{"id":910,"date":"2011-06-09T10:50:31","date_gmt":"2011-06-09T14:50:31","guid":{"rendered":"http:\/\/blogs.vassar.edu\/rosso2\/"},"modified":"2015-10-02T21:51:27","modified_gmt":"2015-10-03T01:51:27","slug":"p-23","status":"publish","type":"page","link":"https:\/\/pages.vassar.edu\/rosso\/catalogues\/paintings\/p-23\/","title":{"rendered":"P.23 Piet\u00e0"},"content":{"rendered":"
\"\"<\/a>

P.23 Piet\u00e0<\/p><\/div>\n

1538<\/p>\n

Paris, Louvre, Inv. 594.<\/p>\n

Canvas, transferred from panel, 125 x 162.1<\/sup><\/a><\/p>\n

Fig.P.23a<\/a> lavender tonality
Fig.P.23b<\/a> bright tonality
Fig.P.23c<\/a> bw, Christ’s head, before restoration
Fig.P.23d<\/a> bw, Magdalen, before restoration
Fig.P.23e<\/a> bw, Virgin, before restoration<\/p>\n

Barocchi, 1950, 80, indicates that the painting was cleaned of a blackish patina a short while before 1950.\u00a0 Baldini, 1982, 96, says that it was being restored at the same time as the painting in Citt\u00e0 di Castello (this painting was restored in 1981\u20131982).\u00a0 The following remarks are made from notes taken prior to this recent restoration.\u00a0 The surface of the picture is very rough and irregular suggesting damage both from age and from the transfer of the painting from panel to canvas perhaps when it entered the Louvre under Napoleon I.\u00a0 (Villot, 1854, 208, no. 368, already mentions it as on canvas.)\u00a0 Repainted along what would have been the three horizontal cracks between the four planks of which the original panel was composed.\u00a0 One runs from the Virgin\u2019s right hand through Christ\u2019s beard; the second from below the Magdalen\u2019s ear through St. John\u2019s waist; the third from Christ\u2019s big toe through the area just below his buttock.\u00a0 Small paint losses throughout the picture have been filled and the red drapery over the Magdalen\u2019s left shoulder has been repaired.\u00a0 But there are no alterations to the composition due to restoration.\u00a0 The underdrawing appears to come through in places and although some of its visibility may be due to the paint having become transparent with age the original drawing may always have showed in places because of the thinness of the paint surface.<\/p>\n

The general tonality of the picture is lavender-gray (Fig.P.23a<\/a>), with the brightest, but not significantly brighter, highlights appearing on the Magdalen, on Christ\u2019s legs, and slightly less on St. John\u2019s back. Christ\u2019s flesh is grayish lavender; his hair and beard are dark reddish brown.\u00a0 The drapery over the Virgin\u2019s head is plum-violet; there is white drapery across her forehead, around her face, and over her shoulders and left breast.\u00a0 Her sleeves and skirt are dark orange.\u00a0 Tan drapery with an olive-green cast is held against her right breast by the woman behind her.\u00a0 The drapery over the Virgin\u2019s knees is the same color as that over her head and hence would seem to be part of the same garment.\u00a0 The woman behind the Virgin wears dark orange drapery over her head and a dark green dress.\u00a0 Mary Magdalen\u2019s cloak, seen over her left shoulder, across the front of her body, and over her right thigh, is red -orange.\u00a0 The puff of her sleeve at the shoulder and the drapery around the upper arm are light yellow with light violet shadows; the lower part of the sleeve is dark green with a greenish cast.\u00a0 The body of her dress is dark green with pink violet highlights.\u00a0 The sash at her waist is yellow; the ruffle across her back, white; her skirt, yellow green.\u00a0 Her hair is dark blond. St. John also has blond hair.\u00a0 His garment is peach pink with yellow highlights; his overgarment is dark green.\u00a0 The pillows beneath Christ are dark orange with dark blue eaglets on them; there are also passages of wine red and green.<\/p>\n

PROVENANCE: The painting entered the Louvre under Napoleon I, having been seized during the revolution from the collection in the ch\u00e2teau at \u00c9couen of Louis-Joseph de Bourbon Prince de Cond\u00e9 (see Tauzia, 1878, 203, no. 351; B\u00e9guin, in EdF<\/em>, 1972, 177, no. 200; B\u00e9guin, Louvre<\/em>, 1982, 34\u201335, no. 25, 57).\u00a0 In 1568 Vasari (see below) stated that Rosso painted the picture for the Conn\u00e9table Anne de Montmorency and that the picture was at \u00c9couen (\u201cCeuan\u201d).\u00a0 The eaglets of Montmorency\u2019s coat-of-arms appear on the pillows beneath Christ.\u00a0 According to Lasteyrie, 1879, Part I, 310, the Piet\u00e0<\/em> hung over the door of the chapel.\u00a0 B\u00e9guin points out (see above) that this cannot be the original location for a picture of this subject.\u00a0 While it seems that this specific placement cannot be the one for which the picture was painted, Vasari indicates that it was already in the ch\u00e2teau at \u00c9couen by 1568.\u00a0 There is no evidence that earlier it was elsewhere.\u00a0 On the relation of the chronology of the chapel at \u00c9couen to the date of Rosso\u2019s picture, see below.<\/p>\n

LITERATURE:<\/p>\n

\n

Mentioned by Vasari, 1568, II, 211 (Vasari-Milanesi, V, 171) after describing his decorations at Fontainebleau: \u201cEt al Connestabili fece una tavola dun Christo morto cosa rara che e a un suo luogo chiamato Ceuan.\u201d<\/p>\n

Landon, 1832, P1. 34.<\/p>\n

Waagen, 1839, 432\u2013433, as mannered.<\/p>\n

Villot, 1849, 167\u2013168, no. 445, as on canvas, as from the Mus\u00e9e Napol\u00e9on.<\/p>\n

Tauzia, 1878, 203, no. 351, as from \u00c9couen.<\/p>\n

Lasteyrie, 1879, Part I, 310, see above.<\/p>\n

Catalogue sommaire<\/em>, Louvre, Paris, 1903, no. 1485.<\/p>\n

Dimier, 1904, 90, as painted for the chapel at \u00c9couen on the order of Montmorency.<\/p>\n

Dimier, 1905, 21, Fig., 22.<\/p>\n

Goldschmidt, 1911, 25, 28, states that the movement of its masterful composition is worthy of the Baroque.<\/p>\n

Ricci, 1913, 120, no. 1485. Voss, 1920, 189.<\/p>\n

Dimier, Histoire<\/em>, 1925, 50, Pl. XXXVI.<\/p>\n

Hautecoeur, 1926, 111, no. 1485.<\/p>\n

Pevsner, 1928, 30, as related to the picture in Citt\u00e0 di Castello.<\/p>\n

Dimier, 1928, 9\u201310.<\/p>\n

Dvorak, 1928, 167.<\/p>\n

Kusenberg, 1931, 97\u201399, 128, as related compositionally to the Piet\u00e0<\/em> in Borgo Sansepolcro, as done in 1537\u20131540, after the Gallery of Francis I.<\/p>\n

Medea, 1932, 81, Pl. XIV.<\/p>\n

Venturi, IX, 5, 1932, 231.<\/p>\n

Berenson, 1932, 495.<\/p>\n

Kusenberg, 1935, 62, as Rosso around 1537\u20131540.<\/p>\n

Rudraut, L., Delacroix et le Rosso<\/em>, Tartu, 1938, on the influence upon Delacroix\u2019s Piet\u00e0<\/em> in Saint-Denis-du-Saint-Sacrament.<\/p>\n

Dimier, 1942, 24, Pl. 54, as painted for \u00c9couen.<\/p>\n

Becherucci, 1944, 32, as showing the influence of Michelangelo.<\/p>\n

Barocchi, 1950, 80\u201382, 247, as painted in 1537\u20131540 for Montmorency and as related to, but more mature than, the Citt\u00e0 di Castello picture; she states that the Piet\u00e0<\/em>, like the Sansepolcro picture, expresses a world that the artist no longer feels.<\/p>\n

Blunt, 1953, 37 (1973, 65, Fig. 41), as showing how Rosso at the end of his life was still capable of expressing intense and dramatic religious emotion.<\/p>\n

Reau, II, 2, 1957, 579, 521, the Virgin\u2019s arms thrown wide apart like a living cross.<\/p>\n

Shearman, 1957, It 247ff., believes it was painted soon after Rosso\u2019s arrival in France because of its similarity to his Italian works.<\/p>\n

Becherucci, 1958 (1961, Pl. 291 above).<\/p>\n

B\u00e9guin, 1960, 41, Color Pl., as around 1540, 43, as done in 1537\u20131540 for Montmorency\u2019s chapel at \u00c9couen, and as spiritually dominated by Michelangelo.\u00a0 She also points out that the motif of the picture was used by Delacroix for his Piet\u00e0<\/em> at Saint Denis du Saint-Sacrement.<\/p>\n

Babelon, 1961, 101\u2013102, 121.<\/p>\n

Carroll, 1961, 454.<\/p>\n

Prache, 1961, 4.<\/p>\n

Berenson, 1963, 195, Pl. 1473, as 1537\u20131540.<\/p>\n

Carroll, 1964 (1976), I, Bk. I, 225\u2013226, 235\u2013236, 240, Bk. II, 148\u2013152, P. 24, II, Bk. III, Fig. 99, as c. 1532\u20131533.<\/p>\n

Hauser, 1965, 195, as 1537\u20131540.<\/p>\n

Borea, 1965, as done soon after Rosso\u2019s arrival in France, and as still showing the influence of Pontormo.<\/p>\n

Freedberg, 1966, 583, as around 1535.<\/p>\n

Alleau, 1967, 219, as around 1540; he says that Christ seems to be nailed to an invisible cross.<\/p>\n

Freedberg, 1971, 485, n. 37, as done at the beginning of Rosso\u2019s French period.<\/p>\n

B\u00e9guin, in EdF<\/em>, 1972, 177, no. 200, with extensive bibliography, and 183, under 205 and 206, points out that the eaglets on the orange pillows under Christ constitute Montmorency\u2019s arms.\u00a0 She also states that its placement over a door in the chapel at \u00c9couen is unusual and wonders if this was its original location, or was it painted as an antependium. \u00a0Given the late date of the chapel, if painted for it the picture would have to have been done in the last moments of Rosso\u2019s life.\u00a0 But an early date can be recognized by comparison with Rosso\u2019s Leda<\/em> cartoon.\u00a0 She also compares it with the Death of Adonis<\/em> in the Gallery of Francis I, and with Rosso\u2019s Piet\u00e0<\/em> etched by Fantuzzi.<\/p>\n

Claude Lauriol, in EdF<\/em>, 1972, 484, as from the chapel at \u00c9couen.<\/p>\n

Miles, 1973, 32, states that while the \u00c9couen provenance does not prove a late date, the comparison with the Leda<\/em> cartoon, not certainly by Rosso, does not prove an early one.<\/p>\n

Dumont, \u201cAdF,\u201d 1973, 341, 349, as painted for Montmorency.<\/p>\n

Raggio, 1974, 74, as done early in Rosso\u2019s French period; she believes that its feverishness reflects Donatello.<\/p>\n

Laskin, 1974, 256, as close to the Sansepolcro picture and done soon after Rosso\u2019s arrival in France.<\/p>\n

Freedberg, in Actes<\/em>, 1975, 15\u201316, as Maniera.<\/p>\n

Nyholm, 1977, 148\u2013149, 150\u2013151, Fig. 87, as more intensely dramatic than the Sansepolcro painting.<\/p>\n

Carroll, 1978, 31\u201336, Fig. 17, as around 1536\u20131538.<\/p>\n

Ravelli, 1978, 144-145, Fig.72\/a under nos. 96-97, as related to drawings of c. 1526-27 by Polidoro although Polidoro’s drawings show Christ on the Virgin’s lap and on the ground while Rosso’s figure lies upon pillows.\u00a0<\/p>\n

Walters, 1978, 160, as seeming \u201cto express an anxious, almost hysterical will to believe, rather than confident faith.\u201d<\/p>\n

Boase, 1979, 205, Fig. 129.<\/p>\n

Parronchi, 1981, 74, as recalling Michelangelo\u2019s Roman Piet\u00e0<\/em>.<\/p>\n

Fomez, 1982, as Rosso and done between 1537 and 1540 about the same time as his portrait in Naples.<\/p>\n

Baldini, 1982, 96 (see above).<\/p>\n

B\u00e9guin, Louvre<\/em>, 1982, 34\u201335, no. 25, 57, 70, n. 58, points out that its location over the door of the chapel at \u00c9couen cannot have been its original location; if the picture was made for the chapel at \u00c9couen then it would have to date late because of the date of that chapel, but because of its close stylistic relationship to the works of his late Italian period the Piet\u00e0<\/em> seems to have been done for Montmorency soon after Rosso\u2019s arrival in France.\u00a0 At the same time she finds Rosso\u2019s style evolving here in the direction of that of the Death of Adonis<\/em> in the Gallery of Francis I and of the Piet\u00e0<\/em> etched by Fantuzzi.\u00a0 If the painting was not made for \u00c9couen then it would have to have been taken there in the sixteenth century from Chantilly where Montmorency had another ch\u00e2teau, which seems strange, she adds, or it would have been taken to \u00c9couen from Chantilly later, which would mean that Vasari is wrong.<\/p>\n

Steinberg, 1983, 134, points out the \u201cstark naked Christ.\u201d<\/p>\n

Darragon, 1983, 26, 42, Fig. 19, as related to the Sansepolcro Piet\u00e0<\/em>.<\/p>\n

L\u00e9v\u00eaque, 1984, 218, 212, Color Pl.<\/p>\n

Wilmes, 1985, 65, 68\u201369, 74, 79, 166\u2013169, 171, 176, Fig. 38, as Rosso\u2019s only French panel painting.<\/p>\n

Delay, 1987, 25, 162\u2013163, as related emotionally and expressively to Rosso\u2019s suicide.<\/p>\n

Carroll, 1987, 31, as done around 1538.<\/p>\n

Joukovsky, 1987 bis, 9 and n. 10 (1992, 56, and n. 2), remarked that Christ\u2019s pose is related to that of the dead Meleager on ancient sarcophagi.<\/p>\n

Caron, 1988, 375, 377, Fig. 11, 378, discussed its color.<\/p>\n

B\u00e9guin, 1989, 834, and Fig. 28.<\/p>\n

Lebensztejn, 1990, 10, 32, n. 2.<\/p>\n

Ciardi and Mugnaini, 1991, 17, 25\u201326, 136\u2013137, no. 27, with Color Pl.<\/p>\n

Lebenztejn, 1992, 272, Fig. 88, 273, 277, 279, 280, 283, Color Fig. 99, 284, 286, 297, shows Christ separated from the Virgin, as in Pontormo\u2019s Capponi Deposition<\/em>, the tomb invisible but near in the opening of the rock in the background.<\/p>\n

Franklin, 1994, 79, 183, 207, Pl. 57, Color Pl. 146, as Rosso\u2019s only surviving French panel painting; related to the Sansepolcro Deposition<\/em> from which the Virgin\u2019s crucified gesture has been redirected to one of display.<\/p>\n

Ciardi, 1994, 49, 74, notes that Christ is placed on a cushion, and that the picture concentrates on his body and on his mother, the attendants behind the Virgin echoing the Aurora<\/em> and the Notte<\/em> of the Medici Chapel.<\/p>\n

Mugnaini, 1994, 103.<\/p>\n

Marchetti Letta, 1994, 65, 66, Color Pl. 90, as done 1537\u20131540.<\/p>\n

Knecht, 1994, 435, as Rosso\u2019s.<\/p>\n

Jollet, 1994, 77, 81, Fig., notes its \u201clumi\u00e8re m\u00e9tallique<\/em>.\u201d<\/p>\n<\/blockquote>\n

Rosso\u2019s authorship of the Louvre Piet\u00e0<\/em> has never been questioned and its stylistic resemblance to his pictures in Borgo Sansepolcro and Citt\u00e0 di Castello are such as to affirm that it is by him.\u00a0 The picture has also generally been connected with Vasari\u2019s statement of 1558 which the provenance of the picture supports as do also Montmorency\u2019s arms on the pillows beneath Christ.2<\/sup><\/a> Where there is no consensus of opinion is on the date of Rosso\u2019s picture that has been placed both early and late in his French period, and also in the middle of it.\u00a0 While the similarity of the Piet\u00e0<\/em> to Rosso\u2019s last two Italian altarpieces is sufficient to prove without any reservations Rosso\u2019s authorship of the Louvre painting \u2013 in lieu of any other French panel paintings by him that could be used for this purpose3<\/sup><\/a> \u2013 the broad compositional rhythms of the Louvre picture are not those of these Italian paintings.\u00a0 There is a grandness about the Louvre Piet\u00e0<\/em>, in the size of its forms and in their extension across the picture, that does not resemble the multiple particularizations and the small facets of the Sanseplocro picture or the static separation of the figures in the Christ in Glory<\/em>.\u00a0 In fact, there are no compositions quite like that of the Louvre Piet\u00e0<\/em> until the time when it would seem that the later works in the Gallery of Francis I were designed, such works as the Enlightenment of Francis I<\/em> (Fig.P.22, VII S a<\/a>), the Cleobis and Biton<\/em> (Fig.P.22, V S a<\/a>), and the Death of Adonis<\/em> (Fig.P.22, III S a<\/a>).\u00a0 The pose of St. John is more like that of some of the figures in the Sacrifice<\/em> (Fig.P.22, VII N a<\/a>), especially the pose of the woman at the lower right, than of the figures in any other paintings in the gallery, or in any other picture by Rosso, including the Christ in Glory<\/em> (Fig.P.20a<\/a>), where the pose of St. Mary the Egyptian is similar.\u00a0 The Sacrifice<\/em> appears to be one of the last works done in the gallery, after August 1536.\u00a0 There are no apparently early French works by Rosso that can be so closely identified with the Louvre Piet\u00e0<\/em>.\u00a0 B\u00e9guin also recognized a similarity to the Death of Adonis<\/em>, and mentioned as well Rosso\u2019s Piet\u00e0<\/em> known from an etching by Fantuzzi (E.80<\/a>). This print is based on a drawing (D.71A, B, C<\/a>) that seems to date from around 1537.<\/p>\n

Given, however, that the chronology of Rosso\u2019s French works is so largely a hypothesis, based on stylistic changes that can be recognized from the late Italian works and on the changes that appear in the Gallery of Francis I, the date of the Louvre Piet\u00e0<\/em> must be a surmise to some extent.\u00a0 But because it was made for Montmorency it may be possible to introduce some other evidence that would date the painting not before 1538.\u00a0 Vasari in 1568, just twenty-eight years after Rosso\u2019s death, recorded that the painting was at Montmorency\u2019s residence at \u201cCeuan\u201d which has always been thought to indicate \u00c9couen.\u00a0 From there it eventually entered the Louvre.\u00a0 There is no history of the picture having ever been elsewhere.\u00a0 Vasari does not say where at \u00c9couen the picture hung but centuries later it was over the door of the chapel.\u00a0 While, as B\u00e9guin indicated, it seems unlikely that it was painted to be hung over a door, it seems equally likely that it was painted for this chapel.\u00a0 For what other location in the ch\u00e2teau at \u00c9couen would have been a more appropriate place for it?\u00a0 This chapel was built between the time that Montmorency became Constable on 10 February 1538 and 1541 when he fell into disgrace.4<\/sup><\/a>\u00a0 However, its sculptured altar, now at Chantilly, was begun several years later, and its design has no place for the insertion of a painting.5<\/sup><\/a>\u00a0 It is possible that Rosso\u2019s painting was envisioned for a simpler altar that was then replaced when the chapel was refurnished after Rosso\u2019s death.\u00a0 On the vault directly above where the original altar would have been there is a huge painted coat-of-arms of Montmorency showing an arrangement of eaglets around a cross (Fig.Chapel vault<\/a>)6<\/sup><\/a> that seems to have its counterpart in the spread-out posture of Christ upon pillows that show Montmorency\u2019s eaglets in Rosso\u2019s painting.\u00a0 Alleau, 1967, 219, comments that Christ seems to be nailed to an invisible cross, and it might be added that this implied cross would be related to the one of Montmorency\u2019s arms.\u00a0 This correspondence may very well be intentional.\u00a0 Assuming that the picture was made for this chapel the Piet\u00e0<\/em> would not have been painted before 1538.\u00a0 It is also possible that Montmorency would not have had access to Rosso\u2019s services until after he was made Constable.7<\/sup><\/a><\/p>\n

However, there are certain works by Rosso that seem to be even later than the Louvre Piet\u00e0<\/em>, works that are farther removed than it is from the last compositions in the Gallery of Francis I.\u00a0 These works, such as the Three Fates, Nude<\/em>, engraved by Milan (E.105<\/a>), the Annunciation<\/em> drawing in D\u00fcsseldorf (D.83<\/a>), and the Judith and Holofernes<\/em> drawing in Los Angeles (D.84<\/a>), as well as the painting in Los Angeles (P.24<\/a>), would seem to have been done between 1538 and 1540.\u00a0 In style and expression the Louvre Piet\u00e0<\/em> approaches this group but is not altogether identifiable with it.\u00a0 A date of 1538 for the Piet\u00e0<\/em> at the time that the chapel at \u00c9couen may have been begun is therefore likely.<\/p>\n

COPIES: Paris, Private collection, Degas, Copy of the whole composition<\/em>, black lead, 16 x 23. PROVENANCE: Paris, Galerie Georges Petit, Atelier Edgar Degas, 4th and last sale, 2\u20134 July 1919, no. 81b. \u00a0Paris, H\u00f4tel Drouot, sale, 11 Dec. 1978, cat. no. 21. LITERATURE: Theodore Reff, \u201cDegas\u2019s Copies of Older Art,\u201d BM<\/em>, CV, 1963, 248.\u00a0 Henri Loyrette, Degas e l\u2019Italia<\/em>, Rome, 1984, 39, 56, no. 9, 57, Fig.<\/p>\n

Paris, Biblioth\u00e8que Nationale, Dc. 327d, r\u00e9serve, carnet 26, fol. 25, Degas, Copy of the figure of St. John<\/em>.\u00a0 LITERATURE; Theodore Reff, \u201cNew Light on Degas\u2019s Copies,\u201d BM<\/em>, CVI, 1964, 258, and The Notebooks of Edgar Degas<\/em>, Oxford, 1967, I, 89, II, Fig. Nb. 15, p. 25. I should like to thank Mr. Reff for bringing these two drawings to my attention.8<\/sup><\/a><\/p>\n

\n

<\/a>1<\/sup> The dimensions from Villot, 1849, 167\u2013168, no. 445, Tauzia, 1878, 203, no. 351, and B\u00e9guin, 1960, 41; it was already transferred to canvas in 1849.\u00a0 B\u00e9guin, 1989, 834, stated that it has twice been transferred to canvas.\u00a0 Kusenberg, 1931, 128, 200, n. 212, gives the dimensions as 1.245 x 1.59 m, and states that it has been transferred from canvas.\u00a0 Barocchi, 1950, 247, gives wrongly 2.45 x 1.59, and this is repeated in EdF<\/em>, 1972, 177, no. 200, and in Franklin, 1994, 183, caption to Color Pl. 146.<\/p>\n

<\/a>2<\/sup> This coat-of-arms, showing a cross with sixteen \u201cal\u00e9rions<\/em>\u201d or eaglets without beaks or feet (see Decrue, 1885, 4), appears on a majolica dish in the Ashmolean Museum, Oxford (EF 508, Fortnum Collection), that is decorated with the scene of Hercules Killing the Hydra<\/em> based on Caraglio\u2019s engraving after Rosso\u2019s design (E.21<\/a>).<\/p>\n

<\/a>3<\/sup> The French date of Rosso\u2019s painting in Los Angeles (P.24) is not so generally agreed upon to make it useful here as evidence of his authorship of the Louvre Piet\u00e0<\/em>.<\/p>\n

<\/a>4<\/sup> See Hoffmann, 1970, 29.\u00a0 On the date of Montmorency becoming Constable, see Decrue, 1885, 338.<\/p>\n

<\/a>5<\/sup> See Hoffmann, 1970, 30\u201331.<\/p>\n

<\/a>6<\/sup> Hoffmann, 1970, Pls. 19\u201320.<\/p>\n

<\/a>7<\/sup> Decrue, 1885, 187\u2013188, states that after Nicolas Raince, the secretary to the French ambassador in Rome, fell out of favor Montmorency \u201cfit donner \u00e0 l\u2019artiste Rosso une abbaye qu\u2019il avait promise \u00e0 Raince.\u201d \u00a0Unfortunately, Decrue does not say more on this subject (from documentation in the Fonds Du Puy in the Biblioth\u00e8que Nationale, Paris) and it is not clear when Raince fell into disgrace.\u00a0 It was either in 1532 or thereafter.\u00a0 The reference to an abbey seems not to relate this event to Rosso becoming a canon of Ste. Chapelle on 14 August 1532, nor to his becoming a canon of Notre Dame on 26 September 1537.\u00a0 But the latter did carry with it his receiving orders in the Abbey of Ste. Genevieve on 9 and 19 November 1537 (see DOCS. 32 and 34).\u00a0 If this is what Decrue is referring to then the influence of Montmorency at this time would have only shortly preceded the moment when he became Constable and when the building of the chapel at \u00c9couen was begun.<\/p>\n

<\/a>8<\/sup> There is a print of the picture in Paris, Biblioth\u00e8que Nationale, Ba 12 (microfilm H. 100426), apparently an illustration taken from some publication; inscribed at the upper left: 12 Vol.<\/em>, at the upper right: Pl. 6a<\/em>, at the lower left: Rosso Pinx.t.<\/em>, at the lower right: C. Norman sc.<\/em>.<\/p>\n","protected":false},"excerpt":{"rendered":"

1538 Paris, Louvre, Inv. 594. Canvas, transferred from panel, 125 x 162.1 Fig.P.23a lavender tonality Fig.P.23b bright tonality Fig.P.23c bw, Christ’s head, before restoration Fig.P.23d bw, Magdalen, before restoration Fig.P.23e bw, Virgin, before restoration Barocchi, 1950, 80, indicates that the painting was cleaned of a blackish patina a short while before 1950.\u00a0 Baldini, 1982, 96, […]<\/p>\n","protected":false},"author":13,"featured_media":0,"parent":814,"menu_order":23,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-910","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/910","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=910"}],"version-history":[{"count":32,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/910\/revisions"}],"predecessor-version":[{"id":11749,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/910\/revisions\/11749"}],"up":[{"embeddable":true,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/814"}],"wp:attachment":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/media?parent=910"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}