{"id":2135,"date":"2011-11-23T14:53:06","date_gmt":"2011-11-23T18:53:06","guid":{"rendered":"http:\/\/blogs.vassar.edu\/rosso\/"},"modified":"2012-08-13T11:10:29","modified_gmt":"2012-08-13T15:10:29","slug":"d-17-18-gods-in-niches","status":"publish","type":"page","link":"https:\/\/pages.vassar.edu\/rosso\/catalogues\/drawings\/d-17-18-gods-in-niches\/","title":{"rendered":"D.17-18 Gods in Niches"},"content":{"rendered":"\n\n\n\n\n\n
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D.17A Pluto in a Niche<\/p><\/div>\n

Disegni di Stampe<\/em> for Four of Caraglio\u2019s Twenty Engravings.<\/strong><\/p>\n

1526<\/p>\n

D.17A. Pluto in a Niche<\/strong><\/p>\n

Lyons, Mus\u00e9e Lyonnais des Arts D\u00e9coratifs, no. 447\/a.<\/p>\n

Fig.D.17A<\/a><\/p>\n

Red chalk and red wash (both reddish-orange in tone) over a preliminary drawing in black chalk, 22.3 x 10.8; laid down; wm.?; some small light stains.\u00a0 Inscribed in brown ink at the lower left: 20013<\/em> [accession number].<\/p>\n

PROVENANCE: Acquired by the museum (Lugt, Suppl\u00e9ment<\/em>, 1699a, at the lower right, of the Mus\u00e9e d’art et industrie) from the dealer Basset in Paris in 1867 (see M.-E. B\u00e9guin below).<\/p>\n

LITERATURE:<\/p>\n

B\u00e9guin, in EdF<\/em>, 1972, 180, Fig., 181, no. 203, as Rosso, for the engraving by Caraglio.\u00a0She points out that the drawing was formerly attributed to Primaticcio and identified as Rosso\u2019s by J. F. M\u00e9jan\u00e8s in 1970.<\/p>\n

Neilson, 1974, 169, as Rosso.<\/p>\n

Borea, 1980, 248, under no. 618.<\/p>\n

Marie-\u00c9liane B\u00e9guin, in La Renaissance<\/em>, Quebec, 1984, Color Pl. 18, 298, no. 158, and Fig. (wrongly identifying the number inscribed at the lower left as giving Rosso\u2019s name).<\/p>\n

L\u00e9v\u00eaque, 1984, 163, 165 Fig.<\/p>\n

Henriette Pommier, in Dessins…de Lyon<\/em>, 1984-1985, 26-27, no. 2, and Fig. 2.<\/p>\n

Carroll, 1987, 9, 10, 24, 37, 39, 40, 96-97, no. 19, with Fig.<\/p>\n

Carroll, 1989, 12, Fig. 15.<\/p>\n

Massari, 1989, 119, under no. 36.<\/p>\n

Landau, in Landau and Parshall, 1994, 159, Caraglio\u2019s print betters the drawing.<\/p>\n

Franklin, 1994, 134, 136, Pl. 99, as Rosso.<\/p>\n

Harprath, 1994, 360, 363.<\/p>\n

Cordellier, 2002, 90.<\/td>\n<\/tr>\n

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D.18 Bacchus in a Niche<\/p><\/div>\n

D.18. Bacchus in a Niche<\/strong><\/p>\n

Besan\u00e7on, Mus\u00e9e des Beaux-Arts et d\u2019Arch\u00e9ologie, no. D.1444.<\/p>\n

Fig.D.18a<\/a> slightly cropped
\nFig.D.18b<\/a> bw<\/p>\n

Red chalk and red wash over outlines in black chalk, 21.5 x 11.\u00a0 Inscribed in ink at the lower left: D.1444<\/em>.<\/p>\n

PROVENANCE: Jean Fran\u00e7ois Gigoux (Lugt 1164); given to the museum in 1896 (Lugt, Suppl\u00e9ment<\/em>, 238c).<\/p>\n

LITERATURE:<\/p>\n

Carroll, 1961, 448, Fig. 5, 449, as Rosso, and the model for Caraglio\u2019s print of 1526.<\/p>\n

Carroll, 1964 (1976), I. Bk. I, 126-129, 132, Bk. II, 240-242, D.17, II, Bk. III, Fig. 61, as Rosso, 1526.<\/p>\n

B\u00e9guin, in Le seizi\u00e8me si\u00e8cle…peintures et dessins<\/em>, 1965-1966, 203, no. 248, 204, Fig., as Rosso.<\/p>\n

Shearman, 1967, 195, n. 33, as Rosso, and as for the print by Caraglio.<\/p>\n

Marita Horster, \u201cAntike Vorstufen zum Florentiner Renaissance Bacchus,\u201d Festschrift Ulrich Middeldorf<\/em>, Berlin, 1968, I, 219, II, Pl. CXVI, 5, as Rosso, and as related to a statue by Praxiteles.<\/p>\n

Thirion, 1971, 33, and n. 18, believes the drawing may be a copy after Caraglio\u2019s print.<\/p>\n

Carroll, 1971, 25, as Rosso.<\/p>\n

B\u00e9guin, in EdF<\/em>, 1972, 178, no. 202, 180, Fig., as Rosso for Caraglio\u2019s engraving.<\/p>\n

Marie-Eliane B\u00e9guin, in Renaissance<\/em>, Quebec, 1984, 298, under no. 158.<\/p>\n

L\u00e9v\u00eaque, 1984, 163, 165, Fig.<\/p>\n

Henriette Pommier, in Dessins…de Lyon<\/em>, 1984-1985, 26, under no. 2.<\/p>\n

Monbeig-Goguel, in Pittura, Cinquecento<\/em>, 1987, II, 600, 603, 607, Fig. 909, noted its extreme refinement, the perfect adaptation of figure to frame, and its \u201cmaniera.\u201d<\/p>\n

Carroll, 1987, 9, 10, 24, 37, 39, 40, 98-99, no. 20, with Color Pl.<\/p>\n

Carroll, 1989, 12, Fig. 17.<\/p>\n

Massari, 1989, 119, under no. 36.<\/p>\n

Landau, in Landau and Parshall, 1994, 159, 160, Fig. 167.<\/p>\n

Franklin, 1994, 134, 137, Pl. 101, as Rosso.<\/p>\n

Brugerolles and Guillet, 1994, 66, n. 5, under, no. 23.<\/p>\n

Harprath, 1994, 363.<\/p>\n

Cordellier, 2002, 90, noted it was recognized by Pierre Rosenberg as one of Rosso\u2019s drawing for Caraglio\u2019s Gods in Niches<\/em>.\u00a0 Fran\u00e7oise Soulier-Fran\u00e7ois, in Les Dessins du Mus\u00e9e des Beaux-Arts et d\u2019Arch\u00e9ologie de Besan\u00e7on<\/em>, 2003 (2005), p. 24, with Color Plate, recognized the influence of Michelangelo and Andrea Sansovino, and the iconographic innovation of the god pressing the grapes into the cup he holds high up.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

These four drawings are related to four of the twenty Gods in Niches <\/em>that Vasari says Caraglio engraved in Rome after Rosso\u2019s drawings each specifically made as a disegno di stampa<\/em>, Vasari\u2019s term for a drawing executed as the immediate model for the printmaker.\u00a0 The four prints appear in the series as no. 7, Pluto<\/em> (Fig.E.32<\/a>), no. 8, Proserpina<\/em> (Fig.E.33<\/a>), no. 9, Mars<\/em> (Fig.E.34<\/a>), and no. 18, Bacchus<\/em> (Fig.E.42<\/a>). Only the first of the series, Saturn <\/em>(Fig.E.26<\/a>), bears Caraglio\u2019s name and a date: 1526.\u00a0 Rosso\u2019s authorship is known from Vasari\u2019s remarks on Caraglio\u2019s career and in his Life<\/em> of Rosso, and from the character and quality of the draughtsmanship of the drawings themselves.<\/p>\n

Clearly all four drawings were done by the same artist, and all are the same size as the prints to which they are related.\u00a0 Details of all four drawings differ from what appears in the engravings.\u00a0 The hind quarters of the dog behind Bacchus are not reproduced in the print following through their cancellation with washes in the drawing, where also the underdrawing of the animal\u2019s tail is not further drawn.\u00a0 The outline of Pluto\u2019s niche overrides the feet of Cerberus and the god as evidence of the working out of the design of the drawing that need not be copied by the engraver and unlikely to be reproduced in a draughtsman\u2019s copy.\u00a0 None of the drawings reflect the precision of the engravings, even as the drawings appear to have been done to serve the engraver\u2019s methods of cutting the designs into metal.\u00a0 Likewise, the Proserpina <\/em>and the Mars<\/em> show the fine touch of a careful draughtsman working for an engraver and not from his translations.\u00a0 All of the drawings show the walls outside the niches shaded, not white as in the prints, although later states of the prints bring back this feature.<\/p>\n

In their fine parallel shading, the drawings are similar to Rosso\u2019s study of 1524 for the figure of Eve of the Cesi Chapel Fall of Adam and Eve <\/em>(Fig.D.10<\/a>) and the very slightly earlier study for the figure of St. Sebastian in the Dei Altarpiece (Fig.D.7<\/a>).\u00a0 Comparable fine preliminary contours in black chalk appear in the “Virt\u00f9” Vanquishing Fortune<\/em> (Fig.D.6a<\/a>) and in the Seated Woman in a Niche<\/em> of 1524 (Fig.D.11<\/a>).\u00a0 The red chalk of the disegni di stampe<\/em> of 1526 is not quite so fine as in other drawings by Rosso of around the same time, a difference likely because the function of the drawings was to serve as models for an engraver who then created his own sculptural refinement upon the drawn images, a transformation that Rosso may well have foreseen as Caraglio\u2019s prerogative.<\/p>\n","protected":false},"excerpt":{"rendered":"

Disegni di Stampe for Four of Caraglio\u2019s Twenty Engravings. 1526 D.17A. Pluto in a Niche Lyons, Mus\u00e9e Lyonnais des Arts D\u00e9coratifs, no. 447\/a. Fig.D.17A Red chalk and red wash (both reddish-orange in tone) over a preliminary drawing in black chalk, 22.3 x 10.8; laid down; wm.?; some small light stains.\u00a0 Inscribed in brown ink at […]<\/p>\n","protected":false},"author":13,"featured_media":0,"parent":820,"menu_order":17,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-2135","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/2135","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=2135"}],"version-history":[{"count":18,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/2135\/revisions"}],"predecessor-version":[{"id":2901,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/2135\/revisions\/2901"}],"up":[{"embeddable":true,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/820"}],"wp:attachment":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/media?parent=2135"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}