Engraving by Antoine Garnier, 27.3 x 42.65 (London, 1874-8-8-925). Inscribed at the lower right: Rous. FiorEntino. Inuen.
Fig.E.89 (London, 1874-8-8-925)
Robert-Dumesnil, VIII, 1850, 221-222, 70, as Antoine Garnier, but doubtful, after Rosso’s fresco in the Gallery of Francis I.
COLLECTIONS: Chatsworth, Vol. 12, p.56, no. 74. London, 1874-8-8-925 (Prints after Rosso), inscribed on the verso: Engr. by H. Goltzius; W.3-186 (Prints after Rosso). Oxford, Ashmolean (as Anonymous, School of Fontainebleau). Paris, Ba 12.
Kusenberg, 1931, 166.
Béguin and Pressouyre, 1972, 129.
Wilson-Chevalier, 1982, 10, Fig. 8 (Paris, Ba 12), 12, 16, n. 43, as after Rosso’s fresco.
This seventeenth century engraving, in reverse of the fresco in the Gallery of Francis I, is based on Rosso’s painting. (It is not derived from Fantuzzi’s etching [Fig.E.71], nor from Rosso’s drawing known from a copy in Besançon, [Fig.D.59], nor from the copy of the fresco in the Louvre, Inv. 1596 [Fig.P.22Copy, Paris 1596]). There are certain small changes of detail and of spatial relationships, but the print is sufficiently similar to the fresco to indicate that it was based upon a drawing made from the fresco in the gallery. This is the only sixteenth or seventeenth century print derived from work in the gallery as distinct from one of the drawings made for its decoration.