{"id":5102,"date":"2012-05-04T10:41:48","date_gmt":"2012-05-04T14:41:48","guid":{"rendered":"http:\/\/blogs.vassar.edu\/rosso\/?page_id=5102"},"modified":"2013-05-28T14:32:23","modified_gmt":"2013-05-28T18:32:23","slug":"jacques-androuet-du-cerceau","status":"publish","type":"page","link":"https:\/\/pages.vassar.edu\/rosso\/catalogues\/engravings\/jacques-androuet-du-cerceau\/","title":{"rendered":"JACQUES I ANDROUET DU CERCEAU"},"content":{"rendered":"<p>Jacques I Androuet du Cerceau\u2019s etchings are most significant because of the role they had in the dissemination of Rosso\u2019s inventions in France and beyond. A few, however, also preserve important lost details of the frescoes and stuccoes in the Gallery of Francis I at Fontainebleau.<\/p>\n<p>He was born in Paris in 1510 and began etching in France after a stay in Italy sometime between 1530 and 1533. His earliest prints, of a variety of decorative designs, were published in Orl\u00e9ans. By 1559 he was active in Paris. He is most famous for his volumes of architectural illustrations, beginning around 1550, especially <i>Les plus excellents bastiments de France<\/i> in two volumes, 1576-1579, and the <i>Livre des \u00e9difices antiques romaines<\/i> of 1584. He died in 1584\/86.<\/p>\n<p>His earliest etchings after Rosso may be the reversed copies of Caraglio\u2019s six <i>Labors and Adventures of Hercules<\/i> (<a href=\"http:\/\/pages.vassar.edu\/rosso\/catalogues\/engravings\/e-52-1-6-the-labors-of-hercules\/\" target=\"_blank\">E.52, 1-6<\/a>) and his copy of Caraglio\u2019s <i>Challenge of the Pierides<\/i> (<a href=\"http:\/\/pages.vassar.edu\/rosso\/catalogues\/engravings\/e-53-the-challenge-of-the-pierides\/\" target=\"_blank\">E.53<\/a>), as well as his copies of Bink\u2019s copies of Caraglio\u2019s twenty <i>Gods in Niches<\/i> (<a href=\"http:\/\/pages.vassar.edu\/rosso\/catalogues\/engravings\/e-54-1-20-gods-in-niches-20-etchings\/\" target=\"_blank\">E.54, 1-20<\/a>). All but three of the other catalogued prints are from the three volumes of Du Cerceau\u2019s cartouches: the <i>Grands Cartouches de Fontainebleau<\/i>, First Set of ten plates (<a href=\"http:\/\/pages.vassar.edu\/rosso\/catalogues\/engravings\/e-55-1-3-grands-cartouches-de-fontainebleau-first-set\/\" target=\"_blank\">E.55, 1-3<\/a>), the <i>Grands Cartouches de Fontainebleau<\/i>, Second Set of ten plates (<a href=\"http:\/\/pages.vassar.edu\/rosso\/catalogues\/engravings\/e-561-8-grands-cartouches-de-fontainebleau-second-set\/\" target=\"_blank\">E.56, 1-8<\/a>), and the <i>Petits Cartouches de Fontainebleau<\/i> of thirty-three plates (<a href=\"http:\/\/pages.vassar.edu\/rosso\/catalogues\/engravings\/e-571-11-petits-cartouches-de-fontainebleau\/\" target=\"_blank\">E.57, 1-11<\/a>). All of these etchings were derived from other prints, especially from Fantuzzi\u2019s etchings of the highly original frames in the Gallery of Francis I and other rooms in the ch\u00e2teau at Fontainebleau, or from the same drawings that the original printmaker used. None are precise copies, showing instead the intention to create lively decorative variations. Salamanders appear in some of Du Cerceau\u2019s etchings, but not Francis I\u2019s \u201cF.\u201d All of Du Cerceau\u2019s cartouches have blank centers where a scene or image could be shown and where in the case of Fantuzzi\u2019s prints landscapes appear. Some of Du Cerceau\u2019s prints were freely copied by Battista Angolo del Moro, who added a scene or sculpted head in the center. When printed Moro\u2019s copies were reversed.<\/p>\n<p>Fantuzzi\u2019s etched copies after Rosso\u2019s drawings are often bold and vigorous, even rough and ugly, as I\u2019ve heard expressed. Du Cerceau\u2019s etchings after Fantuzzi\u2019s etchings are more delicate.<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Jacques I Androuet du Cerceau\u2019s etchings are most significant because of the role they had in the dissemination of Rosso\u2019s inventions in France and beyond. A few, however, also preserve important lost details of the frescoes and stuccoes in the Gallery of Francis I at Fontainebleau. He was born in Paris in 1510 and began [&hellip;]<\/p>\n","protected":false},"author":13,"featured_media":0,"parent":824,"menu_order":36,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-5102","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/5102","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=5102"}],"version-history":[{"count":6,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/5102\/revisions"}],"predecessor-version":[{"id":9237,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/5102\/revisions\/9237"}],"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=5102"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}