{"id":4105,"date":"2012-04-04T17:48:13","date_gmt":"2012-04-04T21:48:13","guid":{"rendered":"http:\/\/blogs.vassar.edu\/rosso\/?page_id=4105"},"modified":"2012-08-17T16:20:13","modified_gmt":"2012-08-17T20:20:13","slug":"e-65-fantuzzi-royal-elephant","status":"publish","type":"page","link":"https:\/\/pages.vassar.edu\/rosso\/catalogues\/engravings\/e-65-fantuzzi-royal-elephant\/","title":{"rendered":"E.65 Royal Elephant"},"content":{"rendered":"
\"\"<\/a>

E.65 Fantuzzi, Royal Elephant<\/p><\/div>\n

Etching by Antonio Fantuzzi, 28.8 x 42.2 L (London, 1851-2-8-163).\u00a0 Inscribed with a monogram in the middle of the right edge: .<\/sup><\/em><\/strong>AT<\/em>.<\/p>\n

Fig.E.65<\/a> (London, 1851-2-8-163)<\/p>\n

Destailleur, 1895, 281, no. 126, as Fantuzzi.\u00a0 Herbet, II, 1896, 278-279 (1969, 74-75), 29, as Fantuzzi after Rosso.\u00a0 Zerner, 1969, A.F.25 (Paris), as 1542?<\/p>\n

COLLECTIONS: London, 1851-2-8-163 (in red ink); 1874-8-8-600\u00a0IMP. SIZE. (upper right corner missing).\u00a0 New York, 66.658.8.\u00a0 Paris, Ba 12 (damaged along left edge); Eb 14d (badly rubbed).<\/p>\n

LITERATURE:<\/p>\n

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

Kusenberg, 1931, 164.<\/p>\n

Barocchi, 1950, 134, n. 2, Fig. 105 (Paris, Eb 14d).<\/p>\n

Panofsky, 1958, 131, Fig. 19 (Paris, Eb 14d), 169, n. 42 (wrongly as Bartsch 29).<\/p>\n

Zerner, 1972, 113, Fig. 164.<\/p>\n

B\u00e9guin and Pressouyre, 1972, 136.<\/p>\n

Zerner, in EdF<\/em>, 1972, 261, 264, no. 309, 263, Fig., and in Fontainebleau<\/em>, 1973, I, 98, Fig. 72, 11, 82-83, no. 309 (London, 1857-2-8-163).<\/p>\n

Borea, 1980, 258, no. 654, p.260, Fig. (London, 1857-2-8-163).<\/p>\n

Wilson-Chevalier, 1982, 6, 14, n. 13, as a copy of Rosso\u2019s fresco.<\/p>\n

K. Wilson-Chevalier, in Fontainebleau<\/em>, 1985, 55-57, no. 17 (Paris, Ed 14d).<\/p>\n

Carroll, 1987, 45, 264-267, no. 83, with Fig. (London, 1851-2-8-163).<\/p><\/blockquote>\n

This etching shows the same scene in the same direction as Rosso\u2019s fresco in the Gallery of Francis I (Fig.P.22, VI N a<\/a>).\u00a0 It is very likely that Fantuzzi based his etching on a lost drawing by Rosso known from six copies (D.54A-F<\/a>).\u00a0 The differences between these drawings and the print are almost all in the right half of the etching.\u00a0 Rosso\u2019s fresco in the gallery is slightly wider than the others and the copies of his lost drawing have proportionally the same dimensions.\u00a0 Fantuzzi has used a plate that is relatively somewhat shorter in its width, which apparently is the major reason for the changes that can be seen in the right half of his etching.\u00a0 The elephant\u2019s body has been slightly shortened.\u00a0 To the right of the animal, the major figures of Hercules, Pluto, and Cerberus have been maintained but have been placed in a narrower space.\u00a0 The foremost column of the temple is more slender and is now in back of the elephant; the second column has been removed, as well as the two figures between the columns.\u00a0 Fantuzzi\u2019s etched scene is also slightly higher at the top and lower at the bottom.\u00a0 At the top, some buildings have been placed above the elephant and more of the nude statue can be seen at the left.\u00a0 The head immediately to the right of the statue has been slightly altered.\u00a0 When redrawing the elephant Fantuzzi also slightly changed the design of its trappings.\u00a0 He also gave the animal hairy legs.\u00a0 One minor addition is the sandal on Jupiter\u2019s right foot (but not on his left).\u00a0 In the drawings the foot is bare but decoration just below the knee indicates that the figure is wearing a boot.\u00a0 This is again found in the print.\u00a0 In Rosso\u2019s fresco both feet of this figure have sandals that terminate just above the ankles.\u00a0 Most of the changes that appear in the etching can be explained as modifications necessary to accommodate the composition of Rosso\u2019s lost drawing to a slightly different format.\u00a0 Other changes are minor incidental elaborations, in a sense to correct the image in the drawing.\u00a0 Such a correction also appears in the completion of the balusters of the terrace at the upper left.<\/p>\n","protected":false},"excerpt":{"rendered":"

Etching by Antonio Fantuzzi, 28.8 x 42.2 L (London, 1851-2-8-163).\u00a0 Inscribed with a monogram in the middle of the right edge: .AT. Fig.E.65 (London, 1851-2-8-163) Destailleur, 1895, 281, no. 126, as Fantuzzi.\u00a0 Herbet, II, 1896, 278-279 (1969, 74-75), 29, as Fantuzzi after Rosso.\u00a0 Zerner, 1969, A.F.25 (Paris), as 1542? COLLECTIONS: London, 1851-2-8-163 (in red ink); […]<\/p>\n","protected":false},"author":13,"featured_media":0,"parent":824,"menu_order":70,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-4105","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/4105","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=4105"}],"version-history":[{"count":12,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/4105\/revisions"}],"predecessor-version":[{"id":6589,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/4105\/revisions\/6589"}],"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=4105"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}