P 1 : KsF
0521551331 c 01 CUNY 160 /Joannides 052155 133 1 January 10 , 2007 22 : 22
CATALOGUES 4 WHOLLY OR PARTIALLY AUTOGRAPH SHEETS 71writing on the back of three – from the Bonarroti col-
lection.”). Lawrence Inventory?, 1830 ,M.A.Buonaroti
Case 3 , Drawer 3 [ 1830 - 103 ] (“Architectural and other
studies – pen” [presumably with Cats. 19 , 75 , plus two
other unidentified drawings].). Woodburn,184 2,no. 72
(“Three small studies-upon one mount...with the auto-
graph of M. Angelo” with [Cats. 19 , 75 ].). Robinson,
187 0,no. 48. 3 (Michel Angelo. “slight and unimpor-
tant pen study....Neither the period of its execution
nor its intentions can be determined.”). Black, 1875 ,
p. 214 ,no. 43 c. Gotti, 1875 , II, p. 234. Berenson, 1903 ,
no. 15 6 7. 3 (“[P]robably, but not certainly, Michelan-
gelo’s.”). K. Frey, 1909 – 11 , 138 b (Autograph; uncertain
purpose.). Thode, 1913 ,no. 431 (Uncertain purpose,
but authentic.). Berenson, 1938 ,no.15 6 7. 3 (As 1903 .).
Wilde, 1953 a,p. 65 (Mourning figure. Would fit equally
well in BM W 32 /Corpus 87 [The Three Crosses], or
Haarlem A. 34 /VT 60 /Corpus. 109 [The Deposition] both
of c.15 2 3.). Wilde, 1953 exh., no. 140 C. Parker, 1956 ,
no. 313 (“[E]xtensive alterations in the position of the arms
and legs which produce a confusing effect...originally
the figure was leaning on a support under the arm pit
with the left arm hanging down and the right passed
across the front of the body. The left leg, originally crossed
behind the right, was afterwards straightened.” Perhaps “a
mere jotting, put to paper without any particular inten-
tion in mind.”). Dussler, 1959 ,no. 198 (Authentic, datable
c. 1518 bycomparison with [Cat. 19 ].). Berenson, 1961 ,
no.15 6 7. 3 (As 1903 / 1938 .). Berti, 1965 ,pp. 433 , 437.
Hartt, 1971 ,no. 166 ( 1517 – 18 ?. ForCrucifixion of Saints
Cosmas and Damianon San Lorenzo fac ̧ade.). Gere and
Tu rner, 1975 ,no. 86 (Parker correct to doubt Wilde’s
interpretation.). De Tolnay, 1975 , Corpus I, no. 249 bis
(Michelangelo; accepts Wilde’s date of15 2 8[sic].). Perrig,
1999 ,p. 247 (By a pupil of Michelangelo; from via Mozza
studio.).CATALOGUE 4Recto: Studies of a Horse and a Sketch of a Battle Scene
Ve r so: Five Drafts of Poems
184 6. 39 ;R. 18 ;P.II 293 ; Corpus 102Dimensions: 427 × 283 mmWatermark: Robinson Appendix no. 19 b. Roberts Fruit
D.The single use of this paper in Michelangelo’s work.
Not recorded in Briquet.Medium
Pen and iron gall ink, which has corroded the paper.Condition
There is widespread discolouration and local staining and
some undulation. An additional strip of paper has been
added to the left margin covering parts of the origi-
nal writing, which have been replaced in the writing of
Michelangelo the Younger. There is a major pressed-out
horizontal fold and crease, with other creasing and some
skinned areas. There are major pulp infills and toning and
major unsupported fractures where the ink has burned
through. There are some repaired edge tears.Description and Transcriptions
The recto was used first, as a full sheet, oriented vertically;
when Michelangelo subsequently employed the verso for
poetry, he folded the sheet at the half-way point and used
the two half-pages thus obtained for separate verses. On
the left-hand half sheet, he inscribed two poems, inverted
with respect to each other; on the right-hand page, he
inscribed three verses, each oriented differently.Recto
A.The body and neck of a stallion, in right profile.
B.The hind quarters of a stallion, seen from the right
rear.
C.The hind quarters of a stallion, in right profile.
D. A combat between a cavalryman and foot soldiers.
E.An indecipherable form, perhaps a fallen infantryman.Verso
The compiler has endeavoured to transcribe the words
as literally as possible – an effort in which he has
relied heavily on the work of others, notably Baroc-
chi, 1964 c.These transcriptions are followed by the ver-
sions of the same poems given by Girardi in his stan-
dard editions of Michelangelo’s poetry of 1960 and 1967 ,
modified on occasion by those of Residori in Resi-
dori and Baratto, 1998. These clarified texts are supple-
mented by the translations into English prose published
byChristopher Ryan in 1996 , which make Michelan-
gelo’s thought immediately accessible to the anglophone
reader. In the compiler’s transcriptions an effort has been
made to indicate Michelangelo’s abbreviations typograph-
ically. Where appropriate signs are unavailable, normal
parentheses()havebeen employed to signal abbrevia-
tions;{}to signal missing words or letters due to dam-
age to the paper, within which are inserted conjectural
readings.