{"id":4205,"date":"2012-04-05T16:20:17","date_gmt":"2012-04-05T20:20:17","guid":{"rendered":"http:\/\/blogs.vassar.edu\/rosso\/?page_id=4205"},"modified":"2012-08-20T10:58:00","modified_gmt":"2012-08-20T14:58:00","slug":"e-93-limosin-last-supper","status":"publish","type":"page","link":"https:\/\/pages.vassar.edu\/rosso\/catalogues\/engravings\/e-93-limosin-last-supper\/","title":{"rendered":"E.93 Last Supper"},"content":{"rendered":"
\"\"<\/a>

E.93 Limosin, Last Supper<\/p><\/div>\n

After Rosso?<\/p>\n

Etching by L\u00e9onard Limosin, 25 x 18.4 P (New York; the four corners and right edge and bottom cut).\u00a0 Inscribed on a plaque at the top: LEONARD\u2022\/\u2022LIMOSIN\u20221544<\/em>; the upper part of the unique impression in New York is slightly misprinted.<\/p>\n

Fig.E.93<\/a> (New York)<\/p>\n

Robert-Dumesnil, V, 1841, 46-49, 2.\u00a0 Le Blanc,\u00a0 1854-1890, II, 553, 2.\u00a0 Herbet, IV, 1900, 328 (1969, 178), 4.\u00a0 Zerner, 1969, L.L.4.<\/p>\n

COLLECTION: New York, 37.42.23 (probably from the Ottley Collection; see Robert-Dumesnil, above, and Demartial, 1912, 20).<\/p>\n

LITERATURE:<\/p>\n

Demartial, 1912, 19, 22, 25.<\/p>\n

Kusenberg, 1931, 115, 119.<\/p>\n

Ross, 1938, 361.<\/p>\n

Adh\u00e9mar, 1938, 2, no. 4.<\/p>\n

Fay, in EdF<\/em>, 1972, 291, under no. 356, gave Walter Vitzhum\u2019s opinion that the etching is related to a copy of a drawing by Rosso in the Biblioteca Marucelliana in Florence and my comments that the print is related to a stained glass window of 1542 from the church of Saint-Jean in Rouen and now in the Victoria and Albert Museum (Fig.E.93, Window<\/a>) and that the print could be related to a (lost) French drawing by Rosso.<\/p>\n

Baratte, 1993, 22.<\/p>\n

 <\/p>\n

The Last Supper <\/em>drawing in Florence mentioned by Vitzhum is an original drawing by Rosso or a very good copy of lost drawing by him (Fig.D.40A<\/a>).\u00a0 However, Limosin\u2019s print is not derived from it; not a single motif in the one appears in the other.\u00a0 It is, however, true that the kinds of figures that are found in the drawing do closely resemble Limosin\u2019s, and it is, therefore, very possible that his print is dependent on a lost drawing by Rosso.\u00a0 But that drawing would most likely have been one made in France, and not in Italy around 1529, which seems to be the date of the Marucelliana composition.\u00a0 Without this supposed French drawing by Rosso it is not possible to determine how much Limosin altered it, although it is probable that he changed it less than in the case of his Annunciation<\/em> (Fig.E.90<\/a>), where for reasons of decorum and a clear iconography, Rosso\u2019s drawing (Fig.D.83<\/a>) may have been thought to require significant alterations.<\/p>\n

The Last Supper<\/em> window of 1542 in the Victoria and Albert Museum (R.L. No. 1, Lent by Her Majesty the Queen) may not be specifically related to an earlier drawing from which the print of 1544 is derived.\u00a0 Perhaps this association should not even be suggested.\u00a0 The pose of Judas in the etching is similar to that of the apostle at the right in the window.\u00a0 Each work has a pitcher of somewhat the same design standing on the floor.\u00a0 And yet as a whole the window does not remind one of Rosso\u2019s style.\u00a0 Nevertheless, realizing the degree of transformation that an image by Rosso might undergo in the hands of another artist, it may be advantageous to keep this Last Supper<\/em> window in mind in case a work by Rosso does turn up that is more closely related to it.<\/p>\n

Robert-Dumesnil pointed out that the overturned salt cellar by Judas in the print gives evidence of \u201cun vieux peintre fran\u00e7ais\u201d and noted the curiousness of this detail found together with thirteen people at a table.<\/p>\n

ENAMELS: Limosin?\u00a0 St. Petersburg, Hermitage, no. F-2638.\u00a0 27 x 21, inscribed on a plaque at top: LL45<\/em>.\u00a0 PROVENANCE: from the Chouvalov Collection, 1925.<\/p>\n

LITERATURE:\u00a0O. Dobroklonskaya, Painted Enamel of Limoges, XV & XVI Centuries, The State Ermitage Collection<\/em>, Moscow, 1969, 13-14, Pl. 28, as shop of L\u00e9onard Limosin.<\/p>\n

The enamel is the same size and shape (rectangular) as the etching and in the same direction, except for the animal on the dish in the center of the table.\u00a0 The compositions of the enamel and print are virtually identical, although a few details differ.\u00a0 Some of the apostles have halos in the enamel.\u00a0 The knife held by the apostle to the right of Christ is missing from the enamel.\u00a0 If the inscription is read correctly, the enamel was made the year after the etching.\u00a0 The plaque would seem to belong with the rectangular Kiss of Judas<\/em> enamel at \u00c9couen (see under E.95<\/a>).<\/p>\n

Limosin.\u00a0 \u00c9couen, Ch\u00e2teau, Mus\u00e9e national de la Renaissance, Cl 904C (Fig.E.93, Enamel<\/a>).\u00a0 Oval, 34 x 26, on inscription see below.<\/p>\n

LITERATURE:\u00a0Labord, \u00c9maux<\/em>, 1852, 177, n. 1, giving inscription at left edge as: L\u00e9onard L 1557<\/em>. \u00a0Du Sommerard, 1883, 363, no. 4619. \u00a0Demartial, 1912, 22, Fig. 4, 22, 25.<\/p>\n

From a photograph of this enamel in which a frame partially covers its edge what is visible of the inscription at the left edge reads: …<\/em> EONA \/…D\u2022L \/…57 <\/em>(probably for: LEONA \/ R D \u2022 L\/ 1557).\u00a0 This enamel is in the same direction as the etching and is derived from it.\u00a0 Although expanded at the sides and top to accommodate it to its oval format, the enameled scene is in some of its details closer to the Limosin print than is the enamel in the Hermitage.\u00a0 The apostle to the right of Christ holds a knife, and the overturned salt cellar is in the same place on the table.\u00a0 But here, also, some of the apostles have halos.<\/p>\n","protected":false},"excerpt":{"rendered":"

After Rosso? Etching by L\u00e9onard Limosin, 25 x 18.4 P (New York; the four corners and right edge and bottom cut).\u00a0 Inscribed on a plaque at the top: LEONARD\u2022\/\u2022LIMOSIN\u20221544; the upper part of the unique impression in New York is slightly misprinted. Fig.E.93 (New York) Robert-Dumesnil, V, 1841, 46-49, 2.\u00a0 Le Blanc,\u00a0 1854-1890, II, 553, […]<\/p>\n","protected":false},"author":13,"featured_media":0,"parent":824,"menu_order":99,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-4205","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/4205","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=4205"}],"version-history":[{"count":16,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/4205\/revisions"}],"predecessor-version":[{"id":6632,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/4205\/revisions\/6632"}],"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=4205"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}