III?\u00a0 Inscription removed but traces of it remain.\u00a0 Six impressions of this set in Braunschweig, nos. 3-8, showing the complete plate mark, are well printed from the worn plates on heavy paper.\u00a0 An impression of the same kind of the Cerberus<\/em> (E.19) is in Berlin (209-18).\u00a0 The Cacus<\/em> (E.24) of the Braunschweig set (no. 8) shows that at the time of its printing the upper edge at the left of the plate of this print had broken off.\u00a0 This is where all earlier impressions show a scar in the plate about 3.3 cm long and about 0.5 cm from the top line.\u00a0 However, this late set does not show the Salamanca address, although an impression of this print in Florence (1144ss) does.\u00a0 Consequently, it would seem that this address had been removed from the plate when the Braunschweig impressions were made.\u00a0 Traces of this address still need to be looked for.\u00a0 An impression of the Cerberus<\/em> (E.19) in Rome may show such traces.\u00a0 This evidence suggests that there is a State III.\u00a0 These impressions could be those printed by Carlo Losi, in whose Roman inventory of 1788 they appear (see Massari, 1989, 13, n. 2, and 119).\u00a0 I have never seen an impression with his address, which does appear, however, on State IV of the Saturn<\/em> of the Gods in Niches<\/em> (Fig.E.26<\/a>), with the date 1771.<\/p>\n Bartsch, XV, 1813, 85-86, 44-49, as Caraglio.\u00a0 Le Blanc, 1854-1890, I, 589, 49-54.\u00a0 Destailleur, 1895, 286, under no. 1157.\u00a0 Herbet, III, 1899, 48 (1969, 136).<\/p>\n <\/p>\n E.19 Caraglio, Hercules Fighting Cerberus<\/p><\/div>\n E.19. Hercules Fighting Cerberus<\/strong><\/p>\n 22.2 x 18.3 S, including margin below of 0.9 (London).<\/p>\n Fig.E.19<\/a> (London)<\/p>\n Bartsch, XV, 1813, 85, 44.<\/p>\n COLLECTIONS: Berlin, 207-18 (II); 209-18 (see below); 210-18.\u00a0 Boston, Babcock 820; 5.871 (damaged).\u00a0 Braunschweig, no. 3 (III?).\u00a0 Edinburgh (weak, soiled).\u00a0 Florence, 1141ss; 1147ss (II).\u00a0 Florence, Marucelliana, Vol. IX, no. 27 (II).\u00a0 London, Vol. C53, Caraglio Volume, p.46 top.\u00a0 London, VA, Press I.2.C., no. 27877.1 (inscribed in ink in margin below: Del Rosso<\/em>).\u00a0 Paris, Ba 12, p.28, top, no. 29; Eb 6b R\u00e9s.\u00a0 Providence, Museum of Art, Rhode Island School of Design, 67.080.\u00a0 Rome, Vol. 26 M 30, no. 05884 (III? inscription either removed from plate or scraped from impression).\u00a0 Vienna, H.B.IV, p.56, no. 79.<\/p>\n <\/p>\n E.20 Caraglio, Hercules Shooting Nessus<\/p><\/div>\n E.20. Hercules Shooting Nessus<\/strong><\/p>\n 22.2 x 17.5 L, including margin below of 0.9 (Edinburgh).<\/p>\n Fig.E.20<\/a> (London)<\/p>\n Bartsch, XV, 1813, 85, 45.<\/p>\n COLLECTIONS: Berlin, 208-18.\u00a0 Braunschweig, no. 4 (III?).\u00a0 Cambridge, Vol. 31.K.12, p.17, no. 40.\u00a0 Edinburgh.\u00a0 Florence, 1137ss; 1143ss (II).\u00a0 Florence, Marucelliana, Vol. IX, 28.\u00a0 London, Vol. C53, p.47 bottom (1866,0623.13).\u00a0 London, VA, Press I.2.C, no. 27887.2.\u00a0 New York, 47.100.797 (worn plate, inscribed in ink at lower right: .<\/sup><\/em><\/strong> MAF .<\/sup><\/strong><\/em> as a monogram.\u00a0 Oxford (very damaged).\u00a0 Paris, Ba 12, p.30 top, no. 63; Eb 6b R\u00e9s.\u00a0 Rome, Vol. 26 M 30, no. 05885, and no. 05886 (II).\u00a0 San Francisco (poor).\u00a0 Vienna, It.I.25, p.37 bottom (Oberhuber, 1966, 176, no. 295, Fig. 56).<\/p>\n <\/p>\n E.21 Caraglio, Hercules Killing the Hydra<\/p><\/div>\n E.21. Hercules Killing the Hydra<\/strong><\/p>\n 21.9 x 17.8 L, including margin below of 1.0 (London, VA); details of image overlap L.<\/p>\n Fig.E.21<\/a> (Vienna)<\/p>\n Bartsch, XV, 1813, 85-86, 46.<\/p>\n COLLECTIONS: Berlin, 199-18; 202-18 (worn plate).\u00a0 Bologna, Inv. C. 657 (446) (I).\u00a0 Braunschweig, no. 5 (III?).\u00a0 Edinburgh (wm., an anchor in a circle).\u00a0 Florence, 1140ss; 1146ss (II). Florence, Marucelliana, Vol. IX, no. 26.\u00a0 London, Vol. C53, p.47 top (1866.0623.14).\u00a0 London, VA, Press I.2.C., no. 27877.3 (inscribed in ink in margin below: Del Rosso<\/em> and in margin in ink beneath the crab: cancer<\/em>).\u00a0 Oxford (worn plate).\u00a0 Paris, Ba 12, p.30, bottom, no.64; Eb 6b R\u00e9s.\u00a0 Rome, Vol. 26 M 30, no. 05892?, and no. 05893 (both weak).\u00a0 Vienna, H.B.IV, p.57, upper left, no. 81.<\/p>\n <\/p>\n E.22 Caraglio, Hercules Fighting the Centaurs<\/p><\/div>\n E.22. Hercules Fighting the Centaurs<\/strong><\/p>\n 22.1 x 17.9 L, including margin below of 1.0 (London, VA).<\/p>\n Fig.E.22<\/a> (London, 1864,0611.441)<\/p>\n Bartsch, XV, 1813, 86, 47.<\/p>\n COLLECTIONS: Berlin, 200-18; 201-18 (very worn plate).\u00a0 Braunschweig, no. 6 (III?).\u00a0 Edinburgh, 2 impressions, the one mounted alone, weak, the other, mounted with E.21, good.\u00a0 Florence, 1136ss (trimmed on three sides, not on left); 1142ss (II).\u00a0 Florence, Marucelliana, Vol. IX, no. 30 (weak).\u00a0 London, 1866-6-23-15 (worn plate); 1864,0611.441.\u00a0 London, VA, Press I.2.C., no 27877.4 (inscribed in ink in margin below: Del Rosso<\/em>).\u00a0 Paris, Arsenal, Vol. 168 (2), no. 58 (upper left corner missing and filled; see Sch\u00e9fer below).\u00a0 Paris, Eb 6b R\u00e9s.\u00a0 Rome, Vol. 26 M 30, no. 123321 (very pale), nos. 05887 (pale) and 05888 (worn plate).\u00a0 Vienna, H.B.IV, p.57, upper right, no. 82.<\/p>\n <\/p>\n E.23 Caraglio, Hercules Overpowering the River Achelous<\/p><\/div>\n E.23. Hercules Overpowering the River Achelous<\/strong><\/p>\n 22.2 x 17.7 L, including margin below of 1.0; 22.3 x 18.1 P (London, VA, E.86-9).<\/p>\n Fig.E.23<\/a> (London)<\/p>\n Bartsch, XV, 1813, 86, 48.<\/p>\n COLLECTIONS: Berlin, 204-18 (three corners missing, not upper right).\u00a0 Braunschweig, no. 7 (III?), and no. 12.\u00a0 Edinburgh.\u00a0 Florence, 1139ss (foxed); 1145ss (II).\u00a0 Florence, Marucelliana, Vol. IX, no. 29 (worn plate).\u00a0 London, Vol. C53, Caraglio Volume, p.48 top (1866,0623.16).\u00a0 London, VA, Press I.2.C., no. E.86-9 (inscribed in ink beneath plate mark at lower right: E.Sl.\u201991<\/em>), and no. 27887.5 (pale); Press G.G.20, no. 12533 (in ink in margin at lower right: ANT.SAL.EXC.<\/em>).\u00a0 New York, 49.50.208.\u00a0 Oxford (pale, stained).\u00a0 Paris, Ba 12 (spotted, lightly squared in black chalk or pencil); Eb 6b R\u00e9s.\u00a0 Rome, Vol. 26 M 30, nos. 05891 (squared) and 05892? (both pale).\u00a0 Vienna, It.I.25, p.39.<\/p>\n <\/p>\n E.24 Caraglio, Hercules Fighting Cacus<\/p><\/div>\n E.24. Hercules Fighting Cacus<\/strong><\/p>\n 22.2 x 17.9 L, including margin below of 1.2 (London, VA).<\/p>\n Fig.E.24<\/a> (London)<\/p>\n Bartsch, XV, 1813, 86, 49.<\/p>\n COLLECTIONS: Berlin, 205-18.\u00a0 Bologna, Inv. C. 655 (448) (I).\u00a0 Braunschweig, no. 8 (III?) and no. 12.\u00a0 Edinburgh.\u00a0 Florence, 1138ss; 1144ss (II).\u00a0 Florence, Marucelliana, Vol. IX, no. 25 (pale).\u00a0 London, Vol. C53, p.48, bottom (1866,0623.17).\u00a0 London, VA, Press I.2.C., no. 27877.6.\u00a0 New York, 49.50.208; 47.100.798 (worn plate, inscribed in ink at lower right: .<\/sup><\/em><\/strong> MAF .<\/sup><\/strong><\/em> as a monogram).\u00a0 Paris, Ba 12, p.29, bottom, no. 64; Eb 6b R\u00e9s.\u00a0 Rome, Vol. 26 M 30, nos. 05899 (weak) and 05890.\u00a0 Vienna, H.B.IV, p.57, no. 84.<\/p>\n <\/p>\n LITERATURE:<\/p>\n Sch\u00e9fer, 1894-1929, col. 554, no. 58.<\/p>\n Herbet, III, 1899, 38 (1969, 126).<\/p>\n Goldschmidt, 1911, 22.\u00a0 Voss, 1920, 187.<\/p>\n Pittaluga, 1928, 174.<\/p>\n Antal, 1928-1929 (1966, 54, 55-56, and n. 3, 73, 90, 91, ns. 1-2, Pl. 3a [Achelous<\/em>]).<\/p>\n Kusenberg, 1931, 27, 162-163, Pl. XIX, 2 (Achelous<\/em>, Paris, Eb 6b R\u00e9s), 3 (Cacus<\/em>, Paris, Eb 6b R\u00e9s).<\/p>\n De Witt, 1938, 52.<\/p>\n Becherucci, 1944 (1949, 30).<\/p>\n Barocchi, 1950, 62, n. 1, 64.<\/p>\n Petrucci, 1964, 44-45, 14, Pl. 41 (Hercules Shooting Nessus<\/em>).<\/p>\n Zerner, \u201cCaraglio,\u201d 1972, 692, and Vol. III, Pl. 219, 1-2, of Hercules Fighting Cerberus<\/em>, discusses Caraglio\u2019s technique where the strong plastic effect and elegant simplicity of Marcantonio\u2019s style is joined by an animation of surface and the effects of light that seem very independent of the volumes in the print.<\/p>\n The most extensive account of these prints is by Campbell, in RISD, 1973, 75-79, nos. 80-85, where, however, he states without foundation that Baviera commissioned the designs of these prints in 1526.\u00a0 All of the illustrations of these scenes on pp. 76-79 are from a set of copies of Caraglio\u2019s prints (see below).<\/p>\n Ferra and Gaeta Bertel\u00e0, 1975, nos. 161, 163 with Figs. (Hydra<\/em>, Cacus<\/em>, Bologna).<\/p>\n Borroni and Kozakiewicz, 1976, 616.<\/p>\n Sheard, 1978, nos. 95-97, with Figs. of Cerberus<\/em>, Hydra<\/em>, and Centaurs<\/em>, as Caraglio, but all, however, copies of these prints (see below).<\/p>\n Barolsky, 1979 (1969), 14, 117, Fig. 112, recognized a drawing of a Reclining Male Nude<\/em> in the Louvre (inv. no. 1518) that he gave to Daniele da Volterra as related to the river god in the Hercules Shooting Nessus<\/em> [which I would think was based on a posed model and the resemblance accidental, especially as the left arm and leg are differently placed].<\/p>\n Borea, 1979, 368, Fig. 243 (Florence), ca. 1526.<\/p>\n Borea, 1980, 228, Fig. (Nessus<\/em>, Paris), 230, 234, 248, nos. 611-616 (Florence and Paris), 228, Fig. of Hercules Shooting Nessus <\/em>(Paris, Eb 6b R\u00e9s.).<\/p>\n Darragon, 1983, Fig. 15, as ca. 1525.<\/p>\n Carroll, 1987, 11, 24, 40, 75-86, nos. 9-14, with Figs. (Cerberus<\/em>, London; Nessus<\/em>, Paris, Eb 6b R\u00e9s.; Hydra<\/em>, Vienna; Centaurs<\/em>, Edinburgh; Achelous<\/em>, London; Cacus<\/em>, Paris, Eb 6b R\u00e9s.), as done after the Fury<\/em> at the end of 1524.<\/p>\n Andrew Stephens, in The World in Miniature Engravings by the German Little Masters 1500-1550<\/em>, Edited by Stephen H. Goddard, Spencer Museum of Art, University of Kansas, Lawrence, 113, suggests that Caraglio’s engravings may have provided the model for Sebald Beham’s Labors of Hercules, <\/em>1542 – c.1545, but far from being slavish copies such as Jacob Binck’s copies of Caraglio’s Gods in Niches<\/em>.<\/p>\n Massari, 1989, 117, 119.<\/p>\n Carroll, 1989, 9, 12-13, Fig. 18 (Cerberus<\/em>, London) Fig. 19 (Hydra<\/em>, Vienna), Fig. 20 (Centaurs<\/em>, Edinburgh), Fig. 21 (Achelous<\/em>, London), Fig. 22 (Cacus<\/em>, Paris, Eb 6b R\u00e9s.), Fig. 23 (Nessus<\/em>, Paris, Eb 6b R\u00e9s).<\/p>\n Ciardi and Mugnaini, 1991, 18, the Hercules Fighting the Centaurs<\/em> reflecting Leonardo\u2019s Battle of Anghiari<\/em>.<\/p>\n Vallone, 1993, 71, 77, n. 71, the scenes related to those of a Hercules sarcophagus on a Roman altar, with reference to Bober and Rubinstein, 1986, 170-171, nos. 134 and 135, with illustrations, and to an anonymous Raphaelesque work at the Vatican.<\/p>\n Franklin, 1994, 134-137, 138, Pl. 104 (Nessus<\/em>, London), 172, Pl. 135 (Cacus<\/em>, London), the proportions of the male and female figures perhaps an attempt to establish a different canon from those of Michelangelo and Raphael.<\/p>\n Ciardi, 1994, 81, 94, 110, mentioned their sensuality and noted that the Centaurs<\/em> composition is related to the central group in Leonardo\u2019s Battle of Anghiari<\/em>.<\/p>\n Mugnaini, 1994, 119, Mugnaini, in Rosso e Volterra<\/em>, 1994, 152-154, nos. 5-10 (Rome, the Nessus<\/em> with the Salamanca address in lower margin, the others without lower margins), as probably executed at the end of 1525, the Centaurs<\/em> recalling the Moses<\/em> and taken up again at Fontainebleau, the elegant Hesperides in the Achelous<\/em> anticipating the caryatids in the Gallery of Francis I.<\/p><\/blockquote>\n These six engravings have always been recognized as by Caraglio after Rosso\u2019s designs as indicated by Vasari, who specifies each one of them in his account of the career of this engraver.\u00a0 Vasari places them immediately after the Fury<\/em> (Fig.E.18a<\/a>), which seems to have been designed and engraved in 1524 very soon after Rosso arrived in Rome, but perhaps only after the failure of the Cesi Chapel commission.\u00a0 Stylistically on Rosso\u2019s part, and technically on Caraglio\u2019s, the Labors of Hercules <\/em>appear to be later than the Fury<\/em>.\u00a0 These scenes would seem to follow only shortly thereafter, following probably immediately upon Rosso\u2019s stylistically similar St. Roch drawings of mid-1524 (Fig.D.13<\/a>).\u00a0 The prints reveal an energetic response to the Roman and \u201cpagan\u201d artistic milieu that will be even more sophisticatedly explored in the other, and later, engravings that Rosso designed in Rome.\u00a0 It is likely that the Labors of Hercules<\/em> were designed and engraved in the second half of 1524, and before the Dead Christ<\/em> in Boston (Fig.P.18a<\/a>) of 1525 or 1526.\u00a0 The margins beneath the scenes, suggesting attached tablets, may have been intended to receive inscriptions.<\/p>\n COPIES, PRINTS: Anonymous, E.113, 1 – 6, six engravings, same dimensions as the originals (Fig.E.113, Cacus<\/a>).\u00a0 COLLECTIONS: New York, 49.95-170-49.95.175 (catalogued wrongly as Caraglio\u2019s originals in RISD, 1973, see above, and three in Sheard, 1978, see above).\u00a0 New York, Hill-Stone, Inc., Old Master and Modern Prints<\/em>, Cat. no. 7, 1982, no. 4, Fig. (Cacus).\u00a0 Also probably: Chatsworth, Duke of Devonshire, Vol. 2, pp. 77-79 (146-148), nos. 134-139.\u00a0 Berlin, 225-18 (Nessus<\/em>), 226-18 (Hydra<\/em>), 228-18 (Centaurs<\/em>).\u00a0 London, Vol. C53, p.46, bottom (Fig.E.113, Centaurs<\/a>).\u00a0 Evaluated from the impressions in New York, these are very accurate but even slightly too precise copies of Caraglio\u2019s prints.\u00a0 It is possible that the engraver was not Italian; he could have been Jacob Bink (Carroll, 1987, 41) who, in a very similar regular technique, copied Caraglio\u2019s Gods in Niches<\/em>, after Rosso, in 1530 (see E.6, 1 – 20, discussed under E.26-45<\/a>).\u00a0 Boorsch, 1988, 8, thinks from evidence of watermarks that they are French and probably by the Milan-Boyvin circle.\u00a0 It is possible that one of these prints is one of the Labors of Hercules<\/em> after Rosso that was ascribed to Boyvin in the catalogue of the Robert-Dumesnil sale of December 1854, no. 6, under no. 378, as mentioned by Herbet, III, 1899, 38-39 (1969, 126-127).<\/p>\n Anonymous, E.114A, Hercules Fighting Cerberus<\/em>, engraving, same size as Caraglio\u2019s original.\u00a0 A slightly rough reversed copy.\u00a0 COLLECTION: Berlin, 211-18.<\/p>\n Anonymous, E.114B, Hercules Fighting the Centaurs<\/em>, engraving, same size as Caraglio\u2019s original.\u00a0 This copy, in the same direction as the original, differs from Caraglio\u2019s print and from the copy in New York (E.113, 3) by showing the open mouth of the fallen Centaur toothless.\u00a0 COLLECTION: Paris, Ba 12, p.28 bottom, no. 60 (Fig.E.114B<\/a>).<\/p>\n Anonymous, E.114C, Hercules Overpowering the River Achelous<\/em>, engraving, same size as Caraglio\u2019s original.\u00a0 A very accurate reversed copy, but not showing the shoulder and arm of two women in the background overlapping the outline of the print.\u00a0 COLLECTION: Oxford (Fig.E.114C<\/a>).<\/p>\n Anonymous, E114D.\u00a0 Hercules Fighting the Centaurs<\/em>, engraving, same size as Caraglio\u2019s print.\u00a0 A very accurate reversed copy.\u00a0 COLLECTION: Bologna, Inv. C. 656 (447).\u00a0 LITERATURE: Ferrara and Gaeta Bertel\u00e0, 1975, no. 162, with Fig., as Caraglio.\u00a0 Trimmed on all sides.\u00a0 I know this impression only from the small illustration in Ferrara and Gaeta Bertel\u00e0 1975; it is possible that the illustration is reversed and not the print itself.<\/p>\n Attributed to Du Cerceau, E.52, 1 – 6, six etchings, in reverse of but the same size as Caraglio\u2019s originals.\u00a0 COLLECTION: Paris, Ed 2h (all inscribed in ink in the lower left corner: 6239<\/em>).\u00a0 LITERATURE: Le Blanc, 1854-1890, I, 45, 23-28, as Du Cerceau.\u00a0 Geym\u00fcller, 1887, 148, 322, mistakenly as a set of eight prints.\u00a0 Kusenberg, 1931, 162 (under Caraglio), 163.\u00a0 Linzeler, 1932, 68.\u00a0 Borea, 1980, 248, under no. 618.<\/p>\n PARTIAL COPY?, PRINT: L\u00e9on Davent (Master L.D.), Pygmalion Sculpting Galatea<\/em>.\u00a0 Heinecken, IV, 1790, 536, as L\u00e9on Davent.\u00a0 Le Blanc, 1854-1890, IV, 30, 54, as Thiry after Primaticcio.\u00a0 Herbet, I, 1896, 82, 52 (1969, 31).\u00a0 Zerner, 1969, L.D.48, as 23.4 x 12.7, after Primaticcio.\u00a0 It is possible that the figure of Pygmalion is based on that of Hercules in Hercules Overpowering the River Achelous<\/em> (E.23).<\/p>\n COPIES, DRAWINGS: Florence, Uffizi, no. 92151F, under Cherubino Alberti, Hercules Fighting the Centaurs<\/em>.\u00a0 Pen and ink, 28 x 22.4.\u00a0 After Caraglio\u2019s print, E.22.<\/p>\n Florence, Uffizi, no. 441S, under Rosso.\u00a0 Hercules Killing the Hydra<\/em> (Fig.Florence, 441S<\/a>).\u00a0 Pen and ink and wash and traces of black chalk, 20.7 x 15.6.\u00a0 LITERATURE: Santarelli, 1870, 39, no. 6, as Rosso.\u00a0 After Caraglio\u2019s print, E.21.<\/p>\n Florence, Uffizi, no. 450S, Rosso.\u00a0 Recto<\/em>: Hercules Shooting Nessus <\/em>(Fig.Uffizi, 450S recto<\/em><\/a>).\u00a0 Verso<\/em>: A group of men with high hats on horseback.\u00a0 Pen and ink and wash, the recto<\/em> heightened with white, on yellow paper, 11.5 x 9.2.\u00a0 Inscribed in ink in the lower left corner of the recto<\/em>: Il Rosso Fior. fece<\/em>, and on the verso<\/em>, in the same hand: Mon. Maggiori <\/em>\/ compra a Bo=<\/em> \/ logna nel <\/em>\/ 1793<\/em> (Fig.Uffizi, 450S verso<\/em><\/a>).<\/p>\n Attributed to Rosso in Santarelli 1870, 40, no. 15, but to Girolamo da Carpi in Modificazioni<\/em>, 18, an attribution that is also written on the mount of the drawing.<\/p>\n The recto<\/em> is a partial copy of Caraglio\u2019s engraving after Rosso\u2019s design of Hercules Shooting Nessus<\/em> (E.20).\u00a0 The drawing is by the same hand as Uffizi no. 4445 (Fig.D.28<\/a>), which is a copy of a lost study for Rosso\u2019s Christ in Glory<\/em> (P.20<\/a>).\u00a0 The copyist may be Biago Pupini.<\/p>\n Florence, Uffizi, no. 9588S, as Caraglio, Hercules Overpowering the River Achelous<\/em>.\u00a0 Pen and ink and wash over faint drawing in black chalk, 20.6 x 19.2 but contained within an outlined area 20.1 x 17.3.<\/p>\n Milan, Galleria Gilli.\u00a0 Mostra di Fogli di Antichi Maestri<\/em>, exh. cat., ed. Rossella Gilli and Benedetto Walln\u00f6fer, November 1990 – February 1991, no. 1, with color plates, as by Biagio Pupini.\u00a0 Recto<\/em>: Reclining river god from Hercules Shooting Nessus<\/em>.\u00a0 Verso<\/em>: A group of men with high hats on horseback.\u00a0 Pen and ink and wash, heightened with white, on yellow paper, 14.2 x 15.2.\u00a0 Inscribed in ink on the recto<\/em>: Il Rosso Fio \/ rent – fece.<\/em>, and on the verso<\/em>: Mons. Maggiori \/ compr\u00e0 a \/ Bologna \/ nel \/ 1793<\/em>.<\/p>\n As recognized by Gilli and Walln\u00f6fer, the drawing, attributed to Pupini by Mario De Giampaolo, was once part of the same sheet as Uffizi no. 450S (see above), which, they noted, had been attributed to Pupini by Petrioli Tofani (on the mount).\u00a0 The same hand is responsible for Uffizi no. 444S (Fig.D.28<\/a>), the copy of a lost study for the Christ in Glory<\/em> (Fig.P.20a<\/a>).<\/p>\n New York, Sotheby\u2019s, Old Master Drawings<\/em> Sale N08711, 26 January 2011, Lot 511b, Hercules Shooting Nessus<\/em> (Fig.E.20, Copy, Drawing<\/a>), red chalk, c. 16.8 x 11.3.\u00a0 After Caraglio\u2019s print, E.20.\u00a0 Sotheby\u2019s catalogue notes that the drawing and a second after Rosso\u2019s Jupiter in a Niche<\/em> in the same lot (see E.26-45<\/a>) show signs of stitching, suggesting that they come from an album, and that the draughtsmanship is close to the circle of Giovanni Battista Naldini.<\/p>\n Paris, Ensba, no. 342 (formerly 2843), Hercules Fighting Cerberus and Hercules Overpowering the River Achelous<\/em> (Fig.E.19, E.23, Copies, Drawings<\/a>).\u00a0 Pen and ink and wash, 24.2 x 36.5.\u00a0 PROVENANCE: His de la Salle (Lugt 1332 or 1333) on mount.\u00a0 Eug\u00e8ne M\u00fcntz, Guide de l\u2019\u00c9cole Nationale des Beaux-Arts<\/em>, Paris, 1889, 170, as Rosso, for his paintings at Fontainebleau.\u00a0 Eug\u00e8ne M\u00fcntz, \u201cLe Mus\u00e9e de l\u2019\u00c9cole des Beaux-Arts,\u201d G.d.B-A.<\/em>, 1891, I, 46, as Rosso.\u00a0 Berenson, 1903, no. 2458, as Rosso.\u00a0 Kusenberg, 1931, 144, no. 62, 162-163 (under Caraglio\u2019s Labors of Hercules<\/em>), 188, n. 68, as Rosso, 1526-1527, for the Hercules Fighting Cerberus<\/em> and Hercules Overpowering the River Achelous<\/em> engravings.\u00a0 (P. Lavall\u00e9e), Art Italien des XVme<\/sup> + XVIme<\/sup> Si\u00e8cles<\/em>, exh. cat., \u00c9cole Nationale Sup\u00e9rieure des Beaux-Arts, Paris, 1935, 38, no. 130, as Rosso.\u00a0 Berenson, 1938, no. 2458, as Rosso.\u00a0 Barocchi, 1950, 225, Fig. 222, as copies after Caraglio\u2019s prints.\u00a0 Rome \u00e0 Paris<\/em>, 1968, no. 245, as Rosso and done at Fontainebleau.<\/p>\n This good sixteenth century drawing carefully copies two of Caraglio\u2019s prints, E.19 and E.23, on one sheet, making of them one scene, more or less.<\/p>\n Paris, Ensba, Masson Collection, no. 2395 (formerly 3919), Hercules Fighting the Centaurs<\/em> (Fig.E.22, Copy, Drawing<\/a>).\u00a0 Pen and ink, 21.3 x 16.2, laid down (on the backing are some nineteenth century sketches of women\u2019s heads).\u00a0 Inscribed in ink at the upper right: SO<\/em> (probably to be read as 90<\/em>); also inscribed in ink across the top, three passages of writing in Italian in what appears to be a sixteenth century hand: at the upper left: …dobbiam fabricarsi \/ … \/ rimare[?] bene.<\/em>; across the middle: Lhonor non e gran cosa haverlo ma gran cose e il meritarlo. \/ Non merito esser Re quello che ama la sua legge. \/ …custodiam… non delinquam in lingua mea.<\/em>; at the upper right four lines of very small writing, the second line beginning with: di<\/em>.\u00a0 [These lines are transcribed from a small photograph; in the original, all the writing is legible.]\u00a0 LITERATURE: Kusenberg, 1931, 151, no. 54 (wrongly as in the Louvre), as from Rosso\u2019s studio.<\/p>\n This sixteenth century drawing is a good copy of Caraglio\u2019s print, E.22.<\/p>\n COPIES, PAINTINGS: Soragna, near Parma, Rocca dei Principi Meli-Lupi, frescoes of the Labors of Hercules.\u00a0 LITERATURE: Venturi, IX, 6, 1933, 867, and Fig. 529, attributes the frescoes to Giulio Campi.\u00a0 Godi, Giovanni, Niccolo dell\u2019Abate e la presunta attivit\u00e0 del Parmigianino a Soragna<\/em>, Parma, 1976, 54-57, Figs. 39-46, as by Giulio Campi and Niccolo dell\u2019Abate after Rosso.\u00a0 Borea, 1980, 248, mentioned.\u00a0 Franklin, 1988, 826, nos. 11, 13, 14.<\/p>\n Three of these frescoes, illustrating Hercules Overpowering the River Achelous<\/em>, Hercules Killing the Hydra<\/em>, and Hercules Fighting Cacus<\/em> are based on Caraglio\u2019s prints, E.21, E.23, and E.24.\u00a0 The other frescoes are unknown to me but at least some could also be based on Caraglio\u2019s other Labors of Hercules<\/em> prints.<\/p>\n Paolo Veronese, Temptation of St. Anthony<\/em>, Caen, Mus\u00e9e des Beaux-Arts.\u00a0 LITERATURE: Richard Cooke, \u201cAn Early Drawing by P. Veronese,\u201d BM<\/em>, 113, 1971, 728, Figs. 33-34, 730, pointed out that the figure of the male tempter is derived from the figure of Hercules in Caraglio\u2019s Hercules Fighting Cacus<\/em>, E.24.\u00a0 Cooke also related the enclosed setting of this scene to Caraglio\u2019s print.\u00a0 Pierre Rosenberg, in Seizi\u00e8me Si\u00e8cle… Peintures et Dessins<\/em>, 1965-1966, 250-251, no. 309, had earlier noted the influence of the central figure of Rosso\u2019s Moses Killing the Egyptian and Defending the Daughters of Jethro<\/em>.<\/p>\n If Rosso\u2019s art is to account for the pose of the male tempter, it is more likely from Caraglio\u2019s print than the Moses<\/em> painting, the location of which in 1552 may have made it unavailable to Veronese.<\/p>\n COPY, SCULPTURE: Milan, Palazzo Marino, reliefs in the courtyard, at least four of which show the Labors of Hercules based on Caraglio\u2019s prints: Hercules Fighting Cerberus<\/em> (E.19), Hercules Fighting the Centaurs<\/em> (E.22), Hercules Fighting Cacus<\/em> (E.24), and perhaps Hercules Overpowering the River Achelous<\/em> (E.23).\u00a0 LITERATURE: Omaggio a Tiziano<\/em>, exh. cat., Milan, 1977, 103-105, states that the palace was begun by Galeazzo Alessi for Tommaso Marino in 1557 and the decoration of the courtyard, based partly on Caraglio\u2019s prints after Rosso, was the first decoration to be done.\u00a0 At the exhibition in Milan in the summer of 1977, several of the Labors of Hercules prints from an unspecified collection were exhibited, which may or may not have been Caraglio\u2019s originals (not in the exhibition catalogue).<\/p>\n COPIES, ENAMELS: L\u00e9onard Limosin, Hercules Fighting the Centaurs<\/em>, The Hague, Rijksmuseum Meermanno – Westreenianum, Inventory no. 866\/1000 (Fig.E.22, Enamel, The Hague<\/a>).\u00a0 Grisaille enamel on copper, 22 cm diameter, signed lower right: ![\"\"](\"http:\/\/pages.vassar.edu\/rosso\/files\/2012\/04\/E.26-Caraglio-Saturn-Florence-.jpg\")
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