{"id":4244,"date":"2012-04-05T14:59:52","date_gmt":"2012-04-05T18:59:52","guid":{"rendered":"http:\/\/blogs.vassar.edu\/rosso\/?page_id=4244"},"modified":"2013-05-02T11:01:08","modified_gmt":"2013-05-02T15:01:08","slug":"e-103-milan-nymph","status":"publish","type":"page","link":"https:\/\/pages.vassar.edu\/rosso\/catalogues\/engravings\/e-103-milan-nymph\/","title":{"rendered":"E.103 Nymph of Fontainebleau in a Frame"},"content":{"rendered":"
\"\"<\/a>

E.103 Milan, Nymph of Fontainebleau<\/p><\/div>\n

Completed by Ren\u00e9 Boyvin.<\/p>\n

Engraving by Pierre Milan, 30.5 x 51.5 S, including first small margin below of .035 and large margin below that with inscription of 4.2 (Vienna, F.I.3).\u00a0 Inscribed below across center: O Phidias. O Apelles, Quidguamme\u2019 ornatius vestris temporibus excogitari potuit, ea sculpture, cuius hic picturam cernitis, Quam \/ Franciscus primus, Francorum Rex potentiss bonarum artium ac literarum pater, sub Diana\u2019, \u00e1 venatu conquiescentis, \/ atgue vrnam Fontisbellagua effundentis statua, Domi suae inchoatam religuit.~<\/em>; at the left: Cum priuilegio Regis<\/em>. (O Phidias, O Apelles, could anything have been devised in your era more beautiful than this sculpture [whose representation you see here]: a sculpture that Francis I, most puissant king of France, foster father of beaux arts<\/em> and belles lettres<\/em>, left unfinished in his palace, under [sub] a statue of Diana reposing after the hunt and pouring from a jar the waters of Fontainebleau.)1<\/sup><\/a>; at the right: Rous. Floren. Inuen~<\/em>.<\/p>\n

Fig.E.103<\/a> (Paris, Ba 12)<\/p>\n

Robert-Dumesnil, VIII, 1850, 26-27, 18, as Boyvin.\u00a0 Le Blanc, 1854-1890, I, 508, 186, as Boyvin after Rosso.\u00a0 Herbet, III, 1899, 35 (1969, 123), R.D.18, as Boyvin.\u00a0 Levron, 1941, 17-18, 74, 169, as begun by Milan and finished by Boyvin, as probably after a painting by Rosso at Fontainebleau.\u00a0 Zerner, 1969, XXXVI, P.M.7, as Milan, completed by Boyvin.<\/p>\n

COLLECTIONS: Amsterdam (De Jong and de Groot, 1988, 282, Fig., 283, 627).\u00a0 Boston, 57.608 (slightly damaged left and right edges).\u00a0 Florence, 22459ss (very damaged).\u00a0 Florence, Marucelliana, Vol. XXXII, no. 62 (mounted).\u00a0 Lyons, exhibited (private coll., Dunand, 1973, no. 21, cut at sides).\u00a0 New York, 32.105 (lightly foxed).\u00a0 Paris, Ba 12 (lower right stamped: A08880<\/em>; slightly stained around edges); Ed 3; SNR.\u00a0 Paris, Hubert Prout\u00e9.\u00a0 Vienna, F.I.3, p.9, no. 16; It.II.21, p.85.<\/p>\n

LITERATURE:<\/p>\n

Mariette, Ab\u00e9c\u00e9dario<\/em>, 1858-1859, 20-21, as Boyvin after Rosso.<\/p>\n

Reiset, 1859, 271, as Boyvin after Rosso.<\/p>\n

Barbet de Jouy, 1861, 7-12, as Boyvin copied from the painting in the Laborde Collection (then Seilli\u00e8re Collection, see below), the subject identified from the inscription as Diana but related to the Nymph of Fontainebleau.<\/p>\n

Destailleur, 1895, 277, no. 1147.<\/p>\n

Dimier, 1900, 302-304, as Boyvin.<\/p>\n

Lieure, 1928, 132, as Boyvin.<\/p>\n

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

Metman, 1941, 204-206, 214, as begun by Milan before 1551 and finished by Boyvin in 1553-1554.<\/p>\n

Barocchi, 1950, 253, as Boyvin.<\/p>\n

Sterling, 1955, 50-51, as Boyvin, and the source for the two paintings in New York and Paris (see below); he translates sub<\/em> of the inscription as \u201csurrounding.\u201d<\/p>\n

Bardon, 1963, 20, Pl. I, as Boyvin.<\/p>\n

Zerner, 1964, 81, as Milan and Boyvin.<\/p>\n

Chastel, 1966 (1978, 272), as Boyvin, and, along with Cellini\u2019s Nymph of Fontainebleau<\/em>, the point of departure for the statue of Diana from Anet, now in the Louvre.\u00a0 Thereafter as by Milan and Boyvin.<\/p>\n

Carroll, 1966, 175, and n. 3.<\/p>\n

Oberhuber, 1967-1968, 186-187, no. 275, Pl. 44 (Vienna, F.I.3).<\/p>\n

Zerner, 1972, 115, 117, Fig. 175 (Paris, Ed 3).<\/p>\n

Zerner, in EdF<\/em>, 1972, 324, Fig. (Paris, SNR), 325, no. 423.<\/p>\n

B\u00e9guin and Pressouyre, 1972, 132.<\/p>\n

Zerner, in Fontainebleau<\/em>, 1973, I, 85, Fig. 55, II, 98-99, no. 423 (Paris, SNR).<\/p>\n

Miller, 1977 (1966), 102, 115, n. 7.<\/p>\n

Borea, 1979, 388, Fig. 258 (Florence, Marucelliana), c. 1550.<\/p>\n

Borea, 1980, 263-264, no. 686 (Florence, Marucelliana).<\/p>\n

Terry Reece Hackford, in Ornament<\/em>, 1980, 101-102, no. 91, Pl. XL (Paris, Prout\u00e9).<\/p>\n

L\u00e9v\u00eaque, 1984, 47, Fig. (Paris, Ed 3).<\/p>\n

Marianne Grivez, in Renaissance<\/em>, Quebec, 1984, 306-307, Fig. (Paris, Ed 3).<\/p>\n

Marianne Grivel, in Ronsard<\/em>, 1985, 77-78, no. 88, with Fig. (Paris, SNR).<\/p>\n

Pope-Hennessy, 1985, 113, as by Boyvin or Milan, probably after Rosso.<\/p>\n

B\u00e9guin and Tosi, in Delay, 1987, 45-77, 181-211, Pl. (Paris, Ed 3), the inscription perhaps making an allusion to Cellini\u2019s Nymph of Fontainebleau<\/em>, abandoned in 1543 and which became Diana<\/em>, a work that Boyvin did not know directly.<\/p>\n

Carroll, 1987, 21, 31, 41, 43, 44, 46, 252-256, no. 79, with Fig. (Vienna, F.I.3).<\/p>\n

Delay, 1987, 29, 168, as conceived by Rosso as the Nymph of Fontainebleau and then became Diana.<\/p>\n

E. Hevers, in Zauber der Medusa<\/em>, 1987, 152, no. I, 25, with Fig. (Paris).<\/p>\n

B\u00e9guin, in Delay, 1987, 53, 54-55, Pl. (Paris), 201, the inscription possibly making an allusion to Cellini\u2019s Nymph of Fontainebleau <\/em>which became Diana<\/em>.<\/p>\n

B\u00e9guin, 1989, 835 and Fig. 30 (Vienna).<\/p>\n

Carroll, 1989, 16, 24-25, Fig. 42 (Vienna, F.I.3, p.9, no. 16).<\/p>\n

Waddington, 1991, 123, emphasized the reference to Diana in the inscription as indicating the significance of this goddess at Fontainebleau during the reign of Francis I.<\/p>\n

Scalli\u00e9rez, 1992, 63, under no. 17, as representing a destroyed fresco by Rosso at Fontainebleau.<\/p>\n

Brugerolles and Guillet, 1994, 130, under no. 42.<\/p>\n

Zerner and Acton, in French Renaissance<\/em>, 1994, 301-302, no. 72, Fig. (Paris, Ed 3, Vol. 1), note that the word statua<\/em> of the inscription would normally apply to sculpture in the round and not to relief, but they also say that the inscription is ungrammatical.<\/p>\n

Knecht, 1994, 432, as the best known print of Milan and Boyvin.<\/p><\/blockquote>\n

The attribution of the design of this print to Rosso, as indicated by the inscription, has never been questioned.\u00a0 Most likely the engraving was based on a lost drawing or drawings by Rosso in reverse, done early in 1534 and partly after mid-August 1536 for the decoration of the central wall of the south side of the Gallery of Francis I.\u00a0 On the inscription, which, after the death of Francis I, identifies the nymph as Diana, and on the place of the Nymph of Fontainebleau in the Gallery of Francis I, see P.22, IV S<\/a>.<\/p>\n

Metman is almost certainly correct in having identified the print with the plate by Milan \u201capr\u00e8s [one of] les compartiments de Fontainebleau\u201d that the engraver left with Claude Bernard on 31 October 1545, and with the same plate \u201cd\u2019un compartiment apr\u00e8s Me<\/sup> Roux\u201d that Boyvin was commissioned to complete on 3 March 1553 and which was finished by 15 February 1554.\u00a0 At the time of Bernard\u2019s death in 1557 he owned 840 impressions of this print.\u00a0 It cannot be determined from the print itself what is Milan\u2019s part and what Boyvin\u2019s.\u00a0 The two naked boys in the lower right corner of the print appear in the same direction in an etching by Jean Mignon that is dated 1543 (see below), but it is not clear that they are derived from the engraving, which may not have been begun by then and certainly not finished in 1543, although they are slightly more similar to the figures in that print than to the two reversed and partially draped figures in the Gallery of Francis I.<\/p>\n

COPY, PRINT: E.137.\u00a0 Anonymous (Fig.E.137<\/a>; New York).\u00a0 Engraving, 30.1 x 50.2 S, including a small margin below of .04 and a second margin below that with inscription of 4.3 (Vienna).\u00a0 Inscribed as in the original but without a comma after primus<\/em>, with a period after potentiss<\/em>, with a comma after artium<\/em>, without the comma and apostrophe after Diana<\/em>, without a comma after conquiescentis<\/em>, and without a flourish after reliquit<\/em>.\u00a0 Also no flourish after Inuen<\/em>. at the right.\u00a0 Added inscription in the lower margin at lower left: Apud Valegium formis Venetus\u2022<\/em> .\u00a0 Robert-Dumesnil, VIII, 1850, 27-28.\u00a0 Le Blanc, 1854-1890, I, 508, under 186.\u00a0 Herbet, III, 1899, 42 (1969, 130), 22.\u00a0 COLLECTIONS: Berlin, 899-53.\u00a0 Paris, Ed 3.\u00a0 London, W3-116 IMP. SIZE. \u00a0New York. \u00a0Poughkeepsie, 82.20 (from Hill-Stone, Inc., Cat. no. 7, 1982, no. 23, Fig.).\u00a0 Vienna, F.I.3, p.10, no. 18.\u00a0 LITERATURE: Kusenberg, 1931, 161, 168, as possibly by Boyvin.\u00a0 Linzeler, 1932, 169.\u00a0 Levron, 1941, 74, under no. 169.\u00a0 Zerner, 1969, under P.M.7.\u00a0 Zerner, in EdF<\/em>, 1972, 325, under no. 423, and in Fontainebleau<\/em>, 1973, II, 99, under no. 423.\u00a0 Borea, 1980, 263-264, under no. 686.\u00a0 Pope-Hennessy, 1985, 138, Fig. 44 (Poughkeepsie), as by Milan.\u00a0 Carroll, 1987, 255, n. 3, under no. 79.<\/p>\n

This engraving, printed by Valesio in Venice, is a very exact copy of the Milan-Boyvin print.\u00a0 Renouvier, III, 1855, 35-36, speaks of Giacomo Valeggio as a printmaker in Venice whose prints date 1572-1587.\u00a0 I do not know the source of this information.\u00a0 The name in the inscription could be that of the printmaker, printer, or print seller, who could all be the same person.<\/p>\n

PARTIAL COPY?, PRINT: Jean Mignon, Holy Family<\/em> (Fig.Mignon, Holy Family<\/a>; London).\u00a0 Engraving, 32.4 x 25.3 S (London).\u00a0 Inscribed on a small piece of strapwork at the top: 1543<\/em>.\u00a0 Bartsch, XVI, 1818, 383, 18, as Anonymous, School of Fontainebleau, after Giulio Romano.\u00a0 Herbet, V, 1902, 62 (1969, 214), 16, as after Giulio Romano.\u00a0 Zerner, 1969, J.M.1 (London), as having some relationship to Primaticcio but could be of Mignon\u2019s own design.\u00a0 Zerner, in EdF<\/em>, 1972, 314, Fig., 315, no. 403 (Paris), and Fontainebleau<\/em>, 1973, I, 46, Fig. 11, II, 95, no. 403.\u00a0 COLLECTIONS: London, 1850-5-27-51 (inscribed in ink at upper left: Ecole de Raphael<\/em>).\u00a0 Paris, Ed 8.\u00a0 LITERATURE: Zerner, in EdF<\/em>, 1972, 314, Fig., 315, no. 403 (Paris), and Fontainebleau<\/em>, 1973, I, 46, Fig. 11, II, 95, no. 403, notes that the two angels are taken from the frame of the Dana\u00eb<\/em> in the Gallery of Francis I.\u00a0 Martine Vasselin, in Raphael et l\u2019art fran\u00e7ais<\/em>, 1983, 212-213, no. 307, Fig. 71, mentions Zerner\u2019s observation of 1972 but points out that the ultimate source of the two angels is Raphaelesque.\u00a0 Carroll, 1987, 253, 255, n. 4, under no. 79.\u00a0 B\u00e9guin, Sylvie, \u201cA propos de Luca Penni,\u201d in Disegno. Actes du Colloque du Mus\u00e9e des Beaux-Arts de Rennes, 9 et 10 novembre 1990<\/em>, Rennes, 1991, 11, Fig. 8, 12, as after Primaticcio.<\/p>\n

The two angels in the lower right corner are related to the two putti in the lower right corner of the Milan-Boyvin print and are in the same direction.\u00a0 As in the engraving, the angels are nude in the etching but each has a wing and they hold between them a scroll instead of a book.\u00a0 The tilt of the head and the posture of the legs of the right angel are slightly different.\u00a0 But the two etched angels are more similar to those in the engraving than to the two reversed frescoed figures of the frame of the Dana\u00eb<\/em> in the Gallery of Francis I.\u00a0 The painted figures have fuller hair, one has flowers in his hair, and they have sashes of drapery wrapped around their bodies.\u00a0 Because they are in the same direction as those in the engraving, Mignon\u2019s figures could be dependent upon the drawing from which Milan worked.<\/p>\n

COPIES, PAINTINGS: Paris, Galerie Charpentier (formerly?).\u00a0 Oil on panel, 66 x 109.\u00a0 PROVENANCE: Rome, Cardinal Fesch; the Ch\u00e2teau d\u2019Anet; Paris, Count L\u00e9on de Laborde, in 1861; Paris, Baron Edmond Seilli\u00e8re, in 1931.\u00a0 LITERATURE: Barbet de Jouy, 1861, 7-13, Pl. (lithograph).\u00a0 Kusenberg, 1931, 112, 118, 161, 208f., n. 318 (Baron Seilli\u00e8re).\u00a0 J.B. [Jean Babelon?], review of Kusenberg, 1931, GdBA<\/em>, 6 p\u00e9r., VII, June, 1932, 422.\u00a0 Venturi, IX, 5, 1932, 231, as Paris, formerly comte L\u00e9on de Laborde Collection.\u00a0 Sterling, 1955, 50-51.\u00a0 Georges Bataille, Les Larmes d\u2019Eros<\/em>, Paris, 1961, 122-123, Fig.\u00a0 Jean Babelon, Civilisation Fran\u00e7aise de la Renaissance<\/em>, Tournai, 1961, 111-112.\u00a0 Bousquet, 1964, 131, Fig. (Galerie Charpentier).\u00a0 Zerner, 1969, under P.M.7.\u00a0 Zerner, in EdF<\/em>, 1972, 325, under no. 423.\u00a0 Zerner, in Fontainebleau<\/em>, 1973, II, 99, under no. 423.\u00a0 Cazelles [1974?], no. 20, as lent from the Seilli\u00e8re Collection.<\/p>\n

This painting, apparently French and of the sixteenth century, is a very close copy of the Milan-Boyvin engraving, including the text below, although this is shown on a long sheet curled forward in two corners placed between two piers (shown in Barbet de Jouy, 1861, but not in Bousquet, 1964).\u00a0 The nymph wears a band on her right arm, a necklace with a pendant, and a bit of drapery over her hip.\u00a0 The vase at her side is decorated and there are flowers growing from the ground in the foreground.<\/p>\n

A copy of this painting, with the figure of the Nymph identified as Diana with a crescent moon above her forehead and placed in an extended landscape, is in the Metropolitan Museum of Art, New York: no. 42.150.12, oil on panel, 66 x 121.3 (Fig.E.103, Painting, New York<\/a>).\u00a0 PROVENANCE: Paris, Mrs. Heyward Cutting (until 1917); Paris, Mme de Constantinovitch (1917-1921); New York, Heyward Cutting (1921-1926); Far Hills, N.J., Mrs. Heyward Cutting (1926-1942).\u00a0 LITERATURE: Burroughs, 1943, 251-253, with Fig.\u00a0 Sterling, 1955, 50-51, Fig.\u00a0 School of Fontainebleau<\/em>, Fort Worth, 1965, 58-59.\u00a0 Zerner, 1969, under P.M.7.\u00a0 Zerner, in EdF<\/em>, 1972, 325, under no. 423.\u00a0 Zerner, in Fontainebleau<\/em>, 1973, II, 99, under no. 423.<\/p>\n

The painting has generally been thought to be derived from the Milan-Boyvin engraving.\u00a0 But the placement of the text below on a band of paper between two piers indicates that it is based on the painting at the Galerie Charpentier.<\/p>\n

New York, sale, Carleton Gates Collection, 21 December 1876, no. 484.\u00a0 A note at the Metropolitan Museum of Art indicates that the provenance of this painting was given as identical to that of the Galerie Charpentier picture.\u00a0 In 1861 that painting was owned by comte de Laborde and in 1931 it was in the collection of his son-in-law Baron Seilli\u00e8re.\u00a0 Therefore, it is not certain that the Carleton Gates painting was in fact the same picture.\u00a0 The description in the sales catalogue, mentioned by Sterling, 1955, 51, does not clarify this issue, or whether it was instead the painting now in the Metropolitan Museum of Art or an otherwise unknown third version.<\/p>\n

COPIES, PALISSY WARE: The following pieces of ceramic by or from the following of Bernard Palissy borrow the central motif from the Milan-Boyvin print: London, Wallace Collection, III F 226.\u00a0 Shallow oval bowl, 24.7 x 18.9.\u00a0 LITERATURE: Norman, 1976, 323-325, Fig., C168.<\/p>\n

Paris, Louvre, no. OA 1341.\u00a0 Shallow oval bowl, 28 x 22 (Fig.E.103, Palissy<\/a>).\u00a0 LITERATURE: Norman, 1967, 324, under C168.\u00a0 (The \u201csimilar piece\u201d mentioned by Norman, 1967, 325, as described in A. Tainturier, Les terres \u00e9maill\u00e9es de Bernard Palissy<\/em>, Paris, 1863, no. 70, would seem to be this bowl in the Louvre.)\u00a0 L. Dimier, \u201cLe Main-d\u2019oeuvre de la figure dans les ouvrages de Bernard Palissy,\u201d GdBA<\/em>, 6th p\u00e9r., XV, March, 1936, 159, 161, Fig. 1o.\u00a0 Bertrand Jestaz, in EdF<\/em>, 1972, 440, no. 616, and in Fontainebleau<\/em>, 1973, I, 85, Fig. 55, II, 136, no. 616, with bibliography.\u00a0 Amico, Leonard N., Bernard Palissy, In Search of Earthly Paradise<\/em>, Paris, New York, 1996, 37, 39, Fig. 29, 40, Oval Dish with Diana<\/em>, the source of its image going back to Rosso\u2019s Nymph of Fontainebleau<\/em>, engraved by Milan and Boyvin, but more immediately to another engraving based on a silver cup by Paul H\u00fcber and to a related print, not illustrated, that added the dragonfly to the sky.<\/p>\n

Paris?, Edouard de Rothschild Collection.\u00a0 Shallow standing bowl.\u00a0 LITERATURE: G. de Rothschild and S. Grandjean, Bernard Palissy et son \u00e9cole<\/em>, Paris, 1952, no. XVI, Pl. 10.\u00a0 Norman, 1976, 324,under C168, mentioned.<\/p>\n

Paris, Pr\u00e9aux sale, 9-11 January 1850, lot 209, sold to Juste.\u00a0 Shallow standing bowl.\u00a0 LITERATURE: Catalogues de la pr\u00e9cieuse collection … composant le cabinet de Monsieur Pr\u00e9aux<\/em>, Paris, Bonnefons de Lavaille, 9-11 January 1850.\u00a0 Norman, 1976, 324, under C168, mentioned.<\/p>\n

Paris, Prince Pierre Soltykov sale, 8 April – 1 May 1861, lot 538, bought by Mannheim.\u00a0 LITERATURE: Norman, 1976, 324-325, under C168, mentioned.<\/p>\n

 <\/p>\n

\n
\n
\n

<\/a>1<\/sup> This translation was made for me by the late Professor James Day.<\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Completed by Ren\u00e9 Boyvin. Engraving by Pierre Milan, 30.5 x 51.5 S, including first small margin below of .035 and large margin below that with inscription of 4.2 (Vienna, F.I.3).\u00a0 Inscribed below across center: O Phidias. O Apelles, Quidguamme\u2019 ornatius vestris temporibus excogitari potuit, ea sculpture, cuius hic picturam cernitis, Quam \/ Franciscus primus, Francorum […]<\/p>\n","protected":false},"author":13,"featured_media":0,"parent":824,"menu_order":113,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-4244","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/4244","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=4244"}],"version-history":[{"count":18,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/4244\/revisions"}],"predecessor-version":[{"id":9137,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/4244\/revisions\/9137"}],"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=4244"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}