-■, ,^ -^ Presfdent Whjte Library, CORNELL University. ¥2 Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924008756847 FACSIMILES OF ORIGINAL STUDIES BY MICHAEL ANGELO. FACSIMILES OF ORIGINAL STUDIES BY MICHAEL ANGELO, IN THE UNIVEESITY GALLERIES, OXFORD. ETCHED BY JOSEPH FISHER. LONDON: BELL AND DALDY, 186, FLEET STREET. 1865. XttT -7 ^■'grfetC- ) 5 y^ iii'Mi' mimiiMiip INTRODUCTION. jN presenting to the public these etchings, from the designs of Eaffaelle and Michael Angelo,* the pub- lishers deem it desirable to give a brief sketch of their history, and of the evidence which may be adduced in favour of their authenticity. Perhaps in the annals of art a more remarkable record is not to be found. Collected by Sir Thomas Lawrence, and authenticated by his judgment and experience, they yet narrowly escaped a fate which at one time threatened to scatter them throughout Europe. Sir Thomas, convinced of the genuineness of these designs, and anxious to retain them in England, desired in his will that his collection should be offered to the Trustees of the National Gal- lery, at one third of its value. With the uncertainty which often accompanies the acts of official bodies, the ofl'er was not accepted, and the whole series passed into the hands of Messrs. Woodburn. These gentlemen, after an exhibition which resulted in assuring art connoisseurs of the priceless value of these designs, opened * For the convenience of purchasers the fac-siniiles from the di'awings of Eaffaelle are sold separately from those of M. Angelo, but the Introduction is attached to each volume. G INTRODUCTION. negotiations with the Government, to whom they offered the entire collection for ten thousand guineas, a sum far below the estimate put upon it by an experienced and able judge. This negotiation failed, and an appeal was made to the public by the University of Oxford. Happily the University of Oxford, moved by some eminent men who appreciated the value of this unrivalled collection, set on foot a subscription among the members of the University. Seven thousand pounds were collected for the purchase, to which the late Earl of Eldon contributed the munificent sum of four thousand one hundred pounds. Their earlier history is not less adventurous, and sufficient is known to trace them almost to their source. At least six of them belonged to Timoteo Delia Vite, the friend and pupil of Eaffaelle himself. From Delia Vite they passed by inheritance to the Marchese Antaldi. Three of them are known to have come from M. Crozat. Three belonged to M. Mariette, the compiler of the catalogue of M. Crozat's collection, and author of a work of high authority on the general subject of design. Giorgio Vasari, a pupil of Raffaelle, and a great collector of his master's designs, the writer of the Lives of the Painters, was known to have been in possession of one of these sketches ; and Count Zanetti, of Florence, an authority of no less eminence, a preserver and collector of everything curious or excellent in art, was the owner of another. Seven of them came from M. de Legoy, quoted by Landon in his Life and Works of Eaffaelle as the possessor of that master's designs. Of our own countrymen, or those whom we may call by that name. King Charles L pos- sessed one, the Earl of Arundel two. Dr. Mead one, and Consul Udney, of Venice, two. Sir Peter Lely was the owner of three of them, Mr. Jonathan Eichardson held four. Sir Joshua Eeynolds eight, Benjamin AVest one, Fuseli one, and Eichard Cosway three. IXTRODUCTION. 7 Like many other famous works of art, a portion of these drawings sluired in the vicissitudes of the French Eevolution, ultimately, however, to be landed under the safe keeping of England. The French armies, as is well known, were accom- panied by persons appointed to select and carry off the best pictures from the palaces, churches, and galleries, public or private, in places occupied by the soldiers of the Republic. They were furnished with authentic catalogues of the best pictures, and many interesting stories are told of the treasures they were appointed to " convey." Marshal Soult was accustomed to point to a gem which he specially valued, because it " saved the life of a Spanish noble." The modus operandi was somewhat peculiar. The marshal was determined to possess the picture ; the noble, equally desirous to retain it, hid it, and declared he had not got it. The marshal, " master of the situation," ordered its quondam pos- sessor to be shot, unless the picture was produced within a given time, and of course the production of it " saved his life." The existence of the designs of Raffaelle and of Michael Angelo was not generally known, and hence they were not included in the catalogues furnished to the French collectors. The Chevalier Vicar, who was sent to Italy by the French Government, nevertheless selected the most choice drawings wherever he found them, (whether or not they were enumerated,) and those not named in his commission he retained for his own study. Amongst them were many of the designs which now furnish the subjects of these etchings. The collection of the Chevalier Vicar, one of the most valuable known in modern times, appears to have been divided into two portions, both of which fortunately fell into English hands. One of them the Chevalier entrusted to a friend in Florence, from whom it was purchased by Mr, W. Y. Ottley. The other was retained by the Chevalier himself, in Rome, where he was visited by Mr. S. 8 INTRODUCTION. Woodburn, in 1823. Mr. Woodburn opened a negotiation for the purchase of the Chevalier's collection, and the M. Vicar was tempted by the offer of eleven thousand Roman scudi. The transfer of these treasures was duly reported in the Diario di Roma, and great interest was created in consequence. The public for the first time became aware of their existence in a collected form, and an offer was made to Mr. WooSburn from Russia, which he patriotically declined, determining to keep them for his own country. A singular incident at the sale of these drawings of the Chevalier Vicar revealed the existence of other treasures of remarkable interest and value. Mr. Woodburn discovered that some designs by RafFaelle remained in the keeping of the Marquis Antaldi of Pesaro, the name of whose ancestor is mentioned above, and he resolved to endeavour to secure these important relics. Accordingly, he set out for Pesaro, where his perseverance was rewarded by a view of these interesting remains of art history. He found there a portrait of Timoteo Delia Vite, a scholar of Eaffaelle, and his executor. This is said to be the finest head ever produced in black chalk. Besides this most valuable prize,. were some admirable drawings, and on the back of two of them were found studies for sonnets. This historical evidence, if other things were wanting, is beyond all question of the highest value. The Marquis of Antaldi was a descendant of Timoteo Delia Vite, the friend and pupil of Paffaelle, and these drawings had never been out of his family. Hence, in addition to the artistic testimony which is marked upon these productions we have historical evidence of a character which is almost incontrovertible. The studies for sonnets on the back of two of the drawingcs of course add materially to their interesting character. The visit of Mr. Woodburn to the Marquis Antaldi was, how- ever, not only useful in securing this small though admirable collection, but it also opened another channel of investigation and INTRODUCTION. 9 research, and was the means of bringing to England another collection of the designs of Raffaelle and Michael Angelo. After the negotiation between tlie Marquis Antaldi and Mr. Woodburn was completed, the former presented his visitor with a curious manuscript catalogue of pictures and drawings ; tliis catalogue is now in the University Galleries. From this source it was dis- covered that M. Crozat had purchased, about the year 1680, many of the Eaflfaelle drawings from the ancestor of the Marquis Antaldi. Here was another link in the chain of discovery, and, fortunately, Mr. Woodburn was able to work it out, through a very happy incident. The Marquis Legoy, who lived in Paris about the year 1820, was desirous of securing a cabinet of Greek coins which had been sent from Naples to Paris for sale. His means would not allow him to become the purchaser, and he therefore offered for sale his collection of drawings, in order to secure possession of the coins. As soon as Mr. Woodburn heard of the circumstance, he set off from Amsterdam in the depth of winter, and bought the entire collection of drawings from the ilarquis. The collection contained only 138 drawings, but they were of the highest quality, and the whole of them were pur- chased by Mr. Thomas Dimsdale, on the very day Mr. Woodburn came from Paris. This was two years before the interview with the Chevalier Vicar or the Marquis Antaldi, though the importance of the purchase from M. Legoy was not fully known till the last event. In the manuscript catalogue handed by Antaldi to Mr. Woodburn, it was shown, that many of these drawings transferred by M. Legoy were those which were sold 140 years before by a former Antaldi to M. Crozat. Thus it seemed as if nothing more were wanting to complete the documentary evidence of their o-enuineness. The Chevalier Vicar gathered them from the best o-alleries in Italy, and verified their authenticity by his knowledge, taste, and research. The Chevalier sold them to Mr. Woodburn, 10 INTRODUCTION. and introduced the purchaser to the Marquis Antaldi, who was a lineal descendant of the executor of KafTaelle, as well as an enthusiastic collector of his drawings, and from him they secured a further identification. Again, by means of a manuscript cata- logue of undoubted antiquity, a few more of the drawings were found in Paris, their possessor in the French capital being able to trace their history in a direct line from M. Crozat, the friend of the predecessor of the Marquis Antaldi. It is now easy to follow them to their present position. Mr. Woodburn, in his indefatigable researches after the drawings of Michael Angelo and Raffkelle, appears to have acted principally as the agent of Mr. Dimsdale and Sir Thomas Lawrence. It was INIr. Dimsdale who purchased the Legoy collection ; it was he who bought the Vicar treasures ; whilst Sir Thomas, whose purse was not so deep as that of his rival, occasionally bought single selected specimens. He was able, subsequently, to purchase the whole Florentine selection of the Chevalier Vicar from Mr. Ottley for ten thousand pounds. Of the designs, however, from which our etchings are taken, eight passed from Mr. Dimsdale's cabinet during his lifetime into that of Sir Thomas Lawrence. Five came from the gallery of Mr. Joseph Harman, four from that of Lord Hampden, two from Earl Spencer's cabinet, two from that of Mr. Duroveray, one from that of Mr. Hugford, others from Mr. Ber- wick, eighteen from foreign connoisseurs, and one was presented to Sir Thomas by the Duke of Devonshire. This drawing bears on the back of it, in the duke's handwriting, the record of the presentation. It was, however, from Mr. Dimsdale's collection that the majority of these treasures were obtained. The "ruling passion" was never, perhaps, more strongly exhibited than in the case of this gentleman. During a severe illness, and only a few days before his death, he gave three thousand guineas for the Kaffaelle and Michael Angelo drawings from the Eoman collection of M. Vicar. INTBODUCTION. 11 Very shortly after his death the entire Series of his Italian drawings were purchased by Sir Thomas Lawrence for the sum of five thousand five hundred guineas. This addition made the cabinet of Sir Thomas the finest in existence. An amusing anecdote is told of the two distinguished collectors, which will bear repetition here. Sir Thomas, not anticipating the serious illness of Mr. Dimsdale, was most anxious to obtain from him, by means of money, exchange, or any other mode, the possession of the best drawings in the Vicar collection. He pressed his purpose through Mr. Woodburn, their common friend, but without avail. One day during Mr. Dimsdale's illness, a servant of Sir Thomas's arrived to inquire after his health, and to beg his acceptance of a brace of pheasants. " Ah," said Mr. Dimsdale, who was at that time very ill, " these plieasants smell very strongly of Raffaelle and Michael Angelo." However, Sir Thomas had not long to wait, for, a few days after, this liberal and distinguished amateur died. With respect to their genuineness there is abundant proof, external and internal ; in the approval of the most famous artists and connoisseurs, amongst whom the name of Sir Thomas Law- rence stands pre-eminent; in the anxiety of the lioyal Academy to secure possession of them ; in the memorial of between three and four hundred amateui'S and professors of art to retain them in England; in the pride with which they are regarded by the University of Oxford, and the liberality which that distinguished body showed in the purchase of them. So convinced was William IV. of their great merit that he gave a donation of fifty guineas to secure the gratuitous admission of students of the Roya) Academy to these designs. In an elaborate paper, the late Rev. Vaughan Thomas proved their autiienticity, not only from the evidence of reputation and the concurrence of opinions and autlio- rities, but from the peculiarities of workmanship, drawing, lines of contour and lines of shading; from tlie materials with which 12 INTRODUCTION. Raffaelle worked ; from the painter's known manner of expressing his thoughts and feelings ; from the changes which are known to have taken place in Raffaelle's manner ; from the known facts in the history of his practice as a painter ; from his known study of the antique, and from his earnest desire that his figures should be anatomically correct. What is said for Raffaelle may of course be also said for Michael Angelo. It is not our intention to follow the arguments of Mr. Thomas, but we may refer to one or two points of singular interest. On the back of one design — " Various Studies for the celebrated School of Athens " — is to be found the study for a sonnet, in the handwriting of Raffaelle. We find the last word in each intended line jotted down, as if he had fitted his ideas to his rhymes, and made the sense subservient to the sound. This is an interesting literary memorial, and in itself is a valuable corroborative piece of testimony. Again, there is a drawing of the Annunciation, which is pricked with a needle on the outline, for the purpose of tracing on the panel. Again, in a study for the Borghese entombment we have the figures of the three Apostles undraped to mark the anatomy, and the body of the Saviour indicated in red chalk. In the drawings of Michael Ancrelo similar interesting; memorials of his care to give efi^ective form to his conceptions, are to be found. At the back of one sheet of studies, apparently designed for a pupil, is to be found a sonnet by the great master himself. On the reverse of another may be seen studies of eyes and a head, which a pupil of Angelo's, Andria Mini, copying them indifferently, his master has written an observation, recommending perseverance to him. On the reverse of another are a few anatomical studies; on the back of another are verses in the handwriting of the master ; on another, remarks respecting his accou.nts. Two other sheets are made up of four leaves from Michael Angelo's pocket-book ; they are slight sketches from nature, in pen and black chalk. Two other sheets INTRODUCTION. 13 tire made up of four leaves from ]M. Angelo's pocket-book, with pen sketches, and several of them bear the autograph of the great master. These, of course, are incidents which add only to the historical interest of these drawings, not to their artistic merit. That must be left to the judgment of the amateur and professor, and it may be said, that no one can view them without being convinced of their transcendent merit. As Mr. Thomas remarks of the Raflfaelle collection, they trace, in an unbroken series, " the practice in art of this prince of painters ; " and so, it may be added, of Michael Angelo, the king of artists. There is no room to doubt the priceless character of these productions, and the University of Oxford deserves the thanks of the nation for the part it has taken in their preservation. The publishers hope, in the present volumes, to extend the usefulness of this magnificent collection, and they confidently offer the etchings of j\ir. Joseph Fisher, of Oxford, as careful, spirited, and thoroughly characteristic reproductions. STUDIES BY MICHAEL ANGELO. 1474—1564. ICHAEL ANGrELO and his Friend Ant. Della Torre — dissecting a human figure, which ^ lies extended on a table : the arms hang to the ™ ground, and a lighted candle is fixed in the stomach. This valuable drawing is mentioned b}^ several authors, and is executed with the pen and bistre in a most spirited manner. Size of the original Drawing 9i in. by 6|^ in. From the Collections of M. Crozat, M. Mariette, the Marquis Legoy, and T. Dimsdale, Esq- II. Tavo Leaves of M. Angelo's Pocket-book — pasted to- gether, on which he has drawn several small figures, which has served for his grand works in the Sistine chapeh These first thoughts show the progress of his method of art: they are slightly sketched from nature as attitudes, and are executed in pen and black chalk. Size of the two, 5 in. bj 11 in. III. Two Pages the Reverse of the former. IV Two other Pages. 16 STUDIES BY EliVERSE OF THE ABOVE. Two OTHER Pages. Eeveese of the same. Two other Leaves. Keverse of the same. V. VI. VII. VIII. IX. From the Collections of Sig. Buonaroti, the Chevalier Vicar, and W. Y. Ottley, Esq. X. A BEAUTIFUL SHEET OF StUDIES, FOR THE DaVID CON- QUEROR OF Goliath — in bistre pen. Size, 12|- in. by 7|- in. From the Collections of King Charles I. and Lord Hampden. XI. A Male Figure — evidently a Study from the life for the Fresco of David with the sling ; red chalk. Size, 12|- in. by 6i in. From the Collection of W. Y. Ottley, Esq. XII. Four figures of Soldiers — ascending steps ; highly finished black chalk. For the Fresco of the Martyrdom of St. Peter. Size, 6 in. by 4i in. From the Collections of Mr. Kiohardson, and Sir Joshua Reynolds. XIII. A highly-finished Composition for the Holy Family — black chalk. Size, 13|- in. by lOi in. From the Collection of Sig. Bossi, Milan. MICHAEL ANGELO. 17 XIY. Three Figures disputing — one a soldier. This capital drawing is particularly interesting, from the observations of its former possessor. There is a copy of it by B. Franco, which belonged to Sir T. Lawrence. Size, 15i in. by 10 in. From the Collections of J. Richardson, Esq., Lord Spencer, and W. Y. Ottley, Esq. XV. One of the Figures in the celebrated Fresco of THE Last Judgment in the Vatican — an admirable Study : highly finished in black chalk, and touched with surprising truth as to anatomy. Size, 12i in. by 15i in. From the Collection of W. Y. Ottley, Esq. XVI. Study from the Last Judgment — a demon carryino- a man ; red chalk. Size, 51- in. by 4 in. From the Collection of Joseph Harman, Esq. XVII. Study for the Adam, in the Creation of Eve — in the Sistlne chapel ; careful drawing in black chalk. Size, 9-|. in. by 5|- in. From the Collection of Sir Joshua Reynolds. XVIII. Study from the Life — for one of the Prophets, in the Sistine chapel ; King Joram ; red chalk. Size, 8 !- in. by Sj- in. From the Collection of the Prince Borghese. XIX. A highly-finished Study — of the Jonah for the Fresco in the Sistine chapel ; black chalk. Size, I5|- in. by 11|- in. From the Collection of J. Harman, Esq. 18 STUDIES BY XX. An aged Female — pi-obably a design for one of the Sibyls ; painted in Fresco in the Sistine chapel ; very highly finished with the pen, and full of character. Size, 13|: in. by 5i in. From the Collection of R. Cosway, Esq. XXI. A Sibyl — a noble Study for one of the figures in the Sistine chapel. It is executed with the pen, and possesses all the energy and grandeur of M. Angelo. Size, 10- in. by 71- in. From the Collection of the Baron de Non. XXII. An old Woman and a Child — walking with a stick, the drapery in grand folds. It is executed with a reed pen, and is full of expression, probably from life. Size, 13 in. by 8^ in. From the Collections of M. Revil, and W. Y. Ottley, Esq. XXIII. A Sheet of Studies — for the Tomb of the Medicis, admirably drawn with the pen and bistre, showing the exactest knowledge of anatomy. On the same side is a Study of J de Medici, in a helmet, slightly drawn in black chalk. This magnificent sheet is in his best style. Size, I7j in. by llj in. From the Collections of Crozat, Mariette, the Marquis Legoy, and Thomas Dinosdale, Esq. XXIV. A Sheet of Studies — -chiefly of sporting boys; admirably drawn with the pen. Size, 15 in. by 11 in. From the Collections of M. Crozat, Mariette, the Marquis Legoy, and T. Dimsdale, Esq. XXV. A Design for the Tomb of the Medici Family at Florence — a careful pen drawing, washed with Indian ink. Size, 10 in. by 9|- in. From the Collection of M. Dijonval. MICHAEL ANGELO. 19 XXVI. Study — for one of the figures on the Tomb of the Medici at Florence ; drawn with pen and bistre in the grandest style of this Master. Size, 16 in, by 11 in. From the Collections of M. Ci'ozat, H. Mariette, the Marquis Legoy, and T. Dimsdale, Esq. XXVII. The Return of the Holy Family from Egypt — a sketch in oil on board, very instructive, as showing his mode of working; he has drawn the figures unclothed, and has marked in some parts the drapery over the naked figures. This painting, in chiaro scuro, is probably unique. Size, 26 in. by 21 in. From the Collections of the King of Naples, at the Capo di Monti, an ■/ :/ R^ ^•-■"'S,. "V-f '"^-'J^ _-,*'*1 ^ >? t^ ■^ ft. ^ ^ I I !■ ^ ^^' fi-i ' J2 'M'c'ifjn^o!^ S??'""' -J M A/ifcio ^l. Mic/i'^Z _y«jf «/^ 4^ M':'/:ri''.^-zseii jiif;^/iceiti jin^e^^ £^il- AN OLD VV C) M ,\ M AN!) A C I 1 1 L D . Ftow. ihe CaVectLons of M Revi! end WY Ottiey Es,y fe B¥5 MuAa^ Anj^dib c^i Il /r^^^ / X (I ^' .' rr ~ i ^^ I J ¥\ * .'^/l r ' ' 1 I ^^ / f In I l^o. 1 U.Anae^ iz^/ J~ fisAur fesi^ ^r -i^r '0 i I ^-^5-,-.,i Z9 * i Any-U M ' ^A '"^ '^ 'V^^**^ // MA^'>^c.lo'd:i M.Anmlo eld. M Ayi^ei:: cisl. Pl.l. A HOLY FAMILY. Beilue.J/Jxd iu Iju: U.njjuiixj' Galkry hy G F'UrhoO/i, Es^/ .J' i;icn.kw>n:Br.w„L z UJ UJ :: 1 I -) g < ^ fs F- ^"^vv^I'Vy^'^" r^ ! '1= _y^, ^ ^. V o I- /'■' U '■ \ -A*^ ^ 'A 1^ &. f^-- ■ 2 r lot it I ":>' MiLhxOll /In'/''Jx?. fl^FcsA^r Dl^'^TH':. 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P'rcm eke CoUr.rJ.wn of /Jix C/ai'/jakcr Vicar, /-/ Z' /'/. *> j.,.i*^ --^s*^ ^ Mick' j,u/,_'t-f «'•:': ♦•' } ^.3 A DESIGN FOR Oy^ OF THPSIBYts IN .TFjf Si:;.rr|E CI-caPeL Fl J 6. M-Aruick "; '!ES ijF A MALE nCI.'R.t , A HAND, AND SMALLCa FIGURES. F/ J7 WH^''\^^ ^ (I ^ l> >; py -^ '^ iii.( 0. U .yu ^ "H M. An^eU. STUDILS OF MALE AND rEMALL H E A E' S JrrvJrL thy. fh//.rcUo'i. rj/' J narr/i.i/M. B'sa ^ "-^ , --s,-.*-*^ A % K \y ^ 4 '^ t . ^1 I It > i O '9' '^ :^' .< <\rn Fi. rv » » '\' '*, ,, 1' i HORSES AWD A SMALL SIDDY - FIGHTING FOR THE STANDARD. 1 \^ \ \ t 4) 1 \ } \ -_ \ -1