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  • Date:

    16th century (made)

  • Artist/Maker:

    Baccio Bandinelli (Attributed to)
    Michelangelo (After)

  • Materials and Techniques:

    Pen, washed

  • Credit Line:

    Bequeathed by Rev. Alexander Dyce

  • Museum number:


  • Gallery location:

    Prints & Drawings Study Room, level H, case DG, shelf 33

Physical description

Study, from the Cartoon of Pisa, of the man assisting his companions by the arm, and the naked soldier seated by his side; Pen, washed.


16th century (made)


Baccio Bandinelli (Attributed to)
Michelangelo (After)

Materials and Techniques

Pen, washed


Height: 13.8 in, Width: 10.8 in

Descriptive line

Drawing, Study after a section of Michelangelo's Battle of Cascina, attributed to Baccio Bandinelli, Florentine school, 16th century

Bibliographic References (Citation, Note/Abstract, NAL no)

DYCE COLLECTION. A Catalogue of the Paintings, Miniatures, Drawings, Engravings, Rings and Miscellaneous Objects Bequeathed by The Reverend Alexander Dyce. London : South Kensington Museum, 1874.
Lambert, Susan. Drawing: Technique & Purpose. London: Victoria & Albert Museum, 1981. pp.27-28.
Ward-Jackson, Peter, Italian Drawings. Volume I. 14th-16th century, London, 1979, p. 32

The following is the full text of the entry:

Bartolommeo Bandinelli

Study of two males nudes after Michelangelo’s cartoon for the Battle of Cascina ; below a slight sketch of a hand in black chalk
Inscribed ‘Michelangelo’ and on the back ‘Schizo di mano propria di Michel Angolo buonaroti… 2’

Pen and ink and wash
13 1/8 x 10 7/8 (333 x 276) Dyce 163

PROVENANCE The indistinct mark is probably Lugt 545, Count ( ?) Gelozzi or Gelosi ; Dyce Bequest 1869

LITERATURE Dyce Catalogue no 163 (under Michelangelo)

According to Vasari, Bandinelli was the most assiduous of those Florentine artists who made Michelangelo’s cartoon their study during the short period when it was accessible to them, before it was divided up, scattered and destroyed. The two figures represented in this drawing differ substantially from those shown in any known preparatory studies by Michelangelo and in later copies after the cartoon. The man helping his comrade out of the river is kneeling on one knee instead of two, and his right hand is placed on a rock or tree stump instead of on the ground; while his seated companion leans over to the left instead of to the right and his arms are in a new position. There is no way of deciding whether Bandinelli introduced these variations, or whether they are based on an earlier preparatory study by Michelangelo. The best extant illustration of the lost cartoon is the grisaille copy at Holkham Hall. This copy is illustrated in numerous works, inlcuding BB. 1938, 3, fig. 584 ; W. Köhler, ‘Michelangelo Schlachtkarton’in Kunstgeschichtliches Jahrbuch der K.K. Zentralkommission für Erforschung etc., Vienna, I, 1907, p. 138, pl. 12 ; C. de Tolnay, Michelangelo, Princeton, 1943, I, pl. 232.


Pen and ink


Drawing; Wash technique

Subjects depicted

Men; Soldier




Prints, Drawings & Paintings Collection

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