Late 1539<\/p>\n
Vasari, 1568, 211 (Vasari-Milanesi, V, 170), in the \u201cLife\u201d of Rosso: \u201cFece quando Carlo quinto Imperadore and\u00f2 l\u2019anno 1540. sotto la fede del Re Francesco in Francia, havendo seco non pi\u00f9 che dodici huomini, a Fontanableo la met\u00e0 di tutti gl\u2019ornamenti, che fece il Re fare per honorare un tanto Imperadore: E l\u2019altra meta fece Francesco Primaticcio Bolognese.\u00a0 Ma le cose, che fece il Rosso d\u2019Archi, di colossi, altre cose simili furono, per quanto si disse allora, le piu stupende, che da altri insino allora fussero state fatte mai.\u201d<\/p>\n
This passage by Vasari is his only account of Charles V\u2019s visit to Fontainebleau, which took place between 24 December and 26 or 27 December 1539,1<\/sup><\/a> that mentions Rosso\u2019s name in relation to the decorations that were erected for this occasion.\u00a0 He says only that Rosso designed triumphal arches, colossal statues, and the like.\u00a0 Rosso could have known of this visit and the need for decorations at Fontainebleau around the end of September.2<\/sup><\/a><\/p>\n In addition to payments that are recorded (within the period 1537-1540) to \u201cpaintres et pouppetiers…pour avoir vacqu\u00e9 aux mesl\u00e9es de terre, pappier et plastre pour la venue et r\u00e9ception du Sr<\/sup> Empereur, audit Fontainebleau …. \u201c3<\/sup><\/a> there are three other sixteenth century references to events of this visit that indicate the work of artists.\u00a0 The first is a mere two lines in Ren\u00e9 Mac\u00e9\u2019s poem Voyage de Charles-Quint par la France<\/i> (Mac\u00e9, ed. Raynaud, 1879, 29): \u201cLe Roy ayt faict en son Fontaine Bleau \/ Pour l\u2019Empereur feu merveilleux en l\u2019eau.\u201d\u00a0 Rosso could have had something to do with the structure that would have been built to support this firework display that was very possibly placed on or very near the large pond adjoining the terrace on the south side of the Gallery of Francis I.<\/p>\n It is just possible that Mac\u00e9\u2019s \u201cfeu merveilleux en l\u2019eau\u201d is the one large festival construction that is mentioned in the Cronique du Roy Fran\u00e7oys Premier<\/i> (Guiffrey, Cronique<\/i>, 1860, 290): \u201cIl y avoit, entre aultres chouses admirables, une fort sumptueuse et digne \u00e0 r\u00e9citer, c\u2019estoit une grand colonne qui estoit en une place, devant ledict chasteau, sur l\u2019estang, artistement faicte, dor\u00e9e de fin or, laquelle gectoit une flambe de feu par le hault et summet d\u2019icelle nuict et jour, et par le meillieu, par petiz canaulx, du vin et de l\u2019eau continuellement, qui estoit chouse admirable \u00e0 veoir.\u201d4<\/sup><\/a><\/p>\n Another short description of the decorations at Fontainebleau is in Item le honorable Recueil qui luy feit le dict Roy tres christien, a son entree du chasteau de Fontayne Bleau. Lan M.D.XXXIX<\/i>, Lille, 1539.5<\/sup><\/a>\u00a0 The emperor is mentioned as approaching the ch\u00e2teau, \u201ca l\u2019e[n]tree duquel estoie[n]t plusieurs arcz de triu[m]phe, ausq[ue]lz estoient les armes de l\u2019e[m]pereur & estoit lentree du chasteau toute couverte de buix verd, p[ar] carreaulx & losanges, et au dede[n]s du chasteau estoie[n]t en plusieurs lieux les armes de l\u2019e[m]pereur avec sa devise, Plus oultre, et au milieu de la court du chasteau estoit ung arbre, du q[ue]l sortoit feu & eaue, & la devise: Qui pot[est] capere capiat.\u201d\u00a0 Here several arches of triumph with the emperor\u2019s arms are said to have been at the entrance to the ch\u00e2teau.\u00a0 Also it would seem that the entranceway was covered with boxwood branches forming squares and lozenges.\u00a0 Elsewhere, too, his arms were displayed with his motto: Plus oultre<\/i>.\u00a0 The column described in the Cronique<\/i> is here given as a tree, on which another motto appeared (from Matthew, XIX, 12).6<\/sup><\/a>\u00a0 The tree is said to be in the middle of the courtyard of the ch\u00e2teau.\u00a0 This could be the same location indicated in the Cronique<\/i> as on the pond in front of the ch\u00e2teau, that is, it would seem, the terrace flanking the south side of the Gallery of Francis I.<\/p>\n On the basis of \u201cdivers m\u00e9moires de ce temps-l\u00e0,\u201d Dan, 1642, 218-219, gave the most extensive account of the festivities and decorations created for Charles V\u2019s visit to Fontainebleau:<\/p>\n \u201c\u2026Sa Maiest\u00e9 ayant envoy\u00e9 au devant de luy hors de la Forest un nombre de Princes, de Seigneurs, & de Noblesse, tous avec le plus grand \u00e9clat d\u2019habits, qu\u2019il se peut voir.<\/p>\n \u201cEntrant dans la Forest, il fut accueilly par une troupe de personnes d\u00e9guis\u00e9es en forme de Dieux, & de Deesses boccageres, qui au son des haut-bois s\u2019estans assemblez, & accourus, composerent une danse rustique, qui ne fut pas moins agreable en la bigearre fa\u00e7on dont ils estoient revestus, qu\u2019en l\u2019ordre, & aux passages qu\u2019ils renoient; lesquels ayans ainsi dans\u00e9 quelque temps s\u2019\u00e9carterent promptement de part & d\u2019autre dans la Forest, & l\u2019Empereur poursuivant son chemin arriva icy.<\/p>\n \u201cSON entr\u00e9e fut par la grande All\u00e9e de la Chauss\u00e9e.\u00a0 A la porte il y avoit un arc triomphal orn\u00e9 de troph\u00e9es, & enrichy de Peintures, qui representoient le Roy, & l\u2019Empereur revestus \u00e0 l\u2019antique, accompagnez de la Paix & de la Concorde, pour faire voir \u00e0 l\u2019Empereur avec quelle bienveillance, & franchise le Roy le recevoit.\u00a0 L\u00e0 estoit encore un concert du Musique, & apres avoir entendu quelques Airs, il fut conduit dans le Chasteau au son des Trompettes, & des Tambours; & entrant dans la petite Galerie il y rencontra le Roy, o\u00f9 se firent les compliments entre leurs Maiestez; & de l\u00e0 fut conduit ou Pavillon des Poesles, qui luy avoit est\u00e9 ordonn\u00e9 pour son logement.7<\/sup><\/a><\/p>\n \u201cLe soup\u00e9 estant prepar\u00e9 en la Salle du Bal, le Roy qui avoit laiss\u00e9 quelque temps l\u2019Empereur pour se reposer \u00e0 loisir, l\u2019alla prendre en sa Chambre, et ils vindrent ensemble souper, avec un t\u00e9moignage de part et d\u2019autre d\u2019une grande r\u00e9io\u00fcissance.<\/p>\n \u201cLe lendemain, & plusieurs iours qu\u2019il seiourna icy, de Bellay Autheur de ce temps-l\u00e0 remarque, que le Roy luy donna tous les plaisirs qui se peuvent inventer, comme de Chasses Royales, de Tournois, d\u2019Escarmouches, de Combats \u00e0 pied & \u00e0 cheval; & en somme de toute sorte de divertissemens.\u201d<\/p><\/blockquote>\n There are two items in Dan\u2019s account for which Rosso could have supplied the designs, the costumes of the dancers who were dressed as woodland gods and goddesses, and the triumphal arch, placed at the entrance to the ch\u00e2teau (the Porte Dor\u00e9e), which was decorated with trophies and with paintings showing the king and the emperor dressed as antique figures and accompanied by personifications of Peace and Concord.<\/p>\n Vasari said that of the decorations that were made for this occasion half were designed by Rosso, the other half by Primaticcio.\u00a0 Unfortunately, no visual evidence survives that is certainly related to these decorations.\u00a0 Even the literary evidence is scant and indicates so few items as to make it seem that there was little to be divided between the two artists.\u00a0 This may well have been the case, as the decorations of the ch\u00e2teau itself, which were just recently completed, would themselves have provided a sumptuous setting for the emperor\u2019s visit.\u00a0 Given Rosso\u2019s experience designing the arch for the entry of Leo X into Florence (L.12<\/a>), and given also that he seems to have been the \u201ccapo generale\u201d of the work at Fontainebleau, he may have assumed the role of designer of the triumphal arch at the entrance to the ch\u00e2teau, or several arches there, as stated in the honorable Recueil<\/i>, and of the large flaming column from which issued forth wine and water (and probably not a tree, as stated in the same source).\u00a0 Rosso could also have designed the costumes of the woodland gods and goddesses.<\/p>\n Rosso\u2019s Figure Costumed as Hercules<\/i>, known from an anonymous etching (Fig.E.160<\/a>), may have been designed for these festivities; it is even possible that it is a costume design for one of the woodland gods.\u00a0 Hercules to symbolize Charles V was also employed, at the king\u2019s request, as the subject of the silver statue that the city of Paris gave the emperor on 4 January 1540 (L.59<\/a>).\u00a0 It is also possible that Rosso\u2019s Dream of Hercules<\/i> (Fig.D.78a<\/a>, and Fig.E.17<\/a>) may have been used for this occasion at Fontainebleau, perhaps for one of the paintings on the triumphal arch.\u00a0 On these possibilities, see Carroll, 1987, 31, 342-346, nos. 107 and 108, with Figs., and Chapter X.<\/p>\n References to the decorations made for this visit of Charles V at Fontainebleau, but without any visual evidence suggested, appear in Geym\u00fcller, 1898, 159; Dimier, 1900, 53-54, 379-380; Dimier, 1904, 89; Dimier, 1925, 34-35; Dimier, 1928, 8-9; Kusenberg, 1931, 106, 204, n. 267; Venturi, IX, 5, 1932, 198-199, with a wrong date for the visit; Andr\u00e9 Chastel, \u201cLes Entr\u00e9es de Charles Quint en Italie,\u201d in F\u00eates<\/i>, II, 1960, 205; and Denieul-Cormier, 1962, 189-190 (1969, 134).<\/p>\n <\/p>\n <\/a>1<\/sup> Tyler, 1956, 67, 335, stated that the emperor was at Fontainebleau on December 24 and 25, 1539, and in Corbeil on December 30.\u00a0 In Actes<\/i>, VIII, 1905, 507, the king is recorded at Fontainebleau on December 25 and 26, but he was also there on the 24th when the emperor arrived.\u00a0 The king was at Nogent-sur-Seine on December 28. Both were in Paris on January 1, 1540.<\/p>\n<\/div>\n <\/a>2<\/sup> See Guiffrey, Cronique<\/i>, 1860, 275, where it is stated that the emperor made his request to pass through France on his way to Flanders around the end of September 1539.\u00a0 Charles V entered France between St. Sebastien and Fontarabie on 26 November 1539 (see Gachard, 1846, 44, n. 3).\u00a0 Grodecki, 1975, n. 12, noted Rosso\u2019s absences from the meetings of the Chapter of Notre Dame in Paris, of which he was a member, from 16 September 1539 to 7 January 1540, and concluded these were due to a long stay at Fontainebleau needed to prepare for the visit of Charles V.<\/p>\n<\/div>\n <\/a>3<\/sup> Paris, BN, ms. fr. 11.179, fols. 137-137v; Laborde, Renaissance<\/i>, I, 1850, 404, and Laborde, I, 1877, 136.\u00a0 The payments that are recorded following the account that specifically mentions the emperor\u2019s visit may also refer to the decorations that were made for this occasion.\u00a0 One payment names \u201cDominique Florentin\u201d as one of the \u201cpaintres, pour vacqu\u00e9 esdits ouvrages, \u00e0 raison de 20 sols par jour.\u201d\u00a0 This would be Domenico del Barbiere; see Wardropper, 1985, 3-4, 314, as related to the preparations for Charles V\u2019s visit to Fontainebleau (wrongly placed in April 1540).<\/p>\n<\/div>\n
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