{"id":4237,"date":"2012-04-05T16:20:15","date_gmt":"2012-04-05T20:20:15","guid":{"rendered":"http:\/\/blogs.vassar.edu\/rosso\/?page_id=4237"},"modified":"2012-08-20T11:28:31","modified_gmt":"2012-08-20T15:28:31","slug":"e-102-milan-dryads","status":"publish","type":"page","link":"https:\/\/pages.vassar.edu\/rosso\/catalogues\/engravings\/e-102-milan-dryads\/","title":{"rendered":"E.102 Dance of the Dryads"},"content":{"rendered":"
\"\"<\/a>

E.102 Milan, Dance of the Dryads, I<\/p><\/div>\n

See the Pluto and Proserpina<\/em> and the Saturn and Philyra<\/em> of the Milan-Boyvin set of the Loves of the Gods<\/em> under Caraglio, E.46-47<\/a>.<\/p>\n

See the Pluto and Proserpina<\/em> of the Du Cerceau set of the Loves of the Gods<\/em> under Caraglio, E.46-47.<\/p>\n

 <\/p>\n

Engraving by Pierre Milan, 27.8 (including margin below of 0.6) x 40 S (Vienna, I).<\/p>\n

Three states:<\/p>\n

I.\u00a0 Inscribed in margin below, at left: Cum priuilegio Regis\u2022<\/em>, in the middle: Quercum erisichtonian dryades cinxere choreis : <\/em>, at the right: Rous\u2022Floren\u2022Inuen\u2022<\/em>.<\/p>\n

II.\u00a0 Also inscribed, in the picture area left of center: Hagae – Comitis Hhondius excudit<\/em>.<\/p>\n

III.\u00a0 Inscription of II apparently altered to indicate a printing, also at the Hague, by Dirk Cuernhart in 1606 (see Thirion, 1971, 44, n. 72, and Borea, 1980, 258, under no. 653; possibly the print indicated by Hamish, 1970, 710).<\/p>\n

Fig.E.102<\/a> (State I, London)<\/p>\n

Robert-Dumesnil, VIII, 1850, 47-48, no. 74 (I and II), as Boyvin.\u00a0 Le Blanc, 1854-1890, I, 507, 39 (States I and II), as Boyvin after Rosso.\u00a0 Destailleur, 1895, 278, no. 1154, as State I.\u00a0 Herbet, III, 1899, 36 (1969, 124).\u00a0 Levron, 1941, 75, 187.\u00a0 Zerner, 1969, P.M.1, as Milan.<\/p>\n

COLLECTIONS (All State I except where indicated): Braunschweig (lightly foxed).\u00a0 Cleveland, 84.71 (from Hill-Stone, Inc., New York, Cat. no. 9, 1984, no. 23, Fig., giving wm. as the letter B<\/em>, Briquet 8091).\u00a0 Florence, 7934ss.\u00a0 Florence, Marucelliana, Vol. XXII, no. 35.\u00a0 London, W3-117.\u00a0 Los Angeles (Ruiz) (Hill-Stone, Inc., New York, Cat. no. 7, 1982, no. 22, Fig.).\u00a0 Lyons, exhibited (private collection, Dunand, 1973, no. 19, Fig. 14).\u00a0 New York, 32.92.27 (20); 24.63.1091 (stained).\u00a0 New York, Hill-Stone Inc. (several small holes).\u00a0 Oxford, Christ Church, Vol. N 50 B, bottom.\u00a0 Paris, Ed 3, 2 impressions of I, and an impression of II.\u00a0 Paris, Biblioth\u00e8que de l’Arsenal, Vol. 168(2), no. 62 (see Sh\u00e9fer below).\u00a0 Paris, Ensba, 239 inv.\u00a0 Vienna, F.I.3, p.28, no. 68 (I), p.29, no. 70 (II).<\/p>\n

LITERATURE:<\/p>\n

Vasari, 1568, II, 308 (Vasari-Milanesi, V, 433), \u201cun ballo di dieci femmine,\u201d as by Boyvin after Rosso, which probably refers to this print.<\/p>\n

Sch\u00e9fer, 1894-1924, col. 554, no. 62, as Boyvin.<\/p>\n

Antal, 1928-1929 (1966, 93), as related to Blocklandt\u2019s mythological narratives.<\/p>\n

Kusenberg, 1931, 161-162, as Boyvin.<\/p>\n

Linzeler, 1932, 178.<\/p>\n

De Witt, 1938, 135, as Boyvin.<\/p>\n

Metman, 1941, 206, 211, 213, as Milan, engraved by 1545, with 1050 impressions of it owned by Claude Bernard in 1557.<\/p>\n

Adh\u00e9mar, 1946, Introduction and Pl. X-XI, as Milan, around 1549.<\/p>\n

Adh\u00e9mar, 1953, 362, Fig. 1, 363-364.<\/p>\n

Panofsky, 1958, 125-126, and Fig. 10 (Paris), as Milan.<\/p>\n

Zerner, 1964, 81.<\/p>\n

Oberhuber, 1966, 178, no. 299, as Milan.<\/p>\n

Thirion, 1971, 42, Fig., 43-44, as Milan.<\/p>\n

Kaufmann, in B\u00e9guin, et al, 1972, 5, as related to Peruzzi\u2019s picture in the Pitti, and not a Rosso invention; with reply by B\u00e9guin that it is very characteristic of Rosso.<\/p>\n

Zerner, in EdF<\/em>, 1972, 322, Fig. (Paris), 323, no. 419, as Milan.<\/p>\n

B\u00e9guin and Pressouyre, 1972, 138, Fig. (Paris, Ensba), 139.<\/p>\n

Borea, 1980, 258, no. 653, as Milan.<\/p>\n

Marianne Grivel, in Ronsard<\/em>, 1985, 78, 90, no. 89 (Paris, Ed 3).<\/p>\n

McGovern, 1985, 238, 239, Fig. 69 (Paris).<\/p>\n

Carroll, 1987, 43, 44, 282-284, no. 89, with Fig. (Paris, Ed 3).<\/p>\n

Joukovsky, 1987, 13 (1992, 41), as showing dryads while the matching picture in the Gallery of Francis I shows nymphs, but placing this picture wrongly under the Expulsion of Ignorance<\/em>.<\/p>\n

Davis, 1988, 6, Fig. (detail), 220-221, no. 98, Fig. (Los Angeles).<\/p>\n

Acton, in French Renaissance<\/em>, 1994, 296-298, no. 70, 297, Fig. (Paris, Ed 3, Vol. 1 [I]), as by Milan, around 1540, after Rosso (mistakenly stating that I dated the print and its design around 1532-1534, whereas I gave this date only to Rosso\u2019s composition), the engraving manner apparently growing out of Caraglio\u2019s around 1525 when he did prints after Rosso, with whom Milan may have been directly acquainted, the engraving showing ex-votos and acorns in the tree, with ivy coiled around it, another dead tree at the left with dead ivy, and with lilies and roses scattered in the foreground.<\/p>\n

Brugerolles and Guillet, 1994, 130, 132, and Fig. (Paris, Ensba, I).<\/p>\n

B\u00e9guin, 1995, 193, as Milan, around 1545.<\/p><\/blockquote>\n

Although probably the print that Vasari thought was by Boyvin, Metman is certainly correct in recognizing it as the engraving by Milan identified in the documents as representing \u201cAdriades dansantes autour d\u2019un chesne.\u201d\u00a0 The composition of the print must go back to a drawing that Rosso made no later than the first half of 1534 for the first scheme of the decoration of the wall containing the Scene of Sacrifice<\/em> in the Gallery of Francis I (P.22, VII N<\/a>).\u00a0 A copy of that lost drawing in the Ensba is the reversed model on which the engraving is based (Fig.D.52<\/a>).\u00a0 It was probably made from Rosso\u2019s drawing by Milan or an assistant to serve as a model for the engraver, perhaps because Rosso\u2019s original drawing was the wrong size to serve directly as a disegno di stampa<\/em>.\u00a0 The documents indicate that the engraving was made by 1545.<\/p>\n

COPIES, PRINTS: E.135.\u00a0 Anonymous.\u00a0 Engraving, 27.7 x 38.5 S (Washington).\u00a0 In the same direction as Milan\u2019s print.\u00a0 Inscribed as in State I of the original print but with a dot after dryades<\/em>, and with the engraved lines throughout very slightly different.\u00a0 COLLECTIONS: Los Angeles (Ruiz).\u00a0 Paris, Ba 12.\u00a0 Washington, D.C., National Gallery of Art, B-29, 055 (on blue paper).\u00a0 LITERATURE: Andrew Robison, Paper in Prints<\/em>, exh. cat., Washington, D.C., 1977, 33-34, 59, no. 103, as anonymous, Boyvin?, 1550-1575, and as apparently on paper imported to Paris from North Italy.\u00a0 Carroll, 1987, 283-284, n. 1, under no. 89.\u00a0 Davis, 1988, 221, under no. 98, Fig. (Los Angeles).\u00a0 Davis pointed out that Alan Stone recognized this copy and that an impression of it was sold as Milan\u2019s at Sotheby\u2019s, New York, May 7, 1976, lot 539.<\/p>\n

E.136.\u00a0 Anonymous.\u00a0 Engraving, 27.8 x 39.1 S, including margin below of 0.7 (Boston).\u00a0 In the same direction as Milan\u2019s print.\u00a0 Inscribed as in State I of the original but with a dot after dryades<\/em> and added at the right: \u2022 C \u2022 D \u2022 formiS \u2022 <\/em>.\u00a0 The dot after dryades<\/em> may indicate that this copy in Boston was made from another copy, E.135.\u00a0 In this print the face of the dryad at the far left is quite distorted, there are turbulent clouds in the sky, and a small conical bush is added at the lower right.\u00a0 COLLECTION: Boston, 6649.\u00a0 LITERATURE: School of Fontainebleau<\/em>, Fort Worth, 1965, 42, Fig. (Boston), 56, 58, as Milan.\u00a0 Carroll, 1987, 283-284, n. 1, under no. 89.<\/p>\n

This copy may also be the following, with the inscription below in smaller and irregular letters: Chatsworth, Vol. 12, p.17, no. 25.\u00a0 Vienna, F.I.3, p.28, no. 69 (27.8 x 39.7 S, including margin below of 0.6).<\/p>\n

COPY: ENAMEL: The Chatsworth House Trust.\u00a0 Oval dish (Fig.E.102, Enamel, top<\/a>; Fig.E.102, Enamel, bottom<\/a>).\u00a0 Grisaille with flesh tones and touches of gold, 50.5 x 38.5 x 3.3 high.\u00a0 LITERATURE: Cunynghame, 1906, XIV, Pl. opposite p.135, as apparently by Jean Court, called Vigier, after Giulio Romano.\u00a0 Carroll, 1987, 284-285, no. 90, with Figs. of top and bottom, as attributed to Jean Court, called Vigier, after Milan\u2019s print.\u00a0 Brugerolles and Guillet, 1994, 132.\u00a0 The decoration of the center of the dish is derived from Milan\u2019s engraving with a distant landscape added.\u00a0 The wreaths and bunches of flowers hanging from the tree in the print have been eliminated, and instead there is only one wreath encircling a small blank shield.<\/p>\n

COPY, WOOD RELIEF: Amsterdam, Rijksmuseum, oval relief decorating a desk.\u00a0 LITERATURE: Triomphe du Mani\u00e9risme<\/em>, 1955, 225, no. 499.\u00a0 Thirion, 1971, 39, 42, Fig., 43-44.\u00a0 McGovern, 1985, 238.<\/p>\n

COPY, STUCCO RELIEF: Oxfordshire, Broughton Castle, Star Chamber, central panel of chimneypiece.\u00a0 LITERATURE: McGovern, 1985, 238.<\/p>\n

VARIATION, PRINT: George Boba, Dance of the Dryads in Extended Landscape<\/em> (Fig.E.102, Boba<\/a>).\u00a0 Etching, 11.8 (including margin of 0.5) x 16.4 L (London).\u00a0 Inscribed with Boba\u2019s monogram at the lower right.\u00a0 Bartsch, XVI, 1818, 364, 3, as Boba, with reference to Mariette\u2019s attribution of the composition to Primaticcio.\u00a0 Le Blanc, 1854-1890, I, 390-391, 3, as Boba after Primaticcio.\u00a0 Herbet, IV, 1901, 312 (1969, 162), 3, as Boba, apparently suggesting as after a lost painting by Nicolo dell\u2019Abate at Fontainebleau.\u00a0 COLLECTIONS: London, 1874-8-8-900.\u00a0 Paris, Ensba.\u00a0 Vienna, H.B.XIII, 2, p.79, no. 448.\u00a0 LITERATURE: Oberhuber, 1967-1968, 185, no. 272, Pl. 42, as related to the picture under the Scene of Sacrifice <\/em>in the Gallery of Francis I, and to Milan\u2019s print.\u00a0 Zerner, in EdF<\/em>, 1972, 247, no. 280 (Paris, Ensba), as related to the picture in the gallery but not sufficiently close to indicate with certainty that it is derived from it.\u00a0 Zerner, IB<\/em>, 33, 1979, 267 (London).<\/p>\n

This etching would seem to be inspired by Milan\u2019s print but the composition is so altered and extended as to constitute quite a different scene.<\/p>\n","protected":false},"excerpt":{"rendered":"

See the Pluto and Proserpina and the Saturn and Philyra of the Milan-Boyvin set of the Loves of the Gods under Caraglio, E.46-47. See the Pluto and Proserpina of the Du Cerceau set of the Loves of the Gods under Caraglio, E.46-47.   Engraving by Pierre Milan, 27.8 (including margin below of 0.6) x 40 […]<\/p>\n","protected":false},"author":13,"featured_media":0,"parent":824,"menu_order":112,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-4237","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/4237","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=4237"}],"version-history":[{"count":15,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/4237\/revisions"}],"predecessor-version":[{"id":5514,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/4237\/revisions\/5514"}],"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=4237"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}