{"id":3821,"date":"2012-04-04T16:46:27","date_gmt":"2012-04-04T20:46:27","guid":{"rendered":"http:\/\/blogs.vassar.edu\/rosso\/?page_id=3821"},"modified":"2014-03-31T10:31:55","modified_gmt":"2014-03-31T14:31:55","slug":"e-18-caraglio-fury","status":"publish","type":"page","link":"https:\/\/pages.vassar.edu\/rosso\/catalogues\/engravings\/e-18-caraglio-fury\/","title":{"rendered":"E.18 Fury"},"content":{"rendered":"
\"\"<\/a>

E.18a Caraglio, Fury<\/p><\/div>\n

Engraving by Gian Jacopo Caraglio, 24.9 x 18.2 L + margin below 7.5 L to P (London, H.7-32); a small passage of a branch and its dark background in the upper right corner is not entirely engraved.<\/p>\n

Fig.E.18a<\/a> (London, 1873,0510.220)
\nFig.E.18b<\/a> (London, H7-32; with poem)<\/p>\n

Impressions of this print in Berlin (216-18) and in London (H.7-32) carry below the image the following poem in two columns printed from a separate plate (8.3 x 20 P, Berlin) that is slightly wider than the plate of the image:<\/p>\n

Per aspri boschi e solitario horrore
\nBarbuto magro uo solingo e nudo
\nDi rabbia colmo e carco di dolore
\nSquallido inculto hirsuto horrendo e crudo
\nTenebre oscure, notti, ombre e terrore
\nNe gliocchi spaventosi albergo e chiudo
\nTal che s\u2019el Cigno me\u2019rincontra a forte
\nCanta, chel corpo mio gli par la morte<\/p>\n

Dherba mi pasco in quest\u2019horrido bosco
\nDi fele amaro tinta et immature
\nBevo di serpi il piu maligno tosco
\nIn un teschio di morte afflitta e scura
\nIl seggio \u00e8 un drago ame ch\u2019io non conosco
\nAltro appoggio conforme a mia figura
\nE dormo s\u00ec tra qual che sasso o sterpe
\nChe, qual tronco, in me l\u2019hedera serpe<\/p>\n

(Through harsh forests and solitary horror \/ I go bearded, thin, alone, and nude \/ Full of anger and heavy with pain \/ Squalid, unkempt, hirsute, horrendous and crude. \/ Obscure darkness, nights, shadows and terror \/ In my frightening eyes I hide and enclose \/ Such that if the Swan encounters me loudly \/ He sings, since my body seems death to him. \/\/ In this horrendous forest of bitter bile \/ I feed on discolored and immature grass. \/ I drink the most harmful poison of serpents \/ In a skull afflicted and dark with death. \/ My seat is a dragon for I do not know \/ Any other support that conforms to my body. \/ And thus I sleep among stones and dry twigs \/ That like ivy around a tree trunk wind around me.)1<\/sup><\/a><\/p>\n

Heinecken, I, 1778, 629, and II, 1788, 100, as \u201cThe Chimera,\u201d and as by Agostino Veneziano rather than Caraglio, and as after Bandinelli rather than Rosso.\u00a0 Bartsch, XV, 1813, 92-93, 58, as Caraglio after Rosso.\u00a0 Le Blanc, I, 1854, 589, 61.\u00a0 Herbet, III, 1899, 48 (1969, 136).<\/p>\n

COLLECTIONS: Berlin, 216-18, with poem; 217-18, two small pieces missing, lower left.\u00a0 Bologna, Inv. C. 658(263) and C. 659(264).\u00a0 Boston, H.D.P.1340.\u00a0 Florence, Marucelliana, Vol. VI, 19.\u00a0 Hamburg, inv. no. 1\/1551a.\u00a0 London, H7-32, with poem; 1873,0510.220, without poem.\u00a0 Los Angeles (Ruiz).\u00a0 New York, 49.97.251 (cut on all sides).\u00a0 Paris, Eb7+ (lower left corner missing, squared in black chalk).\u00a0 Vienna, It.I.25, p.48.<\/p>\n

LITERATURE:<\/p>\n

Heinecken (see above) attributed the print to Agostino Veneziano after a drawing by Bandinelli.\u00a0 One would assume that this attribution was based on an analogy with Agostino\u2019s Disputation of the Angel of Death and the Devil\u00a0<\/i>[E.109], which had also been thought to be derived from a design by Baccio.<\/p>\n

Bartsch (see above) rightly identified the print with Vasari\u2019s description in his account of the career of Caraglio, and this identification has been accepted by all subsequent writers.<\/p>\n

Antal, 1928-1929 (1966, 55).<\/p>\n

Kusenberg, 1931, 27, 163, Pl. XX, 1.<\/p>\n

Becherucci, 1944 (1949, 30).<\/p>\n

Barocchi, 1950, 65-66, 145, 154, Fig. 45.<\/p>\n

Petrucci, 1964, 44.<\/p>\n

Carroll, 1964 (1976), I, Bk. I, 111-114, Bk. II, 79-80, II, Bk. III, Fig. 33, as done in 1524 or early 1525.<\/p>\n

Only Zerner, \u201cCaraglio,\u201d 1972, 692 and n. 9, and Campbell in RISD, 1973, 79-80, no. 86 and Fig., mentioned the London impression with the poem; Campbell dated the print 1525-1526.<\/p>\n

Ferrara and Gaeta Bertel\u00e0, 1975, no. 167, with Fig. and no. 167a (Bologna).<\/p>\n

Borroni and Kozakiewicz, 1976, 616.<\/p>\n

Borea, 1979, 365, and Fig. 239 (Florence, Marucelliana) as c. 1526.<\/p>\n

Borea, 1980, 248, no. 68, and Fig. (Florence, Marucelliana), as done c. 1524.<\/p>\n

Darragon, 1983, 43, Fig. 21 (London), as after Rosso, 1524-1525; he comments on its relation to the Laoco\u00f6n<\/em>.<\/p>\n

Boorsch and Spike, IB<\/em>, 28, 1985, 197 (London, 1873,0510.220).<\/p>\n

Carroll, 1987, 11, 24, 39, 40, 72-74, no. 8, with Fig. (London), as 1524, after the failure of the Cesi Chapel commission.<\/p>\n

K. Orchard, in Zauber der Medusa<\/em>, 1987, 210-211, no. IV, 27, and Fig. (Hamburg) as c. 1524-1525, as possibly an allusion to the metamorphosis of Cyenus into a swan upon the death of Phaeton.<\/p>\n

Davis, 1988, 12, 70-71, no. 17, Fig. (Los Angeles), 167, 155, as an allegory of death, and as comparable to Michelangelo\u2019s so-called \u201cDamned Soul\u201d drawing.<\/p>\n

Franklin, 1988, 326, no. 8 , believes the figure\u2019s missing penis is due to the fact that he is a partial \u00e9corch\u00e9<\/em>.<\/p>\n

Hirst, 1988, 109, mentioned the influence of Michelangelo\u2019s Fury<\/em> drawing in the Uffizi made for Perini.<\/p>\n

Karpinski, 1988, 172, 173, as resembling a niello and possibly derived from the Florentine niello tradition.<\/p>\n

Leone de Castris, 1988, 40, as giving evidence of Rosso\u2019s reevaluation of Michelangelo in Rome.<\/p>\n

Kornell, 1989, 845, Fig. 56 (London), 846, commented on Vasari\u2019s use of the phrase \u201cnotomia secca\u201d for this figure, relating it thus to the study of anatomy.<\/p>\n

Carroll, 1989, 9, 10, Fig. 3 (London, H7-32).<\/p>\n

Boorsch, 1989, as Frenzy<\/em> or Fury<\/em>.<\/p>\n

Gilbert, 1992, 220-221, Fig. 6 (London), as derived from Michelangelo\u2019s Furia<\/em> in the Uffizi, which was provided for Rosso\u2019s use.<\/p>\n

Franklin, 1994, 46, 134-135, 137, 283, n. 47, Pl. 106 (London), believed rather forced Gilbert\u2019s attempt to credit Michelangelo with the design of the print.<\/p>\n

Brugerolles and Guillet, 1994, 40, under no. 15.<\/p>\n

Mugnaini, in Rosso e Volterra<\/em>, 1994, 151, no. 4, with Fig. (Florence, Marucelliana), believed that even if one senses that the background of nordic demons is accentuated by Caraglio, a strong suggestion of D\u00fcrer is evident; described as Fury<\/em> or Insanity<\/em>, the image, which refers to the Laoco\u00f6n<\/em>, may rather be a complex allegory of death and, according to Davis, 1998, 71, a disfiguring parody of Apollonian beauty.<\/p>\n

Mugnaini, 1994, 121-124, with the genitals in the center of the composition as a continuation of and opposition to Rosso\u2019s Moses<\/em>, the figure in the print lacking sex, hence lacking life and salvation, as opposed to the generating virt\u00f9<\/em> of life in the Moses<\/em>, with reference to Giovan Francesco Pico\u2019s Strix, sive de Ludificatione Daemonum<\/em> of 1523, where a demon is put in relation to a goose, and where the devil appears in three forms, as bird, serpent, and dragon.<\/p><\/blockquote>\n

This print of a \u201cfigura di notomia secca\u201d is the first engraving mentioned in the list of Caraglio\u2019s works made from Rosso\u2019s designs recorded in Vasari\u2019s account of this engraver.\u00a0 It is also the first of Caraglio\u2019s engravings mentioned by Vasari.\u00a0 Zerner has remarked that this engraving is perhaps the earliest known print by Caraglio, in a style near to that of Agostino Veneziano\u2019s Disputation of the Angel of Death and the Devil<\/em>\u00a0after Rosso (Fig.E.109<\/span>).\u00a0 It may be supposed that it has this place in Vasari\u2019s account of Caraglio\u2019s career because Baviera, the German publisher who instigated with this print the collaboration between Rosso and Caraglio in Rome, wanted such an image to follow upon the success of the engraved Disputation<\/em>, which may by this time have already been engraved a second time by Marco Dente (Fig.E.51<\/span>). \u00a0These circumstances make it very likely that the print was designed and engraved in 1524, not long after Rosso arrived in Rome.\u00a0 It could be contemporary with the Cesi Chapel frescoes (Fig.P.17a<\/a>), although their styles, as well as their subjects and contexts, are so very different.\u00a0 It is also possible that Rosso\u2019s association with Baviera and Caraglio began only after the failure of the Cesi Chapel commission, for which he was last paid in October 1524. But this is not certain and the making of disegni di\u00a0stampe\u00a0<\/em>could have begun very soon upon Rosso arrival in Rome even before the frescoes in S. Maria della Pace were begun in April of 1524.<\/p>\n

The title of the print, Fury<\/em> (La Fureur), may go back no further than Bartsch\u2019s suggestion.\u00a0 It is not given by Vasari, nor does it appear in the poem that became attached to the print.\u00a0 Heinecken called it \u201cLa Chimere,\u201d but added \u201cc\u2019est un homme furieux.\u201d\u00a0 The engraving was almost certainly not made to illustrate the poem attached to it; the latter appears derived from the engraving.\u00a0 The verses are little more than descriptive and so do not explain the imagery of the print. Vasari refers to the bird in the print as a \u201csinging swan,\u201d but it would seem that he made this identification from the attached poem, as it is not clear in the image that the bird is only a swan or that it is singing rather than screaming. Bartsch called it a goose.<\/p>\n

As the background is an integral part of the image, and as we know from the drawings by Rosso for four of Caraglio\u2019s engravings of the Gods in Niches<\/em> (Fig.D.17A<\/a>; Fig.E.32<\/a>) how closely the engraver followed Rosso\u2019s disegni di stampe<\/em>, it is most likely that this background is precisely what Rosso wanted.<\/p>\n

As indicated above, Heinecken\u2019s designation of the engraver as Agostino Veneziano and the designer as Bandinelli must be because of the print\u2019s resemblance to Agostino\u2019s Disputation of the Angel of Death and the Devil\u00a0<\/i>after Rosso (Fig.E.51<\/a>).<\/p>\n

COPY, DRAWING: New York, Metropolitan Museum of Art, no. 80.3.301b.\u00a0 Black chalk, 33.3 x 23.2 (Fig.E.18 Copy, Met<\/a>); inscribed in ink at the lower right: Gio Bologna<\/em>.\u00a0 The drawing was brought to my attention by Elizabeth MacDougall, who reported Philip Pouncey\u2019s attribution of it to Battista Naldini.<\/p>\n

\n

 <\/p>\n

\n
\n

<\/a>1<\/sup> I thank Professor Joan H. Levin for this translation.<\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Engraving by Gian Jacopo Caraglio, 24.9 x 18.2 L + margin below 7.5 L to P (London, H.7-32); a small passage of a branch and its dark background in the upper right corner is not entirely engraved. Fig.E.18a (London, 1873,0510.220) Fig.E.18b (London, H7-32; with poem) Impressions of this print in Berlin (216-18) and in London […]<\/p>\n","protected":false},"author":13,"featured_media":0,"parent":824,"menu_order":25,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-3821","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/3821","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=3821"}],"version-history":[{"count":29,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/3821\/revisions"}],"predecessor-version":[{"id":10467,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/3821\/revisions\/10467"}],"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=3821"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}