{"id":1000,"date":"2011-06-09T12:37:03","date_gmt":"2011-06-09T16:37:03","guid":{"rendered":"http:\/\/blogs.vassar.edu\/rosso2\/"},"modified":"2013-06-04T16:24:35","modified_gmt":"2013-06-04T20:24:35","slug":"p-22-documents","status":"publish","type":"page","link":"https:\/\/pages.vassar.edu\/rosso\/catalogues\/paintings\/p-22\/p-22-documents\/","title":{"rendered":"P.22 Literature on the Gallery"},"content":{"rendered":"

(For the literature specifically on the tapestries, see above.) \u00a0The greater part of the literature on the gallery, up to 1971, is listed in \u201cGalerie,\u201d RdA<\/em>, 1972, 173-174. \u00a0Most of what appears there is also given below, excluding those items that are not directly related to the gallery, such as the print catalogues of Bartsch, Robert-Dumesnil, and Herbet, or articles that do not especially pertain to Rosso. \u00a0The most important descriptions of or references to the gallery prior to 1750 are transcribed.<\/p>\n

Sir John Wallop, English Ambassador to France, dispatch of 17 November 1540 (London, Public Records Office, British Museum, Calendar of State Papers<\/em>, Reign of Henry VIII, VIII, 479-486; transcribed in McAllister Johnson, \u201cDiplomatic Correspondence,\u201d 1972, from which this partial transcription (unchecked) has been made; paraphrased in Gairdner and Brodie, 1898, 117-119, no. 276). \u00a0Aside from the documents of payment this letter is the earliest reference to the gallery. \u00a0At some moment after 2 November, Wallop spoke with Francis I about a certain matter: \u201cTo this he replied he had already studied that and would give me the names if I would come in three or four days to Fowntayne de Bleawe.\u201d (Gairdner and Brodie). \u00a0Wallop continues:<\/p>\n

\u201cHe hard saye that Your Majestie [Henry VIII] did use muche gilding in your said howses, and specially in the rowffes, and that He in his buylding used little or none, but made the rowffes of tymbre fyndly wrought with dyvers cullers of woode nautrall, as ebeyne, brasell, and certayne other that I can not wel name to Your Majestie, whiche He rekeneth to be more riche than gilding, and more durable; and saied at my cumming to this Fowntayne de Bleawe He wold shewe me his chambres, and specially his gallery, to knowe hove I shuld like them, to thentent I myght advertis Your Majestie thereof: and further shewed me that He hathe founde dyvers mynes of marbell, bathe white and blacke the white by Marguyson, and the blacke besides Sherbroke\u2026<\/p>\n

\u201cYt may please your Highnes, according to the Frenche Kinges appointement, I went to Fountayne de Bleawe the Sunday following; and being in the Kinges dynyng chambre abyding his going to churche, fortuned the Cunstable to loke owte of the Prevey Chambre. ‘O Monsr<\/sup> lAmbassadour,\u201d quod he, ‘vous soiez le tresbien venu,’ praying me to tarry awhile, and the King wold shewe me his gallery; and therewith commaunded one of the Maistres de Hostel to make reddy for me his ordenary, he having promysed to dyne in the towne. And within a while the said Cunstable cam to the chambre dore, agayne saying, ‘le Roy vous demaunede, Monsr<\/sup> lAmbassadour,’ and so went into his bedde chambre, whiche I do assuer Your Majestie is very syngulier, aswel with antycall borders, as costly seeling, and a chemency right wel made. And for bycause in suche my communication had with Hym before, I did not gretely prease the mattyer and stuff that the said borders was made of, geving no good luster, the said Frenche Kinge requiered me to go uppon a benche to feele the said matier and stuff; unto whom I saied, ‘Sir, the benche is to highe and shat\u00a0hardly gett up,’ and began tassaye. He, lyke a good gratiouse Prince did helpe me forward with his hande, orelles, to be playne with Your Majestie, I shuld hardly have gotten up: and likewise at my cummyng downe stayed me agayn, and from thence browght me into his gallerey, keping the key thereof Hym self, like as Your Majestie useth, and so I showed Hym, wherewith he toke plesur. And after that I had wed behold the said gallerey, me thought it the most magnifique, that ever I sawe, the length and bredthe no man canne better shewe Your Majestie then Modon, who wrought there in the begynnyng of the same, being at that tyme nothing in the perfection, as it is nowe. The rowff thereof ys seeled with walnott tree, and made after an other forme then Your Majestie useth, and wroughh with woode of dyvers cullers, as before I have rehersed to Your Majestie, and is partly gilt; the pavement of the same is of woode, being wroughh much after that sort; the said gallerey is seeled rownde abowte, and fynely wrought three partes of it; upon the fourthe part is all antique of suche stuff as the said Modon makith Your Majesties chemenyes; and betwixt every windowe standes grete anticall personages entier, and in dyvers places of the said gallerey many fayre tables of stories, sett in, very fynely wrowgth, as Lucretia, and other, as the said Modon can muche better declare the perfytne of the hole to your Majestie, then I. An in the gallerey at St<\/sup> James the like wold be wel made, for it is bothe highe and large. Yf your pleasure be to have the paterne of this here, I knowe right wel the Frenche King woll gladly geve it me. And in this showing me his gallerey, (propter formam) I wisched Your majestie there to have seene it. ‘Par ma foy, Monsr<\/sup> Ambassadour,\u201d quod He, \u201cyf He were, I wold make hym good chere, et de bon cueur.’<\/p>\n

\u201cFrom tense He brought me to his lodginges under the said gallerey, aswell to see them, as the baynes and stoves;\u2026<\/p>\n

\u201cThe Frenche King, then returning throwgth the said chambres, went strayt to masse, commaunding Monsr<\/sup> Nansey to have me to dyner, and to geve me wyne of his owne crewe, whiche ys as pretiously kept as his gallerey\u2026<\/p>\n

\u201c\u2026And if in case the Frenche King or he had myslyked my said Lordes going, I shuld neither have ben holpe upp ne downe the benche, nor yet have cume in his gallerey\u2026\u201d<\/p>\n

Vasari, 1550, 803 (Vasari-Ricci, IV, 250): \u201c\u2026arriv\u00f2 in Francia a Parigi, dove core favor grande della nazione fete al Re due quadri d\u2019un Bacco, & d\u2019una Venere, the sono posti in Fontanable\u00e0\u00a0nella Gallerie del Re, ch\u2019\u00e0 lui parvero miracolosi,\u2026\u201d<\/p>\n

Cellini, 1558-1535 (Cellini-Ferrero, 1971, 452-453) speaking of the king\u2019s \u201cbella gallere\u201d wrote \u201cQuesto si era, come not diremmo in Toscana, una loggia, o si veramente uno androne: pi\u00f9 presto androne si potria chiamare, perch\u00e9 loggia noi chiamiamo quelle stanze the sono aperte da una parte. Era questa stanza lunga molto pi\u00f9 di cento passi andanti, ed era ornata e ricchissima di pitture di mano di quel mirabile Rosso, nostro fiorentino; e infra le pitture era accomodato moltissime parte di scultura, alcune tonde, altre di basso rilievo: era di largheszza di passi andanti dodici in circa.\u201d \u00a0This description appears in Cellini\u2019s Life<\/em> in the period shortly after mid-July 1544.<\/p>\n

Vasari, 1568,\u00a0II, 210 (Vasari-Milanesi, V, 167-169): \u201cDa Vinezia partito, sen\u2019 ando in Francia,\u2026Quivi fatti alcuni quadri the poi furono posti in Fontanableo nella Galleria gli don\u00f2 al Re Francesco al quale piacquero infinitamente,\u2026 Il re \u2026 lo fece capo generale supra tutte le fabriche, pitture, & altri ornamenti di quel luogo [Fontainebleau]. Nel quale primieramente diede it Rosso principio a una Galleria supra la bassa corte facendo di sopra, non volta ma un palco, \u00e8 vero soffittato di legname con bellissimo spartimento; le facciate dalle bande fece tutte lavorare di stucci, con partimenti bizzarri, a stravaganti, a di piu forti cornici intagliate con figure ne reggimenti grandi quanto il naturale: adornando ogni cosa sotto le cornici, fra l\u2019un reggimento, e l\u2032altro, di festoni di stuccho ricchissimi, e d\u2019altri di pittura con frutti bellissimi, a verzure d\u2019ogni sorte. E dopo in un vano grande fete dipignere col suo disegno (se bene ho inteso it vero) circa ventiquattro storie, a fresco, credo, de i fatti d\u2019Alessandro Magno; facendo esso come ho detto tutti i disegni, the furono d\u2019acquerello, a di chiaro scuro. Nelle due testate di questa Galleria sono due tavole \u00e0 olio di sua mano disegnate, e dipinte, di tanta perfezzione, che di pittura si puo vedere poco meglio. Nell\u2019una delle quali \u00e8 un Baccho, & una Venere, fatti con arte maravigliosa, e con giudizio. E it Baccho un giovinetto nudo tanto tenero, delicato; e dolce, the par di carne veramente, e palpabile; e piu tosto vivo, che dipinto. Et intorno \u00e0 esso sono alcuni vasi, finti d\u2019oro d\u2019argento, di christallo, a di diverse pietre finissime, tanto stravaganti, & con tante bizarrie attorno, the resta pieno di stupore chiunche vede quest\u2019opera con tante invenzioni. Vi \u00e8, anco fra l\u2019altre cose, un satiro, the lieva una parte d\u2019un padiglione; la testa del quale \u00e8 di maravigliosa bellezza in quella sua strana cera caprina, a massimamente, che par the rida, a tutto sia festoso in veder case bel giovinetto. Evvi anco un putto a cavallo sopra un\u2019Orso bellissimo, e molti altri graziosi, e belli ornamenti atorno. Nell\u2019altro \u00e0 un Cupido, e Venere con altre belle figure. Ma quello in che pose it Rosso grandissimo studio fu it Cupido: per the finse un putto di dodici anni, ma cresciuto, a di maggiori fattezza, the di quells et\u00e0 non si richiede, e in tutte la parti bellissimo. Lequali opere vedendo it Re, e piacendogli sommamente pose al Rosso incredibile affezzione:\u2026\u201d<\/p>\n

Also in the “Life” of Primaticcio, Vasari, 1588, III, 798 (Vasari-Milanesi, VII, 407) said that Primaticcio entered the service of Francis I in 1531: \u201ced ancor che fusse andato l\u2019anno innanzi al servigio del medesimo Re it Rosso pittore Fiorentino, come si \u00e8 detto; e vi havesse lavorato molte case, a particolarmente i quadri del Baccho, e Venere; di Psiche, e Cupido, nondimeno i primi stucchi, the si facessero in Francia, e i primi lavori a fresco di qualche canto, hebbero, si dice, principio dal Primaticcio\u2026\u201d \u00a0These two pictures, painted, it would seem indicated here, before Primaticcio arrived in France, are most likely the same pictures that Vasari, in his “Life” of Rosso, said were placed at the ends of the Gallery of Francis I.<\/p>\n

Du Cerceau, 1579, 7 plates of plans and views of the ch\u00e2teau at Fontainebleau.<\/p>\n

Pierre Dinet, Cinq Livres de Hi\u00e9roglyphiques<\/em>, Paris, 1614, 691 (reprint Garland, New York, London; 1979. Introductory Notes by Stephen Orgel), with reference to Cimon and Antippe as the subject of a painting at Fontainebleau, possibly referring to the stucco relief of Caritas Romana<\/em> under the Cleobis and Biton<\/em>.<\/p>\n

Pozzo, 1625 (Naples, Biblioteca nazionale, ms. no. X, E.54, f.198v<\/sup>; Pozzo-M\u00fcntz, 1886, 270) described the gallery: \u201cLa gallerie del re Francesco primo dipinta a fresco dal Rosso. Fra le storie pi\u00f9 notabili erano la Battaglia de Centauri contro i Lapiti<\/em>, gl\u2019Esserciti\u00f9 d\u2019Alessandro Magno<\/em>, cio\u00e8 it notare, e giocar d\u2019arme, un Diluvio<\/em>, la Morte d\u2019Adone<\/em>, la Favola di Danae<\/em>, l\u2019Istoria d\u2019Enea guando portava su le spalle suo padre Anchise<\/em>, un altra istoria d\u2019una vecchia, qual si far tirar su un carro da due sue (sic<\/em>) figli in mancanza di chi la conducesse a un tempio per la liberatione della citt\u00e0, l’Introduzione delle buone arti in Francia sotto it detto Re Francesco<\/em>, l’Entrata d\u2019esso nel tempio di Giove<\/em>, seguitata da numero infinito di gente con occhi bendati, e la Favola di Semele<\/em>, quando gl\u2019apparisce Giove in forma di Dio. Ciascun di detti quadri \u00e8 ornato con stucchi di buona maniera. La soffitta della galleria e lavoreta di legnami di color di noce indorati, con spartimenti minuti ma pero gratiosi<\/em>.\u201d<\/p>\n

G\u00f6lnitz, 1631, 171: \u201cPoste\u00e0, galeria Francisci I<\/em>, sive la petite galerie<\/em> prospectum habet \u00e0 la court de fontaine<\/em>. ad introitum Bacchus, Venus, & Cupido prostant. \u2026\u201d<\/p>\n

Dan, 1642, 86-94: \u201cDE LA GALLERIE DE FRANCOIS I. autrement dite la petite Gallerie, avec la description de ses Tableaux, & Emblemes. CHAPITRE VI. I. Quatorze grands Tableaux avec de riches bordures ornent cette Gallerie. II. Embleme, par lequel se void le soin qu\u2019a pris le Roy Fran\u00e7ois I. pour les Sciences & les Arts. III. Autre Embleme touchant encore le grand Roy Fran\u00e7ois. IV. Piet\u00e9 memorable de Cleobis & de Biton. V. La vie & faits memorable de Fran\u00e7ois I. representez sous diverses histoires & fictions.\u201d<\/p>\n

\u201cTout le corps de cet edifice consiste en trois estages. Le premier par bas, qui contient les Bains, les Estuves, diverses Salles, & entre autres celle dite de la Conference. Le second est cette Gallerie de laquelle il est parl\u00e9 icy. Et le troisi\u00e9me, est le lieu o\u00f9 estoit autrefois la Librairie; tout lequel bastiment a est\u00e9 fait par le grand Roy Fran\u00e7ois. Il faut traitter premierement de cette Galerie, parce que c\u2019est une des pieces plus remarquables de ce Chasteau, pour dire quelque chose en suitte des deux autres estages.<\/p>\n

87\/ \u201cCette Gallerie porte le nom de Fran\u00e7ois I. ou parce qu\u2019il l\u2032a fait edifier & orner, ou bien d\u2019autant que l\u00e0 en plusieurs endroits paroit son portrait en relief \u00e0 demy corps sur la porte du petit Cabinet, & ailleurs; & que l\u00e0 encore par tout se voyent sa Devise & son Chiffre: & pour autres raisons que je toucheray \u00e0 la fin de ce Chapitre. L\u2019on l\u2019appelle aussi la petite Gallerie \u00e0 la distinction de la grande, qu\u2019il fit bastir le long\u00a0de la Cour du Cheval blanc.<\/p>\n

\u201cQuant \u00e0 celle-cy, elle tient d\u2019une part \u00e0 ladite Cour o\u00f9 est sa principale entr\u00e9e par le grand Escalier; & de l\u2019autre bout elle se termine au departement du Roy, laquelle a trente toises de long, & trois de large; & regarde d\u2019un cost\u00e9 au Midy sur la Cour de la Fontaine; & de l\u2019autre dans le Jardin de la Reyne au Septentrion. C\u2019est un des premiers ouvrages de Fran\u00e7ois I. principalement quant aux peintures qui s\u2019y voyent, lesquelles sont du sieur Rousse Peintre fort renomm\u00e9 de son temps.<\/p>\n

\u201cLes ornemens & enrichissemens de cette Gallerie, consistent en un beau & grand platfond dor\u00e9, compos\u00e9 de plusieurs compartimens, d\u2019un parterre fait \u00e0 parquets, & d\u2019un lambry orn\u00e9 de cartouches, o\u00f9 sont les armes de France & des Salamandres, avec des troph\u00e9es divers, des basses tailles, & ces mots Latins: Franciscus Francorum Rex<\/em>.<\/p>\n

\u201cI. La entre les tremeaux des fenestres, o\u00f9 posent les poutres & le platfond, sont quatorze Tableaux de huit pieds de haut, & dix-huit de large, y comprenant les bordures & ornemens, lesquels representent divers sujets d\u2019histoires, d\u2019emblemes, & de fictions po\u00ebtiques; & sont tous ces Tableaux enrichis de leurs bordures de stuc, avec diverses figures de relief & de basse taille, qui ornent merveilleusement ce lieu: & parce que comme j\u2019ay desia dit, ce sont sujets differens qui n\u2019ont point de suite, c\u2019est pourqouy j\u2019ay creu estre \u00e0 propos de commencer la description de ces Tableaux par celuy qui est \/88\/ le premier du cost\u00e9 de la Cour de la Fontaine, \u00e0 l\u2032entr\u00e9e qui vient du grand Escalier.<\/p>\n

\u201cII. En celuy-cy, qui est un Embleme, sont plusieurs hommes & femmes qui ont les yeux bandez, & dont quelques-uns se conduisent avec un baston comme des aveugles, & semblent aller vers un Temple, d l\u2032entr\u00e9e duquel est le grand Roy Fran\u00e7ois, ayant une couronne de laurier sur la teste, un livre sous un bras, & une \u00e9p\u00e9e en main, t\u00e9moignant vouloir ouvrir la porte de ce Temple pour y conduire, & faire entrer ces aveugles. O\u00f9 par c\u00e9t Embleme l\u2019on peut voir le soin qu\u2019a pris c\u00e9t illustre Monarque \u00e0 chaffer l\u2019aveuglement de l\u2019ignorance qui estoit de son temps, & donner entr\u00e9e au Temple des Muses pour cultiver les Sciences & les Arts.<\/p>\n

\u201cEt de vray c\u2019est luy qu\u2019\u00e0 bon droit plusieurs celebres Escrivains appellent le Pere & Restaurateur des Sciences & des bonnes Lettres, ayant expr\u00e9s fait venir en France de tous les endroits du monde, les plus s\u00e7avans hommes en toute forte d\u2019Arts & de Sciences qu\u2019il y eut pour lors, ausquels it donna des gages & de riches appointemens: dont nous font foy les Chaires Royales & publiques, qu\u2019il a fond\u00e9es l\u2019an 1530. en la celebre Universit\u00e9 de Paris, pour la Philosophie, pour la Medecine, pour les Mathematiques, & pour des Professeurs \u00e9s Langues saintes, Hebra\u00efque, Chalda\u00efque, & Arabique, & pour les Grecque & Latine.\u201d In the margin: \u201cProfesseurs Royaux fondez & instituez \u00e0 Paris 1530. Genebrar. in Chronolog.\u201d<\/p>\n

\u201cJ\u2019estois en volont\u00e9 de ne faire qu\u2019un description generale de toutes les bordures & enrichissemens de ces Tableaux, mais j\u2019ay est\u00e9 conseill\u00e9 de traitter de celles-cy en particulier, sur ce que elles sont toutes diverses, & accompagn\u00e9es de fort rares, & des plus beaux ornements qui se puissent voir; le tout de stuc & de relief: qui ont un grand rapport aux sujets contenus en ces Tableaux. Et quant \u00e0 celles du premier Tableau, elle est compos\u00e9e d\u2019une Salamandre d\u2019or, qui est au haut dans une petite architecture; au bas est un cuir, o\u00f9 est une basse taille accompagn\u00e9e de festons; & aux costez \/89\/ de cette bordure sont deux grandes figures de Satyres en relief avec des petits enfans: le tout sur un fond d\u2019or, o\u00f9 sont quelques autres figures de femmes, & d\u2019animaux.<\/p>\n

\u201cIII.\u00a0Au second Tableau est encore represent\u00e9 le mesme Roy arm\u00e9, & tout de bout au milieu d\u2019une Salle, tenant une grenade en main que luy presente un enfant \u00e0 genoux \u00e0 ses pieds; & est ce Prince accompagn\u00e9 de quantit\u00e9 de personnes, les uns vieillards, & comme des Senateurs, les autres representans des Capitaines & Soldats. Ce qui est pareillement un Embleme en suite du precedent, par lequel l\u2019on peut entendre que si tost que ce Roy fut \u00e9lev\u00e9 \u00e0 la Couronne, & eut pris le maniement des affaires de c\u00e9t Estat, son dessein ne fut pas seulement de chaffer l\u2019aveuglement de l\u2019ignorance de son Royaume, mais encore y establit un bon ordre & police, soit aux choses civiles, ou soit au gouvernement de la guerre: voulant signifier de plus par cette grenade, que tandis que tous ses sujets demeureroient bien unis ensemble, & avec sa Majest\u00e9, comme les grains de ce fruit, tout ce Royaume iroit fleurissant.<\/p>\n

\u201cSa bordure est comme la precedente, & toutes les autres qui suivent, avec leurs ornemens, posez sur un grand fond d\u2019or; o\u00f9 \u00e0 ses deux costez sont deux grandes ovales remplies de peintures, & orn\u00e9es de figures de relief, avec les testes de Lions qui soustiennent de grands festons, & une Salamandre d\u2019or qui est tout au dessus de la bordure, & quelques autres petits enrichissemens.<\/p>\n

\u201cIV. Dans le troisi\u00e9me Tableau qui suit les precedens, se voyent Cleobis, & Biton, deux freres, qui traisnent dans un chariot leur mere, vieille \u00e0 l’extremit\u00e9, allant sacrifier au Temple de Junon, pour cause d\u2019une grande mortalit\u00e9 qui estoit au pays; & en reconnoissance de la piet\u00e9 de ses deux enfans, elle prie la Deesse de leur donner la meilleure chose & plus souhaittable qui soit au monde; laquelle aussi tost leur envoya la mort.\u201d In the margin: \u201cPlutarque en la vie de Solon.\u201d<\/p>\n

90\/ \u201cLa bordure de ce Tableau est pos\u00e9e sur une grande ovale accompagn\u00e9e de deux chiens de relief, dans laquelle est une basse taille representant la piet\u00e9 Romaine; autrement cette Dame qui allaita de ses mamelles son pere detenu en prison, & condamn\u00e9 \u00e0 mourir de faim. Aux deux costez de la bordure sont deux grands ronds, & des figures en termes; le tout de relief avec les Chiffres, & la Devise du Roy.<\/p>\n

\u201cLa quatri\u00e9me Tableau figure Dana\u00e9 avec une pluye d\u2019or.<\/p>\n

\u201cSa bordure est une grande ovale, o\u00f9 \u00e0 chaque cost\u00e9 sont trois femmes en terme de relief, qui soustiennent un grand pannier de fruits, & autour sont des enfans peints sur un fond d\u2019or, qui tiennent des livres, & des instrumens de Musique, dont ils semblent composer un concert harmonieux.<\/p>\n

\u201cSe void au cinqui\u00e9me Tableau Adonis mourant, assist\u00e9 des Graces, de petits Amours, & de Venus qui paroit au dessus dans son chariot tir\u00e9 par deux colombes, laquelle semble desesper\u00e9e, se tirant les cheveux, & fondant en larmes de regret de cette morte.<\/p>\n

\u201cEn la bordure de ce Tableau sont deux quadres de part & d\u2019autre, avec quatre enfans de relief; & au dessus sont des figures grandes comme le naturel peintes sur un fond d\u2019or; & plus bas des enfans avec plusieurs chariots en basse taille, representans les jeux Olympiques.<\/p>\n

\u201cPour ce qui est du sixi\u00e9me Tableau, l\u2019on le prend ordinairement pour la Fontaine de Juvance, parce que l\u00e0 sont peints divers vieillards d\u2019un aage decrepit\u00e9, hommes & femmes, se conduisans avec des b\u00e2tons, & d\u2019autres qui s\u2019estans plongez dans cette Fontaine, reprennent nouvelles forces, & semblent recouvrer la grace & l’embonpoint de leur premiere jeunesse. O\u00f9 par le serpent qui s\u2019esleve de cette Fontaine, peut bien estre represent\u00e9 Esculape Dieu de la Medecine, que les Anciens ont assez souvent figur\u00e9 par un serpent.<\/p>\n

91\/ \u201cLe bordure de ce Tableau est soustenu\u00eb de deux chiens, avec deux grands ronds ornez de festons & de masques, & soustenus par deux enfans; le tout de relief, & divers petits enfans au dessus sur un fond d\u2019or.<\/p>\n

\u201cLe septi\u00e9me represente le combat entre les Lapithes & les Centaures, quand ceux-cy \u00e9pris de vin au banquet & nopces de Pirythous avec Hipodame, ils voulurent ravir & forcer cette Dame.<\/p>\n

\u201cLes enrichissemens de la bordure de ce Tableau sont tels: il y a deux enfans au dessus, qui tiennent dans un linge une Salamandre d\u2019or: au bas est une cartouche avec des masques, & aux deux costez sont deux termes, qui portent la Devise & le Chiffre du Roy Fran\u00e7ois: & sont ces termes soustenus par deux enfans aislez, avec divers autres enrichissemens.<\/p>\n

\u201cLe huiti\u00e9me ensuivant commence du cost\u00e9 du Jardin de la Reyne, c\u2019est une Venus chastiant l\u2019Amour d\u2019avoir abandonn\u00e9 Psich\u00e9.<\/p>\n

\u201cSa bordure est orn\u00e9e comme les autres; au bas est un quadre d\u2019un pied de diametre, dans lequel ce Chasteau de Fontainebleau se void d\u00e9peint en petit. Aux deux costez de cette bordure sont deux fort grandes figures de bosse, d\u2019homme & de femme assises, qui soustiennent deux cuirs o\u00f9 sont divers ornemens, accompagnez de quatre enfans: & sous ces deux grandes figures sont deux cartouches, o\u00f9 se voyent peints deux combats; l\u2019un par terre, & l\u2019autre par mer; & tout au dessus est une Salamandre, & quelques petits masques peints \u00e0 fonds d\u2019or.<\/p>\n

\u201cLa neufi\u00e9me Tableau est Chiron le Centaure qui instruit Achille en divers exercises, comme \u00e0 tirer & faire des armes, \u00e0 courre & rompre au faquin, & \u00e0 nager.<\/p>\n

\u201cAux deux costez de la bordure sont peints deux figures d\u2019hommes grands comme nature, lesquels sont attachez \u00e0 deux arbres. L\u00e0 sont aussi de petits enfans, & diversit\u00e9 de crotesques.<\/p>\n

\u201cLe dixi\u00e9me represente un naufrage dans une nuit \/92\/ sombre, o\u00f9 sont diverses personnes en action de desesper\u00e9es; & est ce Tableau fort estim\u00e9 entre les autres.<\/p>\n

\u201cSa bordure est enrichie de part & d\u2019autre de niches, accompagn\u00e9es de quatre petits enfans aislez de relief, & d\u2019autres peints \u00e0 fond d\u2019or, avec une Salamandre dans une cartouche: en l\u2019amortissement & tout au bas est un Neptune & une Naiade.<\/p>\n

\u201cAu milieu de cette Gallerie est un petit Cabinet de mesme cost\u00e9 du Jardin, o\u00f9 est un Tableau, qui fait l\u2019onzi\u00e9me, dans lequel se void la fable de Semelle brusl\u00e9e du feu de Jupiter, pour l\u2019avoir voulu voir en l\u2032\u00e9clat de sa Majest\u00e9 celeste.<\/p>\n

\u201cLa bordure de ce tableau est en ovale, au bas sont des figures de femmes couch\u00e9es, accompagn\u00e9es de petits enfans; & tout au haut de cette bordure il y en a d\u2019autres tenans un F couronn\u00e9e, le tout de relief.<\/p>\n

\u201cEn ce mesme Cabinet est une chemin\u00e9e fort enrichie de figures, les unes de relief, les autres en basse taille, avec diverses moresques & crotesques.<\/p>\n

\u201cEt tout au dessus de l\u2032entr\u00e9e de ce Cabinet est un grand buste de relief, representant le portrait \u00e0 demy corps du grand Roy Fran\u00e7ois port\u00e9 par diverses testes de Cherubins; & aux costez il y a deux Anges qui tiennent chacun la Devise de ce Prince. Outre que de part & d\u2019autre sont deux grandes figures peintes sur un fond d\u2019or, l\u2019une representant la Victoire, & l\u2019autre la Renomm\u00e9e, avec pareils embeliissemens.<\/p>\n

\u201cAu douzi\u00e9me Tableau suivant, est figur\u00e9 la ruine & embrasement de Troye la grande, o\u00f9 paroit En\u00e9e portant son pere Anchise sur ses \u00e9paules, & un autre sa mere, avec le petit Ascagne qui emporte un chien, & d\u2019autres enfans chargez de petites bagatelles pueriles, qu\u2019ils taschent de sauver de c\u00e9t incendie.<\/p>\n

\u201cAux deux costez de la bordure sont deux niches remplies de deux grandes figures, avec deux termes de part & d\u2019autre; o\u00f9 au dessus de chacune niche sont quatre enfans posez sur des festons, dont les uns tiennent une \/93\/ cartouche o\u00f9 est une Salamandre d\u2019or avec des F F couronn\u00e9es; & tout au dessus de la bordure est une autre cartouche appuy\u00e9e de deux grands masques de relief, & l\u00e0 est d\u00e9peint une ruine de bastiment.<\/p>\n

\u201cSe void au triezi\u00e9me Tableau comme un triomphe represent\u00e9 par un Elephant avec une Cicogne \u00e0 ses pieds: ce que plusieurs estiment estre un Embleme, representant quelques victoires de Fran\u00e7ois I.<\/p>\n

\u201cLes ornamens de la bordure de ce Tableau consistent en deux grandes figures peintes \u00e0 fond d\u2019or de chaque cost\u00e9, l\u2019une representant le ravissement d\u2019Europe par Jupiter sous la figure d\u2019un Taureau, & l\u2019autre un Neptune sous la forme d\u2019un cheval marin qui enleve Amphitrite; il y a au dessus deux figures de relief, qui tiennent d\u2019une main des festons o\u00f9 sont attachez les Chiffres du Roy: & entre ces figures est une Salamandre avec quelques autres embellissemens.<\/p>\n

\u201cDans le quatorzi\u00e9me & dernier Tableau se void l\u2019appareil d\u2019un celebre Sacrifice, dont la bordure est enrichie de part & d\u2019autre de grandes figures de relief pos\u00e9es entre deux colomnes, qui forment encore une maniere de Sacrifice, l\u2019un d\u2019un taureau, & l\u2019autre d\u2019un mouton: o\u00f9 au dessous sont des enfans qui tiennent des cornets, dont ils sonnent une danse de Nimphes qui paroissent plus bas: & tout au dessus est une Salamandre dans une cartouche.<\/p>\n

\u201cV. Il y a de l\u2019apparence, & c\u2019est l\u2019opinion de plusieurs, que le sieur Rousse qui a destin\u00e9 & ordonn\u00e9 tous les Tableaux & ornemens de cette Gallerie; comme il estoit non seulement s\u00e7avant & intelligent en l\u2019Art de Peinture, mais aussi bien vers\u00e9 \u00e9s Sciences humaines, a voulu representer par les diverses histoires, & sujets de ces Tableaux, les actions principales de la vie du grand Roy Fran\u00e7ois, telle qu\u2019estoit son inclination aux Sciences & aux Arts, sa piet\u00e9, son courage, son adresse, ses amours, ses victoires; notamment la bataille de Cerisoles exprim\u00e9e par le combat des Lapithes. Com \/34\/ me aussi l\u2019on croit estre represent\u00e9es ses disgraces par ce Tableau o\u00f9 est figur\u00e9 un naufrage; & le tout bien \u00e0 propos & par modestie, figur\u00e9 par emblemes, & sous ces fictions des anciens Po\u00ebtes.\u201d<\/p>\n

Godefroy, 1664, f.243-244, on the Enlightenment of Francis I<\/em>, as indicating the institution of royal professors at the University of Paris by Francis I.<\/p>\n

Guilbert, 1731, I, 38, stated that the Cour de la Fontaine, the north side of which is the building that contains the Gallery of Francis I, was built by Francis I in 1529 on land acquired from the Mathurins; 41, stated that the terrace of cut stone carried on seven vaults on the north side of the court that was built by Henri IV in 1594 \u201cen place d\u2019un pont de bois que Fran\u00e7ois I. y avoit fait \u00e9lever;\u201d 78-101, on the \u201cGalerie de Fran\u00e7ois I. dite des Reformez.\u201d (some notes omitted):<\/p>\n

78\/ \u201cCette Galerie scitu\u00e9e entre la cour de la Fontaine & le jardin de l\u2019Orangerie sur lesquelles elle a ses v\u00fb\u00ebs, est connu\u00eb depuis sa fondation sous le nom de Galerie de Fran\u00e7ois I. parce qu\u2019elle est la premiere que ce Roy ait fait b\u00e2tir, (ce fut en mil cinq cent trente) comme le font voir son Portrait, Chiffre & Devise que l\u2019on voit en plusieurs endroits; & non comme l\u2019ont voulu quelques-uns, parce que les peintures de cette Galerie sont uniquement destin\u00e9es \u00e0 representer les principales actions de ce Monarque; puisqu\u2019except\u00e9 les deux premiers Tableaux \u00e0 droite & \u00e0 gauche, & tout au plus quelques bas reliefs qui y ont rapport; tous les autres sont de sujets d\u00e9tach\u00e9s & bien \u00e9loign\u00e9s de pouvoir servir de parfaites embl\u00eames.<\/p>\n

\u201cQuelques Officiers que Louis le Grand r\u00e9forma dans cette Galerie l\u2032an mil six cent soixante-quatre, apr\u00e8s la paix des Piren\u00e9es, & dont il composa une Compagnie pour Monseigneur le Dauphin, peuvent avoir donn\u00e9 \u00e0 cette Galerie le nom des \/75\/ R\u00e9form\u00e9es, sous lequel elle est plus connu\u00eb aujourd\u2019hui, quoiqu\u2019elle ne soit ainsi nomm\u00e9e nulle part avant ce temps, & qu\u2019il paroisse au contraire qu\u2019elle \u00e9toit quelquefois appell\u00e9e petite Galerie, pour la distinguer de la grande qui est dans le cour du Chaval blanc, laquelle a, comme celle-ci, son entr\u00e9e par l\u2032Escalier du fer \u00e0 cheval, & n\u2019est differente qu\u2019en grandeur, celle des R\u00e9form\u00e9s n\u2019ayant que trente toises de long sur trois de large.<\/p>\n

\u201cUn Plafond de bois de noyer \u00e0 plusieurs compartimens, de pieces rapport\u00e9es en Mosa\u00efque, d\u2019une rare beaut\u00e9, & tr\u00e8s-bien dor\u00e9 sur les moulures, r\u00e9pond \u00e0 un Lambris aussi de noyer charg\u00e9 de Salamandres [Most of the notes have been deleted from this transcription, but note 2 is given here. La Salamandre est une espece de grand L\u00e9zard de couleur noir, tach\u00e9 de jaune, qui selon les Naturalistes, na\u00eet dans l\u2032eau, & qui lorsqu\u2019il en sort, reste au milieu du feu & l\u2019\u00e9teint; d\u2019au \/80\/ tres pr\u00e9tendent m\u00eame qu\u2019il s\u2019en nourrit. Fran\u00e7ois I. l\u2019avoit choisi pour sa Devise avec ces mots: Nutrisco & extinguo<\/em>: Je m\u2019y nourris & je l\u2032\u00e9teins; qui peut signifier qu\u2019il a \u00e9t\u00e9 ferme & constant dans l\u2019adversit\u00e9, & que son courage est enfin rest\u00e9 victorieux.] au milieu de flammes, d\u2019Armes de \/80\/ France, de Troph\u00e9s & des Chiffres de Fran\u00e7ois I. en relief sur des cartouches de noyer, avec ces mots, Franciscus Francorum Rex<\/em>, qui orne & d\u00e9core cette Galerie, tr\u00e8s-estim\u00e9es des Connoisseurs par la grande quantit\u00e9 de tr\u00e8s-beaux & parfaits reliefs, sculptures, basses tailles, masques & figures d\u2019id\u00e9es sagement m\u00e9nag\u00e9es par Paul Ponce dans l\u2032entre-suite de nombre de Tableaux & M\u00e9daillons peints \u00e0 fraisque par Rous, ou \u00e9xecut\u00e9s sur \/81\/ ses desseins, par Samson, Michel, Louis Dubre\u00fcil & autres ses \u00e9leves, & que le Primatice charg\u00e9 du soin de cette Gale \/82\/ rie apr\u00e8s la mort de Rous, continua & enrichit de bordures de stuc & de divers autres agr\u00e9mens qui pussent faire oublier un \u00e9mule dont il crut ne pouvoir mieux se venger qu\u2019en d\u00e9truisant quelques-uns de ses Tableaux & autres ornemens, dont la perte laissa entrevoir une animosit\u00e9 secrete, mais incapable de diminuer le m\u00e9rite de Rous, qui trop manier\u00e9 dans ses attitudes, a cependant laiss\u00e9 dans ses ouvrages l\u2019id\u00e9e d\u2019un g\u00e9nie vif, & capable de r\u00e9\u00fcnir l\u2019art & le pinceau dans des beaut\u00e9s brusques, o\u00f9 il faut saisir le moment heureux, sans aucune esperance de retour. L\u2019examen en d\u00e9cidera.<\/p>\n

\u201cUne partie des peintures de cette Galerie a \u00e9t\u00e9 grav\u00e9e par differens Ma\u00eetres.<\/p>\n

\u201cLe premier, \u00e0 droite en entrant par l\u2019Escalier du fer \u00e0 cheval, represente plusieurs hommes & femmes les yeux band\u00e9s, dont quelques-uns sont endormis; d\u2019autres paroissent dans une molle indolence, & d\u2019autres ont des b\u00e2tons, & vont comme en cherchant vers un Temple, o\u00f9 on lit Ostium Jovis<\/em>, que Fran\u00e7ois I. une cou \/83\/ ronne de laurier sur la t\u00eate, un Livre sous les bras & une \u00e9p\u00e9e \u00e0 la main, vent leur faire ouvrir.<\/p>\n

\u201cCe Tableau connu sous le nom d\u2019ignorance chass\u00e9e, est un monument de la protection que ce Roy accorda aux S\u00e7avans, lorsqu\u2019il fit venir de toutes les parties du monde les plus habiles hommes en toutes sortes de sciences, leur accorda des pensions & privileges, \u00e9tablit & fonda le College & l’Imprimerie Royale \u00e0 Paris l\u2019an mil cinq cent trente, & chassa ainsi l\u2019ignorance qui \u00e9toit alors dans un si grand cr\u00e9dit, que Rh\u00e9nanus dans son Ep\u00eetre D\u00e9dicatoire des oeuvres d\u2019Erasme \u00e0 Charles-Quint, assure qu\u2019on auroit \u00e0 peine trouv\u00e9 en Allemagne & en France deux personnes qui eussent parl\u00e9s latin, & qu\u2019on n\u2019en e\u00fbt pas trouv\u00e9 un seul qui s\u00e7\u00fbt lire le grec. Ce qu\u2019Erasme confirme, lorsqu\u2019il dit qu\u2019un Seigneur n\u2019auroir pas donn\u00e9 une obole pour faire instruire ses enfans, & que le proverbe \u00e9toit, l\u2019occupation d\u2019un Gentilhomme est de ne rien faire<\/em>.<\/p>\n

\u201cEn effet Fran\u00e7ois I. ayant v\u00fb un prononc\u00e9 d\u2019Arr\u00eat o\u00f9 l\u2019on s\u2019\u00e9toit servi de ce pr\u00e9tendu latin debotavit & debotat<\/em>, pour dire a d\u00e9bout\u00e9 & d\u00e9boute, termes usit\u00e9s dans le Barreau, ordonna que tous les Actes qui jusqu\u2019alors avoient \u00e9t\u00e9 en latin \/84\/ seroient \u00e0 l\u2019avenir en Fran\u00e7ois.<\/p>\n

\u201cToutes les bordures, ornemens & Salamandres qui sont au-dessus de ces Tableaux, sont en relief & stuc sur des fonds d\u2019or orn\u00e9s de divers oiseaux & autres peintures que l\u2019on peut \u00e0 peine distinguer.<\/p>\n

\u201cAu c\u00f4t\u00e9 de ce Tableau sont deux grands Satyres avec quelques petits enfans, & des t\u00eates de femme de relief, qui paroissent representer les suites de l\u2019ignorance.<\/p>\n

\u201cAu deuxi\u00e9me Tableau Fran\u00e7ois I. accompagn\u00e9 de Senateurs, Officiers, Soldats & autres Peuples est debout & arm\u00e9, ayant en main une pomme de grenade (symbole de l\u2019union) qu\u2019un enfant qui est \u00e0 genoux \u00e0 ses pieds, vient de lui pr\u00e9senter.<\/p>\n

\u201cCe qui represente le soin que ce Roy prit d\u2019entretenir l\u2019union dans tous les Corps du Royaume, leur faisant comprendre que s\u2019ils \u00e9toient unis ensemble & attach\u00e9s \u00e0 leur Roy, l\u2032Etat n\u2019avoit point besoin d\u2019autres forteresses.<\/p>\n

\u201cAux c\u00f4t\u00e9s sont deux Tableaux ovales, & un quarr\u00e9 au-dessous, trop effac\u00e9s pour pouvoir en d\u00e9couvrir les sujets.<\/p>\n

\u201cDans le troisi\u00e9me on voit Cleobis & \/85\/ Bithon deux freres, qui dans le tems d\u2019une grande mortalit\u00e9, leurs boeufs \u00e9tant morts, conduisirent sur un chariot leur mere extr\u00eamement vieille, qui alloit sacrificer \u00e0 un Temple de Junon dont elle \u00e9toit Pr\u00e9tresse. Ciceron 3. Tuscul<\/em>.<\/p>\n

\u201cOn voit dans les differens coins de ce Tableau des boeufs, moutons, & autres animaux morts de la peste.<\/p>\n

\u201cAux c\u00f4t\u00e9s sont en bas relief \u00e0 gauche Junon qui s\u2019enleve sur son char, apr\u00e8s avoir frapp\u00e9 de mort Cleobis & Bithon, pour qui leur mere avoit demand\u00e9 par reconnoissance la meilleure chose & la plus souhaitable qui f\u00fbt au monde.<\/p>\n

\u201cA droite est represent\u00e9 une peste.<\/p>\n

\u201cJunon D\u00e9esse des richesses & des Royaumes \u00e9toit fille de Saturne & d\u2019Opis soeur & \u00e9pouse de Jupiter, qui se m\u00e9tamorphosa en coucou pour en jo\u00fcir, & qui fut \u00e0 peine son \u00e9poux que la jalousie de cette D\u00e9esse l\u2019obligea de faire divorce. Raison peu suffisante pour l\u2019invoquer, comme on faisoit, dans les mariages & les accouchemens.<\/p>\n

\u201cDans un bas relief sous le Tableau, est represent\u00e9 la piet\u00e9 Romaine ou l\u2032Histoire de cette femme qui alloit dans la prison nourrir de son propre lait son pere condamn\u00e9 \u00e0 mourir de faim. Ce qui ayant \u00e9t\u00e9 d\u00e9 \/86\/ couvert, le pere fut mis en libert\u00e9, la fille obtint une pension de la R\u00e9publique, & la prison fut chang\u00e9e en un Temple consacr\u00e9 \u00e0 la Piet\u00e9. Quelques Auteurs ont cr\u00fb qu\u2019elle \u00e9toit fille, & que les Dieux lui avoient par miracle donn\u00e9 du lait. Exemple de respect & de piet\u00e9 trop rare de nos jours, & qui pour \u00eatre moins \u00e0 la mode, doit cependant apprendre aux enfans que c\u2019est aux Dieux qu\u2019ils pr\u00eatent quand ils s\u2019acquittent de ce qu\u2019ils doivent \u00e0 leurs Peres. Vater. Max. lib. 5. chap. 4. num. 7. Plin. hist. nat. lib. 7. cap. 36.<\/em><\/p>\n

\u201cAu quatri\u00e9me, Jupiter m\u00e9tamorphos\u00e9 en pluye d\u2019or visite Dana\u00e9 enferm\u00e9e dans une tour d\u2019airain, o\u00f9 son P\u00e8re Acrise la croyoit en suret\u00e9. On croit que ce Tableau est de Saint Martin.<\/p>\n

\u201cAcrise Roy d\u2019Argos ayant appris qu\u2019il p\u00e9riroit de la main d\u2019un enfant qui na\u00eetroit de Dana\u00e9, crut la priver de toute fr\u00e9quentation en l’enfermant dans cette tour, qui n\u2019emp\u00eacha pas que Pers\u00e9e ne lui d\u00fbt sa naissance. Acrise les fit jetter tous deux dans la mer; mais des Mariniers qui les rep\u00eacherent en ayant pris soin, Pers\u00e9e tua Acrise sans le reconno\u00eetre. Quelques-uns ont cr\u00fb que ce Tableau \u00e9toit l\u2019embl\u00eame des liaisons de Fran\u00e7ois I. avec la Duchesse d\u2019Estampes; mais sans entrer dans ce d\u00e9tail, \/87\/ on peut assurer que c\u2019est une vive image de la puissance de l\u2019or sur le coeur humain.<\/p>\n

\u201cQuid non mortalia pectora cogis Auri sacra fames?<\/em> Eneid. liv. 3. vers 56.<\/p>\n

\u201cAux c\u00f4t\u00e9s sont trois femmes Termes de relief, qui so\u00fbtiennent des corbeilles de fruits, & sur le fond d\u2019or des enfans qui font un concert.<\/p>\n

\u201cDeux M\u00e9daillons en \u00e9mail representent au-dessus \u00e0 droite, Apollon, & \u00e0 gauche Diane sur leurs chars.<\/p>\n

\u201cApollon & Diane \u00e9toient gemeaux, & enfans de Jupiter & de Latone. Apollon \u00e9toit Dieu du Parnasse & des Muses, & Diane D\u00e9esse de la chasse & des for\u00eats.<\/p>\n

\u201cLe cinqui\u00e9me represente Venus sur son char, qui fond en larmes & s\u2019arrache les cheveux \u00e0 la v\u00fb\u00eb d\u2019Adonis mourant entre les mains des Graces & des Amours. Pr\u00e8s d\u2019elle est le petit Cupidon qui paro\u00eet touch\u00e9, & a les mains jointes.<\/p>\n

88\/\u201cAdonis \u00e9tant \u00e0 la chasse, per\u00e7a d\u2019une fl\u00e9che un sanglier qui revint sur lui & le tua. Venus touch\u00e9e de sa mort, le changea en une fleur nomm\u00e9e Anemone.<\/p>\n

\u201cDes enfans so\u00fbtiennent \u00e0 droite le triomphe de Venus; \u00e0 gauche les effets de l\u2019amour.<\/p>\n

\u201cDans un bas relief au-dessous, sont repr\u00e9sent\u00e9es des courses de chariots, ou Jeux Olympiques institu\u00e9s par Hercule en l\u2032honneur de Jupiter. Ces Jeux se celebroient tous les quatre ans, & duroient cinq jours. Celui qui avoit remport\u00e9 le prix \u00e9toit couronn\u00e9 d\u2019olivier, & rentroit dans la Ville sur un char de triomphe.<\/p>\n

\u201cOn croit que le sixi\u00e9me represente la Fontaine de Jouvence, parce, dit-on, que l\u2019on voit d\u2019un c\u00f4t\u00e9 des vieillards hommes & femmes qui se conduisent avec des b\u00e2tons, & de l\u2019autre des gens qui paroissent avoit repris leur premiere jeunesse, & de nouvelles forces.<\/p>\n

\u201cD\u2019autres au contraire pr\u00e9tendent que c\u2019est l\u2019arriv\u00e9e d\u2019Esculape \u00e0 Rome, ce qui est repr\u00e9sent\u00e9 par le serpent, figure qu\u2019il prit, dit la Fable, lorsqu\u2019il quitta Epidaure. [1. Rome \u00e9tant afflig\u00e9e de la peste, l\u2019Oracle r\u00e9pondit qu\u2019elle ne cesseroit que lorsque le fils \/89\/ d\u2019Apollon y demeureroit. Aussi-t\u00f4t on d\u00e9puta \u00e0 Epidaure demeure ordinaire de ce Dieu, qui apr\u00e8s les c\u00e9r\u00e9monies n\u00e9cessaires, partit sous la figure d\u2019un serpent, & vint \u00e0 Rome; la peste cessa, & on lui b\u00e2tit un Temple pr\u00e8s le Mont Esquilin.]<\/p>\n

89\/ \u201cDans les loingtains de ce Tableau on voit d\u2019un c\u00f4t\u00e9 un grand Pr\u00eatre accompagn\u00e9 de gens de tous \u00e2ges qui offrent un sacrifice, & Mercure qui pr\u00e9cede le char d\u2019Apollon, & semble leur annoncer que leurs voeux sont exauc\u00e9s. D\u2019un autre c\u00f4t\u00e9 on voit differens sacrifices qui ne paroissent avoir de rapport avec la Fontaine de Jouvence, qu\u2019autant que l\u2019on voudra croire que ce sont les vieillards qui font des voeux \u00e0 la Divinit\u00e9 de cette Fontaine, & les vieillards rajeunis qui rendent graces.<\/p>\n

\u201cMais dans la difficult\u00e9 de se d\u00e9terminer pour l\u2019un ou pour l\u2032autre des ces sentimens, il faut consulter Ovide qui semble d\u00e9cider en faveur du second, lorsqu\u2019il dit que les Epidauriens se h\u00e2toient de faire des voeux & des sacrifices \u00e0 ce Dieu avant son d\u00e9part, que tout le Peuple Romain, le Senat, les Dames & les Vestals m\u00eame, se trouverent \u00e0 son arriv\u00e9e sur le bard du Tibre, qu\u2019on y br\u00fbla une quantit\u00e9 considerable d\u2019encens, & que d\u2019espace en espace on avoit dress\u00e9 des autels o\u00f9 l\u2019on immoloit des victimes lorsque ce Dieu passoit. La difficult\u00e9 sera \/90\/ alors de d\u00e9cider ce que ce pouroit \u00eatre que ce Dragon a\u00eel\u00e9 qui semble caresser, ou donner \u00e0 boire \u00e0 une femme qui est sur un \u00e2ne ou chameau & il paro\u00eet qu\u2019il faudra se d\u00e9terminer \u00e0 dire que le Peintre a confondu quelque chose des deux Histoires, puisque les cadres de stuc qui sont aux c\u00f4t\u00e9s de ce Tableau, representent \u00e0 droite l\u2019\u00e2ge viril ou la force de l\u2032\u00e2ge, & \u00e0 gauche <\/strong>la d\u00e9cadence de l\u2032\u00e2ge ou la vieillesse, ce qui paro\u00eet avoir rapport \u00e0 la Fontaine de Jouvance.<\/p>\n

\u201cLe septi\u00e9me represente le combat des Lapites contre les Centaures, qui \u00e9tant pris de vin, voulurent enlever Hippodame femme de Piritho\u00fcs, pendant le festin des n\u00f4ces o\u00f9 ils avoient \u00e9t\u00e9 invit\u00e9s.<\/p>\n

\u201cEt ebrietas geminat\u00e2 libidine regnat. Protinus eversae turbant convivia mensae, Raptaturque comis per vim nova nupta prebensis<\/em>. Ovid. Met. liv. 12. vers 811.<\/p>\n

\u201cLes Centaures peuples de Thessalie, dompterent les premiers de chevaux, & s\u2019en servirent \u00e0 la guerre. Leurs ennemis effray\u00e9s de cette nouveaut\u00e9, cr\u00fbrent qu\u2019ils etoient moiti\u00e9 hommes & moiti\u00e9 chevaux.<\/p>\n

\u201cOn a pr\u00e9tendu que ce Tableau \u00e9toit un embl\u00eame de la Bataille de Cerisolles; mais Rous de qui est ce Tableau \u00e9tant mort en mil cinq cent quarante-un, & cette fameu \/91\/ se action s\u2019\u00e9tant pass\u00e9 en mil cinq cent quarante-quatre, it faudra croire, si l\u2019on veut que ce soit un embl\u00eame; qu\u2019elle a rapport \u00e0 la c\u00e9lebre Bataille de Marignan, o\u00f9 Fran\u00e7ois I. coucha les armes \u00e0 la main, sur l\u2019aff\u00fbt d\u2019un canon, & fut oblig\u00e9 dans une soif extr\u00eame de boire un peu d\u2019eau m\u00eal\u00e9e de bourbe & de sang, qu\u2019un Soldat lui pr\u00e9senta dans un casque.<\/p>\n

\u201cDes enfans a\u00eel\u00e9s so\u00fbtiennent aux c\u00f4t\u00e9s des Termes qui portent la Devise & le Chiffre de ce Roy.<\/p>\n

\u201cAu-dessous du Tableau on voit en relief les effets du vin & de la colere.<\/p>\n

\u201cAu bout de la Galerie pr\u00e8s la porte de la Terrasse, & celle de la Chambre de Saint Louis, on voit un Tableau ovale d\u2019environ sept pieds, representant sur toile Zephyre & Flore, par Boulogne le jeune\u2026<\/p>\n

92\/ \u201cLe huiti\u00e9me Tableau, en retournant du c\u00f4t\u00e9\u2019 du jardin, est Venus, qui ch\u00e2tie l\u2019Amour, pour avoir abandonn\u00e9 Psich\u00e9e.<\/p>\n

\u201cPsich\u00e9e jeune Princesse fut si belle, que Cupidon en devint amoureux, & la fit transporter par le vent Zephire dans un lieu de d\u00e9lices, o\u00f9 elle demeura long-tems avec ce Dieu sans le conno\u00eetre; & qui s\u2019\u00e9tant enfin d\u00e9couvert apr\u00e8s bien des sollicitations, disparu.<\/p>\n

\u201cAux cot\u00e9s deux figures Gigantesques d\u2019hommes & femmes, accompagn\u00e9es d\u2019enfans de relief, so\u00fbtiennent des cuirs charg\u00e9s d\u2019ornemens, & ont sous eux dans des cartouches de relief \u00e0 gauche, la represen \/93\/ tation d\u2019un Combat Naval, \u00e0 droite une Bataille en pleine campagne.<\/p>\n

\u201cAu milieu de ces cartouches est peint dans un petit cadre l\u2032ancien plan de Fontainebleau du c\u00f4t\u00e9 de la cour de la Fontaine.<\/p>\n

\u201cDans le neufvi\u00e9me, le Centaure Chiron charg\u00e9 de l\u2032education d\u2019Achille, lui apprend \u00e0 dompter un cheval, \u00e0 se servir d\u2019armes, \u00e0 n\u00e2ger, & autres exercises.<\/p>\n

\u201cChiron fils de Saturne \u00e9toit estim\u00e9 le plus habile, le plus juste & le plus \u00e9quitable de son tems; ce qui fit qu\u2019on lui confia l\u2032education d\u2019Achille.<\/p>\n

\u201cOn dit qu\u2019il enseigna la Medecine \u00e0 Esculape, & l\u2019Astronomie \u00e0 Hercule, dont une des fleches qui lui \u00e9toit tomb\u00e9e sur le pied, lui causa tant de douleurs, qu\u2019il demanda la mort aux Dieux, qui le placerent dans le Ciel, & en firent un des douze signes du Zodiaque nomm\u00e9 le Sagittaire.<\/p>\n

\u201cAux c\u00f4t\u00e9s sont des figures d\u2019id\u00e9es peintes sur le fond d\u2019or.<\/p>\n

\u201cAu-dessous est une basse taille repr\u00e9sentant un aresne, o\u00f9 des hommes combatent des animaux.<\/p>\n

\u201cIl seroit difficile d\u2019ajo\u00fbter aux \u00e9loges des plus habiles connoisseurs, en d\u00e9crivant les beautes du dixi\u00e9me Tableau.<\/p>\n

\u201cLes proportions, les couleurs, la force \/94\/ de l\u2019imagination & la hardiesse de l\u2019execution lui ont merit\u00e9 depuis long-tems le titre de chef-d\u2019ouvre; tout \u00e9tant grand & naturel dans les passions les plus violentes, & les mouvemens les plus surnaturels.<\/p>\n

\u201cDes hommes surpris par une horrible temp\u00eate dans un nuit des plus noires, luttent en desesper\u00e9s contre les horreurs de la mort, & font tous leurs efforts pour se d\u00e9rober aux foudres du Ciel, & s\u2019arracher aux gouffres de la Mer qui les contraint, apr\u00e8s beaucoup de peine, de venir enfin se briser contre un funeste rocher. Ici paroissent des d\u00e9bris de m\u00e2ts & des agrez de Vaisseaux. L\u00e0 des miserables veulent escalader le Rocher, quelques-uns esperans en vain du secours, saisissent leurs camarades, & d\u2019autres enfin qui p\u00e9rissent dans le d\u00e9sespoir, semblent h\u00e2ter mutuellement leur dernier instant, & s\u2019\u00e9crier avec Properce.<\/p>\n

\u201cAh pereat quicumque rates & vela paravit Primus, & invento gurgite fecit iter.<\/em><\/p>\n

\u201cOn a pr\u00e9tendu que ce Tableau \u00e9toit uniquement l\u2032embl\u00eame des disgraces de la France \u00e0 la journ\u00e9e de Pavie, o\u00f9 Fran\u00e7ois I. fut fait prisonnier de l\u2032Empereur Charles-Quint; mais on ne se persuadera pas facilement qu\u2019un se fit un plaisir alors plus qu\u2019\u00e0 present, d\u2019exposer aux yeux des \/95\/ Princes le souvenir de leur plus cruelles disgraces. Et l\u2019on s\u2019en tiendra volontiers au naufrage d\u2019Ajax, dont l\u2019Histoire paro\u00eet naturellement represent\u00e9e.<\/p>\n

\u201cAjax fils d\u2019Ooil\u00e9e Roy de Locre alla au siege de Troye avec une flotte de quatre cent vaisseaux. La Ville \u00e9tant prise, Ajax viola Cassandre fille de Priam dans le Temple de Pallas dont elle \u00e9toit Pr\u00eatresse. La Deesse irrit\u00e9e differa la punition de ce sacrilege jusqu\u2019\u00e0 ce que sa flotte f\u00fbt en Mer. Second\u00e9e alors par Neptune, elle suscita une furieuse temp\u00eate, \u00e9crasa ce profanateur d\u2019un coup de foudre, br\u00fbla une partie de l\u2032Equipage, fit perir l\u2019autre contre un Rocher, & laissa \u00e0 peine \u00e9chaper quelques-uns qui pussent rendre compte de la colere des Dieux irrit\u00e9s contre les profanateurs de leurs Temples.<\/p>\n

\u201cLe souvenir de la triste journ\u00e9e de Pavie rappelle un trait d\u2019Histoire, qui pour \u00eatre cit\u00e9 par peu d\u2019Historiens, merite cependant de trouver ici sa place.<\/p>\n

\u201cFrancois I. ayant \u00e9t\u00e9 bless\u00e9 & pris \u00e0 la Bataille de Pavie, un Soldat Espagnol vint \u00e0 lui pendant qu\u2019on le pan\u00e7oit, & lui dit, Sire: Ayant s\u00e7\u00fb hier qu\u2019il y auroit une Bataille, je fondis expr\u00e8s une bale d\u2019or que je destinois pour Votre Majest\u00e9, si je pouvois la rencontrer, & six autres d\u2019ar \/96\/ gent pour les principaux Seigneurs de votre Arm\u00e9e. J\u2019ai employ\u00e9 les six d\u2019argent, la v\u00f4tre seule m\u2019est rest\u00e9e faute d\u2019occasion: je vous supplie tr\u00e8s-instament, Sire, puisqu\u2019elle n\u2019a pas servi \u00e0 ce que je m\u2019\u00e9tois propos\u00e9, de la recevoir & de la garder pour faire partie de votre Ran\u00e7on. Le Roy ayant beaucoup lo\u00fc\u00e9 ce Soldat de sa libert\u00e9 & de son esprit, la prit & le remercia. Vie Charles-Quint par Don Juan Antonio de Vera.<\/em><\/p>\n

\u201cQuatre petits enfans a\u00eel\u00e9s accompagnent deux niches vuides qui font aux c\u00f4t\u00e9s.<\/p>\n

\u201cAu-dessous Neptune Dieu des eaux s\u2019entretient avec Amymone, l\u2019une des cinquante Dana\u00efdes que ce Dieu surprit lorsqu\u2019elle alloit chercher de l\u2032eau, & qu\u2019il changea en fontaine, apr\u00e8s l\u2019avoir viol\u00e9e.<\/p>\n

\u201cAu milieu de cette Galerie, au-dessus d\u2019un cabinet du c\u00f4t\u00e9 du jardin, est le buste en stuc & relief de Fran\u00e7ois I. au milieu d\u2019un Cordon de Saint Michel, port\u00e9 par des t\u00eates de Cherubins, qu\u2019accompagnent la Victoire & la renomm\u00e9e, peints sur le fond d\u2019or, & des Anges de relief qui portent la Devise de ce Roy.<\/p>\n

\u201cDans le Cabinet qui est orn\u00e9 comme la Galerie, \u00e9toit autrefois un Tableau ovale representant Semel\u00e9e, \u00e0 la place duquel on voit presentement Minerve D\u00e9esse des \/57\/ Sciences & des Arts, sur toile, par Boulogne le Jeune. Il est port\u00e9 & so\u00fbtenu par un jeune homme & un jeune femme couch\u00e9s sur des guirlandes de fleurs en relief, & surmont\u00e9 par des enfans qui considerent une Salamandre.<\/p>\n

\u201cMinerve D\u00e9esse de la Sagesse, de la Guerre & des Sciences, & la m\u00eame que Pallas, sortit tout arm\u00e9e du cerveau du Jupiter qui lui donna naissance, en se frapant la t\u00eate de chagrin, de ce que Junon \u00e9toit sterile.<\/p>\n

\u201cLa chemin\u00e9e \u00e0 l\u2019antique estorn\u00e9e de petits Vulcains & Ciclopes de relief, & de differens grotesques qui accompagnent un petit Tableau o\u00f9 l\u2019on voit les faux Livres des Sibylles br\u00fbl\u00e9s.<\/p>\n

\u201cEn sortant de ce Cabinet, l\u2019onzi\u00e9me Tableau represente la ruine & l\u2032embrasement de Troye. On y voit En\u00e9e charg\u00e9 de son pere Anchise, & accompagn\u00e9 de Cre\u00fcse sa femme & de son fils Ascagne, qui craint de perdre son petit chien, & paro\u00eet occup\u00e9 d\u2019enfans qui emportent des bagatelles.<\/p>\n

\u201cErgo age, chare pater, cervici imponere nostrae, <\/em><\/p>\n

Ipse subibo humeris, nec me labor iste gravabit.<\/em> Eneid. 2. 707.<\/p>\n

\u201cAux c\u00f4t\u00e9s sont de grandes figures dans \/98\/ des niches support\u00e9es par des Termes, & au-dessous des enfans qui tiennent le Chiffre de Fran\u00e7ois I. en relief.<\/p>\n

\u201cAu-dessous du Tableau on voit une ruine de b\u00e2timens.<\/p>\n

\u201cLe douzi\u00e9me est un Triomphe represent\u00e9 par un Elephant qui a une Cigogne \u00e0 ses pieds. Il y a lieu de croire par un F que l\u2019on voit sur l’Equipage de l\u2032Elephant, que c\u2019est l\u2032embl\u00eame de quelques \u00e9clatantes victoires de Fran\u00e7ois I. Peut-\u00eatre seroit-ce celle de Marignan, dont la Bataille dura deux jours & un nuit.<\/p>\n

\u201cA droite sur le fond d\u2019or, est peint le ravissement d\u2019Europe par Jupiter sous la forme d\u2019un taureau.<\/p>\n

\u201cEurope fille d\u2019Agenor Roy de Phenicie, ayant \u00e9t\u00e9 enlev\u00e9e par Jupiter, & transport\u00e9e en l\u2019Isle de Crete, fit d\u2019abord la f\u00e2ch\u00e9e, mais se r\u00e9concilia facilement dans l\u2032esperance qu\u2019une des parties du monde porteroit son nom.<\/p>\n

\u201cTua sectus orbis nomina ducet<\/em>. Horace.<\/p>\n

\u201cA gauche, Neptune M\u00e9tamorphos\u00e9 en cheval marin, enl\u00e9ve Amphitrite fille de Nere & de Doride, & l\u2019oblige de devenir son \u00e9pouse, quoiqu\u2019elle se f\u00fbt propos\u00e9e de rester Vierge.<\/p>\n

\u201cAu-dessous du Tableau dans un bas relief, Alexandre accomplit l\u2019Oracle, & \/99\/ coupe le noeud gordien.<\/p>\n

\u201cLes peuples de Phrigie ayant appris de l\u2019Oracle que leurs divisions domestiques ne cesseroient, que lorsqu\u2019ils auroient reconnu pour Roy celui qui leur viendroit sur un char, \u00e9l\u00fbrent Gordius pauvre Laboureur de Phrigie, qui arrivoit alors avec sa famille sur un chariot. Gordius par reconnoissance consacra \u00e0 Jupiter son char que l\u2019Oracle rendit c\u00e9l\u00e9bre dans la suite, par la promesse qu\u2019il fit de l\u2032Empire d\u2019Asie \u00e0 qui en d\u00e9no\u00fceroit les courroyes qui attachoient le joug au timon. Alexandre apr\u00e8s la prise de Gordion Capitale de Phrigie, ayant v\u00fb ce char dans le Temple, chercha quelque tems sans pouvoir d\u00e9lier ce noeud mysterieux, & f\u00e2ch\u00e9 de ne pouvoir r\u00e9\u00fcssir devant un peuple attentif \u00e0 ce qui alloit arriver, tira son sabre & le copua, en disant: qu\u2019importe comment on le d\u00e9no\u00fce; & fit publier que l\u2019Oracle \u00e9toit accompli; ce que l\u2032on cr\u00fbt \u00eatre confirm\u00e9 par un orage qui arriva la nuit suivante.<\/p>\n

\u201cDans le trezi\u00e9me & dernier Tableau on voit l\u2032appareil d\u2019un sacrifice o\u00f9 se trouvent nombre de meres avec leurs enfans en maillots, & quelques vieillards qui prennent part aux voeux du peuple pour la conservation de Fran\u00e7ois I. qui procuroit en toute occasion l\u2032education & le bonheur de leurs enfans.<\/p>\n

100\/ \u201cAux c\u00f4t\u00e9s sont des Temples orn\u00e9s de colomnes, entre lesquelles sont de grandes figures de relief, qui repr\u00e9sentent des Sacrificateurs pr\u00eats \u00e0 immoler \u00e0 droite un mouton, & \u00e0 gauche un taureau. Ce dernier sacrifice ne subsiste qu\u2019en partie, l\u2019autre ayant \u00e9t\u00e9 detruit pour faire l\u2032entree de l\u2032Escalier que l\u2019on construit en mil six cent quatre-vingt-quatre, sous le Regne de Louis XIV. comme le prouve un Soleil Devise de ce Roy, que l\u2019on voit entre deux cornes d\u2019abondance au-dessus de la porte de cette entr\u00e9e.<\/p>\n

\u201cSous ce dernier Tableau on voit des Nimphes qui dansent, & des enfans peints sur le fond d\u2019or, qui sonnent du corps, & paroissent avoir rapport aux f\u00eates repr\u00e9sent\u00e9es dans le Tableau.<\/p>\n

\u201cAu-dessus de la porte qui donne passage au Vestibule & \u00e0 la Chapelle, la Victoire couronne Fran\u00e7ois I. apr\u00e8s ses grands & difficiles travaux, & l\u2032Histoire oblige le tems de se pr\u00eater pour conserver la m\u00e9moire de ses grandes actions. Ce Tableau \u00e0 fraisque & Camayeux [2. (numbered 1 in Guilbert) Camaieux est un Tableau d’une seule couleur.] est de Person, qui le fit environ l\u2019an mil sept cent dix, lorsque Louis XIV. fit refaire cette porte, \/101\/ comme il paro\u00eet par son Chiffre du c\u00f4t\u00e9 du Vestibule.<\/p>\n

\u201cAux c\u00f4t\u00e9s de ce tableau sur le mur, sont deux M\u00e9daillons en relief, o\u00f9 l\u2019on voit \u00e0 gauche une Misere ou Consternation, embl\u00eame des disgraces de Fran\u00e7ois I. & \u00e0 droite la Fortune assise sur sa rou\u00eb, qui promet \u00e0 ce Roy d\u2019\u00eatre enfin constante, & lui pr\u00e9sente une boisson qui lui fait oublier ses malheurs pass\u00e9s.\u201d<\/p>\n

Goujet, 1758, 84, on the Enlightenment of Francis I<\/em>, as indicating Francis I\u2019s reestablishment of letters in France principally by the foundation of the Coll\u00e8ge de France.<\/p>\n

Lanzi, 1795-1796 (London, I, 1852, 162-163).<\/p>\n

Millin, 1807, I, 35, 37-42, describes the gallery as visited on 14-15 April 1804, the sculptures as by Paul Ponce; however, as he decribes the Jupiter and Semele<\/em> in the North Cabinet which had disappeared by 1731 his account appears not first hand.<\/p>\n

Remard, 1820, 26-27, 62, as decorated by Rosso, Primaticcio, and Paul Ponce.<\/p>\n

Jamin, 1834, 93-100 (also a 2nd. ed., 1838).<\/p>\n

Poirson, 1838 and 1839.<\/p>\n

Castellan, 1840, Pl. 18 opp. 119, 320, Pl. 44 opp. 325, 328-338.<\/p>\n

Jamin, 1841, 141-148.<\/p>\n

Laborde, Renaissance<\/em>, I, 1850, 367-372, 374, 380-384, 387-393, 397, 400-402, 415.<\/p>\n

Reiset, 1859, 198, 198-199, n. 1, 271-272, 274, on the restorations of Vanloo, Alaux, Couder, and others.<\/p>\n

Barbet de Jouy, 1861, 7-13.<\/p>\n

Pfnor and Champollion-Figeac, 1863, I, 2-4, 10-11, Pls. LXXII-CVIII.<\/p>\n

Champollion-Figeac, 1866.<\/p>\n

Laborde, I, 1877, II, 1880 (see documents above).<\/p>\n

Palustre, I, 1879, 178, n. 1, 185, 215-222, one Pl.<\/p>\n

Pfnor, 1889, 145, 147-162.<\/p>\n

Geym\u00fcller, 1898, 159-160, believed that the first floor and attic of the wing containing the gallery were designed by Rosso.<\/p>\n

Dimier, 1898, 92, 100-101, noted the documents that refer to two cabinets on the north and south sides of the gallery.<\/p>\n

Dimier, 1900, 47-48, 70-71, 252-253, 300-304, 447, 487.<\/p>\n

Dimier, 1904, 72, 74-81, 85-88, 97-99.<\/p>\n

M\u00fclbe, 1904, 1-71.<\/p>\n

Goldschmidt, 1911, 25-26, 49-50.<\/p>\n

Blomfield, 1911, 14-16, 50-51.<\/p>\n

Roy, 1914 (1925, 226-237).<\/p>\n

Voss, 1920, 189, as showing Rosso\u2019s still Roman style resulting from his study of Perino and as indicating that he had now cut himself off entirely from the Florentine tradition.<\/p>\n

Dimier, 1925, 18-22.<\/p>\n

Dimier, 1928, 4-7, 10-11, 14.<\/p>\n

G\u00f6bel, 1928, 37-41.<\/p>\n

Pevsner, 1928, 30.<\/p>\n

Kusenberg, 1931, 49-91, 102, 128, 202, n. 236, Pls. XXXI-XLVIII, L-LII, related the decorations to the ensembles of Perino del Vaga, discussed the chronology of the gallery, and thought it possible that Rosso himself finished the frescoes in retouching them or by intervening in their execution; he repeated Dan\u2019s remark that the decorations allude to the life of Francis I, adding, however, that although the king appears in two of the frescoes no tradition confirms Dan\u2019s general thesis.<\/p>\n

Venturi, 1932, 197-198, 219-229, Figs. 127-132, 230.<\/p>\n

Medea, 1932, 81-83, 88-89, believed that Primaticcio\u2019s Dana\u00eb<\/em> was painted after Rosso\u2019s death.<\/p>\n

Bray, 1935, 186, 202.<\/p>\n

Kusenberg, 1935, 62, as Rosso, 1534-36.<\/p>\n

Herbet, 1937, 141-144, 146-147, 160-191.<\/p>\n

Pannier, 1938, 364.<\/p>\n

Dimier, 1942, 20.<\/p>\n

Becherucci, 1944, 31-32 (1949, 32-33).<\/p>\n

Terrasse, 1949, recognized for the first time an order in the gallery\u2019s decorations in the thematic relations of the north and south walls across from each other in each bay, and saw the subordinate parts of each compartment as iconographically related to the main picture, but dealt specifically only with the Education of Achilles<\/em> and the Loss of Perpetual Youth<\/em>, relating the first to a specific event in the king\u2019s life [dating from a time after the gallery was completed] and the second to his declining health and lost youth.<\/p>\n

Barocchi, 1950, 99-187, 247, Figs. 75-158, saw the gallery\u2019s models in Raphael\u2019s Vatican decorations, the Loggie especially (and not Perino\u2019s later work mentioned by Kusenberg); she discussed the documentary evidence of Rosso\u2019s assistants and attempted to identify the work of specific stuccoers; she did not attempt to interpret the decorations iconographically but acknowledged that its scenes allegorically celebrate the life of Francis I.<\/p>\n

Barocchi, Commentari<\/em>, 1950, 157-162.<\/p>\n

Longhi, 1950, 59.<\/p>\n

Terrasse, 1951, 26-28, 30-33, 35-37, 169, with Figs., attributed the Education of Achilles<\/em> to Primaticcio, c. 1542.<\/p>\n

L\u00f6vgren, 1951, discussed three of the compartments from the Vienna tapestries without relating them to any large context: the Cleobis and Biton<\/em>, the Death of Adonis<\/em> as a combination of the legends of Adonis and Attis, and the Fountain of Youth<\/em> as related to the story of Aesculapius, noting that in respect to the organization of each compartiment: I. The central image and the scenes at the sides give different parts of a coherent story, and thus form a whole in regard to a theme, and II. The representation under the principal scene, and sometimes the decorative details of the frame, form a paraphrase of the principal subject, making the original or basic conception more distinct.<\/p>\n

Tervarent, 1952, was the first to indicate how some of the major scenes across from each other on the north and south walls are related, but he was more concerned with identifying and associating the subjects of the pictures than with interpreting them in regard to some whole frame of reference, recognizing, however, the actual or implied presence of the king in five of the large paintings, but always indicating an aspect of Francis I as king rather than specific events in his life, and noting as the essential trait: \u201cL\u2019absence de dieu;\u201d in the Scene of Sacrifice<\/em> the mitre of the priest as indicating a priest of the Old Law, Aaron or one of his descendants, indicating thus the sovereign as high priest.<\/p>\n

Blunt, 1953, 30, 35-36 (1957, 54, 63-65).<\/p>\n

Huon, 1956, 21, believed that the gallery presents the most perfect allegorical representation of the concept of the prince.<\/p>\n

Panofsky, 1958, 113-190 and Supplement, attempted an explanation of the entire decoration of the gallery as \u201ca running commentary rather than the realization of a pre-established blueprint,\u201d identified most of the major scenes with specific events in Francis I\u2019s life and two generally in terms of aspects of his existence: war and peace, more or less fulfilling Dan\u2019s suggestion (1642, 93) that the scenes represent \u201cles actions principales de la vie du grand Roy Fran\u00e7ois;\u201d they also added to Terrasse\u2019s conception of the gallery with the recognition of the division of the gallery into three parts of two bays each, and by seeing thematic relationships diagonally across the length of the gallery.<\/p>\n

Shearman, 1959, 459, suggested that Rosso may have visited Mantua on his way to France where he would have seen Giulio Romano\u2019s use of stucco and painting at the Palazzo del Te.<\/p>\n

B\u00e9guin, 1960, 38\u00a0 43, 52, indicated the sole iconographical precedent in Perino del Vaga\u2019s decoration (1528-1538) at the Palazzo Doria, Genoa, and stylistic precedents in Raphael\u2019s decorations and the Sistine Ceiling, with the suggestion, following Vasari, of Primaticcio\u2019s participation in the stuccoes.<\/p>\n

W\u00fcrtenberger, 1962 (1963, 124, 133).<\/p>\n

Denieul-Cormier, 1962 (1969, 103-106).<\/p>\n

Berenson, 1963, 185, Pls. 1474-1476.<\/p>\n

Ch\u00e2telet and Thullier, 1963, 100-102.<\/p>\n

Bardon, 1963, 20-24.<\/p>\n

Picard, 1963, 65-71, suggested that the Education of Achilles<\/em> may possibly be related to the educational preoccupations of the French court, and the Loss of Perpetual Youth<\/em> to the very ancient pursuit of lost immortality.<\/p>\n

Guerts, 1963-1967, as reported by Chastel, B\u00e9guin, and Pressouyre, in \u201cGalerie,\u201d RdA<\/em>, 1972, 125, 127-128, 130, 135, 136-137, 145, 168, n. 15, and by Joukovksy, 1992 (all from a resum\u00e9 made by B. Lossky), interpreted the gallery in terms of moral ideas with regard to culture, the state, the king, and the individual, suggesting, for the first time, that the meaning of the gallery\u2019s decorations go beyond allusions to events in the life and to qualities of Francis I alone, and seeing the program based on the thematic content of six pairs of adjoining compartments (including the walls at either side of the central bay).<\/p>\n

Briat, 1964, 13-15.<\/p>\n

Boccazzi, 1964, 153-156.<\/p>\n

Carroll, 1964 (1976), I, Bk. I, 242-255, II, Bk. II, 381-405, D.42-D.45, Bk. III, Figs. 107-124a.<\/p>\n

Borea, 1965.<\/p>\n

B\u00e9guin, 1965.<\/p>\n

Pariset, 1965, 48-50, Pl. XI (before restoration).<\/p>\n

Carroll, 1966, 173 and n. 28, discussed the chronology of its decoration.<\/p>\n

Freedberg, 1966, 583, Pl. 100, as done 1534-1537.<\/p>\n

Dimier, 1967.<\/p>\n

Alleau (and Destanque), 1967, 204-223, explained the eastern half of the gallery as representing the \u201cTh\u00e9\u00e2tre de la vie humaine\u201d and the western half, the \u201cTh\u00e9\u00e2tre de la vie royale.\u201d<\/p>\n

Chastel, 1968, 186-188 (see Chastel, 1972 below).<\/p>\n

Zerner, 1969, XI \u2013 XIII.<\/p>\n

B\u00e9guin, Revue de l\u2019Art<\/em>, 1969, 103.<\/p>\n

Lossky, 1969, thought the stuccoes were executed by Primaticcio and recognized the influence of the sculpture of Michelangelo and Tribolo.<\/p>\n

McAllister Johnson, 1969, 9, n. 9, 14-15, 18, thought a visit by Rosso to Mantua was not necessary to explain the use of stucco and fresco in the gallery if Louvre drawing, inv. no. 3497 is by Primaticcio, as he thought it was, and done c. 1532-1533 for the Chambre du Roi at Fontainebleau.<\/p>\n

Pressouyre, 1970, 123-137, considered the decoration of three walls \u2013 the Twins of Catania<\/em>, the Sacrifice<\/em>, and the Expulsion of Ignorance<\/em> \u2013 as concerned with Pietas erga parentes<\/em> and Pietas erga filios<\/em>, and with Pietas erga deos<\/em>.<\/p>\n

Lossky, 1970, discussed the appearance of the stuccoes before the restoration of 1846-1853.<\/p>\n

Fagiolo dell\u2019Arco, 1970, 110, n. 12.<\/p>\n

Prinz, 1970, 15, 16, 17, 18-19, 20, 31, 34, 38, 41, Fig. 3, mistakenly believed that the present arrangement of arches on the ground floor is from the time of the original construction of the gallery.<\/p>\n

Miles, 1971, 855, mentioned references to Michelangelo\u2019s David<\/em>, Leda<\/em>, and the Sistine Ceiling.<\/p>\n

Lossky, 1971, 71-73.<\/p>\n

Ragghianti, 1972, 65, n. 18, mentioned that there are occasional quattrocentresque references in the gallery.<\/p>\n

EdF<\/em>, 1972, 175 (B\u00e9guin), 339-342 (J. Coural and M.-H. Babelon), 481-482 (C. Lauriol).<\/p>\n

B\u00e9guin, Binenbaum, Chastel, McAllister Johnson, Pressouyre, and Zerner in \u201cGalerie,\u201d RdA<\/em>, 1972 (published in 1973), as in the following citations.<\/p>\n

B\u00e9guin, \u201cMa\u00eetre Roux,\u201d 1972, discussed Rosso\u2019s career before his work on the gallery and its relation to the decoration of it, the execution of the frescoes by assistants and the diffuculty of assigning parts to certain hands, and the presence of Primaticcio in the Dana\u00eb<\/em> as suggesting an effort to get the work done for the visit of Charles V.<\/p>\n

B\u00e9guin, RdA<\/em>, 1972, 101, briefly considered the stuccoes, questioning the results of Barocchi\u2019s 1950 study of them.<\/p>\n

B\u00e9guin, \u201cMythologique,\u201d 1972, discussed the lost Venus paintings of the end walls, Primaticcio\u2019s Semele<\/em> of the destroyed North Cabinet, and Primaticcio\u2019s Dana\u00eb<\/em> and their allusions to Francis I in the context of the program of the gallery\u2019s decorations.<\/p>\n

B\u00e9guin and Pressouyre, 1972, presented the visual and written documentation of the decorations.<\/p>\n

Binenbaum and Pressouyre, 1972, discussed the technical aspects of the last restoration of the gallery.<\/p>\n

Chastel, 1972 (expanding on Chastel, 1968), defined a full inconographical program that \u201cn\u2019illustre pas la vie du roi mais la r\u00e9alit\u00e9 institutionelle de la monarchie qu\u2019il incarne\u201d (\u201cGalerie,\u201d RdA<\/em>, 1972, 12), the paired walls of the eastern half of the gallery illustrating \u201cInfelices casus,\u201d \u201cJuventus perpetua,\u201d and \u201cBellum,\u201d those of the western half designated with the general titles \u201cSacra,\u201d \u201cImperium,\u201d and \u201cPietas,\u201d with details drawing upon the supposed origins of France, a complete program defined before the execution of the decorations was begun; Chastel also recognized the zig-zag disposition of the subsidiary stucco and painted parts on the north and south walls indicating a program of two parts of three bays each.<\/p>\n

Chastel, \u201cSalamandre,\u201d \u201cGalerie,\u201d RdA<\/em>, 1972, considered the symbolism of the salamander and its appearance in the gallery.<\/p>\n

McAllister Johnson, 1972, defined the systems of the decoration, determined by 1533-1534, created by the cross-beams that divide the gallery into bays (trav\u00e9es) and also join the secular triptychs across from each other on the North and South walls, by the triads of compartments on these walls, by the equal division of the gallery into three bays at the West and the East, and by the alternating distribution of the use of painting and stucco such that the triptychs of the uneven numbered bays have stucco wings (volets) and the even ones painted wings, the single cartouches beneath the central frescoes alternating stucco and painting in contrast to the medium of the wings, all related to complex thematic relationships, to be interpreted on three levels, literal, moral, and allegorical, around four central compositions symbolic of monarchy and end bays presenting the theme of Terminus<\/em> together with the two themes, in reference to Francis I, of ex utroque Caesar<\/em> and of the heroized Prince, and suggesting Alciati as related to the conception of the program (rather than Ba\u00eff or Bud\u00e9) in recognition of the arrangement of each compartiment as bearing resemblance to the superscriptio<\/em>, image, and subscriptio<\/em> of the emblems of his Emblematum Liber<\/em> of 1531 and 1534.<\/p>\n

Pressouyre, \u201cRestaurations,\u201d 1972, discussed the original execution and the past restorations of the gallery, and the restorations of 1961-1966.<\/p>\n

Pressouyre, in \u201cGalerie,\u201d RdA<\/em>, 1972, 97-101, attempted to recognize four hands in the execution of the frescoes, one of them possibly Rosso himself.<\/p>\n

Pressouyre, \u201cCadre architectual,\u201d 1972, presented the history of the architectual design and structure of the gallery, and of the changes made to them.<\/p>\n

Zerner, 1972, discussed the decorative scheme of the gallery (expanded in Zerner, Actes<\/em>, 1975) and the prints derived from its decorations.<\/p>\n

Fontainebleau<\/em>, 1973, II, 63 (B\u00e9guin), 153-154 (C. Lauriol).<\/p>\n

Dumont, 1973, 49, 52-53, 55-57.<\/p>\n

Vanaise, 1973, 133-193, published an abridged copy with commentary of the documents related to the execution of the decorations of the gallery.<\/p>\n

Carroll, 1973, 72-75.<\/p>\n

Pressouyre, 1974, 30-36, discussed the history of the building of the gallery and the courtyard on its south side through the reign of Henry IV.<\/p>\n

Lossky, 1974, considered the restorations and changes made in the gallery in the nineteenth century.<\/p>\n

McAllister Johnson, 1974, 29-30.<\/p>\n

Freedberg, Carroll, Zerner, and Pressouyre, in Actes<\/em>, 1975, as in the following citations.<\/p>\n

Freedberg, Actes<\/em>, 1975, discussed the formal relation of Rosso\u2019s decoration to the Sistine Ceiling and to Raphael\u2019s Logge and Farnesina decorations, and to Perino del Vaga\u2019s decorations in Genoa and Giulio Romano\u2019s in Mantua, concluding that in the gallery Rosso transposed the language of Maniera into Grand Maniera.<\/p>\n

Carroll, 1975, 20-21, used some of Rosso\u2019s decorations to support a chronology of Rosso\u2019s French career.<\/p>\n

Zerner, Actes<\/em>, 1975, considered the minutely arranged decorative scheme of the gallery, in particular the kinds of painting (figures on a false gold mosaic background and framed illusionistic pictures) and the kinds of stucco relief (figures in high relief in real space against the false mosaic background and framed illusionistic pictorial low relief) of the wings (volets) of each tritych, recognizing the special variation of relief in the center of the gallery with low relief at V South and III South and high relief in the compartments V South and III South at each side of the entrance to the North Cabinet (IV North), surmounted by a bust of the king \u2013 the privileged point in the gallery (especially as the small entrances in the East and West Walls were originally concealed in the wainscoting) \u2013 and at compartment IV South with Dana\u00eb<\/em>, concluding that the latter must have been part of the original conception of the decoration of the gallery, lending importance to its mythological aspect; he also noted the unexpected high relief of the Birth of Venus<\/em> under the Prince h\u00e9rois\u00e9<\/em> (also called Ignorance chass\u00e9e<\/em>).<\/p>\n

Pressouyre, Actes<\/em>, 1975, interpreted the Revenge of Nauplius<\/em> in relation to the Italian word fortuna<\/em> (as in fortuna di mare<\/em>) as a synonym for temp\u00eate<\/em> and naufrage<\/em> in French and hence recognized the fresco as a representation of Fortuna<\/em>.<\/p>\n

McAllister Johnson, 1975, 11, 13, Fig. 5 (Fran\u00e7ois d\u2019Orbay, drawing, West Wall<\/em>, Paris, Archives Nationales), 19, Fig. 12 (Unity of the State<\/em>, tapestry, Vienna), 20, commented on the \u201csectioning off\u201d of the bays in the gallery by the light from the windows.<\/p>\n

R\u00e8paci Courtois, 1976, 252, recognized the influence of Michelangelo\u2019s lost bronze David<\/em> on the stucco youth in the niche at the right of the Twins of Catania<\/em>.<\/p>\n

Nyholm, 1977, 148-150, Fig. 85 (Gallery), Fig. 86 (Enlightenment<\/em>), indicated that the importance of the narrative is due not only to Rosso but also to Francis I.<\/p>\n

Adelson, Candice, “Reflections of the School of Fontainebleau in Italy 1537-1550,\u2033 lecture, I Tatti, 26 May 1977, mentioned as an independent observation the curled motifs on armorial shields in relation to strapwork at Fontainebleau.<\/p>\n

Millner Kahr, 1978, 46, dated Primaticcio\u2019s Dana\u00eb<\/em> about 1540 and stated that it filled an oval in the gallery left blank by Rosso.<\/p>\n

Carroll, 1978, 25, 26, Fig. 7 (Education of Achilles<\/em> wall, c. 1532-38), 28, 31, Fig. 11 (Venus and Minerva<\/em> wall, c. 1536-38), 34, 40, 41, Fig. 26 (Loss of Perpetual Youth<\/em> wall, c. 1532-36), Fig. 27 (Twins of Catania<\/em> wall, c. 1534-36), 47, n. 11.<\/p>\n

Boase, 1979, 203-204.<\/p>\n

Loeffler, 1979, 264-311, 344-346, 353, gave an overview of what is known of the gallery with some emphasis on the interrelation of the arts and on the use of ambiguity.<\/p>\n

Shearman, 1980, considered the gallery in relation to French galeries<\/em> and to Italian and French decoration, and thought that Rosso\u2019s lost oval oil paintings were not originally made for the gallery.<\/p>\n

Terrasse, 1981, discussed details of the iconography of the walls containing the Royal Elephant<\/em>, the Venus and Cupid at the Fountain<\/em>, the Fire<\/em>, and the Education of Achilles<\/em>.<\/p>\n

Knecht, 1982, 261-262.<\/p>\n

Schneebalg-Perelman, 1982, 139, 143, 147, 150-151, frescoes painted in 1536, stuccoes finished in 1537, the themes perhaps inspired by Lazare de Ba\u00eff.<\/p>\n

Darragon, 1983, 12, 22, 27, 65, 70, n. 35, pointed out that in the Twins of Catania<\/em> the child riding a stick also appears in the Christ in Glory<\/em> and in Caraglio\u2019s Battle of the Romans and the Sabines<\/em> and mentioned the priest, women, and children in the Scene of Sacrifice<\/em> in relation to those in the Citt\u00e0 di Castello altarpiece.<\/p>\n

McAllister Johnson, 1984, discussed a new series of models for the decoration of the wall and window units with regard to \u201cbilateral symmetry, emblematic structure, and reflected images,\u201d and the various systems of structure, of kinetics (\u201cper ambulare\u201d), material, and motif (related to the use of fresco, stucco, and illustionistic painting), that have been recognized by others (with diagrams in Appendix. II, A-D), noting the \u201cexchanges\u201d within these systems \u201calong each wall,\u201d \u201cacross<\/em> each bay,\u201d and \u201cin a chiastic manner<\/em> from the very ends of the Galerie,\u201d presenting in particular an all encompassing concentric system uniting bays I and VII (\u201cseeming to address the conflict of wordly and otherworldly values\u201d and the \u201cideas of religion and culture through the ex utrogue Caesar<\/em> emblem with its book and sword\u201d), II and VI (on the themes of Imperium<\/em> and Rejuvenation), and III and V (\u201cmore obviously narrative than the rest\u201d and seeming \u201cto prefigure the Four Elements that are so often superimposed upon the Vitruvian Man”), around the caesura<\/em> of the central bay, IV South and the entrance to the North Cabinet; he reiterated the conception of superscriptio<\/em> (the salamander, the impresa of Francis I), imago<\/em> (the central framed guadri riportati<\/em>), and subscriptio<\/em> (the cartouches below, which are complemented by the wings of each triptych), and emphasized the importance of the benches in the gallery to the viewing and understanding of its decoration; he concluded, after considering \u201cbilateral symmetry and reflected imagery<\/em> in conjunction with the \u2018allusive fragmentation\u2019 known from eblematic espression,\u201d that \u201cThe Galerie Fran\u00e7ois I has a single<\/em> statement deflected into its four walls, further reflected in each of these so that they are virtual mathematical equivalents in visual form.\u201d<\/p>\n

L\u00e9v\u00eaque, 1984, 94, 95, Fig. 163, 196, Fig. 197, 230-235, Figs.<\/p>\n

Prinz and Kecks, 1985, 101, 166-167, 168, Fig. 60 (before restoration), 345, Fig. 398, 421-422, 425, 429.<\/p>\n

Wilmes, 1985, 65, 75-76, 79-60, 167-168.<\/p>\n

Wilson-Chevalier, in Fontainebleau<\/em>, 1985, 107, 108-110, no. 57, 134-136, no. 81, 209-211, no. 155, 225-227, no. 174, 228, no. 175, 228-230, no. 176, 240, 241-242, no. 185, 248-249, no. 194, discussed some of the prints after the decorations of the gallery: the Dana\u00eb<\/em>, the Expulsion of Ignorance<\/em>, the Revenge of Nauplius<\/em>, the Burning of Troy or of Catania<\/em>, the Death of Adonis<\/em>, the Cleobis and Biton<\/em>, and, in addition, the \u201cSardanapale br\u00fbl\u00e9 dans son palais?<\/em>\u201d.<\/p>\n

Pope-Hennessy, 1985, 101, 103, Fig. 32, 134, 135, Fig. 41, remarked that the execution of the stuccoes is crude.<\/p>\n

Carroll, 1987, 30, 31, 34, n. 52, 222-297, including nos. 71-94, with Figs., considered the history of the conception and execution of the gallery and its decorations, and, from the prints and tapestries related to the latter, the central fresco of I North, indentified as Venus and Minerva<\/em>, the Allegorical Scene of Rage and Madness<\/em> under the Combat of Centaurs and Lapiths<\/em>, the Revenge of Nauplius<\/em>, the Funeral of Hector<\/em> and its replacement, the Death of Adonis<\/em>, the Nymph of<\/em> Fontainebleau<\/em>, as the originally intended centerpiece, the Twins of Catania<\/em>, the Cleobis and Biton<\/em>, the Royal Elephant<\/em>, the Unity of the State<\/em>, the two versions of the Sacrifice<\/em>, the Enlightenment of Francis I<\/em>, and Fortune Giving a Drink to a Young Prince<\/em> of the West Wall.<\/p>\n

B\u00e9guin, in Delay, 1987, 75, 206, Color Pl. 4, as showing in the Venus fresco \u201cLa Venus bellifontaine e l\u2019alerte de Mars.\u201d<\/p>\n

Lecoq, 1987, 20-21, 35, 43, 432, Fig. 202 (detail of Fantuzzi\u2019s Unity of the State<\/em>), 433, mentioned the subject of absolute monarchy, the significance of the salamander, the meaning of the lighthouse in the Revenge of Nauplius<\/em> and of the pomegranate in the Unity of the State<\/em>.<\/p>\n

Joukovsky, 1987 (as again in Joukovsky, 1992, 30-49, with additional notes), considered the relation of the gods and men in the gallery, noting that the ritual of the approach to the sacred is treated with archaelogical precision (supposing someone learned as an aid to Rosso), but indicating also that it is not totally unveiled; the Sacrifice<\/em> at VII North is indicated as showing the ritual of lustratio<\/em> (purification), a non-blood sacrifice, found also in ancient Rome, flanked by contrasting stucco scenes of animal sacrifice, the whole presenting the convergence of the health of the Prince and the health of the state; seen across from the scene of Francis I, as a Roman emperor (pontifex maximus<\/em>), entering the temple of Jupiter (VII South), suggesting the Augustan idea of the restoration of politics and religion by returning to the gods who sustain the state; at II South the fresco of Lost Youth<\/em> is discussed as another scene of ritual, with three background scenes showing men praying to the gods (lustratio<\/em>), with Mercury descending to announce the coming of the ideal Prince to bring vigor to the world, following the loss of youth shown in the foreground (if the fresco can be read in this direction rather than the foreground following from the background), the whole, with the salamander above the fresco related to the sepent-dragon within it, related to the ancient idea of Princeps Juventutis<\/em>, to the appearance on ancient coins of Juventas Augusta<\/em>, and to the ancient religion of \u201cJupiter juvenis,\u201d this scene of youth carelessly or badly employed juxtaposed to the Education of Achilles<\/em> at II North; some of the stuccoes considered, the \u201cHerm sacerdotes\u201d flanking the Battle of Centaurs and Lapiths<\/em> at I South seen as announcing the Sacrifice<\/em>, the garlands noted as enclosing religious subjects as well as the salamander and the F cipher, and the large Pans at VII South seen as equivalent to the Barbarians, as a state prior to humanity, but without pejorative intentions, and hence placed in symmetry to the large nudes at I North; at III North the fresco as representing the Death of Ajax<\/em>, and the scene at V North as perhaps showing Aeneas fleeing from Troy to create a new empire, seen then in the Unity of the State<\/em>; Jupiter, and the issue of fear, indicated in the Dana\u00eb<\/em> and in the Semele<\/em>, and his calling of the Prince to him in the fresco at VII South, his appearance as a bull seen in the Europa<\/em> fresco flanking the Elephant fleurdelys\u00e9<\/em>, with Neptune (sic<\/em>) as a horse at the other side of the large fresco, all concerned with animal metamorphosis; the issue of gods and man recognized in the Ignorance chass\u00e9e<\/em>, another rite of purification, where the Prince restores order overturned by the profanation of the sacred.<\/p>\n

Joukovsky, in Joukovsky, 1987 bis (as again in Joukovsky, 1992, 52-78, with additional notes), considered the symbolism of immortality in the stuccoes with reference to sources in ancient Roman funerary sculpture (sarcophagi), noting also the influence of Michelangelo, and recognized the stuccoes, no less important than the frescoes, as establishing unity and significance in the gallery with, especially, the repetition of the salamander; the whole gallery seen as a cursus vitae <\/em>compatible with the room as a \u201clieu de passage;\u201d in particular the west half of the gallery as illustrating the large choices that are offered to the prince and to humanity, pointing out the doubling motif of Aeneas carrying Anchises in the fresco at V North [the Twins of Catania<\/em>] to create a symmetry with the sons in the Cleobis and Biton<\/em> at V South, but suggesting that the woman who carries her mother need not be Creuses; the fresco at II North identified as the Shipwreck of Ajax<\/em>, seen as a kind of judgment.<\/p>\n

Joukovsky, 1988 (as again in Joukovsky, 1992, 80-104, with additional notes), discussed the subjects of Empire and the barbarian in relation to official Roman triumphal monuments and to literary panegyrics, recognising as prisoners the huge nude flanking the Education of Achilles<\/em>, and as barbarians the richly clothed man to whom Francis I is speaking in the Unity of the State<\/em> and two of his companions, in a scene showing the submission of foreign nations before the emperor; at VII <\/strong>South the fresco showing Francis I entering the temple of Jupiter as related to the ancient entrance of the emperor into the Capitoline temple of Jupiter Maximus, with the figures behind the king as the prisoners behind the Roman emperor, this triumph a symbol of immortality; the Elephant fleurdelys\u00e9<\/em>, symbol of Caesar and of royal wisdom, seen above a relief of Alexander cutting the Gordian knot as indicating the supression of the knot of discord; the fresco at III North as the Chastisement of Ajax<\/em>; the whole gallery not only a \u201clieu de passage\u201d but also a \u201clieu officiel\u201d with an imperial program, the salamander taking the place of the eagle.<\/p>\n

Joukovsky, 1988 bis (as again in Joukovsky, 1992, 20-28, with an additional note), discussed the large fresco at I North as showing Peitho, the goddess of Persuasion, imploring Venus to wake Cupid (Cosmic Amor, a combination of amor mutuus<\/em> and amore coelestis<\/em>) to ask him to stop the wars of the world (shown by the putti replacing arms by a book and by the stucco cartouches of battle at the lower left and right), and hence the reestablishment of peace under Francis I\u2019s sign of the salamander (an allusion to the Pais des Lames) and a victory of life as indicated by the large statue of a nude youth and of a nude young woman at left and right of the fresco, this call to Concord opposed to the Battle of Centaurs and Lapiths<\/em> at I South (it opposed to the scene of Sacrifice<\/em> at VII North); followed by a general discussion of the meanings of other bays, bay I showing the antithesis of Concord and War, II, the antithesis of youth well and badly used, and III, the antithesis of the punishment of impious Ajax and the Death of Adonis<\/em> mourned by the gods, which, with other bays, creates a cursus vitae<\/em>, bay II concerned with youth, III and V with times of trial, and VI with realization, and with I and VII both under the sign of pietas<\/em>: the whole gallery showing a divine plan of which the Prince is the instrument.<\/p>\n

B\u00e9guin, 1989, 829-831, 834-835, and n. 42, on the history of the end walls and on Rosso\u2019s assistants.<\/p>\n

B\u00e9guin, CASVA, 1989, 40 (see B\u00e9guin, 1994).<\/p>\n

Babelon, 1989, 240, 203, 205-206, 521, 690, with Figs.<\/p>\n

Joukovsky, 1990 (as again in Joukovsky, 1992, 9-20, with additional notes), identified the goddess of the large fresco at I North as Venus genetrix, standing in a pool referring to Fontaine belle-eau<\/em>, who is implored by Peitho(?),\u00a0the goddess of Persuasion, to awaken Cupid (Amore coelestis<\/em>) and to demand of him that he bring an end to the fighting that tears the world apart, as shown in the Combat of Centaurs and Lapiths<\/em> at I South and in the stucco cartouches at the lower left and right of I North, the whole of I North, with its large male nude and female nude at the sides, suggesting, from a Platonic perspective, the possiblility of creating life and preserving grace and concord, the intervention of Venus preparing the mission of the peace-making Prince, that unfolds in the following bays, and unification for the civilizing Empire, leading to the apotheosis of the Prince seen in bay VII.<\/p>\n

Ciardi and Mugnaini, 1991, 31, 138-147, no. 138, with 12 Color Pls., 151.<\/p>\n

Joukovsky, 1992, republished the five essays of 1987, 1988, and 1990 as the first four chapters of this book, adding a short introduction and a few more notes, this followed by three chapters and a conclusion on methods of study to recognize the various ways in which the gallery and its program can be understood based largely upon the observations presented in the articles but with some new observations, in particular the suggestion of astrological meanings; in outline, the discussions concern the network of associations throughout the gallery, the double structure of the program of circles (as had been presented by McAllister Johnson) and a linear progression (the cursus vitae<\/em> of the Prince) and their interrelation, the role of the architecture of the gallery itself and of that feigned in the frescoes and stuccoes, the importance of each section in relation to the continuity of the program, and the language of the decoration in its multiple meanings and its obscurities; the three chapters and the conclusion, proceeding from the first four chapters and introduction, effectively creating through continual recapitulations a sense of the richness of the gallery\u2019s decorations such that \u201cC\u2019est qu\u2019on y trouvait, par del\u00e0 l\u2019initiale du prince, la main souveraine de l\u2019artiste.\u201d<\/p>\n

Stefaniak, 1992, 722, the dead Adonis based on the figure of Meleager on a Roman sarcophagus in Florence (which she did not specify).<\/p>\n

Del Bravo, 1993, 214, noted the wall with the Death of Adonis<\/em> as an indication of Rosso\u2019s own \u201cscala immaginativa\u201d and as evidence of a temperament little inclined to nature.<\/p>\n

B\u00e9guin, 1994, discussed, from a seventeenth century drawn copy, the lost fresco above the mantel in the destroyed North Cabinet as showing Constantine\u2019s burning of the Arian books at the First Council of Nicaea, and the possible role of Giulio Camillo Delminio on the conception of the program of the gallery, with particular reference to the Cleobis and Biton<\/em> and specifically to the roundel to its left which seems to represent the death of Agamedes and Trophonius, the architects of the temple of Apollo at Delos.<\/p>\n

Mugnaini, in Rosso e Volterra<\/em>, 1994, 152, under nos. 5-10 (Labors of Hercules<\/em>), noted that the figures in the Hercules Fighting the Centaurs<\/em> are taken up again at Fontainebleau.<\/p>\n

Ciardi, 1994, 31, 34, Fig., 72, 85, mentioned the unusual iconography of the gallery, and the background of the Education of Achilles<\/em> from Donatello.<\/p>\n

Mugnaini, 1994, 111, 112, 113, Figs. (the\u00a0Revenge of Nauplius<\/em> and the Centaurs and Lapiths<\/em>), mentions the Education of Achilles<\/em> in relation to the Florentine Moses<\/em> and the Loss of Perpetual Youth<\/em> in relation to the Roman Fury<\/em>, and notes that the Fortune relief in the gallery is almost an allegory of Charity.<\/p>\n

Franklin, 1994, 198, 199, Pl. 156, 204, Pl. 162, 264, 265, Pl. 208, 266, 267, Pl. 210, 268, Pl. 211, mentioned the Centaurs and Lapiths <\/em>as similar to the Moses<\/em>, Adonis in the Death of Adonis<\/em> as similar to Christ in the Sansepolcro Piet\u00e0<\/em>, the small figure of Francis I in the Enlightenment of Francis I<\/em>, also called Ignorance chass\u00e9e<\/em>, as related to Christ in the Christ in Glory<\/em>, the Nauplius<\/em> as related to the Moses<\/em>, and giving the following titles to three of the major pictures in the Gallery of Francis I: the Royal Elephant<\/em>, the Sacrifice<\/em>, the Unity of the State<\/em>, and for a fourth at I North as Venus and Minerva<\/em>(?).<\/p>\n

Knecht, 1994, 408, 411, 412-415, 432, 454.<\/p>\n

Brilli, 1994, 27.<\/p>\n

Brugerolles and Guillet, 1994, 38-39, under no. 14, Figs., the Expulsion of Ignorance<\/em> also as \u201cFran\u00e7ois I terrasant les d\u00e9mons de ignorance,\u201d and as related to the history of Pandora in numerous sixteenth century texts, especially if the box, according to Erasmus, was a gift from the father of the gods; 40, under no. 15, (Twins of Catania<\/em>, the Sacrific<\/em>e, and the Allegory of Deceit<\/em>); 92-95, no. 32, Figs. (Education of Achilles<\/em>, and Allegory of Old Age<\/em>); 130-133, Figs. (Dance of the Dryads<\/em>); 196-198, no. 63, Figs. (Sacrifice<\/em>).<\/p>\n

Acton, in French Renaissance<\/em>, 1994, 307, n. 14, under no. 73, noted that the figure bearing an old man in Raphael\u2019s Fire in the Borgo<\/em> was probably taken by Rosso for his fresco of Filial Piety<\/em>.<\/p>\n

Jollet, 1994, 78 and Fig. (Venus<\/em> wall), 80.<\/p>\n

Meyer, 1995, 287, 299-300, 319, commented that in the Unity of the State<\/em> Francis I is crowned with laurel, has a lion mask pauldron on his right shoulder, the Gorgoneion on his cuirass, and lion masks on his boots; he also mentioned the North Cabinet which had Primaticcio\u2019s Jupiter and Semele<\/em> over the mantelpiece, replaced by Louis Boulogne le Jeune\u2019s Minerva, the Arts and Francis I<\/em> (321, Fig. 10).<\/p>\n","protected":false},"excerpt":{"rendered":"

(For the literature specifically on the tapestries, see above.) \u00a0The greater part of the literature on the gallery, up to 1971, is listed in \u201cGalerie,\u201d RdA, 1972, 173-174. \u00a0Most of what appears there is also given below, excluding those items that are not directly related to the gallery, such as the print catalogues of Bartsch, […]<\/p>\n","protected":false},"author":13,"featured_media":0,"parent":908,"menu_order":25,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-1000","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/1000","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/users\/13"}],"replies":[{"embeddable":true,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/comments?post=1000"}],"version-history":[{"count":24,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/1000\/revisions"}],"predecessor-version":[{"id":9314,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/1000\/revisions\/9314"}],"up":[{"embeddable":true,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/908"}],"wp:attachment":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/media?parent=1000"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}