{"id":4254,"date":"2012-04-05T16:20:15","date_gmt":"2012-04-05T20:20:15","guid":{"rendered":"http:\/\/blogs.vassar.edu\/rosso\/?page_id=4254"},"modified":"2013-02-21T17:24:14","modified_gmt":"2013-02-21T22:24:14","slug":"e-105-milan-fates-nude","status":"publish","type":"page","link":"https:\/\/pages.vassar.edu\/rosso\/catalogues\/engravings\/e-105-milan-fates-nude\/","title":{"rendered":"E.105 Three Fates, Nude"},"content":{"rendered":"
\"\"<\/a>

E.105 Milan, Three Fates, Nude<\/p><\/div>\n

Engraving by Pierre Milan, 24.6 x 16.6 L (New York).<\/p>\n

Fig.E.105<\/a> (London)<\/p>\n

Robert-Dumesnil, VIII, 1850, 33, 31, as Boyvin.\u00a0 Le Blanc, 1854-1890, I, 507, 34, as Boyvin after Rosso.\u00a0 Destailleur, 1895, 277, no. 1150.\u00a0 Levron, 1941, 75, 179, as Milan (Levron, Pl. LXXIX, Fig. 113, is of an impression in Paris of the anonymous copy with text, see below).\u00a0 Zerner, 1969, P.M.2 (Vienna), as Milan.<\/p>\n

COLLECTIONS: Florence, 7933ss.\u00a0 Florence, Marucelliana, Vol. XXXII, no. 61 (pieces missing from top).\u00a0 London, 1850-6-12-106 (at lower right, in pencil: Duy <\/em>[?]).\u00a0 New York, 32.92.27(9).\u00a0 Paris, Ed 3 (stamped at lower right: D.3159<\/em>); SNR.\u00a0 Paris, Ensba.\u00a0 Vienna, F.I.3, p.14 upper right, no. 28.<\/p>\n

LITERATURE:<\/p>\n

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

Linzeler, 1932, 171, as Boyvin.<\/p>\n

Metman, 1941, 206, 211-213, as Milan and engraved by 1545; in 1557 Claude Bernard had 240 impressions of it.<\/p>\n

Barocchi, 1950, 253, and Fig. 232 (Paris, SNR), as Boyvin after Rosso, the central Fate resembling the female figure in stucco at the right of the Venus and Minerva<\/em> fresco in the Gallery of Francis I.<\/p>\n

Petrucci, 1964, 104, Pl. 43, as by an anonymous Italian of the School of Fontainebleau, after Rosso.<\/p>\n

Oberhuber, 1966, 177-178, no. 298 (Vienna), as Milan after Rosso.<\/p>\n

Zerner, 1969, XXXV-XXXVI, as perhaps to be identified as the Three Graces<\/em> that Van Mander says Pieter de la Cuffle engraved in Paris after Rosso.<\/p>\n

Thirion, 1971, 43-44, Fig. 35 (Paris, SNR), as Milan.<\/p>\n

Zerner, in EdF<\/em>, 1972, 323, no. 420, as after Rosso, and in Fontainebleau<\/em>, 1973, I, 86, Fig. 56 (London), II, 97, no. 420.<\/p>\n

Carroll, 1975, 25, 26, Fig. 10, as after a late work by Rosso.<\/p>\n

L\u2019art mani\u00e9riste. Formes et symboles 1520-1620<\/em>, Rennes, Mus\u00e9e des Beaux-Arts, 1978, no. 98 (from Grivel, in Ronsard<\/em>, 1985).<\/p>\n

Carroll, 1978, 34, 36, Fig. 18 (Florence), 42, 45.<\/p>\n

Borea, 1979, 403, Fig. 277 (Florence, Marucelliana), c. 1550.<\/p>\n

Borea, 1980, 263, no. 685 (Vienna), as Milan.<\/p>\n

Darragon, 1983, 12.<\/p>\n

Martine Vasselin, in Raphael et l\u2019art francais<\/em>, 1983, 213, no. 213, 374, Fig. 220, as influenced by Raphael\u2019s fresco of Amor and the Three Graces<\/em> in the Farnesina and Marcantonio\u2019s related engraving.<\/p>\n

L\u00e9v\u00eaque, 1984, 147, 149, Fig. (Paris, Ensba).<\/p>\n

K. Wilson-Chevalier, in Fontainebleau<\/em>, 1985, 171-172, no. 113 (Paris, Ed 3), as Milan after Rosso.<\/p>\n

Marianne Grivel, in Ronsard<\/em>, 1985, 82-83, no. 95, with Fig. (Paris, Ed 3).1<\/sup><\/a><\/p>\n

B\u00e9guin, in Delay, 1987, 69, Pl. (Paris), 70, 202, seen also as the Graces and assimilating love and death.<\/p>\n

Carroll, 1987, 11, 43, 336-339, no. 105, with Fig. (London).<\/p>\n

Franklin, 1988, 326, the character of Rosso\u2019s original drawing can only be guessed at.<\/p>\n

B\u00e9guin, 1989, 835, 836, Fig. 33 (London).<\/p>\n

Boorsch, 1989, 9, stated that Van Mander did not mention an engraving of the Three Graces<\/em> by Pieter de la Cuffle, but a print of \u201cde dry Spinsters;\u201d it was Hymans in the French edition of 1848 who made the error in translation [Karel van Mander, Het Schilder-Boeck<\/em>, Haarlem, 1604 (reprint: Utrecht, 1969), Fol. 226: \u201cde dry Spinsters van Rous…\u201d; Henri Hymans, Le livre des peintres de Carel van Mander<\/em>, Paris, 1864-1865 (reprint: Amsterdam, 1979), 241: \u201cles Trois Gr\u00e2ces<\/em>, d\u2019apr\u00e8s le Rosso…\u201d].<\/p>\n

Mugnaini, in Rosso e Volterra<\/em>, 1994, 124, 127, 156, no. 13 (Florence), discussed the image as a kind of allegory of human destiny, the exposure of Atropos\u2019s sex making the print a pendant to Rosso\u2019s Moses<\/em>, and related to Lomazzo\u2019s conjunction of the Hours, Fates and Graces.<\/p>\n

Ciardi, 1994, 94, n. 110, mentions their sensuality.<\/p>\n

\u201cLa Chronique des Arts,\u201d GdBA<\/em>, 6th p\u00e9r., 125, January, 1995, 17, Fig. (Florence).<\/p>\n

 <\/p>\n

Although this engraving is not inscribed to Rosso, his authorship of its composition has never been questioned.\u00a0 According to the documents published by Metman, it is most likely that this print is the one mentioned in 1557 as by Milan, showing \u201ctrois Parthe nuees,\u201d and, in a second description, representing \u201cl\u2019histoire des trois d\u00e9esses et fatalles, invent. de Me<\/sup> Raoul.\u201d\u00a0 [This phrase could refer to the Three Fates, Costume Designs<\/em>, also engraved by Milan (Fig.E.104<\/a>), but the use of the word \u201chistoire\u201d makes the nude version of this subject a more likely candidate.]\u00a0 It is also very probable that it is the print wrongly described as the Three Spinners that Van Mander mentioned as having been done by Pieter de la Cuffle after Rosso, an engraver who Adh\u00e9mar believed may be Pierre Milan.\u00a0 Stylistically, the three women in the print, with their long proportions and their widely extended limbs, recall the figures of Europa and Philyra that flank the Royal Elephant<\/em> in the Gallery of Francis I (Fig.P.22, VI N a<\/a>).\u00a0 The composition of the print, with the figures close to the picture plane and spread out across the picture area to its limits, resembles that of Rosso\u2019s Piet\u00e0<\/em> in the Louvre, of around 1538 (Fig.P.23a<\/a>), and of his painting in Los Angeles, which may date from 1540 (Fig.P.24a<\/a>).\u00a0 Without doubt, the design of the engraving can be accepted as Rosso\u2019s and from the character of its details, excepting the slightly awkwardly rendered nose of the third Fate, Lachesis, it seems very likely that the print reproduces Rosso\u2019s lost original image very well.\u00a0 That work would seem to have been done very late in Rosso\u2019s career, between 1538 and 1540, around the same time as other works, such as the Annunciation<\/em> drawing in D\u00fcsseldorf (Fig.D.83<\/a>), the Judith and Holofernes<\/em> drawing in Los Angeles (Fig.D.84a<\/a>), and the painting in that same collection, all of which present similarly grand and comparably unusual interpretations of their themes.\u00a0 According to the documents published by Metman, the Three Fates<\/em> would have been engraved by Milan by 1545.<\/p>\n

Milan could have worked directly from a drawing by Rosso (see below).\u00a0 Or he could have worked from a copy of Rosso\u2019s drawing made especially as a model for the engraver.\u00a0 A picture by Rosso of this composition may also have existed (see below under COPY, PAINTING), but for practical reasons it would not have been the immediate source of the engraving or even of the model from which the print was made.\u00a0 No prints of the sixteenth century can be shown to have been made directly from a painting by Rosso.\u00a0 The gesture of Lachesis, who draws out the thread with the spindle held in her right hand and the distaff in her left, seems to indicate that Rosso\u2019s composition is transcribed here in its original direction.\u00a0 A counterproof of a chalk drawing by Rosso could have served Milan as his model or as the model for a drawing made from it for Milan\u2019s use.<\/p>\n

Franklin commented that the character of Rosso\u2019s lost original drawing can only be guessed at.\u00a0 But the three engravings by Milan and Boyvin for which Rosso\u2019s models exist, E.16<\/a>, E.17<\/a>, and E.102<\/a>, give evidence of the precision of the engravers\u2019 translations.\u00a0 Etchings of decorative panels and cartouches can be more freely related to their sources, although etchings of single scenes are largely faithful to Rosso\u2019s compositions.<\/p>\n

DRAWING: Formerly Paris, Baron Vivant.\u00a0 Denon Collection.\u00a0 P\u00e9rignon, Paris, 1826, I, 104, no. 248, as \u201cRosso: Un pr\u00e9cieux dessin, rehauss\u00e9e de blanc au pinceau, repr\u00e9sentant les trois Parques.\u201d\u00a0 This unlocated drawing could be an autograph drawing by Rosso used by Milan for this print or for his Three Fates, Costume Designs<\/em> (Fig.E.104<\/a>).\u00a0 Or it could be a copy of one of these prints.\u00a0 It could, of course, be an entirely different composition by Rosso, or one not by him at all (Carroll, 1987, 339, n. 2, under no. 105).<\/p>\n

COPY, PAINTING:\u00a0In an inventory of the pictures in the collection of the Countess of Arundel at the time of her death in Amsterdam in 1654 there is listed: \u201cRosso tre sorelle fatale\u201d (Cox, 1911, 285; and Phillips, 1911-1912, 145, n. 3).\u00a0 If this picture was by Rosso it is possible that it was related to his Three Fates, Nude<\/em> engraved by Pierre Milan, or, less likely perhaps, to the Three Fates, Costume Designs<\/em>, also engraved by Milan (E.104<\/a>).\u00a0 In any case, the subject of the painting might indicate that if it was by Rosso, then it was a picture executed in France, for there is no record of his having painted nonreligious pictures in Italy.\u00a0 If actually by Rosso, it would not be the picture in the Pitti Palace in Florence to which Phillips related the inventory record.<\/p>\n

COPIES, PRINTS: E.108.\u00a0 Nikolaus Solis (Fig.E.108<\/a>; Vienna).\u00a0 Engraving, 24.6 x 16.3 L (New York).\u00a0 Inscribed at the lower left with the cipher of the engraver (Nagler, Mon.<\/em>, IV, 1864, 782, 2540).\u00a0 Herbet, V, 1902, 83 (1969, 235), 29, as Anonymous after Boyvin\u2019s (Milan\u2019s) print.\u00a0 COLLECTIONS: New York, 32.92.27(8).\u00a0 Paris, Ed 3.\u00a0 Rome, Vol. 46 H 17, no. 72254.\u00a0 Vienna, F.I.3, p.14, no. 27.\u00a0 LITERATURE: Destailleur, 1895, 277, under no. 1150: 4 (Brulliot, no. 2633).\u00a0 Kusenberg, 1931, 161, under Robert-Dumesnil 31, 168, as Anonymous.\u00a0 Linzeler, 1932, 171, Copy 2, as N. Solis.\u00a0 Petrucci, 1964, 104, under no. 43.\u00a0 Zerner, 1969, under P.M.2, apparently as by Sustris.\u00a0 Thirion, 1971, 44, as Solis.\u00a0 Zerner, in EdF<\/em>, 1972, 323, under no. 420, apparently as by Sustris, and in Fontainebleau<\/em>, 1973, II, 97, under no. 420.\u00a0 Carroll, 1987, 339, n. 1, under no. 105.<\/p>\n

Copy of Milan\u2019s print, in the original direction, done to a large extent with a stippled technique.\u00a0 Special differences: the bow shaped upper lip of the third Fate as well as the regular curve of the upper curl at the left of her head.<\/p>\n

E.154.\u00a0 Anonymous (Fig.E.154<\/a>; Vienna).\u00a0 Engraving, 27.2 (including margin below of 3.1) x 16.4 S (Vienna).\u00a0 Inscribed in the margin below: DVM TERNAE IOVIS ANTE PEDES FERA PENSA SORORES \/ DEVOLVVNT; CAVE NE TEMPVS INANE FLVAT\u2022<\/em> (The V of CAVE changed from an N).\u00a0 Robert-Dumesnil, VIII, 1850, 33, under no. 31.\u00a0 Herbet, V, 1902, 83 (1969, 235), 29.\u00a0 COLLECTIONS: Cambridge, Fitzwilliam, Vol. I.O.P., p.49, lower left.\u00a0 Paris, Ba 12; Ed 3.\u00a0 Vienna, H.B.IV, p.95, no. 101.\u00a0 LITERATURE: Kusenberg, 1931, 161, under Robert-Dumesnil 31, and 168.\u00a0 Linzeler, 1932, 171, Copy 1.\u00a0 Levron, 1941, Pl. LXXIX (wrongly as Milan\u2019s engraving).\u00a0 Zerner, in EdF<\/em>, 1972, 323, under no. 420, as possibly the print mentioned by Van Mander, and in Fontainebleau<\/em>, 1973, II, 97, under no. 420.\u00a0 Borea, 1980, 263, under no. 685, as Anonymous.\u00a0 Carroll, 1987, 339, n. 1, under no. 105.<\/p>\n

In the same direction as Milan\u2019s print.\u00a0 The details of the copy suggest that it was made directly from the original engraving.\u00a0 Zerner\u2019s comment that it could be the print mentioned by Van Mander would mean that Pieter de la Cuffle is not to be identified with Pierre Milan.\u00a0 This problem has yet to be clarified.<\/p>\n

E.155.\u00a0 Anonymous (Fig.E.155<\/a>; Vienna).\u00a0 Engraving, 23.9 x 16.5 S.\u00a0 COLLECTION: Vienna, H.B.IV, p.95, no. 102.\u00a0 LITERATURE: Carroll, 1987, 339, n. 1, under no. 105.<\/p>\n

In reverse of Milan\u2019s print, but clearly made from it, as the details indicate.\u00a0 This engraving could just possibly be the one inventoried in Antonio Lafr\u00e9ry\u2019s shop in Rome in 1572 as \u201cle tre grazie del Rosso,\u201d\u00a0misidentifying the subject as did Van Mander (see Ehrle, 1908, 57). \u00a0This suggestion is made only because the image is in reverse of the others, which confers upon it a certain distinction from the other two copies in the original direction.<\/p>\n

PARTIAL COPY, PRINT: Boyvin?, Caritas Romana <\/em>(Cimon and Pero<\/em>, or Mycon and Xanthippe<\/em>) (Fig.E.105, Copy, Caritas<\/a>; Vienna).\u00a0 Engraving, 13.9 x 9.3 P (Paris, Arsenal).\u00a0 Robert-Dumesnil, VIII, 1850, 21, 11, as Boyvin after Rosso.\u00a0 Le Blanc, 1854-1890, I, 507, 184, as Boyvin after Rosso.\u00a0 Herbet, III, 1899, 35 (1969, 123), under Robert-Dumesnil 11, as Boyvin and suggesting that it is the composition of the relief under Rosso\u2019s Cleobis and Biton<\/em> in the Gallery of Francis I.\u00a0 COLLECTIONS: Paris, Arsenal, Vol. 168(2), no. 64 (see Sch\u00e9fer below).\u00a0 Vienna, F.I.3, p.4, no. 8.\u00a0 LITERATURE: Sch\u00e9fer, 1894-1929, col. 555, no. 64, as Boyvin after Rosso.\u00a0 Kusenberg, 1931, 160, as Boyvin.\u00a0 Levron, 1941, 74, 167, as shop of Boyvin.\u00a0 B\u00e9guin and Pressouyre, 1972, 135.\u00a0 All repeat Herbet\u2019s suggestion.\u00a0 Massari, 1983, 35, under nos. 5a and 5b, wrongly as related to E.143.\u00a0 Carroll, 1987, 339, n. 1, under no. 105.<\/p>\n

This vertical composition of two figures is not related to the horizontal stucco relief of the same subject but with several more figures by Rosso in the Gallery of Francis I (Fig.P.22, V S c<\/a>).\u00a0 Nor is it related to that section of this relief showing this episode.\u00a0 The female figure is derived from the seated Fate seen from the back in Rosso\u2019s Three Fates, Nude<\/em> engraved by Pierre Milan, in the same direction but with the head turned to the right, the left arm not visible, and with drapery over the thigh.\u00a0 It could, of course, be derived from one of the copies of this print, including the version in reverse.\u00a0 In any case, the simplicity of the drawing and modeling of the figure and of the composition as a whole, as well as its lack of gravity, suggest that it is not by Rosso re-using one of his own figures but rather very possibly by Thiry.\u00a0 His style, as shown by the Story of Jason<\/em> prints designed by him and engraved by Boyvin (RE.15<\/a>), shows the same kind of reduction of Rosso\u2019s style.\u00a0 Boyvin\u2019s authorship of the print is not certain, nor need it have been produced in his shop.<\/p>\n

COPY, MAJOLICA: Milan, Musei del Castello, M 216.\u00a0 Orazio Fontana, or shop, wine cooler, 50 diameter.\u00a0 LITERATURE: Conti, Giovanni, L\u2019arte della maiolica in Italia<\/em>, Busto Arsizio, 1973, Color Fig. 237.\u00a0 Conti, Giovanni, La maiolica in Italia<\/em>, Busto Arsizio, 1992, Fig. 288.\u00a0 Maiolica e Incisione<\/em>, 1992, 82-83, no. 23.\u00a0 The lower half of the scene of sea divinities shows the three Fates transformed into nereids.<\/p>\n

COPY, RELIEF: Paris, Mus\u00e9e des Arts d\u00e9coratifs, P.E.1273.\u00a0 Carved panel.\u00a0 Walnut, 33 x 32.\u00a0 LITERATURE: Thirion, 1971, 43, Fig. 37, 44.\u00a0 Thirion, in EdF<\/em>, 1972, 427, no. 594, and in Fontainebleau<\/em>, 1973, I, 87, Fig. 57, II, 127, no. 594, both with bibliography.\u00a0 Raggio, 1974, 74.\u00a0 Panel from a dresser or a cabinet that shows the scene in the direction of the original print with the surrounding areas filled with plants.<\/p>\n

COPY, STAINED GLASS WINDOW: Chantilly, Mus\u00e9e Cond\u00e9.\u00a0 LITERATURE: Kusenberg, 1931, 119-120.\u00a0 Thirion, 1971, 43, Fig. 36, 44, with bibliography.\u00a0 Also mentioned by Thirion, in EdF<\/em>, 1972, 427, under no. 594, and in Fontainebleau<\/em>, 1973, II, 127, under no. 594.\u00a0 Vasselin, 1983 (see above).\u00a0 Leproux, 1988, 41.\u00a0 The scene, in a window from the ch\u00e2teau at \u00c9couen, is in the direction of Milan\u2019s print and appears as a background detail of an episode of the story of Psyche.<\/p>\n

\n

 <\/p>\n

\n
\n

<\/a>1<\/sup> Grivel states that in the sixteenth century nudity was a proof of demonic character, and that in Rosso\u2019s image these \u201cfilandi\u00e8res fatales\u201d are perceived as sorcerers, as stated in S. Matthews-Grieco, Mythes et iconographie de la femme dans l\u2019estampe du XVIe<\/sup> si\u00e8cle fran\u00e7ais: images d\u2019un univers mental<\/em>, Th\u00e8se de doctorat de 3e cycle, Paris, \u00c9cole des Hautes \u00c9tudes en Sciences sociales, 1992, 3 vols.<\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Engraving by Pierre Milan, 24.6 x 16.6 L (New York). Fig.E.105 (London) Robert-Dumesnil, VIII, 1850, 33, 31, as Boyvin.\u00a0 Le Blanc, 1854-1890, I, 507, 34, as Boyvin after Rosso.\u00a0 Destailleur, 1895, 277, no. 1150.\u00a0 Levron, 1941, 75, 179, as Milan (Levron, Pl. LXXIX, Fig. 113, is of an impression in Paris of the anonymous copy […]<\/p>\n","protected":false},"author":13,"featured_media":0,"parent":824,"menu_order":115,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-4254","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/4254","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=4254"}],"version-history":[{"count":23,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/4254\/revisions"}],"predecessor-version":[{"id":8599,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/4254\/revisions\/8599"}],"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=4254"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}