![\"\"](\"http:\/\/pages.vassar.edu\/rosso\/files\/2011\/12\/D.71A-Piet\u00e0-Amsterdam.jpg\")
<\/a>D.71A (COPY) Piet\u00e0, Amsterdam<\/p><\/div>\n
D.71A. Formerly Amsterdam, R.W.P. de Vries (dealer, 1929).<\/strong><\/p>\n Fig.D.71A<\/a><\/p>\n Pen and ink and wash, 30 x 22.5 (see sales catalogue below); wm?.<\/p>\n LITERATURE:<\/p>\n Dessins de ma\u00eetres anciens et modernes<\/em>, sale\u2019s catalogue, R.W.P. de Vries, Amsterdam, 1929, lot 26, as Luca Cambiaso.<\/p>\n Carroll, 1987, 316, 318, n. 1, under no. 101, as a copy of a lost drawing by Rosso.<\/td>\n<\/tr>\n D.71B (COPY) Piet\u00e0, Edinburgh<\/p><\/div>\n D.71B. Edinburgh, National Galleries of Scotland, RSA 1369.<\/strong><\/p>\n Fig.D.71B<\/a><\/p>\n Pen and black ink and grayish brown wash, possibly over faint traces of black chalk; 30.2 x 21.6, but 0.2 wider at the toes of Christ that have been cut around; tip of upper left corner missing and a tear at the lower right, laid down; wm?; slightly foxed and a brown stain at the lower left.<\/p>\n LITERATURE:<\/p>\n Carroll, 1987, 316, 318, n. 1, under no. 101, as a copy of a lost drawing by Rosso.<\/p>\n<\/div>\n<\/td>\n<\/tr>\n D.71C (COPY) Piet\u00e0, France<\/p><\/div>\n D.71C. France, Private Collection.<\/strong><\/p>\n Fig.D.71C<\/a><\/p>\n Pen and brown ink, brown wash, perhaps also some gray wash, 29 x 21.5; laid down; wm?.\u00a0 Damaged and repaired above St. John\u2019s head at the top of the vertical bar of the cross; a long triangular piece missing along the lower left and another along the lower edge to the right of Christ\u2019s left foot, both filled; the lower right corner missing, filled, and re-drawn, but without the right foot seen in the other two copies.1<\/sup><\/a><\/p>\n LITERATURE:<\/p>\n Carroll, 1987, 316, 318, n. 1, under no. 101, as a copy of a lost drawing by Rosso.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n These three drawings, none of which is of the quality of Rosso\u2019s autograph drawings, show exactly the same composition, although the Amsterdam drawing is slightly cut at the left and at the bottom and the drawing in France has its lower right corner missing and re-drawn without the right foot of the Virgin.\u00a0 The composition of the Edinburgh drawing is possibly slightly enlarged at the top and bottom.\u00a0 All three drawings show the same lines and rows of small parallel strokes, but it seems that the penmanship of the Amsterdam drawing is the most accurate in recording Rosso\u2019s.\u00a0 The placement of the washes is about the same in the Amsterdam and French drawings, but, judging from photographs, those in the French drawing, although faded, it would seem, are more subtle in their variations.\u00a0 The washes in the Edinburgh drawing are only partially related to what appears in the other drawings, and are somewhat difficult to follow in regard to their function within the composition, suggesting that the draughtsman here was less faithful to his model.\u00a0 But even in the other two copies the correspondence of the washes is not complete.<\/p>\n The three drawings show the same kind of draughtsmanship that appears in Rosso\u2019s Throne of Solomon<\/em> of 1529 (Fig.D.34<\/a>) and in his Pandora and Her Box <\/em>of around 1536 (Fig.D.67a<\/a>), although the studied look of the handling of the Piet\u00e0<\/em> drawings resembles more that of the earlier drawing.\u00a0 There is in all three drawings the same type of clear pen outlines and the same use of rows of small parallel strokes for the description of internal details.\u00a0 In the drawing in France, there is also shading made with parallel strokes of the point of a brush, as found in the two autograph drawings.\u00a0 There is good reason to believe, therefore, that the three drawings are good copies, of which the one in France is the best and most accurate, of a lost drawing by Rosso.<\/p>\n The figure of Christ is, except for the position of the left arm, virtually identical to Adonis in Rosso\u2019s Death of Adonis<\/em> in the Gallery of Francis I (Fig.P.22, III S a<\/a>).\u00a0 Mary Magdalen\u2019s pose from the waist up is very similar to that of the winged woman in the lower left corner of that fresco.\u00a0 The compact composition of the Piet\u00e0<\/em> is a kind of clarification of that of the Borgo Sansepolcro Piet\u00e0<\/em> of 1527-1528 (Fig.P.19a<\/a>), in the direction of what appears in the Louvre Piet\u00e0<\/em> of around 1538 (Fig.P.23a<\/a>).\u00a0 These comparisons not only support Rosso\u2019s authorship of the composition but also point to its creation in France, where it was etched by Fantuzzi (see below).\u00a0 The similarity of this Piet\u00e0<\/em> to the Death of Adonis <\/em>suggests that both were done about the same time, although it is likely that the frescoed scene, invented for a major project, preceded the drawing, even though Rosso had in mind the subject of the drawing when he conceived the painting.\u00a0 The greater clarity and concentration of the Piet\u00e0<\/em> also suggest this chronological relationship.\u00a0 The drawings do not, however, show a scene with the grand expressiveness of the Louvre Piet\u00e0<\/em> of 1538 or of other works that seem to have been done later.\u00a0 It is likely, then, that the lost drawing was done around 1537, after the fresco of late 1536 and before the painting of around 1538.<\/p>\n\n \n <\/a>\n \n <\/a>