{"id":4269,"date":"2012-04-05T16:20:02","date_gmt":"2012-04-05T20:20:02","guid":{"rendered":"http:\/\/blogs.vassar.edu\/rosso\/?page_id=4269"},"modified":"2013-06-06T13:13:38","modified_gmt":"2013-06-06T17:13:38","slug":"e-109-veneziano-allegory","status":"publish","type":"page","link":"https:\/\/pages.vassar.edu\/rosso\/catalogues\/engravings\/e-109-veneziano-allegory\/","title":{"rendered":"E.109 Disputation of the Angel of Death and the Devil"},"content":{"rendered":"
\"\"<\/a>

E.109 Veneziano, Disputation of the Angel of Death and the Devil<\/p><\/div>\n

Engraving by Agostino Veneziano, 31.7 x 50.7 S at L (Paris).\u00a0 Inscribed on the stone at the left: \u2022AVGVSTINVS\u2022 \/ \u2022VENETVS \u2022 DE \/ \u2022MVSIS\u2022 \/ FACIEBAT\u2022 \/ 1518\u2022_\/ \u2022A\u2022V\u2022<\/em>.<\/p>\n

Fig.E.109a<\/a> (London, bw from photo)
\nFig.E.109b<\/a> (London, color from BM website)<\/p>\n

Heinecken, I, 1778, 628, 648, II, 1788, 95, as \u201cThe Cemetery,\u201d or \u201cThe Memory of Death,\u201d after Bandinelli, and hence traditionally called The Skeletons of Baccio<\/em>.\u00a0 Bartsch, XIV, 1813, 320, 424.\u00a0 Le Blanc, 1854-1890, III, 77, as after Bandinelli.\u00a0 Passavant, VI, 1864, 60, 93.<\/p>\n

COLLECTIONS: Brussels, Biblioth\u00e8que Albert Ier<\/sup> (Poirier, 1964, 60, Pl. XXVII).\u00a0 Cambridge, Mass., Harvard Art Museums, Fogg Museum, R651 (inscribed in pencil at lower left: Held<\/em>).\u00a0 Chatsworth, Vol. 2, p.43, no. 73 (inscribed in ink at lower left: 3.62<\/em> or I.62<\/em>).\u00a0 PROVENANCE: Peter Lely (Lugt 2092).\u00a0 Florence, 511ss.\u00a0 London, 1857-5-2-18 (inscribed in ink at lower left: P. mariette 1684<\/em>; see Lugt 1790).\u00a0 New Haven, Yale, 1966.94.\u00a0 New York, 49.97.145 (inscribed in ink at bottom center: GL Marietti 1673<\/em>).\u00a0 Oxford, Christ Church, Vol. O 15.\u00a0 Paris, Eb 7 +.\u00a0 Rome, Fondo Corsini, Vol. 26 M 22, no. 30791 (Massari, 1989, 50, no. 14, 51, Fig.), and no. 30792.\u00a0 Vienna, H.B.X.3, p.19, no. 541 (inscribed in ink at bottom center: P. Mariette 1688<\/em>).<\/p>\n

LITERATURE: The literature on this engraving is largely the same as that on Rosso\u2019s drawing that served as the disegno di stampa<\/em> (D.1<\/a>).\u00a0 Additional literature is inserted in the following discussion.<\/p>\n

From the inscription, Agostino Veneziano has always been recognized as the engraver of this print, but its design was ascribed to Baccio Bandinelli by Bartsch, Passavant, and by Nagler, X, 1841, 71, no. 111, Renouvier, 1854, 12, and Le Blanc, 1854\/1888-1890, III, 77, no. 157.\u00a0 This attribution is dependent on two passages in Vasari; one in the \u201cLife\u201d of Bandinelli (1568, III, 426; Vasari-Milanesi, VI, 140, and n. 1, where Milanesi gives the traditional title of the print, The Skeletons<\/em>): \u201cAgostino Vineziano intagliatore di stampe gl\u2019intagliasse una Cleopatra ignuda, e un\u2019altra carta maggiore plena d\u2019anatomie diverse, la quale le gli acquist\u00f2 molta lode;\u201d the other in Vasari\u2019s passage on Agostino (1568, II, 302; Vasari-Milanesi, V, 416): \u201cAgostino [Veneziano] fu trattenuto da Baccio Bandinelli scultore Fiorentino, che gli fece intagliore col suo disegno una notomia, che havea fatta d\u2019ignudi secchi, e d\u2019ossame di morti: e appresso una Cleopatra…\u201d\u00a0 The Cleopatra<\/em> by Agostino is dated 1515 (Bartsch, XIV, 1813, 158, 193).\u00a0 However, already in 1890 Ferri published the drawing in the Uffizi, clearly the model for the print, as Rosso\u2019s, as did Berenson in 1903, Ferri in 1917, Kusenberg in 1931, and De Witt in 1938, p.70.\u00a0 Kusenberg, 1931, 183, n. 28, and Becherucci, 1944, 26 (1949, 26), commented that the drawing was formerly attributed to Bandinelli, but at least since 1890, when Ferri published it, it has been always recognized as Rosso\u2019s, except recently (1994) by Franklin, who would associate it with Bandinelli.\u00a0 However, in 1890 and in the same publication (p.31), Ferri published the pen and ink copy of this drawing, Uffizi 14669F (see below), as by Bandinelli and stated that it was the model for Agostino Veneziano\u2019s print.\u00a0 In 1917, Ferri (under no. 14) recognized the copy again as by Bandinelli but now as the model for Marco Dente\u2019s engraving, while Rosso\u2019s drawing was designated correctly as the model for Agostino\u2019s print.\u00a0 Petrucci, 1964, 29, 31, 33, as done in Rome after a design now attributed to Rosso.\u00a0 Ciardi Dupr\u00e9, 1966, 153-154, believes that there may have been another drawing actually by Bandinelli showing what Vasari describes and a print made from it by Agostino Veneziano that is also lost.\u00a0 This is possible but seems unlikely.\u00a0 It is more reasonable to believe that Vasari, who mentions that Bandinelli employed Agostino and engraved his Cleopatra<\/em>, dated 1515, simply erred in giving the design of the Disputation<\/em> of 1518 to Bandinelli.\u00a0 Campbell, in RISD, 1973, 107, Fig. 108, no. 118 (New Haven).\u00a0 Borea, 1980, 247, no. 608 and under no. 609, 245, Fig. (Florence), as after Rosso\u2019s drawing but with a discussion of the attribution to Bandinelli.\u00a0 Dacos, 1984, 353, 361, n. 45.\u00a0 Carroll, 1987, 9, 11, 17, 19, 21, 24, 37, 38, 39, 54-58, no. 2, with Fig. (London).\u00a0 Carroll, 1989, 7-8, 10, 12, Fig. 2 (London).\u00a0 Massari, 1989, 50-52, no. 14, Fig. a (Rome, Fondo Corsini), as after Rosso.\u00a0 Brilli, 1994, 12, Fig. (Uffizi), as after Rosso.\u00a0 Costamagna, 1994, 33, 36, as after Rosso.<\/p>\n

On the relatively minor changes and additions in Agostino\u2019s print when compared with Rosso\u2019s drawing, see D.1<\/a>.\u00a0 The very finished character of the drawing almost certainly indicates that it was made as a model for the print.<\/p>\n

While Rosso\u2019s drawing bears the date 1517, the print is inscribed 1518.\u00a0 Agostino appears to have been in Florence in 1515 and part of 1516 and then in the latter year went to Rome.\u00a0 Rosso went to Rome early in 1524; there is no recorded earlier trip by him there.\u00a0 It is most likely that the drawing was made especially for Agostino Veneziano.\u00a0 Rosso could have met him in Florence on an unrecorded trip and the print could have been made there in 1517 and 1518, or the drawing could have been sent to Agostino in Rome on the suggestion and recommendation of Bandinelli.\u00a0 It would then have been sent to Rome. \u00a0Nothing in Rosso\u2019s art seems to indicate that he was in Rome prior to his documented sojourn there.<\/p>\n

Wardropper, 1985, viii, 56-57, Fig. 55, captioned his illustration as of the 1520s.\u00a0 Davis\u2019s belief (1988, 12, 80-81, Fig. 22a, London, under no. 22) that the date on the print is related to Rosso\u2019s invention while the print was actually made between 1524 and 1527 seems to me ill founded.\u00a0 He gave no evidence for the use of a date for the same reason on any other print, nor did he account, in the light of this meaning of the date, for the absence of Rosso\u2019s name on the engraving.\u00a0 Davis said that, executed in 1518, the engraving \u201cwould seem anomalous as the only print from Rosso\u2019s Florentine period.\u201d\u00a0 But this was no more of an anomaly in Rosso\u2019s case than it was in Sarto\u2019s or Michelangelo\u2019s with regard to the prints that Agostino Veneziano made from their compositions.\u00a0 Karpinski, 1988, 172, 173, as large compared to Roman prints but average compared to Florentine; as possibly made in Florence in collaboration with Rosso; and as resembling a niello.\u00a0 Kornell, 1989, 845, Figs. 55, 57, 846-847, recognized the use of the standing figure at the far left and the head of the hermaphroditic figure to the left of the winged skeleton for the Marasmic man <\/em>in Berangario\u2019s Commentaria<\/em> of 1521.\u00a0 Ciardi, 1994, 55, 95, n. 114, as the frontispiece to a book on anatomy even if it is also an allegory.\u00a0 Landau, in Landau and Parshall, 1994, 159-160, 161, Fig. 170 (London), agreed with Karpinski that the print was made in Florence, and supervised by Rosso.<\/p>\n

For another engraved version of the Disputation<\/em> by Marco Dente, see E.51<\/a>.<\/p>\n

COPIES, DRAWINGS: Berlin, Kupferstichkabinett, Inv. 2000-1902-5222.\u00a0 Old bearded male saint with a crutch under his left arm and his right hand on his head, set within the right end of a frame <\/em>(Fig.E.109, Copy, Berlin<\/a>).\u00a0 Point of brush, dark grey wash and white heightening over traces of black chalk (or silver point), on grey prepared paper, 22.2 x 12.4.\u00a0 Two unclear inscriptions in ink and pencil in the lower right corner.\u00a0 PROVENANCE: A. von Beckerath Collection.\u00a0 LITERATURE: Franklin, 1988, 326, no. 2.\u00a0 Attributed to the School of Milan, fifteenth century, the drawing copies, with some changes to turn him into a saint, perhaps St. Onofrius as suggested in the Berlin drawing room, the figure wearing such a garment of woven fronds at the right in Agostino Veneziano\u2019s engraving of 1518.\u00a0 This woven garment does not appear in Rosso\u2019s drawing nor in Marco Dente\u2019s print. \u00a0The halo, the garment of woven palm fronds and the crutch identify the figure as St. Paul the Hermit. \u00a0In paintings around this time, St. Onofrius’s garment is composed of leaves that cover only the abdomen of the saint.<\/p>\n

Oxford, Ashmolean, A 11.\u00a0 Pen and brown ink, 28.5 x. 43.8.\u00a0 LITERATURE: Macandrew, 1980, 199, A 11.<\/p>\n

Formerly Paris, Andr\u00e9 de Hevesy Collection.\u00a0 Red chalk, 24.5 x 22.6.\u00a0 LITERATURE: Kusenberg, 1931, 149, no. 11, as a partial copy of Agostino Veneziano\u2019s engraving or Marco Dente\u2019s print.\u00a0 De Hevesy attributed the drawing to Jean Cousin.<\/p>\n","protected":false},"excerpt":{"rendered":"

Engraving by Agostino Veneziano, 31.7 x 50.7 S at L (Paris).\u00a0 Inscribed on the stone at the left: \u2022AVGVSTINVS\u2022 \/ \u2022VENETVS \u2022 DE \/ \u2022MVSIS\u2022 \/ FACIEBAT\u2022 \/ 1518\u2022_\/ \u2022A\u2022V\u2022. Fig.E.109a (London, bw from photo) Fig.E.109b (London, color from BM website) Heinecken, I, 1778, 628, 648, II, 1788, 95, as \u201cThe Cemetery,\u201d or \u201cThe Memory […]<\/p>\n","protected":false},"author":13,"featured_media":0,"parent":824,"menu_order":124,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-4269","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/4269","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=4269"}],"version-history":[{"count":19,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/4269\/revisions"}],"predecessor-version":[{"id":9639,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/4269\/revisions\/9639"}],"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=4269"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}