DOI Page / Citation link:
https://doi.org/10.11588/diglit.71517#0037
CATALOGUE.
DRAWINGS BY MICHEL ANGELO BUONARROTI.
EARLY PERIOD, TO CIRCA A.D. I500.
1.
Michel Angelo.
Group of three standing figures, apparently engaged in
animated discussion or dispute.
Pen drawing in bistre.
Height, 15 inches. Width, 10 inches.
Collections: Richardson, Lord Spencer, W. F. Ottley, and
Sir T. Lawrence.
This well-known composition has the appearance of being
a vivid reminiscence of some occurrence witnessed by the
artist. The group seems to represent a soldier, with a
sympathising companion leaning on his shoulder, disputing
or arguing some knotty point with a civilian, whose cringing
and obsequious attitude, at the same time expressive of feigned
astonishment, is in almost ludicrous contrast with the erect
bearing and earnest yet bewildered expression of the soldier.
The latter stands on the left, in profile, clad in a fantastic
semi-antique costume, with a cap or helmet on his head:
he appears in the act of expounding with the aid of his
fingers—the fore-finger of the right hand resting on the
palm of the left: his opponent confronts him on the right,
stooping or leaning forward with upraised hands: the third
figure is only slightly indicated. The manner of design or
B
DRAWINGS BY MICHEL ANGELO BUONARROTI.
EARLY PERIOD, TO CIRCA A.D. I500.
1.
Michel Angelo.
Group of three standing figures, apparently engaged in
animated discussion or dispute.
Pen drawing in bistre.
Height, 15 inches. Width, 10 inches.
Collections: Richardson, Lord Spencer, W. F. Ottley, and
Sir T. Lawrence.
This well-known composition has the appearance of being
a vivid reminiscence of some occurrence witnessed by the
artist. The group seems to represent a soldier, with a
sympathising companion leaning on his shoulder, disputing
or arguing some knotty point with a civilian, whose cringing
and obsequious attitude, at the same time expressive of feigned
astonishment, is in almost ludicrous contrast with the erect
bearing and earnest yet bewildered expression of the soldier.
The latter stands on the left, in profile, clad in a fantastic
semi-antique costume, with a cap or helmet on his head:
he appears in the act of expounding with the aid of his
fingers—the fore-finger of the right hand resting on the
palm of the left: his opponent confronts him on the right,
stooping or leaning forward with upraised hands: the third
figure is only slightly indicated. The manner of design or
B