Engraving by Étienne Delaune?, 14.7 x 21 L (Florence).
Fig.E.50 (Vienna, F.I.3)
Robert-Dumesnil, VIII, 1850, 24, 15, as Boyvin after Rosso. Le Blanc, 1854-1890, I, 547, 182, as Boyvin after Rosso. Herbet, III, 1899, 35 (1969, 123), as Boyvin.
COLLECTIONS: Cambridge, Mass., Harvard University Art Museums, Fogg Museum, M19915 (as by Delaune). Florence, 9860ss. London, 1871-12-9-4679. Paris, Ed 3 (slightly damaged, with note: J.A. Supplt = Milan); SNR. Vienna, F.I.3, p.8, bottom, no. 15; H.B.IV, p.72, bottom (damaged upper left).
Destailleur, 1895, 277, no. 1146, as Boyvin after Rosso.
Kusenberg, 1931, 161, as Boyvin.
Linzeler, 1932, 168, as attributed to Boyvin.
Levron, 1941, 74, 168, as shop of Boyvin.
Barocchi, 1950, 126, Fig. 77 (Paris), as Boyvin.
Panofsky, 1958, 121, Fig. 8 (Paris), 124-126, 166, n. 16, as Boyvin.
Rome à Paris, 1968, under no. 247, as by Boyvin after Delaune’s drawing in Paris, Ensba.
Zerner, 1972, 113, Fig. 167, as Boyvin.
Béguin and Pressouyre, 1972, 139.
Zerner, in EdF, 1972, 330, 331, Fig. (London), 332, no. 432, as Anonymous, although it has been attributed to Boyvin, with whose manner it has nothing to do, and to Etienne Delaune.
Carroll, 1975, 19, Fig. 4, 20.
Carroll, 1978, 28, 33, Fig. 14 (Vienna).
Carroll, 1987, 37, 45, 276-277, no. 87, with Fig. (Vienna, F.I.3).
Boorsch, 1988, 8, as not by Delaune, “whose hand is more delicate, variable, and fussy… a miniaturist.”
Béguin, 1992 (1987), 89, as attributed to Boyvin and to Delaune, and, according to Panofsky, reflects a lost original drawing by Rosso, like Delaune’s drawing in Paris, Ensba.
Brugerolles and Guillet, 1994, 40, under no. 15, 196, 198, Fig. (Paris), under no. 63.
The engraving is related to the first version of Rosso’s Scene of Sacrifice in the Gallery of Francis I (P.22, VII N) and is in the same direction as this scene. It is specifically based on a drawing in reverse in the Ensba in Paris that is derived from a lost drawing by Rosso of c. 1532-1534 (Fig.D.51). The drawing seems to be by Etienne Delaune. Compositionally, it is also very similar to another lost drawing by Rosso known from four copies (D.50A, B, C, D), except that the print is in reverse and contains one additional figure. As Zerner pointed out (see above), the manner of the engraving is not Boyvin’s. The technique very much resembles Delaune’s, although this was not recognized by Boorsch. The print does, however, seem to have been made directly from a drawing that may be by Delaune.