{"id":2611,"date":"2011-12-13T18:23:32","date_gmt":"2011-12-13T22:23:32","guid":{"rendered":"http:\/\/blogs.vassar.edu\/rosso\/"},"modified":"2013-05-30T11:32:08","modified_gmt":"2013-05-30T15:32:08","slug":"d-59-copy-the-revenge-of-nauplius-for-the-fresco-in-the-gallery-of-francis-i-fontainebleau","status":"publish","type":"page","link":"https:\/\/pages.vassar.edu\/rosso\/catalogues\/drawings\/d-59-copy-the-revenge-of-nauplius-for-the-fresco-in-the-gallery-of-francis-i-fontainebleau\/","title":{"rendered":"D.59 (COPY) Revenge of Nauplius"},"content":{"rendered":"
\"\"<\/a>

D.59 (COPY) Revenge of Nauplius<\/p><\/div>\n

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

1535 or 1536<\/p>\n

Besan\u00e7on, Mus\u00e9e des Beaux-Arts, no. D.3116.<\/p>\n

Fig.D.59<\/a><\/p>\n

Pen and ink over black chalk, 28.4 x 43.4.\u00a0 Creased down the center, and slightly stained here and there, especially at the upper left and right.\u00a0 Inscribed in ink at the lower left: D.3.116<\/em>.<\/p>\n

PROVENANCE: Jean Gigoux (Lugt 1164); given to the museum in 1896 (Lugt 238a).<\/p>\n

LITERATURE:<\/p>\n

Carroll, 1987, 238, 241, n. 1, under no. 74, as a copy of a lost drawing by Rosso.<\/p><\/blockquote>\n

As discussed in P.22, III N, and in Chapter VIII, this drawing is a copy of a lost drawing by Rosso for his fresco of the Revenge of Nauplius<\/em> in the Gallery of Francis I (Fig.P.22, III N a<\/a>).\u00a0 Besides showing the flying hair of some of the figures and the prows of some of the ships differently from their appearance in the fresco, the drawing also shows Nauplius\u2019s genitals exposed while they are covered with drapery in the painting.\u00a0 The drawing was not copied from Fantuzzi\u2019s reversed etching of this scene (Fig.E.71<\/a>), which, like the fresco, shows Nauplius\u2019s genitals covered.<\/p>\n

The studied penmanship of the drawing comes very close to Rosso\u2019s as it can be seen in his Design for an Altar<\/em> (Fig.D.38a<\/a>), in his Annunciation<\/em> in Vienna (Fig.D.43a<\/a>), and in his Petrarch drawing at Christ Church (Fig.D.47a<\/a>).\u00a0 But it is clear that the Nauplius drawing is too methodically executed to be an original work by Rosso.\u00a0 Its draughtsmanship also resembles that of the Pandora and Her Box<\/em> (Fig.D.67a<\/a>), although the lost original of the Besan\u00e7on drawing would seem, from the copy, to have been not so swiftly executed as that drawing.<\/p>\n

Furthermore, it is most likely that the lost original of the Nauplius<\/em> drawing was not executed only with pen and ink; it must have had washes.\u00a0 It is also very possible that it was heightened with white and was done on a dark ground, like the study for the early version of the Scene of Sacrifice <\/em>known from several copies (Fig.D.50B<\/a>).\u00a0 The lost Nauplius<\/em> drawing would, then, have also resembled the other three drawings mentioned above.\u00a0 Only the pen lines have been reproduced by the copyist, as frequently is the case with copies of the drawings made for the gallery.<\/p>\n

As the Nauplius scene would seem to have been designed in 1535 or 1536, in a period when the influence of Michelangelo\u2019s art is first especially noticeable in work done for the gallery and here of Michelangelo\u2019s studies for his Last Judgement <\/em>– so, too, the lost Nauplius<\/em> drawing would have been done in one of these years (see P.22).<\/p>\n

A note at Besan\u00e7on suggests that Boyvin may be the author of this drawing, but there is no way to prove such an attribution.\u00a0 It may be pointed out, however, that Boyvin did not engrave this composition.\u00a0 The copy may be by the same hand as the copy in the Ensba, Paris (Fig.D.64<\/a>) of a lost drawing for the final version of the Scene of Sacrifice<\/em> in the Gallery of Francis I.<\/p>\n

PRINT. Du Cerceau, E.59 (Fig.E.59<\/a>).\u00a0 Design for the Decoration of a Cup or Bowl with Scenes of Figures and Ships in a Storm at Sea<\/em>, etching, showing the Nauplius figure with his genitals exposed and thus possibly dependent on either Rosso\u2019s lost drawing or on a copy of it.<\/p>\n","protected":false},"excerpt":{"rendered":"

For the Fresco in the Gallery of Francis I, Fontainebleau 1535 or 1536 Besan\u00e7on, Mus\u00e9e des Beaux-Arts, no. D.3116. Fig.D.59 Pen and ink over black chalk, 28.4 x 43.4.\u00a0 Creased down the center, and slightly stained here and there, especially at the upper left and right.\u00a0 Inscribed in ink at the lower left: D.3.116. PROVENANCE: […]<\/p>\n","protected":false},"author":13,"featured_media":0,"parent":820,"menu_order":63,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-2611","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/2611","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=2611"}],"version-history":[{"count":14,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/2611\/revisions"}],"predecessor-version":[{"id":9274,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/2611\/revisions\/9274"}],"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=2611"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}