Czére Andrea szerk.: A Szépművészeti Múzeum közleményei 105. (Budapest, 2006)

LOUIS A. WALDMAN: A Drawing by Tribolo for Montorsoli's Lost Hercules and Antaeus at Castello

and shade creates a sense of a unified chiaroscuro that melds his figures into organic, monumental compositions in parvo. And at times, as in the Budapest sheet and the Bande Nere study, Tribolo's loose and spontaneous shading creates a sense of atmosphere that one could almost characterize as painterly. Indeed, if the powerful, writhing forms of Tribolo's heroic figures evoke the omnipresent memory ol Michelangelo (with whom Tribolo had worked on the New Sacristy of San Lorenzo), one could argue just as strongly that Tribolo's compositional sense, and use of light and shade, reveal the extent to which the tumult and noise of Leonardo's Battle ofAnghiari mural, unfinished and decaying but still visible during the 1530s, continued to pulsate through the younger artist's creative imagination. Louis A. Waldman is Assistant Director for Programs at Villa I Tatti - The Harvard Center for Italian Renaissance Studies and Associate Professor at the University of Texas, Austin. I wish to thank Zoltán Kárpáti, curator of Early Italian Drawings and Prints at the Museum of Fine Arts, Budapest, and Sanne Wellen for their help with the preparation of this article. While this article was in press Zoltán Kárpáti shared with me a recent oral attribution by Monroe Warshow to the Flemish painter Lambert Lombard (1505-1566), based on a perceived similarity of style to similar small sketches ot Hercules and other figures, drawn from memory, from Lombard's Arenberg sketchbook at Liège (see G. Denhaine, Lambert Lombard: Renaissance et humanisme à Liège, Antwerp 1990, 146-48, figs. 164-67). In these drawings Lombard also uses a thick pen, background hatching, and a schematic shorthand style that at first glance recalls Tribolo's, but the Fleming's conception of the body is flatter, his figures anatomically confused, and often very eccentric in proportion (tiny heads without necks, huge limbs). Lombard's heavy-handed calligraphy also lacks the control and tension of Tribolo, and conveys little sense of three-dimensional form or recession into depth. The superficial similarity of technique may be attributable, to some extent, to Lombard's presence in Italy in 1538-1539—exactly the same period in which Tribolo produced the drawings discussed here. NOTES 1 On Tribolo as a draftsman, see C. Lloyd, "Drawings Attributable to Niccolö Tribolo", Master Drawings 6 (1968), 243-45; W. Aschoff, "Tribolo disegnatore", Paragone 209 (1967), 45-47; for a complex and varied view of Tribolo's multifarious activities, see the essays collected in Niccolb detto il Tribolo tra arte, architettura e paesaggio, eds. E. Pieri and L. Zangheri, Florence 2001; for a recent overview of the history of Tribolo's two monumental fountains, see S. Morét, Der italienische Figurenbrunnen des Cinquecento, Oberhausen 2003, 141-65; and on Ammannati's Hercules, see A. Giannotti,