{"id":4354,"date":"2012-04-05T16:19:59","date_gmt":"2012-04-05T20:19:59","guid":{"rendered":"http:\/\/blogs.vassar.edu\/rosso\/?page_id=4354"},"modified":"2012-08-20T16:19:21","modified_gmt":"2012-08-20T20:19:21","slug":"e-142-anonymous-twins","status":"publish","type":"page","link":"https:\/\/pages.vassar.edu\/rosso\/catalogues\/engravings\/e-142-anonymous-twins\/","title":{"rendered":"E.142 Twins of Catania"},"content":{"rendered":"
\"\"<\/a>

E.142 Anonymous, Twins of Catania<\/p><\/div>\n

Etching, Anonymous, possibly by Master I.\u2640.V.?, 32 x 43.7 L (Paris, Ba 12).<\/p>\n

Fig.E.142<\/a> (Paris, Ba 12)<\/p>\n

Heinecken, IV, 1790, 532, as Leon Daven after Rosso.\u00a0 Bartsch, XVI, 1818, 413, 93, as Anonymous, School of Fontainebleau, after Rosso.\u00a0 Robert-Dumesnil, VIII, 1850, 25, under no. 17.\u00a0 Destailleur, 1895, probably 283, no. 243, wrongly as Bartsch 83, as School of Fontainebleau, and that Geym\u00fcller gave it to Du Cerceau.\u00a0 Herbet, I, 1896, 83 (1969, 32), stated that Heinecken and the Destailleur catalogue gave this print to Master L.D., but Robert-Dumesnil, in a catalogue of December 1850, gave it to Fantuzzi, which is a preferable attribution.\u00a0 Herbet, II, 1896, 279 (1969, 75), 33, as Fantuzzi.\u00a0 Zerner, 1969, XLI, rejected the attribution to Fantuzzi.\u00a0 Acton, in French Renaissance<\/em>, 1994, 307, n. 13, under no. 13, as probably by Master I.\u2640.V.<\/p>\n

COLLECTIONS: Florence.\u00a0 London, 1850-5-27-118.\u00a0 Paris, Ba 12 and Ba 12 (Dow 6.251); Eb 14d (see Borea); Ed 8b R\u00e9s., Vol. II, no. 33 and no. 34 ter.\u00a0 Los Angeles (Ruiz).\u00a0 Vienna, Vol. It.II.3, p.91.<\/p>\n

LITERATURE:<\/p>\n

Mariette, Ab\u00e9c\u00e9dario<\/em>, 1858-1859, 22, as after Rosso and by the same etcher who did the Death of Adonis<\/em>.<\/p>\n

Zerner, 1972, 112, Fig. 161, as Fantuzzi.<\/p>\n

B\u00e9guin and Pressouyre, 1972, 134, as Fantuzzi, but this attribution rejected by Zerner, and Fig. 198, mistakenly captioned.<\/p>\n

Zerner, IB<\/em>, 33, 1979, 368 (London).<\/p>\n

Borea, 1980, 261, no. 662, as Anonymous.<\/p>\n

K. Wilson-Chevalier, in Fontainebleau<\/em>, 1985, 228, under no. 176.<\/p>\n

Carroll, 1987, 259, ns. 2 and 7, under no. 80.<\/p>\n

Davis, 1988, 204-205, no. 88, with Fig. (Los Angeles), as by Master I.\u2640.V.<\/p><\/blockquote>\n

On this print, which is in reverse of Rosso\u2019s fresco in the Gallery of Francis I, see under P.22, V N<\/a>, where it is suggested that, while it may be after that painting, the etching is so detailed that it is more likely that it is after a lost drawing by Rosso made just before the cartoon was executed.<\/p>\n

As Zerner pointed out, the print does not look like Fantuzzi\u2019s.\u00a0 Nor does it resemble L\u00e9on Davent\u2019s prints.\u00a0 On the verso<\/em> of an impression in Paris, Ba 12 (Fig.E.142<\/a>), is a pale impression of Fantuzzi\u2019s Death of Adonis <\/em>(E.76<\/a>) discovered by Fran\u00e7oise Jestaz, suggesting that the sheet comes from Fantuzzi\u2019s shop.\u00a0 Davis thought the print was by Master I.\u2640.V. \u00a0This seems possible1<\/sup><\/a> and Acton thought it probable.<\/p>\n

COPY, DRAWING: Paris, Louvre, Inv. 1577 (Fig.P.22Copy, Paris, 1577<\/a>).\u00a0 Black chalk (lead?), 20.4 x 27.4.\u00a0 LITERATURE: Berenson, 1903, no. 2452, as Rosso.\u00a0 Kusenberg, 1931, 149, no. 15, as after Fantuzzi\u2019s (here Anonymous) print.\u00a0 Berenson, 1938, no. 2452, as Rosso, but with reference to Kusenberg\u2019s opinion.\u00a0 Barocchi, 1950, 141 and n. 3, as a pencil copy of Rosso\u2019s fresco.\u00a0 Longhi, 1951 (1976, 99), as Rosso.\u00a0 Bologna and Causa, 1952, 60, as Rosso.<\/p>\n

The drawing is copied from the anonymous etching where the female figure at the far right has her shoulder, arm, breast, and leg covered, as in the fresco in the gallery (but in reverse at the left) and not as in Boyvin\u2019s engraving (Fig.E.11<\/a>), where these parts of the figure are nude.\u00a0 The drawing seems to be by the same hand as a red chalk drawing of Iphigeneia at Aulis<\/em> in the University Art Gallery at Notre Dame (see European Old Master Drawings in Indiana Collections<\/em>, John Herron Art Museum, Indianapolis, 1955, no. 8, with Fig., as Italian or French, sixteenth century; and Verdier, 1967, 273, 274, Fig. 29).<\/p>\n

COPIES, ENAMELS: Pierre Courteys, Vienna, Liechtenstein Collection, inv. no. 226.\u00a0 43 x 54, inscribed in gold leaf at lower left: \u2022P\u2022CORTEYS\u2022<\/em>.\u00a0 LITERATURE: Herbet, IV, 1900, 327 (1969, 177).\u00a0 Kusenberg, 1933, 167, Fig. 167, 168.\u00a0 B\u00e9guin and Pressouyre, 1972, 134.\u00a0 Clare Vincent, in Liechtenstein<\/em>, 1985, 220-221, no. 141, with Color Pl.\u00a0 Davis, 1988, 205.<\/p>\n

As indicated by Vincent, the enamel was derived from this anonymous etching in the same direction, which shows flames in the background and the woman at the right fully clothed.\u00a0 This enamel was used in a set illustrating the story of the Trojan War.\u00a0 The children have been slightly changed and the boy carrying the dog has been placed next to the youth carrying an old man to create the group of Aeneas, Anchises, and Ascanius, as pointed out by Vincent.<\/p>\n

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<\/a>1<\/sup> However, I wonder if he is correct in interpreting Mariette\u2019s reference to a Death of Adonis<\/em> as being that of a composition given by Bartsch to Giulio Romano.<\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Etching, Anonymous, possibly by Master I.\u2640.V.?, 32 x 43.7 L (Paris, Ba 12). Fig.E.142 (Paris, Ba 12) Heinecken, IV, 1790, 532, as Leon Daven after Rosso.\u00a0 Bartsch, XVI, 1818, 413, 93, as Anonymous, School of Fontainebleau, after Rosso.\u00a0 Robert-Dumesnil, VIII, 1850, 25, under no. 17.\u00a0 Destailleur, 1895, probably 283, no. 243, wrongly as Bartsch 83, […]<\/p>\n","protected":false},"author":13,"featured_media":0,"parent":824,"menu_order":152,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-4354","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/4354","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=4354"}],"version-history":[{"count":10,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/4354\/revisions"}],"predecessor-version":[{"id":6655,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/4354\/revisions\/6655"}],"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=4354"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}