{"id":979,"date":"2011-06-09T12:29:38","date_gmt":"2011-06-09T16:29:38","guid":{"rendered":"http:\/\/blogs.vassar.edu\/rosso2\/"},"modified":"2013-06-04T16:25:45","modified_gmt":"2013-06-04T20:25:45","slug":"vi-south-the-unity-of-the-state","status":"publish","type":"page","link":"https:\/\/pages.vassar.edu\/rosso\/catalogues\/paintings\/p-22\/vi-south-the-unity-of-the-state\/","title":{"rendered":"P.22 VI South: Unity of the State"},"content":{"rendered":"
\"\"<\/a>

P.22 VI South: The Unity of the State<\/p><\/div>\n

<\/strong>The central fresco: c. 1.69 x c. 2.50 m.<\/p>\n

Fig.P.22, VI S a<\/a> whole wall
\nFig.P.22, VI S b<\/a> bw, whole wall
\nFig.P.22, VI S c<\/a> right end of wall
\nFig.P.22, VI S,Tapestry, a<\/a> bw, whole tapestry
\nFig.P.22, VI S,Tapestry, b<\/a> bw, right end of tapestry
\nFig.P.22, VI S,Tapestry, c<\/a> bw, bottom scene<\/p>\n

Pressouyre, \u201cRestaurations,\u201d 1972, 33, Fig. 48, 34, pointed out that Percier\u2019s drawing (see below) showing details of this wall indicates feigned marble which has not survived painted on the flat stucco surfaces beneath the central fresco (on which see also below in regard to the Vienna tapestry).<\/p>\n

PREPARATORY DRAWING: D.55 (COPY). \u00a0Paris, Louvre, Inv. no. 8884, Unity of the State<\/em> (D.55<\/a>). \u00a0This drawing shows Rosso\u2019s composition in the same direction as in the gallery but spatially opened up at the left and with the background not entirely shown. \u00a0The proportions of the figures have been elongated and the figure at the far left is depicted briskly walking into the scene. \u00a0A variety of details in the drawing \u2013 the lion\u2019s head at the shoulder of the central figure, the costume of the kneeling figure, who looks like a child, the line of the hem of the garment of the figure in the right foreground \u2013 indicate that the drawing is not derived from the fresco. \u00a0Nor is it dependent upon Fantuzzi\u2019s etching (see below) or upon the Vienna tapestry (see below). \u00a0The drawing would seem to be a somewhat free and incomplete copy of a lost drawing by Rosso, although it does not reflect his draughtsmanship.<\/p>\n

PRINTS: E.66. \u00a0Fantuzzi, Unity of the State<\/em> (E.66<\/a>). \u00a0This etching is related, in reverse, to the central painting of this wall, although it is not a copy of the latter. \u00a0Nor is it a copy of the Vienna tapestry (see below). \u00a0But the print does have at least one detail that appears in the tapestry and not in the fresco: the lantern on the side of the building in the background. \u00a0The central figure does not look like Francis I in the etching, two standing figures, the figure in a window, and the monkey on the ledge are missing from the left side of the print, the armor has been highly elaborated, the dwarf is dressed differently, and many of the heads have curly hair and beards. \u00a0In the background the porch is enclosed by a wall and not by balusters. \u00a0The etching is also slightly higher than the fresco. \u00a0It is most probable that the print is derived from a lost drawing by Rosso that Fantuzzi has somewhat changed and enlivened. \u00a0The one detail, the lantern, that appears again in the tapestry gives evidence of the use of Rosso\u2019s drawings by the artists who made the tapestry cartoons.<\/p>\n

E.99. \u00a0Master I. \u2640. V., Frame<\/em> (E.99<\/a>). \u00a0The side panels of this etching reflect a knowledge of the stucco decoration flanking the Unity of the State<\/em>. \u00a0However, the variations in the print are extensive. \u00a0The standing male figures are related to the inner ones in the gallery and then are repeated in reverse at the sides of the print. \u00a0But in the etching they all have wings. \u00a0This detail could indicate that the print is based on a lost drawing by Rosso. \u00a0However, most of what appears in the print along all of its edges and in the center is not derived from Rosso.<\/p>\n

COPY, DRAWING: Paris, Biblioth\u00e8que de l\u2019Institute, ms. 1015, Vol. 2, fol. 4, sketch at upper left (Fig.Percier drawing 1<\/a>). \u00a0Charles Percier, Copy of part of the right side of the wall<\/em>. \u00a0Watercolor. \u00a0\u201cGalerie,\u201d\u00a0RdA,<\/em> 1972, 33, Fig. 48, 34, 43, n. 46. \u00a0The drawing of the late eighteenth century shows no differences from what appears in the gallery except for the indication of \u201cpeinture?\u201d on the flat stucco band beneath the central picture and, possibly, the depiction of feigned marble there (see Pressouyre above).<\/p>\n

TAPESTRY: Vienna, Kunsthistorisches Museum, CV\/6. \u00a0330 x 624. \u00a0(For media, see below). \u00a0This tapestry (Fig.P.22, VI S,Tapestry, a<\/a>; Fig.P.22, VI S,Tapestry, b<\/a>; Fig.P.22, VI S,Tapestry, c<\/a>) reproduces, with some elaboration, the decoration of this wall. \u00a0The stucco garlands have been colored. \u00a0At the top at either side of the salamander there is a head framed with vines. \u00a0A repair above the salamander may indicate that something has been removed (Pressouyre suggested a crown), although nothing appears here in the gallery. \u00a0Beneath the ends of the central picture there are colored medallions set within drapery; there are no traces of such medallions in the gallery although Percier\u2019s drawing (see above) indicates painting here and possibly the depiction of marble. \u00a0But there is not really enough room here in the gallery for the round medallions of the tapestries. \u00a0The central picture has an extra figure in the foreground at the far left.<\/p>\n

In the central scene the kneeling blond youth wears a pink tunic with gold fringe and a blue sash shot with gold. \u00a0Francis I wears a green wreath on his brown hair. \u00a0The main body of his cuirass is wine red and gold with a green and yellow sash around it. \u00a0The flaps of his cuirass are lavender and gold falling over a green skirt fringed with gold. \u00a0His legs are white, his boots tan. \u00a0He also wears a blue cape.<\/p>\n

The nine figures standing to the left of Francis I are dressed in the following colors: 1. a dark pink hood and cape; 2. a yellow green cloak turning to red at the edges, with a blue undergarment visible beneath his sleeve; he wears tan leggings; 3. a green and dark blue cloak with tan fringe; 4. olive armour and a tan helmet with a pink feather; 5. a bronze green cuirass and helmet touched with gold, a wine red undergarment sleeve, a light blue sash, and a green and olive green skirt; 6. a tan helmet; 7. a dark lavender-pink cloak over dark blue and a dark blue and gold undergarment; 8. (in the distance and seen from the back) a dark orange tan cloak; 9. (in the distance and seen from the front) a green and olive dress with green and pink ribbons in her hair. \u00a0The eight figures to the right of Francis I are dressed in the following colors: 1. (very little visible) olive; 2. (very little visible) dark red; 3. a green cloak over a dark red garment visible at the neck and as leggings; he has brown shoes; 4. an olive green and dark blue helmet with pink feathers; 5. a tan to pink cloak with large patterns in gold; a pink sash and skirt with some blue; 6. an ochre helment with a blue sheen; 7. an ochre and gold helmet with yellow, pink, and lavender feathers; 8. a wine red cloak over a dark blue tunic, pink leggings with a blue pattern, and red shoes; he has a green band around his head. \u00a0At the far right the kneeling man wears a blue tunic with a brown belt. \u00a0The figures behind him are tan and gray. \u00a0Going up the stairs in the center background are two woman, the first wearing green with a blue hat, the second dressed in red.<\/p>\n

In the oval scene left of the central picture the two figures appear standing on two curved gray marble slabs flecked with blue, red, pink, and white. \u00a0The left figure wears a yellow-green garment shot with gold thread. \u00a0His companion has an orange-tan garment turning to lighter tone of the same color and then to gray. \u00a0In the oval scene at the right the front figure wears pink drapery shot with gold; the back figure has wine red drapery flying to the right and ribbons of the same color in his hair. \u00a0At the top of the tapestry the \u201cstucco\u201d garland around the salamander is tied with blue ribbons.<\/p>\n","protected":false},"excerpt":{"rendered":"

The central fresco: c. 1.69 x c. 2.50 m. Fig.P.22, VI S a whole wall Fig.P.22, VI S b bw, whole wall Fig.P.22, VI S c right end of wall Fig.P.22, VI S,Tapestry, a bw, whole tapestry Fig.P.22, VI S,Tapestry, b bw, right end of tapestry Fig.P.22, VI S,Tapestry, c bw, bottom scene Pressouyre, \u201cRestaurations,\u201d […]<\/p>\n","protected":false},"author":13,"featured_media":0,"parent":908,"menu_order":19,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-979","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/979","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=979"}],"version-history":[{"count":14,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/979\/revisions"}],"predecessor-version":[{"id":1942,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/979\/revisions\/1942"}],"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=979"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}