Domenico Ghirlandaio (Domenico di Tommaso Bigordi) (Italian, 1448/49–1494). Cartoon of a Woman in Bust Length. Black chalk, outlines pricked for transfer. The Trustees of the Chatsworth Settlement (316)

Michelangelo Buonarroti (Italian, 1475–1564). Torment of Saint Anthony. Egg tempera on poplar wood. Kimbell Art Museum, Fort Worth (AP 2009.01)

Michelangelo Buonarroti (Italian, 1475–1564). Studies after Two Figures in the Ascension of Saint John the Evangelist by Giotto. Pen and two hues of brown ink (one slightly reddish brown and the other grayish brown) over stylus underdrawing. Musée du Louvre, Département des Arts Graphiques, Paris (706)

Michelangelo Buonarroti (Italian, 1475–1564). Sketches of the Virgin, the Christ Child Reclining on a Cushion, and Other Sketches of Infants. Pen and brown ink. Staatliche Museen zu Berlin, Kupferstichkabinett (KdZ 1363)

Michelangelo Buonarroti (Italian, 1475–1564). Mural Fragment of a Male Nude in Three-Quarter Length (Triton or Satyr). Charcoal on rough porous plaster. Sernesi Family, Villa Michelangiolo, Settignano

Michelangelo Buonarroti (Italian, 1475–1564). Study of the Torso of a Male Nude Seen from the Back. Black chalk, with lead-white gouache highlights. Albertina, Vienna (123)

Bastiano (Aristotile) da Sangallo (Italian, 1481–1551). Copy after the Central Episode of the Bathers in Michelangelo's Battle of Cascina. Oil on wood. By kind permission of the Earl of Leicester and the Trustees of Holkham Estate

Michelangelo Buonarroti (Italian, 1475–1564). Sonnet "To Giovanni da Pistoia" and Caricature on His Painting of the Sistine Ceiling. Pen and brown ink. Casa Buonarroti, Florence Archivio Buonarroti (XIII, fol. 111)

Michelangelo Buonarroti (Italian, 1475–1564). Studies for the Libyan Sibyl. Red chalk, with small accents of white chalk on the left shoulder of the figure in the main study. The Metropolitan Museum of Art, New York, Purchase, Joseph Pulitzer Bequest, 1924 (24.197.2)

Michelangelo Buonarroti (Italian, 1475–1564). Drapery Study for the Erythraean Sibyl on the Sistine Ceiling. Brown wash and pen and dark brown ink, over black chalk. The British Museum, London, Donated by Henry Vaughan, 1887 (PD 1887,0502.118 recto)

Michelangelo Buonarroti (Italian, 1475–1564), with additions and restorations. Demonstration Drawing for the "First Design" of the Facade of San Lorenzo. Pen and brown ink, brush and two hues of brown wash, over underdrawing in leadpoint, compass work, ruling in leadpoint and stylus, black chalk, on six sheets of paper. Casa Buonarroti, Florence (45 A)

Michelangelo Buonarroti (Italian, 1475–1564). Sketches for the Design for a Double Tomb in the New Sacristy of San Lorenzo. Black chalk. The British Museum, London (PD 1859,0514.822 recto)

Michelangelo Buonarroti (Italian, 1475–1564), with slight retouching by a later hand in pen and ink. Unfinished Cartoon of the Virgin and Child. Black chalk, red chalk, traces of brush and brown wash, with lead-white gouache highlights. Casa Buonarroti, Florence (71 F)

Michelangelo Buonarroti (Italian, 1475–1564). Risen Christ. Black chalk. Royal Collection Trust / © Her Majesty Queen Elizabeth II 2017, www.royalcollection.org.uk

Michelangelo Buonarroti (Italian, 1475–1564). Cleopatra in Bust Length. Black chalk. Casa Buonarroti, Florence (2 F recto)

Michelangelo Buonarroti (Italian, 1475–1564). Sketch for Cleopatra. Black chalk. Casa Buonarroti, Florence (2 F verso)

Michelangelo Buonarroti (Italian, 1475–1564). Study for a Descent from the Cross (or Entombment). Red chalk. The Ashmolean Museum, Oxford, Presented by a Body of Subscribers, 1846 (1846.88; KP II 342)

Michelangelo Buonarroti (Italian, 1475–1564) and pupils. Exercise Sheet: Study of a Dragon by the Master over Sketches of Heads by a Pupil. Pen and brown ink over black-chalk underdrawing (dragon), red chalk (mainly underlying designs of heads). The Ashmolean Museum, Oxford, Presented by a Body of Subscribers, 1846 (1846.69; KP II 323 recto)

Michelangelo Buonarroti (Italian, 1475–1564). Portrait of Andrea Quaratesi. Black chalk, with losses on the design surface delicately integrated with brush and gray wash. The British Museum, London (PD 1895,0915.519)

Michelangelo Buonarroti (Italian, 1475–1564). Punishment of Tityos. Black chalk. Royal Collection Trust / © Her Majesty Queen Elizabeth II 2017, www.royalcollection.org.uk

Michelangelo Buonarroti (Italian, 1475–1564). Archers Shooting at a Herm. Red chalk. Royal Collection Trust / © Her Majesty Queen Elizabeth II 2017, www.royalcollection.org.uk

Michelangelo Buonarroti (Italian, 1475–1564). Bacchanal of Children. Red chalk. Royal Collection Trust / © Her Majesty Queen Elizabeth II 2017, www.royalcollection.org.uk

Michelangelo Buonarroti (Italian, 1475–1564). Studies for Christ in the Pietà of Úbeda for Sebastiano del Piombo. Black chalk. Musée du Louvre, Département des Arts Graphiques, Paris (716)

Michelangelo Buonarroti (Italian, 1475–1564). Apollo-David (unfinished). Marble. Museo Nazionale del Bargello, Florence (Sculture 1879, no. 121)

Michelangelo Buonarroti (Italian, 1475–1564). Pietà for Vittoria Colonna. Black chalk on paper. Isabella Stewart Gardner Museum, Boston (1.2.0.16)

Michelangelo Buonarroti (Italian, 1475–1564). Sketches of Figural Arrangements for the Resurrection of the Dead in the Last Judgment. Grayish black chalk. Royal Collection Trust / © Her Majesty Queen Elizabeth II 2017, www.royalcollection.org.uk

Michelangelo Buonarroti (Italian, 1475–1564). Study for a Crucifixion. Black chalk, brush and lead-white gouache, over ruling in black chalk, some stylus ruling. The Ashmolean Museum, Oxford, Presented by a Body of Subscribers, 1846 (1846.89; KP II 343 recto)

Michelangelo Buonarroti (Italian, 1475–1564). Roman Soldiers, Cartoon Fragment for the Lower Left Part of the Crucifixion of Saint Peter in the Pauline Chapel. Charcoal, with some black chalk, on approximately nineteen sheets of paper, outlines pricked for transfer. Museo Nazionale di Capodimonte, Gabinetto Disegni e Stampe, Naples (1490)

Michelangelo Buonarroti (Italian, 1475–1564). Design for a Window, Third Story of the Courtyard, Palazzo Farnese. Black chalk, with ruling and compass work in black chalk, reworked by the artist with brush with brown wash and lead-white gouache, then reworked again by the artist with black chalk and ruling. The Ashmolean Museum, Oxford, Presented by a Body of Subscribers, 1846 (1846.79; KP II 333)

Attributed to Michelangelo Buonarroti (Italian, 1475–1564). The Annunciation. Black chalk. The Morgan Library & Museum, New York (IV, 7)

Michelangelo Buonarroti (Italian, 1475–1564) with some assistance by Tiberio Calcagni (Italian, 1532–1565). Bust of Brutus (unfinished). Carrara marble. Museo Nazionale del Bargello, Florence (Sculture 1879 no. 97)

Michelangelo Buonarroti (Italian, 1475–1564), with the carpenters of the Fabbrica di San Pietro in Vaticano. Model of the Vault of the Chapel of the King of France. Lime wood and other woods, gray and yellow paint. Fabbrica di San Pietro in Vaticano, Vatican City