![\"\"](\"http:\/\/pages.vassar.edu\/rosso\/files\/2012\/04\/E.46a-Vienna-II.jpg\")
<\/a>E.46a Caraglio, Pluto and Proserpina, II<\/p><\/div>\n
E.46. PLUTO AND PROSERPINA<\/p>\n
Image, 17.4 x 13.3 S and P; inscribed title and poem below, 3.7 x 13.3 S and P (Rome, cut on or just outside P).<\/p>\n
Bartsch, XV, 1813, 76-77, 22, as after Rosso.\u00a0 Le Blanc, 1854-1894, I, 588, 16.<\/p>\n
Two or three states:<\/p>\n
I.?\u00a0 Image alone, unnumbered (assumed state).\u00a0 This state is also assumed by Massari, 1989, 148.\u00a0 There is no attached plate below with title and poem.<\/p>\n
II.\u00a0 Image, with title and poem on separate plate below, unnumbered.\u00a0 The title centered: Plutone et Proserpina<\/em>; the poem in two columns of four lines each:<\/p>\n Soto l mio cieco et tenebroso regno (Down in my blind and dark realm \/ I walk so much within the arrow of love \/ That against it I have no defense \/ I took my chariot, and my trident in haste \/\/ I stole her gloriously and deservingly \/ Leading her between my clutching arms \/ Enjoying now her beautiful features \/ The Styx seems beautiful to me, Oh Phlegethon.)<\/p>\n III. Numbered in the center of the small margin at the bottom of the plate of the image: 8<\/em>.<\/p>\n Fig.E.46a<\/a> (State II, Vienna, with title on separate plate but poem cut off)<\/p>\n Fig.E.46b<\/a> (State III, Rome)<\/p>\n COLLECTIONS: Amsterdam (II).\u00a0 Paris, Ae 32a R\u00e9s. (III, 21.6 x 13.4 P, image and poem).\u00a0 Rome, Fondo Corsini, Vol. 26 M 30, no. 05931 (III) [Massari, 1989, 162, Fig. IIIa].\u00a0 Vienna, It.I.25, p.23, no. 22, lower left (II, with title, but with poem cut off).<\/p>\n E.47a Caraglio, Saturn and Philyra, II<\/p><\/div>\n <\/p>\n E.47. SATURN AND PHILYRA<\/p>\n Image, 17.7 x 13.6 P, including margin at bottom of 0.3; inscribed title and poem below, 3.8 x 13.5 P (cut at P at bottom; Florence, Marucelliana).<\/p>\n Bartsch, XV, 1813, 76-77, 23, as after Rosso.\u00a0 Le Blanc, 1854-1890, I, 588, 9.<\/p>\n Two or three states:<\/p>\n I.?\u00a0 Image alone, unnumbered (assumed state).<\/p>\n II.\u00a0 Image, with title and poem on separate plate below, unnumbered.\u00a0 The title centered: Saturno<\/em>; the poem in two columns of four lines each:<\/p>\n Chi letto ha di Pithagora la uita (He who has read the life of Pythagoras \/ As how he transforms himself into others \/ And departs from himself \/ first leaving every custom and norm \/\/ He may be able to believe that through limitless power \/ I might similarly change my face and form \/ And I might hide my great fault (phallus) from Rhea \/ By making myself, Saturn, into a horse.)<\/p>\n III.\u00a0 Numbered in the lower right hand corner of the image: 1<\/em>.<\/p>\n Fig.E.47a<\/a> (State II, Vienna, with poem cut off of attached plate below)<\/p>\n Fig.E.47b<\/a> (State III, Rome)<\/p>\n COLLECTIONS: Amsterdam (II).\u00a0 Bologna, Inv. C. 653 (1393) (III).\u00a0 Florence, Marucelliana, Vol. IX, no. 21 (II) [Massari, 1989, 151, Fig. II a].\u00a0 Rome, Fondo Corsini, Vol. 26 M 30, no. 05520 (III).\u00a0 Vienna, It.I.25, p.23, lower right (II, with title, but with poem on second plate cut off).\u00a0 Massari, 1989, 148, No. 58, III b, also lists: Rome, Fondo Nazionale, F. Pio vol. IX, no. 1160 (34874) (III).<\/p>\n LITERATURE:<\/p>\n Voss, 1920, 186.<\/p>\n Antal, 1928-1929 (1960, 55, n. 3, 56, 84, n. 2).<\/p>\n Kusenberg, 1931, 27, 162, Pl. XIX, 1, (Saturn and Philyra <\/em>of the Milan-Boyvin copy).<\/p>\n Becherucci, 1944 (1949, 29-30).<\/p>\n Barocchi, 1950, 64-65, 136, Fig. 41 (Saturn and Philyra<\/em>).<\/p>\n Pamela Askew, \u201cPerino del Vaga\u2019s Decorations for the Palazzo Doria, Genoa,\u201d BM<\/em>, XCVIII, 1956, 49, n. 3, mentions that a complete series of the Loves of the Gods<\/em> is in the Corsini Gallery, Rome.<\/p>\n Brugnoli, 1962, 350, n. 2, mentions the subjects of the prints as belonging to a \u201cclassical revival\u201d of the Raphaelesque ambient in Rome; she sees in the Saturn and Philyra<\/em> a relationship with Parmigianino.<\/p>\n Carroll, 1964 (1976), I, Bk. I, 140-142, Bk. II, 74-80, II, Bk. III, Fig. 66 (Pluto and Proserpina<\/em>, Vienna), and Fig. 67 (Saturn and Philyra<\/em>, Milan-Boyvin copy).<\/p>\n Petrucci, 1964, 45.<\/p>\n Hirst, 1964, 122, mentions the Saturn and Philyra<\/em> as having been done about 18 months after the Cesi Chapel frescoes (the last payment for which was on 3 October 1524).<\/p>\n Kenneth Clark, Rembrandt and the Italian Renaissance<\/em>, New York, 1966, 203, gives Item 232 of the inventory of the contents of Rembrandt\u2019s house in 1656 as: \u201cOne book with erotica by Raphael, Rosso,…\u201d\u00a0 The reference to Rosso is probably to the Loves of the Gods<\/em>.<\/p>\n Shearman, 1967, 65, 67, 68, Fig. 32, of the Saturn and Philyra<\/em> (copy, London), 195, states wrongly that Rosso contributed three designs to the series of the Loves of the Gods<\/em>, and as done c. 1526-1527, and points out in the Philyra<\/em> the \u201csplendidly funny image of a horse in love.\u201d<\/p>\n Faglio dell\u2019Arco, 1970, 58, 110, n. 12, 196, n. 4, Fig. 173 of the Saturn and Philyra<\/em>, speaks of the alchemical meaning of this print.<\/p>\n Zerner, \u201cCaraglio,\u201d 1972, 692-693, mentions many copies of the Loves of the Gods<\/em>.<\/p>\n Ferrara and Gaeta Bertel\u00e0, 1975, no. 132 and Fig. (Bologna).<\/p>\n Borroni and Kozakiewicz, 1976, 616.<\/p>\n Puppi, 1976, 146, n. 14, thought the series had fifteen pieces of which two were by Rosso.<\/p>\n Dunand and Lemarchande, 1977, 191, mention that Baviera was responsible for the prints.<\/p>\n Barolsky, 1978, 105, points out the \u201ccharmingly ridiculous image of a horse in love\u201d in the Saturn and Philyra<\/em>.<\/p>\n Borea, 1979, 367, 373, as ca. 1526.<\/p>\n Borea, 1980, 230, 234, 250 and nos. 621 (Saturn and Philyra<\/em>, Florence, Marucelliana, wrongly as a copy) and 622 with Fig. (Pluto and Proserpina<\/em>, Rome, wrongly as a copy).<\/p>\n Burlington, 1980, discusses the Loves of the Gods<\/em>, but more particularly Perino\u2019s compositions.<\/p>\n Zerner, 1980, 87-89, discusses the entire series as done before the Sack of Rome, and mentions French and Italian copies.<\/p>\n C. Davis, in Giorgio Vasari<\/em>, 1981, 273-274, no. 32 (Pluto and Proserpina<\/em>, Rome, 26 M, 30, 05931, as a copy) mentioned the influence of the Pluto and Proserpina<\/em> on Vasari\u2019s lost frescoes of this subject in the Villa Altoviti in Rome, known from prints.<\/p>\n Chastel, 1983, 160-161, 162, Fig. 81b (Saturn and Philyra<\/em>, Milan-Boyvin copy).<\/p>\n Lawner, 1984, 37, mentions the Loves of the Gods<\/em> in relation to I Modi<\/em> by Giulio Romano and Marcantonio.<\/p>\n Boorsch and Spike, IB<\/em>, 28, 1985, 99 (Pluto and Proserpina<\/em>, Amsterdam), 100 (Saturn and Philyra<\/em>, Amsterdam).<\/p>\n Parma Armani, 1986, 68, 70, 72, ns. 35-37, 321-322, C. III, gave the total number of the set as twenty (on which, see below).<\/p>\n Carroll, 1987, 24, 40, 128-134, nos. 42-43, with Figs. (Vienna).<\/p>\n K. Orchard, in Zauber der Medusa<\/em>, 1987, 253-256, nos. V, 33-39 (all as after Perino and as copies by Salamanca and Boyvin).<\/p>\n Leone de Castris, 1988, 39, 47.<\/p>\n Davis, 1988, 12, recognized the influence of Raphael\u2019s late style on the Saturn and Philyra<\/em>.<\/p>\n Carroll, 1989, 9, 13-14, Figs. 24-25 (Vienna).<\/p>\n Massari, xviii, 1989, 117, 118, 148-150, No. 58 (Saturn and Philyra<\/em>), Fig. II a (Florence, Marucelliana), and Copy, Fig. I d (Rome, Fondo Corsini, Vol. 26 M 30, no. 5922), 162-163, No. 65 (Pluto and Proserpina<\/em>), Fig. III a (Rome), Copy, Fig. b (Rome, Fondo Nazionale, F. Pio Vol. IX, no. 1145 [34859]); the entire series, 148-187, Nos. 58-77.<\/p>\n Kornell, 1989, 843, Figs. 47-48, 844, discussed the use of Rosso\u2019s figure of Proserpina in Etienne\u2019s De dissectione…<\/em> (see L.60<\/a>).<\/p>\n Pinelli, 1993, 80-81, 128, and Fig. 75 (Saturn and Philyra<\/em>, Milan-Boyvin copy, Paris, Biblioth\u00e8que de l\u2019Arsenal), as soft pornography, and a point of reference for Bartholomaeus Spranger.<\/p>\n Landau, in Landau and Parshall, 1994, 159, 297-298, stated that the set is composed of eighteen prints, two designed by Rosso, the rest by Perino del Vaga, and that the plates belonged to Baviera.<\/p>\n Franklin, 1994, 134-135, 160, 245, Pl. 103 (Pluto and Proserpina<\/em>, Vienna), as full of wit and humour.<\/p><\/blockquote>\n In his account of the career of Caraglio, Vasari states that after the Gods in Niches<\/em> the engraver began a series of prints of the \u201ctrasformazioni\u201d of the gods, now called the Loves of the Gods<\/em>, of which, however, Rosso did only two drawings because of a falling out over differences that he had with Baviera.\u00a0 Vasari says that Rosso designed the Saturn and Philyra<\/em> and the Pluto and Proserpina<\/em>, which are also specified in the \u201cLife\u201d of Rosso immediately after mention of the Gods in Niches<\/em>.\u00a0 Vasari also says that the other ten of the series were designed by Perino del Vaga, and engraved by Caraglio.\u00a0 In the \u201cLife\u201d of Perino del Vaga (1568, II, 36; Vasari-Milanesi, V, 611), Vasari states, but without giving their number, that Perino\u2019s designs were made for Baviera immediately after the Sack of Rome, and engraved then by Caraglio.\u00a0 Vasari mentions Rosso\u2019s participation in this series before his design of the Sabines<\/em> print (Fig.E.48, Paris<\/a>), the engraving of which was left incomplete at the time of the Sack.\u00a0 As we know that Rosso fled to Perugia shortly after the Sack took place, we can assume that his two designs for the Loves of the Gods<\/em> were made before early May 1527, but not immediately before if the Sabines<\/em> scene was also designed before this moment.\u00a0 It is, therefore, possible to date the designs of the Saturn and Philyra<\/em> and the Pluto and Proserpina<\/em> early in 1527.\u00a0 If we follow Vasari\u2019s account specifically, and there seems to be no reason why we should not, Caraglio\u2019s two prints made after these designs would seem to have been engraved before the Sack.1<\/sup><\/a><\/p>\n Vasari states in his account of the career of Caraglio that the series of the Loves of the Gods <\/em>engraved by Caraglio was composed of twelve prints, two, which he describes, designed by Rosso, ten, which he does not specify, designed later by Perino del Vaga.\u00a0 In his \u201cLife\u201d of Perino (Vasari-Milanesi, V, 611), he gives neither the number nor the subjects of the prints designed by the latter.\u00a0 Bartsch, in 1813, catalogued fifteen, 13 as after Perino, and the two specified by Vasari as after Rosso.\u00a0 But he does not mention that any are numbered or have titles or poems printed beneath them (although he must have known some impressions with these inscriptions).\u00a0 However, he does record that his number 17, Janus<\/em>, is inscribed in the middle at the bottom\u00a0 \u2022 Justinianus \u2022\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0 \u2022 F \u2022<\/em>, and that his number 21, Venus and Cupid<\/em>, has at the bottom of the bed above the left foot of Venus the inscription: \u2022\u00a0 CARALIVS \u2022 \/_\u2022 FE\u00a0 \u2022<\/em>.\u00a0 <\/em>Number 10 of Bartsch\u2019s list, the Jupiter and Antiope<\/em>, has a plaque hanging from a branch at the upper left inscribed: I.C.<\/em>\u00a0 The Cupid and Psyche<\/em>, Bartsch 20, is inscribed at the bottom left of the bed: \u2022\u00a0 CARALIVS\u00a0 \u2022<\/em>.<\/p>\n To this group Brulliot added one: Venus mourning the Death of Adonis<\/em>, the Catalogue of the W.Y. Ottley Collection, three:\u00a0 Jupiter and Io surrounded by Clouds, Jupiter and Semele<\/em>, and Apollo and Hyacinth<\/em>, and Nagler, one: Jupiter transformed into a Satyr, and Diana <\/em>(Nagler, Monogrammisten<\/em>, I, 1858, 680-681, and Passavant, VI, 1864, 97-98, 65-69).\u00a0 This brings to twenty the number of engravings that have been recognized as belonging to this set of prints (see Le Blanc, 1854-1890, I, 588-589, 9-28).\u00a0 But in the Milan-Boyvin numbered set of copies, Bartsch\u2019s Janus<\/em>, his number 17, is not included.\u00a0 This print, inscribed: Justinianus<\/em>, does not appear to have been designed by Perino, nor engraved by Caraglio, although the print is imitative of the prints in this set.\u00a0 It never was part of the numbered series.\u00a0 Zerner, 1980, n. 9, also removed it from the series.\u00a0 The Apollo and Hyacinth<\/em>, numbered 12, added in the Ottley catalogue, and the Jupiter transformed into a Satyr, and Diana<\/em>, numbered 13, added by Nagler, seem not to be by Perino (although Zerner, 1980, 88, accepted the first, as Apollo and Cyparissus<\/em>, and Parma Armani, 1986, 68-70, 321-322, under C. III, accepted both, followed by Massari, 1989, 170, No. 69, and 172, No. 70.).\u00a0 These deletions bring the number down to seventeen.\u00a0 But number five of the numbered set, entitled Giove in Pastore<\/em>, is by Perino.\u00a0 Thus it would seem that Perino added sixteen designs to Rosso\u2019s original two, and that eventually two more were added by an anonymous designer to form a numbered set of twenty.2<\/sup><\/a>\u00a0\u00a0 The numbered set with poems was copied in its entirety perhaps in the 1540s to form what is referred to below as the Milan-Boyvin set.\u00a0 How many Rosso was originally directed to make by Baviera is not known.\u00a0 From the evidence now available, it seems that Perino designed sixteen, which, with Rosso\u2019s two, would have made a set of eighteen.\u00a0 This could have been the number that Rosso was to supply.\u00a0 But it is also possible that he was to design only sixteen, which seems to have been the number of the infamous I Modi<\/em> of 1524 by Giulio Romano and Marcantonio Raimondi, which, to some extent, Caraglio\u2019s prints replaced.3<\/sup><\/a><\/p>\n As the titles and poems that appear under the images are engraved on separate plates, it is possible that, as in the case of I Modi<\/em>, they were added to the series and were not an integral part of their original conception, as suggested by Burlington, 1980, 3.\u00a0 But no impressions are known with large enough margins at the bottom to prove that a printing was made without the titles and poems.\u00a0 Impressions without them could simply have them cut away.\u00a0 If Pietro Aretino\u2019s poems to accompany I Modi<\/em> were written and printed with the images before the Loves of the Gods<\/em> was begun, as seems likely, then they would have constituted a precedent for the Rosso-Caraglio series with attached poems.\u00a0 A full investigation of the poems, their authorship, their relation to each other as parts of a longer composition, and their relation to the images by Rosso, Perino, and a third unknown artist that they accompany might help clarify this problem.\u00a0 However, it is very possible that as the images are on a separate plate, impressions were made of them alone.<\/p>\n COPIES, PRINTS: On the various copies of Caraglio\u2019s Loves of the Gods<\/em>, see Zerner, 1969, XXXV, and n. 3; Zerner, in EdF<\/em>, 1972, 333, 335, under no. 441; Zerner, \u201cCaraglio,\u201d 1972, 692-693; and Zerner, 1980, 88; also Borea, 1980, 250-251, nos. 621-632; Parma Armani, 1986, 321, under C. III; and Massari, 1989, 149.\u00a0 There are two complete sets of copies of all twenty prints:<\/p>\n I. Anonymous, E.123, 1 – 2.\u00a0 The Milan-Boyvin set.\u00a0 Engravings.\u00a0 In the original direction and size, but with the image, title, and the eight lines of poetry in Italian in two columns below all on one plate; numbered in Arabic numerals in the middle just below the bottom outline of the image.\u00a0 The Saturn and Philyra<\/em> numbered 1<\/em> (Fig.E.123, 2, Chatsworth<\/a>); the Pluto and Proserpina<\/em> numbered 8<\/em> (Fig.E.123, 1, Chatsworth<\/a>).\u00a0 Number 6, Jupiter and Antiope<\/em>, inscribed IC<\/em> like the original; number 20<\/em>, Venus and Cupid<\/em>, inscribed CARALIVS \/ FE<\/em> as in Caraglio\u2019s engraving.\u00a0 Except for changes in capitalization and the addition of some punctuation, the poems accompanying the two compositions by Rosso are the same, but in the Pluto and Proserpina<\/em> \u201ccarro\u201d in line 4 has been changed to \u201ccano,\u201d and in the Saturn and Philyra<\/em> \u201clasciando\u201d and \u201cnorme\u201d in line 4 have been changed to \u201classando\u201d and \u201cnorma.\u201d<\/p>\n COLLECTIONS: Berlin, 327-1886, Pluto and Proserpina<\/em>.\u00a0 Chatsworth, Vol. 2, 72-76 (141-145), nos. 114-133, the full set; p.72, no. 115, Saturn and Philyra<\/em>, 21.8 x 13.5 S (cut at P), 17 x 13.4, image; p.142, no. 121, Pluto and Proserpina<\/em>, 21.8 x 13.6 S (cut at P), 17.5 x 13.5, image, slightly spotted on Proserpina\u2019s face.\u00a0 Paris, Ae 32 a R\u00e9s Libre, the full set; Ba 12, p.42; Eb 6b R\u00e9s; Sa 1, folio, Saturn and Philyra<\/em>.\u00a0 Parma Armani, 1986, 321, under C. III, also mentions Paris, Ac R\u00e9s. Libre, as attributed to Boyvin, and with the verses in Italian, which may be the same prints; this is repeated in Massari, 1989, 149, under No. 58.\u00a0 Paris, Bibltioth\u00e8que de l\u2019Arsenal (see Pinelli, 1993).\u00a0 LITERATURE: Probably Renouvier, 1854, 190, n. 1, 191, as Boyvin.\u00a0 Zerner, 1969, XXXV, and n. 3, as possibly by Pierre Milan and to be identified with the 20 \u201cAmours des dieux,\u201d 250 impressions of which Milan sold to Claude Bernard in 1550 (on which, see also below under III, the Du Cerceau set).\u00a0 Zerner, \u201cCaraglio,\u201d 1972, 693, n. 10, as probably copies by Milan.\u00a0 Zerner, in EdF<\/em>, 1972, 333, 335, under no. 441, as possibly by Milan (but wrongly as in reverse of Caraglio\u2019s prints).\u00a0 Borea, 1980, 250, under no. 621, as considered to be the copies closest to the originals, 250-251, no. 623, Jupiter and Io<\/em>, Paris, Ba 12, 79, and 251, no. 627, 252, Fig., Mercury and Herse<\/em>, London, 1866-6-23-10.\u00a0 Boorsch, in French Renaissance<\/em>, 1994, 81, states that Milan copied Caraglio\u2019s Loves of the Gods<\/em>, although it is not clear that she means this set.<\/p>\n If by Milan, this set would probably have been executed in the 1540s, if by Boyvin, some years later.\u00a0 However, although engraved in a manner resembling theirs, the prints do not have the subtlety of Milan\u2019s known works, nor the refinement of Boyvin\u2019s.\u00a0 But as very accurate copies they may to some extent conceal the usual technique of the engraver, or they may be early works by one of these engravers whose careers are not yet fully understood.<\/p>\n II. Anonymous, E.124, 1 – 2.\u00a0 Anonymous set.\u00a0 Engravings.\u00a0 Smaller than Caraglio\u2019s prints, with images, title, and poem, in Italian, on a single plate.<\/p>\n COLLECTION: Paris, Sa 1, Saturn and Philyra<\/em>, 11.6 x 7.6, including 1.9 margin with poem; Ae 32a R\u00e9s. Libre, nos. 5, 6, 9, 14, 17, 19, 20, but neither the Saturn and Philyra <\/em>nor the Pluto and Proserpina<\/em>.<\/p>\n LITERATURE: Zerner, 1969, XXXV, n. 3, and in EdF<\/em>, 1972, 335, under no. 441, and as after the Milan-Boyvin set, and as possibly originating in Lyons.\u00a0 Parma Armani, 1986, 321, under C. III, repeated in Massari, 1989, 149, under No. 58, who adds that impressions are to be found in Rome at the Istituto Nazionale per la Grafica.<\/p>\n From the prints I have seen I do not know if a complete series was made, although the correct numbering of the prints suggests a full set was intended.\u00a0 An impression of the Pluto and Proserpina<\/em> is unknown.\u00a0 From the appearance of the Saturn and Philyra<\/em>, it seems to be copied from the Milan-Boyvin copy.<\/p>\n III. Anonymous, E.125. Du Cerceau set.\u00a0 Engravings.\u00a0 In reverse of Caraglio\u2019s prints, but the same size, with the image, title, and poem, in French, on a single plate.\u00a0 Numbered at the left of the small margin beneath the image and above the poem.\u00a0 COLLECTION: Paris, Ed 2b (Du Cerceau volume), nos. 4, 7, 8, 9, 13, 14, 17; no. 8, Pluto and Proserpina<\/em>, 21 x 13.3 S, including the small margin of 0.7 where the number appears, and the larger margin with the poem of 3.5.<\/p>\n LITERATURE: Renouvier, II, 1854, 209, mentions copies by Du Cerceau.\u00a0 Geym\u00fcller, 1887, 324, as Du Cerceau.\u00a0 Kusenberg, 1931, 164, as Du Cerceau.\u00a0 Linzeler, 1932, 37-38, catalogues all seven, as Du Cerceau, and points out that the irregular numbering of them indicates that originally this set contained more prints.\u00a0 Zerner, in EdF<\/em>, 1972, 333, 335, no. 441, 334, Fig. (Pluto and Proserpina<\/em>, Paris), states that the attribution to Du Cerceau is unfounded as no engravings by him are known, and that the prints might be by Milan.\u00a0 Borea, 1980, 250, mentions these prints in relation to Milan.\u00a0 Parma Armani, 1986, 321, under C. III (Paris, Ed 2b), followed by Massari, 1989, 149, under No. 58.<\/p>\n Although a full number of prints is not known, the correct numbering of these engravings would seem to indicate that a complete set was intended.\u00a0 The Saturn and Philyra<\/em> is not known.\u00a0 The definition of forms and details in the Pluto and Proserpina<\/em> suggests that this print was copied from Caraglio\u2019s original engraving.\u00a0 The fineness of this engraving has much in common with Milan\u2019s technique.<\/p>\n The existence of a set of twenty Loves of the Gods<\/em> by Pierre Milan after the prints that Caraglio executed in Rome is suggested by a document of 29 March 1550, which records the sale by Milan to Claude Bernard of \u201cdeux cens cinquant livres de figures imprim\u00e9es de lames de cuyvre appellez vulgairement Les Amours des dieux<\/em> contenant chacun livre xx figures…\u201d (Metman 1941, 206, and 213, Doc. XIII).\u00a0 Some of these, it seems, were still owned by Bernard at the time of his death in 1557, as well as perhaps four of the copper plates from which they were made (see Metman, 1941, 211-212).<\/p>\n Metman (1941, 206) identified this set with twenty Panels of Ornament with Pagan Gods<\/em> that have been attributed to Boyvin, the first edition of which is inscribed to L\u00e9onard Thiry, the second wrongly to Rosso (Fig.RE.14,1<\/a>).\u00a0 This was accepted by Zerner 1964, 81.\u00a0 But then Zerner (1969, xxxv, n. 3) rightly pointed out that the title Les Amours des dieux<\/em> is not really applicable to these prints where each god is seen alone.\u00a0 Zerner has suggested that this title very probably refers to copies of Caraglio\u2019s Loves of the Gods<\/em>, of which two prints were designed by Rosso.\u00a0 These copies, according to Zerner, may be identifiable with one of two sets in the Biblioth\u00e8que Nationale in Paris, one wrongly attributed to Boyvin, the second, incomplete, wrongly attributed to Du Cerceau.\u00a0 Landau, in Landau and Parshall, 1994, 297, thought the prints mentioned in the document were by Boyvin.<\/p>\n Other copies of individual prints of the Loves of the Gods<\/em> suggest that there may have been other sets, but it is also possible that some of the prints were copied separately.<\/p>\n Pluto and Proserpina<\/em>.\u00a0 Anonymous, E.126.\u00a0 Berlin, 327-1886, 20.\u00a0 Image and poem on same plate, but with the writing small and uneven.<\/p>\n Anonymous, E.127.\u00a0 Oxford, as a copy after Caraglio (Fig.E.127, Oxford<\/a>).\u00a0 Engraving, 17.2 x 13.2 S.\u00a0 This accurate copy does not have a number, title, or poem, and it is not possible to tell if they have been cut off.<\/p>\n This print may be the same as the copy in Rome (Fonda Nationale, F. Pio Vol. IX, no. 1145 [34859]), reproduced in Massari, 1989, 163, as a copy, Fig. a, and as inscribed in the margin, which is not reproduced: Plutone a P[roserpin]a<\/em>.<\/p>\n Saturn and Philyra<\/em>.\u00a0 Anonymous, E.129 (Fig.E.129, London<\/a>).\u00a0 London, 1870-10-8-2033.\u00a0 Engraving, 17 x 18.1 S.\u00a0 Cut at the bottom so it is not possible to tell if it ever had a number, title, or poem.\u00a0 Shearman, 1967, 67, Fig. 32, 195, as Caraglio.\u00a0 This is a fine copy of Caraglio\u2019s print but somewhat more regularly engraved.<\/p>\n Anonymous, E.128a (Fig.E.128a, Rome<\/a>).\u00a0 Rome, Fondo Corsini, Vol. 26 M 30, no. 05921.\u00a0 Engraving, in the original size but in reverse of Caraglio\u2019s print, and with the title and poem in Italian below, all on the same plate.\u00a0 Numbered 1<\/em> at the lower left just below the composition.\u00a0 Also inscribed at the lower left of the image: Pirino del Vaga inuentor \/ Iacobus Caralius fecit<\/em>.\u00a0 Borea, 1980, 622, under no. 621.\u00a0 Massari, 1989, 149, copy, III f, Rome, Fondo Corsini, Vol. 26 M 30, no. 5921, may be another impression of this copy.<\/p>\n Anonymous, E.128b.\u00a0 Rome, Fondo Corsini, Vol. 26 M 30, no. 05922 (Massari, 1989, 149, copy, I d, 150, Fig. I d).\u00a0 This print seems to be from the same plate as the one above, but the inscription to Perino is missing.<\/p>\n Massari, 1989, 149, also lists as a copy, II e: Rome, Fondo Nazionale, F. Pio Vol. IX, no. 1161 (34875), inscribed as above with the names of Perino and Caraglio, but without the poem.<\/p>\n On the use of the figure of the goddess in the Pluto and Proserpina<\/em> in Charles Etienne\u2019s De dissectione<\/em> of 1545, see L.60<\/a>.<\/p>\n COPIES, DRAWINGS: Florence, Uffizi, 368S.\u00a0 Saturn and Philyra<\/em> (Fig.Florence, 368S<\/a>).\u00a0 Pen and ink (a smudge of yellow ochre at the upper left edge), 19.7 x 13.7.\u00a0 Inscribed in pencil in the lower left corner: 44<\/em>, and in ink at the top of the verso<\/em>: da Perino di ago<\/em>.\u00a0 Brugnoli, 1962, 350, n. 52, as a copy after Caraglio\u2019s print.<\/p>\n Kept under Perino del Vaga in the Uffizi.\u00a0 The drawing copies Rosso\u2019s image, in the original direction, but it is not possible to tell if it is derived from Caraglio\u2019s print or from one of the copies.<\/p>\n Rome, GNS, no. F.N. 9619A [<\/span>Saturn and] Philyra<\/em>? (Fig.Rome, 9619A<\/a>).\u00a0 Very dark wash heightened with white, on dark paper, 13.8 x 4.6 (maximum measurements).\u00a0 Hermanin, 1907, 15, as Rosso.\u00a0 Brugnoli, 1962, 350, n. 52, as showing the figure of Philyra but too damaged to judge if it is by Rosso.<\/p>\n Attributed to Rosso in the GNS.\u00a0 The drawing shows the figure of a nude woman seen from the back with the head turned to the left.\u00a0 The drawing is very damaged but its technique and execution are quite unlike those of any drawing certainly by Rosso.\u00a0 It is also not at all clear that the drawing is related to Rosso\u2019s image.\u00a0 If it is, then the figure of Philyra is shown in reverse and hence must be based on a copy of Caraglio\u2019s print.<\/p>\n Rome, GNS, no. F.N. 9619B.\u00a0 Saturn and Philyra<\/em> (Fig.Rome, 9619B<\/a>).\u00a0 Pen and ink, 18 x 10.6 (irregularly cut).\u00a0 Hermanin, 1907, 15, as Rosso for Caraglio\u2019s print.\u00a0 Kusenberg, 1931, 151, no. 55, as a copy of the print.\u00a0 Brugnoli, 1962, 350, n. 52, as a copy of the print.<\/p>\n The drawing is a rather mediocre partial copy after the print, either Caraglio\u2019s or a copy of his in the original direction.<\/p>\n Windsor Castle, no. 0494.\u00a0 Saturn and Philyra<\/em> (Fig.Windsor, 0494<\/a>).\u00a0 Pen and ink (over traces of black chalk?), 18.2 x 13.9.\u00a0 Inscribed in pencil at the lower right: Giulio Romano<\/em>.\u00a0 Popham and Wilde, 1949, 325, no. 880, as a copy of Caraglio\u2019s print.<\/p>\n Derived either from the original print or from a copy of it in the original direction.<\/p>\n Paris, Louvre, no. M.A.2156.\u00a0 Juno (or Diana), Jupiter and Io transformed into a Cow<\/em>.\u00a0 Pen and ink and wash over black chalk, gone over in places with pen and ink.\u00a0 Barocchi, Vasari<\/em>, 1964, 135, no. 56a, and Fig., as by Cristofano Gherardi for his fresco in the Terrazzo di Giunone in the Palazzo Vecchio.\u00a0 Monbeig-Goguel, 1965, 19-20, no. 26, as by Gherardi or Vasari for the former\u2019s fresco, and as related to Bartsch\u2019s description of the Jupiter and Io <\/em>by Caraglio after Perino del Vaga of the Loves of the Gods<\/em>, B.9.\u00a0 Monbeig-Goguel, 1972, 157-158, no. 206, as by Gherardi or Vasari; she points out that the woman at the left in Caraglio\u2019s print is described by Bartsch as Diana, and in the Louvre drawing she has a crescent on her head.<\/p>\n Although apparently related to Caraglio\u2019s print after Perino, the figure of Juno (or Diana) seems also dependent on Rosso\u2019s Philyra, in the original direction, as pointed out by Ronen, 1977, 100-101, Figs. 19-21, but the figure is clothed in the drawing.<\/p>\n COPY, PAINTING: Florence, Palazzo Vecchio, Terrazzo di Giunone.\u00a0 Juno (or Diana), Jupiter and Io transformed into a Cow<\/em>.\u00a0 Fresco by Cristofano Gherardi, 1557.\u00a0 See bibliography above under Louvre drawing (Fig.Gherardi, fresco<\/a>).<\/p>\n Specifically related to the Louvre drawing above, the female figure derived from Rosso\u2019s Philyra, but clothed in the painting.<\/p>\n Formerly Rome, Villa Altoviti, Pluto and Proserpina<\/em>.\u00a0 Lost fresco of 1553 by Vasari known from a print by Tommaso Piroli.\u00a0 Charles Davis, \u201cPer l\u2019attivita romana del Vasari nel 1553: incisioni degli affreschi di Villa Altoviti e la Fontanalia<\/em> di Villa Giulia,\u201d Mitteilungen des Kunsthistorischen Institutes in Florenz<\/em>, 23, 1979, 197-224, Fig. 13.\u00a0 C. Davis, in Giorgio Vasari<\/em>, 1981, 273-274, under no. 32.<\/p>\n The connection of Vasari\u2019s composition with Rosso\u2019s print of the same subject, recognized by Davis, is possible but not obvious.<\/p>\n COPY, MAJOLICA: London, VA, C.2280-1910, Salting Bequest.\u00a0 Francesco Durantino, Plate with Saturn and Philyra (Fig.Majolica, Philyra<\/a>).\u00a0 28.5 diameter.\u00a0 LITERATURE: Rackham and Mallet, 1940\/1977, 285, no. 855, Pl. 137.\u00a0 Carroll, 1987, 134-135, no. 44, with Fig.\u00a0 The plate shows Rosso\u2019s figures set in a landscape with the clouds in the engraving expanded upward to the right to the added figure of Saturn in human form.<\/p>\n
\npasso damor si adentro la saetta
\nche\u2019 contra Lui non hebbe alcun ritengo
\nil carro presi, el mio tridente\u2019 infretta
\nEt mossi a furto glorioso et degno
\ncostei menando fra le\u2019 braccia ustretta
\ndi cui godende hor le fatezze\u2019 conte\u2019
\nstiggii bella mi pare\u2019, te\u2019 phlegetonte\u2019,<\/p><\/blockquote>\n<\/a>
\nSi coma spesso in altri si tranforma
\nEt fa da se\u2019 medes\u2019imo partita
\nDi pria lasciando ogni costume\u2019 & norme\u2019
\nCreder potra che\u2019 per uirtu infinita
\nMutassi io uiso parimente\u2019 et forma
\nEt nascondessi arhe\u2019a il mio gran fallo
\nDi Saturno facendomi cauallo,<\/p><\/blockquote>\n