{"id":3857,"date":"2012-04-05T16:21:07","date_gmt":"2012-04-05T20:21:07","guid":{"rendered":"http:\/\/blogs.vassar.edu\/rosso\/?page_id=3857"},"modified":"2014-08-04T15:55:00","modified_gmt":"2014-08-04T19:55:00","slug":"e-26-45-caraglio-gods-in-niches","status":"publish","type":"page","link":"https:\/\/pages.vassar.edu\/rosso\/catalogues\/engravings\/e-26-45-caraglio-gods-in-niches\/","title":{"rendered":"E.26-45 Gods in Niches"},"content":{"rendered":"

Twenty engravings by Gian Jacopo Caraglio.<\/p>\n

For States and copies, see below.<\/p>\n

Bartsch, XV, 1813, 77-79, 24-43.\u00a0 Le Blanc, 1854-1890, I, 589, 29-48.\u00a0 Herbet, III, 1899, 48 (1969, 136).<\/p>\n

In the following entries for the individual prints of this set, measurements are given from L when known, otherwise from S; in two cases the measurements of the niche are also given.\u00a0 Some are measured from late impressions probably made for Salamanca (on which, see below where these impressions are listed).\u00a0 Although as a set all twenty of these prints have approximately the same dimensions, they do vary.\u00a0\u00a0 This would be due to the slightly different size of each engraving on the plate itself, but impressions of the same plate can also vary, the result, it would seem, of the shrinkage of the moistened paper drying under various conditions.\u00a0 A Latin inscription appears in the margin at the bottom of each print and is recorded below as accurately as possible.\u00a0 (A translation follows made by the late Vassar College professor James Day.)\u00a0 The Ns are backwards although they are transcribed normally here.\u00a0 The lettering is of clear Roman capitals but it is not the same size in all the prints of the series.\u00a0 In some impressions the lightly engraved guidelines above and below the lettering are visible.\u00a0 Each print is numbered, sixteen at the lower right, just above the level of the Latin inscription.\u00a0 Three, E.30, Neptune<\/em>, E.40, Hercules<\/em>, and E.44, Vulcan<\/em>, are numbered at the lower left on the same level as the other numbers.\u00a0 E.35, Venus<\/em> is numbered at the lower right below the level of the inscription.<\/p>\n

Under COLLECTIONS impressions are listed that would seem to be from the early printings, before the worn plates were acquired by Salamanca (see below).\u00a0 However, as his name appears only on the first of the series, Saturn<\/em>, it cannot be determined for any of the others which were printed under him.\u00a0 Impressions from the worn plates were made before Salamanca acquired the plates (see the Saturn<\/em>, London, VA, 27878.1).\u00a0 But it can generally be assumed that the prints that have lost the depth of many of their lines and therefore appear most \u201cbleached\u201d are from the Salamanca edition.<\/p>\n

The best impressions of this series are in the Uffizi but they are not all in excellent condition.\u00a0 The Uffizi has only a late impression of E.41, Hebe<\/em>.\u00a0 The Albertina has a set in H.B.IV of varied impressions, some excellent, some very good or good, one or two pale, but all are trimmed; one is a copy by Bink (p.99, no. 109, Jupiter<\/em>).\u00a0 The Albertina set in Vol. It.I.25 begins with the Saturn<\/em> having the Salamanca address.\u00a0 These impressions are varied, but some are very good.\u00a0 They all have full P and L.\u00a0 I know of no other collection with a complete set.\u00a0 Good impressions of individual prints are rare.\u00a0 The impressions in the Uffizi are the finest I have seen.<\/p>\n

\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
E.26. SATURN21.1 x 10.9 L (Oxford \/ Salamanca); niche 19 x 8.2 (Vienna).\u00a0 Inscribed on the tablet in the niche at the lower right: IACOBVS \/ CARALIVS \/ VERONEM \/ SIS \u2022 FECIT \u2022_\/_\u2022 \/ \u2022 1526 \u2022<\/em> (Jacopo Caraglio of Verona made it, 1526); inscribed at the bottom: \u2022 DIVORVM \u2022 GENITOR \u2022 SVMMI \u2022 SATVRNVS\u00a0 \u2022_OLYMPI \u2022<\/em> (Saturn, progenitor of the gods of highest Olympus); numbered 1<\/em>.Fig.E.26<\/a>\u00a0(Florence)Bartsch, XV, 1813, 77, 24.COLLECTIONS: Florence, 1092ss (cut around sides and top of niche and at both ends of the inscription; the lower right side is pasted on an impression of the Salamanca edition showing the end of Saturn\u2019s scythe, the c<\/em>. of the Salamanca address, and the number 1<\/em>; laid down and a piece added across the top with printed line).\u00a0 London, VA, 27878.1 in Press I.2.C (worn plate but without Salamanca address).\u00a0 Vienna, H.B.IV, p.99, no. 107 (L cut from all sides, damaged right edge).<\/td>\n\n

E.27. OPIS21.4 x 10.8 L (London, 1853-7-9-93).\u00a0 Inscribed below: OPIS \u2022 SATVRNI \u2022 CONIVNX \u2022\u00a0 MATERQUE_\u2022 DEORVM \u2022<\/em> (Opis, wife of Saturn and mother of the gods); numbered 2<\/em>.Fig.E.27<\/a>\u00a0(Florence)Bartsch, XV, 1813, 77, 25.COLLECTIONS: Florence, 1093ss (complete image including antlers at the left and shadows at the right that overlap L).\u00a0 Florence, Marucelliana, Vol. IX, 3 (slightly worn plate).\u00a0 London, 1853-7-9-93 (probably Salamanca).\u00a0 Vienna, H.B.IV, p.99, no. 108 (pale in animals at left).<\/td>\n\n

E.28. JUPITER21.1 x 11 L (Cambridge, Zerner \/ Salamanca).\u00a0 Inscribed: \u2022 IVPPITER\u00a0 \u2022_AETHEREA \u2022 SVMMA\u00a0 \u2022_DOMINATOR \u2022_IN \u2022_ARCE \u2022 <\/em>(Jupiter, master in the high arch of the upper air); numbered 3<\/em>.Fig.E.28a<\/a>\u00a0(Florence, photo cut at bottom)Fig.E.28b<\/a>\u00a0(Florence)Bartsch, XV, 1813, 78, 26.<\/p>\n

COLLECTIONS: Florence, 1094ss (bottom L slightly cut at right).\u00a0 Florence, Marucelliana, Vol. IX, no. 3 (pale and very spotted).<\/td>\n

\n

E.29. JUNO21.3 x 10.9 L (Florence, 1115ss). Inscribed: \u2022 ET SOROR ET CONIVNX IOVIS EST SATVRNIA IVNO \u2022<\/em> (Saturn’s daughter, Juno, both sister and wife of Jove) ; numbered 4<\/em>.Fig.E.29<\/a>\u00a0(Florence, 1115ss)Bartsch, XV, 1813, 78, 27.COLLECTIONS: Bologna, C. 642 (452) (good and complete).\u00a0 Florence, 1095ss (upper left and lower right corners missing and filled, part of last word of inscription missing, L cut off at right, slightly stained); 1115ss.\u00a0 Florence, Marucelliana, Vol. X, no. 2 (pale and very spotted).\u00a0 Vienna, H.B.IV, p.99, no. 110.<\/td>\n\n

E.30. NEPTUNE21.2 x 10.7 L (Florence, 1116ss \/ Salamanca).\u00a0 Inscribed: \u2022 QVI MARIA IMPERIO REGIE NEPTVMNVS \u2022 ET \u2022 VNDAS \u2022<\/em> (Neptune, who rules seas and waves with imperial sway); numbered 5<\/em>.Fig.E.30<\/a>\u00a0(Florence, 1096ss)Bartsch, XV, 1813, 76, 28.COLLECTIONS: Florence, 1096ss (L cut from all sides); 1116ss.\u00a0 Florence, Marucelliana, Vol. IX, no. 5 (pale and foxed).\u00a0 Vienna, H.B.IV, p.99, no. 111.<\/td>\n\n

E.31. THETIS21.3 x 10.9 L (Florence, Marucelliana \/ Salamanca).\u00a0 Inscribed: \u2022 NEREIS \u2022 AEOVOREAS \u2022 INTER \u2022 CELEBERRIMA \u2022 MATRES \u2022<\/em>(Daughter of Nereus, most renowned among the mothers associated with the sea); numbered 6<\/em>.Fig.E.31<\/a>\u00a0(Florence)Bartsch, XV, 1813, 78, 29.COLLECTIONS: Florence, 1097ss (L cut from all sides, upper right corner missing and filled).\u00a0 Florence, Marucelliana, Vol. IX, no. 6 (pale and rubbed).\u00a0 Vienna, H.B.IV, p.99, no. 112.<\/td>\n\n

E.32. PLUTO21.3 x 10.8 L (Florence, 1118ss \/ Salamanca).\u00a0 Inscribed: \u2022 PLVTONEM \u2022 MAGNVM \u2022 MIRANTVR \u2022 QVAM \u2022 TARTARA \u2022 REGEM \u2022<\/em> (People stand in awe of great Pluto as much as they do of Tartarus over which he is king); numbered 7<\/em>.Fig.E.32<\/a>\u00a0(Paris)Bartsch, XV, 1813, 78, 30.COLLECTIONS: Bologna, C. 654 (454) (trimmed and damaged).\u00a0 Florence, 1098ss (L cut from sides and bottom and cut just above top L); 1118ss \/ Salamanca.\u00a0 London, Bink Vol., C46, p.9, 1853-7-9-102 (wrongly as Bink; cut and repaired, part of inscription missing, tip of left prong drawn in ink, squared in black lead).\u00a0 Paris, Eb 6b R\u00e9s. fol.\u00a0 Vienna, H.B.IV, p.100, no. 113.<\/p>\n

For Rosso\u2019s drawing in Lyons for this print, see below and D.17 (Fig.D.17A<\/a>).<\/td>\n

\n

E.33. PROSERPINA21.3 x 10.7 S (Florence).\u00a0 Inscribed: \u2022\u00a0 SVM DEA TARTAREI CONIVX PROSERPINA REGIS \u2022<\/em> (the second P<\/em> in PROSERPINA<\/em> corrected from an R) (I am Proserpina, wife of the king over Tartarus); numbered 8<\/em>.Fig.E.33<\/a>\u00a0(Florence)Bartsch, XV, 1813, 78, 31.COLLECTIONS: Florence, 1099ss (L cut from all sides).\u00a0 Florence, Marucelliana, Vol. IX, no. 7 (pale and rubbed at bottom).\u00a0 Vienna, H.B.IV, p.100, no. 114.<\/p>\n

For Rosso\u2019s drawing in Paris for this print, see below and D.17B (Fig.D.17B<\/a>).<\/td>\n

\n

E.34. MARS21.5 x 10.7 S (Florence).\u00a0 Inscribed: \u2022 MARS QVI VICTRICI COMITIT PROEDIA DESTRA \u2022<\/em> (Mars, who awards spoils of war with victor\u2019s hand); numbered 9<\/em>.Fig.E.34<\/a>\u00a0(Florence)Bartsch, XV, 1813, 78, 32.COLLECTIONS: Florence, 1104ss (L partly cut on all sides; a line above O<\/em> of COMITIT<\/em>added in ink).\u00a0 Florence, Marucelliana, Vol. IX, no. 8 (foxed).\u00a0 Vienna, H.B.IV, p.100, no. 115.<\/p>\n

For Rosso\u2019s drawing in Paris for this print, see below and D.17C (Fig.D.17C<\/a>).<\/td>\n

\n

E.35. VENUS21.5 x 11 L (Florence, Marucelliana).\u00a0 Inscribed: \u2022 CIIPRIA LASCIVI PVLCHERRIMA MATER \u2022 AMORIS \u2022<\/em> (Cypria, most beauteous mother of wanton love); the number 10<\/em>at the lower right slightly beneath the level of the Latin inscription.Fig.E.35<\/a>\u00a0(Florence)Bartsch, XV, 1813, 78, 33.COLLECTIONS: Florence, 1105ss (L cut from all sides but partly visible at right and at bottom).\u00a0 Florence, Marucelliana, Vol. IX, no. 9.\u00a0 Oxford, Ashmolean (full L).\u00a0 Vienna, H.B.IV, p.100, no. 116.<\/td>\n\n

E.36. APOLLO21.5 x 11.1 L (Vienna \/ Salamanca).\u00a0 Inscribed at bottom across the radiating lines of light of the chariot\u2019s wheels: \u2022 OMNIA \u2022 QVI \u2022 VIDEO \u2022 PER \u2022 QVEM \u2022 VIDET \u2022 OMNIA \u2022 TELLVS \u2022<\/em> (All things do I see and all the earth has sight through me); numbered 11<\/em>.Fig.E.36<\/a>\u00a0(Florence)Bartsch, XI, 1813, 78, 34.COLLECTIONS: Florence, 1101ss (L cut from all sides but partly visible at right, tips of three right fingers cut).\u00a0 Florence, Marucelliana, Vol. IX, no. 10 (pale and very foxed).\u00a0 Vienna, H.B.IV, p.100, no. 17.<\/td>\n\n

E.37. DIANA21.4 x 11 L (Florence, Marucelliana).\u00a0 Inscribed: SILVARVM CVLTRIX CASTISSIMA VIRGO DIANA EST<\/em> (Diana is patroness of forests, a virgin most chaste); numbered 12<\/em>.Fig.E.37<\/a>\u00a0(Florence)Bartsch, XV, 1813, 78, 35.COLLECTIONS: Florence, 1102ss.\u00a0 Florence, Marucelliana, Vol. IX, no. 11.\u00a0 Vienna, H.B.IV, p.100, no. 118.<\/td>\n\n

E.38. MERCURY21.3 x 10.8 L (Florence, Marucelliana).\u00a0 Inscribed: \u2022 MERCVRIVS \u2022 DIVVM \u2022 QVI \u2022 FERT \u2022 RESPONSA \u2022 PER \u2022 AVRAS \u2022 <\/em>(Mercury, who carries the gods\u2019 messages through the air); numbered 13<\/em>.Fig.E.38<\/a>\u00a0(Florence)Bartsch, XV, 1813, 78, 36.COLLECTIONS: Berlin, 191-18.\u00a0 Florence, 1107ss (left L cut as well as the tip of the raised flute; period before inscription also cut).\u00a0 Florence, Marucelliana, Vol. IX, no. 12 (slightly pale).\u00a0 Vienna, H.B.IV, p.107, no. 119.<\/td>\n\n

E.39. CERES21.4 x 10.9 L (Florence, Marucelliana).\u00a0 Inscribed: \u2022 ALMA CERES DOCVIT SEGETVM SPEM CREDERE SVLCIS \u2022<\/em> (Fostering Ceres has taught us to place our hopes in the plowed field); numbered 14<\/em>.Fig.E.39<\/a>\u00a0(Florence)Bartsch, XV, 1813, 78, 37.COLLECTIONS: Florence, 1100ss (L mostly cut at left and right, stained across middle).\u00a0 Florence, Marucelliana, Vol. IX, no. 13 (slightly worn plate).\u00a0 Vienna, H.B.IV, p.101, no. 120.<\/td>\n\n

E.40. HERCULES21.3 x 10.8 L (Florence, 1126ss \/ Salamanca).\u00a0 Inscribed: HERCVLIS HEC FORMA EST GRAIIS CELEBRATA POETIS<\/em> (This is the image of Hercules as widely proclaimed by Greek poets); numbered 15<\/em>at lower left.Fig.E.40<\/a>\u00a0(Florence)Bartsch, XV, 1813, 78, 38.COLLECTIONS: Florence, 1108ss (L at right cut).\u00a0 Florence, Marucelliana, Vol. IX, no. 14.\u00a0 Vienna, H.B.IV, p.101, no. 121.<\/td>\n\n

E.41. HEBE21.5 x 11 L (Florence, Marucelliana \/ Salamanca).\u00a0 Inscribed: \u2022 SVM \u2022 DEA \u2022 PERPETVA \u2022 GAVDENS \u2022_FORMOSA \u2022 IVVENTA \u2022<\/em> (I am the beauteous goddess who glories in everlasting youth); numbered 16<\/em>.Fig.E.41<\/a>\u00a0(Vienna)Bartsch, XV, 1813, 79, 39.COLLECTIONS: Florence, Marucelliana, Vol. IX, no. 15 (fair but inscription badly rubbed).\u00a0 Vienna, H.B.IV, p.101, no. 122 (L at all sides cut as well as left heel of figure and the period before the inscription).<\/td>\n\n

E.42. BACCHUS21.5 x 10.9 L; niche 18.6 x 8.3 (Florence).\u00a0 Inscribed: \u2022 PAMPINEAS VLMIS DOCVIT QVI ADIVMGERE VITES \u2022 <\/em>(He that has taught [us] to train the vine tendrils on elm trees); numbered 17<\/em>.Fig.E.42<\/a>\u00a0(Florence)Bartsch, XV, 1813, 79, 40.COLLECTIONS: Florence, 1110ss.\u00a0 Florence, Marucelliana, Vol. IX, no. 16 (worn plate).\u00a0 Vienna, H.B.IV, p.101, no. 123 (beginning of inscription missing).<\/p>\n

For Rosso\u2019s drawing in Besan\u00e7on for this print, see below and D.18 (Fig.D.18a<\/a>).<\/td>\n

\n

E.43. ARIADNE21.3 x 10.8 L (Florence, Marucelliana \/ Salamanca).\u00a0 Inscribed: \u2022 MORTALIS \u2022 BACCHO \u2022 PLACVI \u2022 QVE \u2022 ARIADNA \u2022 MARITO \u2022 <\/em>(Ariadne, a mortal, who won the favor of Bacchus for husband); numbered 18<\/em>.Fig.E.43<\/a>\u00a0(Florence)Bartsch, XV, 1813, 79, 41.COLLECTIONS: Florence, 1111ss.\u00a0 Florence, Marucelliana, Vol. IX, no. 17 (good but pale).\u00a0 Vienna, H.B.IV, p.101, no. 124 (tip of lower left corner missing).<\/td>\n\n

E.44. VULCAN21.4 x 10.8 L (Florence, 1130ss \/ Salamanca).\u00a0 Inscribed: \u2022 AVREA \u2022 MI \u2022 CONIVNX \u2022 VENVS \u2022 EST \u2022 SATVRNIA \u2022 MATER \u2022 <\/em>(Venus, Saturnian mother, is my golden spouse); numbered 19<\/em>at lower left.Fig.E.44<\/a>\u00a0(Florence, 1106ss)Bartsch, XV, 1813, 79, 42.COLLECTIONS: Florence, 1106ss (L at upper right and at bottom right cut); 1130ss \/ Salamanca.\u00a0 Vienna, H.B.IV, p.102, no. 125.<\/td>\n\n

E.45. MINERVA21.4 x 10.7 L; 21.6 x 11 P (Berlin).\u00a0 Inscribed: \u2022 INSIGNIS GALEA ATQZ INSIGNIS GORGONE PALAS \u2022<\/em> (the Z<\/em> in ATQZ<\/em> backwards) (Pallas, famous for helmet, famous for the Gorgon); numbered 20<\/em>at lower right.Fig.E.45<\/a>\u00a0(Florence)Bartsch, XV, 1813, 79, 43.COLLECTIONS: Berlin, 198-18 (torn in shadow at left).\u00a0 Florence, 1103ss (L cut from all sides but slightly visible at top; tip of Minerva\u2019s raised hand and of the spear cut).\u00a0 Vienna, H.B.IV, p.142, no. 125.<\/td>\n\n

\"\"<\/a>

E.45 Caraglio, Minerva<\/p><\/div><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

\n

There are four known drawings by Rosso for this series, called disegni di stampe<\/em> by Vasari, Pluto<\/em> in Lyons (Fig.D.17A<\/a>), Proserpina<\/em> (Fig.D.17B<\/a>) and Mars<\/em> (Fig.D.17C<\/a>) in Paris, and Bacchus<\/em> in Besan\u00e7on (Fig.D.18a<\/a>).\u00a0 All are the same size as the engravings and show the figures in the same direction.\u00a0 All are executed in red chalk over varied outlines and some shading in black chalk, with reddish washes used for shading and shadows and for the entire surface of the walls surrounding the niches.\u00a0 The original line of the bottom of Pluto\u2019s niche has been slightly lowered to accommodate the small lengthening of legs of Cerberus and the god.\u00a0 In the Bacchus<\/em>, the hind quarters of a dog appear behind the god\u2019s leg with only a few faint black chalk lines to suggest his body and one front leg, but no indications of a neck or head.\u00a0 Red washes of two shades fully define the hindquarters with a truncated tail while a thin long tail only outlined in black chalk extends over the wall outside the niche.\u00a0 Over the dog\u2019s left hind leg falls the shadow of the diety.\u00a0 A critical glance at this dog by the artist, the engraver, or possibly Baviera, if not all three together, may have seen some degree of absurdity in this half-dog and it was eliminated.\u00a0 No other animal in the series, including Pluto\u2019s Cerberus, is so ill conceived.<\/p>\n

The line marking the upper edge of each (uncut) printed image is preserved in the Bacchus drawing, but is cut from the Pluto drawing.\u00a0 Here the left prong of Pluto\u2019s fork is slightly longer than what appears in the engraving below its upper outline.\u00a0 In the print this prong overlaps the outline.\u00a0 What is clear from the relationship of the disegni di stampe<\/em> and the engravings is the closeness with which Caraglio and Rosso worked together to produce the final prints, the major alteration of which is the elimination of the dark wall surrounding the niches.\u00a0 The removal of the dark outer walls allows for the greater effect of the depth of the niches, the volume of the figures, and the shadows that are outside the niches, and most important, of the appearance of the inscriptions below, which may not have been planned from the beginning.\u00a0 In many details the engraver has followed, insofar as possible, Rosso\u2019s disegni di stampe<\/em> almost line for line.\u00a0 Nevertheless beautiful as the drawings are, rare, fine, and thus early impressions of the engravings show them to be even more brilliant.\u00a0 Rosso must have overseen their production very carefully, but he also had an expert, remarkably sensitive, and sympathetic engraver in Caraglio to realize his conceptions.<\/p>\n

LITERATURE:<\/p>\n

Mariette, Ab\u00e9c\u00e9dario<\/em>, 1858-1859, 19, as Caraglio after Rosso.<\/p>\n

Goldschmidt, 1911, 22, as showing the influence of Raphael\u2019s school.<\/p>\n

Voss, 1920, 186.<\/p>\n

Pittaluga, 1928, 173.<\/p>\n

Antal, 1928-1929 (1966, 55, n. 3, 56, 64, ns. 1-2, 69).<\/p>\n

Kusenberg, 1931, 26-27, 162, Pls. XVII, 1-2 (Ceres<\/em>, Apollo<\/em>), and XVIII, 1-2 (Vulcan<\/em>, Bacchus<\/em>), are of the Villamena re-cut plates.<\/p>\n

De Witt, 1938, 52 (but Uffizi 1109, the Hebe<\/em>, is of re-cut edition).<\/p>\n

Becherucchi, 1944 (1949, 29).<\/p>\n

Barocchi, 1950, 62-64, Fig. 40 (Ceres<\/em>, with dark border).<\/p>\n

Carroll, 1961, 448, Fig. 6, Bacchus<\/em>, 449.<\/p>\n

Petrucci, 1964, 44-45, 104, Pl. 39 (Opis<\/em> with dark border).<\/p>\n

Carroll, 1964 (1976), I, Bk. I, 125-129, 140-142, Bk. II, 74, 81, 240-242, II, Bk. III, Figs. 43-55, 57-60, 62-64.<\/p>\n

Shearman, 1967, 67-68, 195, n. 33, Fig. 33 of the re-cut edition, with Marcantonio\u2019s cipher added in pen.<\/p>\n

Fagiolo dell\u2019Arc0, 1970, 92.<\/p>\n

Thirion, 1971, 33, 35, Fig. 7, probably a copy after Bink, Fig. 8, Caraglio, 36, Fig. 12, Caraglio, Salamanca edition, slightly misprinted, Fig. 13, Caraglio, from very worn plate, Fig. 14, Caraglio, 37, Fig. 16, Caraglio, 38, Fig. 20, Caraglio, Fig. 21, Caraglio, Fig. 22, Caraglio, 39, Fig. 24 from very worn plate, 40, Fig. 27, Bink; all Paris.<\/p>\n

Zerner, \u201cCaraglio,\u201d 1972, 692.<\/p>\n

Campbell, in RISD, 1973, 74-75, nos. 78-79, ills. p.75, no. 78, Bink, no. 79, copy after Bink.<\/p>\n

Wallach, 1974-1975, 101-102, wrongly states that Caraglio\u2019s prints were made from lost paintings by Rosso.<\/p>\n

Ferrara and Gaeta Bertel\u00e0, 1975, nos. 144, 146, with Figs. (Bologna, Juno<\/em>, Pluto<\/em>).<\/p>\n

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

Barolsky, 1978, 107, 109, Fig. 5-5 (Juno<\/em> of Villamena edition with Marcantonio\u2019s cipher added in ink), the \u201cbird as phallus\u201d seen in the peacock stroked by Juno.<\/p>\n

Carroll, 1978, 40, 42, 43, Fig. 29 (Opis<\/em>, Florence, 1093ss).<\/p>\n

Smith, 1978, 112, Figs. 9-10, 113, relates the Thetis<\/em> and Bacchus<\/em> to two figures in Bronzino\u2019s Martyrdom of St. Lawrence<\/em>.<\/p>\n

Walters, 1978, 160, sees the great Olympians transformed into fashion plates.<\/p>\n

Borea, 1979, 368, Fig. 240 (Ceres<\/em>, Florence).<\/p>\n

Borea, 1980, 230, 248, no. 618, 249, Figs. of Uffizi impressions of Saturn<\/em>, Bacchus<\/em>, Jupiter<\/em>, Juno<\/em>, and Apollo<\/em>.<\/p>\n

Chastel, 1983, 160-161, 162, Fig. 81a (Apollo<\/em>).<\/p>\n

Darragon, 1983, 12, 31, n. 23, 46, 64, cover Fig. (Mercury<\/em>), Fig. 16, Mars<\/em> (Villamena), Fig. 46, Juno<\/em> (Paris); he suggests that Argus in the Mercury<\/em> may have Rosso\u2019s features.<\/p>\n

David Landau, review of The Illustrated Bartsch<\/em>, BM<\/em>, CCXV, March, 1983, 171, comments on the restored condition of the Pluto<\/em> in London (1853-7-9-102) without, however, mentioning that it is an impression of Caraglio\u2019s original print and not of Bink\u2019s copy.<\/p>\n

Henriette Pommier, in Dessins … de Lyon<\/em>, 1984, 26.<\/p>\n

Boorsch and Spike, IB<\/em>, 28, 1985, 101-102, 105-120 (102, 104, Jupiter<\/em>, Vienna, and 104, Juno<\/em>, Berlin, are not impressions of Caraglio\u2019s prints).<\/p>\n

Carroll, 1987, 9, 11, 24, 39, 52, 100-126, nos. 21-40, with Figs. (all Florence, except no. 36, Hebe<\/em>, Vienna).<\/p>\n

Davis, 1988, 201, the Bacchus<\/em> and Jupiter<\/em> mentioned in relation to Rosso\u2019s\u00a0Allegory on the Birth of Christ<\/em>.<\/p>\n

Carroll, 1989, 9, 11-12, Figs. 4-14, 16 (all Florence).<\/p>\n

Massari, 1989, xviii, 117, 119-140, Nos. 36-55 I, Fig. 36a (Saturn<\/em>, Uffizi); No. 51, Hebe<\/em>, wrongly as State I.<\/p>\n

Ciardi and Mugnaini, 1991, 15, 26, 31, as related to sculpture and to Parmigianino.<\/p>\n

Joukovsky, 1992, 81, n. 1, noted in relation to the figures in niches in the Gallery of Francis I and their connection with Roman imperial sculpture.<\/p>\n

Vallone, 1993, mentioned the Jupiter<\/em> in relation to a figure on a French key of 1548 in Warsaw.<\/p>\n

Landau, in Landau and Parshall, 1994, 159, 160, Fig. 168 (Bacchus<\/em>, Uffizi), a fine and concise account of the association of il Baviera, Caraglio, and Rosso, with the comment that Caraglio\u2019s prints can better Rosso\u2019s drawings that were made for them, as illustrated by the comparison between Rosso’s Pluto\u00a0in a Niche\u00a0<\/em>in Lyons (D.17A) and Caraglio’s engraving (E.42) made from it.<\/p>\n

Franklin, 1994, 134-135, 138, 146, 150, 205, 316, Pls. 97 (Saturn<\/em>, Florence, I), 100 (Pluto<\/em>, Florence, I), 102 (Bacchus<\/em>, London, III), 105 (Apollo<\/em>, Vienna, III), 113 (Venus<\/em>, Florence, III), 165 (Juno<\/em>, London, III), noted their challenging variety, wit, and humor.<\/p>\n

Mugnaini, in Rosso e Volterra<\/em>, 1994, 154-155, nos. 11-12, with Figs. (Jupiter<\/em> and Hercules<\/em>, both Rome, III).<\/p><\/blockquote>\n

In his account of Caraglio\u2019s career, Vasari mentions these prints after the Challenge of the Pierides<\/em> (E.25<\/a>), and as made from Rosso\u2019s drawings commissioned by Baviera.\u00a0 In the \u201cLife\u201d of Rosso, they seem to be mentioned first of the two sets of engravings rather unclearly noted, again, as by Caraglio after Rosso\u2019s drawings made for Baviera.\u00a0 As the first of the series, the Saturn<\/em>, is dated 1526, the date of these engravings is securely known.\u00a0 Rosso\u2019s drawings were probably made the same year, although some could have been made during the latter part of 1525.\u00a0 They have always been recognized as by Caraglio after Rosso\u2019s designs.\u00a0 However, the original impressions of these prints have rarely been reproduced.<\/p>\n

From the point of view of appreciating and understanding Rosso\u2019s art, the Gods in Niches<\/em> must be studied from excellent impressions made when the plates were not yet worn.\u00a0 Such impressions are very rare.\u00a0 However, for knowledge of the fame and influence of these images, the states and editions of the original plates and the copies of the prints need to be taken into account.\u00a0 Up to around 1600, three states or editions, including the first one, were published in Rome from the original plates, the last of these with the plates thoroughly and beautifully re-worked apparently by Francesco Villamena.\u00a0 These were printed again in Rome in 1771.<\/p>\n

In addition to the prints made from the original plates, there are several sets or partial sets of copies.\u00a0 At least a few of the Villamena edition were copied.\u00a0 But already in 1530 the entire series was copied by the German engraver Jacob Bink, and these in turn were copied, carrying again Bink\u2019s name and the date 1530.\u00a0 There is also a set of small copies of Bink\u2019s engravings.\u00a0 Another small set by an anonymous engraver has the figures in reverse.\u00a0 Reversed also is a set in the original size of which only 17 are known.\u00a0 Du Cerceau made a set of copies in reverse and in the original dimensions.\u00a0 There are also other copies of individual prints that may indicate another set or sets or that may never have belonged to sets.\u00a0 Such prints as those by Solis and Losch listed below are derived from Rosso\u2019s images but are not actually copies.<\/p>\n

A most interesting anonymous set of 12 prints with variations was attributed by Bartsch to Marcantonio.\u00a0 Its special relationship to Rosso\u2019s designs and to Caraglio\u2019s prints is considered below.<\/p>\n

The following discussions of these states and copies give as much information as is now available.\u00a0 Although almost all of the prints have actually been seen and those that have not are known from reproductions, it has not been possible to have all of these many states and copies photographed.\u00a0 Hence it has not been possible always to check all observations against all the impressions that have been studied.\u00a0 There is still much work to be done on these prints.<\/p>\n

EDITIONS FROM THE ORIGINAL PLATES: State II.\u00a0 Salamanca edition.\u00a0 The first of the series, Saturn<\/em>, has the additional inscription, at the lower right, just below the niche: Ant.sal.exc<\/em> (Fig.E.26, II, Vienna<\/a>), not mentioned by Bartsch.\u00a0 None of the other nineteen prints has this inscription.\u00a0 The prints are made from plates that have become very worn so that the shadows have become pale and the images look bleached (Fig.E.27, II, London<\/a>).\u00a0 Some of the major lines appear very black, suggesting at first that these have been re-cut.\u00a0 But close inspection seems to indicate that these are the original most deeply cut lines, which now look darker because the finer lines have become so worn.\u00a0 Because only the first print of the series bears the address of Antonio Salamanca, it is not possible to tell with isolated weak impressions whether or not any belong to the Salamanca edition or were done before he had the plates printed but when they had already become worn.\u00a0 The paler the internal lines and hence the more \u201cbleached\u201d the appearance of the print, the more likely it is that it belongs to this edition.\u00a0 COLLECTIONS: Berlin, 196-18 (Ariadne<\/em>).\u00a0 Bologna, C. 638 (449) (Saturn<\/em>), C. 644 (455) (Mars<\/em>), C. 645 (456) (Apollo<\/em>), C. 628 (458) (Hebe<\/em>), C. 629 (459) (Vulcan<\/em>), C. 630 (460) (Athena<\/em>, perhaps with some engraved lines in border at right).\u00a0 Cambridge, Mass., Henri Zerner Collection (Hebe<\/em>).\u00a0 Florence, 1112ss – 1131ss (lacking Mercury<\/em>, 2 impressions of Bacchus<\/em>).\u00a0 Florence, Marucelliana, Vol. IX, no. 2 (Juno<\/em>), no. 3 (Jupiter<\/em>), no. 5 (Neptune<\/em>), no. 6 (Thetis<\/em>), no. 7 (Proserpina<\/em>), no. 10 (Apollo<\/em>), no. 14 (Hercules<\/em>), no. 15 (Hebe<\/em>), no. 16 (Bacchus<\/em>), no. 17 (Ariadne<\/em>).\u00a0 London, Caraglio Vol. C53 (Pluto<\/em>, 2 impressions, both with number 7 effaced), p.45, upper left (Ceres<\/em>); Bink Vol. C46, p.8 upper right, 1853-7-9-93 (Opis<\/em>; Fig.E.27, II, London<\/a>), and lower right (Proserpina<\/em>), see Koch, IB<\/em>, 16, 180, pp.27, 33.\u00a0 London, VA, 27878.3 (Juno<\/em>), 27878.10 (Apollo<\/em>), in Press I.2.C.\u00a0 Oxford, Saturn<\/em>, Venus<\/em>, Mercury<\/em>, Ceres<\/em>, Bacchus<\/em>, Ariadne<\/em>, Vulcan<\/em>, Minerva<\/em>.\u00a0 Paris, Eb 6b R\u00e9s. (lacking Opis<\/em>, Bacchus<\/em>, Ariadne<\/em>; Thirion, 1971, 35-39, Figs. 8, 12, 14, 16, 20-22, 24).\u00a0 Vienna, It.I.25, pp. 27-31, nos. 107-126 (all with full P; see Boorsch and Spike, I.B.<\/em>, 28, 1985, 107, 108, 112, 115).\u00a0 LITERATURE: De Witt, 1938, 52, lists the set in Florence.\u00a0 Ferrara and Gaeta Bertel\u00e0, 1975, nos. 141, 147-152, with Figs. (Bologna).\u00a0 Borea, 1980, 248, under no. 618.\u00a0 Carroll, 1987, 124, n. 1, under nos. 21-40.\u00a0 Massari, 1989, 122, No. 37, 123, No. 38, 124, No. 39, 126, No. 41, 127, No. 42, 128, No. 43, 129, No. 44, 130, No. 45, 131, No. 46, 132, No. 47, 133, No. 48, 134, No. 49, 135, No. 50, 136, No. 51, 137, No. 52, 138, No. 53 (all Florence, Marucelliana, IX, 2-17, and not including Saturn<\/em>, Vulcan<\/em>, and Minerva<\/em>; also numbers somewhat different from those given above).<\/p>\n

State III, Villamena edition.\u00a0 The first of the series, Saturn<\/em>, is inscribed at the lower right, just below the niche: Ant.sal.exc.<\/em> (Fig.E.26, III, Vienna<\/a>). \u00a0None of the other nineteen prints has this inscription, which remains from the Salamanca edition.\u00a0 This set shows the plates completely re-worked in such a brilliant manner as to make of them almost new prints.\u00a0 But careful observation indicates that they are in fact the old plates brought newly to life.\u00a0 The variety and contrasts of lights and shades are greater than in State I.\u00a0 Most significantly, the wall around the outside of the niches at the top and sides, but not at the bottom, is shaded with closely spaced parallel lines, horizontal at the sides and radiating around the niche above; between the long lines of this shading are very short lines here and there that deepen the shading and create a somewhat agitated surface.\u00a0 This shading partly returns to the prints the darkened outer walls of Rosso\u2019s disegni di stampe<\/em> in Besan\u00e7on, Lyons, and Paris (Fig.D.17A<\/a>; Fig.D.17B<\/a>; Fig.D.17C<\/a>; D.18a<\/a>), but not that part below the niches.\u00a0 The engraver of the re-worked plates may, then, have known Rosso\u2019s drawings.\u00a0 In comparison with the original prints, it becomes clear why Rosso and Caraglio abandoned this darkened outer surface, for it tends to decrease the importance and the chiaroscuro subtleties of the central figures and of the cavity of the niches.\u00a0 More importantly, lightening the background allowed for the inscriptions beneath the niches.\u00a0 In most respects the engraver otherwise carefully followed the designs that he found on the plates.\u00a0 But the following alterations can be seen.\u00a0 The Jupiter<\/em> has been very much reworked, especially in the more detailed definition of hair, beard, feathers, and the fire of the god\u2019s thunderbolt.\u00a0 There is only one land mass slightly visible on the globe of the earth.\u00a0 In the Hercules<\/em> the engraver has added claws to the paw of the lion\u2019s skin.\u00a0 Shading has been added to the small part that is visible of the bottom surface of the anvil in the Vulcan<\/em>.<\/p>\n

Bartsch, XV, 1813, 79, as Caraglio\u2019s original plates re-worked by Francesco Villamena (on which, see below).\u00a0 Bartsch does not mention the Salamanca address.<\/p>\n

It is the prints of this set that are most frequently reproduced as Caraglio\u2019s engravings: Kusenberg, 1931, Pl. XVII, 1-2, Pl. XVIII, 1-2; Barocchi, 1950, Fig. 40; Shearman, 1967, 67, Fig. 33; Birukova, in Actes<\/em>, 1975, 52, Figs. 9-13.\u00a0 Borroni and Kozakiewicz, 1976, 616-617. Barolsky, 1978, 109, Fig. 5-5.\u00a0 The Juno<\/em> reproduced by Shearman and Barolsky is in London and bears at the lower right the monogram of Marcantonio added in pen and ink.<\/p>\n

Mariette and Bartsch say that the engraver that re-worked Caraglio\u2019s plates is Francesco Villamena, and this attribution has been generally accepted (Borea, 1980, 248, under no. 618, gives his first name as Antonio).\u00a0 It is a probable traditional attribution that the brilliance of the prints would support.\u00a0 Bartsch does not mention the Salamanca address that remains on the first print of this edition.\u00a0 Villamena was born in 1566.\u00a0 Salamanca died in 1562.\u00a0 If the prints are by Villamena, then the Salamanca address was maintained, it might be supposed, for its prestige.\u00a0 Massari, 1989, 119, gave the second engraver\u2019s name as Antonio Villamena (c. 1564-1624), although he referred back to Bartsch who gave Francesco Villamena, but thought the attribution erroneous because the Salamanca address would indicate the retouching was earlier, ignoring, however, that Villamena got the plates after Salamanca had them.\u00a0 As by Francesco Villamena the earliest that the prints could date would be around 1590.\u00a0 The new style that the prints have been given suggests that they were done in the early seventeenth century.\u00a0 Francesco Villamena died in Rome on 7th July 1624.\u00a0 In the inventory of his possessions were plates engraved by other artists and subsequently reworked and restored by him, including \u201cVinti pezzi de stampe dalli Dei disegnate dalle statue antiche\u201d which may have been Caraglio\u2019s Gods in Niches<\/em> (see Trinchieri Camiz, 1994, 510, 516, Document C, no. 34, where Trinchieri Camiz recognized them as Caraglio\u2019s prints of 1526, but then inadvertently as after Giulio Romano).\u00a0 COLLECTIONS: Bologna, C. 639 (450) (Saturn<\/em>).\u00a0 Berlin, 176-18 (Saturn<\/em>).\u00a0 Boston (Jupiter<\/em>).\u00a0 Cambridge, Mass., Harvard University Art Museums, Fogg Museum, R675 (Jupiter<\/em>).\u00a0 Florence, 1109ss (Hebe<\/em>).\u00a0 London, Caraglio Vol., C53, p.38 (Saturn<\/em>, Jupiter<\/em>), p.39 (Pluto<\/em>), p.40 (Mars<\/em>, Apollo<\/em>), p.41 (Mercury<\/em>, Hebe<\/em>), p.42 (Minerva<\/em>, Ariadne<\/em>, Vulcan<\/em>, Bacchus<\/em>), p.43 (Juno<\/em>, Neptune<\/em>, Thetis<\/em>), p.44 (Pluto<\/em>, Proserpina<\/em>, Venus<\/em>), p.45 (Ceres<\/em>, Hebe<\/em>, Bacchus<\/em>), several , including Thetis<\/em>, with Marcantonio\u2019s monogram added in ink (Fig.E.31, III, London<\/a>).\u00a0 London, VA, Press I.2.C., 27878.5 (Neptune<\/em>), 27878.7 (Proserpina<\/em>), 27878.12 (Apollo<\/em>), 27878.14 (Hebe<\/em>), 27878.15 (Bacchus<\/em>), 27878.15 (Minerva<\/em>).\u00a0 New York, 49.97.222-241.\u00a0 New York, Public, MEZDP (Mercury<\/em>).\u00a0 Paris, Eb 6b R\u00e9s. (Venus<\/em>, Hebe<\/em>).\u00a0 Rome, Fondo Corsini, Vol. 26 M 30, nos. 05895-05919, and Fondo Nazionale, F. Pio Vol. V, 1221-1240 (34935-34954).\u00a0 Vienna, It.I.25, pp. 32-36, no. 1-20.\u00a0 LITERATURE: Mariette, Ab\u00e9c\u00e9dario<\/em>, 1858-1859, as retouched by Francesco Villamena.\u00a0 Kusenberg, 1931, 157, as retouched by Francesco Villamena.\u00a0 Ferrara and Gaeta Bertel\u00e0, 1975, no. 142, with Fig. (Bologna, Saturn<\/em>).\u00a0 Boorsch and Spike, I.B.<\/em>, 28, 1985, 121-140 (Berlin and Vienna).\u00a0 Carroll, 1987, 124, n. 1, under nos. 21-40.\u00a0 K. Orchard in Zauber der Medusa<\/em>, 1987, 264, V, 58, Fig. (Vienna, H.B.IV, p.49\/68), Minerva<\/em>, as by Bink, but actually of the Villamena set (in Albertina Volume, not HB).\u00a0 Massari, 1989, 119-140, Nos. 36-55, II, all illustrated (Rome, Fondo Corsini).<\/p>\n

State IV, Losi edition.\u00a0 The first print of this set, Saturn<\/em> (Fig.E.26, IV, Vienna<\/a>), is inscribed in the margin below, just beneath the lower edge of the niche and above the Latin inscription: In Roma 1771 \u2022 a Spese di Carlo Losi \u2022<\/em>; the number 1<\/em> at the lower right just beyond the Latin inscription.\u00a0 COLLECTIONS: Paris, Sa 1 (Saturn<\/em>).\u00a0 Vienna, It.II.21, pp. 79-83, 4 prints to a page.\u00a0 LITERATURE: Carroll, 1987, 124, n. 1, under nos. 21-40.\u00a0 This series is a reprinting of the Villamena edition with the Salamanca address removed and very slight re-cutting here and there (see in front of the toes of Saturn\u2019s right foot).\u00a0 As only the first of the series has the Losi inscription, it may not be possible to tell from isolated impressions of the other prints that they are from this edition rather than from the Villamena edition.\u00a0 Massari, 1989, 13, n. 1, 119, hypothesized a state with the Losi address because the prints are listed in his inventory of 1788 (Indice delle Stampe intagliate in rame, a bulino e in acqua Forte<\/em>, printed in Rome with \u201clicenza de\u2019superiori\u201d as \u201cDeit\u00e0 in numero di venti, ciascuna delle quali \u00e8 posta in una nicchia, intaglio a bulino di Giacomo Caraglio veronese in 20 quarti di foglio reale\u201d).<\/p>\n

 <\/p>\n

COPIES, PRINTS: E.115, 1 – 8 or 9.\u00a0 Anonymous.\u00a0 Engraved copies of prints of the Villamena edition, with dark borders, in the same direction, and the same size.\u00a0 Possibly an incomplete set of which 8 are known: Opis<\/em>, Juno<\/em>, Neptune<\/em>, Pluto<\/em>, Ceres<\/em>, Diana<\/em>, Vulcan<\/em>, and Minerva<\/em>.\u00a0 A ninth may be Jupiter<\/em> in Bologna (19.5 x 10.9, with bottom margin cut off); 20.3 x 10.4 P, including margin below of 0.7 (Neptune<\/em>); 20.8 x 10.8 P, including margin below of 1.1 (Pluto<\/em>).\u00a0 No inscriptions; the Minerva<\/em> (known only from a reproduction) is apparently numbered 20<\/em> at the lower right in the margin.\u00a0 The plates of the Neptune<\/em> and Pluto<\/em> still exist (see below).\u00a0 COLLECTIONS: Bologna, C. 641 (451) (Jupiter<\/em>).\u00a0 Cambridge, Fitzwilliam, P.110-1952 (Opis<\/em>), P.111-1952 (Juno<\/em>), P.112-1952 (Diana<\/em>).\u00a0 Rome, Vo1.26 M 30, no. 05911 (Ceres<\/em>, 21.6 x 10.9 S, including lower margin of 1.9), no. 013716 (Vulcan<\/em>).\u00a0 Unknown locations, Kr\u00f6nig, 1974, 139, Fig. 23 (Minerva<\/em>); Poirer, 1964, Hor texte planche XXXIII (Neptune<\/em> and Pluto<\/em>, actual impressions).\u00a0 LITERATURE: Ferrara and Gaeta Bertel\u00e0, 1975, no. 143, with Fig. (Bologna, Jupiter<\/em>).\u00a0 Carroll, 1987, 125, n. 27, under nos. 21-40.\u00a0 These prints are excellent copies of the prints of the Villamena edition.\u00a0 Only some of the differences between them are known.\u00a0 In the Neptune<\/em>, the shaded wall area at the right is slightly narrower and the unshaded margin below is less high, with the bottom of the plate cutting off the hoof of the sea horse.\u00a0 The margin below is also not as high in the Pluto<\/em>, where the line at the top crosses the left prong of the god\u2019s fork slightly higher up; there are no short lines in the shading around the niche.\u00a0 In the Minerva<\/em>, the upper line is above the finger of the goddess and the head of the Medusa may have no teeth.<\/p>\n

E.6, 1 – 20.\u00a0 Jacob Bink.\u00a0 Twenty engravings after Caraglio\u2019s original prints, with white borders, in the same direction, and the same size.\u00a0 21 x 10.6 L (Juno<\/em>, Vienna).\u00a0 Inscribed on the first of the series, Saturn<\/em>, on a plaque in the niche at the lower right: \u00ceACOBVS \/ BINCK \u2022 COLONIE \/ SIS \u2022 FECIT \/ \u2022_15 \u2022 30\u00a0 \u2022<\/em> (Fig.E.6, 1, Vienna<\/a>).\u00a0 In the inscriptions beneath the niches, compared to Caraglio\u2019s prints, the use or absence of dots between the words is not always the same.\u00a0 In Bink\u2019s prints the Ns are backwards, as in Caraglio\u2019s prints, except in the Hebe<\/em>, Bacchus<\/em>, Vulcan<\/em>, and Minerva<\/em> where the diagonals of the Ns are doubled, one crossing in each direction (except the second N in INSIGNIS<\/em> of the Minerva<\/em>, which is merely backwards).\u00a0 The last S in the inscription of the Proserpina<\/em> is backwards.\u00a0 Many of the Is in Bink\u2019s prints have a small arc above (not found in Caraglio\u2019s prints).\u00a0 The following changes of words or spelling are also found: Thetis<\/em>, NEPEIS<\/em> instead of NEREIS<\/em>, the I missing from CELEBERRMA<\/em>, MATEES<\/em> instead of MATRES<\/em>; Mars<\/em>, PROEBIA<\/em> instead of PROEDIA<\/em>; Apollo<\/em>, OMNIA<\/em> added at the beginning of the inscription; Diana<\/em>, CVITRIX<\/em> instead of CVLTRIX<\/em>; Ceres<\/em>, AEMA <\/em>instead of ALMA<\/em>; Hercules<\/em>, EORMA<\/em> instead of FORMA<\/em>; Hebe<\/em>, EORMOSA<\/em> instead of FORMOSA<\/em>; Bacchus<\/em>, VIMIS<\/em> instead of VLMIS<\/em>; Minerva<\/em>, ATOS<\/em> and GORGON<\/em> instead of ATQZ<\/em> and GORGONE<\/em>.<\/p>\n

Bartsch, VIII, 1808, 272-274, 26-45; also mentioned under Caraglio\u2019s original prints, Bartsch, XV, 1813, 79.\u00a0 COLLECTIONS: Berlin, Opis<\/em>, Jupiter<\/em>, Juno<\/em>, Apollo<\/em> (see Boorsch and Spike below).\u00a0 London, Bink Vol., C46, p.8 upper left (Saturn<\/em>), p.9 upper left (Neptune<\/em>), p.10 lower right (Diana<\/em>), p.11 upper left and right (Ceres<\/em>, two impressions), p.12 upper left (Bacchus<\/em>), upper right (Ariadne<\/em>), lower left and middle left (Vulcan<\/em>, two impressions), lower right (Minerva<\/em>).\u00a0 London, VA, Press I.2.C, 27878.2 (Opis<\/em>), 27878.3 (Jupiter<\/em>), 28880 (Thetis<\/em>), 27867 (Neptune<\/em>), 28410.2 (Opis<\/em>).\u00a0 Vienna, H.B.XLVIII, 5, p.26, nos. 1 (Fig.E.6, 1, Vienna<\/a>), 2, 3, p.29, nos. 15, 16, p.30, nos. 17, 18, 19, 20; Vol. H. B. XLIX, 2, p.96, no. 4, p.97, nos. 5, 6, 7, 8, p.98, nos. 9, 10, 11, 12 (numbers are of prints in series; missing 13, Mercury<\/em>, and 14, Ceres<\/em>).\u00a0 LITERATURE: Heinecken, II, 1788, 711, as Bink after Caraglio.\u00a0 Renouvier, 1854, 82.\u00a0 Le Blanc, 1854-1890, I, 342, 28-47, and 589, under 29-48.\u00a0 Mariette, Ab\u00e9c\u00e9dario<\/em>, 1858-1859, 19, as Bink.\u00a0 Antal, 1928-1929 (1966, 91, n. 2).\u00a0 Kusenberg, 1931, 159.\u00a0 Hollstein, G. IV, 1957, 47, 75-94, Figs. (Neptune<\/em>, Mercury<\/em>, Minerva<\/em>).\u00a0 Thirion, 1971, 33.\u00a0 Borroni and Kozakiewicz, 1976, 617.\u00a0 Borea, 1980, 248, under no. 618.\u00a0 Koch, I.B.<\/em>, 16, 1980, 26, 30-31, 36-37, 39-45 (the other illustrations are not of Bink\u2019s engravings).\u00a0 Henriette Pommier, in Dessins…. de Lyon<\/em>, 1984, 26.\u00a0 Boorsch and Spike, I.B.<\/em>, 28, 1985, 141-160 (Berlin and Vienna).\u00a0 Carroll, 1987, 125, n. 27, under nos. 21-40.\u00a0 Massari, 1989, 120.<\/p>\n

Bink\u2019s prints are very close copies of Caraglio\u2019s engravings, but with a certain regularity of execution in places and also a certain coarseness that distinguishes them from the originals.\u00a0 Bink\u2019s Jupiter<\/em> does not have a landmass at the lower right of the globe of the earth.\u00a0 The crest of the peacock in the Juno<\/em> is rather unclear.\u00a0 In the Apollo<\/em>, the meeting of the rays of light against the dark background of the niche is somewhat unsuccessful.\u00a0 There is no shadow under the goddess\u2019s left hand in the Diana<\/em>.<\/p>\n

There are copies of Bink\u2019s prints that are sometimes identified as Bink\u2019s, although they actually look quite different.<\/p>\n

E.116, 1 – 20.\u00a0 Anonymous.\u00a0 Twenty engravings after Jacob Bink\u2019s copies (E.6, 1 – 20) of Caraglio\u2019s prints, with white borders, in the same direction, and the same size.\u00a0 20.9 x 10.6 L, the niche 18.5 x 7.9, Saturn<\/em>, Vienna (Fig.E.116, 1<\/a>, Vienna).\u00a0 Inscribed on the first of the series, Saturn<\/em>, on a plaque in the niche at the lower right: IACOBUS \/ BINCK \u2022 \/ COLONIE \/ SIS \u2022 FECIT \/ \u2022 1530 \u2022<\/em>.\u00a0 In the inscriptions beneath the niches, the use of dots between the words is as in Bink\u2019s prints except in the Hebe<\/em> where there are none (but 7 in Bink) and in the Ariadne<\/em> where there are also none (but 1 in Bink).\u00a0 All the Ns are in the right direction except the two in CONIVNX<\/em> of the Vulcan<\/em>, which are backwards.\u00a0 None of the Is are superscripted.\u00a0 The following differences of words and spelling from what appears in Bink\u2019s prints are: Jupiter<\/em>, only one P<\/em> in IVPITER<\/em>; Neptune<\/em>, REGIAE<\/em> instead of REGIE<\/em>; Thetis<\/em>, only one R<\/em> in CELEBERIMA<\/em> and MATRES<\/em> instead of MATEES<\/em>; Pluto<\/em>, QVAM<\/em> missing (because the line would have been too long with the necessary lettering and spacing); Proserpina<\/em>, the S<\/em> of REGIS<\/em> not backwards; Mars<\/em>, COMMITTIT PRELIA DEXTRA<\/em> instead of COMITIT PROEBIA DESTRA<\/em>; Venus<\/em>, only one R in PVLCHERIMA<\/em>; Diana<\/em>, CVLTRIX<\/em> instead of CVITRIX<\/em>; Ceres<\/em>, ALMA<\/em> instead of AEMA<\/em>; Hebe<\/em>, P<\/em> is missing from PE[C]IETVA<\/em>; Minerva<\/em>, ATQVE<\/em>, GORGONE<\/em>, and PALLAS<\/em> instead of ATOS<\/em>, GORGON<\/em>, and PALAS<\/em>.\u00a0 COLLECTIONS: Berlin, 177-18 (Jupiter<\/em>).\u00a0 London, Caraglio vol., C53, several prints including p.43, upper left, 1853-7-9-110, Diana<\/em> (Fig.E.116, 12<\/a>).\u00a0 Lyons, exhibited (private coll., Dunand, 1973, no. 2, Fig.).\u00a0 Paris, Ba. 12, pp. 18-21 (full set).\u00a0 Vienna, H.B.IV, p.99, no. 109 (Jupiter<\/em>); H.B.XLIX, 2, pp. 100-104 (full set).\u00a0 LITERATURE: Koch, IB<\/em>, 16, 1980, 28, 35, 38 (Jupiter<\/em>, Venus<\/em>, Mercury<\/em>) wrongly as Bink.\u00a0 Carroll, 1987, 41, 125, n. 27, under nos. 21-40.<\/p>\n

These prints, which have never been catalogued and which in Paris and Vienna are noted as by Bink, are very regularized copies of Bink\u2019s engravings.\u00a0 It might, of course, be argued that the relationship of these prints is the very opposite, but it seems more likely that these very academic prints, recognizable as such both in the images and the inscriptions, are copies made later in the century, and perhaps at the very end of it, from Bink\u2019s engravings of 1530, rather than that the accurate but less slick copies were made from the others.\u00a0 In the Ceres<\/em>, the shadow cast by the goddess has the appearance of a devil in Caraglio\u2019s original print.\u00a0 Something of this Satanic profile remains in the print given to Bink.\u00a0 But in the other copy this allusion has quite disappeared, suggesting that it is the third version.\u00a0 At least half the prints have details that show their derivation from Bink\u2019s engravings rather than from Caraglio\u2019s: Saturn<\/em>, large white irises; Opis<\/em>, large lips; Jupiter<\/em>, no landmass at the lower right of the globe of the earth; Juno<\/em>, the crest of the peacock; Apollo<\/em>, the rays of light against the darkness of the niche; Diana<\/em>, no shadow under the goddess\u2019s left hand; Mercury<\/em>, the physiognomy of the face; Bacchus<\/em>, satyr\u2019s white lips, and the dots around the shadow cast on the wall outside the niche; Minerva<\/em>, the grooves at the bottom of the goddess\u2019s lance.\u00a0 The other prints of the set could just as well have been copied from Caraglio\u2019s original prints, so accurate are Bink\u2019s own copies.\u00a0 But as the second set of copies was made in Northern Europe, it is likely that the copyist worked from a full set of Bink\u2019s copies.\u00a0 The fine lettering and spacing of the inscriptions differ significantly from what appears in Bink\u2019s copies, but they are also unlike what is found in Caraglio\u2019s engravings.\u00a0 The second copies have something of the character of Goltzius\u2019s prints but without their remarkable bravura.<\/p>\n

E.117, 1 – 20.\u00a0 Anonymous.\u00a0 Twenty engravings after Jacob Bink\u2019s copies of Caraglio\u2019s prints, with white borders, reversed, smaller and without inscriptions; the plaque within the niche of Saturn<\/em> is missing.\u00a0 13.7 x 7.1 P, 12.6 x 5.4 niche (Opis<\/em>, Vienna).\u00a0 Numbered 1 – 20 in various places at the bottom.\u00a0 Bartsch, XV, 1813, 79-80, as copies after Caraglio.\u00a0 Le Blanc, 1854-1890, I, 589, B, under 29-48.\u00a0 COLLECTION: Vienna, H.B.IV, Supplement, pp. 59-60, nos. 221-240.\u00a0 LITERATURE: Thirion, 1971, 33, as probably from the end of the sixteenth century.\u00a0 Borea, 1980, 248, under no. 618.\u00a0 Henriette Pommier, Dessins … de Lyon<\/em>, 1984, 26.\u00a0 Boorsch and Spike, I.B.<\/em>, 28, 1985, 161-170 (Vienna).\u00a0 Carroll, 1987, 125, n. 127, under nos. 21-40.\u00a0 Massari, 1989, 120.<\/p>\n

Several details of these engravings indicate that they are derived from Bink\u2019s copies of Caraglio\u2019s prints.\u00a0 There is no landmass on the lower part of the globe of the earth in the Jupiter<\/em>; no shadow appears below the goddess\u2019s lower hand in the Diana<\/em>; and the bottom part of the lance of Minerva is more as in Bink\u2019s print than in Caraglio\u2019s.\u00a0 The actual engraving of the prints gives no indication that they are based on the copies after Bink\u2019s print.\u00a0 The shadow in the Ceres<\/em> in the small reversed copy preserves something of the original devil-like shape that it has in Caraglio\u2019s print and in Bink\u2019s copy but which has quite disappeared in the large copy after Bink.<\/p>\n

E.118, 1 – 17.\u00a0 Anonymous.\u00a0 Twenty? engravings (17 known) after Caraglio\u2019s prints (?), with white borders, reversed, and the same size.\u00a0 Inscriptions in smaller letters than those of Caraglio\u2019s prints; the plaque within the niche of Saturn<\/em> is missing.\u00a0 Some of the prints are numbered: Saturn<\/em>, 1<\/em>; Juno<\/em>, 4<\/em> (instead of 3); Jupiter<\/em>, 3<\/em> (instead of 4); Venus<\/em>, 10<\/em>; Diana<\/em>, 12<\/em>; Mercury<\/em>, 13<\/em>; Bacchus<\/em>, 17<\/em>; Ariadne<\/em>, 18<\/em>; Vulcan<\/em>, 19<\/em>.\u00a0 COLLECTION: London, VA, 28410, 1 – 20, in Press I.2.C (but only seventeen prints; missing: Opis<\/em>, Pluto<\/em>, Hercules<\/em>).\u00a0 LITERATURE: Carroll, 1987, 125, n. 27, under nos. 21-40.<\/p>\n

These are rather roughly and scratchily executed copies.\u00a0 It still has to be determined from which prints they were derived.\u00a0 There is no inscribed tablet in the niche of the Saturn<\/em>, and the right foot of the god turned into the niche is very awkwardly foreshortened.<\/p>\n

E.54, 1 – 20.\u00a0 Jacques Androuet Du Cerceau.\u00a0 Twenty etchings after Bink\u2019s prints, with white borders, in reverse, and the same size.\u00a0 22.2 x 10.2 L (Paris).\u00a0 Inscriptions in a style of lettering different from that of Bink\u2019s prints (on the wording of them, see below).\u00a0 Numbered at the lower right, but 5, 6, 14, 15, and 20 unnumbered.\u00a0 Le Blanc, 1854-1890, I, 45, 1 – 20.\u00a0 COLLECTION: Paris, Ed 2h, Vol. II.\u00a0 LITERATURE: Geym\u00fcller, 1887, 32, 137, Fig. 57 (Mercury<\/em>), 148, 323, believes that they were made from Caraglio\u2019s prints and not from Bink\u2019s copies.\u00a0 Linzeler, 1932, 35-36 (as Paris, Ed 2b), thinks their dimensions indicate that they were made from Bink\u2019s engraving.\u00a0 Bosquet, 1964, 174-175, Figs. (Minerva<\/em>, Thetis<\/em>, Hera<\/em>, Ceres<\/em>, Opis<\/em>).\u00a0 Thirion, 1971, 33.\u00a0 Borroni and Kozakiewicz, 1976, 617.\u00a0 Borea, 1980, 248, under 618.\u00a0 Henriette Pommier, Dessins … de Lyon<\/em>, 1984, 26.\u00a0 Carroll, 1987, 125, n. 27, under nos. 21-40.\u00a0 Massari, 1989, 120. \u00a0Brugerolles and Guillet, 1994, 66, n. 6, and Fig. (Bacchus<\/em>, Ensba), as done around 1550 (Fig.Du Cerceau, Bacchus<\/a>).<\/p>\n

Where several of the inscriptions on these prints differ from those on Caraglio\u2019s engravings, they are specifically related to those on Bink\u2019s copies; see especially the Mars<\/em>, Diana<\/em>, and Minerva<\/em>.\u00a0 Du Cerceau would, therefore, have worked from Bink\u2019s copies.<\/p>\n

E.119, 1 – 4.\u00a0 Anonymous.\u00a0 Engraved copies of Opis<\/em>, Juno<\/em>, Ariadne<\/em>, and Vulcan<\/em>, with white borders, in the original direction, and the same size.\u00a0 LITERATURE: Carroll, 1987, 125, n. 27, under nos. 21-40.\u00a0 These four prints give evidence of the possibility of other sets of copies of the Gods in Niches<\/em>.\u00a0 The Juno<\/em>, Ariadne<\/em>, and Vulcan<\/em> seem in the engraving of the figures to belong together.\u00a0 The Opis<\/em> appears less smoothly engraved.<\/p>\n

E.119, 1.\u00a0 Opis<\/em>.\u00a0 Inscribed: OPIS \u2022 SATVRNI . CONIVNX \u2022 MATEQVE \u2022 DEORVM<\/em> (the Ns backwards); numbered at the lower left: 2<\/em>.\u00a0 Thirion, 1971, 40, Fig. 27, as Caraglio (Paris).<\/p>\n

The spelling of MATEQVE<\/em> here is unique in prints of the Opis<\/em>.<\/p>\n

E.119, 2.\u00a0 Juno<\/em>.\u00a0 Inscribed as in Caraglio\u2019s print but with slightly different lettering.\u00a0 Boorsch and Spike, IB<\/em>, 28, 1985, 104, as Caraglio (Berlin).<\/p>\n

The tip of the drapery projecting to the left against the dark of the niche to the left of Juno\u2019s left leg is unshaded; the legs of the peacock are smooth; and the edge of the dark shadows does not have fine shading.<\/p>\n

E.119, 3.\u00a0 Ariadne<\/em>.\u00a0 Inscribed as in Caraglio\u2019s print (the dots at the ends unknown) but with the S backwards and the two Ms with outwardly slanting uprights; numbered at lower right: 18<\/em>.\u00a0 Thirion, 1971, 40, Fig. 7, as Caraglio (Paris, cut at sides, including part of number).<\/p>\n

E.119, 4.\u00a0 Vulcan<\/em>.\u00a0 Inscribed as in Caraglio\u2019s print but without the dots and with a caret-like dot over the I in MI<\/em>.\u00a0 Thirion, 1971, 35, Fig. 6 (Paris).<\/p>\n

E.120.\u00a0 Anonymous.\u00a0 Small copy of Vulcan<\/em> in the original direction.\u00a0 Engraving, 12.1 x 5.9 L, 12.2 x 6.1 P.\u00a0 Inscribed in the margin below: ‘ AVREA ‘ MI ‘ CONIVNX ‘ VENUS ‘ EST ‘ SATURNIA ‘ MAT<\/em> (the N\u2019s backwards), and numbered at the lower left: 19<\/em>.\u00a0 COLLECTION: London, 1978-12-16-56 (in C58*).\u00a0 LITERATURE: Carroll, 1987, 125, n. 27, under nos. 21-40.\u00a0 The technique of this very fine engraving suggests Etienne Delaune\u2019s.\u00a0 As the four N\u2019s of the inscription are backwards, this copy may have been derived from Caraglio\u2019s original print (E.44).<\/p>\n

E.121.\u00a0 Anonymous.\u00a0 Copy of Jupiter<\/em>, with white border, in original direction and size.\u00a0 Etching.\u00a0 COLLECTION: Berlin, 272-115.<\/p>\n

E.122, 1 – 13. INCOMPLETE VARIANT SERIES: Anonymous.\u00a0 Twelve or thirteen engravings with dark borders, in original direction and size, without inscriptions, and unnumbered, derived from the Villamena edition.\u00a0 Of the twenty of the original set by Caraglio, this set contains (see Vienna, below) no. 1, Saturn<\/em> (Fig.E.122, 1<\/a>); no. 2, Opis<\/em> (Fig.E.122, 2<\/a>); no. 3, Jupiter<\/em> (Fig.E.122, 3<\/a>); no. 6, Thetis<\/em> (Fig.E.122, 4<\/a>); perhaps no. 7, Pluto<\/em> (in Passavant, but not found); no. 9, Mars<\/em> (Fig.E.122, 5<\/a>); no. 12, Diana<\/em> (Fig.E.122, 6<\/a>); no. 13, Mercury<\/em> (Fig.E.122, 7<\/a>); no. 14, Ceres<\/em> (Fig.E.122, 8<\/a>); no. 15, Hercules<\/em> (Fig.E.122, 9<\/a>); no. 17, Bacchus<\/em> (Fig.E.122, 10<\/a>); no. 18, Ariadne<\/em> (Fig.E.122, 11<\/a>); and no. 19, Vulcan<\/em> (Fig.E.122, 12<\/a>).\u00a0 22.5 x 11.1 P; the margin below, 1.9 x 10.9; the niche, 18.7 x 8.1 (Saturn<\/em>, Vienna).\u00a0 Bartsch, XV, 1813, 80-84, as engraved in the same style as Marcantonio\u2019s seven Virtues<\/em> and hence probably by him.\u00a0 Passavant, VI, 1864, 96, adds Pluto<\/em>.\u00a0 COLLECTIONS: Berlin, 691-115 (Opis<\/em>), 273-15 (Jupiter<\/em>), 695-115 (Diana)<\/em>, 696-115 (Ariadne<\/em>).\u00a0 Bologna, C. 626 (461) (Opis<\/em>), C. 631 (462) (Thetis<\/em>), C. 632 (463) (Mars<\/em>), C. 640 (464) (Diana<\/em>), C. 641 (451) (Jupiter<\/em>), C. 648 (465) (Ceres<\/em>), C. 649 (466) (Hercules<\/em>), C. 650 (485) (Bacchus<\/em>), C. 651 (484) (Ariadne<\/em>).\u00a0 Chatsworth, Vol. 27, p.78, no. 99 (Bacchus<\/em>), p.80, no. 101 (Hercules<\/em>), p.81, no. 102 (Mercury<\/em>).\u00a0 London, Caraglio Vol. C53, p.38, upper right (Saturn<\/em>), p.41, upper right and lower left (Mercury<\/em>), p.45, upper right (Hercules<\/em>).\u00a0 London, VA, Press I.2.C, no. 27878.6 (Thetis<\/em>), 27878.8 (Mars<\/em>), 27878.9 (Venus<\/em>), 27878.11 (Diana<\/em>), 27878.13 (Hercules<\/em>).\u00a0 Paris, Eb 6b R\u00e9s. (Vulcan<\/em>, with drapery in ink added across hips; Saturn<\/em>).\u00a0 Vienna, H.B.IV, Supplement, pp. 64-66, nos. 244-255 (all except Pluto<\/em>).\u00a0 LITERATURE: Kusenberg, 1931, 157, 162, as by the School of Marcantonio (with no mention of the Pluto<\/em>).\u00a0 Ferrara and Gaeta Bertel\u00e0, 1975, nos. 153-160, with Figs. (Bologna).\u00a0 Boorsch and Spike, IB<\/em>, 28, 1985, 171-182 (Berlin and Vienna).\u00a0 Carroll, 1987, 125-126, n. 27, under nos. 21-40, as possibly of the eighteenth century.\u00a0 Massari, 1989, 119, as another version of the series by Caraglio.<\/p>\n

The Pluto<\/em> that Passavant catalogued as part of this set has not been found.<\/p>\n

Bartsch specified some of the differences of these prints from what is found in Caraglio\u2019s original prints.\u00a0 He also noted that they are engraved entirely differently and hence refers to them as repetitions rather than copies of the original engravings.\u00a0 Recognizing them as resembling in their style Marcantonio\u2019s seven Virtues<\/em>, he concludes that they are probably by this engraver.\u00a0 In addition to lacking the inscriptions of the originals, two of them, the Saturn<\/em> and the Vulcan<\/em>, are unfinished.\u00a0 Given that six or seven of the original set are unknown in this set, it seems unlikely that more of the original twenty of Caraglio\u2019s set were begun.<\/p>\n

These prints are very beautifully engraved, but their technique is less regular than Marcantonio\u2019s.\u00a0 Furthermore, no prints by Marcantonio that show niches and figures in niches with dark wall area around them, including his seven Virtues<\/em>, show these areas as they are in these Gods in Niches<\/em>.\u00a0 In the latter, the shading is created by long straight lines only that radiate out from the curved top of the niches.\u00a0 Such radiating lines do not occur in Marcantonio\u2019s prints, where the engraved lines of shading run straight across the print and between the long parallel lines are placed very short ones.\u00a0 Also, in Marcantonio\u2019s prints, the lines of shading inside the niches tend to curve more in relation to the curved surfaces of the niches.\u00a0 This evidence indicates that Marcantonio is not the engraver of these prints.<\/p>\n

Bartsch points out that in the Saturn<\/em>, the blade of the scythe curves upwards rather than downwards as it does in Caraglio\u2019s print, and that in the Mercury<\/em>, the sword, seen strongly foreshortened between the god\u2019s legs in Caraglio\u2019s print, is leaning, point down, against the interior of the niche.\u00a0 But it should also be noted that in five of the prints, the Saturn<\/em>, Mars<\/em>, Mercury<\/em>, Ariadne<\/em>, and Vulcan<\/em>, small pieces of the edges of the niches have fallen away or are chipped.\u00a0 This ruinous condition is found in none of Marcantonio\u2019s niches, nor does it seem to be found in any other sixteenth century prints with niches used for figures as in these prints.\u00a0 The faces of all the figures are slightly different from Caraglio\u2019s, all the hair tends to be curlier, and clothing and plants are slightly elaborated.<\/p>\n

Three details of the prints indicate that they were engraved not after the first edition of Caraglio\u2019s prints but after the Villamena edition of the early seventeenth century.\u00a0 First of all, the wall area around the niches is shaded. \u00a0Second, the talons of the eagle in the Jupiter<\/em> are white as in the Villamena print and not black as in Caraglio\u2019s print, and the clouds under Jupiter\u2019s right foot are as in the Villamena edition and not as in the original engraving.\u00a0 And last, there are claws on the paw of the lion skin in the Hercules<\/em> that are found in only one other print of this image, Villamena\u2019s.<\/p>\n

The variations from Villamena\u2019s versions of Caraglio\u2019s prints, the elaborations of details, and the appearance of the niches partly ruined point to a date after 1604.\u00a0 It is possible that the prints are of the eighteenth century.<\/p>\n

 <\/p>\n

<\/a>DERIVATIONS, PRINTS: RE.14, 1-20.\u00a0 Boyvin.\u00a0 Sixteen or Twenty Panels of Ornament with Pagan Gods<\/em>.\u00a0 The Saturn<\/em> of State I is inscribed to Thiry, State II to Rosso (Fig.RE.14,1<\/a>).\u00a0 For specifications, see RE.14, 1-20<\/a>.<\/p>\n

Melchior Lorck (Lorichs).\u00a0 Opis<\/em>.\u00a0 Woodcut.\u00a0 Inscribed at the upper right: 15 F<\/sup>M<\/sub><\/em> 65 and below in Gothic lettering: Opis Saturni Coniunx Materque Deorum<\/em>.\u00a0 Bartsch, IX, 1808, 510, 105, 2.\u00a0 COLLECTION: London (Fig.Lorck<\/a>).<\/p>\n

Based upon Rosso\u2019s Opis<\/em>, but it cannot be determined from which print of it Lorck\u2019s woodcut is derived.\u00a0 The image is so altered – the niche has been eliminated, a landscape with buildings added, and some of the animals have been changed and their number increased by two – that one cannot recognize Rosso\u2019s style at all.\u00a0 But enough survives, including the Latin inscription, to make the connection with Rosso.<\/p>\n

Virgil Solis.\u00a0 Aurora<\/em>.\u00a0 Engraving, 8.4 x 5.3 S.\u00a0 Inscribed at the lower left with Virgil Solis\u2019s monogram.\u00a0 Bartsch, IX, 1808, 257-258, 105.\u00a0 COLLECTION: London, 1874-7-11-1883.\u00a0 LITERATURE: Bousquet, 1864, 174, Fig., as based upon Du Cerceau\u2019s Minerva<\/em>.\u00a0 This figure with a vase and set within an architectural setting is based upon Rosso\u2019s Minerva<\/em>, but it was not necessarily derived from Du Cerceau\u2019s print of it as Bousquet believes.\u00a0 Any of the prints of this image could have been Solis\u2019s direct source.<\/p>\n

Virgil Solis.\u00a0 Female Figure in an Architectural Setting<\/em>.\u00a0 Engraving, 8.3 x 5.2 S.\u00a0 Bartsch, IX, 1808, 258, 106.\u00a0 COLLECTION: London, 1867-4-13-640.\u00a0 This figure is based upon Rosso\u2019s Juno<\/em>.<\/p>\n

Virgil Solis.\u00a0 Ceres<\/em>.\u00a0 Engraving, 5.7 x 4.4 L.\u00a0 Inscribed above: AEMA \u2022 CERES \u2022 RESDOCVIT \u2022\u00a0 SE \/ GTVM SPEM CREDERE<\/sup> \/ SVICI S 4<\/em> followed by Solis\u2019s monogram.\u00a0 Passavant, IV, 1863, 117, 568. COLLECTION: London, 1930-7-16-25.\u00a0 This figure in a landscape with buildings is based upon Rosso\u2019s Juno<\/em>.\u00a0 The inscription beginning with AEMA<\/em> seems to indicate that Solis worked from Bink\u2019s copy of Caraglio\u2019s print, although Solis added words to his text.<\/p>\n

Jacques Pr\u00e9vost.\u00a0 Cybele<\/em>.\u00a0 Signed and dated 1547.\u00a0 Robert-Dumesnil, VIII, 1850, 5, 2.\u00a0 Herbet, 1900, 341, (1969, 191), 2.\u00a0 The image of this print is not dependent upon a print by Caraglio but the inscription beneath the figure is identical to that beneath the Opis<\/em>.\u00a0 This inscription does not match the figure represented in Pr\u00e9vost\u2019s print.<\/p>\n

Attributed to Primaticcio.\u00a0 One might note here that Malvasia, according to Herbet, IV, 1900, 342 (1969, 192), without stating a source, which I have not been able to find, thought that a set of the Gods in Niches <\/em>including Jupiter<\/em>, Neptune<\/em>, Pluto<\/em>, Proserpina<\/em>, Diana<\/em>, Apollo<\/em>, Vulcan<\/em>, Hercules<\/em>, and Ceres<\/em> might be by Primaticcio because an impression of the Jupiter<\/em> he knew was inscribed with that name.\u00a0 As Herbet pointed out, this form of Primaticcio\u2019s name was not used in the sixteenth century, but several of Caraglio\u2019s prints of the Gods in Niches <\/em>do bear this name (but written and not printed, he would seem to mean).\u00a0 Herbet also indicates that these inscribed prints could be copies of Caraglio\u2019s prints.\u00a0 However, they would not have been by Primaticcio.\u00a0 But if the prints that Malvasia and Herbet knew were etchings then they might have been impressions of the reversed copies by Du Cerceau.<\/p>\n

 <\/p>\n

COPIES, DRAWINGS.\u00a0 While the sources of these copies in Rosso\u2019s images are evident, I have not in every case determined which specific print was used.<\/p>\n

Berlin, Hollstein and Puppel, May 4-6, 1931, no. 1249, from the W. Bateson Collection.\u00a0 Mercury<\/em>.\u00a0 Pen and ink and wash, 15.5 x 9.\u00a0 From the sales catalogue, without illustration, where it is related to Caraglio\u2019s engraving.<\/p>\n

Budapest, Mus\u00e9e des Beaux-Arts, no. 2225.\u00a0 Opis<\/em> (Fig.Opis, Budapest<\/a>).\u00a0 Point of brush and wash heightened with white on blue-gray paper, 20.1 x 10.\u00a0 Inscribed at lower left: Rafaello d\u2019Urbino<\/em>.\u00a0 LITERATURE: Meder, Joseph, Handzeichnungen alter Meister aus der Albertina und anderen Sammlungen<\/em>, Vienna, XII, 1908, no. 1413 (Fig.), as Rosso.\u00a0 Kusenberg, 1931, 147, no. 2, as a copy after the engraving.<\/p>\n

Chantilly, Mus\u00e9e Cond\u00e9, L.V. 140.\u00a0 Opis, Minerva, and Juno<\/em> (Fig.Opis, Chantilly<\/a>).\u00a0 Black chalk heightened with white on tan paper, 21.8 x 32.4.\u00a0 Inscribed in ink at the lower right: Primaticcio<\/em>.\u00a0 LITERATURE: Kusenberg, 1931, 147-148, no. 3, as copies of the prints.\u00a0 The drawings are actually rather free variations of Rosso\u2019s figures; Opis is shown with an elephant, a lion, a rabbit, a deer, and a snake.<\/p>\n

Geneva, Melvin M. Fagen Collection.\u00a0 Opis<\/em> (Fig.Opis, Geneva<\/a>).\u00a0 Pen and brown ink and brown wash, with a blue wash, with some brown and yellow shading appearing at the back of the niche and covering all the animals except the fox at the lower right, 20.4 x 11.4.\u00a0 Inscribed in ink at the lower right: Leonardo<\/em>; also inscribed with the text of Caraglio\u2019s print, with the letters more widely spaced so that it occupies a longer line, with the first word and last words obliterated.\u00a0 PROVENANCE: Luigi Grassi (Lugt 1095, at the lower left).<\/p>\n

I have seen only a photograph of this drawing taken with ultra-violet light; only in this light are the animals visible, Mr. Fagen informed me.\u00a0 From this photograph, the drawing does not resemble, either technically or graphically, Rosso\u2019s drawings in Lyons (Fig.D.17A<\/a>), Paris (Fig.D.17B<\/a>; Fig.D.17C<\/a>), and Besan\u00e7on (Fig.D.18a<\/a>) for the Gods in Niches<\/em>.\u00a0 The Fagen drawing appears to be a copy of Caraglio\u2019s engraving or one of the copies of it.\u00a0 The flatness of the arc of the niche would almost certainly not have been intended by Rosso, as the very crispness of the full arc in the engravings and in his drawings for them is an essential factor in the liveliness of these images.<\/p>\n

Florence, Uffizi 424S.\u00a0 Neptune<\/em> (Fig.Florence, 424S<\/a>).\u00a0 21.4 x 13.5.\u00a0 Inscribed in ink at lower left: Marzilla<\/em>.\u00a0 425S.\u00a0 Vulcan<\/em> (Fig.Florence, 425S<\/a>).\u00a0 24.4 x 13, inscribed in ink at lower right: Primaticcio<\/em>; and in pencil in the lower left corner: 9<\/em>.\u00a0 426S.\u00a0 Hercules<\/em> (Fig.Florence, 426S<\/a>).\u00a0 21.5 x 14.8, inscribed in ink at the lower right: Marzilla<\/em>; in red chalk at lower center: Caraglio<\/em>; and in pencil at the lower left: 10<\/em>.\u00a0 427S recto<\/em>.\u00a0 Pluto<\/em> (Fig.Florence, 427S<\/a>).\u00a0 22 x 12.3, inscribed in ink at the lower left: Marzilla<\/em>, and in pencil: 11<\/em>; the figure is perforated for transferring (the verso<\/em> shows drapery falling over the left leg of a seated figure, probably unrelated to Rosso; Fig.Florence, 427S verso<\/em><\/a>).\u00a0 428S recto<\/em>.\u00a0 Ceres<\/em> (Fig.Florence, 428S<\/a>).\u00a0 21.3 x 13.8, inscribed in the lower right corner: Marzilla<\/em>; in red chalk at the right side above: Caraglio<\/em>; and in pencil at the lower left: 12<\/em>; the verso<\/em> shows Thetis<\/em> (Fig.Florence, 428S verso<\/em><\/a>).\u00a0 429S.\u00a0 Proserpina<\/em> (Fig.Florence, 429S<\/a>).\u00a0 21.2 x 11.8, inscribed in ink at lower left: Marzilla<\/em>; also, in pencil, the number 13<\/em>.<\/p>\n

All of these drawings are executed in pen and ink and wash, heightened with white, on light blue paper; some of the whites have oxidized.\u00a0 The drawings are under Primaticcio in the Uffizi.\u00a0 LITERATURE: Gaudioso, 1976, 38, n. 38, mentions these drawings, except the Thetis<\/em>, and suggests that the inscription on them, which he incorrectly gives as Marcilla<\/em>, refers to Guillaume de Marcillat.<\/p>\n

Copied after the prints with white borders; these sixteenth century drawings appear to be by a North Italian artist.<\/p>\n

London, Christie\u2019s, Nov. 20-21, 1958, Lot 188c.\u00a0 Mercury<\/em>.\u00a0 Pen and ink and wash, heightened with white, 19.8 x 12.1; crest in gold; large armorial stamp.\u00a0 Old inscription: Giorgio Bos<\/em>. Catalogue of the Well-Known Collection of Old Master Drawings principally of the Italian School formed in the 18th century by John Skippe, now the property of Edward Holland Martin, Esq.<\/em>, London, Christie\u2019s, 1958, p.133, as after Rosso.\u00a0 Bought by P. Class.<\/p>\n

The description in the catalogue indicates that this drawing is related to the engraved variant of the Mercury<\/em> that shows the sword leaning against the side of the niche.\u00a0 It would be interesting to locate this drawing to see if it is copied from or is the model for the print.<\/p>\n

London, Sotheby\u2019s, 10 October 1974, as after Rosso.\u00a0 Mercury<\/em> (Fig.Bern, 1960<\/a>).\u00a0 Pen and ink and wash, heightened with white, on lilac washed paper.\u00a0 20.7 x 12.2 (Fig., BM<\/em>, CXVI, Sept., 1974, iv, as after Rosso).\u00a0 PROVENANCE: C.R. Rudolf Collection; Berlin, Amsler and Ruthardt, 1896, Cat. no. 53, lot 118, as Caraglio; Leipzig, C.G. Boerner, Handzeichnungen alter Meister des XV bis XVIII Jahrhunderts aus dem Besitze von frau Geheimrat Ehlers-G\u00f6ttingen and andere Beitr\u00e4ge an Priratbesitz, dabei die Sammlung Dr. Gaa-Mannheim<\/em>, May 9-10, 1930, 65, no. 358, Pl. XXXV, as Rosso, and formerly in the Grahl (Lugt 1199) and Hasse Collections; Berkeley, E. Rosenthal Collection (photo, Florence, Kunsthistorisches Institute); Bern, Klipstein and Kornfeld, June 16, 1960, cat. no. 224, Pl. 21, as Rosso; Location?, A. Matthews, autumn, 1960, cat. no. 57, no. 236 with Fig.<\/p>\n

This sixteenth century drawing shows only the figure, in the original direction.\u00a0 It may be German.<\/p>\n

Formerly London, DeBeers Fine Arts Ltd. (in 1959).\u00a0 Thetis<\/em> (verso<\/em>: a man\u2019s head, cut, not related to Rosso).\u00a0 Black lead.\u00a0 In the lower right corner, stamped ED<\/em> [Eug\u00e8ne Delacroix].<\/p>\n

Formerly London, DeBeers Fine Arts Ltd. (in 1959).\u00a0 Diana<\/em>.\u00a0 Pen and ink over traces of black chalk, approximately the same size as the print.<\/p>\n

(Formerly?) New York, Herbert E. Feist Gallery.\u00a0 Juno<\/em> (Fig.New York, Feist, Juno<\/a>).\u00a0 Metal point and brown ink, heightened with white, on prepared paper, 31.1 x 20.3 (information from the catalogue Italian and French Master Drawings<\/em>, May-June, 1974, p.2, no. 1, Fig. p.2).\u00a0 Inscribed in ink at upper left: Tertia<\/em>; and at upper right: Rossi invenit<\/em>.\u00a0 All along the left edge of the drawing is a line of writing in ink (in Latin?) that begins, it seems from a photograph: IUNO…<\/em> (not the same as the inscription on print).<\/p>\n

This drawing is in reverse of Caraglio\u2019s engraving and hence must have been drawn from the anonymous small copy of the print, from the large reversed copy known from an impression in the Victoria and Albert Museum in London, or from the copies by Du Cerceau.\u00a0 Sixteenth century, probably North Italian.<\/p>\n

New York, Sotheby\u2019s, Old Master Drawings<\/em>, Sale N08711, 26 January 2011, Lot 511a, Jupiter<\/em> (Fig.E.28, Copy, Drawing<\/a>), red chalk, c. 16.8 x 11.3.\u00a0 After Caraglio\u2019s print, E.28.\u00a0 Sotheby\u2019s catalogue notes that the drawing and a second after Rosso\u2019s Hercules Shooting Nessus<\/em> in the same lot (see E.19-24<\/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

Nimes, Mus\u00e9e des Beaux-Arts, no. 211.\u00a0 Mercury<\/em> (Fig.Nimes<\/a>).\u00a0 Pen and ink and wash over traces of black pencil, 23.1 x 15.6.\u00a0 Inscribed in pencil at the bottom: d\u2019apr\u00e8s l\u2019original de M Renaud<\/em>.\u00a0 Attributed in the museum to Christophe Jusky, as after a picture by the young Watteau.<\/p>\n

Copied after the Mercury<\/em> with the sword between his feet as engraved by Caraglio.\u00a0 V. Lassalle, the conservator of the museum, kindly informed me that he does not know why the drawing is attributed to Jusky, a painter and engraver, born in Metz, who worked in the region of Nimes in the middle of the nineteenth century.<\/p>\n

Paris, Bibl. Nat., Cab. des Est.\u00a0 Ed 2p R\u00e9s.\u00a0 Du Cerceau, Fa\u00e7ade of a Building<\/em>.\u00a0 LITERATURE: Geym\u00fcller, 1877, 323, and Fig. 7.\u00a0 Kusenberg, 1931, 163.\u00a0 Linzeler, 1932, 35.\u00a0 Verdier, 1967, 172, n. 1.\u00a0 Birukova, in Actes<\/em>, 1975, 54, 55, n. 12.\u00a0 The fa\u00e7ade shows all of Caraglio\u2019s figures in niches with the Venus<\/em> in reverse.\u00a0 The additional four niches are filled by figures apparently invented by Du Cerceau.<\/p>\n

Paris, Louvre, Inv. 1597, I.\u00a0 Ceres<\/em> (Fig.Paris, 1597, I<\/a>).\u00a0 Red chalk over black chalk, 19.6 x 10; laid down.\u00a0 LITERATURE: Kusenberg, 1931, 149, no. 20, as from Rosso\u2019s shop.\u00a0 See Louvre, Inv. 1597 II below.<\/p>\n

Paris, Louvre, Inv. 1597, II.\u00a0 Mercury<\/em> (Fig.Paris, 1597, II<\/a>).\u00a0 Black chalk, 19.5 x 10.5; laid down.\u00a0 LITERATURE: Kusenberg, 1931, 149, no. 20, as from Rosso\u2019s shop.<\/p>\n

This and the preceding drawing, attributed to Rosso in the museum, are copies after Rosso\u2019s figures, in the same direction as Caraglio\u2019s prints, and with white borders.\u00a0 Both drawings are probably by the same hand, although the Ceres<\/em> is more chiaroscural.\u00a0 Seventeenth century, or later?<\/p>\n

Paris, H\u00f4tel Drouot, April 23, 1937.\u00a0 Diana<\/em> (Fig.Paris, Drouot, Diana<\/a>).\u00a0 Pen and ink and wash, 20 x 11.\u00a0 Catalogue des dessins anciens … provenant principalement de la Collection A. Sigwalt et de divers amateurs<\/em>, lot 19, with Fig.<\/p>\n

Copied from the Diana<\/em> of the incomplete variant set, which shows the deer with two ears and three arrows in the quiver.<\/p>\n

Rennes, Mus\u00e9e des Beaux-Arts, Inv. 794.1.2880.\u00a0 Bacchus<\/em>, and other studies (Fig.Rennes, 794.1<\/a>).\u00a0 Pen and ink, 22.1 x 16.5.\u00a0 Inscriptions in ink, at the top:<\/p>\n

o poveri o richi \/ lavorando \/ et sollazzando \/ soli et accompagnati \/ malico mosi \/ o allegri \/\/ non ci mancano dolori che me affatciano \/ et pensieri che tormentano \/ percio che il pi\u00f9 bel \/\/ tempo della nostra vita ce passa sospirando p[er] g[uello] che desideramo \/ et in lamentarci di quello che patiamo <\/em><\/p>\n

at lower right of above: si\u00a0 ml<\/em><\/p>\n

at lower left (in a different hand?):<\/p>\n

dal senso viene la \/\/ memoria \/ et dalla mem[ori]a \/\/ lo esp[er]imento \/ et dal esp[eriment]o basta \/\/ tu\u2019 vedi una cosa una volta: \/\/ una et tu: dondi nasce \/\/ in te mem.a<\/sup> et la esp[eriment]o et \/\/ pei l\u2019arte: laqe: in modo tu\u2019 i[m]pari<\/em><\/p>\n

in lower left corner: 199<\/em><\/p>\n

in lower right corner: f6 <\/em>(?)<\/p>\n

LITERATURE: Ramade, in Rennes, 1990, 216, no. 189, with Fig., the figure of Bacchus as after Rosso; in the catalogue of 1884 (C.433), as Italian School, sixteenth century.<\/p>\n

The figure of Bacchus with the small satyr is shown without the niche.\u00a0 At the left is a drawing of a blank decorative shield with strapwork resembling the shields of the woodwork in the Gallery of Francis I, but not copied from them.\u00a0 The drawn shield does not have an oval center as those at Fontainebleau do.\u00a0 At the lower right is a lightly dressed young woman gracefully posed holding a piece of fruit up in the air.\u00a0 At the upper right are drawings of three circles, divided into sections, the upper one with numbers along the dividing lines.\u00a0 There are drawings of two heads in profile above the circles, and of classical architectural moldings at the upper left.<\/p>\n

My sense of the drawing is that it is a nineteenth century pastiche suggesting a page from an artist\u2019s notebook in the manner of Leonardo\u2019s notebooks, but here suggesting Rosso in France.<\/p>\n

Rio de Janeiro, National Library, no. C52 recto<\/em>.\u00a0 Ceres<\/em>.\u00a0 No. C52 verso<\/em>. Hercules<\/em>.\u00a0 No. C53.\u00a0 Mercury<\/em>.\u00a0 Pen and ink and wash, heightened with white.\u00a0 The Ceres<\/em> inscribed at the right: Pellegrino … (Peligrono) … d … Tibaldi<\/em>.\u00a0 LITERATURE: Gilberto Ronci, \u201cDisegni italiani nella Biblioteca Nazionale di Rio de Janeiro, Appunti per un catalogo,\u201d BdA<\/em>, XLII, 1957, 137, 147, n. 8, 136, Fig. 2 (Ceres<\/em>).<\/p>\n

Ronci discusses and reproduces only the Ceres<\/em>, but his description of the other two indicates that they, too, are copies of Rosso\u2019s figures.\u00a0 He attributes the Ceres<\/em> to Pellegrino Tibaldi, but wrongly states that it is a companion to two drawings attributed to him in the Pinacoteca, Bologna.<\/p>\n

 <\/p>\n

COPIES, PAINTINGS: Ancy-le-France, Ch\u00e2teau, ground floor near the chamber of Diana, Frieze with several Gods in Niches.\u00a0 LITERATURE: Thirion, 1971, 33.<\/p>\n

Arezzo, Museum, no. 16.15.\u00a0 Attributed to Poppi, Temperantia<\/em> (Fig.Arezzo, 16.15<\/a>).\u00a0 Panel, 30 x 16.15.\u00a0 Based upon the figure of Thetis<\/em> and in the original direction, but the niche having a dark border.\u00a0 The painting could be based upon the re-cut plate attributed to Villamena or upon the print of the incomplete variant series.\u00a0 LITERATURE: Berti, Luciano, Il Museo di Arezzo<\/em>, Rome, 1961, 42, as attributed to Poppi.<\/p>\n

Bologna, Pinacoteca Nazionale.\u00a0 Bartolommeo Cesi, Bacchus and Ariadne<\/em> (Fig.Bologna, Cesi<\/a>).\u00a0 Detached fresco from the Palazzo Riario – Sanguinelli in Bologna.\u00a0 LITERATURE: Cesare Gnudi, \u201cUn affresco di Agostino Carracci acquistato per la Pinacoteca di Bologna,\u201d Bollettino d\u2019Arte<\/em>, 38, 1953, 174-176.\u00a0 Calvesi, 1956, 269, as by Agostino Carracci, the figure of Bacchus based upon Caraglio\u2019s Apollo<\/em>.\u00a0 Ostrow, 1965, 127-134, as by Bartolommeo Cesi, the figure of Bacchus after Caraglio\u2019s print.\u00a0 This attribution to Cesi was accepted by Harris, BM<\/em>, CIX, 1967, 37.<\/p>\n

Bologna, Palazzo Fara.\u00a0 Agostino Carracci, Jason Delivering the Golden Fleece to Pelias<\/em>, 1584.\u00a0 LITERATURE: Calvesi, 1956, 270, pointed out that the figure of Jason is based on Caraglio\u2019s Bacchus<\/em>.\u00a0 Ostrow, 1965, 131.<\/p>\n

Although Carracci\u2019s figure is reversed, bearded, and clothed, it may well be derived from Rosso\u2019s figure, or from one of the reversed copies of it.<\/p>\n

Brussels, Mus\u00e9e des Beaux-Arts.\u00a0 Lambert Lombard, St. Dionysius Healing the Blind Man before the Temple of Mars<\/em>.\u00a0 Kr\u00f6nig, 1974, 138, Fig. 21, 140, points out that the two figures in the niches of the building in the background are based on Caraglio\u2019s Pluto<\/em> and Minerva<\/em>.<\/p>\n

Because the figures are reversed, they would be based on the small anonymous copies (E.117, 1 – 20 and E.118, 1 – 17) or on those by Du Cerceau (E.54, 1 – 20).<\/p>\n

Florence, Palazzo Vecchio, Sala degli Elementi.\u00a0 Vasari and Gherardi, Allegory of Fire<\/em>.\u00a0 Ronen, 1977, 99-100, Figs. 16, 18, points out that the figure of the first cyclops is dependent upon Caraglio\u2019s Vulcan<\/em>.<\/p>\n

London, National Gallery.\u00a0 Rubens, Judgment of Paris<\/em>.<\/p>\n

As pointed out by Michael Jaff\u00e9, \u201cRubens in Italy Part II: some rediscovered works of the first phase,\u201d BM<\/em>, CX, 1968, 176, 178, Fig. 4, the upper part of the figure of Minerva, seen from the back, is based upon Rosso\u2019s Juno<\/em>.<\/p>\n

Oldenburg, Gem\u00e4lde-Galerie, no. 14, Venus<\/em> (Fig.Oldenburg, Venus<\/a>); no. 15, Ceres<\/em> (Fig.Oldenburg, Ceres<\/a>); no. 16, Diana<\/em> (Fig.Oldenburg, Diana<\/a>); no. 17, Jupiter<\/em> (Fig.Oldenburg, Jupiter<\/a>); no. 18, Pluto<\/em> (Fig.Oldenburg, Pluto<\/a>), cedar panels, 26.5 x 27.5.\u00a0 Acquired in 1869 from the Daigremont Collection.\u00a0 LITERATURE: Goldschmidt, 1911, 22, 50-51, as copies after Rosso.\u00a0 Voss, 1920, I, 189, as copies after Caraglio.\u00a0 Kusenberg, 1931, 129, reports that the museum attributed them to a Romanized Dutchman.\u00a0 Venturi, IX, 5, 1932, 231, as derived from Caraglio\u2019s prints.\u00a0 Herbert Wolfgang Keiser, Gem\u00e4lde-Galerie Oldenburg<\/em>, Munich, 1965, p.54, and Figs.\u00a0 Carroll, 1987, 126, n. 28, under nos. 21-40.\u00a0 As the paintings show dark walls around the niches, it is possible that they were done from the Villamena edition of Caraglio\u2019s prints or from the copies of that edition.<\/p>\n

Rome, Castel Sant\u2019Angelo, Cortile del Teatro.\u00a0 Six Gods in Niches, based upon Rosso\u2019s Neptune<\/em>, Mars<\/em>, Apollo<\/em>, Venus<\/em>, Mercury<\/em>, and Minerva<\/em>.\u00a0 Fresco, niches c. 130 cm high; niches, brick red, figures, tan, details, green.\u00a0 Gaudioso, 1976, 26, 38, n. 38, Fig. 28 (Apollo<\/em>).\u00a0 Massari, 1989, 119, 125, Fig. 26, 129, Fig. 27, 130, Fig. 28, 131, Fig. 29, 133, Fig. 30, 140, Fig. 31.\u00a0 Based upon Rosso\u2019s figures, and all in the original direction, except the Mars<\/em>.\u00a0 The latter could, therefore, be based on the small anonymous copies (E.117, 1 – 20 and E.118, 1 – 17) or on Du Cerceau\u2019s (E.53, 1 – 20).\u00a0 Gaudioso seems to suggest that the series of figures in the Castel Sant\u2019Angelo was once larger.<\/p>\n

Strasburg, Museum.\u00a0 H. met de Bles, Landscape with Diana<\/em>.\u00a0 Max J. Friedl\u00e4nder, Die Altniederl\u00e4ndische Malerei<\/em>, XIII, 1924, 26, 81, Pl. 43, no. 87.<\/p>\n

The figure of the goddess is based upon Caraglio\u2019s Diana<\/em>.<\/p>\n

Tanlay, Ch\u00e2teau, Guard Room.\u00a0 The Court of Henri II as Olympus<\/em>.\u00a0 Ceiling fresco.\u00a0 LITERATURE: Geym\u00fcller, 1887, 148, n. 1.\u00a0 Verdier, 1967, 172, n. 1.\u00a0 McGovern, 1985, 33, 34, Figs. 1-2, 255, n. 72, with bibliography.\u00a0 This fresco shows several figures based on Rosso\u2019s gods and goddesses, including Jupiter<\/em>, Juno<\/em>, Mercury<\/em>, and Proserpina<\/em>; there may be others.<\/p>\n

 <\/p>\n

COPIES, SCULPTURE: Cleveland, Cleveland Museum of Art.\u00a0 Thetis<\/em>.\u00a0 Bronze statue.\u00a0 See under St. Petersburg below.<\/p>\n

Ferraro, Palazzo Schifanoia.\u00a0 Thetis<\/em>.\u00a0 Bronze statuette.\u00a0 See under St. Petersburg below.<\/p>\n

Haarlem, Von Pannwitz a Hartekamp Collection.\u00a0 Fortune<\/em> or Atalanta<\/em>, after Rosso\u2019s Thetis<\/em>.\u00a0 See under London, British Museum, below, and Planiscig, 1932, 53.<\/p>\n

London, British Museum, no. 1941, 10-8, 1.\u00a0 Dancing Girl<\/em>, after Rosso\u2019s Thetis<\/em>.\u00a0 Bronze statuette.\u00a0 See under St. Petersburg below.\u00a0 This may be the statuette mentioned in Planiscig, 1932, 50, Fig. 53, as Fortune<\/em> or Atalanta<\/em> and as in a private collection in Paris.<\/p>\n

Sold London, Christie\u2019s, December 15, 1975.\u00a0 Thetis<\/em>.\u00a0 Bronze statuette.\u00a0 See under St. Petersburg below.<\/p>\n

London, Victoria and Albert Museum.\u00a0 Pluto<\/em>.\u00a0 Bronze statuette.\u00a0 W.V. Bode, Italian Bronze Statuettes of the Renaissance<\/em>, London, 1907-1912, III, Pl. 230.\u00a0 Raggio, 1974, 75, 78, n. 1, as after Caraglio\u2019s print, and by an artist of the School of Fontainebleau.<\/p>\n

Sold New York, W. Salomon Collection.\u00a0 American Art Association, April, 1923, no. 446, Fig.\u00a0 Pluto<\/em>.\u00a0 Bronze statuette.\u00a0 Raggio, 1974, 75, 78, n. 1, as after Caraglio\u2019s print, and by an artist of the School of Fontainebleau.<\/p>\n

New York, Metropolitan Museum of Art, no. 25.142.10.\u00a0 Pluto<\/em>.\u00a0 Bronze statuette.\u00a0 Raggio, 1974, 75, 78, n. 1, as after Caraglio\u2019s print and by an artist of the School of Fontainebleau; bought at the Lehmann Sale, Paris, Galerie Georges Petit, June 4, 1925, no. 341.\u00a0 Raggio has noticed that it carries the number 211 and hence can be identified in the manuscript inventory of the Gardemeuble of Louis XV, Archives nationales 01<\/sup> 3334: \u201cUn homme aiant le bras gauche \u00e9l\u00e9ve et la main droite derri\u00e8re le dos, haut de dix pouces et demy.\u201d<\/p>\n

Formerly New York, Stern Collection.\u00a0 Thetis<\/em>.\u00a0 Bronze statuette.\u00a0 See under St. Petersburg below.<\/p>\n

Paris, Mus\u00e9e de Cluny.\u00a0 Attributed to Maffeo Olivieri, Female Dancer<\/em>.\u00a0 Bronze statuette.\u00a0 Androsov, 1976, 159, states that this figure is based upon Caraglio\u2019s Minerva<\/em>.<\/p>\n

Paris, Mus\u00e9e Jacquemart-Andr\u00e9.\u00a0 Thetis<\/em>.\u00a0 Bronze statuette.\u00a0 See under St. Petersburg below.<\/p>\n

St. Petersburg, Hermitage, inv. no. 976.\u00a0 Attributed to Maffeo Olivieri, Thetis<\/em>.\u00a0 Bronze statuette.\u00a0 Hans R. Weihrauch, Europ\u00e4sche Bronzestatuetten, 15 – 18 Jahrhundert<\/em>, Braunschweig, 1967, 135,<\/p>\n

Figs. 155, 156, as based on Caraglio\u2019s Thetis<\/em>.\u00a0 This relationship is also mentioned by Georges S. Salman, \u201cAn Attempt at an Analysis,\u201d Connoisseur<\/em>, 170, 1968, 20, and Figs. 3a, 3b, and by Androsov, 1976, 159.\u00a0 Androsov states that there are other examples of the statuette in the Clevelend Museum of Art, in the Palazzo Schifanoia in Ferrara, in the British Museum (1941, 10-8, 1), and another sold in London at Christie\u2019s, December 15, 1975, one formerly in the Stern Collection in New York, and another in the Mus\u00e9e Jacquemart-Andr\u00e9 in Paris.<\/p>\n

Androsov, 1976, 161, and Figs. 6-8, indicates that a statuette of a Fawn<\/em> in the Hermitage, attributed to Vittore Gambello, il Camelio, is based upon Caraglio\u2019s Minerva<\/em>, but the relationship here is not sufficiently close to make a dependency necessary.<\/p>\n

Venice, S. Marco.\u00a0 Matteo Olivieri, Two Candelabra<\/em>.\u00a0 Bronze.\u00a0 Signed and dated 1527.\u00a0 W.D. Wixom, Renaissance Bronzes from Ohio Collections<\/em>, Cleveland Museum of Art, 1975, under no. 80, believes that some of the figures on these candelabra are based on Caraglio\u2019s Gods in Niches<\/em>.\u00a0 Mentioned by Androsov, 1976, 159, 162, n. 11.\u00a0 From the illustration I have seen of part of one of these candelabra, a relationship to Rosso\u2019s figures is not apparent (Wilhelm Bode, The Italian Bronze Statuettes of the Renaissance<\/em>, edited and revised by James D. Draper, New York, 1980, 32, Fig. 32, as by Camillo Alberti).<\/p>\n

 <\/p>\n

COPIES, ENAMELS: Baltimore, Walters Art Gallery, no. 44.218.\u00a0 Opis<\/em>.\u00a0 Diameter 22.3.\u00a0 Inscribed: LL<\/em>.\u00a0 LITERATURE: Verdier, 1967, 170-172, no. 104, with Fig., as by L\u00e9onard Limosin, about 1540.\u00a0 Thirion, 1971, 40, and Fig. 28, as by Limosin.\u00a0 Based upon Rosso\u2019s Opis<\/em>, and in the original direction, without the niche but in the background a rocky formation, a pyramid, and a building with a pilaster.\u00a0 Carroll, 1987, 126-127, no. 41, with Fig. (Fig.Baltimore, Opis<\/a>).<\/p>\n

Sold Cologne.\u00a0 Paspart Collection, Schloss Hunegg, October 20, 1844, lot 542, Fig.\u00a0 Opis<\/em>. \u00a0Salt cellar.\u00a0 H. 19.1.\u00a0 Verdier, 1967, 170.<\/p>\n

\u00c9couen, Ch\u00e2teau, Mus\u00e9e National de la Renaissance (formerly Ch\u00e2teau de Chaumont, and Paris, Mus\u00e9e de Cluny).\u00a0 Saturn<\/em>, Jupiter<\/em>, Apollo<\/em>, and Mars<\/em>.\u00a0 Enamel plaques in relief, oval, each 1.65 x 1.00.\u00a0 Inscribed: .SATVRNVS.<\/em>, .IVPITER.<\/em>, .SOL.<\/em>, MERCVRIVS.<\/em>, and each dated and signed: 1599\/ PIERRE COURTEYS<\/em>.\u00a0 LITERATURE: Kusenberg, 1931, 119, 209, n. 322.\u00a0 Thirion, 1971, 34, 36, Figs. 9-11, 37, Fig. 12.\u00a0 Bertrand Jestaz, in EdF<\/em>, 1972, 448, no. 642 (Apollo<\/em>), who says that they may imitate majolica reliefs by Girolamo della Robbia.<\/p>\n

Based upon Rosso\u2019s figures in the original direction.\u00a0 However, the figures are all clothed.\u00a0 Part of a set of nine plaques, the others after prints by Boyvin and Marcantonio.<\/p>\n

(Formerly?) London, H.T. Hope Collection.\u00a0 Opis<\/em>.\u00a0 Circular plaque, 27.3 diameter.\u00a0 Inscribed: LL<\/em>.\u00a0 Formerly Visconti Collection, Sale, Paris, March 13-16, 1854, lot 44, then to Hope.\u00a0 Exhibited at the Victoria and Albert Museum, 1862, no. 1713.\u00a0 Verdier, 1967, 170.<\/p>\n

London, Victoria and Albert Museum, no. 2548-1856.\u00a0 Jupiter<\/em>.\u00a0 20.2 x 15.\u00a0 Grisaille with gold around billowing cape (Fig.London, VA, Jupiter<\/a>).<\/p>\n

Paris, Louvre.\u00a0 Vulcan<\/em>, Venus<\/em>, and Juno<\/em>.\u00a0 The Vulcan<\/em>, concave, 24 x 16; the other two, arched at the top, 22 x 12, and inscribed VENUS<\/em> (the S backwards) and IVNON<\/em>.\u00a0 Laborde, Emaux<\/em>, 1852, 164, nos. 188 and 189, the Venus<\/em> given as Ariadne<\/em>.\u00a0 Verdier, 1967, 110, under no. 55, with other bibliography.\u00a0\u00a0 Thirion, 1971, 33, ns. 20-21, 34, Figs. 3-5, attributed to Pierre P\u00e9nicaud, active at Limoges in the second third of the sixteenth century.<\/p>\n

Based on Rosso\u2019s figures in the original direction, the Venus<\/em> derived from the Ariadne<\/em>; a cape added to the Vulcan<\/em>.<\/p>\n

Paris, Louvre.\u00a0 Diana<\/em>.\u00a0 Signed and dated: LL 1573<\/em>, and inscribed as in the print.\u00a0 Landscape added.<\/p>\n

Sold Paris, Spitzer Collection, 1893, cat. no. 481, Pl. XV; sold Vitta Collection, H\u00f4tel Drouot, June 27-28, 1924, cat. no. 14, Fig.\u00a0 Diana<\/em>.\u00a0 Oval plaque, 28.5 x 21.\u00a0 Inscribed: LL 1573<\/em>, and VIRGO DIANA IST<\/em>.\u00a0 Thirion, 1971, 34.<\/p>\n

Sold Paris, E. Gavet Collection, May 31, 1897, lot 716, formerly in Fould Collection; sold Heugel Collection, May, 1948.\u00a0 Opis<\/em>.\u00a0 Oval plaque, 29 x 21.\u00a0 Inscribed on a banderole: OPAS SATVRN CONIVNX MATERQUE DEORUM<\/em>.\u00a0 Verdier, 1967, 170.<\/p>\n

 <\/p>\n

COPIES, CARVED FURNITURE PANELS: Amsterdam, Rijksmuseum.\u00a0 Secretary with relief panel of Opis.\u00a0 Thirion, 1971, 39-40, 40, Fig. 26, as sixteenth century.\u00a0 The figure of Opis is based on Rosso\u2019s, in the original direction, with the body more muscular and the hair elaborated.<\/p>\n

Nantes, Mus\u00e9e Dobr\u00e9e.\u00a0 Cupboard with relief of Thetis.\u00a0 Thirion, 1971, 38-39, Fig. 25.\u00a0 Raggio, 1974, 74.\u00a0 Figure based on Rosso\u2019s, in the original direction.<\/p>\n

Paris, Louvre.\u00a0 Cupboard with relief of Hercules.\u00a0 Thirion, 1971, 37, 39, Fig. 23, as attributed to Hughes Sambin and datable around 1572.\u00a0 Thirion points out that the club held by the figure is a restoration and that the figure is based upon Rosso\u2019s Vulcan<\/em>, in the original direction.<\/p>\n

(Formerly?) Paris, sold around 1907, present whereabouts unknown.\u00a0 Cupboard of two parts with reliefs of Neptune, Pluto, Saturn, Vulcan, and Mercury.\u00a0 Thirion, 1971, 34-35, 38, Fig. 38, as of doubtful authenticity, but the reliefs may be original.\u00a0 Known only from a photograph in the Biblioth\u00e8que Forney.\u00a0 Based on Rosso\u2019s figures, in the original direction, but Thirion states that because of the use of countertracing by the woodcarvers, they could have used the reversed copies of the prints, one set of which is by Du Cerceau (E.54, 1 – 20), others, anonymous (E.117, 1 – 20 and E.118, 1 – 17).<\/p>\n

Paris, Mus\u00e9e de Cluny.\u00a0 Neptune<\/em>.\u00a0 Wood relief.\u00a0 Thirion, 1971, 40, as a mediocre panel after Rosso\u2019s figure, reproduced in Monographie du mus\u00e9e de Cluny<\/em>, Paris, Armand Gu\u00e9rinet, n.d., Pl. 72.<\/p>\n

St. Petersburg, Hermitage.\u00a0 Small chest with reliefs of Ceres, Diana, Thetis, Pluto, and Ariadne.\u00a0 Birukova, in Actes<\/em>, 1975, 49-55, 50-51, Fig. 5-8, as French, mid-sixteenth century, art of Fontainebleau.\u00a0\u00a0 The five figures are based on Rosso\u2019s in the original direction.\u00a0 A sixth, Venus, is derived from the reversed copy of Marcantonio\u2019s print, after Raphael (Bartsch, XIV, 234, 311).<\/p>\n

 <\/p>\n

COPIES, OTHER OBJECTS: \u00c9couen, Ch\u00e2teau, Mus\u00e9e National de la Renaissance (formerly Paris, Mus\u00e9e de Cluny), no. 5951. (Cluny 22140).\u00a0 Lock plate.\u00a0 Iron.\u00a0 This lock plate shows a fa\u00e7ade with three niches, each with a figure in high relief.\u00a0 The center figure is Vulcan, after Rosso.\u00a0 The side niches have female nudes with one arm raised similar to Rosso\u2019s Minerva<\/em>.\u00a0 LITERATURE: Carroll, 1987, 126, n. 28, under nos. 21-40.<\/p>\n

London, Soane Museum.\u00a0 Stained glass medallion with Jupiter derived from Rosso\u2019s figure.\u00a0 The medallion is one of four, the others of which are not related to Rosso.\u00a0 LITERATURE: Carroll, 1987, 126, n. 28, under nos. 21-40.<\/p>\n

London, Victoria and Albert Museum, no. W.153-1910.\u00a0 Bellows with relief of Opis<\/em>.\u00a0 75.6 x 88.4.\u00a0 LITERATURE: Verdier, 1967, 172, n. 2.\u00a0 Thirion, 1971, 40, notes that he has certain reservations about this object.\u00a0 Bertrand Jestaz, in EdF<\/em>, 1972, 427, no. 592, as related to French furniture of the second half of the sixteenth century.\u00a0 Miles, 1973, 32.\u00a0 Carroll, 1987, 126, n. 28, under nos. 21-40.<\/p>\n

 <\/p>\n

COPIES, MAJOLICA: Berlin, Kunstgewerbemuseum, Inv. no. K. 1903.\u00a0 Orazio Fontana?, Dish cover with Apollo and Daphne.\u00a0 19.6 diameter.\u00a0 Hausman, 1972, 285-287, no. 207, Fig.\u00a0 The figure of Daphne is based on Rosso\u2019s Hebe<\/em>, reversed.<\/p>\n

Braunschweig, Herzog Anton Ulrich Museum, Inv. no. 16.\u00a0 Venetian(?), around 1550.\u00a0 Plate with Venus in a Landscape.\u00a0 Lessmann, 1979, 393, no. 569, Fig.\u00a0 The figure is based on Rosso\u2019s goddess.<\/p>\n

Inv. no. 527.\u00a0 Workshop of Fontana, Dish with Vulcan at his forge and Venus standing at the side.\u00a0 17.2 diameter.\u00a0 Lessmann, 1979, 203, no. 193, Fig.\u00a0 The figure of Venus is based on Rosso\u2019s Juno<\/em>.<\/p>\n

Inv. no. 1145.\u00a0 Venetian, 1550-1560.\u00a0 Plate with Ariadne in a landscape.\u00a0 Lessmann, 1979, 404, no. 595, Fig.\u00a0 The goddess is based on Rosso\u2019s figure with the addition of drapery crossing her left thigh.<\/p>\n

London, Victoria and Albert Museum, C.2296-1910.\u00a0 Camillo Fontana(?), Flower holder(?), 21 high.\u00a0 Rackham, 1952, Pl. 76B.\u00a0 Rackham and Mallet, 1940\/1977, 226-289, no. 866, Pl. 139.\u00a0 Conti, 1973, Pl. XLII.\u00a0 Five of the six sides of this object show Rosso\u2019s Ariadne<\/em> (Fig.London, VA, Majolica, Ariadne<\/a>), Opis<\/em> (Fig.London, VA, Majolica, Opis<\/a>), Minerva<\/em> (Fig.London, VA, Majolica, Minerva<\/a>), Diana<\/em> (Fig.London, VA, Majolica, Diana<\/a>), and Thetis<\/em> (Fig.London, VA, Majolica, Thetis<\/a>).\u00a0 (The Apollo is after Raphael\u2019s statue in The School of Athens<\/em>.)<\/p>\n

London, Wallace Collection, III D 140, Urbino, mid-sixteenth century.\u00a0 Plate with Saturn in a landscape.\u00a0 8.66 diameter.\u00a0 Norman, 1976, 259-260, C130, Fig.\u00a0 The figure is based on Rosso\u2019s Saturn<\/em>.<\/p>\n","protected":false},"excerpt":{"rendered":"

Twenty engravings by Gian Jacopo Caraglio. For States and copies, see below. Bartsch, XV, 1813, 77-79, 24-43.\u00a0 Le Blanc, 1854-1890, I, 589, 29-48.\u00a0 Herbet, III, 1899, 48 (1969, 136). In the following entries for the individual prints of this set, measurements are given from L when known, otherwise from S; in two cases the measurements […]<\/p>\n","protected":false},"author":13,"featured_media":0,"parent":824,"menu_order":28,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-3857","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/3857","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=3857"}],"version-history":[{"count":81,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/3857\/revisions"}],"predecessor-version":[{"id":10723,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/3857\/revisions\/10723"}],"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=3857"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}