{"id":970,"date":"2011-06-09T12:27:53","date_gmt":"2011-06-09T16:27:53","guid":{"rendered":"http:\/\/blogs.vassar.edu\/rosso2\/"},"modified":"2013-06-04T16:33:38","modified_gmt":"2013-06-04T20:33:38","slug":"v-north-the-twins-of-catania","status":"publish","type":"page","link":"https:\/\/pages.vassar.edu\/rosso\/catalogues\/paintings\/p-22\/v-north-the-twins-of-catania\/","title":{"rendered":"P.22 V North: The Twins of Catania"},"content":{"rendered":"
\"\"<\/a>

P.22 V North: The Twins of Catania<\/p><\/div>\n

<\/strong>The central fresco: c. 1.67 x c. 2.58 m.<\/p>\n

Fig.P.22, V N a<\/a> whole wall
\nFig.P.22, V N b<\/a> bw, whole wall<\/p>\n

In the places once occupied by the beams when they were set lower are now a lion\u2019s head with a vegetal mane at the left and a large rose bud at the right, from the center of which, on rings, hang the stucco garlands. \u00a0Originally, as visible in Guesdon\u2019s lithographic view of the gallery (Fig.Guesdon<\/a>), the garlands hung from a ring set in the middle of the underside of each beam. \u00a0The effaced areas at the bottom of the wall had painted garlands one of which is dimly visible in Guesdon\u2019s print.<\/p>\n

PREPARATORY DRAWING: D.60 (COPY). \u00a0Amstersdam, Rijksmuseum, no. A 2178. \u00a0The Twins of Catania <\/em>(D.60<\/a>). \u00a0This pen and ink and red chalk drawing served as the model for Boyvin\u2019s engraving (see below). \u00a0A few differences from the fresco in the gallery and the penmanship of the drawing indicate that it was made after a lost drawing by Rosso. \u00a0That drawing probably was modelled with washes that have been translated into red chalk shading to serve better, it would seem, the requirements of engraving. \u00a0The lost original could also have had white highlights. \u00a0In the drawing the woman at the far left is dressed differently from her appearance in the fresco; the boxes somewhat to the right of her are not as extensively ribbed as in the gallery; and the buildings and size of the tree at the upper right are slightly different. \u00a0These slight variations probably entered the composition at the time just before the cartoon was made (see the anonymous etching below). \u00a0A strange detail of this drawing is that it shows no fire.<\/p>\n

PRINTS: E.11. \u00a0Boyvin, The Twins of Catania<\/em> (E.11<\/a>). \u00a0This engraving, in reverse of the fresco, is based directly upon the drawing in Amsterdam (see above). T he drawing shows stylus marks; the ribbing of the box made only with the stylus in the drawing appears in the print.<\/p>\n

E.142. \u00a0Anonymous, The Twins of Catania<\/em> (E.142<\/a>). \u00a0This etching is in the opposite direction of the fresco and shows the woman running into the scene dressed as in the painting and not as in the Amsterdam drawing and in the engraving by Boyvin. \u00a0The rounded box is also ribbed as in the fresco. \u00a0But more architecture is shown in the background of the print and there are more and larger rocks. \u00a0The etching is also slightly higher than the fresco and some of the elaboration of the background would seem due to this circumstance. \u00a0Otherwise, however, it might be thought that the etching is based on a drawing made from the fresco. \u00a0This is possible but the etching is so detailed that it seems more likely that it was made from a lost drawing by Rosso, one probably made just before the cartoon was executed. \u00a0The architecture behind the figures in the middleground could have been in the lost drawing and then eliminated from the composition when it was decided that a wall of fire would be more dramatic, as appears in the fresco. \u00a0But some buildings may still be vaguely indicated here in Rosso\u2019s painting.<\/p>\n

E.56,8<\/a>. \u00a0Du Cerceau, Frame<\/em>. \u00a0This etching shows only one side of the frame with the old bearded man in a niche and beneath the Royal F encircled by a crown.<\/p>\n

E.73. \u00a0Fantuzzi, Frame<\/em> (E.73<\/a>). \u00a0This etching is related to the left stucco panel of this wall which is then more or less repeated on the other side of the print to frame a view of a port city. \u00a0The stucco panel is in reverse at the left of this print. \u00a0However, the two sides of the print are not absolutely in reverse of each other. \u00a0The poses of the upper left and right figures are not the same and the one at the right has no wings. \u00a0The pairs of herms on either side of the bearded figures are not the same at both sides. \u00a0There are, furthermore, so many variations from what appears in the gallery that one may have to assume that Fantuzzi was working from a lost drawing by Rosso. \u00a0The position of one arm of the old men is different and half of their chests are not bare. \u00a0The herms are male and have no arms and the niches have no shells. \u00a0One of the herms is bald as are two of the figures above. \u00a0Some of the variations in the print, such as the fact that the winged figures stand on nothing, would seem to be due to Fantuzzi. \u00a0But others may reflect details in a lost drawing.<\/p>\n

One of Du Cerceau\u2019s Petits Cartouches, E.57,9, is closely copied from Fantuzzi\u2019s etching.<\/p>\n

COPIES, DRAWINGS: New Haven, Yale University Art Gallery, no. 1961.65.5, The Twins of Catania<\/em> (Fig.P.22Copy, New Haven<\/a>). \u00a0Red chalk, 22 x 34.9. \u00a0Inscribed in pencil on mount at lower left: N. Poussin<\/em>, and at the lower left and right, in pencil: V 5. \u00a0PROVENANCE: Egmont. \u00a0LITERATURE: Haverkamp-Begemann and Logan, 1970, I, 329-330, no. 620, II, Pl. 300, as attributed to Theodor van Thulden. \u00a0Roy, 1977, 68, 76, n. 11, as by Van Thulden. \u00a0Wilson-Chevalier, 1982, 12, 16, n. 45, as Van Thulden after Rosso\u2019s fresco. \u00a0Wood, 1990, 46, n. 41, as by Abraham van Diepenbeeck. \u00a0The drawing is a copy after the fresco and seems to be by the same hand as the copy after the Combat of Centaurs<\/em> and Lapiths <\/em>in Besan\u00e7on (see under I S).<\/p>\n

Paris, Louvre, Inv. 1577. \u00a0The Twins of Catania<\/em> (Fig.P.22Copy, Paris, 1577<\/a>). \u00a0PROVENANCE: Saint-Morys. \u00a0LITERATURE: Saint-Morys, 1987, II, inv. no. 1577, giving Morel d\u2019Arleux\u2019s (523) attribution to Rosso. \u00a0Scailli\u00e9rez, 1992, 132, n. 2, under no. 57, as a copy of Rosso\u2019s composition. \u00a0Formerly attributed to Rosso, this black chalk drawing is a copy after the anonymous etching of this composition (see above and under\u00a0E.142<\/a>).<\/p>\n","protected":false},"excerpt":{"rendered":"

The central fresco: c. 1.67 x c. 2.58 m. Fig.P.22, V N a whole wall Fig.P.22, V N b bw, whole wall In the places once occupied by the beams when they were set lower are now a lion\u2019s head with a vegetal mane at the left and a large rose bud at the right, […]<\/p>\n","protected":false},"author":13,"featured_media":0,"parent":908,"menu_order":16,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-970","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/970","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=970"}],"version-history":[{"count":16,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/970\/revisions"}],"predecessor-version":[{"id":9339,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/970\/revisions\/9339"}],"up":[{"embeddable":true,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/908"}],"wp:attachment":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/media?parent=970"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}