1. Raphael and the Fornarina, by Jean-Auguste-Dominique Ingres. 1814.
Oil on canvas, 64.8 by 53.3 cm. (Harvard Art Museums / Fogg Museum;
Bridgeman Images).
Attributed works:
2. Conversion of the proconsul, by Raphael and workshop. 1515–16.
Bodycolour over charcoal underdrawing on paper mounted on
canvas, 342 by 446 cm. (Victoria and Albert Museum, London).
Attributed works:
3. Blinding of Elymas, by Pieter van Aelst and workshop. 1517–19. Wool,
silk and gilt-metal-wrapped thread, 501 by 579 cm. (Vatican Museums).
Attributed works:
4. Blinding of Elymas. 1666–73. Oil on canvas, approx. 390 by 490
cm. (Cathédrale Saint-Étienne, Meaux; photograph Yvan Bourhis,
Département de Seine-et-Marne).
Attributed works:
5. Doña Isabel de Requesens, vicereine of Naples (formerly identified
Jeanne d’Aragon), here attributed to Louis-Nicolas-Philippe-Auguste
de Forbin after Raphael and Giulio Romano. c.1800. Oil on canvas,
102.8 by 85.1 cm. (Private collection).
Attributed works:
6. The choir of Meaux Cathedral. Before 1899. Postcard. (Collection
of the author.)
Article
A drawing by Michelangelo for the ‘Worship of the Brazen Serpent’
1. The backing sheet of Fig.2, showing the collector’s stamps
of Chambers Hall (bottom left) and Robert Mond (centre), and
the inscription by J.C. Robinson.
Attributed works:
10. Study for an ignudo on the ceiling of the Sistine Chapel, by
Michelangelo. c.1511. Red chalk with white highlights and lead pen
on paper, 27.9 by 21.4 cm. (Teylers Museum, Haarlem).
Attributed works:
2. Study for a figure in the Worship of the Brazen Serpent, by
Michelangelo. Probably 1512. Red chalk on paper, 15.7 by 19.3 cm.
(Private collection).
Attributed works:
3. Detail of Fig.2, showing the partial watermark.
Attributed works:
4. Detail of the backing sheet of Fig.2, showing the watermark.
Attributed works:
5. Detail of Fig.2, rotated 90 degrees clockwise and showing folds in
the sheet caused by excessive paste.
Attributed works:
6. Worship of the Brazen Serpent, by Michelangelo. Fresco. 1508–12.
(Sistine Chapel, Vatican; The Picture Art Collection; Alamy Stock Photo).
Attributed works:
7. Study for Adam in the Creation of Adam, by Michelangelo. 1511. Red
chalk over stylus on paper, 19.3 by 25.9 cm. (British Museum, London).
Attributed works:
8. Detail of Fig.2, showing the irregular shapes on the figure’s left thigh.
Attributed works:
9. Detail of Fig.2, showing the orientation lines at the bottom right
of the sheet.
Book Review
Die Sixtinishe Decke: Warum Michelangelo malen durfte, was er wollte. By Volker Herzner
La Cappella Paolina. Edited by Maurizio De Luca, Arnold Nesselrath, Antonio Paolucci and Ulderico Santamaria; Michelangelo e la Cappella Paolina: Riflessioni e contributi sull’ultimo restauro. Edited by Antonio Paolucci and Silvia Danesi Squarzina
1. Soldiers, preparatory cartoon for the fresco Crucifixion of St Peter in the Cappella Paolina, Vatican Palace, by Michelangelo Buonarroti. 1546–50. Charcoal, black chalk and wash, 263 by 156 cm. (Museo Nazionale di Capodimonte, Naples; Bridgeman Images).
Publication Received
La torpeur des Ancêtres: juifs et chrétiens dans la chapelle Sixtine. By Giovanni Careri
The Lost Manuscripts of the Sistine Chapel: an Epic Journey from Rome to Toledo |
institution: Meadows Museum
Illustrations
Attributed works:
113. Border with the arms of Cardinal Antoniotto Pallavicini and intitial ‘T’ (Te igitur) with the Pietà, from a Missal with Christmas Mass of Cardinal Antoniotto Pallavicini, by the Pallavicini Master. 1503–07. Colours and gold on vellum, 40 by 27.5 cm. (Biblioteca Nacional de España, Madrid, fol.66r of MS Vitr.22–7; exh. Meadows Museum of the Southern Methodist University, Dallas).
Western art unattributed:
112. Benedictional of Urban VIII. 1643. Colours and gold on parchment, 43.5 by 35.5 cm. (Biblioteca Capitular, Toledo, fol.32r of Cabildo Primado, MS 38.12; exh. Meadows Museum of the Southern Methodist University, Dallas).