. The same as a, bust length, in black chalk.c. A standing figure, left leg bent forward, in left profile; source
unidentified.
d.A gesturing figure, adapted from CB 61 Fverso/B 137 /Corpus
261.
e. A left leg, from the rear; source unidentified.
Ve r s o
a. A stooping figure in left profile, left hand reaching down, perhaps
an interpretation of the underdrawing of theRisen Christ,CB 66 F
recto/B 136 /Corpus 262.
b. Upper part of study for theRisen Christ,CB 66 Frecto/B 136 /
Corpus 262.
26 .∗ 186 62F,black chalk and pen, 215 × 294 mm
Recto
a. After Uffizi 18729 /B 52 /Corpus 294 (cf. 18626 F), pen. (The
addition of the hammer, unclear in Michelangelo’s original and
Commodi’s chalk copy, is appropriate to the figure’s pose and per-
haps identifies him as Vulcan.)
b. A standing youth, seen from the front, looking to his right, black
chalk; source unidentified but perhaps after a drawing by Antonio
Mini.
c. A small sketch of a male figure lying on his back, pen; source
unidentified.
27 .18675F,black chalk, 292 × 220 mm
Part of a torso, probably after a lost study by Michelangelo of
the15 2 0s.
119. Uffizi 18524 F(red chalk, 289 × 209 mm),186 65F (pen
and ink over red chalk, 440 × 292 mm), 18666 F (pen and ink over
red chalk, 440 × 290 mm), all three reproduced by Ragionieri,
2000 ,pp. 44 – 5 .Afourth and fifth drawing ( 18538 F, b lack chalk
with white body colour, 243 × 188 mm, and 18519 F, b lack chalk,
175 × 320 mm), both given to Commodi by Annamaria Petrioli
To f ani, copy, respectively, the terracotta torso in Casa Buonarroti,
perhaps made in connection with theDying Slave, and the wax
model variously identifed as for aRiver Godor aSlavebutmore
probably for the latter (Inv. 191 and 542 , Ragionieri, 2000 , nos. 3
and 4 ,pp. 32 – 41 ; including illustrations of Commodi’s copies); a
sixth (184 27BisF; pen and ink, 295 × 215 mm) is after the crucified
thief at the right hand of Christ in the bronze group designed by
Michelangelo.
120. Inv. 18614 F. The SettignanoTr itonseems first to have been
mentioned in print in 1746 byGori, in his edition of Condivi,
p. 99 ;in 1760 Bottari provided a more circumstantial account (Ed.
Vasari, III, p.34 9) “nella sua Villa di Settignano allato al caminoe`
un Satiro disegnato sul muro col carbone di Michelangelo quando
stava scaldandosi. E disegnato meravigliosamente ad naturale, e con
la sua solita fiera, e terribil maniera.”
121. Uffizi 17425 A, an illustrated letter from Andrea to Ludovico
Buonarroti discussing heraldry, is dated “la vigilia di S, Lorenzo,
15 9 6”; 18600 Fisthe beginning of a draft letter to the same. Ferri
and Jacobsen, 1903 ,p. 87 , who first mentioned these drawings,
gave them to Ludovico himself on the strength of the inscription
on 18600 F.
122. Papi, 1994 ,pp.15 0– 2.
123. Thus, it is possible, as Ragionieri 2000 ,pp. 12 – 14 ,remarks,
that these works were copied by Commodi while they were
(putatively) in Medici possession between15 6 5, when Leonardo
Buonarroti, under compulsion, presented to Cosimo I the con-
tents of Michelangelo’s via Mozza Studio, and 1617 .However, it
seems unlikely that Cosimo I would have coveted scrappy drawings