{"id":2558,"date":"2011-12-13T17:55:28","date_gmt":"2011-12-13T21:55:28","guid":{"rendered":"http:\/\/blogs.vassar.edu\/rosso\/"},"modified":"2013-05-30T11:28:17","modified_gmt":"2013-05-30T15:28:17","slug":"d-50a-b-c-d-copies-scene-of-sacrifice","status":"publish","type":"page","link":"https:\/\/pages.vassar.edu\/rosso\/catalogues\/drawings\/d-50a-b-c-d-copies-scene-of-sacrifice\/","title":{"rendered":"D.50A-D (COPIES) Scene of Sacrifice (First Version)"},"content":{"rendered":"

For the Fresco in the Gallery of Francis I, Fontainebleau<\/strong><\/p>\n

c. 1531\/1532-1534<\/p>\n\n\n\n\n\n\n
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D.50C (COPY) Sacrifice, Louvre<\/p><\/div>\n

D.50C. Paris, Louvre, Inv. 1574.<\/strong><\/p>\n

Fig.D.50Ca<\/a>
\nFig.D.50Cb<\/a> bw<\/p>\n

Pen and ink and some wash over black chalk, 25.1 x 29.3; laid down; wm?.\u00a0 There is a tear through the upper left corner, a piece is missing at the upper right and the upper right corner is torn away, the lower right corner is cut away, filled and re-drawn, and there are several holes in the drawing.\u00a0 Faintly inscribed in pencil at the lower right: Rous<\/em>?<\/p>\n

PROVENANCE: Saint-Morys.<\/p>\n

LITERATURE:<\/p>\n

Kusenberg, 1931, 149, no. 12, 151, under no. 51, as a copy of Boyvin\u2019s print (see below), and by the same hand as Paris, Ensba, Masson 1196.<\/p>\n

Barocchi, 1950, 126, Fig. 79, as a copy of the fresco in the gallery before it was completely repainted.\u00a0 Longhi, 1951, 59 (1976, 99), as Rosso.<\/p>\n

Panofsky, 1958, 166, n. 16, as reproducing Rosso\u2019s first version of the Sacrifice<\/em> and as possibly by Boyvin.<\/p>\n

Carroll, 1964 (1976), I, Bk. I, 250, II, Bk. II, 381-386, D.42B, Bk. III, Fig. 111.<\/p>\n

Carroll, 1966, 175, as a partial copy of a lost drawing by Rosso for his first version of the Sacrifice<\/em>.<\/p>\n

B\u00e9guin and Pressouyre, 1972, 138-139, as a variant of Rosso\u2019s Sacrifice<\/em> in the gallery.<\/p>\n

Carroll, 1987, 276, and n. 2, under no. 87.<\/p>\n

Saint-Morys, 1987, II, inv. no. 1574, giving his attribution to Rosso as well as Morel d\u2019Arleaux\u2019s (509).<\/p>\n

Scailli\u00e9rez, 1992, 132, no. 57C, 133, Fig.C, as a studio copy of a lost drawing although it has also been thought an original drawing.<\/p>\n

B\u00e9guin, 1992 (1987), 89, 90, as close to the drawing in a French private collection.<\/p>\n

Brugerolles and Guillet, 1994, 198, n. 16, mentioned in relation to the drawing in the Ensba.<\/td>\n<\/tr>\n

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D.50D (COPY) Sacrifice, Private Collection<\/p><\/div>\n

D.50D. France, Private Collection.<\/strong><\/p>\n

Fig.D.50D<\/a><\/p>\n

Pen and ink and wash heightened with white, measurements unknown.<\/p>\n

LITERATURE:<\/p>\n

B\u00e9guin and Pressouyre, 1972, 138, as Rosso (?).<\/p>\n

B\u00e9guin, 1992 (1987), 89, 90, 92, Fig. 3, as Rosso?, and closely related to the drawing in the Louvre.<\/p>\n

B\u00e9guin, 1995, 194, as showing the other half of the first version of the Sacrifice<\/em>, and which might match the fragment in the Ensba.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

A careful comparison of the details of these four drawings indicates that all four were derived from a single lost drawing by Rosso, although it is possible that another complete and accurate lost copy served as the model for some or all of these copies.\u00a0 The drawing in the Ensba is the most finished and most carefully executed of the copies.\u00a0 Its media, technique, and handling show a kind of draughtsmanship that must go back to an original drawing very similar to Rosso\u2019s Annunciation<\/em> of around 1531 or 1532 in the Albertina (Fig.D.43a<\/a>) and his Petrarch drawing of around 1534 at Christ Church (Fig.D.47a<\/a>).\u00a0 Only the use of parallel lines and cross-hatching in pen and ink in the Ensba drawing differentiate it from the Albertina and Christ Church drawings.\u00a0 This shading, which also appears in the Louvre copy and the copy in a private collection, creates another level of shadow that deepens the tone of the washes; it was certainly a part of the lost original drawing as it appears in three of the copies.\u00a0 The penmanship of this shading can to some extent be compared to that in Rosso\u2019s study (Fig.D.26A<\/a>) for the figure of Christ in the Borgo Sansepolcro Piet\u00e0<\/em>.\u00a0 In the G\u00f6ttingen drawing, it is basically the outlines of the figures and objects that are copied, but these follow those that are found in the other copies.\u00a0 However, the G\u00f6ttingen copy is the only one that records the entire scene; a line along its right edge marks the limit of the composition at this side, while two short vertical lines at the far left seem to mark its limit there.\u00a0 The Ensba drawing shows the left third of it; the Louvre copy, the center two-thirds; the copy in a private collection, the right two-thirds.<\/p>\n

Rosso\u2019s lost drawing was a very complete study for the first version of his Scene of Sacrifice<\/em> planned for the Gallery of Francis I and designed during the earliest phase of his work on the project.\u00a0 This phase probably began c. 1531 or c. 1532 and lasted most likely until the stucco workers initiated their activity in the gallery in 1534, it would seem (see P.22).\u00a0 The schematization of the architecture of the altar – see especially the merely blocked-out cornice – is found in other drawings by Rosso; it is most clearly seen in the copies of his Allegory of the Virgin as the Ark of the Covenant<\/em> of 1529.<\/p>\n

The Louvre and Ensba copies do not at all appear to be by the same hand, as Kusenberg thought, and there is no reason to believe, as the Panofskys conjectured, that the Louvre drawing is by Boyvin.\u00a0 The Louvre copy and the copy in a private collection are very similar and may be derived from another copy without the full washes shown in the copy in the Ensba.<\/p>\n

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<\/a>1<\/sup> The drawing, which was kindly brought to my attention by Dr. Ernest Gulden, is in a book with material of Netherlandish painters with names beginning with the letter D, as reported to me by Dr. Hans Wille.\u00a0 This classification must be due to the inscription at the lower left of the drawing.<\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

For the Fresco in the Gallery of Francis I, Fontainebleau c. 1531\/1532-1534 D.50A. G\u00f6ttingen, Kunstsammlung der Georg-August Universit\u00e4t, unnumbered.1 Fig.D.50A Pen and ink over black chalk, 30.8 x 43.1.\u00a0 Several small pieces are missing at the bottom, especially at the right.\u00a0 Inscribed in ink at the lower left: Droest. LITERATURE: Carroll, 1987, 276, and n. […]<\/p>\n","protected":false},"author":13,"featured_media":0,"parent":820,"menu_order":54,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-2558","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/2558","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=2558"}],"version-history":[{"count":23,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/2558\/revisions"}],"predecessor-version":[{"id":9270,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/2558\/revisions\/9270"}],"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=2558"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}