{"id":3975,"date":"2012-04-04T16:49:55","date_gmt":"2012-04-04T20:49:55","guid":{"rendered":"http:\/\/blogs.vassar.edu\/rosso\/?page_id=3975"},"modified":"2014-04-13T18:00:48","modified_gmt":"2014-04-13T22:00:48","slug":"e-51-dente-allegory-death-and-fame","status":"publish","type":"page","link":"https:\/\/pages.vassar.edu\/rosso\/catalogues\/engravings\/e-51-dente-allegory-death-and-fame\/","title":{"rendered":"E.51 MARCO DENTE, Disputation of the Angel of Death and the Devil"},"content":{"rendered":"
\"\"

E.51 Dente, Disputation of the Angel of Death and the Devil, I<\/p><\/div>\n

Engraving by Marco Dente da Ravenna, 28.7 x 43.3 S, the plate is narrower at the bottom (N.Y.).\u00a0 Inscribed on wall at upper left: \u2022R\u2022<\/em><\/p>\n

Three states:<\/p>\n

I.\u00a0 As described above.<\/p>\n

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

III.\u00a0 With Carlo Losi address and the date 1773 (see Davis, 1988, 81, as very pale).<\/p>\n

Fig.E.51<\/a> (State I, Florence, 692ss)<\/p>\n

Heinecken, I, 1778, 648, II, 1788, 95, as after another drawing by Bandinelli than the one used by Agostino Veneziano.\u00a0 Bartsch, XIV, 1813, 321, 425.\u00a0 Le Blanc, 1854-1890, II, 112, 31, as after Bandinelli.\u00a0 Passavant, VI, 1864, 71, 54.<\/p>\n

COLLECTIONS: (All State I except where noted).\u00a0 Bologna, Inv. D.41 (190) (trimmed and pieces missing at edges).\u00a0 Chatsworth, vol. 2, no. 74.\u00a0 Florence, 692ss, and 693ss (poor).\u00a0 Hamburg, inv. no. 523.\u00a0 London, Vol C.53, p.34.\u00a0 Los Angeles (Ruiz; Schab, 1986, 4, Fig., 32, no. 22).\u00a0 Whitworth Art Gallery, University of Manchester (28.8 x 43.8; Between Renaissance and Baroque<\/em>, 1965, 122, no. 422).\u00a0 New York, 17.50.10 (brilliant impression), and 66.747.47 (II, weak, with the R<\/em> altered to Ruphel<\/em>).\u00a0 Oxford, Ashmolean.\u00a0 Paris, Eb 6 R\u00e9s. Fol., p.59 (II).<\/p>\n

LITERATURE:<\/p>\n

Nagler, XII, 1842, 336-337, no. 82, as Dente after Bandinelli, as made from a drawing other than the one Agostino Veneziano worked from, and perhaps earlier.<\/p>\n

Le Blanc, 1854-1890, II, 112, no. 31, as Dente after Bandinelli.<\/p>\n

Ferri-Olschki, 1917, under no. 14, as by Marco Dente and made from Bandinelli\u2019s pen copy, Uffizi 14699F, of Rosso\u2019s drawing.<\/p>\n

Kusenberg, 1931, 157, 163, no. 422, as Dente\u2019s copy of Agostino Veneziano\u2019s print.<\/p>\n

Petrucci, 1964, 31.\u00a0 Poirier, 1964, 55.<\/p>\n

Between Renaissance and Baroque<\/em>, 1965, 122, no. 422 (Manchester), as Dente after Rosso.<\/p>\n

Ferrara and Gaeta Bertel\u00e0, 1975, no. 266, and Fig. (Bologna), as Dente after Bandinelli.<\/p>\n

Borea, 1979, 365, n. 54, as derived from Uffizi drawing 14669F (by Bandinelli?).<\/p>\n

Borea, 1980, 247, no. 609, 246, Fig. (Florence, 692ss), with a discussion of its relation to Agostino Veneziano\u2019s print and to Uffizi drawing 14669F, and with the comment that with its landscape details Dente\u2019s print is more faithful to Rosso\u2019s design.<\/p>\n

Dacos, 1984, 353, 356, Fig. 349, 361, n. 45, as probably after a lost drawing by Pedro Machuca based on Rosso\u2019s composition.<\/p>\n

G. Werner, in Zauber der Medusa<\/em>, 1987, 290, no. VI, 23, Fig. (Hamburg), as after Agostino Veneziano\u2019s print.<\/p>\n

Carroll, 1987, 57, 58, n. 12, under no. 2, as copied not from Agostino Veneziano\u2019s print but from a pen and ink copy of Rosso\u2019s drawing.<\/p>\n

Carroll, 1988, 9.<\/p>\n

Davis, 1988, 80, Fig. (Los Angeles), 81, no. 22, 167, 195, as done between 1524 and 1527.<\/p><\/blockquote>\n

This engraving is in reverse of Rosso\u2019s drawing (Fig.D.1a<\/a>), which is the disegno di stampa<\/em> for Agostino Veneziano\u2019s engraving of 1518 (Fig.E.109a<\/a>).\u00a0 But Dente\u2019s print appears to have been made from another drawing, Uffizi 14669F (Fig.D.1 Copy, Florence<\/a>), discussed under E.109<\/a>.\u00a0 This pen and ink copy of Rosso\u2019s drawing has been falsely attributed to Bandinelli.\u00a0 It was almost certainly made as the model for Marco Dente\u2019s print and could have been made by the engraver himself.\u00a0 There is some possibility that the slight indications of trees and rocks in Rosso\u2019s drawing, which do not appear in Agostino\u2019s engraving, were added by Marco Dente in anticipation of his even greater elaboration of the background in the pen and ink drawing and in his engraving.\u00a0 For other differences between Rosso\u2019s drawing and the pen drawing, see D.1<\/a>.\u00a0 When Dente made his print, he eliminated a few details found in the pen drawing and added a few others, such as some of the rocks in the foreground.<\/p>\n

By its elaborations, Dente\u2019s print preserves Rosso\u2019s image less faithfully than Agostino\u2019s engraving, although Borea thought otherwise.\u00a0 The total effect of Dente\u2019s print is also less specifically macabre, and less detailed in its description of the old figures it shows than is Agostino\u2019s engraving and Rosso\u2019s drawing.<\/p>\n

Because of the R<\/em> inscribed on the print, it has always been recognized as by Marco Dente da Ravenna.\u00a0 Nagler, believing the composition was by Bandinelli, as did Passavent, thought that Dente\u2019s print was earlier and made from a less finished drawing than the one used by Agostino Veneziano.\u00a0 (Heinecken and Bartsch also thought that Dente\u2019s print was done after another drawing, again by Bandinelli.)\u00a0 But it is reasonable to assume that Dente\u2019s print was made later than Agostino\u2019s of 1518 and made because of the success of the latter.\u00a0 Its exact or even approximate date has not been determined.\u00a0 I have wondered if it might have been done just about the time that Rosso designed his Fury<\/em>, engraved by Caraglio apparently in 1524 (Fig.E.18a<\/a>).\u00a0 Dente died in 1527.<\/p>\n

COPY?: Heinecken, II, 1788, 96, under b., indicates another version of this print: \u201cavec la dif\u00e9rence que le fond, outre la muraille & une porte qui est \u00e0 gauche, repr\u00e9sente une espace de rocher…\u201d\u00a0 This seems to describe the print catalogued here of which I have never seen another version.<\/p>\n

COPY, PAINTING: Vallambrosa, Monastery, Inventario dello Stato 1141.\u00a0 LITERATURE: Borgo, 1968 (1876), 68, n. 19, and Fig. 203 (Fig.Vallambrosa<\/a>).<\/p>\n

Death holds an enormous sheet of paper inscribed with Psalm 33: 12-15:<\/p>\n

VENITE FILII AUDITE ME \u2022 TIMOREM
\nDOMINI DOCEBO VOS QUI EST HOMO
\nQUI VOLT VITAM DILIGIT DIES VIDERE
\nBONGS PROHIBE LINGUAM TUAM A MALO
\nET LABIA TUA NE LOQUATUR
\nDOLUM \u2022 DIVERTE A MALO ET FAC BONUM
\nINQUIRE PACEM ET PERSEQUERE EAM.<\/p>\n

(12 Come, children, hearken to me: I will teach you the fear of the Lord.
\n13 Who is the man that desireth life: who loveth to see good days?
\n14 Keep thy tongue from evil, and thy lips from speaking guile.
\n15 Turn away from evil and do good: seek after peace and pursue it.)<\/p>\n

The late Professor Benjamin Kohl identified this passage for me.<\/p>\n

At the lower left is a bearded and elderly contemporary man who holds a sheet of paper inscribed:<\/p>\n

PRIOR QUI ERAS MGRS
\nPRIOR QUI ESSE MORS
\nQUI VENTURUS ESSE MORS
\nSEMPER FUIT ET SEMPER ERO<\/p>\n

(You were dead before you were living; You are dead prior to living; It has always been so and always shall I have the same destiny.)\u00a0 I should like to thank Lily Beck for the translation of this passage.<\/p>\n","protected":false},"excerpt":{"rendered":"

Engraving by Marco Dente da Ravenna, 28.7 x 43.3 S, the plate is narrower at the bottom (N.Y.).\u00a0 Inscribed on wall at upper left: \u2022R\u2022 Three states: I.\u00a0 As described above. II.\u00a0 Also inscribed at the lower right: Ant. Sal. exc. III.\u00a0 With Carlo Losi address and the date 1773 (see Davis, 1988, 81, as […]<\/p>\n","protected":false},"author":13,"featured_media":0,"parent":824,"menu_order":35,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-3975","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/3975","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=3975"}],"version-history":[{"count":15,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/3975\/revisions"}],"predecessor-version":[{"id":10531,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/3975\/revisions\/10531"}],"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=3975"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}