{"id":3802,"date":"2012-04-04T16:46:28","date_gmt":"2012-04-04T20:46:28","guid":{"rendered":"http:\/\/blogs.vassar.edu\/rosso\/?page_id=3802"},"modified":"2012-08-17T10:08:05","modified_gmt":"2012-08-17T14:08:05","slug":"e-12-boyvin-enlightenment","status":"publish","type":"page","link":"https:\/\/pages.vassar.edu\/rosso\/catalogues\/engravings\/e-12-boyvin-enlightenment\/","title":{"rendered":"E.12 Enlightenment of Francis I"},"content":{"rendered":"
\"\"<\/a>

E.12 Boyvin, Enlightenment of Francis I<\/p><\/div>\n

Engraving by Ren\u00e9 Boyvin, 28 x 42.3 P (Boston).\u00a0 Inscribed on the two urns that flank the door to the temple, at the left: MALI<\/em>, at the right: BONI<\/em>; on the oval disc above the door: OSTIV \/ IOVIS<\/em>; in the lower left corner: Rous. Floren. Inuen. \/ Renatus Fecit<\/em>.<\/p>\n

Fig.E.12<\/a> (Boston)<\/p>\n

Robert-Dumesnil, VIII, 1850, 24-25, no. 16.\u00a0 Le Blanc, 1854-1890, I, 507, 185.\u00a0 Herbet, III, 1899, 35 (1969, 123), as Boyvin.\u00a0 Levron, 1941, 65, no. 7.<\/p>\n

COLLECTIONS: Berlin, 835.53.\u00a0 Boston, B726.\u00a0 Braunschweig.\u00a0 Florence, 7944ss.\u00a0 London, W;3.120; 1835-7-11-13.\u00a0 Lyons, exhibited (private collection, Dunand, 1973, no. 33).\u00a0 New Haven, Yale, 1970.4.15.\u00a0 Oxford.\u00a0 Paris, Ba 12 (two impressions); Ed 3; SNR.\u00a0 Paris, Ensba.\u00a0 Poughkeepsie, E.A. Carroll.\u00a0 Vienna, F.I.3, p.7, no. 12; It.II.211, p.100.<\/p>\n

LITERATURE:<\/p>\n

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

Destailleur, 1895, 277, no. 1146.<\/p>\n

Kusenberg, 1931, 157, 161, Pl. XLVII (Paris).<\/p>\n

Linzeler, 1932, 168-169.<\/p>\n

Adh\u00e9mar, 1946, Pl. VI – VII (Paris), introduction and table of illustrations, as Boyvin, c. 1543.<\/p>\n

Barocchi, 1950, 128, Fig. 85 (Paris).<\/p>\n

Adh\u00e9mar, 1953, 363, Fig. 2, 364.<\/p>\n

Panofsky, 1958, 165, n. 12, Fig. 4 (Paris).<\/p>\n

School of Fontainebleau<\/em>, Fort Worth, 1965, 47, 39, Fig. (Boston).<\/p>\n

Borea, 1980, 261, no. 659.<\/p>\n

Marianne Grivel, in Ronsard<\/em>, 1985, 108, no. 139, with Fig. (Paris, Ba 12), the king showing the features of Henri II, while in the fresco in the Gallery of Francis I and in Fantuzzi\u2019s print Francis is recognizable.<\/p>\n

E. Hevers, in Zauber der Medusa<\/em>, 1987, 199, no. IV, 6, and Fig. (Vienna, F.I.3, p.7).<\/p>\n

Carroll, 1987, 31, 286-287, no. 91, with Fig. (London, 1835-7-11-13).<\/p>\n

Davis, 1988, 225, under no. 100.<\/p>\n

Carroll, 1989, 25-27, Fig. 44 (London, 1835-7-11-13).<\/p>\n

Scalli\u00e9rez, 1992, 9, Fig. 2, as showing Francis I entering the temple of Jupiter to cultivate letters, the sciences, and the arts.<\/p>\n

Brugerolles and Guillet, 1994, 38, Fig. (Paris, Ensba, with 34<\/em> inscribed at lower left), 39.<\/p><\/blockquote>\n

The engraving is based upon a lost drawing by Rosso of 1535 or 1536 known from three copies (Fig.D.61A<\/a>; Fig.D.61B<\/a>; Fig.D.61C<\/a>).\u00a0 It could, however, be based upon such a copy or upon a lost copy made especially as a disegno di stampa<\/em>, as in the case of the Twins of Catania<\/em> (Fig.E.11<\/a>; Fig.D.60<\/a>).\u00a0 The engraving does not seem to be based upon one of the known copies, one of which is unfinished, the others too indecisive in their shading to be an adequate model for a print.\u00a0 In reverse of the fresco in the Gallery of Francis I and of the drawings, the print shares with the latter certain details not found in the painting: a barefoot Caesar, the nudity of the woman with upraised arms near the temple, and a bearded head between two columns.\u00a0 The only details in which the drawings and print differ are in the inscription above the doorway, which in the drawings appears on the lintel with the Royal F over the door, as in the fresco, while in the engraving the inscription is on the oval disk over the door and the Royal F is eliminated.\u00a0 The inscriptions on the urns may never have been in the fresco.<\/p>\n

The style of the print certainly supports the information of the inscription that gives the engraving to Boyvin.\u00a0 Levron (1944, 18) suggests that the print was made c. 1550-1555, because it is signed Renatus<\/em>.\u00a0 Adh\u00e9mar\u2019s dating c. 1543 has to be too early for Boyvin.\u00a0 The elimination of the Royal F probably indicates that the print was made after Francis I\u2019s death.\u00a0 But by the removal of this symbol the meaning of the image is significantly altered.<\/p>\n

COPY, DRAWING: Paris, Jean-Jacques Lebel Collection.\u00a0 Pen and ink and wash, 16.5 x 21.5 (Fig.E.12 Copy, drawing<\/a>).<\/p>\n

COPY, PRINT: E.112.\u00a0 Domenico Zenoi.\u00a0 Engraving, 29.9 x 40.2, including margin below of 1.9 (Vienna).\u00a0 In reverse of Boyvin\u2019s print.\u00a0 Inscriptions on the urns and above the door of the temple as in Boyvin\u2019s engraving, but the lettering on the urns is different and so placed that MALI<\/em> is on the right and BONI<\/em> on the left; at the lower right: Dominicus Zenoi Venetus.\/ exidebat<\/em>; in the margin below on four linked plaques: Qualunaue ardisce temerarlo il monte \/ Salir per quiui entrar gl\u2019occhi s\u2019abbenda. \/\/ Che\u2019non lice veder l\u2019altiera fronte\/ Di Giove come folgori, e, risplenda,\/\/ Altri eccetto colui, che bebe al fonte \/ Pegaso, e la Virt\u00f9 castalia intenda.\/\/ E colui, che col fero immita il Padre \/ Valoroso d’Amor, fra mille sauadre<\/em>.<\/p>\n

Fig.E.112<\/a> (London)<\/p>\n

Robert-Dumesnil, VIII, 1850, 25, under no. 16, as Zenoi after Boyvin.\u00a0 Le Blanc, 1854-1890, IV, 262, 17.\u00a0 Herbet, II, 1896, 278 (1969, 74).\u00a0 Herbet, III, 1899, 35, (1969, 123) as Zenoi.<\/p>\n

COLLECTIONS: Bologna, Pinacoteca Nazionale, XXV, 6097.\u00a0 Chatsworth, Vol. 12, p.20, no. 29.\u00a0 London, Nn,7.17.2.\u00a0 Los Angeles (Ruiz).\u00a0 New York, 49.50.216.\u00a0 Oxford.\u00a0 Oxford, Christ Church, Vol. 011.\u00a0 Paris, Ba 12, M.\u00a0 Vienna, F.I.3, p.7, no. 13.<\/p>\n

LITERATURE:<\/p>\n

Renouvier, III, 1855, 30, as showing \u201cFran\u00e7ois Ier<\/sup> abondant le temple de Jupiter \u00e0 travers la foule aveugl\u00e9e.\u201d<\/p>\n

Mariette, Ab\u00e9c\u00e9dario<\/em>, 1858-1859, 23, as a copy after Boyvin by Zenoi.<\/p>\n

Destailleur, 1895, 277, under no. 1146.<\/p>\n

Kusenberg, 1931, 157, 161, under Robert-Dumesnil 16.<\/p>\n

Linzeler, 1932, 169.<\/p>\n

Borea, 1980, 261, no. 660.<\/p>\n

Carroll, 1987, 287, n. 2, under no. 91.<\/p>\n

Davis, 1988, 224-225, no. 100, Fig. (Los Angeles), as Zenoi, probably after Boyvin, and as The Conquest of Ignorance<\/em>.<\/p><\/blockquote>\n

Zenoi\u2019s engraving is a very close copy in reverse of Boyvin\u2019s print.\u00a0 However, the lights and darks have been much exaggerated, although the beam of light shining from the door of the temple has been somewhat diffused.\u00a0 This change, as well as the reversal of the inscriptions on the urns, seems to indicate that Zenoi did not quite understand the original print.\u00a0 The inscriptions on the print do not refer to the meaning of Rosso\u2019s fresco.\u00a0 But the change of the image away from that meaning had already begun with Boyvin\u2019s removal of the Royal F referring to Francis I.<\/p>\n

Mariette, Ab\u00e9c\u00e9dario<\/em>, 1858-1859, 23, said he knew a third anonymous engraving of this scene, the same size as the other two.<\/p>\n","protected":false},"excerpt":{"rendered":"

Engraving by Ren\u00e9 Boyvin, 28 x 42.3 P (Boston).\u00a0 Inscribed on the two urns that flank the door to the temple, at the left: MALI, at the right: BONI; on the oval disc above the door: OSTIV \/ IOVIS; in the lower left corner: Rous. Floren. Inuen. \/ Renatus Fecit. Fig.E.12 (Boston) Robert-Dumesnil, VIII, 1850, […]<\/p>\n","protected":false},"author":13,"featured_media":0,"parent":824,"menu_order":18,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-3802","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/3802","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=3802"}],"version-history":[{"count":17,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/3802\/revisions"}],"predecessor-version":[{"id":4696,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/3802\/revisions\/4696"}],"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=3802"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}