{"id":3768,"date":"2012-04-04T14:10:30","date_gmt":"2012-04-04T18:10:30","guid":{"rendered":"http:\/\/blogs.vassar.edu\/rosso\/?page_id=3768"},"modified":"2012-08-17T09:50:08","modified_gmt":"2012-08-17T13:50:08","slug":"e-5-barbiere-fame","status":"publish","type":"page","link":"https:\/\/pages.vassar.edu\/rosso\/catalogues\/engravings\/e-5-barbiere-fame\/","title":{"rendered":"E.5 Fame"},"content":{"rendered":"
\"\"<\/a>

E.5 Barbiere, Fame, I<\/p><\/div>\n

Engraving by Domenico del Barbiere, 28.8 x 22.3 P (Boston).<\/p>\n

Two states:<\/p>\n

I. Inscribed at the upper left: .<\/sup><\/em><\/strong> GLO<\/sup>RIA .<\/sup><\/strong><\/em> and on a small curled piece of paper at the lower right: DOMENICO -\/DELBARBIERE .<\/sup><\/strong> \/ FLORE<\/sup>NTINO<\/em><\/p>\n

II. Also inscribed: P. Mariette ex.<\/em> (Zerner)<\/p>\n

Fig.E.5<\/a> (State I, Paris, Ba 12)<\/p>\n

Heinecken, 1788-1790, II, 163-164, as Barbiere after Salviati.\u00a0 Bartsch, XVI, 1818, 359, 7, as Barbiere after Rosso.\u00a0 Le Blanc, 1854-1890, I, 147, 11, as after Rosso.\u00a0 Destailleur, 1895, 281, no. 133.\u00a0 Herbet, III, 1899, 10, (1969, 98), 7, as Barbiere after Rosso, and related to a painting that was in the Gallery of Francis I.\u00a0 Zerner, 1969, XXXVIII, and D.B.9 (Paris), as 1540-1545, after Rosso, and related to a figure that was in the gallery.<\/p>\n

COLLECTIONS: (all I) Amsterdam (Triomphe du Mani\u00e9risme<\/em>, 1955, 98, no. 129).\u00a0 Boston, 59.661 (note on mat that wm. is a Gothic P).\u00a0 Cleveland (formerly Chatsworth, Vol. 5, p.60, no. 103; sale, Colnaghi, 1-19 July 1986, BM<\/em>, CXXVIII, May 1986, xliii, Fig.).\u00a0 Hamburg, inv. no. 1119.\u00a0 London, V1-36; 1874-8-8-1543.\u00a0 New York, 49.49.1.\u00a0 Paris, Ba 1; Ba 12, p.84, no. 121; Ed 8b, no. 142 R\u00e9serve.\u00a0 Philadelphia Museum of Art (formerly Pennsylvania Academy of Fine Arts, A-P-1261).\u00a0 Vienna, It.III.3, p.51 top.<\/p>\n

LITERATURE:<\/p>\n

Mariette, Ab\u00e9c\u00e9dario<\/em>, 1858-1859, 23, as Barbiere after Rosso.<\/p>\n

Pittaluga, 1928, 281-284, Fig. 219 (Vienna), as Barbiere influenced by Rosso.<\/p>\n

Kusenberg, 1931, 79, 159, Pl. LXII, 2 (Paris), as after Rosso\u2019s lost painting.<\/p>\n

Barocchi, 1950, 115, n. 3, perhaps far from Rosso\u2019s original.<\/p>\n

Oberhuber, 1966, 150-151, no. 244.<\/p>\n

McAllister Johnson and Graham, 1968, 17, Fig. 8 (Paris), as after a lost work by Rosso in the Gallery of Francis I, the figure\u2019s two traditional trumpets indicating Favorable Fame and Unfavorable Fame.<\/p>\n

Thirion, 1971, 47, as after Rosso, and used for a figure on a fireplace at \u00c9couen.<\/p>\n

Zerner, in EdF<\/em>, 1972, 278, Fig. (Paris), 279, no. 338.<\/p>\n

Zerner, in Fontainebleau<\/em>, 1973, I, 71, Fig. 38, II, 86-87, no. 338.<\/p>\n

Zerner, IB<\/em>, 33, 1979, 263 (Vienna).<\/p>\n

Borea, 1979, 371, Fig. 244 (Vienna), as after Barbiere\u2019s invention.<\/p>\n

Borea, 1980, 278, 280, no. 769, 277, Fig. (Vienna), as Barbiere after his own design.<\/p>\n

L\u00e9v\u00eaque, 1984, 232, 233, Fig. (Paris).<\/p>\n

Wardropper, 1985, 23-24, 33-34, 35, 36, 37, 49-51, 68, Fig. 10, as probably an early engraving done shortly before Rosso\u2019s death, and possibly based on Rosso\u2019s lost fresco at Fontainebleau.<\/p>\n

E. Hevers, in Zauber der Medusa<\/em>, 1987, 329, no. VII, 40, Fig. (Hamburg), after Rosso.<\/p>\n

Carroll, 1987, 44, 250-252, no. 78, with Fig. (Paris, Ba 12).<\/p>\n

Karpinski, 1988, 172, as just tenable as a print made before Rosso\u2019s death.<\/p>\n

Miller, 1992, 112, 113, n. 2, mentions technical innovations visible in the Cleveland impression.<\/p>\n

Wardropper, in French Renaissance<\/em>, 1994, 288, under no. 67, as by Barbiere and thought to be after Rosso.<\/p>\n

B\u00e9guin, 1994, 272, n. 17, mentioned in relation to the entrance to the North Cabinet of the Gallery of Francis I.<\/p><\/blockquote>\n

As discussed under P.22, IV N, this figure would seem to be dependent on the reverse painted image of Fame<\/em> that Rosso designed for the area to the left of the entrance to the North Cabinet in the Gallery of Francis I.\u00a0 This relationship has generally been recognized, except by Borea who believes the design is by Barbiere himself.<\/p>\n

Barbiere is known to have worked from the compositions of others, including Michelangelo and Primaticcio, and to have engraved a composition closely related to one by Giulio Romano (see Zerner, 1969, D.B.3, 3, 4, and 7).\u00a0 The former are inscribed with those artists\u2019 names; the last is not.\u00a0 All would seem to be based on drawings, or drawn copies in the case of the engravings after the Last Judgement<\/em>.\u00a0 The print after Giulio may well be based on a lost drawing by him.\u00a0 It is, therefore, not improbable that the Fame<\/em> is also based on a drawing by someone other than the engraver.\u00a0 Stylistically, the figure is very much like some in the gallery, and it fulfills so completely what could have been required of Rosso\u2019s figure in the gallery.\u00a0 Barbiere\u2019s figure also makes a good companion to the figure of Victory<\/em>, known from an anonymous etching (Fig.E.141<\/a>) that seems to represent the figure that Rosso planned for the right side of the door to the North Cabinet.\u00a0 Sketchy as it is, one might also wonder why Barbiere would not have shown the land masses of Italy and Sicily in the right direction if the print were an engraving of his own design, a correction he might, of course, also have made working from a drawing by Rosso.<\/p>\n

The drawing by Rosso that Barbiere worked from may have been one like his Standing Apostle<\/em> (Fig.D.36a<\/a>) or the Empedocles-St. Roch<\/em> (Fig.D.80a<\/a>), both done in red chalk.\u00a0 There is a finesse about the print that recalls Rosso\u2019s draughtsmanship, although the engraving technique has probably recorded it as too regular.\u00a0 This apparent correspondence between Rosso\u2019s draughtsmanship and the technique of the print could be related to the possibility that the print was made before Rosso\u2019s death, as suggested by Wardropper and Karpinski.1<\/sup><\/a><\/p>\n

There is only one serious discrepancy between the Victory<\/em> and the Fame<\/em>: the breadth of the latter image because of the extension of the wings.\u00a0 In the gallery, these figures would have occupied comparable areas across from each other.\u00a0 But as Barbiere would have worked from a drawing by Rosso, the image of that could have been slightly modified before it was actually painted in the gallery.\u00a0 However, it is also possible that part of the wings would simply have been cut off by a frame, as occurs with several of the figures in the gallery, such as the head of the nude to the left of the Education of Achilles<\/em> (Fig.P.22, II N b<\/a>), the drapery of Philyra to the right of the Royal Elephant<\/em> (Fig.P.22, VI N a<\/a>), and the pairs of figures to the left and right of the Unity of the State<\/em> (Fig.P.22, VI S a<\/a>).<\/p>\n

VARIATION<\/p>\n

Fame<\/em>, \u00c9couen, Ch\u00e2teau,\u00a0 Salle d\u2019honneur, relief over fireplace.\u00a0 White marble on a background of black schist.\u00a0 LITERATURE: Kusenberg, 1931, 117, 208, n. 315, Pl. LXII, 1, as by Jean Goujon.\u00a0 D. du Colombier, Jean Goujon<\/em>, Paris, 1949, 48-49, as Goujon.\u00a0 McAllister Johnson and Graham, 1968, 17, as by a pupil of Goujon around 1550, and showing the influence of Barbiere\u2019s print and of Goujon\u2019s Fame<\/em> on the fa\u00e7ade of the Louvre.\u00a0 Thirion, 1971, 47, as wrongly attributed to Goujon.\u00a0 Claude Lauriol, in EdF<\/em>, 1972, 484, as school of Goujon, inspired by Barbiere\u2019s print.\u00a0 Carroll, 1987, 252, n. 4, under no. 78.<\/p>\n

This relief has generally been recognized as related to Barbiere\u2019s print.\u00a0 Kusenberg suggested it might rather be after the lost painting in the gallery.\u00a0 Compared to Barbiere\u2019s figure, the sculpted figure has much smaller wings, covered breasts, and carries a sword and wreath instead of two trumpets.\u00a0 She does not look up.\u00a0 As the relief figure is in the same direction as the print, it would seem to be dependent, so far as it is, on the engraving rather than upon Rosso\u2019s lost painting.<\/p>\n

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<\/a>1<\/sup> Miller noted that the Cleveland impression shows, as pointed out by Starr Siegele, \u201ctechnical innovations that cast new light on the means employed by the printmakers to translate Rosso\u2019s draughtsmanship into their own media.\u201d\u00a0 He did not indicate what these technical innovations are.<\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Engraving by Domenico del Barbiere, 28.8 x 22.3 P (Boston). Two states: I. Inscribed at the upper left: . GLORIA . and on a small curled piece of paper at the lower right: DOMENICO -\/DELBARBIERE . \/ FLORENTINO II. Also inscribed: P. Mariette ex. (Zerner) Fig.E.5 (State I, Paris, Ba 12) Heinecken, 1788-1790, II, 163-164, […]<\/p>\n","protected":false},"author":13,"featured_media":0,"parent":824,"menu_order":7,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-3768","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/3768","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=3768"}],"version-history":[{"count":15,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/3768\/revisions"}],"predecessor-version":[{"id":6534,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/3768\/revisions\/6534"}],"up":[{"embeddable":true,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/824"}],"wp:attachment":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/media?parent=3768"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}