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Good evening, ladies and gentlemen. And I hope you can all hear me.

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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,

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that there is a glass of wine outside after the lecture.

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You're all, most welcome. And people who want to interrogate me.

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This will be your best chance. Probably the only other thing I want to say before starting to give the lecture proper is that.

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This is Michelangelo. And on the 14th of December of last year, Professor Michael Hirst of the Court held institute,

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who was my absolute great mentor in the history of art, died.

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He hadn't been well for a while. And he, I think, is the great Michelangelo scholar of his generation.

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And I'd like to dedicate this letter lecture to him.

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So it might seem that there can be nothing new left to say about Michelangelo's fresco decoration of the Sistine Chapel.

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See it together with the Mona Lisa, it has the dubious honour of contending for the unofficial title of the best known masterpiece of Renaissance art,

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which last makes it extraordinarily hard to see it fresh in the present series of lectures.

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The task will, above all, be to understand how Michelangelo used drawings to create the ceiling.

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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.

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It is a popular misconception that Michelangelo painted lying on his back a doodle of a drawing,

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which you can see accompanying Sonnet about his sufferings on the job.

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Shows him standing up and painting over his head.

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Another drawing shows his stepped scaffold, the red chalk legs the other way up belong to God, the father in the creation of Adam.

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Michelangelo famously and memorably denied that he was a painter on various occasions, not least in.

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The site which you see.

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It is therefore not entirely surprising if his claim has been, at least in part, believed as will emerge more fully in due course.

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This will not be the last instance where Michelangelo's own pronouncements need to

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be treated with a measure of scepticism or at the very least understood in context.

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The reason Michelangelo was so unhappy about having to work on the ceiling was that he

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was already engaged on the Herculean task of creating the tomb of his papal patron,

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Julius. The second Fusari and con D.V., his two biographers are both in agreement in assigning the blame for this change of plan to Bramante,

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who supposedly wanted to confound Michelangelo in order to boost the fortunes of his and I quote, friends and relative Rafale.

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This may well be what Michelangelo himself came to believe,

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but it is not all that straightforward in terms of chronology, at least as regards the involvement of Rafil.

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It is not known when Rafeal moved from Florence to Rome, but his first recorded payment for work on the stand.

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Sibella Senior Toura, which is my subject for next week, dates from January of fifteen oh nine.

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He cannot realistically be supposed to have left Florence before the end of fifty seven.

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Yet a letter dated Sunday the 10th of May 15 No. Six from Piera recently in Rome to Michelangelo in Florence.

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For all that, the finer points of its meaning have been much debated.

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Clearly already refers to Bramante in discussion with Julius about Michelangelo painting the Sistine Chapel ceiling in.

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The early 16th century,

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the vault of the Sistine Chapel still retained the decoration it had received at the time of the original campaign of the 14 80s to fresco the walls.

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This consisted of a relatively simple design representing the heavens with gold stars in the form of constellations on a blue background.

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And I'm showing you a drawing that seems to be for it.

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Neither the sari nor can D.V. make any mention of what was originally intended for the overall design of Michelangelo's ceiling.

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But a later letter written by the artist, which survives in two redactions, is extremely informative on this point.

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Towards the end of December,

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fifteen twenty three Michelangelo in Florence wrote to Drew a van Francesco Tooch in Rome and recalled that on his return to Rome in fifty eight,

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he was charged by Julius to work on the vault and not on the tomb.

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In the first version of the letter, he states that the agreement was that he should be paid three thousand ducats.

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I would cover all the expenses and then just be simply a few figures.

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And this is somewhat expanded in the second version to reveal that the first designs for the work was for twelve apostles.

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And he says in the loo nets.

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But he must mean what we would call the squinched is the triangular elements and that the rest would be filled with a decorative ornamental design.

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This is Camisea Loser as it is or was common in both texts.

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Michelangelo explains that he soon came to realise that this conception would be a poor thing in the first version.

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He understood this after executing some drawings in the second, after beginning the work,

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after having begun the said work which might in isolation be taken to mean after he began painting,

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but should presumably instead be translated loosely as after having begun to plan the set work.

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Last but not least, in the second version of the letter. He relates his characteristically mordant quip to the Pope,

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to the effect the painting the apostles would be a poor thing because they themselves were poor.

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That's a typical Michelangelo jig by curious irony.

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The major sculptural project Michelangelo had left unfinished in Florence was for a series of statues of the Twelve Apostles.

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But the doing of that part of the letter relating to the second scheme will be discussed shortly.

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But before that, the two principal surviving sheets and you're seeing one already,

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which confirmed the veracity of Michelangelo's account of the initial plan for the declaration of the ceiling need to be analysed.

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Some elements of both of them, especially the studies of hands and arms in black chalk,

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undoubtedly belong to the second scheme and will therefore be returned to later on.

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But the rectors of both sheets have in common.

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Simple, diagrammatic first ideas for the general layout of the vault.

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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.

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It chose a single seated figure placed between the curving forms of the arches, which divides the vault from the walls of the chapel.

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Only knowledge of Michelangelo's letter allows the figure to be identified as an apostle.

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He's seated on a throne whose side pieces a bracket like column arts with capitals at the level of the tablature.

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It is backed by a shell nitch and topped by two winged Caryatids, flanked by curling volumes to either side of these figures.

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And above them is a geometrical pattern of circles, rectangles and diamond shapes,

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which may be presumed to extend to the centre of the ceiling, with the other half being its mirror image.

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The study on the rector of the second sheet in Detroit is even less detailed, but proposes a somewhat different solution here.

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The figure of the sea to the puzzle is not included in the shell.

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Nitch is possession significantly lower down the bracket like interruptions of the tablet to a more monumental but are at the same level.

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Now there is what appears to be a swag of foliage between them.

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Two figures seemingly winged but naked Puti, as opposed to angels,

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stand on top of the brackets to either side of an illusion mystically rendered occulus.

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Apparently with some sort of declaration within it.

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The notion here of endowing elements within the geometrical pattern of the main part of the ceiling with a sense of

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depth is already hinted at in the British Museum drawing where one of the tonti is similarly shaped for the rest.

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The differences in the design seem to consist of the introduction of a large octagon

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to replace the diamond shape and in the realignment of the rectangular form,

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to enliven the potential monotony of the scheme.

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It is surrounded by our basking flourishes, which are in the elaboration of more tentative but comparable forms in the London sheet.

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The vassa of this sheet also includes some very summery pen lines, which are once again first ideas for the shell niche.

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But I'm not showing you them, as has been noted on numerous occasions.

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This type of decorative scheme was common enough in Rome at the period where Pinta to recuse qua vault in the church of Santa Maria de Popolo,

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which you see here, represents characteristic prototype and Michelangelo implicitly slightly dismissive phase the phrase sorry use.

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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,

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which Ruka required him to paint down to the story yet.

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The sort of the histories below this must be understood as meaning down to the quite rich frescoes and not literally down

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to the histories which would have necessitated the destruction of the series of likenesses of the popes above them,

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and that he should paint whatever. At least the first part of this statement is confirmed by what he actually painted and is much more convincing them

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for Surrey's misleading statements to the effect that it was a scheme to destroy the earlier frescoes entirely.

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While the second part of the statement is potentially more problematic,

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especially for advocates of the notion that a mere artist could never have devised such an iconic, graphically elaborate conception.

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The truth is, however,

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that there is no need to regard it as proving that Michelangelo received absolutely no guidance over the programme of the vault.

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Like most lay patrons, he may have had a general idea about what he wanted to see represented and then sought out specialist advice.

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I will now give a quick guided tour of the ceiling. Some of you will know it off by heart, backed front and inside out, but others will not.

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When it comes to drawings, I will be examining them section by section.

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So it should be helpful to know how well those sections fit together.

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The first point to be made is that Michelangelo started at the entrance and

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in terms of execution of the work and worked his way towards the altar wall,

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which means that he executed the narratives in reverse order.

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Started painting at this end, went along that way.

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These narratives are a species of prequel to use the Hollywood term to the 15th century,

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parallel narratives of episodes from the lives of Moses and Christ along the walls of the chapel.

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And they form three triplets, respectively, focussing on God, the father,

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Adam and Eve and Noah, and in each case alternately occupy larger and smaller picture fields.

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Thus I am now. As it were coming along.

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Yeah. That's the separation of life and darkness is followed by the creation of the sun and moon and God moving over the waters.

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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.

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The flood should, of course, precede the thanks offering.

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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.

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Amazingly, this through the sari refers to the sacrifice as that of Cain and Abel, in spite of the.

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In that case, inexplicable presence of a goodly number of extraneous figures.

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Far too many people around. Cain and Abel around the narrative scenes are seven Old Testament prophets and five classical symbols,

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all of whom were believed to have foreseen the coming of Christ.

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They alternate along the sidewalls, but both end walls are dominated by prophets, respectively, Zacharias and Jonah.

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Which explains the numerical imbalance between them and the narratives of paired seated male nude figures commonly known as the New Deal,

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which is simply the Italian word for male nudes. They said to either side, secular medallions, infective gilt, bronze,

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some of which contain recognisable Old Testament narratives such as Alija as are sent to heaven in his farat very chariot.

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While others are harder to work out. More crucially, the new Deare,

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accompanied by garlands of gigantic oak leaves and acorns which clearly refer to the family coat of arms of Michelangelo's patron, Pope Julius.

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The second Della Rovere Ray Rovira means oak in Italian.

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The coat of arms is visible elsewhere in the chapel, not least because Julius's uncle,

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Pope Sixtus the fourth, was the founder of the chapel, and it is after him that it is named.

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It may also be that the acorns had the additional role of alluding to the Golden Age as it

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is described in of its metamorphoses when a more perfect mankind only drank milk and honey.

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I think we'll be getting something a bit more boozy in a minute. And eight, amongst other simple foods, acorns the.

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These are the four corner Sandro's contain to see and contain further Old Testament narratives with

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David and Goliath and Judith and Holler families at the entrance to the chapel and the adoration,

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the brazen serpent and the story of Esther. How your your and Haymond at the altar.

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Last but not least. And they're not on that overviews.

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I'm jumping on. Last but not least.

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Especially since I Revelator re emergence from the stygian gloom of the pre restoration's state in the 1980s when I was one of the happy few,

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had the good fortune to ascend the scaffolding ceiling, see the ceiling at close range and even furtively touch it.

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Are the ancestors of Christ drawn from the list that opens the Gospel, according to Saint Matthew?

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These are the figures who occupy the triangular zones between the prophets and symbols.

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I'm not showing you in the lunette above the pope's the top of the world's

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sorry as account of the execution of the ceiling defines three stages of work.

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He reports that there was an interruption when Michelangelo was about a third of the way along and

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explicitly states that he checked this with the artist to clear up any doubt that was on account of mould,

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that it was then unveiled when half complete. And finally, that the remaining part was completed at considerable speed in 20 months.

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And he finishes in fifteen. Twelve. Sorry, does not actually specify where the break between the two halves occurred,

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but it is now generally agreed that it came after the creation of Eve and therefore that the first

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day executed by Michelangelo after he had had the opportunity to see the ceiling from the floor,

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was the one containing the creation of Adam.

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The sari also claims that all the cartoons were finished before work began, but the available evidence suggests that this was not the case.

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This evidence consists above all of the very different style of the two halves of the vault,

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but also of the surviving drawings in the case of the drawings.

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This also hinges upon the testimony of the so-called Oxford sketchbook, which is in the moment this series double sided sheets.

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Now, this bound but seemingly originally forming a small volume has enjoyed a chequered history in the

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notoriously contentious annals of Michelangelo drawing scholarship frequently doubted in the past,

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often the most mystifying of reasons. They were the subject of an exemplary study by Michael Hirst published in nineteen eighty six,

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which seems to have relayed the doubts of all but the most fervid disbelievers.

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What is crucial in the present context, however, is the fact that whereas they contain studies for the zones of the narratives,

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prophets and symbols in beauty and answers Christ, these all belong to the second half of the ceiling, which seems to prove two things.

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Firstly, it demonstrates Michelangelo must master plan the decoration bay by bay rather than zone by zone.

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So a bay at a time and not, as it were, the narratives and then the prophets and symbols and so on.

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Second, it indicates that he worked on the two halves of the vote independently for.

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Given the dazzlingly spontaneous nature of these tiny scribbles,

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it is hard to imagine why Michelangelo should have confined his preliminary explorations to the second half of the vote,

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other than because he had already painted the first. The sketch sketchbook contains drawings, different scales and kinds in different techniques,

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of which the most abundant of the incredibly diminutive and simplified pen scribbles which must truly represent Michelangelo's first thoughts.

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Unsurprisingly, given the fact that they involve what might be described as thinking out loud on paper,

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some of these visual ideas can only be associated in the most generic way with the end product.

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But what is far more remarkable is the number of instances where it is evident that Michelangelo's initial inspiration was,

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in essence, unmodified in the final work. Very often, although not invariably,

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he drew in a segment of the circle as a shorthand for the relevant lunette in

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order to anchor the figure or figures in question to their ultimate setting.

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And many of their poses are responsive to that curve.

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What is more examples of the establishment of a near perfect solution are not confined to any one section of the ceiling.

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Thus, and this is the page or seeing one of the less well preserved but still perfectly decipherable

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pages combines three studies for the scene of God separating light from darkness.

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Yeah. Combine them with various ideas for the David Solomon in that.

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And within you, though, you know the bears no particular resemblance to any of its counterparts on the road.

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In the case of the figure of God, however, the corkscrew pose, the raised arms and even the daring Desart to ensue.

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Presentation of the head. All adumbrate the fresco.

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The actual disposition of the outstretched arms seems to be the main area which cause

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Michelangelo difficulty with the result that the various solutions show them respectively,

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closer together and wider apart only at some later stage.

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However, did he decide to move from having the match one another towards a deliberate differentness.

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Finally, it is extremely telling that the most polished of the three ideas which is conceived of horizontally as opposed to vertically,

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not only includes framing lines and a definite sense of background,

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but is also resolved very full extent to which the figure should fill the available space.

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It will never be possible to establish whether Michelangelo worked in exactly the same fashion on the preparation of the first half the ceiling.

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The sense of a creative intelligence operating at breakneck speed in the Oxford sketchbook

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is as humbling as it is exhilarating and should encourage a note of caution on this point.

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There is ample evidence in the form of drawings for earlier projects of Michelangelo's predilection for tiny pan or chalk scribbles.

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But it may well be that his progress was ever so slightly less effortless in the first half of the ceiling.

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Consideration of the rest of the drawings for the ceiling could, in theory, be approached in one of two main fashions.

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One way would be to work from the beginning of the vault to the end.

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Day by day. And to examine the drawings for all the various parts in each isolated case, endeavouring to postulate a sequence of evolution.

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The main drawback to this approach is that it is almost bound to be needlessly repetitious and that any

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sense of stylistic development conveyed above all between the two halves of the ceiling runs the risk,

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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.

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The other obvious way which will be adopted here is to work from the assumption that Michelangelo had something approximating to a

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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.

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The main potential hazards of this approach is that it may make his practise appear to have preceded overly mechanistically,

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but it has the advantage of giving a clearer sense of the kinds of drawings Michelangelo actually made,

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and also allows one to form a view about whether he produced different kinds of drawings for the two halves.

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Or rather, if it was the style as opposed to the types that evolved inevitably and not least

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since Michelangelo notoriously destroyed a vast number of his own drawings,

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the surviving record is extremely uneven and it would be unwise to draw overconfident conclusions.

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X sealants here.

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The overwhelming majority of the extant drawings for the Sistine Chapel ceiling are of individual figures or of details of individual figures.

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Many of these clearly depend upon earlier compositional drawings which served to

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establish their specific locations and which parts of the world would not be visible,

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alas, without exception. No such greenish composition or drawings survive.

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Virtually all the remaining studies for the ceiling, with the exception of a single drapery study, were executed in black and red chalk.

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The differences between the two techniques in terms of the visual effect are very striking.

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But it also seems to be the case that Michelangelo, as a rule, employed them for different purposes in terms of Michelangelo's drawing practise.

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Black Chalk was a tried and tested stand by,

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whereas red chalk was something of a new development and may only have been employed on the second half of the vault.

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It is also demonstrably the case that black chalk was his preferred medium for still exploratory studies and read for more finished solutions.

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One of the most intriguing drawings for the narratives is a black chalk sheet in the calves are born a Arati, which you are seeing,

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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.

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In spite of the fact that the head and the left leg are basically emitted and that the left arm comes to a dead end.

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The wrist is already captures the fundamentals of the pose and is arguably even more

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graphically able to convey Adam's need to fend off the assault of the avenging angel.

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The breathtaking decisiveness of such a sheep might almost tempt one to imagine that Michelangelo had the happy gift of seeing perfect

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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.

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Other drawings make it plain that everything was not invariably that complicated.

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Another, more resolved and detailed sheet is in to be found in Rotterdam.

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And it underlines both how Chris Michelangelo's handling of black chalk could be and also how rubbed many of his extant chalk drawings, alas, are.

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It comprises two studies for the patriarchs sons gesticulating over his recumbent form in the drunkenness of Noah,

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which makes it a rather drawn survive from the first half of the season.

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In the finished work, the pointing hand is below the open palmed one, but otherwise the changes are minimal.

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They do nevertheless show just how precise the artist's adjustments could be.

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Since in the fresco he felt the need to separate the middle and fourth fingers of the open palm hand, which are joined together in the drawing,

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the most celebrated of all the figures on the ceiling is unquestionably the heroic protagonist in the fresco of the creation of Adam.

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And given how few of the enormous numbers of drawings by Glaslough must have made, a few of them have survived.

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It's fortunate, indeed, that his study from the model for this figure in the British Museum should chance to be amongst them.

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This is perhaps the appropriate place to observe that the outstanding physical

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specimen who posed for this life drawing must have been carefully selected.

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There is an unfortunate tendency to refer to all such feats as Gupte.

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So nature studies gaps only as an assistant sort of lad.

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But while some life drawings do give the impression of having taken teenage workshop assistances, their models, others.

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And this is an exemplary case in point. Equally emphatically, do not.

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There was no narcissistic male cult of the body beautiful in the 16th century,

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and this sort of anatomical development would have been the exclusive preserve of men whose employment required them to be exceptionally strong.

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As regards Michelangelo, that does not appear to be any evidence concerning the identities of his models.

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But somewhat later, there are biographical records of artists studying the bodies of porters and even galley slaves in search of bulging musculature.

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The actual pose of the figure is, in essence, unmodified in the fresco.

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But the deep shadow of the drawing is bleached out on the ceiling.

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The fact that the surface of the torso is more simplified and modulated in the painting should perhaps come as no surprise.

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Nor should the confidence of the handling in the drawing, which is unaffected by the slight contour paint amanti over the top of the left thigh.

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Both hands are restudy around the figure, the right hand and the bottom left corner being the most resolved.

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These details are a double sided sheet in the Tilers collection in Harlem includes a whole array of studies for the group around

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the Almighty in that crucial scene on its Vasso and in a new dose study to which we will return on its recto upside down to them.

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And that's what I'm saying now. The Vasso also shows a powerful study of Gods Adam creating right arm together with a close up of the hand,

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which are accompanied by the left one right way up.

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So you see. The left one that's well here.

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For the rest, the central study is for the figure of much debated identity nestling under God's left arm.

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In essence, the areas drawn in detail all left blank matched the requirements of the fresco,

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especially blatantly where the left forearm, the wrist will be occluded by God's sheltering breaks.

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You need that because it's going to be covered up the supplementary study towards the bottom left hand corner of the sheet,

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restudy is the right shoulder.

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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.

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It, too, is a partial study of the figure in question.

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But unlike the other sketches on the sheet, it does include elements of the extended right arm and the foreshortened torso,

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for instance, which were to be invisible in the final conception.

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Vasso of a second tilers sheet comprises no fewer than five distinct studies.

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Most substantial of them is for the buttocks and back of the blonde angel immediately below.

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God, whose pages implies that he is lying down but who is clearly drawn from a standing model.

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The resulting figure is notably smoother than the drawn prototype.

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There were then two studies that the right margin of the sheet, which are for the Angel Puti in front of God,

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the upper one is sketched from an older model than the chubby child in the fresco.

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Presumably because this was a difficult pose to sustain since it involved hanging on to some kind of support and leaning backwards.

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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.

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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.

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The final two studies are for a right knee, conceivably Adams,

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although it is habitually assumed to be gods and an exquisite and all but definitive detail of the latter's creating.

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Right hand this hand. This hand was previously glued on to another of Tyler's drawings.

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The sheet of study stood for the crucifixion of Haymon, which will be discussed in due course,

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but was reintegrated into its rightful place here in 1952.

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It now looks paler and oranger than the liver coloured studies that surround it, which is presumably a consequence of its different fate.

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Across the centuries, in terms of exposure to light, as already mentioned, there are a number of.

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Black chalk studies four hands and arms on the British Museum and Detroit projects.

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The original plan for the ceiling. They all appear to relate to Adam for all that some of them make one wonder.

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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.

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Finally, in terms of the narratives, one side, the red chalk sheet in Cleveland,

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again shows to details of a figure accompanying God, this time in the large scene of the creation of the sun and moon.

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Here, too, the model seems to be significantly older than his realisation in the fresco.

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Moving on to the prophets and symbols. One of the pages of the Oxford sketchbook includes what is clearly a schematic first

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idea for the prophet Jonah amidst a whole mass of other inventions in scratchy pen.

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General up there. Amazingly enough, he is already in his definitive pose, yet another Ashmolean drawing.

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Also in pen.

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But in this case, with extensive wash added, there's a study for the Erith Ram Sibal, who is to be found on the first half of the ceiling.

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This may well explain its comparatively tentative and in a way retrospective handling,

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which almost harks back to the drawing style of Michelangelo's teacher.

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Mean it could be a Luddite. Its focus is exclusively on her brief break with the pose of the head and upper

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body simply being suggested by a ghostly presence executed in pure wash.

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Interestingly, and for all its precision, by no means every fold.

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The drapery and the drawing is replicated in the fresco as executed.

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Double sided sheet in the Metropolitan in New York includes studies the Libyan symbol on both sides.

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As elsewhere, black chalk is here implied for thinking and red for pinning down the black chalk study on the Vasso.

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It is above all, concentrated on the lower body and the twisting poles of the legs,

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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.

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Conversely, the main study on the Recto, which is plainly drawn from a male life model,

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already fully anticipates the dramatic twisting poles found on the ceiling.

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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,

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but also studies of the left hand, the left foot and the pair of studies of its big toe.

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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

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what might be thought to be a very minor detail in their preparatory studies.

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In fact, another Ashmolean drawing for all that it is unconcerned with Toes does underline

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what might be described as the artist's infinite capacity for taking pains.

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The page in question also includes summary ideas in pen connected with the Julius Tomb.

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But what concerns us are the confidently executed red chalk studies.

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One is for the right hand of the Libyan symbol herself and is a virtual twin of its counterpart on the map.

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Drawing is just exactly the same, really.

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While the other is a meticulous but far from an energetic life study for the foremost of the two boys who accompany her,

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it's such a bit part player within the vast panorama of the Sistine ceiling is him is accorded to study of this kind.

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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.

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As a result than it does any way ahead.

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Studying black chalk in the Euphrates for the Prophet Zakaria, who commands the entrance wall to the chapel.

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This study, too, must have been made from opposed model.

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And what is arguably the most remarkable thing about it is the minimal extent to which Michelangelo felt himself obliged to modify the profile head.

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Above all, because of the inherent nobility of aspect of the old man chosen.

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The line of his nose is very slightly more Roman in the fresco, and his beard is fractionally more bushy.

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But nothing much else is changed. The economy of means is no less impressive.

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A few boldly applied strokes outline the contours and complemented by simple

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parallel hatching lines of varying thicknesses which defined the areas of shaddick.

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This same study was probably also used as a point of departure for the head of Noah in profile in the scene of his drunkenness.

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For all that, the nose is completely different. A second head study in black chalk for the Cuma and Sebel in Turin,

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who inhabits the second half of the ceiling, is unquestionably even more spectacular,

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which makes its frequent rejection in the scholarly literature, at least the earlier scholarly literature hard to credit.

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It must presumably have been drawn from an old man.

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His hair concealed beneath the skullcap, which transformed into a turban in the fresco rather than an old woman.

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And again, the type appears to have been selected to order.

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The prominence of the double chin is slightly moderated in the fresco, and the wiry musculature of the neck is also toned down.

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But on the other hand, the gaping mouth and pugnacious jaw of the final rendition are the very opposite of idealising.

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The chalk is once again employed with dazzling brio, and the white heightening is unusually dramatic.

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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.

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I saw both these sheets. That's to say the one from the Fitzy and the one from Turin in the same room a fortnight or so

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ago in the stunning Michelangelo exhibition currently nearing its end at the Met in New York.

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And this opportunity was an absolute education in in the benefits of comparing two originals and not

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having to rely on one's memory across the years or thousands of miles seen in the books or on my screen.

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These two head studies may look pretty similar in handling,

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but virtually side by side they came across as being totally unlike with the command Sybil being incomparably more bold and advanced.

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When it comes to a nudie for whom, incidentally, there are incomparably more studies than for any other group of figures on the vault.

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There are a number of drawings whose character comes very close to that of their counterparts

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in the Oxford sketchbook by virtue of their being small in scale and rapidly executed,

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perhaps simply as a consequence of what happens to have survived amongst their number chalk and especially black chalk predominates.

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But it makes more sense to begin with the red sheets in pen, the Versova black drawing in the British Museum.

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And that top left here comprises four studies, including the considerably more substantial one at top left,

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which was initially drawn in black chalk and then partially gone over in lighter brown ink, was probably the first to be executed.

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As has been pointed out, the figure in question is kneeling rather than sitting.

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And it has been suggested that this may reflect a stage in Michelangelo's thinking when the inn you do would not have been seated.

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It seems more likely, however, since it is copied from an ancient statue that it instead chose Michelangelo only very slightly,

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modifying his prototype on the vault.

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Michelangelo. Sorry, and I'm going to jump on to this one, which is, as you see, a much more sophisticated drawing.

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And here, I'm sorry, I'm getting mixed up.

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I get back. Sorry. On the vault where I was on the vault.

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My clothes were adapted.

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The figures pose the now almost wholly destroyed in UDAR above and to the left, the Delphic symbol whose original appearance is known by print.

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The three remaining studies, the bottom two of which comprise variants of a single pose,

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have been linked with various of the nudie in the early days of the ceilings.

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But none of these connexions is precise. The fact that they showed the figures on taller blocks confirms that they precede the final design.

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And then below to the right, an imposing sheet and the cows are born.

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Arati contains a whole host of studies for the annuity in the second half of the ceiling.

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Together with the study for a framing element, presumably for the ceiling spanned adorned with the DeLara Overy emblem of the ACORN

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and is predictably closing characters some of the pages of the Oxford sketchbook.

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But this. It consists of one larger study in black chalk, partially gone over in pen.

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The left hand in Yuda above the command sebel together with the number of first ideas in black chalk.

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One of these is also inked in, respectively, for that same figure and for the right hand in you two above I Zaya.

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It seems more likely that Michelangelo initially experimented with two conceptions for the same figure in both versions.

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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,

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while its lower half was either tucked underneath the upper half or dangled free.

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Oddly enough, in view of the fact that some of these little scribbles seem to do little more than repeat one another,

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there is yet one more version in black chalk of the same Nutro with his arm raised, which was presumably originally part of the same sheet.

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There exist at least three further exploratory studies in black chalk, which are the ones on the right hand side of the page, so to speak.

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In which case of lines reveals Michelangelo battling to find the right pose an altogether more resolved.

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I finally got to.

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Life drawing black chalk for one of the nudie's above the rights, the Delphic symbol comes far closer to the final result in the fresco.

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However, the treatment of the anatomy, as is invariably the case, is somewhat idealised and simplified.

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There are three full dress red chalk life drawings for a new day, of which two are for the figures above the Persian sebel.

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The one on the left above the symbol is studded in the magnificent sheet which I'm showing you here in the outback,

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Tina, which has stylus and drawing and some white height thing, which may not be.

383
00:47:29,140 --> 00:47:37,760
Incredibly, see, just. That's of the equivalent of two packs almost there.

384
00:47:37,760 --> 00:47:46,220
This drawing has the additional distinction of having belonged to no lesser figure than Rubins in comparison with the study.

385
00:47:46,220 --> 00:47:52,040
The figure of Adam, the approach here is far more meticulous, but never lacking in spirit.

386
00:47:52,040 --> 00:47:57,440
On the contrary, the tension running through the twisting torso is brilliantly conveyed,

387
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.

388
00:48:03,980 --> 00:48:11,450
While the attitude of the head is already established, it is only drawn in very faintly.

389
00:48:11,450 --> 00:48:17,420
This sheet, like so many others for the ceiling, has clearly been trimmed at the edges.

390
00:48:17,420 --> 00:48:22,580
But it may never have been all that much larger. In any event,

391
00:48:22,580 --> 00:48:28,310
Michelangelo seems to have elected not to focus upon the hands or feet in any

392
00:48:28,310 --> 00:48:35,610
detail in the main study and then re-examined them in the bottom left corner.

393
00:48:35,610 --> 00:48:43,350
The study of the Inuit on the right above the Persian symbol is on the Double-Sided Street in Harlem,

394
00:48:43,350 --> 00:48:46,880
whose Vasso has already been discussed here, too.

395
00:48:46,880 --> 00:49:00,170
The head is only some Merrilee indicated and then dramatically focussed on in yet another red chalk sheet in the same collection,

396
00:49:00,170 --> 00:49:06,860
which also includes three studies for the legs of God in the creation of Adam.

397
00:49:06,860 --> 00:49:15,140
The third and final study is in Cleveland and is for the innuendo above and to the right of Daniel,

398
00:49:15,140 --> 00:49:19,490
Michelangelo's authorship of the sheet has often been doubted.

399
00:49:19,490 --> 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.

400
00:49:31,310 --> 00:49:44,510
I felt it was entirely convincing. There only exists one large scale head study for any new doe in intensely characterised.

401
00:49:44,510 --> 00:49:50,210
All but final solution for the new DOE above zya and to his left.

402
00:49:50,210 --> 00:50:01,630
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,

403
00:50:01,630 --> 00:50:09,760
which was one of the first parts of the ceiling to be painted and is a delicate black chalk invention for the whole scene.

404
00:50:09,760 --> 00:50:17,230
The drawing could hardly be more summery, but does at least reveal the fact that in his initial conception,

405
00:50:17,230 --> 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,

406
00:50:27,370 --> 00:50:33,970
he shows Judith and her maidservant fairly much as in the fresco with Holofernes,

407
00:50:33,970 --> 00:50:44,460
his head held aloft on a platter in the middle there as the mutilated and foreshortened body of Holofernes is feetfirst final.

408
00:50:44,460 --> 00:50:52,970
It's the right to standing eavesdroppers. In the final version, the cast of characters is much the same,

409
00:50:52,970 --> 00:51:00,080
but they have all changed places so that there is a single sleeping soldier in darkness to the left,

410
00:51:00,080 --> 00:51:06,530
Judith and her maid in brightly coloured garments are set against the light marble wall in the middle and the dead.

411
00:51:06,530 --> 00:51:09,890
Holofernes is again in the half darkness of its tent.

412
00:51:09,890 --> 00:51:21,650
But to the right, the other important difference seems to be that in the drawing, this was presented semi frontally, looking back over her shoulder.

413
00:51:21,650 --> 00:51:36,780
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.

414
00:51:36,780 --> 00:51:39,140
The only other studies for the corners bound rules,

415
00:51:39,140 --> 00:51:46,070
very different in character and relate to the scene of the crucifixion of Hey man at the other end of the vault.

416
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,

417
00:51:54,260 --> 00:52:03,650
which is flanked by close ups of the legs, while another in the.

418
00:52:03,650 --> 00:52:16,930
Better. In Close-Up, another in the Tilers Museum completes the process by closing in on the head and upper body in the main study.

419
00:52:16,930 --> 00:52:24,890
And by also homing in on the arms and even.

420
00:52:24,890 --> 00:52:29,840
Even the right ear. Bit like the big toe.

421
00:52:29,840 --> 00:52:42,570
He's gone for the right ear. There also exists a cartoon fragment connected with concealed part of the head of Hey Man,

422
00:52:42,570 --> 00:52:48,750
whose purpose was only relatively recently understood in the 1980s.

423
00:52:48,750 --> 00:52:58,710
So you could sort of see my nostril on those side of face matching up this.

424
00:52:58,710 --> 00:53:06,840
Since the time of this suggested connexion, the restoration of the sealing was still in progress.

425
00:53:06,840 --> 00:53:12,390
It was possible to match it up to the actual fresco.

426
00:53:12,390 --> 00:53:21,270
They made it sort of one to one photocopy, as it were, of the drawing and proved that it was exactly the same size.

427
00:53:21,270 --> 00:53:23,940
It fitted perfectly.

428
00:53:23,940 --> 00:53:34,050
All the other cartoons for the ceiling no longer exist, and many were quite possibly destroyed during the creation of the frescoes.

429
00:53:34,050 --> 00:53:44,790
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.

430
00:53:44,790 --> 00:53:51,990
So in theory, it may be hiding in someone's admittedly rather spacious attic.

431
00:53:51,990 --> 00:54:00,740
We can but hope. Intriguingly, and for all that, this has not previously been observed.

432
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,

433
00:54:11,240 --> 00:54:23,960
where it was inserted with minimal adaptations of the pose, intercut patches, old piece of the 10000 martyrs of Mount Ararat that work.

434
00:54:23,960 --> 00:54:28,400
And you see the complete, complete picture on the right is signed and dated.

435
00:54:28,400 --> 00:54:39,880
Fifteen, fifteen. And I remind you, the Sistine ceiling was only unveiled in fifteen, twelve and.

436
00:54:39,880 --> 00:54:47,580
Him. And I flipped them.

437
00:54:47,580 --> 00:54:56,100
To make the connexion more obvious. Turning finally to the ancestors of Christ.

438
00:54:56,100 --> 00:55:00,210
All that really needs to be explained is that Michelangelo startlingly immediate

439
00:55:00,210 --> 00:55:05,880
inventions in pen for them are the chief glory of the Oxford sketchbook.

440
00:55:05,880 --> 00:55:17,960
Many of them are faithful figures. Such as these two.

441
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.

442
00:55:29,950 --> 00:55:38,660
And I think you can say that the. And the.

443
00:55:38,660 --> 00:55:52,250
More details on. That growing, incidentally, is in the shower near.

444
00:55:52,250 --> 00:56:05,540
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,

445
00:56:05,540 --> 00:56:11,120
which were destroyed when Michelangelo subsequently fresco the last judgement.

446
00:56:11,120 --> 00:56:18,620
However, it is not with them that I will close, but with a final suggestion.

447
00:56:18,620 --> 00:56:26,150
If the red chalk drawing in Cleveland for one of the new nudie I showed earlier is inverted.

448
00:56:26,150 --> 00:56:33,170
It is revealed as having a head study at what is then its lower margin.

449
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.

450
00:56:40,490 --> 00:56:58,723
But I cannot see why it should not be a study for the rigidly frontal and upright head of the male figure in the Amena Dabb lunette,