DOI article:
Wouk, Edward H.: Frans Floris and disegno: a return to the question
DOI Page / Citation link:https://doi.org/10.11588/diglit.51714#0064
5. Workshop of Frans Floris (?), possibly Crispijn van den Broeck: Christ Carrying the Cross. Boston (Mass.), Private Collection. Photo: Author,
by permission of the oivner.
did not serve as an intermediary, Floris clearly knew
of Tintoretto’s männer of painting and his sources;
Daniele’s Roman work and the prints after it may
have provided both Floris and Tintoretto with a new
pictorial lexicon for this traditional subject.78 While
Floris’s decision to emphasize Mary’s suffering by
aligning the axis of the cross directly with her breast
may have a complex iconographie motivation, the
artist’s skill as a draftsman enabled him to assimilate
disparate influences to produce a compelling image.79
as discussed by Venturi, is a decade earlier, as deduced from
a payment cited by Milanesi. — VASARI — MILANESI1878
(see in note 14), Vol. 7, p. 53, n. 1 ; see VENTURI 1901-1940
(see in note 76), Vol. 9, pt. 6, p. 238. Daniele had first begun
to work in the Trinità as an assistant to Perino, finishing his
compositions after the latter was forced to flee Rome because
of the sac. See BAROLSKY, P: Daniele da Volterra: a catalogue
raisonné. New York 1979, pp. 55-59, No. 6, who dates the work
to ca. 1545. Venturi recounts that the work may have been
made with the direct assistance of Michelangelo (VENTURI
1901 — 1940 (see in note 76), Vol. 7, pt. 6, p. 252), a notion
supported by TOLNAY, Ch. de: La Deposizione di Cristo
attribuito a Michelangelo a Haarlem. In: Pantheon, 25, 1967,
pp. 20-26. Barlosky acknowledges a close influence but rejects
the notion of direct assistance. Barolsky records preparátory
drawings in the Uffizi, the British Museum, seven at the Lou-
vre, and one lost, as well as several painted copies. Daniele da
Volterra is one of the Florentine-Roman Mannerists whom
Zuntz singles out for his influence on Floris. See ZUNTZ
1929 (see in note 3), p. 67, under group b.
78 On the print by Giovanni Battista Cavalieri or Cavalleriis (ca.
1525 — 1601), undated in the first state, see ZANI, P: Fnciclo-
pedia metodica critico-ragionata delle belle arti. Parma 1817 — 1825,
Vol. 3, pt. 2, pp. 173-174; and LE BLANC, Ch.: Manuel de
l’amateur d’estampes. Paris 1854— 1890, Vol. 1, p. 616, No. 15.
79 The unusual gesture of supporting Mary’s breast also appears,
though in a less pronounced manner, in Floris’s painting of the
Lamentation (Meaux, Musée Bossuet; oil on panel, 155 X 214 cm),
58