{"id":4117,"date":"2012-04-05T16:20:32","date_gmt":"2012-04-05T20:20:32","guid":{"rendered":"http:\/\/blogs.vassar.edu\/rosso\/?page_id=4117"},"modified":"2012-08-20T09:19:33","modified_gmt":"2012-08-20T13:19:33","slug":"e-69-fantuzzi-cartouche-triads","status":"publish","type":"page","link":"https:\/\/pages.vassar.edu\/rosso\/catalogues\/engravings\/e-69-fantuzzi-cartouche-triads\/","title":{"rendered":"E.69 Cartouche: Triads of Female Terms"},"content":{"rendered":"
\"\"<\/a>

E.69 Fantuzzi, Cartouche with Triads of Female Terms<\/p><\/div>\n

Cartouche with Triads of Female Terms Framing a View of a Town on the Sea<\/strong><\/p>\n

Etching by Antonio Fantuzzi, 26.5 x 53.7 L (Paris, Ed 8b R\u00e9s.).\u00a0 Inscribed with Fantuzzi\u2019s monogram at the lower left.<\/p>\n

Fig.E.69<\/a> (Paris, Ed 8b R\u00e9s)<\/p>\n

Bartsch, XVI, 1818, 352-353, 34, as Fantuzzi after a pupil of Primaticcio.\u00a0 Herbet, II, 1896, 269-270 (1969, 65-66), 3, as Fantuzzi after one of the frames in the Gallery of Francis I.\u00a0 Zerner, 1969, XLIII, A.F.35 (Paris), as probably 1543.<\/p>\n

COLLECTIONS: London, 1850-5-27-41 IMP. SIZE.\u00a0 Paris, Ed 14d (Adh\u00e9mar); Ed 8b R\u00e9s., no. 138.\u00a0 Vienna, Vol. XIII, Suppl., p.27.<\/p>\n

LITERATURE:<\/p>\n

Berliner, 1925-1926, I, Pl. III, 2, Text Volume, 41.<\/p>\n

Kusenberg, 1931, 165.<\/p>\n

Adh\u00e9mar, 1946, introduction, and Pl. VIII, top (Paris, Ed. 14d).<\/p>\n

Zerner, 1964, 75, 77, Fig.<\/p>\n

Zerner, 1972, 115, Fig. 172.<\/p>\n

B\u00e9guin and Pressouyre, 1972, 132.\u00a0 Zerner, IB<\/em>, 33, 1979, 253 (London).<\/p>\n

Carroll, 1987, 254, 256, n. 10, under no. 79.<\/p>\n

K. Wilson-Chevalier, in Fontainebleau<\/em>, 1985, 132-134, no. 79 (Paris).<\/p><\/blockquote>\n

This etching is related to the framing of the Dana\u00eb<\/em> in the Gallery of Francis I (Fig.P.22, IV S a<\/a>).\u00a0 Fantuzzi\u2019s print most closely resembles the left half of that frame with the singing children, which has then been more or less copied in reverse to form the other half of the etching.\u00a0 But the print has not been derived from the actual frame in the gallery, where no dogs appear next to the children, nor from the Milan-Boyvin print (Fig.E.103<\/a>), where many details are different from what appears both in Fantuzzi\u2019s etching and in the gallery.\u00a0 As indicated in the catalogue entry of the gallery (P.22, IV S<\/a>), it is quite possible that the etching is based upon a lost drawing by Rosso.\u00a0 It could be that Fantuzzi had access to or used only half a drawing, which he then repeated in reverse to produce the whole image.\u00a0 But it is also possible that Rosso\u2019s own first scheme for this frame was more symmetrical.\u00a0 Actually, Fantuzzi\u2019s print is not absolutely symmetrical; the two dogs are not exactly the same and all the small details are slightly varied from one side to the other.\u00a0 The small oval areas in the print are blank, as perhaps they were also in the lost drawing.\u00a0 The salamander does not appear above.\u00a0 Instead, there is a small round scene showing a figure worshipping before an outdoor flaming altar.\u00a0 Flaming altars appear elsewhere in the gallery and it is, therefore, possible that this small\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 detail in Fantuzzi\u2019s print also goes back to the lost drawing, for it may be that at some early moment in the conception of the decoration of the gallery the salamander was not to appear above the central picture of every wall.<\/p>\n

DERIVATION PRINT: E.56,4.\u00a0 Du Cerceau, etching.\u00a0 Herbet, IV, 1900, 302 (1969, 152), V (Grands Cartouches, Second Set), 4.<\/p>\n

Among the variations, the F below has been eliminated and the small circular scene above has been replaced by a flaming salamander.\u00a0 But the salamander and the height of the volutes above the baskets held above the heads of the triads of women suggest that Du Cerceau also knew the Milan-Boyvin engraving (Fig.E.103<\/a>).<\/p>\n","protected":false},"excerpt":{"rendered":"

Cartouche with Triads of Female Terms Framing a View of a Town on the Sea Etching by Antonio Fantuzzi, 26.5 x 53.7 L (Paris, Ed 8b R\u00e9s.).\u00a0 Inscribed with Fantuzzi\u2019s monogram at the lower left. Fig.E.69 (Paris, Ed 8b R\u00e9s) Bartsch, XVI, 1818, 352-353, 34, as Fantuzzi after a pupil of Primaticcio.\u00a0 Herbet, II, 1896, […]<\/p>\n","protected":false},"author":13,"featured_media":0,"parent":824,"menu_order":74,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-4117","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/4117","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=4117"}],"version-history":[{"count":10,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/4117\/revisions"}],"predecessor-version":[{"id":6594,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/4117\/revisions\/6594"}],"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=4117"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}