{"id":3849,"date":"2012-04-04T16:46:27","date_gmt":"2012-04-04T20:46:27","guid":{"rendered":"http:\/\/blogs.vassar.edu\/rosso\/?page_id=3849"},"modified":"2013-01-23T14:12:29","modified_gmt":"2013-01-23T19:12:29","slug":"e-25-caraglio-pierides","status":"publish","type":"page","link":"https:\/\/pages.vassar.edu\/rosso\/catalogues\/engravings\/e-25-caraglio-pierides\/","title":{"rendered":"E.25 Challenge of the Pierides"},"content":{"rendered":"
\"\"<\/a>

E.25b Caraglio, Challenge of the Pierides, II<\/p><\/div>\n

Engraving by Gian Jacopo Caraglio, 24.5 x 39 L, including margin at bottom of 0.4 (Paris, Eb 6b R\u00e9s.)<\/p>\n

Four states:<\/p>\n

I.\u00a0 Only the figures engraved, although not all of them, and some that are, not entirely, and part of the landscape at the upper right.\u00a0 The head second to the left of Apollo and the nude Muse just left of center do not appear in this state.\u00a0 The Pieride at the far right is only outlined.\u00a0 The only impression known of this state has the lower margin cut off (see Chatsworth, below).<\/p>\n

II.\u00a0 Inscribed in the margin below: \u2206<\/sup> AVSAE CVM MVSIS COMMITTERE PROELIA VOCE \u2206<\/sup> VICTAE NUNC VOLITANT IMMITANTES OMNIA PICAE \u2206<\/sup><\/em> (After daring to contest the Muses with their singing they now fly as magpies, imitating the sounds of all and sundry.)<\/p>\n

The second head to the left of Apollo and the head of the Pieride at the far right may not be entirely finished, although their particular whiteness may be an aspect of Rosso\u2019s special use of light.<\/p>\n

III.\u00a0 A second line appears at the left and right just inside the outline and overlapping details of the image.<\/p>\n

IV.\u00a0 Also inscribed at the lower right of the image: Ant.Sal.exc<\/em>.<\/p>\n

For the state of the plate re-worked by Enea Vico, see below.<\/p>\n

Fig.E.25a<\/a> (State I, Chatsworth)
\nFig.E.25b<\/a> (State II, Paris, Eb 6b R\u00e9s)
\nFig.E.25c<\/a> (State II, London, 1874-8-8-219)<\/p>\n

Heinecken, I, 1778, 624-625, as Agostino Veneziano, after Rosso, according to Vasari, but in France, where the picture is, after Perino del Vaga.\u00a0 Bartsch, XV, 1813, 89, 53.\u00a0 Le Blanc, 1854-1890, I, 589, 58. Herbet, III, 1899, 48 (1969, 136).<\/p>\n

COLLECTIONS: Berlin, 180-18 (II or III; worn plate), 182-18 (II or III; worn plate, badly damaged).\u00a0 Braunschweig (IV).\u00a0 Brussels, Biblioth\u00e8que Albert Ier<\/sup> (see Poirier, 1964, 63-64, 78, Pl. XXXVII, the left half of the print reproduced as by Enea Vico).\u00a0 Chatsworth, Vol. III, p.41, no. 74 (I. This only known impression of the unfinished state I is elaborated by a landscape added in red-orange chalk; a large piece is missing at the center right edge with the missing part of the engraved image added in brown ink.\u00a0 The red chalk drawing, which is not by Rosso, extends at the bottom onto the sheet on which the print is laid down.\u00a0 This impression is probably the incomplete one mentioned by Mariette [Ab\u00e9c\u00e9dario<\/em>, 1858-1859, 20] as owned by Zanetti in Venice, the added drawing thought by Mariette to be by Rosso himself.\u00a0 But as the red chalk drawing extends onto the backing sheet, Rosso\u2019s authorship seems unlikely, as is also the suggestion of Michael Bury [\u201cOn Some Engravings by Giorgio Ghisi Commonly called \u2018Reproductive,\u2019\u201d Print Quarterly<\/em>, X, 1, 1998, 8-9] that the added drawing is by Caraglio.\u00a0 The red chalk drawing was probably added after the damaged sheet was repaired, perhaps in the eighteenth century.\u00a0 A finished impression was used as a model, but the birds were not copied.\u00a0 I should like to thank Anthony V. Griffiths for bringing this impression to my attention.).\u00a0 Florence, 1156ss (II or III; damaged, soiled).\u00a0 London, 1874-8-8-219 (II; lower margin cut off); V.8-119 (poor condition).\u00a0 Paris, Ba 12c, p.16, no. 12 (II or III; inscribed in ink at the lower left: Perin del Vaga inv. pin…?<\/em>); Eb 6b R\u00e9s. (II).\u00a0 Rome, Fondo Corsini, Vol. 26 M 30, no. 05883 (II or III).\u00a0 Vienna, H.B.IV, p.50, no. 71 (III).<\/p>\n

LITERATURE:<\/p>\n

Mariette, Ab\u00e9c\u00e9dario<\/em>, 1858-1859, 20, as Caraglio after Rosso.<\/p>\n

Goldschmidt, 1911, 22, mentions the print as Caraglio\u2019s and states that Rosso\u2019s original work is the painting in the Louvre.<\/p>\n

Kusenberg, 1931, 157, 163, as Caraglio after Rosso; he mentions the Louvre painting as Rosso\u2019s, done in Rome.<\/p>\n

Barocchi, 1950, 90-91, Fig. 62, as Caraglio after Rosso, and the picture in the Louvre as not Rosso\u2019s.<\/p>\n

Petrucci, 1964, 44-45.<\/p>\n

Cox-Rearick, 1972, 38, under no. 45, as Caraglio\u2019s after Rosso\u2019s painting of 1524-1527 in the Louvre.<\/p>\n

Zerner, in EdF<\/em>, 1972, 249, no. 285, 250, Fig. (Paris, Eb 6b R\u00e9s) as a work engraved in Rosso\u2019s Italian period, its schematic character giving doubts to Vasari\u2019s attribution of it to Caraglio.<\/p>\n

B\u00e9guin, in EdF<\/em>, 1972, 177, under no. 199, as by Caraglio after Rosso\u2019s picture in the Louvre.<\/p>\n

Zerner, \u201cCaraglio,\u201d 1972, 692, as by Caraglio (a remark dating from 1969 when Zerner gave the lecture published here).<\/p>\n

Mirimonde, 1973, 144, 142, mentions Zerner\u2019s questioning of the attribution to Caraglio.<\/p>\n

Zerner, in Fontainebleau<\/em>, 1973, I, 39, Fig. 3, II, 79, no. 285.<\/p>\n

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

Borea, 1980, 248, no. 617.<\/p>\n

L\u00e9v\u00eaque, 1984, 124, Fig. (Paris, Eb 6b R\u00e9serve), as Caraglio after Rosso.<\/p>\n

Boorsch and Spike, IB<\/em>, 28, 1985, 192 (London, 1874-8-8-219).<\/p>\n

Carroll, 1987, 24, 40, 92-94, no. 17, with Fig. (Paris, Eb 6b R\u00e9s.).<\/p>\n

Carroll, 1989, 91, 14, Fig. 26 (Paris, Eb 6b R\u00e9s.).<\/p>\n

Massari, 1989, 119, 141, 144, no. 56a, Figs. a and c detail [mistake for a] (Rome), as done c. 1526 in Rome, with bibliography.<\/p>\n

Costamagna, 1991, 53, Fig. 5 (Paris), the female figures showing that Rosso had taken to Rome copies of Michelangelo\u2019s \u201cteste divine\u201d drawings.<\/p>\n

Franklin, 1994, 134-135, 150, 160, 283, n. 56, Pl. 98 (London), noted the evidence provided by Bury that the background was added by Caraglio (see above under COLLECTIONS).<\/p><\/blockquote>\n

In his account of the career of Caraglio, Vasari lists the Challenge of the Pierides<\/em> as that engraver\u2019s third work and the third work he engraved after Rosso\u2019s designs following upon the latter\u2019s arrival in Rome.\u00a0 There is no mention of any painting by Rosso.\u00a0 The painting in the Louvre, on which see RP.19<\/a>, is derived from the print, and quite possibly from an impression made from Enea Vico\u2019s re-working of the plate (see below).\u00a0 A disegno di stampa<\/em> made by Rosso specifically for the engraver was certainly the model for the print.\u00a0 The print should be judged from an excellent impression of it, such as the example in Vienna.\u00a0 Much of the light and dark values of the landscape are engraved quite like the similar passages in the Labors of Hercules<\/em> (on which Zerner writes in \u201cCaraglio,\u201d 1972, 692, Pl. 219, 2-3).\u00a0 One must also note that while the print is very large, it contains many figures that are quite small, making this print unlike the others that Caraglio made from Rosso\u2019s designs, excepting the Battle of the Romans and the Sabines<\/em>, which the engraver never finished (Fig.E.48, Paris<\/a>).\u00a0 But impressions made from the unfinished plate show in the figures that are completed a technique identical to that of the figures in the Challenge of the Pierides<\/em>.\u00a0 It cannot be reasonably doubted that the print is by Caraglio and that it was made after a drawing by Rosso that was executed in Rome.\u00a0 Caraglio would have followed it carefully, including its landscape, producing a print in the opposite direction.\u00a0 Evidence for what Caraglio had to reproduce in the way of landscape may probably be had from Perino del Vaga\u2019s disegno di stampa<\/em> in the British Museum (5226-96) of Vertumnus and Pomona<\/em> for the series of the Loves of the Gods<\/em> (see E.46-47<\/a>).\u00a0 The original drawing by Perino was followed very closely and augmented only in detail where the technique of engraving required greater specification.<\/p>\n

The composition of the Pierides<\/em> print is most similar to that of Rosso\u2019s St. Roch Distributing His Inheritance to the Poor<\/em>, in the Louvre (Fig.D.13<\/a>), done most probably in the middle of 1524.\u00a0 In both, the figures are arranged in groups placed in the immediate foreground and then slightly farther back, but so placed that the groups do not really overlap.\u00a0 To the right of Apollo is a male figure bending over with his arms crossed over his chest that is almost identical to a figure in reverse in the upper left corner of the Louvre drawing.\u00a0 The woman at the far right of the print is very much like the woman at the far left, in reverse, in the copy of Rosso\u2019s St. Roch Visiting the Plague-Stricken<\/em> in the Louvre (Fig.D.14B<\/a>).\u00a0 It is probable that the print was designed and executed in the second half of 1524, after the Labors of Hercules<\/em>, but before Rosso executed the grand Dead Christ<\/em> in Boston of 1525 or 1526 (Fig.P.18a<\/a>), and before he designed the Gods in Niches<\/em>, engraved by Caraglio in 1526, with their broad, bold, and witty compositions (Fig.E.26<\/a> and others of this series).<\/p>\n

 <\/p>\n

PRINT FROM RE-WORKED PLATE:<\/p>\n

Enea Vico (Fig.E.110<\/a>).\u00a0 Inscribed in the margin below as in Caraglio\u2019s original print but with the words spaced differently, formed of smaller letters, without the marks at the beginning, middle, and end, and without the two small circles at both ends of the margin.\u00a0 Inscribed within the picture area itself, at the lower left: AENEAS VICO PARM .<\/sup><\/strong> RESTITVIT .<\/sup><\/strong> MDLIII .<\/sup><\/strong><\/em> .\u00a0 Later impressions also inscribed at the lower right: Ant.Lafrerv<\/em>.\u00a0 The Salamanca address has been erased.<\/p>\n

Fig.E.110<\/a> (Bartsch)<\/p>\n

Heinecken, I, 1778, 625.\u00a0 Bartsch, XV, 1813, 295-296, 28, also mentioned under Caraglio\u2019s print.\u00a0 Le Blanc, 1854-1890, I, 589, 58, under Caraglio, and IV, 118, 28, under Vico.<\/p>\n

COLLECTIONS: Bologna, Inv. V. 76 (1269).\u00a0 Brussels, Biblioth\u00e8que Albert Ier<\/sup> (see Poirier, 1964, 63, 65, 78, Pl. XXXVII [detail]).\u00a0 Chatsworth, Vol. III, no. 75.\u00a0 Florence, Marucelliana, Vol. X, no. 48.\u00a0 London, 1874,0808.280.\u00a0 Oxford.\u00a0 Paris, Ba 12c, p.17, no. 14 (possibly the Paris impression with Lafr\u00e9ry address and inscribed at the lower right: Perin del Vaga Inv. Pinx.<\/em> illustrated in Mirimonde, 1973, 142, Fig. 2).\u00a0 Rome, Fondo Nazionale, F. Pio Vol. IX, no. 1181 (34895), Fondo Corsini, Vol. 34 H 16, no. 31030 and 31031 (with Lafr\u00e9ry address).\u00a0 Vienna, H.B.IV, p.95, no. 103 (Lafr\u00e9ry).<\/p>\n

LITERATURE:<\/p>\n

Kusenberg, 1931, 157, 167.<\/p>\n

Mirimonde, 1973, 142.<\/p>\n

Ferrara and Gaeta Bertel\u00e0, 1975, no. 502, with Fig. (Bologna), as by Enea Vico.<\/p>\n

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

Borea, 1980, 248, under no. 617.<\/p>\n

Spike, IB<\/em>, 30, 1985, 41 (London).<\/p>\n

Carroll, 1987, 94, n. 1, under no. 17.<\/p>\n

Massari, 1989, 141, 143-144, no. 56 b, c, and d, Figs. c and a detail [wrong for c] (Rome), as done on another plate.<\/p><\/blockquote>\n

As the inscription indicates and Bartsch stated, the major lines of the composition have been maintained and details have been re-worked to restore the plate.\u00a0 Impressions from this plate appear very \u201cbleached\u201d and the condition of the worn plate is very much in evidence.\u00a0 Many of the faces, especially the female ones, have been re-cut.\u00a0 The Muse to the left of center has quite a grotesque face.\u00a0 Massari thought that the scene was engraved by Vico on a new plate but the old, very worn plate seems too much in evidence to conclude that this was the case.\u00a0 Bartsch thought this engraving one of Vico\u2019s best, an appreciation that is difficult to accept.\u00a0 It is possible that the painting wrongly attributed to Rosso in the Louvre was derived from this print, on which see RP.19<\/a>.<\/p>\n

 <\/p>\n

PARTIAL COPY: E.111.\u00a0 Enea Vico, The Nine Daughters of Pierus<\/em>.\u00a0 Engraving, 13.2 x 18.9 (Kusenberg).\u00a0 Inscribed on a small band at the lower left:\u00a0\u00a0 \u00ad\u00ad_.V<\/em>. (Bartsch).<\/p>\n

Fig.E.111<\/a> (Dresden)<\/p>\n

Bartsch, XV, 1813, 296, 29.\u00a0 Le Blanc, 1854-1890, IV, 118, 29.<\/p>\n

COLLECTION: Dresden.<\/p>\n

LITERATURE:<\/p>\n

Kusenberg, 1931, 157, 167.<\/p>\n

Spike, IB<\/em>, 30, 1985, 42 (Dresden, 13 x 18.9).<\/p><\/blockquote>\n

This print shows the nine figures at the lower right of Caraglio\u2019s engraving, but in reverse.\u00a0 Although this engraving shows the Pierides, it may be the print listed in the 1572 inventory of the prints in the shop of Antonio Lafr\u00e9ry in Rome as \u201cle nove Muse di Enea Vico\u201d (Ehre, 1908, 56, line 319), unless this reference lists a now lost engraving by Vico, perhaps of the nine nude Muses of Caraglio\u2019s print.<\/p>\n

 <\/p>\n

COPY: E.53.\u00a0 Du Cerceau.\u00a0 Etching, 24.8 x 38.9.\u00a0 Inscribed at the bottom as in the original print (Linzeler).\u00a0 Not seen.<\/p>\n

COLLECTION: Paris, Ed. 2 (Linzeler).<\/p>\n

LITERATURE:<\/p>\n

Geym\u00fcller, 1887, 324, as 23.5 x 38.3, as copied from Caraglio\u2019s print after Perino del Vaga.<\/p>\n

Kusenberg, 1931, 164, as in Geym\u00fcller.<\/p>\n

Linzeler, 1932, 34, as in Geym\u00fcller.<\/p>\n

Borea, 1980, 248, under no. 617.<\/p><\/blockquote>\n

The inscription on the print indicates that it was derived from Caraglio\u2019s engraving.<\/p>\n

 <\/p>\n

COPIES, DRAWINGS: Florence, Uffizi, no. 92167F.\u00a0 Pen and wash, 14.9 by 22.2 (max.).\u00a0 This copy is attributed to Cherubino Alberti in the Uffizi.<\/p>\n

Paris, Louvre, Inv. 1595.\u00a0 Copies of groups of figures in Caraglio\u2019s print, the lower groups juxtaposed somewhat differently to those above<\/em> (Fig.Paris, 1595<\/a>).\u00a0 Pen and ink, 20.4 x 25.9.\u00a0 PROVENANCE: Cabinet du Roi.\u00a0 Robert de Cotte (Lugt 1963); Antoine Coypel (Lugt 478).\u00a0 LITERATURE: Morel d\u2019Arleux Inventory, 1797-1827, no. 3921, as after Perino del Vaga.\u00a0 Kusenberg, 1931, 145, no. 73, Pl. XXII, as Rosso, for his composition.\u00a0 Mez, 1932, 157, as a copy of Rosso\u2019s composition.\u00a0 Kusenberg, 1933, 164, n. 1, as a copy.\u00a0 Berenson, 1938, II, no. 2455A, III, Fig. 1007, under Rosso, but possibly after rather than for his painting.\u00a0 Barocchi, 1950, 224, Fig. 216, as a copy after Caraglio\u2019s print.\u00a0 Parker, 1956, 324, under no. 595, as uncertain whether for or after Rosso\u2019s picture in the Louvre, and as resembling a drawing of Four nude female figures<\/em> in the Ashmolean.\u00a0 Berenson, 1961, no. 2455A, as in 1938.\u00a0 Carroll, 1964 (1976), II, Bk. II, 511-512, F.51, Bk. III, Fig. 205, as a copy of Rosso\u2019s composition and as more likely made from Caraglio\u2019s print rather than from the Louvre painting.\u00a0 It is noted that the draughtsmanship suggests Veronese\u2019s.\u00a0 Mich\u00e8le Beaulieu, in EdF<\/em>, 1972, 376-377, under no. 505, mentioned the drawing as a possible source, instead of Caraglio\u2019s print, along with the Gods in Niches<\/em>, for some of the figures in a Last Judgment<\/em> relief and its flanking figures in the Mus\u00e9e arch\u00e9ologique, Dijon (H. David, De Sluter \u00e0 Sambin<\/em>, Paris, 1933, II, 368-370, 378, Fig. 112).\u00a0 [I do not see these connections.]\u00a0 B\u00e9guin, in EdF<\/em>, 1972, 177, under no. 199, as copied from the painting in the Louvre.\u00a0 B\u00e9guin, Louvre<\/em>, 1982, 36-37, no. 27, Fig., 70, nos. 59, 60, as copy of Caraglio\u2019s print.\u00a0 Massari, 1989, 141.<\/p>\n

I now think it looks rather like a drawing by Perino del Vaga or Pellegrino Tibaldi, and still as after the Caraglio print.<\/p>\n

 <\/p>\n

COPIES, PAINTINGS: Paris, Louvre, no. 1486.\u00a0 See RP.19<\/a>.<\/p>\n

For drawings and prints derived from this painting, see under RP.19.<\/p>\n

Paris, Louvre.\u00a0 School of Fontainebleau, Toilet of Venus<\/em>.\u00a0 97 x 126.\u00a0 LITERATURE: C. Sterling and H. Adh\u00e9mar, Mus\u00e9e Nationale du Louvre, Peintures, \u00c9cole fran\u00e7aise, XIV, XV, et XVI si\u00e8cles<\/em>, Paris, 223-224, no. 102.\u00a0 B\u00e9guin, 1989, 829, Fig., 830, 838.\u00a0 The figure at the left is derived from the Pierides<\/em> print.<\/p>\n

 <\/p>\n

COPIES, ENAMEL: Paris, Louvre, D\u00e9partement des Objets d\u2019Art, Inv. 570, Cup.\u00a0 LITERATURE: B\u00e9guin, Louvre<\/em>, 1982, 70, n. 60, mentions this cup as decorated with groups of figures from the Challenge of the Pierides<\/em>.\u00a0 B\u00e9guin may imply that these groups are related to those in the pen and ink copy in the Louvre (see above).<\/p>\n

 <\/p>\n

COPIES, FULL COMPOSITION, MAJOLICA: Formerly Berlin, Shlossmuseum, Inv. 1794 (destroyed in World War II).\u00a0 Orazio Fontana, Dish.\u00a0 Dated 5 November 1542.\u00a0 LITERATURE: Norman, 1976, 207, under C100, with bibliography.\u00a0 Mallet, 1987, 290-291, Figs. 8 and 8a (inscription on verso<\/em>), 294, 298, no. 34, with bibliography, as almost certainly by Orazio Fontana.<\/p>\n

Cambridge, Fitzwilliam Museum, No. C35-1942.\u00a0 Probably Camillo Gatti, Dish.\u00a0 LITERATURE: Norman, 1976, 207, under C100, with bibliography.\u00a0 Mallet, 1987, 292, Fig. 9 (Color Pl. on cover), 293, 294, 298, no. 35, with bibliography, as probably by Camillo Gatti, c. 1545-1550, and as from the collection of Baron Selli\u00e8res (Fortnum, 1896, 202).<\/p>\n

London, Wallace Collection, C100.\u00a0 Probably Fontana workshop, Fragment of a large cistern.\u00a0 LITERATURE: Norman, 1976, 205-207, C100, with Fig. and bibliography.\u00a0 Mallet, 1987, 292-293, as by Camillo Gatti.<\/p>\n

Modena, Museo Civico.\u00a0 Guido Fontana workshop, Dish.\u00a0 LITERATURE: Mallet, 1987, 294, 298, no. 36, with bibliography.<\/p>\n

Location unknown, Arthur M. Sackler Collection, Trilobate Cistern (Fig.Majolica, Sackler<\/a>), Accession no. 82.3.1 (in exhibition in Washington, D.C., National Gallery of Art, December 1982, but not in catalogue, and at the Palace of the Legion of Honor in San Francisco, no. 84, in March 1986).\u00a0 Fontana workshop, possibly by Orazio Fontana.\u00a0 Trilobate Cistern.\u00a0 This is probably the piece from the Spitzer collection (see Norman, 1976, 207, under C100, as Spitzer Collection, Catalogue<\/em>, 1892, IV, No. 83, Pl. XVII).<\/p>\n

Washington, D.C., National Museum of American Art, Platter (Fig.Majolica, Washington<\/a>), Inv. 1929.8.479, Gift of John Gellatly.\u00a0 LITERATURE: Carroll, 1987, 94-95, Fig., with bibliography, as from the Spitzer collection.<\/p>\n

 <\/p>\n

COPIES, INDIVIDUAL FIGURES AND GROUPS OF FIGURES, MAJOLICA:\u00a0 Caraglio\u2019s print was used as the source for the figures in a great many of the wares – too numerous to list individually – produced by and in the Urbino shop of Francesco Xanto Avelli da Rovigo (see, selected from the extensive literature that mentions and illustrates wares using this print, Rackham and Mallet, 1940\/1977, 209-210; and Bonomi, Marisa, \u201cFonti iconografiche delle maioliche di Francesco Xanto Avelli,\u201d Commentari<\/em>, X, 1959, 192, Figs. 3-6, 13; Jestaz, Bertrand, \u201cLes mod\u00e8les de la majolique histori\u00e9e: bilan d\u2019une enqu\u00eate,\u201d GdBA<\/em>, 6th series, LXXIX, 1972, 231; Petruzzellis-Scherer, Jacqueline, \u201cFonti iconografiche delle opere dell\u2019Avelli al Museo Correr di Venezia,\u201d Francesco Xanto Avelli da Rovigo, Atti del Convegno Internazionale di Studi<\/em>, Rovigo, Accademia dei Concordi, 1980, Rovigo, 1988, 124, 125, 130, 131, Figs. 4, 6, 14, and 148, print no. 5; Collins, Patricia, \u201cPrints and the Development of istoriato<\/em> Painting on Italian Maiolica,\u201d Print Quarterly<\/em>, IV, 3, 1987, 227; and Maiolica e Incisione<\/em>, 1992, 46-47, no. 8, 48-49, no. 9, 50-51, no. 10, 60-61, no. 13, and the scene loosely derived from the print, 112-113, no. 37, all illustrated).\u00a0 Some other Urbino wares given to other shops also show the use of figures in this print.<\/p>\n","protected":false},"excerpt":{"rendered":"

Engraving by Gian Jacopo Caraglio, 24.5 x 39 L, including margin at bottom of 0.4 (Paris, Eb 6b R\u00e9s.) Four states: I.\u00a0 Only the figures engraved, although not all of them, and some that are, not entirely, and part of the landscape at the upper right.\u00a0 The head second to the left of Apollo and […]<\/p>\n","protected":false},"author":13,"featured_media":0,"parent":824,"menu_order":27,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-3849","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/3849","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=3849"}],"version-history":[{"count":23,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/3849\/revisions"}],"predecessor-version":[{"id":8095,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/3849\/revisions\/8095"}],"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=3849"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}