{"id":4316,"date":"2012-04-05T16:20:00","date_gmt":"2012-04-05T20:20:00","guid":{"rendered":"http:\/\/blogs.vassar.edu\/rosso\/?page_id=4316"},"modified":"2014-06-09T17:19:44","modified_gmt":"2014-06-09T21:19:44","slug":"e-130-anonymous-mars-and-venus","status":"publish","type":"page","link":"https:\/\/pages.vassar.edu\/rosso\/catalogues\/engravings\/e-130-anonymous-mars-and-venus\/","title":{"rendered":"E.130 Mars and Venus"},"content":{"rendered":"
\"\"<\/a>

E.130 Anonymous, Mars and Venus, I<\/p><\/div>\n

Engraving, Anonymous, possibly Jacob Bink?, 42.5 x 34 P (Boston), 41.3 x 33.3 L (Oxford).<\/p>\n

Two states:<\/p>\n

I.\u00a0 Inscribed in the upper left corner with the monogram: I-C-B<\/em>.\u00a0 At the lower left there may also be another very small inscription, possibly the number 13 or 15.1<\/sup><\/a><\/p>\n

II.\u00a0 The monogram has been rubbed from the plate and the area gone over with cross-hatching, but faint traces of the monogram can be seen, sometimes very clearly, sometimes faintly.<\/p>\n

Fig.E.130, I<\/a> (Paris, Ba 12)<\/p>\n

Fig.E.130, I detai<\/a>l (monogram)<\/p>\n

Fig.E.130, II <\/a>(Paris, Ed 8b R\u00e9s.)<\/p>\n

Fig.E.130, II detail<\/a> (monogram scratched out)<\/p>\n

Bartsch, V, 1813, 87-88, 51, as Caraglio after Rosso.\u00a0 Le Blanc, 1854-1890, I, 589, 56, as Caraglio after Rosso.\u00a0 Destailleur, 1895, 280, no. 48, and 283, nos. 192-193, all wrongly as B.52, the latter two as \u201cgrav\u00e9 par Desp\u00e8ches?<\/em>\u201d.\u00a0 Herbet, III, 1899, 48 (1969, 136), as Caraglio after Rosso and mentions that Rosso\u2019s original drawing is in the Louvre.<\/p>\n

COLLECTIONS (all II except Paris, Ba 12): Berlin, 212-18.\u00a0 Boston, 59.397.\u00a0 Florence, 2861ss.\u00a0 London, 1871-8-12-24.\u00a0 London, Kate Ganz Ltd., Anthony Roth (BM<\/em>, 126, October, 1984, vi, Fig.; London, sale, Sotheby\u2019s, Dec. 9, 1982, lot 562).\u00a0 Lyons, exhibited (private coll., Dunand, 1973, no. 1, Fig. 1).\u00a0 New York, 49.97.248.\u00a0 Oxford.\u00a0 Paris, Ba 12 (I, very slightly cut on all sides); II, Ed 8b R\u00e9s., Vol. II, no. 83.\u00a0 Poughkeepsie, 82.19 (from Hill-Stone, Inc., New York, Cat. no. 7, 1982, no. 5, Fig.).\u00a0 Vienna, It.I.25, p.41 (inscribed below: Primaticcio Rosso Ren\u00e9 Boyvin<\/em>).<\/p>\n

LITERATURE:<\/p>\n

Vasari, 1550, 803 (Vasari-Ricci, IV, 250), states that Rosso \u201carriv\u00f2 a Vinegia, dove da M. Pietro Aretino trattenuto, gli disegn\u00f2 una Carta, che si stampa, quando Marte dorme con Venere, e gli Amori e le Grazie lo spogliano, e gli traggono la corazza.\u201d<\/p>\n

Vasari, 1568, II, 209-210 (Vasari-Milanesi, V, 167), says that Rosso \u201csen\u2019ando \u00e0 Vinetia.\u00a0 Dove essendo da Messer Pietro Aretino trattenuto, gli disegno in una carta, che poi fu stampata, un Marte, che dorme con Venere, e gl\u2019Amori, e le grazie che lo spogliano, e gli traggono la corazza.\u201d<\/p>\n

Vasari-Bottari, II, 1759, 300, n. 1, as after Rosso\u2019s drawing.<\/p>\n

Serie degli uomini<\/em>, Florence, 1772, 201, n. 2, as by Caraglio.<\/p>\n

Renouvier, II, 1854, 35, as by Caraglio after a drawing made for Pietro Aretino.<\/p>\n

Mariette, Ab\u00e9c\u00e9dario<\/em>, 1858-1859, 21, as Caraglio after Rosso, there existing a very faithful copy by Jacob Bink with his monogram in the background.<\/p>\n

Goldschmidt, 1911, 24, as Caraglio after Rosso.<\/p>\n

Voss, 1920, 187-188, as Caraglio after Rosso, and as done during the latter\u2019s stay in Rome.<\/p>\n

Kauffmann, 1923, 194, Fig. 5, as Caraglio.<\/p>\n

Antal, 1928-1929 (1966, 55f., n. 3, 56).<\/p>\n

Kusenberg, 1931, 38-39, 102, 106, 160, 163, Pl. XXVIII, as Caraglio after Rosso, and dismisses Mariette\u2019s identification of the monogram as Jacob Bink\u2019s on a copy of Caraglio\u2019s print and believes the monogram is Caraglio\u2019s.<\/p>\n

De Witt, 1938, 67, no. 2861, under Master L.D.<\/p>\n

Becherucci, 1944 (1949, 31), as Caraglio after Rosso\u2019s drawing made for Aretino.<\/p>\n

Barocchi, 1950, 78, 128, as Caraglio.<\/p>\n

Panofsky, 1958, 143, 150, Fig. 36, 157-158, 172, n. 72, 176, n. 110, as Caraglio.<\/p>\n

Carroll, 1964 (1976), II, Bk. II, 329, 331, 334, n. 5, 336-337, ns. 8 and 10, under D. 34, Bk. III, Fig. 96, as probably by one of the engravers of the School of Fontainebleau.<\/p>\n

School of Fontainebleau<\/em>, Fort Worth, 1965, 9, Fig. (New York), 47-48.<\/p>\n

Carroll, 1966, 169-170, n. 16, as by Boyvin or someone in his circle, after Rosso.<\/p>\n

Oberhuber, 1966, 176-177, no. 297 (Vienna), as Caraglio.<\/p>\n

Shearman, 1967, 195, n. 34, as engraved in France after Rosso\u2019s drawing in the Louvre.<\/p>\n

Berckenhagen, 1968, 13, n. 20, as Caraglio.<\/p>\n

Fagiolo dell\u2019Arco, 1970, Fig. 175, 497.<\/p>\n

Thirion, 1971, 41, Fig. 30 (Paris, Ba 12), as Bink after Rosso, 42 and n. 64.<\/p>\n

Cox-Rearick, 1972, 37, no. 43, as engraved in France before around 1545, when the first edition of Vasari\u2019s Lives<\/em> was completed.<\/p>\n

B\u00e9guin, in EdF<\/em>, 1972, 181, under no. 204, as possibly by Boyvin or his shop.<\/p>\n

Zerner, \u201cCaraglio,\u201d 1972, 694, n. 14, as executed by Caraglio in Venice in 1529-1530.<\/p>\n

Miles, 1973, 32, engraving probably misascribed to Caraglio.<\/p>\n

Borroni and Kozakiewicz, 1976, 616-617, as by Caraglio.<\/p>\n

Borea, 1980, 252, no. 636 (Vienna), as anonymous after Rosso.<\/p>\n

Marianne Grivel, in Ronsard<\/em>, 1985, 75, under no. 82, as by Boyvin or his shop.<\/p>\n

Carroll, 1987, 9, 37, 42, 176-179, no. 58, with Fig. (Paris, Ba 12, p.58, I), as very probably by Bink, in France, in 1530.<\/p>\n

E. Hevers, in Zauber der Medusa<\/em>, 1987, 156, under no. I, 28, as attributed to Caraglio and to Boyvin.<\/p>\n

Boorsch, 1988, 6, Fig. 1 (New York), 7, 8, did not accept my attribution to Bink and thought the technique of the engraving was almost identical to Milan\u2019s The Three Fates, Nude<\/em> and hence she suggests Milan as a far better bet as the engraver than Bink.<\/p>\n

McCrory, 1988, 415, 416, Fig. 20 (New York), as attributed to Caraglio or to Bink.<\/p>\n

Karpinski, 1988, 172, as Bink.<\/p>\n

Carroll, 1989, 18-19, Fig. 36 (wrongly numbered 35; Paris, State I), as by Jacob Bink?<\/p>\n

Ciardi, 1994, 53, Fig. (Paris, I).<\/p>\n

Boorsch, in French Renaissance<\/em>, 1994, 81, as quite possibly by Milan, who seems almost certainly to have had contact with Rosso in Paris in the 1530s.<\/p>\n

Zerner, in French Renaissance<\/em>, 1994, 26-27, as by Milan.<\/p>\n

Acton, in French Renaissance<\/em>, 1994, 303-307, no. 73, Fig. (Paris, Ba 12, State I), as one of Milan\u2019s earlier prints, done in the early 1530s; notes Jacob Bink\u2019s monogram at the upper left (in State I) but also that impressions he has seen [that would be of other States] seem all to be printed on French paper, hence it seems that another craftsman or publisher appropriated the monogram.<\/p>\n

Carroll, 1995, 303, the monogram on the single impression of State I not used by Milan or Boyvin and should stand as prime evidence of the identity of the engraver.<\/p><\/blockquote>\n

This engraving is based on Rosso\u2019s drawing of 1530 in the Louvre (Fig.D.42a<\/a>), which is of the same size and direction as the print.\u00a0 For the differences between the two, see the catalogue entry of the drawing.<\/p>\n

At least since 1772 and, according to Kusenberg, going back to Mariette, the print has been attributed to Caraglio, probably because it was linked to the engravings that Caraglio had made after Rosso\u2019s drawings in Rome between 1524 and 1527.\u00a0 The history of the drawing would seem to indicate that in 1530 it was sent from Venice to France, very likely preceding Rosso\u2019s arrival there.\u00a0 Hence, if the print was engraved by Caraglio, it would have to have been made in 1530, and probably in Venice.\u00a0 Caraglio may have been in Venice at this time (see Zerner, \u201cCaraglio,\u201d 1972, 694, and n. 14).\u00a0 It seems strange that Vasari, who mentions all of Caraglio\u2019s other prints after Rosso, did not indicate him as the engraver of the Mars and Venus<\/em>.\u00a0 He only says, when writing of the drawing, in 1550, \u201cche si stampa,\u201d and in 1568, \u201cche poi fu stampata.\u201d<\/p>\n

One detail of the print itself could indicate that Caraglio is not its engraver.\u00a0 At the top of the drawing a line marks the top of the scene; parts of the putti and their flowers extend upward over this line, while other small details stop as if they have passed behind a strip of which this line is the lower edge.\u00a0 This line has been eliminated in the print and the area of the scene has been extended upward.\u00a0 Flowers have been added, as well as one wing and slightly more of the arc of the Zodiac.\u00a0 The kind of illusion that Rosso presents in the drawing would have been understandable to Caraglio, as similar illusions appear in some of the Hercules<\/em> prints that he engraved after Rosso\u2019s drawings.\u00a0 Therefore, it might be asked why, if by Caraglio, he did not copy this illusion in the Mars and Venus<\/em> print.<\/p>\n

The technique of the print does resemble Caraglio\u2019s manner of engraving.\u00a0 But the monogram on the print composed of the initials I C B does not appear on any engraving certainly known to be by Caraglio.\u00a0 Mariette thought that this monograph signified a copy of Caraglio\u2019s original print made by the engraver whose prints bear this monogram: Jacob Bink, the monogram standing for Jacobus Binck Coloniensis, to indicate his place of birth, Cologne.\u00a0 There is, however, no such copy, but only the original print, most impressions of which have this monogram effaced.\u00a0 Kusenberg recognized this but refused to believe that Bink was the engraver.\u00a0 For Kusenberg the monogram stood for Jacopo Caraglio, with the B yet to be explained.<\/p>\n

Because it seemed unlikely that a print after an allegorical drawing sent as a flattering gift to Francis I would be engraved before he received it, I had thought that the print was executed in France by Boyvin or by someone in his shop.\u00a0 But the monogram cannot be shown to be his.\u00a0 Furthermore, there is no evidence that Boyvin was an engraver before the 1550s (on 14 November 1549 he contracted to work two years for Milan in Paris).\u00a0 But the print must date before that time because it is mentioned in the first edition of Vasari\u2019s Lives<\/em>.\u00a0 Vasari\u2019s manuscript seems to have been completed several years earlier, suggesting that the print could have been done at any time between mid- or late 1530 and the mid-1540s.\u00a0 As the drawing was in France and the print appears to be based specifically on it, it is logical to conclude that the engraving was made there.\u00a0 Although Boorsch, Zerner, and Acton give the print to Milan, the engraving technique does not seem to me to resemble his much more precisely sculptural manner of engraving.\u00a0 Milan seems to have been active in Paris already in the 1530s, although how much before the time of the first notice of him in August 1540 is not known to support Acton\u2019s dating of the print as Milan\u2019s to the early 1530s.\u00a0 In any case, there would have been no reason for Milan to use at any time the monogram that appears on State I of the Mars and Venus<\/em>.<\/p>\n

Given the monogram on this print, it is necessary to take seriously Mariette\u2019s suggestion that it identifies the engraver as Jacob Bink.2<\/sup><\/a>\u00a0 At first this might seem unlikely, until it is remembered that Bink made copies of all of Caraglio\u2019s twenty Gods in Niches<\/em> after Rosso in 1530 (E.6, 1 – 20).\u00a0 These prints very carefully imitate Caraglio\u2019s manner of engraving but with a degree of preciseness and regularity of cutting that distinguish them from their Italian models.\u00a0 As a result, the Bink copies have a sheen that replaces the greater variety of lights and darks found in Caraglio\u2019s engravings.\u00a0 The Mars and Venus<\/em> is engraved in what appears to be an identical manner and very good impressions, such as the one in Paris of State I and another in Florence of State II, have a kind of glossy surface very much like that of Bink\u2019s Gods in Niches<\/em>.\u00a0 It is very likely that the copies of Caraglio\u2019s Labors of Hercules<\/em> after Rosso (E.113, 1 – 6), which are engraved in a manner very much like that of Bink\u2019s Gods in Niches<\/em>, are also by that printmaker, although they bear neither his name nor monogram.<\/p>\n

But transformed as Bink\u2019s copies of Caraglio\u2019s Gods in Niches<\/em> are, they show a certain individuality in their technical virtuosity that is different from Milan\u2019s more continually precise manner.\u00a0 Boorsch thought the style of the engraving of the Mars and Venus<\/em> almost identical to Milan\u2019s in his Three Fates, Nude<\/em> after Rosso (E.105<\/a>).\u00a0 But to my eyes the engraving of the Mars and Venus<\/em> shows greater variety and certain graphic patterns as well that do not appear in the Three Fates, Nude<\/em>.\u00a0 I would point out the curving lines that define the breasts of the Graces in the Mars and Venus<\/em> that do not appear in the other print by Milan.<\/p>\n

Bink was a very imitative engraver and many of his prints are copies after Northern prints.\u00a0 He also copied Marcantonio\u2019s Massacre of the Innocents sans le chicot<\/em> (Bartsch, VIII, 1808, 265, 11) in a manner that is remarkably similar to the original.\u00a0 Of course, in his copies after Marcantonio and Caraglio he had engraved models to follow, while the engraver of the Mars and Venus<\/em> had to work from Rosso\u2019s drawing, which, as its technique shows, was not made as a disegno di stampa<\/em>.\u00a0 The experience of copying Caraglio\u2019s Gods in Niches<\/em> and possibly also his Labors of Hercules<\/em> could have given Bink the training to engrave the Mars and Venus<\/em> drawing in a sympathetic manner.<\/p>\n

We do not know where Bink made his copies of 1530 after Caraglio\u2019s Gods in Niches<\/em>.\u00a0 But it is almost imperative that we recognize that the engraving of the Mars and Venus<\/em> was made in France.\u00a0 According to Pauli (Thieme-Becker, IV, 1910, 36-37), Bink seems to have been active in the Netherlands in the 1520s. \u00a0In 1529 he engraved the portrait of the Brussels painter Lucas Gassel (Bartsch, VIII, 1808, 295, 93).\u00a0 In 1525 he did the portraits of the King and Queen of Denmark (Bartsch, VIII, 294-295, 91-92).\u00a0 The following year he engraved the portraits of the King and Queen of France (Bartsch, VIII, 293, 89-90).\u00a0 At the beginning of the 1530s he became court artist in Copenhagen.\u00a0 In 1542 he was in Sweden, and from 1543 to 1548 in Konigsberg.\u00a0 No documents or inscriptions actually place Bink at any time in France. \u00a0But his portraits of Francis I and his wife of 1526 may well indicate that he was there.\u00a0 Other portraits by him, as well as the events of his career, indicate his desire to find patronage at European royal courts such that he may well have attempted to gain the support of Francis I.\u00a0 It is possible that Bink was there in 1530 when Rosso\u2019s Mars and Venus<\/em> arrived, perhaps accompanied by other evidence of Rosso\u2019s work in the form of Caraglio\u2019s prints after his designs.\u00a0 In anticipation of Rosso\u2019s arrival, and with the hope of gaining a position with him comparable to Caraglio\u2019s, Bink may have made the copies of the Gods in Niches<\/em> in 1530, and perhaps also the copies of the Labors of Hercules<\/em>.\u00a0 He may then also have made his engraving of Rosso\u2019s Mars and Venus<\/em>,imitating as closely as possible the manner he thought Caraglio would have used, but not understanding, as Caraglio would have, the arrangement at the very top of the drawing.\u00a0 Or Bink could have made all these engravings immediately after Rosso arrived in the autumn of 1530, and perhaps with Rosso\u2019s approval.\u00a0 But one might also conjecture that Rosso did not like the print of the Mars and Venus<\/em> because it did not quite match the subtlety of the chiaroscuro of the drawing or take account of the composition of the upper part of it.\u00a0 In any case Bink, did not have a longer career in France, and his monogram was removed from the plate, which one might assume was left behind in France when Bink departed.\u00a0 Only one impression with the monogram is known, and it is in Paris (Ba 12) where it may have been made.<\/p>\n

The watermark of the impression in Poughkeepsie shows a jug with one handle holding a flower, as in Briquet 12517, 12519-12526, 12528, 12612-12640, 12863-12866, most of which are French and German with a few Belgian and Dutch.\u00a0 None are Italian. \u00a0The impression exhibited in Lyons in 1973 is recorded as having a watermark showing an escutcheon surmounted by a flower.\u00a0 The Ganz-Roth impression shows a small shield and flower (see The Print Collector\u2019s Newsletter<\/em>, XIV, 1, March-April, 1983, 32).\u00a0 In spite of the different descriptions, these would seem to be the same watermark as that of the Poughkeepsie impression.\u00a0 This strongly suggests that the Mars and Venus<\/em> print was not engraved and printed in Italy.<\/p>\n

Unless it can be shown that the monogram on the print refers to someone else who was in France between 1530 and the mid-1540s, it is reasonable to suppose that Bink is the author of this engraving.\u00a0 A date for it in 1530 or only shortly thereafter would then be possible.<\/p>\n

COPIES, PRINTS. E.131.\u00a0 Large reversed copy.\u00a0 Engraving, 42 (including lower margin of 0.7) x 33.4 S (Vienna, It.I.25).<\/p>\n

Three states:<\/p>\n

I.\u00a0 Inscribed in margin below, at left: Typis Antonij laferi<\/em>, at right: Romae MDLXXV<\/em>.<\/p>\n

II.\u00a0 Inscribed as in State I but in the bottom center added: Petri de Nobilibus<\/em>.<\/p>\n

III.\u00a0 Inscribed as in State II but added right of bottom center: a Paulo Gratiano quesita<\/em>.<\/p>\n

Fig.E.131<\/a> (London, State I)<\/p>\n

Bartsch, XV, 1813, 87-88, under no. 51 (III, with a reversed reading of the center inscription).\u00a0 Le Blanc, 1854-1890, I, 589, under 56.\u00a0 Herbet, III, 1899, 48 (1969, 136).\u00a0 COLLECTIONS: Berlin, 236-18; 224-18.\u00a0 Bologna, Inv. C. 663 (445).\u00a0 Chatsworth, Vol. 2, p.80 (149), no. 140.\u00a0 London, 1871-8-12-761 (I).\u00a0 Oxford, Christ Church, Vol. N13.\u00a0 Paris, Ba 12 (II); Eb 6b R\u00e9s. (III).\u00a0 Rome, Vol. 26 M 30, no. 05880 (III).\u00a0 Vienna, It.I.25, p.2 (I); H.B.IV, p.97 (III).\u00a0 LITERATURE: Kusenberg, 1931, 167.\u00a0 Adh\u00e9mar, 1954, 312.\u00a0 Thirion, 1971, 42-43.\u00a0 Ferrara and Gaeta Bertel\u00e0, 1975, no. 164, with Fig. (Bologna).\u00a0 Borroni and Kozakiewicz, 1976, 617.\u00a0 Borea, 1980, 252, under no. 636.\u00a0 Carroll, 1987, 179, n. 5, under no. 58.<\/p>\n

This is a finely engraved copy of the original print of the same size but in reverse, with the drawing very awkward.<\/p>\n

E.132.\u00a0 Small reversed copy.\u00a0 Etching, 21.2 x 16.7 L (Paris, Ed 8b R\u00e9s.).\u00a0 Herbet, III, 1899, 48 (1969, 136).\u00a0 Herbet, IV, 1900, 309 (1969, 159), mentioned that this print has been attributed to Du Cerceau, and gives its measurements: 210 x 170 mm.\u00a0 COLLECTIONS: Paris, Ba 12; Eb 6b R\u00e9s.; Ed 8b R\u00e9s., Vol. II, no. 82.\u00a0 LITERATURE: Kusenberg, 1931, 168, as Du Cerceau?\u00a0 Adh\u00e9mar, 1954, 312 and n. 7.\u00a0 Thirion, 1971, 41-42.\u00a0 Borea, 1980, 252, under no. 636.\u00a0 Carroll, 1987, 179, n. 5, under no. 58.<\/p>\n

Possible second small copy: Adh\u00e9mar, 1954, 312, states that there may be a second small copy of the original print.\u00a0 Thirion, 1971, 42, says there is a second small copy.\u00a0 I have been unable to locate an impression of this second small copy.\u00a0 Boorsch, 1988, 6, mentioned an engraved reversed copy in New York, measuring 21 x 16.6, perhaps (Fig.E.130, Second small copy<\/a>).\u00a0 Berckenhagen, 1968, 13, no. 20, mentions a copy by \u00c9tienne Delaune.\u00a0 He may mean Robert-Dumesnil, IX, 1865, 40, 95, which I have not seen.\u00a0 But the description of this print by Delaune (see also Linzeler, 1932, 236, no. 102) does not sound like a copy of Rosso\u2019s composition.<\/p>\n

PARTIAL COPY, PRINT: Agostino Carracci, attributed to, MALE NUDE SEEN FROM THE FRONT AND A FEMALE NUDE SEEN FROM THE SIDE DERIVED FROM THE ENGRAVING OF ROSSO\u2019S MARS AND VENUS<\/em>.\u00a0 Etching, 16.9 x 11.8 S (New York).\u00a0 Bartsch, XVIII, 168, 72.\u00a0 COLLECTIONS: New York, Vol. 47.79.1, p.103, upper right (no. 2).\u00a0 Paris.\u00a0 LITERATURE: Bohlin, IB<\/em>, 39, 1980, 365 (Paris).<\/p>\n

These two figures, depicted as statues with their legs broken off, are derived from the figures of Mars and the Grace at the left in the engraving (E.130) of Rosso\u2019s Mars and Venus<\/em>.\u00a0 The etched figures are reversed, the head of Mars is sketchily indicated, and his loins are covered with drapery.<\/p>\n

Although the print was catalogued by Bartsch under Agostino Carracci, he indicates that it was etched only under his guidance by Francesco Bricci.<\/p>\n

COPIES, DRAWINGS: Formerly Amsterdam, Paul Cassirer and Co.\u00a0 Pen and brown wash.\u00a0 LITERATURE: Kusenberg, 1931, 148, no. 4, as a copy after the original print, and as possibly by a German artist.\u00a0 Adh\u00e9mar, 1954, 312, mentioned.<\/p>\n

Berlin, Kunstbibliothek, no. 3392 (Fig.E.130, Copy, Berlin<\/a>).\u00a0 Pen and brown and blue inks and blue wash, 13.4 x 10.6.\u00a0 Stamped, the number in ink, in the lower right corner: F.H.No<\/sup>.161<\/em>.\u00a0 PROVENANCE: Flury-H\u00e9rard (Lugt 1015); Marquis C. de Vallori (Lugt 2500); Destailleur, no. 107.\u00a0 LITERATURE: Berckenhagen, 1968, 13.\u00a0 Berckenhagen, 1970, 10, with Fig., as after the original print.\u00a0 E. Hevers, in Zauber der Medusa<\/em>, 1987, 155-156, no. I, 28, and Fig., as a copy of Rosso\u2019s composition.<\/p>\n

Paris, Biblioth\u00e8que Nationale, B.5 R\u00e9s., Dessins de l\u2019\u00c9cole de Fontainebleau, Vol. I, no. 7 (Fig.E.130, Copy, Paris, BN<\/a>).\u00a0 Pen and ink, 37 x 27.1.\u00a0 LITERATURE: Kusenberg, 1931, 148, no. 8, as a copy after the original print in the manner of Woerriot.\u00a0 Adh\u00e9mar, 1954, 312, mentioned.\u00a0 Thirion, 1971, 42, n. 61.<\/p>\n

A very detailed seventeenth century drawing imitating the technique of the original engraving.<\/p>\n

Paris, Louvre, Inv. 1584 (Fig.E.130, Copy, Paris<\/a>).\u00a0 Pen and ink and brown wash, 44 x 34.\u00a0 Inscribed in ink at the lower left: Rosso<\/em>.\u00a0 PROVENANCE: Saint-Morys.\u00a0 LITERATURE: Saint-Morys, 1987, II, inv. no. 1584, giving Saint-Morys\u2019s attribution to Rosso as well as Morel d\u2019Arleux\u2019s (511). \u00a0Scailli\u00e9rez, 1992, 119, n. 3, under no. 49, as a reversed copy of Rosso\u2019s drawing in the Louvre.<\/p>\n

A French sixteenth century drawing derived from the original print, not Rosso\u2019s drawing (Fig.D.42a<\/a>), but with the figures rearranged and some reversed, and the background altered.<\/p>\n

Madrid, Real Academia de Bellas Artes de San Fernando, no. 263 (Fig.E.130, Copy, Madrid<\/a>).\u00a0 Pen and ink and wash, 33.1 x 42.\u00a0 Inscribed in the lower right corner: Rosso<\/em>; another inscription in the lower left corner.\u00a0 LITERATURE: Cat\u00e1logo de la Sala de Dibujos de la Real Academia de Bellas Artes de San Fernando<\/em>, Madrid, 1941, 84, no. 263, as Rosso.<\/p>\n

An accurate though somewhat roughly executed copy of the original print, of the sixteenth or possibly early seventeenth century.<\/p>\n

COPIES, PAINTINGS: Montargis (Loiret), Mus\u00e9e Girodet, no. 864-2-2 (Fig.E.130, Copy, Montargis<\/a>).\u00a0 Oil on panel, 94 x 124.\u00a0 PROVENANCE: Given to the museum in 1864 by Madame Bouhebent, probably the widow of a South France painter, according to Adh\u00e9mar.\u00a0 LITERATURE: Catalogue of 1874, 39, no. 128, as by Primaticcio.\u00a0 Catalogue of 1885, no. 134, as the School of Giulio Romano.\u00a0 Catalogue of 1937, no. 171, as by Giulio Romano.\u00a0 Adh\u00e9mar, 1954, 312, and n. 8.\u00a0 B\u00e9guin, 1960, 37, 139, n. 20, as probably done by the same hand as a Mars, Venus, and Cupid<\/em> on the art market (Tableaux de ma\u00eetres anciens<\/em>, Paris, Galerie Heim, 1958, no. 3, attributed to Fr\u00e9minet [?]).\u00a0 Thirion, 1971, 41, Fig. 29, 42, and n. 62, as School of Fontainebleau, perhaps around 1600.<\/p>\n

A sixteenth or early seventeenth century French painting derived rather faithfully from the lower two-thirds of the original engraving with a few passages of drapery added in appropriate places.\u00a0 The musculature of Mars is specifically based on that in the print but his face appears almost to be a portrait.\u00a0 On the possibility that this work was once identified as by Rosso himself, see D.42, n. 3.<\/p>\n

Formerly? Dowdeswell (Edinburgh), Arthur Kay Collection (Fig.E.130, Copy, Dowdeswell<\/a>).\u00a0 Oil, bistre, and gold grisaille on panel, set in a painted frame with herms and strapwork, 80.2 x 70.\u00a0 LITERATURE: Kusenberg, 1931, 209, n. 319.\u00a0 Thirion, 1971, 42.<\/p>\n

A sixteenth century and possibly French painting based specifically on the original print.\u00a0 See D.42, n. \u00a03,\u00a0<\/span>on the possibility that this work was once identified as Rosso\u2019s.<\/p>\n

COPY, RELIEF: \u00c9couen, Ch\u00e2teau, Mus\u00e9e national de la Renaissance; formerly Paris, Mus\u00e9e Cluny, no. B. 754 (Fig.E.130, Copy, \u00c9couen<\/a>).\u00a0 Carved door panel of a wardrobe.\u00a0 Walnut, 57 x 45.\u00a0 LITERATURE: E. Haraucourt, F. Montr\u00e9my, and E. Maillard, Catalogue des bois sculpt\u00e9s et meubles…du mus\u00e9e de Cluny<\/em>, Paris, 1925, no. 754.\u00a0 Kusenberg, 1931, 120, 210, n. 335.\u00a0 Thirion, 1971, 41, Fig. 31, 42-43, suggests that it could have been done from the Lafr\u00e9ry reversed copy of the original print used to trace the design on the wood and hence produce a carved scene in the original direction, and as done after 1585 because its pendant is based on an engraving by Goltzius of that year.\u00a0 Thirion, in EdF<\/em>, 1972, 427, no. 595.\u00a0 Raggio, 1974, 74, and in Fontainebleau<\/em>, 1973, I, 192, Fig. 182, II, 127, no. 595.<\/p>\n

Although Thirion\u2019s comment on reproducing the design may indicate the method that was used, the relief closely resembles the original engraving in the same direction with changes largely due to the medium.<\/p>\n

The museum at \u00c9couen has also a larger framed relief of this scene but with the whole background filled with heavy drapery as though hanging from the canopy of the bed, which, however, is not visible; furthermore, it shows a very large putto at the upper right not related to any in Rosso\u2019s composition.<\/p>\n

COPY, SHELL CAMEO: Florence, Museo Nazionale del Bargello, C. 1298.\u00a0 German (?), first half of the sixteenth century.\u00a0 LITERATURE: McCrory, 1988, 415, 416, Fig. 9.\u00a0 The scene of the print has been extensively rearranged and the proportions of the figures so blunted that it is difficult to see the connection with Rosso\u2019s art.<\/p>\n

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<\/a>1<\/sup> Boorsch, 1988, 8, stated that David Acton knew an impression in the British Museum of a state of this print before the monogram appeared.\u00a0 He does not mention this himself in French Renaissance<\/em>, 1994.\u00a0 The only impression in the British Museum that I know made from the original plate is of State II.<\/p>\n<\/div>\n

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<\/a>2<\/sup> The monograms used by Bink are given in Le Blanc, 1854-1890, I, 341.<\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Engraving, Anonymous, possibly Jacob Bink?, 42.5 x 34 P (Boston), 41.3 x 33.3 L (Oxford). Two states: I.\u00a0 Inscribed in the upper left corner with the monogram: I-C-B.\u00a0 At the lower left there may also be another very small inscription, possibly the number 13 or 15.1 II.\u00a0 The monogram has been rubbed from the plate […]<\/p>\n","protected":false},"author":13,"featured_media":0,"parent":824,"menu_order":140,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-4316","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/4316","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=4316"}],"version-history":[{"count":22,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/4316\/revisions"}],"predecessor-version":[{"id":10614,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/4316\/revisions\/10614"}],"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=4316"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}