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
pen; there are no visible traces of underdrawing. 6 The briskness of the draftsman's touch, the minuscule size of the sketch, and the spontaneity of its technique, all suggest that the Budapest sheet is a preliminary sketch from the early stages of a project's inception. The drawing received little critical attention, despite its having borne a traditional attribution to Michelangelo, which some later hand has scribbled in pencil across the mount. Around the beginning of the twentieth century Henry Thode laconically rejected that identification in his monograph on Michelangelo —the only reference to the drawing in the literature to date —but did not offer an alternative. The curatorial files of the Museum of Fine Arts, Budapest include more recent, though tentative suggestions connecting the drawing to A 7 incenzo de' Rossi (1525-1587) or Daniele da Volterra (1509-1566); but both these proposals clearly derive more from the drawing's subject matter and dramatic conception than from its graphic style, which has no true parallels in the work of either artist. The authorship of the Budapest drawing emerges immediately when one compares the work with the small corpus of drawings by Tribolo. The handling of the pen, scale, figure style, and graphic shorthand all find close parallels in Tribolo's acknowledged drawings. Comparison can be made, for instance, with a sheet of studies for sculptural decorations now in the Louvre, which contains studies for the decorative apparato for the 1539 marriage of Cosimo I and Eleonóra di Toledo (fig. 4). H The sketch at upper left for the equestrian statue of Giovanni delle Bande Nere, which Tribolo erected in Piazza San Marco on the occasion of the ducal wedding, is so similar in style and technique to the Budapest drawing that one might suspect them to have been cut from the same sheet. 9 The figures of Hercules and Antaeus in Budapest and that of Giovanni delle Bande Nere in Louvre are constructed in a similar manner. The artist began with a series of springy, calligraphic, curving contours, and then modeled them with extensive areas of heavy diagonal ANTONIO I'OLLAIUOtO. HERCULES AND ANTAEUS, FLORENCE, MUSEO NAZIONALE DEL BARGELLO
