{"id":4230,"date":"2012-04-05T16:20:15","date_gmt":"2012-04-05T20:20:15","guid":{"rendered":"http:\/\/blogs.vassar.edu\/rosso\/?page_id=4230"},"modified":"2012-07-05T09:15:32","modified_gmt":"2012-07-05T13:15:32","slug":"e-100-master-iov-allegory","status":"publish","type":"page","link":"https:\/\/pages.vassar.edu\/rosso\/catalogues\/engravings\/e-100-master-iov-allegory\/","title":{"rendered":"E.100 Allegory on the Birth of Christ"},"content":{"rendered":"
\"\"<\/a>

E.100 Master I.\u2640.V., Allegory on the Birth of Christ<\/p><\/div>\n

Etching by Master I.\u2640.V., 32.2 x 27.6 P (Vienna).\u00a0 Inscribed in the lower right corner: I V B<\/em>.<\/p>\n

Fig.E.100<\/a> (Florence)<\/p>\n

Bartsch, XVI, 1818, 388-389, 32 (as inscribed IVR), as Anonymous, School of Fontainebleau, recalling not Giulio Romano, which the initials would indicate, but Rosso, and a copy of Fantuzzi\u2019s print [E.80].\u00a0 Herbet, IV, 1900, 353 (1969, 203), 18 (as inscribed IVR), as Master I.\u2640.V., after Rosso, and as a reverse copy of Fantuzzi\u2019s etching.<\/p>\n

COLLECTIONS: Florence, 782ss.\u00a0 Los Angeles (see Davis, 1988, below).\u00a0 Paris, Ba 12, p.10 (trimmed on all sides); Ed 8b, no. 128.\u00a0 Vienna, It.III.3, p.6.<\/p>\n

LITERATURE: Kusenberg, 1931, 164, 166-167, as by Jean Vaquet after Rosso and a reversed copy of Fantuzzi\u2019s print.\u00a0 Anthony de Witt, \u201cSull\u2019acquaforte italiana prima dell\u2019800,\u201d BdA<\/em>, XXVI, 1932, 470, 475, as perhaps after a design by Rosso.\u00a0 De Witt, 1938, 45, as after Giulio Romano.\u00a0 Adh\u00e9mar, 1938, 151, no. 18, as Jean Vaquet, and as a copy of Fantuzzi\u2019s print after Rosso.\u00a0 Zerner, 1969, under A.F.74, as a copy by Master I.\u2640.V. after Fantuzzi; the same in Zerner, in EdF<\/em>, 1972, 271, 273, under no. 325.\u00a0 Carroll, 1975, 22, 24, Fig. 8 (Florence), as attributed to Giulio Bonasone.\u00a0 Zerner, IB<\/em>, 33, 1979, 309 (Vienna).\u00a0 Borea, 1980, 262, no. 671, as Monogramist lVR (or lV), alias l + V, and a reversed copy of Fantuzzi.\u00a0 Carroll, 1987, 31, 310-315, no. 100 (Vienna).\u00a0 Davis, 1988, 200-201, no. 85, Fig. (Los Angeles), as The Holy Family<\/em> after a composition by Rosso of 1525-1530, and as a copy in reverse of Fantuzzi\u2019s etching.\u00a0 Boorsch, 1989, 189, as difficult to reconcile with the known work of Master I.\u2640.V.\u00a0 Franklin, 1994, 79, Pl. 58 (Vienna), as by Master I.\u2640.V., as after a French design by Rosso, and as less coherent than Rosso\u2019s painting in Los Angeles.<\/p>\n

This etching is generally considered a copy of Fantuzzi\u2019s etching (Fig.E.81<\/a>), in reverse and almost exactly the same size.\u00a0 But this cannot be entirely true because of the few differences between them, on which see below.\u00a0 The slight garment worn by the vase-bearer in the print by Master I.\u2640.V., while not found in Fantuzzi\u2019s print, does appear in Rosso\u2019s drawing of this composition of around 1537 (Fig.D.72<\/a>).\u00a0 But this detail in the drawing appears somewhat different in the print – in the drawing, as in Fantuzzi\u2019s etching, the drapery flying out behind the vase-bearer seems not to be a part of his garment fastened to the band across his torso and to the piece of drapery covering his abdomen but to belong to the bundle of drapery carried by the other angel.\u00a0 What is likely is that the band and drapery actually covering the body in the drawing are additions to it, derived from the etching by Master I.\u2640.V.\u00a0 Both prints show Christ entirely nude, while in the drawing his genitals are covered by a small piece of drapery, which is very probably another addition.<\/p>\n

Some details of the print by Master I.\u2640.V. could be looked upon as elaborations of those in Fantuzzi\u2019s print: the drapery, hair, and feathers are more precisely described, the handle of the vase carried by the vase-bearer is complete, the window in the background is dark, and a ribbed urn appears in the slightly wider space behind the woman seated at the left.\u00a0 But two other details are of a different kind: the cross in the foreground is parallel to the picture plane rather than on a diagonal as in Fantuzzi\u2019s etching, and St. John wears a wreath of leaves on his head that is not found in the other etching but which seems to be in Rosso\u2019s drawing and is found in the anonymous etching of this composition (Fig.E.150<\/a>) that is not copied from either of the other prints.\u00a0 The placement of the cross is also as in the drawing, but in reverse.\u00a0 Because the print by Master I.\u2640.V. is in the same direction as Rosso\u2019s drawing, it is likely that it did not serve as Master I.\u2640.V.\u2019s major model.\u00a0 Fantuzzi\u2019s reversed etching is a more complete model.\u00a0 But Master I.\u2640.V. would seem also to have known and borrowed from Rosso\u2019s drawing of this composition or from a copy of it.\u00a0 This could have been the same drawing (or copy) from which the anonymous etcher worked, showing the vase-bearer nude. Fantuzzi would have worked from this drawing, too, not noticing the wreath on St. John\u2019s head and moving the cross on a diagonal to fill the slightly greater space at the bottom of his plate.<\/p>\n

On the date of this composition around 1537, see D.72<\/a>.<\/p>\n

OTHER VERSIONS OF THIS COMPOSITION, PRINTS: E.81 (Fig.E.81<\/a>).\u00a0 Fantuzzi, etching.\u00a0 Bartsch, XVI, 1818, 336-337, 1.\u00a0 Herbet, II, 1896, 281 (1969, 77), 38.<\/p>\n

E.150 (Fig.E.150<\/a>).\u00a0 Anonymous, etching.\u00a0 Herbet, IV, 1900, 353 (1969, 203), under no. 18, and Herbet, V, 1902, 22 (1969, 215).<\/p>\n

For other prints after Rosso possibly by Master I.\u2640.V.:<\/p>\n

Anonymous, E.140<\/a>, Allegory of Rage and Madness<\/em>
\nAnonymous, E.142<\/a>, The Twins of Catania<\/em>
\nAnonymous, E.148<\/a>, The Birth of Venus<\/em>
\nAnonymous, E.153<\/a>, Holy Family in a Cartouche<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Etching by Master I.\u2640.V., 32.2 x 27.6 P (Vienna).\u00a0 Inscribed in the lower right corner: I V B. Fig.E.100 (Florence) Bartsch, XVI, 1818, 388-389, 32 (as inscribed IVR), as Anonymous, School of Fontainebleau, recalling not Giulio Romano, which the initials would indicate, but Rosso, and a copy of Fantuzzi\u2019s print [E.80].\u00a0 Herbet, IV, 1900, 353 […]<\/p>\n","protected":false},"author":13,"featured_media":0,"parent":824,"menu_order":107,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-4230","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/4230","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=4230"}],"version-history":[{"count":11,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/4230\/revisions"}],"predecessor-version":[{"id":6251,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/4230\/revisions\/6251"}],"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=4230"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}