1
00:00:00,240 --> 00:00:06,090
Good evening, ladies and gentlemen. And I hope you can all hear me.

2
00:00:06,090 --> 00:00:18,090
If not, I don't know what to do. I've been asked to remind people it was mentioned last week that maybe not everybody was here last week,

3
00:00:18,090 --> 00:00:22,590
that there is a glass of wine outside after the lecture.

4
00:00:22,590 --> 00:00:27,390
You're all, most welcome. And people who want to interrogate me.

5
00:00:27,390 --> 00:00:42,510
This will be your best chance. Probably the only other thing I wanted to say before starting to give the lecture proper is that this is Michelangelo.

6
00:00:42,510 --> 00:00:50,430
And on the 14th of December of last year, Professor Michael Hirst of the Court Held Institute,

7
00:00:50,430 --> 00:00:57,480
who was my absolute great mentor in the history of art, died.

8
00:00:57,480 --> 00:01:06,240
He hadn't been well for a while. And he, I think, is the great Michelangelo scholar of his generation.

9
00:01:06,240 --> 00:01:14,360
And I'd like to dedicate this letter lecture to him. So.

10
00:01:14,360 --> 00:01:24,920
It might seem that there can be nothing new left, say, about Michelangelo's fresco decoration of the Sistine Chapel, seen together with the Mona Lisa,

11
00:01:24,920 --> 00:01:31,940
it has dubious honour of contending for the unofficial title of the best known masterpiece of Renaissance art,

12
00:01:31,940 --> 00:01:38,750
which, alas, makes it extraordinarily hard to see it fresh in the present series of lectures.

13
00:01:38,750 --> 00:01:45,770
The task will, above all, be to understand how Michelangelo used drawings to create the ceiling.

14
00:01:45,770 --> 00:01:57,110
And it comes as something of a surprise to realise that this has seldom been undertaken in a comprehensive and at the same time detailed fashion.

15
00:01:57,110 --> 00:02:04,340
It is a popular misconception that Michelangelo painted lying on his back a doodle of a drawing,

16
00:02:04,340 --> 00:02:09,560
which you can see accompanying Sonnet about his sufferings on the job.

17
00:02:09,560 --> 00:02:14,360
Shows him standing up and painting over his head.

18
00:02:14,360 --> 00:02:25,530
Another drawing shows his stepped scaffold, the red chalk legs the other way up belong to God, the father in the creation of Adam.

19
00:02:25,530 --> 00:02:37,280
Michelangelo famously and memorably denied that he was a painter on various occasions, not least in.

20
00:02:37,280 --> 00:02:42,800
The site which you see.

21
00:02:42,800 --> 00:02:50,900
It is therefore not entirely surprising if his claim has been, at least in part, believed as will emerge more fully in due course.

22
00:02:50,900 --> 00:02:58,820
This will not be the last instance where Michelangelo's own pronouncements need to be treated with a measure of scepticism.

23
00:02:58,820 --> 00:03:08,210
Or at the very least, understood in context. The reason Michelangelo was so unhappy about having to work on the ceiling was that he

24
00:03:08,210 --> 00:03:14,210
was already engaged on the Herculean task of creating the tomb of his papal patron,

25
00:03:14,210 --> 00:03:25,490
Julius. The second Fusari and Con DeeVee, his two biographers, are both in agreement in assigning the blame for this change of plan to Bramante,

26
00:03:25,490 --> 00:03:34,610
who supposedly wanted to confound Michelangelo in order to boost the fortunes of his and I quote, friend and relative Rafale.

27
00:03:34,610 --> 00:03:39,050
This may well be what Michelangelo himself came to believe,

28
00:03:39,050 --> 00:03:46,370
but it is not all that straightforward in terms of chronology, at least as regards the involvement of Rafil.

29
00:03:46,370 --> 00:03:56,630
It is not known when Rafeal moved from Florence to Rome, but his first recorded payment for work on the stand of Senior Toura,

30
00:03:56,630 --> 00:04:01,810
which is my subjects next week, dates from January of 15 09,

31
00:04:01,810 --> 00:04:08,840
and he cannot realistically be supposed to have left Florence before the end of fifty seven.

32
00:04:08,840 --> 00:04:18,350
Yet a letter dated Sunday, the 10th of May. You know, six from Piara recently in Rome to Michelangelo in Florence.

33
00:04:18,350 --> 00:04:22,490
For all that, the finer points of its meaning have been much debated.

34
00:04:22,490 --> 00:04:32,620
Clearly already refers to Bramante in discussion with Julius about Michelangelo painting the Sistine Chapel ceiling.

35
00:04:32,620 --> 00:04:45,220
In. The early 16th century, the vault of the Sistine Chapel still retained the decoration it had received at the time of the original campaign.

36
00:04:45,220 --> 00:04:48,580
Of the 14 80s to fresco the walls.

37
00:04:48,580 --> 00:04:58,930
This consisted of a relatively simple design representing the heavens with gold stars in the form of constellations on a blue background.

38
00:04:58,930 --> 00:05:03,460
And I'm showing you a drawing that seems to be for it.

39
00:05:03,460 --> 00:05:14,230
Neither the sari nor can D.V. make any mention of what was originally intended for the overall design of Michelangelo's ceiling.

40
00:05:14,230 --> 00:05:23,170
But a later letter written by the artist, which survives in two redactions, is extremely informative on this point.

41
00:05:23,170 --> 00:05:32,740
Towards the end of December, fifteen twenty three Michelangelo in Florence wrote to Drew a van Francesco fatuity in Rome,

42
00:05:32,740 --> 00:05:37,240
and recalled that on his return to Rome in fifty eight,

43
00:05:37,240 --> 00:05:44,590
he was charged by Julius to work on the vault and not on the tomb in the first version of the letter, he states.

44
00:05:44,590 --> 00:05:50,200
The agreement was that he should be paid three thousand ducats.

45
00:05:50,200 --> 00:05:55,150
I would cover all the expenses and then just be simply a few figures.

46
00:05:55,150 --> 00:06:06,760
And this is somewhat expanded in the second version to reveal that the first design for the work was for twelve apostles and he says in the loo nets.

47
00:06:06,760 --> 00:06:18,880
But he must mean what we would call the squinch is the triangular elements and that the rest would be filled with a decorative ornamental design.

48
00:06:18,880 --> 00:06:25,960
This is Camisea Loser as it is or was common in both texts.

49
00:06:25,960 --> 00:06:36,100
Michelangelo explains that he soon came to realise that this conception would be a poor thing in the first version.

50
00:06:36,100 --> 00:06:42,670
He understood this after executing some drawings in the second, after beginning the work,

51
00:06:42,670 --> 00:06:49,930
after having begun the said work which might in isolation be taken to mean after he began painting,

52
00:06:49,930 --> 00:06:57,280
but should presumably instead be translated loosely as after having begun to plan the set work.

53
00:06:57,280 --> 00:07:04,290
Last but not least, in the second version of the letter. He relates his characteristically mordant quip to the Pope to the effect that

54
00:07:04,290 --> 00:07:10,120
painting the apostles would be a poor thing because they themselves were poor.

55
00:07:10,120 --> 00:07:13,660
That's a typical Michelangelo joke by a curious irony.

56
00:07:13,660 --> 00:07:21,600
The major sculptural project Michelangelo had left unfinished in Florence was for a series of statues of the Twelve Apostles.

57
00:07:21,600 --> 00:07:28,950
But the drama that part of the letter relating to the second scheme will be discussed shortly.

58
00:07:28,950 --> 00:07:35,230
But before that, the two principal surviving sheets you're seeing one already which confirmed the veracity of

59
00:07:35,230 --> 00:07:42,010
Michelangelo's count of the initial plans for the declaration of the ceiling need to be analysed.

60
00:07:42,010 --> 00:07:47,200
Some elements of both of them, especially the studies of hands and arms in black chalk,

61
00:07:47,200 --> 00:07:52,750
undoubtedly belong to the second scheme and will therefore be returned to later on.

62
00:07:52,750 --> 00:07:56,590
But the rectors of both sheets have in common.

63
00:07:56,590 --> 00:08:02,380
Simple, diagrammatic first ideas for the general layout of the vault.

64
00:08:02,380 --> 00:08:12,280
What is universally regarded as the earlier of the two is a drawing in the British Museum, executed in brown pen and ink with minimal hatching.

65
00:08:12,280 --> 00:08:20,500
It shows a single seated figure placed between the curving forms of the arches, which divide the vault from the walls of the chapel.

66
00:08:20,500 --> 00:08:28,670
Only knowledge of Michelangelo's letter allows the figure to be identified as an apostle.

67
00:08:28,670 --> 00:08:36,000
He's seated on a throne whose side pieces of bracket like colonics with capitals at the level of the tablature.

68
00:08:36,000 --> 00:08:42,900
It is backed by a shell nitch and topped by two winged Caryatids, flanked by curling volumes.

69
00:08:42,900 --> 00:08:49,750
Why the side of these figures in above them is a geometrical pattern of circles, rectangles and diamond shapes,

70
00:08:49,750 --> 00:08:57,580
which may be presumed to extend to the centre of the ceiling, with the other half being its mirror image.

71
00:08:57,580 --> 00:09:05,560
The study on the rector of the second sheet in Detroit is even less detailed, but proposes a somewhat different solution here.

72
00:09:05,560 --> 00:09:08,800
The figure of the seat of the puzzle is not included in the shell.

73
00:09:08,800 --> 00:09:18,520
Nitch is possession significantly lower down the bracket like interruptions of the tablature, a more monumental but are at the same level.

74
00:09:18,520 --> 00:09:23,140
Now there is what appears to be a swag of foliage between them.

75
00:09:23,140 --> 00:09:27,610
Two figures seemingly winged but naked pooty as opposed to angels,

76
00:09:27,610 --> 00:09:34,720
stand on top of the brackets to either side of an illusion mystically rendered occulus.

77
00:09:34,720 --> 00:09:43,390
Apparently with some sort of decoration within it, the notion here of endowing elements within the geometrical pattern of the main part of

78
00:09:43,390 --> 00:09:48,930
the ceiling with a sense of depth is already hinted at in the British Museum drawing.

79
00:09:48,930 --> 00:09:53,920
Well, one of the tonti is similarly shaped for the rest.

80
00:09:53,920 --> 00:10:01,990
The differences in the design seem to consist of the introduction of a large octagon to replace the diamond shape.

81
00:10:01,990 --> 00:10:08,490
And in the realignment of the rectangular form to enliven the potential monotony of the scheme,

82
00:10:08,490 --> 00:10:16,300
it is surrounded by Arab basking flourishes, which are an elaboration of more tentative but comparable forms in the London sheet.

83
00:10:16,300 --> 00:10:24,160
The vassa of this sheet also includes some very summery pen lines, which are once again first ideas for the shell niche.

84
00:10:24,160 --> 00:10:29,530
But I'm not showing you them, as has been noted on numerous occasions.

85
00:10:29,530 --> 00:10:37,570
This type of decorative scheme was common enough in Rome at the period where Pinta requires quite a vault in the Church of Santa Maria.

86
00:10:37,570 --> 00:10:48,880
Popolo, which you see here, represent characteristic prototype and Michelangelo implicitly slightly dismissive phase phrase sorry use.

87
00:10:48,880 --> 00:10:59,740
That is absolutely to the point. In his letter to Farm to Tree, Michelangelo said that the Pope then drew up a second agreement with him,

88
00:10:59,740 --> 00:11:05,020
which Ruka required him to paint down to the story.

89
00:11:05,020 --> 00:11:15,040
The sort of the histories below. This must be understood as meaning down for quite Magento frescoes and not literally down to the histories

90
00:11:15,040 --> 00:11:21,430
which would have necessitated the destruction of the series of likenesses of the popes above them,

91
00:11:21,430 --> 00:11:24,670
and that he should paint whatever he pleased.

92
00:11:24,670 --> 00:11:32,360
The first part of this statement is confirmed by what he actually painted and is much more convincing them.

93
00:11:32,360 --> 00:11:38,720
This is misleading statements to the effect that it was a scheme to destroy the earlier frescoes entirely.

94
00:11:38,720 --> 00:11:43,570
While the second part of the statement is potentially more problematic,

95
00:11:43,570 --> 00:11:52,690
especially for advocates of the notion that a mere artist could never have devised such an icon, iconic, graphically elaborate conception.

96
00:11:52,690 --> 00:11:53,920
The truth is, however,

97
00:11:53,920 --> 00:12:02,950
that there is no need to regard it as proving that Michelangelo received absolutely no guidance over the programme of the vault.

98
00:12:02,950 --> 00:12:12,250
Like most lay patrons, he may have had a general idea about what he wanted to see represented and then sought out specialist advice.

99
00:12:12,250 --> 00:12:17,970
I will now give a quick guided tour of the ceiling. Some of you will know it off by heart.

100
00:12:17,970 --> 00:12:26,520
Back to front and inside out. But others will not. When it comes to the drawings, I will be examining them section by section.

101
00:12:26,520 --> 00:12:31,330
So it should be helpful to know how will those sections fit together.

102
00:12:31,330 --> 00:12:37,000
The first point to be made is that Michelangelo started at the entrance and in

103
00:12:37,000 --> 00:12:43,030
terms of execution of the work and worked his way towards the wall to wall,

104
00:12:43,030 --> 00:12:50,460
which means that he executed the narratives in reverse order.

105
00:12:50,460 --> 00:12:59,030
The started painting at this end went along that way.

106
00:12:59,030 --> 00:13:04,640
These narratives are a species of prequel to use the Hollywood term to the 15th century,

107
00:13:04,640 --> 00:13:10,490
parallel narratives of episodes from the lives of Moses and Christ along the walls of the chapel.

108
00:13:10,490 --> 00:13:18,260
And they form three triplets, respectively, focussing on God, the father, Adam and Eve and Noah,

109
00:13:18,260 --> 00:13:25,290
and in each case alternately occupy larger and smaller picture fields thus.

110
00:13:25,290 --> 00:13:34,400
And I'm now. As it were coming along, yeah.

111
00:13:34,400 --> 00:13:41,900
That's the separation of life and darkness is followed by the creation of the sun and moon and God moving over the waters.

112
00:13:41,900 --> 00:13:52,370
The creation of Adam by the creation of Eve and the temptation and expulsion sacrifice of Noah by the flood and the drunkenness of Noah.

113
00:13:52,370 --> 00:13:55,820
The flood should, of course, precede the thanks offering.

114
00:13:55,820 --> 00:14:05,150
But presumably Michelangelo finds it impossible to think of a way of squeezing the panorama of the near end of the world into the cramped space.

115
00:14:05,150 --> 00:14:13,520
Amazingly, this through the sari refers to the sacrifice as that of Cain and Abel, in spite of the.

116
00:14:13,520 --> 00:14:23,730
In that case, inexplicable presence of a goodly number of extraneous figures.

117
00:14:23,730 --> 00:14:33,500
Far too many people around. Cain and Abel around the narrative scenes are seven Old Testament prophets and five classical symbols,

118
00:14:33,500 --> 00:14:36,800
all of whom were believed to have foreseen the coming of Christ.

119
00:14:36,800 --> 00:14:45,080
They alternate along the sidewalls, but both end walls are dominated by prophets, respectively, Zacharias and Jonah,

120
00:14:45,080 --> 00:14:55,520
which explains the numerical imbalance between them and the narratives of paired seated male nude figures commonly known as the New Deal,

121
00:14:55,520 --> 00:15:02,810
which is simply the Italian word for male nudes. They said to either side, secular medallions, infective gilt, bronze,

122
00:15:02,810 --> 00:15:11,000
some of which contain recognisable Old Testament narratives such as Elijah's ascent to heaven and his farat very chariot.

123
00:15:11,000 --> 00:15:16,370
While others are harder to work out. More crucially, the new Deare,

124
00:15:16,370 --> 00:15:25,460
accompanied by garlands of gigantic oak leaves and acorns which clearly refer to the family code farms of Michelangelo's patron, Pope Julius.

125
00:15:25,460 --> 00:15:30,680
The second Della Rovere Ray Rovira means oak in Italian.

126
00:15:30,680 --> 00:15:37,730
The coat of arms is visible elsewhere in the chapel, not least because Julius's uncle, Pope Sixtus.

127
00:15:37,730 --> 00:15:43,070
The fourth was the founder of the chapel, and it is after him that it is named.

128
00:15:43,070 --> 00:15:51,830
It may also be that the acorns had the additional role of alluding to the Golden Age as it is described in of its metamorphoses,

129
00:15:51,830 --> 00:15:56,540
when the more perfect mankind only drank milk and honey.

130
00:15:56,540 --> 00:16:06,090
I think we'll be getting something a bit more boozy in a minute. And eight, amongst other simple foods, acorns.

131
00:16:06,090 --> 00:16:15,340
The. These guys, the Four Corners span brawls, contain the ceiling,

132
00:16:15,340 --> 00:16:19,680
contain further Old Testament narratives with David and Goliath and Judith and Hall

133
00:16:19,680 --> 00:16:25,140
of Families at the entrance to the chapel and the adoration of the brazen serpent.

134
00:16:25,140 --> 00:16:31,530
And the story of Esther. Has your son Haymond at the altar. Last but not least.

135
00:16:31,530 --> 00:16:36,340
And they're not on that overviews. I'm jumping on.

136
00:16:36,340 --> 00:16:39,040
Last but not least, especially since I revelator.

137
00:16:39,040 --> 00:16:47,230
Re-emergence from the stygian gloom of their pre restoration's state in the 1980s when I was one of the happy few,

138
00:16:47,230 --> 00:16:55,030
had the good fortune to ascend the scaffolding ceiling, see the ceiling close range and even furtively touch it.

139
00:16:55,030 --> 00:17:01,850
Are the ancestors of Christ drawn from the list that opens the Gospel, according to Matthew?

140
00:17:01,850 --> 00:17:07,430
These are the figures who occupy the triangular zones between the prophets and symbols.

141
00:17:07,430 --> 00:17:09,980
I'm not sure I knew in the lunette above the post,

142
00:17:09,980 --> 00:17:17,390
the top of the world's sorry as account of the execution of the ceiling defines three stages of work.

143
00:17:17,390 --> 00:17:22,960
He reports that there was an interruption when Michelangelo was about a third of the way along.

144
00:17:22,960 --> 00:17:31,160
An explicitly states that he checked this with the artist to clear up any doubt that was on account of mould,

145
00:17:31,160 --> 00:17:40,340
that it was then unveiled when half complete. And finally, that the remaining part was completed at considerable speed in 20 months.

146
00:17:40,340 --> 00:17:49,910
And he finishes in fifteen. Twelve. Sorry does not actually specify where the break between the two halves occurred,

147
00:17:49,910 --> 00:17:55,880
but it is now generally agreed that it came after the creation of Eve and therefore that the first

148
00:17:55,880 --> 00:18:04,040
be executed by Michelangelo after he had had the opportunity to see the ceiling from the floor,

149
00:18:04,040 --> 00:18:12,950
was the one containing the creation of Adam. The Sari also claims that all the cartoons were finished before work began.

150
00:18:12,950 --> 00:18:16,670
But the available evidence suggests that this was not the case.

151
00:18:16,670 --> 00:18:23,030
This evidence consists above all of the very different style of the two halves of the vault,

152
00:18:23,030 --> 00:18:30,500
but also of the surviving drawings in the case of the drawings.

153
00:18:30,500 --> 00:18:38,900
This also hinges upon the testimony of the so-called Oxford sketchbook, which is in the instrument in this series of double sided sheets.

154
00:18:38,900 --> 00:18:44,660
Now, this bound but seemingly originally forming a small volume has enjoyed a chequered history in the

155
00:18:44,660 --> 00:18:51,210
notoriously contentious annals of Michelangelo drawing scholarship frequently doubted in the past.

156
00:18:51,210 --> 00:19:01,610
Often the most mystifying of reasons. They were the subject of an exemplary study by Michael Hirst published in nineteen eighty six,

157
00:19:01,610 --> 00:19:07,040
which seems to have allayed the doubts of all the most perfervid disbelievers.

158
00:19:07,040 --> 00:19:15,770
What is crucial in the present context, however, is the fact that whereas they contain studies for the zones of the narratives,

159
00:19:15,770 --> 00:19:26,540
prophets and symbols in beauty and answers Christ, these all belong to the second half of the ceiling, which seems to prove two things.

160
00:19:26,540 --> 00:19:33,950
Firstly, it demonstrates Michelangelo must have plan the decoration bay by bay rather than zone by zone.

161
00:19:33,950 --> 00:19:41,390
So a bay at a time and not, as it were, the narratives and then the province and symbols and so on.

162
00:19:41,390 --> 00:19:51,470
Secondly, it indicates that he worked on the two halves of the vote independently for given the dazzlingly spontaneous nature of these tiny scribbles.

163
00:19:51,470 --> 00:19:58,940
It is hard to imagine why Michelangelo should have confined his preliminary explorations to the second half of the vote,

164
00:19:58,940 --> 00:20:07,970
other than because he had already painted the first. Observe sketchbook contains drawings of different scales and kinds in different techniques,

165
00:20:07,970 --> 00:20:18,380
of which the most abundant of the incredibly diminutive and simplified pen scribbles which must truly represent Michelangelo's first thoughts.

166
00:20:18,380 --> 00:20:23,540
Unsurprisingly, given the fact that they involve what might be described as thinking out loud on paper,

167
00:20:23,540 --> 00:20:29,480
some of these visual ideas can only be associated in the most generic way with the end product.

168
00:20:29,480 --> 00:20:37,640
But what is far more remarkable is the number of instances where it is evident that Michelangelo's initial inspiration was,

169
00:20:37,640 --> 00:20:43,640
in essence, unmodified in the final work. Very often, although not invariably,

170
00:20:43,640 --> 00:20:48,230
he drew in the segment of a circle as a shorthand for the relevant lunette in

171
00:20:48,230 --> 00:20:53,450
order to anchor the figure or figures in question to their ultimate setting.

172
00:20:53,450 --> 00:20:57,320
And many of their poses are responsive to that curve.

173
00:20:57,320 --> 00:21:07,490
What is more examples of the establishment of a near perfect solution are not confined to any one section of the ceiling.

174
00:21:07,490 --> 00:21:15,950
Thus, and this is the page or seeing one of the less well preserved but still perfectly decipherable

175
00:21:15,950 --> 00:21:25,780
pages combines three studies for the scene of God separating light from darkness.

176
00:21:25,780 --> 00:21:36,280
Yeah. Combine them with various ideas for the David Solomon that and within you, though,

177
00:21:36,280 --> 00:21:41,740
you know the bears no particular resemblance to any of its counterparts on the road.

178
00:21:41,740 --> 00:21:49,090
In the case of the figure of God, however, the corkscrew pose, the raised arms and even the daring Desart to ensue.

179
00:21:49,090 --> 00:21:53,950
Presentation of the head. All adumbrate the fresco.

180
00:21:53,950 --> 00:21:59,110
The actual disposition of the outstretched arms seems to be the main area which cause

181
00:21:59,110 --> 00:22:04,120
Michelangelo difficulty with the result that the various solutions show them respectively,

182
00:22:04,120 --> 00:22:08,380
closer together and wider apart only at some later stage.

183
00:22:08,380 --> 00:22:16,000
However, did he decide to move from having the match one another towards a deliberate, different Neff's.

184
00:22:16,000 --> 00:22:25,120
Finally, it is extremely telling that the most polished of the three ideas which is conceived of horizontally as opposed to vertically,

185
00:22:25,120 --> 00:22:30,340
not only includes framing lines and a definite sense of background,

186
00:22:30,340 --> 00:22:38,770
but is also resolved very full extent to which the figure should fill the available space.

187
00:22:38,770 --> 00:22:47,320
It will never be possible to establish whether Michelangelo worked in exactly the same fashion on the preparation of the first half the ceiling.

188
00:22:47,320 --> 00:22:54,070
The sense of creative intelligence operating at breakneck speed in the Oxford sketchbook is

189
00:22:54,070 --> 00:23:00,640
as humbling as it is exhilarating and should encourage a note of caution on this point.

190
00:23:00,640 --> 00:23:08,500
There is ample evidence in the form of drawings for earlier projects of Michelangelo's predilection for tiny pan or chalk scribbles.

191
00:23:08,500 --> 00:23:17,440
But it may well be that his progress was ever so slightly less effortless in the first half of the ceiling.

192
00:23:17,440 --> 00:23:24,160
Consideration of the rest of the drawings for the ceiling could, in theory, be approached in one of two main fashions.

193
00:23:24,160 --> 00:23:29,260
One way would be to work from the beginning of the vault to the end.

194
00:23:29,260 --> 00:23:39,400
Day by day. And to examine the drawings for all the various parts in each isolated case, endeavouring to postulate a sequence of evolution.

195
00:23:39,400 --> 00:23:46,060
The main drawback to this approach is that it is almost bound to be needlessly repetitious and that any

196
00:23:46,060 --> 00:23:52,270
sense of stylistic development conveyed above all between the two halves of the ceiling runs the risk,

197
00:23:52,270 --> 00:24:02,200
since the sequence of execution of the fresco is known of being a consequence of a natural tendency to find what one is looking for.

198
00:24:02,200 --> 00:24:08,560
The other obvious way which will be adopted here is to work from the assumption that Michelangelo had something approximating to a

199
00:24:08,560 --> 00:24:16,720
working method and that he made roughly the same sorts of drawings in the same sorts of sequences for all the figures on the ceiling.

200
00:24:16,720 --> 00:24:24,670
The main potential hazard of this approach is that it may make his practise appear to have preceded overly mechanistically,

201
00:24:24,670 --> 00:24:31,060
but it has the advantage of giving a clearer sense of the kinds of drawings Michelangelo actually made,

202
00:24:31,060 --> 00:24:36,790
and also allows one to form a view about whether he produced different kinds of drawings for the two halves,

203
00:24:36,790 --> 00:24:39,400
or rather, if it was the style of the post,

204
00:24:39,400 --> 00:24:48,640
the types that evolved inevitably and not least since Michelangelo notoriously destroyed a vast number of his own drawings,

205
00:24:48,640 --> 00:24:56,290
the surviving record is extremely uneven, and it would be unwise to draw overconfident conclusions.

206
00:24:56,290 --> 00:25:00,310
Ex sealants here.

207
00:25:00,310 --> 00:25:08,320
The overwhelming majority of the extant drawings for the Sistine Chapel ceiling are of individual figures or of details of individual figures.

208
00:25:08,320 --> 00:25:12,700
Many of these clearly depend upon earlier composition or drawings which served to

209
00:25:12,700 --> 00:25:18,250
establish their specific locations and which parts of them would and would not be visible.

210
00:25:18,250 --> 00:25:24,790
Alas, without exception, no such finished composition or drawings survive.

211
00:25:24,790 --> 00:25:35,230
Virtually all the remaining studies for the ceiling, with the exception of a single drapery study, were executed in black and red chalk.

212
00:25:35,230 --> 00:25:41,170
The differences between the two techniques in terms of the visual effect are very striking.

213
00:25:41,170 --> 00:25:48,640
But it also seems to be the case that Michelangelo, as a rule, employed them for different purposes.

214
00:25:48,640 --> 00:25:54,130
In terms of Michelangelo's drawing practise. Black Chalk was a tried and tested stand by,

215
00:25:54,130 --> 00:26:02,010
whereas red chalk was something of a new development and may only have been employed on the second half of the vault.

216
00:26:02,010 --> 00:26:07,120
It is also demonstrably the case that black chalk was his preferred medium.

217
00:26:07,120 --> 00:26:13,510
Still, exploratory studies and read for more finished solutions.

218
00:26:13,510 --> 00:26:21,520
One of the most intriguing drawings for the narratives is a black chalk sheet and the calves are born Arati, which you are seeing,

219
00:26:21,520 --> 00:26:30,340
which is a quite remarkably spare avocation of the figure of Adam being driven out of Eden in the fresco of the temptation and expulsion.

220
00:26:30,340 --> 00:26:37,150
In spite of the fact that the head and the left leg are basically omitted and that the left arm comes to a dead end.

221
00:26:37,150 --> 00:26:42,760
The wrist is already captures the fundamentals of the pose and is arguably even more

222
00:26:42,760 --> 00:26:49,210
graphically able to convey Adam's need to fend off the assault of the avenging angel.

223
00:26:49,210 --> 00:26:56,470
The breathtaking decisiveness of such a sheep might almost tempt one to imagine that Michelangelo had the happy gift of seeing perfect

224
00:26:56,470 --> 00:27:05,590
solutions for all his figures in his mind's eye and then simply had to transcribe the form with or without the aid of opposed model.

225
00:27:05,590 --> 00:27:12,340
Other drawings make it plain that everything was not invariably that complicated.

226
00:27:12,340 --> 00:27:20,170
Another, more resolved and detailed sheet is in to be found in Rotterdam.

227
00:27:20,170 --> 00:27:31,660
And it underlines both how crisp Michelangelo's handling of black chalk could be and also how rubbed many of his extant chalk drawings, alas, are.

228
00:27:31,660 --> 00:27:37,830
It comprises two studies for the patriarchs sons gesticulating over his recumbent form.

229
00:27:37,830 --> 00:27:46,960
In the drunkenness of Noah, which makes it a rather drawn survive from the first half of the season in the finished work,

230
00:27:46,960 --> 00:27:53,320
the pointing hand is below the open palmed one. But otherwise, the changes are minimal.

231
00:27:53,320 --> 00:27:59,620
They do nevertheless show just how precise the artist's adjustments could be.

232
00:27:59,620 --> 00:28:13,810
Since in the fresco, he felt the need to separate the middle and fourth fingers of the open palm hand, which had joined together in the drawing,

233
00:28:13,810 --> 00:28:23,560
the most celebrated of all the fingers on the ceiling is unquestionably the Hirak protagonist in the fresco of the creation of Adam.

234
00:28:23,560 --> 00:28:31,640
And given how few of the enormous numbers of drawings Michelangelo must have made, a few of them have survived.

235
00:28:31,640 --> 00:28:41,800
It's fortunate, indeed, that his study from the model for this figure in the British Museum should chance to be amongst them.

236
00:28:41,800 --> 00:28:46,510
This is perhaps the appropriate place to observe that the outstanding physical

237
00:28:46,510 --> 00:28:53,380
specimen who posed for this life drawing must have been carefully selected.

238
00:28:53,380 --> 00:28:57,580
There is an unfortunate tendency to refer to all such feats as gaffed.

239
00:28:57,580 --> 00:29:04,570
So nature studies gaps only as an assistant sort of lad.

240
00:29:04,570 --> 00:29:14,140
But while some life drawings do give the impression of having taken teenage workshop assistances, their models, others.

241
00:29:14,140 --> 00:29:20,830
And this is an exemplary case in point. Equally emphatically, do not.

242
00:29:20,830 --> 00:29:26,310
There was no narcissistic male cult of the body beautiful in the 16th century,

243
00:29:26,310 --> 00:29:34,780
and this sort of anatomical development would have been the exclusive preserve of men whose employment required them to be exceptionally strong.

244
00:29:34,780 --> 00:29:41,980
As regards Michelangelo, that does not appear to be any evidence concerning the identities of his models.

245
00:29:41,980 --> 00:29:54,180
But somewhat later, there are biographical records of artists studying the bodies of porters and even galley slaves in search of bulging musculature.

246
00:29:54,180 --> 00:30:02,580
The actual pose of the figure is, in essence, unmodified in the fresco, but the deep shadow of the drawing is bleached out on the ceiling.

247
00:30:02,580 --> 00:30:10,050
The fact that the surface of the torso is more simplified and, um, modulated in the painting should perhaps come as no surprise.

248
00:30:10,050 --> 00:30:20,190
Nor should the confidence of the hambling in the drawing, which is unaffected by the slight contour pentimento be over the top of the left thigh.

249
00:30:20,190 --> 00:30:28,890
Both hands are restudy to round the figure, the right hand and the bottom left corner being the most resolved.

250
00:30:28,890 --> 00:30:42,400
These details that. A double sided sheet in the Tilers collection in Harlem includes a whole array of

251
00:30:42,400 --> 00:30:49,330
studies for the group around the O Mighty in that crucial scene on its Vasso.

252
00:30:49,330 --> 00:30:55,810
And in a new dose study to which we will return on its recto upside down to them.

253
00:30:55,810 --> 00:31:05,770
And that's what I'm saying now. The Vasso also shows a powerful study of gods Adam creating right arm.

254
00:31:05,770 --> 00:31:12,640
Together with a close up of the hand, which are accompanied by the left one.

255
00:31:12,640 --> 00:31:20,320
Right. Way up. So see.

256
00:31:20,320 --> 00:31:37,740
The left one, that's well. Yeah. For the rest, the central study is for the figure of much debated identity nestling under God's left arm.

257
00:31:37,740 --> 00:31:44,190
In essence, the area's drawn in detail, all left blank matched the requirements of the fresco,

258
00:31:44,190 --> 00:31:58,470
especially blatantly where the left forearm, the wrist will be occluded by God's sheltering breaks.

259
00:31:58,470 --> 00:32:07,140
You need that because it's going to be covered up a supplementary study towards the bottom left hand corner of the sheet.

260
00:32:07,140 --> 00:32:09,060
Restudy is the right shoulder.

261
00:32:09,060 --> 00:32:16,560
The final study, which is cropped by the bottom edge of the page, is for the figure whose profile is adjacent to God's left shoulder.

262
00:32:16,560 --> 00:32:19,950
It, too, is a partial study of the figure in question.

263
00:32:19,950 --> 00:32:27,510
But unlike the other sketches on the sheet, it does include elements of the extended right arm and the foreshortened torso,

264
00:32:27,510 --> 00:32:34,530
for instance, which were to be invisible in the final conception.

265
00:32:34,530 --> 00:32:40,650
The Vasso of a second tilers sheet comprises no fewer than five distinct studies.

266
00:32:40,650 --> 00:32:46,560
Most substantial of them is for the buttocks and back of the blonde angel immediately below.

267
00:32:46,560 --> 00:32:55,640
God, whose pages implies that he is lying down but who is clearly drawn from a standing model.

268
00:32:55,640 --> 00:33:00,750
The resulting figure is notably smoother than the drawn prototype.

269
00:33:00,750 --> 00:33:07,640
There were then two studies the right margin of the sheet, which are for the Angel Puti in front of God.

270
00:33:07,640 --> 00:33:13,530
The upper one is sketched from an older model than the chubby child in the fresco,

271
00:33:13,530 --> 00:33:28,280
presumably because this was a difficult pose to sustain since it involved hanging on to some kind of support and leaning backwards.

272
00:33:28,280 --> 00:33:34,570
You can get strange poses as long as you remember that somebody is holding on something, we can all stand on one foot for a very long time.

273
00:33:34,570 --> 00:33:45,320
Well. The lower one probably involved model sitting down and crossing his right leg in here to the model is an adolescent or even a young adult.

274
00:33:45,320 --> 00:33:50,810
The final two studies are for a right knee, conceivably Adams,

275
00:33:50,810 --> 00:33:59,210
although it is habitually assumed to be gods and an exquisite and all but definitive detail of the latter's creating.

276
00:33:59,210 --> 00:34:13,920
Right hand this hand. This hand was previously glued onto another of Tyler's drawings.

277
00:34:13,920 --> 00:34:18,690
The sheet of study stood for the crucifixion of Haymon, which will be discussed in due course,

278
00:34:18,690 --> 00:34:24,540
but was reintegrated into its rightful place here in 1952.

279
00:34:24,540 --> 00:34:33,450
It now looks paler and oranger than the liver coloured studies that surround it, which is presumably a consequence of its different fate.

280
00:34:33,450 --> 00:34:39,900
Across the centuries, in terms of exposure to light, as already mentioned,

281
00:34:39,900 --> 00:34:48,450
there are a number of black chalk studies for hands and arms on the British Museum and Detroit projects.

282
00:34:48,450 --> 00:34:57,750
The original plan for the ceiling. They all appear to relate to Adam for all that some of them make one wonder.

283
00:34:57,750 --> 00:35:06,480
I'm thinking of some of these. If Michelangelo toyed with the idea of placing him on the right of the composition as opposed to the left.

284
00:35:06,480 --> 00:35:13,360
Finally, in terms of the narratives.

285
00:35:13,360 --> 00:35:20,920
One side of Red Chalk Street in Cleveland again shows two details of a figure accompanying God,

286
00:35:20,920 --> 00:35:26,730
this time in the large scheme of the creation of the sun and moon.

287
00:35:26,730 --> 00:35:33,360
Here, too, the model seems to be significantly older than his realisation in the fresco.

288
00:35:33,360 --> 00:35:41,550
Moving on to the prophets and symbols. One of the pages of the Oxford sketchbook includes what is clearly a schematic first

289
00:35:41,550 --> 00:35:51,370
idea for the prophet Jonah amidst a whole mass of other inventions in scratchy pen.

290
00:35:51,370 --> 00:36:01,220
General up there, amazingly enough. He is already in his definitive pose, yet another Ashmolean drawing.

291
00:36:01,220 --> 00:36:11,600
Also in pen. But in this case, with extensive wash added is a study for the Erith Rand Sebel, who is to be found on the first half of the ceiling.

292
00:36:11,600 --> 00:36:17,900
This may well explain its comparatively tentative and in a way retrospective handling,

293
00:36:17,900 --> 00:36:23,920
which almost harks back to the drawing style of Michelangelo's teacher medical deal and diet.

294
00:36:23,920 --> 00:36:28,490
Its focus is exclusively on her brief parade with the pose of the head and

295
00:36:28,490 --> 00:36:35,800
upper body simply being suggested by a ghostly presence executed in pure wash.

296
00:36:35,800 --> 00:36:40,460
Interestingly, for all its precision, by no means every fold.

297
00:36:40,460 --> 00:36:47,700
The drapery in the drawing is replicated in the fresco as executed.

298
00:36:47,700 --> 00:36:55,550
Double sided sheet in the Metropolitan in New York includes studies of the Libyan symbol on both sides.

299
00:36:55,550 --> 00:37:03,560
As elsewhere, black chalk is here implied for thinking and red for pinning down the black chalk study on the Vasso.

300
00:37:03,560 --> 00:37:09,260
It is, above all, concentrated on the lower body and the twisting clothes of the legs,

301
00:37:09,260 --> 00:37:20,720
but does also seem to indicate that the dramatically turning attitude of the torso, which we see in the fresco, was only arrived at gradually.

302
00:37:20,720 --> 00:37:27,170
Conversely, the main study on the Recto, which is plainly drawn from a male life model,

303
00:37:27,170 --> 00:37:32,640
already fully anticipates the dramatic twisting POWs found on the ceiling.

304
00:37:32,640 --> 00:37:42,980
It is surrounded by a whole host of details, which include a further adumbration of the torso and an elegant close up of the head in profile,

305
00:37:42,980 --> 00:37:50,540
but also studies of the left hand, the left foot and the pair of studies of its big toe.

306
00:37:50,540 --> 00:38:00,320
I know of no evidence that Michelangelo was toe fetishist, but it is not easy to think of other artists who pay such close attention to

307
00:38:00,320 --> 00:38:07,250
what might be thought to be a very minor detail in their preparatory studies.

308
00:38:07,250 --> 00:38:14,240
In fact, another Ashmolean drawing for all that it is unconcerned with Toes does underline

309
00:38:14,240 --> 00:38:18,890
what might be described as the artist's infinite capacity for taking pains.

310
00:38:18,890 --> 00:38:25,490
The page in question also includes summary ideas in pen connected with the Julius Tomb.

311
00:38:25,490 --> 00:38:31,370
But what concerns us are the constantly executed red chalk studies.

312
00:38:31,370 --> 00:38:46,070
One is for the right hand of the Libyan symbol herself and is a virtual twin of its counterpart on the map, drawing just exactly the same, really.

313
00:38:46,070 --> 00:38:55,770
While the other is a meticulous but far from an energetic life study for the foremost of the two boys who accompany her.

314
00:38:55,770 --> 00:39:03,980
If such a bit part player within the vast panorama of the Sistine ceiling is him is accorded to study of this kind,

315
00:39:03,980 --> 00:39:14,150
then it seems hard to imagine who was not. Given the idea of how much sheer hard work was involved in its creation seems even more daunting.

316
00:39:14,150 --> 00:39:26,090
As a result than it does anyway, a head study in black chalk in Euphrates for the prophet Zack Ariah, who commands the entrance wall to the chapel.

317
00:39:26,090 --> 00:39:33,800
This study, too, must have been made from opposed model in what is arguably the most remarkable thing about it

318
00:39:33,800 --> 00:39:40,400
is the minimal extent to which Michelangelo felt himself obliged to modify the profile head.

319
00:39:40,400 --> 00:39:46,250
Above all, because of the inherent nobility of aspect of the old man chosen.

320
00:39:46,250 --> 00:39:53,090
The line of his nose is very slightly more Roman in the fresco, and his beard is fractionally more bushy.

321
00:39:53,090 --> 00:39:58,820
But nothing much else is changed. The economy of means is no less impressive.

322
00:39:58,820 --> 00:40:04,880
Few boldly applied strokes outline the contours and complemented by simple parallel

323
00:40:04,880 --> 00:40:09,320
hatching lines of varying thicknesses which defined the areas of shaddick.

324
00:40:09,320 --> 00:40:18,020
This same study was probably also used as a point of departure for the head of nowhere in profile in the scene of his drunkenness.

325
00:40:18,020 --> 00:40:27,650
For all that, the nose is completely different. A second head study in black chalk for the Kumail and Sebel in Turin,

326
00:40:27,650 --> 00:40:33,140
who inhabits the second half of the ceiling, is unquestionably even more spectacular,

327
00:40:33,140 --> 00:40:41,000
which makes its frequent rejection in the scholarly literature, at least the earlier scholarly literature hard to credit.

328
00:40:41,000 --> 00:40:44,030
It must presumably have been drawn from an old man.

329
00:40:44,030 --> 00:40:52,070
His hair concealed beneath the skull cap, which transformed into a turban in the fresco rather than an old woman.

330
00:40:52,070 --> 00:40:56,030
And again, the type appears to have been selected to order.

331
00:40:56,030 --> 00:41:04,720
The prominence of the double chin is slightly moderated in the fresco, and the wiry musculature of the neck is also toned down.

332
00:41:04,720 --> 00:41:13,700
But on the other hand, the gaping mouth and pugnacious jaw of the final rendition are the very opposite of idealising.

333
00:41:13,700 --> 00:41:20,930
The joke is once again employed with dazzling brio, and the white heightening is unusually dramatic.

334
00:41:20,930 --> 00:41:32,540
In effect, a few curve touches a sufficient stress, the right shoulder and [INAUDIBLE] to head to a body which in the other sense is not really there.

335
00:41:32,540 --> 00:41:39,950
I saw both these sheets. That's to say the one from the efficiency and the one from Turin in the same room a fortnight or

336
00:41:39,950 --> 00:41:47,810
so ago in the stunning Michelangelo exhibition currently nearing its end at the Met in New York.

337
00:41:47,810 --> 00:41:57,020
And this opportunity was an absolute education in in the benefits of comparing two originals and not

338
00:41:57,020 --> 00:42:05,510
having to rely on one's memory across the years or thousands of miles seen in the books or on my screen.

339
00:42:05,510 --> 00:42:09,380
These two head studies may look pretty similar in handling,

340
00:42:09,380 --> 00:42:20,280
but virtually side by side they came across as being totally unlike with the command, Sybil being incomparably more bold and advanced when it.

341
00:42:20,280 --> 00:42:27,900
The annuity for whom, incidentally, there are incomparably more studies than for any other group of figures on the vault.

342
00:42:27,900 --> 00:42:32,310
There are a number of drawings whose character comes very close to that of their counterparts

343
00:42:32,310 --> 00:42:39,540
in the Oxford sketchbook by virtue of their being small in scale and rapidly executed,

344
00:42:39,540 --> 00:42:47,910
perhaps simply as a consequence of what happens to have survived amongst their number chalk and especially black chalk predominates.

345
00:42:47,910 --> 00:42:52,400
But it makes more sense to begin with the rare sheets in.

346
00:42:52,400 --> 00:42:59,310
The Versova bilateral drawing in the British Museum and that top left here comprises four studies,

347
00:42:59,310 --> 00:43:04,500
including the considerably more substantial one at top left,

348
00:43:04,500 --> 00:43:13,170
which was initially drawn in black chalk and then partially gone over in lighter brown ink, was probably the first to be executed.

349
00:43:13,170 --> 00:43:17,950
As has been pointed out, the figure in question is kneeling rather than sitting.

350
00:43:17,950 --> 00:43:26,460
And it has been suggested that this may reflect a stage in Michelangelo's thinking when the Inugami would not have been seated.

351
00:43:26,460 --> 00:43:35,190
It seems more likely, however, since it is copied from an ancient statue that it instead chose Michelangelo only very slightly,

352
00:43:35,190 --> 00:43:39,330
modifying his prototype on the vault.

353
00:43:39,330 --> 00:43:44,620
Michelangelo. Sorry.

354
00:43:44,620 --> 00:43:53,000
I'm going to jump on to this one, which is, as you see, a much more sophisticated drawing.

355
00:43:53,000 --> 00:44:02,430
And that here. I'm sorry, I'm getting mixed up.

356
00:44:02,430 --> 00:44:08,700
I get back Sorry, on the vault where I was on the vault, my clothes were adapted.

357
00:44:08,700 --> 00:44:17,430
The figures pose the now almost wholly destroyed in UDAR above and to the left of Delphic symbol whose original appearance is known by print.

358
00:44:17,430 --> 00:44:25,380
The three remaining studies, the bottom two of which comprise variants of a single pose,

359
00:44:25,380 --> 00:44:29,730
have been linked with various of the Nuti in the early days of the ceilings.

360
00:44:29,730 --> 00:44:39,090
But none of these connexions is precise. The fact that they showed the figures on taller blocks confirms that they precede the final design.

361
00:44:39,090 --> 00:44:44,790
And then below to the right, an imposing sheet and the cows are born.

362
00:44:44,790 --> 00:44:50,100
Arati contains a whole host of studies for the annuity in the second half of the ceiling.

363
00:44:50,100 --> 00:44:57,660
Together with the study for a framing element, presumably for the ceiling spammed rules adorned with the Delarue ovary emblem of the

364
00:44:57,660 --> 00:45:08,500
acorn and is predictably close in character to some of the pages of the Oxford sketchbook.

365
00:45:08,500 --> 00:45:16,200
But this. It consists of one largest study in black chalk,

366
00:45:16,200 --> 00:45:24,050
partially gone over in pen for the left hand in Yuda above the command Sebel together with the number of first ideas in black chalk.

367
00:45:24,050 --> 00:45:32,930
One of these is also inked in respectively for that same figure and for the right hand in you two above I Zaya.

368
00:45:32,930 --> 00:45:40,670
It seems more likely that Michelangelo initially experimented with two conceptions for the same figure in both versions.

369
00:45:40,670 --> 00:45:50,120
The further leg, regardless of whether it was the right one or the left, was shown in such a way that its upper half was nearly horizontal,

370
00:45:50,120 --> 00:45:55,160
while its lower half was either tucked underneath the upper half or dangled free.

371
00:45:55,160 --> 00:46:02,120
Oddly enough, in view of the fact that some of these little scribbles seem to do little more than repeat one another,

372
00:46:02,120 --> 00:46:18,180
there is yet one more version in black chalk of the same new dough with raised, which was presumably originally part of the same sheet.

373
00:46:18,180 --> 00:46:26,120
There exist at least three further exploratory studies in black chalk, which are the ones on the right hand side of the page,

374
00:46:26,120 --> 00:46:36,520
so to speak, in which a chaos of lines reveals Michelangelo battling to find the right pose an altogether more resolved.

375
00:46:36,520 --> 00:46:43,870
I finally got to. Life drawing black chalk for one of the nudie's above the right.

376
00:46:43,870 --> 00:46:49,630
The Delphic symbol comes far closer to the final result in the fresco.

377
00:46:49,630 --> 00:47:01,280
However, the treatment of the anatomy, as is invariably the case, is somewhat idealised and simplified.

378
00:47:01,280 --> 00:47:06,680
There are three full dress red chalk life drawings for a new day,

379
00:47:06,680 --> 00:47:13,640
of which two are for the figures above the Persian symbol, the one on the left above.

380
00:47:13,640 --> 00:47:19,550
The symbol is studded in the magnificent sheet, which I'm showing you here in the Albertina,

381
00:47:19,550 --> 00:47:29,160
which has stylus and drawing and some white height thing, which may not be.

382
00:47:29,160 --> 00:47:37,750
Incredibly easy to see. Bits of the equivalent of two packs almost there.

383
00:47:37,750 --> 00:47:44,330
This drawing has the additional distinction of having belonged to no lesser figure than Rubens.

384
00:47:44,330 --> 00:47:52,040
In comparison with the study, the figure of Adam, the approach here is far more meticulous but never lacking in spirit.

385
00:47:52,040 --> 00:47:57,440
On the contrary, the tension running through the twisting torso is brilliantly conveyed,

386
00:47:57,440 --> 00:48:03,980
as is the fall of light across the body, no doubt because he planned to revert to it later.

387
00:48:03,980 --> 00:48:11,450
While the attitude of the head is already established, it is only drawn in very faintly.

388
00:48:11,450 --> 00:48:17,390
This sheet, like so many others for the ceiling, has clearly been trimmed at the edges.

389
00:48:17,390 --> 00:48:22,580
But it may never have been all that much larger. In any event,

390
00:48:22,580 --> 00:48:28,310
Michelangelo seems to have elected not to focus upon the hands or feet in any

391
00:48:28,310 --> 00:48:35,630
detail in the main study and then re-examine them in the bottom left corner.

392
00:48:35,630 --> 00:48:46,900
The study of the nude on the right above the Persian symbol is on the Double-Sided Street in Harlem, whose Vasso was already been discussed here, too.

393
00:48:46,900 --> 00:49:00,160
The head is only summarily indicated and then dramatically focussed on in yet another red chalk sheet in the same collection,

394
00:49:00,160 --> 00:49:06,860
which also includes three studies, the legs of God in the creation of Adam.

395
00:49:06,860 --> 00:49:12,860
The third and final study is in Cleveland and is for the new DOE above and the

396
00:49:12,860 --> 00:49:19,460
right of Daniel Michelangelo's authorship of the sheet has often been doubted.

397
00:49:19,460 --> 00:49:31,310
And it is missing from some of the standard old catalogues of his drawings, but seen at the Met in close proximity to its counterpart from Vienna.

398
00:49:31,310 --> 00:49:37,900
I felt it was entirely convincing.

399
00:49:37,900 --> 00:49:48,340
There only exists one large scale head study for any new doe in intensely characterised all but final solution for the new DOE above Isiah.

400
00:49:48,340 --> 00:50:01,650
And to his left and this drawing's in the loof. One of the very few studies for the corner spam trolls is for the fresco of Judith and Holofernes,

401
00:50:01,650 --> 00:50:09,750
which was one of the first parts of the ceiling to be painted and is a delicate black chalk invention for the whole scene.

402
00:50:09,750 --> 00:50:17,250
The drawing could hardly be more summery, but does at least reveal the fact that in his initial conception,

403
00:50:17,250 --> 00:50:27,370
Michelangelo intended to divide the scene into three distinct sections, a schema he stayed true to in the drawing on the left,

404
00:50:27,370 --> 00:50:33,960
he shows Judith and her maidservant fairly much as in the fresco with Holofernes,

405
00:50:33,960 --> 00:50:44,440
his head held aloft on a platter in the middle there as the mutilated and foreshortened body of Holofernes is feetfirst final.

406
00:50:44,440 --> 00:50:52,980
It's the right to standing eavesdroppers. In the final version, the cast of characters is much the same,

407
00:50:52,980 --> 00:51:00,070
but they have all changed places so that there is a single sleeping soldier in darkness to the left,

408
00:51:00,070 --> 00:51:06,550
Judith and her maid in brightly coloured garments are set against the light marble wall in the middle and the dead.

409
00:51:06,550 --> 00:51:12,340
Holofernes is again in the half darkness of his tent. But to the right.

410
00:51:12,340 --> 00:51:21,640
The other important difference seems to be that in the drawing, Judith was presented semi frontally, looking back over her shoulder,

411
00:51:21,640 --> 00:51:36,770
whereas in the fresco for all that she still gazes back at her victim, her face and most tellingly, the expression upon it are not visible.

412
00:51:36,770 --> 00:51:40,580
The only other studies for the Corner Spaniel's very different in character and

413
00:51:40,580 --> 00:51:46,070
relate to the scene of the crucifixion of Hey man at the other end of the road,

414
00:51:46,070 --> 00:51:54,260
this one in the British Museum is a masterly and highly finished study in red chalk for his entire body,

415
00:51:54,260 --> 00:52:00,000
which is flanked by close ups of the legs while another.

416
00:52:00,000 --> 00:52:05,440
In the. I'm very sorry. Better.

417
00:52:05,440 --> 00:52:09,400
It close up another.

418
00:52:09,400 --> 00:52:24,860
In the Tilers Museum completes the process by closing in on the head and upper body in the main study and by also homing in on the arms and even.

419
00:52:24,860 --> 00:52:29,830
Even the right ear. Bit like big toe.

420
00:52:29,830 --> 00:52:42,570
He's gone for the right ear. There also exists a cartoon fragment connected with the concealed part of the head of Hey Man,

421
00:52:42,570 --> 00:52:48,750
whose purpose was only relatively recently understood in the 1980s.

422
00:52:48,750 --> 00:52:58,710
So you could sort of see Magath nostro on nose, side of face matching up this.

423
00:52:58,710 --> 00:53:06,840
Since the time of this suggested connexion, the restoration of the sealing was still in progress.

424
00:53:06,840 --> 00:53:12,390
It was possible to match it up to the actual fresco.

425
00:53:12,390 --> 00:53:21,270
They made it sort of one to one photocopy, as it were, of the drawing, and prove that it was exactly the same size.

426
00:53:21,270 --> 00:53:23,940
It fitted perfectly.

427
00:53:23,940 --> 00:53:34,020
All the other cartoons for the ceiling no longer exist, and many were quite possibly destroyed during the creation of the frescoes.

428
00:53:34,020 --> 00:53:44,760
Although Vasari does record that the Florentine Bindu Alta V.T., whose portrait was painted by Rafil own the one for the drunkenness of Noah.

429
00:53:44,760 --> 00:53:51,990
So in theory, it may be hiding in someone's admittedly rather spacious attic.

430
00:53:51,990 --> 00:54:00,740
We can take. Intriguingly, and for all that, this has not previously been observed.

431
00:54:00,740 --> 00:54:11,240
A copy drawing of the boldly foreshortened figure of Hey man must have been made at a very early date and then have been sent to Venice,

432
00:54:11,240 --> 00:54:23,950
where it was inserted with minimal adaptations of the pose intercut patches, altarpiece of the 10000 martyrs of Mount Ararat that work.

433
00:54:23,950 --> 00:54:28,370
And you see the complete complete picture on the right is signed and dated.

434
00:54:28,370 --> 00:54:39,770
Fifteen, fifteen. And I remind you, the Sistine ceiling was only unveiled in fifteen, twelve and.

435
00:54:39,770 --> 00:54:47,570
Finding. And I flipped him.

436
00:54:47,570 --> 00:54:56,100
To make the connexion more obvious, turning finally to the ancestors of Christ.

437
00:54:56,100 --> 00:55:00,210
All that really needs to be explained is that Michelangelo startlingly immediate

438
00:55:00,210 --> 00:55:05,850
inventions in pen for them are the chief glory of the Oxford sketchbook.

439
00:55:05,850 --> 00:55:17,960
Many of them are faithful figures. Such as these two.

440
00:55:17,960 --> 00:55:29,950
While others are concerned with details like within Penn, which seemingly required no modification when they were translated into paint.

441
00:55:29,950 --> 00:55:38,650
And I think you can see that the. And the.

442
00:55:38,650 --> 00:55:52,240
More details on. That drawing, incidentally, is in the show Inishmaan.

443
00:55:52,240 --> 00:56:05,520
They were complimented by more resolve. Black chalk studies for a couple of the figures, including one in one of the lunette above the altar wall.

444
00:56:05,520 --> 00:56:11,130
Which were destroyed when Mike Lansley subsequently fresco the last judgement.

445
00:56:11,130 --> 00:56:18,620
However, it is not with them that I will close that with a final suggestion.

446
00:56:18,620 --> 00:56:26,150
If the red chalk drawing in Cleveland for one of the new D I showed earlier is inverted,

447
00:56:26,150 --> 00:56:33,170
it is revealed as having a head study at what is then its lower margin.

448
00:56:33,170 --> 00:56:40,490
The endless literature on Michelangelo in the Sistine ceiling has nothing to offer concerning its possible function.

449
00:56:40,490 --> 00:56:58,650
But I cannot see why it should not be a study for the rigidly frontal and upright head of the male figure in the inner Dabb lunette,