P 1 : JZP
0521551335 int 1 b CUNY 160 /Joannides 052155 133 1 January 11 , 2007 9 : 36
42 THE DRAWINGS OF MICHELANGELO AND HIS FOLLOWERS IN THE ASHMOLEAN MUSEUMwithout Medici connections, and the compiler is inclined to think
that these remained in the family and were copied by Commodi
in Casa Buonarroti. A negative argument in favour of this view
may be adduced: There are no known copies by Commodi after
drawings by Michelangelo that were certainly in Medici Grand
Ducal possession during Commodi’s lifetime. Thus, he did not
copy either precisely or sketchily masterpieces by Michelangelo
such as theCleopatramade for Cavalieri, the twocartonettiprepared
for Marcello Venusti, or the three Presentation Drawings ofIdeal
HeadsgiventoGherardo Perini, all of which, minus, of course, the
Cleopatra,remain in the Uffizi. The most plausible explanation for
this absence is that Commodi did not have access to the Medici
Collection of drawings.
124. See n. 114 nos. 14 and 22.
125. 233 F/B 1 /Corpus 37 , 18720 F/B 19 /Corpus 141 ,187 21F/
B 175 /Corpus 149 ,187 24F/B 23 /Corpus 317 , 18729 F/B 52 /Corpus
294 , 18737 F/B 3 /Corpus 44.
126. Inv. 860 /J 19 /Corpus 143 ;black chalk, 305 × 210 mm
127. JBS 64 verso/Corpus 280 ;black chalk and pen and ink,
333 × 248 mm, on a Baldinucci mount.
128. These drawings, both in black chalk, brown wash, and
touches of white body colour (respectively, Paris, Fondation Custo-
dia Inv. 5422 ; 253 × 339 mm, and Rotterdam, Museum Boymans-
van Beuningen Inv. V. 7 ; 240 ×34 6mm) were recently discussed
byR. Rosenberg in Weil-Garris Brandt et al., 1999 – 2000 , nos. 6 a
and 6 b; unlike Rosenberg, the compiler believes both drawings to
be autograph works by Rubens. A copy after the Rotterdam draw-
ing (known to the compiler only from an old photograph in the
Witt Library) is in the collection of the University of Wurzburg; ̈
it appears to be by Jacob Jordaens.
129. Significantly, the copies after drawings by Michelangelo (or
of copies by Raffaello da Montelupo after drawings by Michelan-
gelo) either made or owned by Gabbiani, listed in Cat. 34 are, with
a single exception, after drawings now in the Uffizi and presumably
always in Grand Ducal possession. Gabbiani seems to have made
(or owned) no copies after Casa Buonarroti drawings.
13 0. Rennes, Mus ́ee des Beaux-Arts, Inv. 74. 73. 495 ; see
R. Rosenberg, 2000 ,NZ 167 ; and Ramade, 1985 ,no. 304 ;Drouais
led the way among Jacques-Louis David’s pupils in exploiting
Michelangelo’s works as a visual source.
131. Mariette, 1746 ,pp. 231 – 2.
132. Condivi-Gori, 1746 ,p.xviii; Wright, 1730 ,p. 422 , had
already noted: “At the Palace of the Senator Buonarroti, we saw
two books filled with sketches of Architecture, designed byMich.
Angelo, who was his Ancestor.”
133. CB 45 A/B 245 /Corpus 497 : This was recorded as hanging
in Stanza III in the description of the Gallery of 1684 ,together with
theCleopatraand two other undescribed drawings by Michelangelo.
In Stanza III a “Madonna, disegno in matita di Michelangelo”
is mentioned, the famous cartoon still in Casa Buonarroti, CB
71 F/B 121 /Corpus 239. (See Procacci, 1967 ,pp. 227 – 8 .)
134. Mariette, 1746 ,pp. 231 – 2.
135. These are also recorded in 1684 :“evisono due grossi
volumi, disegni di Michelangelo Buonarroti, ordinati e messi
al armadio accanto, per esser grandi.” There were also engrav-
ings in the Buonarroti Collection, no doubt including most
of those known after Michelangelo’s works (Procacci, 1967 ,
p. 228 ).
136. Reprinted in Procacci, 1967 ,pp. 219 – 30.137. For this episode, see Thornton and Warren, 1998. Some
support for the Cavaliere Michelangelo’s claim is provided by an
inscription on the sheet that bears Michelangelo’s famous study
for theLast Judgement,CB 65 Frecto/B 142 /Corpus34 7: “Questo
disegno`edipropriet`adiMichel.o del fu Carlo Buonarroti lasciato
in custodia al cugino Cosimo, anno 1833 .” If this inscription is
taken at face value, it would seem that there was before 1833 a
fraternal division of Michelangelo’s drawings.
138. Such as, for example, Uffizi 603 E/B 187 /Corpus 306 (Joan-
nides, 2002 – 3 b,no. 184 [ 183 in the English-language edition])
and Uffizi 251 F/B 243 and the copy after a developed version of
this design by Francesco Salviati, Uffizi 14673 F(Joannides, 2002 a,
nos. 8 and 9 ).
139. Davis, 2002 , argues that c. 1525 Michelangelo gave a sheet of
architectural designs now in the Centro Internazionale di Studi di
Architettura Andrea Palladio, Vicenza, to Sarto’s wayward pupil
Jacopo di Giovanni di Francesco, alias Jacone, who would be
responsible for the pen drawings on the verso, overlaying Michelan-
gelo’s indications in red chalk. Davis’s attribution was anticipated
bythe late James Byam Shaw, who annotated a reproduction of
the drawing in the Witt Library with Jacone’s name. The sheet’s
history before its appearance in the sale of the Squire Collection,
Sotheby’s, 28 June 1979 , lot 40 ,isunknown.
140. Metropolitan Museum of Art, 87. 12. 69 /BT 211.
141. Melbourne, National Gallery of Victoria, no. 351 / 4.
142. Ecole des Beaux-Arts, Armand-Valton, no. 197 A/Corpus
62 and Louvre Inv. 844 /J 50.
143. On a sheet subsequently used by Michelangelo for fortifi-
cation drawings, CB 27 Arecto/Barocchi 182 /Corpus 567 ;various
media, 562 × 407 mm. Bartolommeo Bergamasco’s statue is illus-
trated in Schulz, 1991 , fig. 36. Mini’s copy was probably made from
a clay or wax model.
144 .Carteggio,V,MCCCXVII.
145. Lille, Musee des Beaux-Arts; Brejon de Lavergn ́ ee, ́ 1997 ,
nos. 4 and 5.
146. Mus ́ee Bonnat, Bayonne, Bean, no. 73. The compiler is
now inclined to think that this autograph – although much dam-
aged and retouched – drawing is the portrait of Tommaso de’ Cav-
alieri formerly in Farnese possession.
147. Riebesell, 1989 ,pp. 124 – 31 , with a table on p. 127.
148. Perhaps further drawings attributed to Michelangelo
and/or Raphael were acquired from the estate of the Cavaliere
d’Arpino.
149. Clayton, 1996 – 8 ,p. 208.
15 0. Clifford, 2002 , passim.
151. Riebesell, 1989 ,p. 201.
15 2. This may be true of Michelangelo’s Cooper-HewittCande-
labrum,ahighly finishedmodelloof c.15 2 0, which many years later
he converted into a menorah by sketchy black chalk additions.
153. Thus, the sculptor Cristoforo Stati da Bracciano (155 6– 1619 )
owned two sheets of drawings by Michelangelo, now lost, that also
contained poems (and perhaps others that did not). Guasti, 1863 ,
p. XI, cites the following notes by Michelangelo the Younger: “[ 1 ]
Da un carta di schizzi di Michelangelo in mano (i.e., in possession
of) di Cristoforo da Bracciano scultore eravi scritti questi Madrigale,
anzi ballata, pareva di mano di Michelagnolo stesso ‘Quanto sare
men doglia il morir presto’ [ 2 ] Nel rovescio di una carta dove son
certe modanature di Michelagnolo, in mano (i.e., in possession of )
al medesimo Bracciano ‘Com’ aro dunque ardire.’”`