DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.26589#0158
154
Marcin Fabiański
position of breasts incompatible with the model’s situation. This is due partly
to the fact that the body appears to have been drawn after works of art
rather than based on life study.
The contrived pose resembles that of a spring nymph painted in 1681
by Carlo Maratti in the left corner of his Apollo and Daphne, the scene
commissioned for Louis XIV, to become one of his most celebrated pain-
tings5. The Maratti naiad, studied from nature carefully (Fig. 2), became
a favourite paradigm of a sleeping beauty for contemporary and later artists,
including his disciple Giuseppe Bartolomeo Chiari in the nymph in his Mer-
cury, Bacchus and Nymphs (1699; Fig. 3)6, François Boucher in his Jupi-
ter and Antiope known through Philippe Parizeau’s print (Fig. 4)7. Their
figures displayed minor changes and simplifications in comparison to the ori-
ginal model8. In devising their nymphs both Maratti and Boucher referred to
some of the earlier paintings indebted to Correggio’s Venus, Cupid and
a 'Satyr' (Fig. 5), in the French King’s collection known as Jupiter and
Antiope9- The Parizeau etching displays anatomical simplifications similar
to, but not identical with those visible on the present harpsichord lid, which
consequently seems to have been painted by an eighteenth- rather than se-
venteenth-century follower of Maratti, possibly French or Italian, and to re-
present a sleeping nymph or a princess, rather than Venus.
5 See Musées Royaux des Beaux-Arts de Belgique. Catalogue inventaire de la
peinture ancienne, Bruxelles 1984, p. 183, cat. 269; C. Adelson,,, Apollo and Daphne”
from Charles de la Fosse’s ,,Ovid’s Fables”. A Series Designed for the Leyniers-
Reydams Workshops in Brussels, [in:] Studies in the History of Art, voi. 13, Mono-
graph Series II: Studies of Fifteenth- to Nineteenth-Century Tapestry, ed. L. Stack,
Washington 1993, pp. 45-47; S. Rudolph, Mezzo secolo di diplomazia internaziona-
le, fra realtr ed allegoria, nelle opere del pittore Carlo Maratti, [in:] The Diplomacy
of Art: Artistic Creation and Politics in Seicento Italy, ed. E. Cropper, Bologna 2000,
pp. 217-218; Barock im Vatikan. Kunst und Kultur im Rom der Papste, II, 1572-
1876, exhibition cat., Bonn-Berlin 2006, ed. J. Frings, pp. 359-360, no. 216 (entry by
B. R[ubach]).
6 Rome, Galleria Spada. See В. Kreber, Giuseppe Bartolomeo Chiari, „The Art
Bulletin”, 50, 1968, p. 79; R. Connata, Il collezionismo del Cardinale Fabrizio Spada
(1634-1717), [in:] R. Connata, M. L. Vicini, La Galleria di Palazzo Spada. Genesi
e storia di una collezione, Roma 1992, p. 124.
7 See M. Fabiański, Correggio s Erotic ‘Poesie ’ (Quaderni della,,Fondazione II
Correggio ” no. 2), Cinisello Balsamo 2000, p. 131.
8 Rather than to Michelangelo’s Eve in The Original Sin, as claimed by Rubach
(as in note 5). See ibidem, pp. 131-134.
9 Ibidem.
Marcin Fabiański
position of breasts incompatible with the model’s situation. This is due partly
to the fact that the body appears to have been drawn after works of art
rather than based on life study.
The contrived pose resembles that of a spring nymph painted in 1681
by Carlo Maratti in the left corner of his Apollo and Daphne, the scene
commissioned for Louis XIV, to become one of his most celebrated pain-
tings5. The Maratti naiad, studied from nature carefully (Fig. 2), became
a favourite paradigm of a sleeping beauty for contemporary and later artists,
including his disciple Giuseppe Bartolomeo Chiari in the nymph in his Mer-
cury, Bacchus and Nymphs (1699; Fig. 3)6, François Boucher in his Jupi-
ter and Antiope known through Philippe Parizeau’s print (Fig. 4)7. Their
figures displayed minor changes and simplifications in comparison to the ori-
ginal model8. In devising their nymphs both Maratti and Boucher referred to
some of the earlier paintings indebted to Correggio’s Venus, Cupid and
a 'Satyr' (Fig. 5), in the French King’s collection known as Jupiter and
Antiope9- The Parizeau etching displays anatomical simplifications similar
to, but not identical with those visible on the present harpsichord lid, which
consequently seems to have been painted by an eighteenth- rather than se-
venteenth-century follower of Maratti, possibly French or Italian, and to re-
present a sleeping nymph or a princess, rather than Venus.
5 See Musées Royaux des Beaux-Arts de Belgique. Catalogue inventaire de la
peinture ancienne, Bruxelles 1984, p. 183, cat. 269; C. Adelson,,, Apollo and Daphne”
from Charles de la Fosse’s ,,Ovid’s Fables”. A Series Designed for the Leyniers-
Reydams Workshops in Brussels, [in:] Studies in the History of Art, voi. 13, Mono-
graph Series II: Studies of Fifteenth- to Nineteenth-Century Tapestry, ed. L. Stack,
Washington 1993, pp. 45-47; S. Rudolph, Mezzo secolo di diplomazia internaziona-
le, fra realtr ed allegoria, nelle opere del pittore Carlo Maratti, [in:] The Diplomacy
of Art: Artistic Creation and Politics in Seicento Italy, ed. E. Cropper, Bologna 2000,
pp. 217-218; Barock im Vatikan. Kunst und Kultur im Rom der Papste, II, 1572-
1876, exhibition cat., Bonn-Berlin 2006, ed. J. Frings, pp. 359-360, no. 216 (entry by
B. R[ubach]).
6 Rome, Galleria Spada. See В. Kreber, Giuseppe Bartolomeo Chiari, „The Art
Bulletin”, 50, 1968, p. 79; R. Connata, Il collezionismo del Cardinale Fabrizio Spada
(1634-1717), [in:] R. Connata, M. L. Vicini, La Galleria di Palazzo Spada. Genesi
e storia di una collezione, Roma 1992, p. 124.
7 See M. Fabiański, Correggio s Erotic ‘Poesie ’ (Quaderni della,,Fondazione II
Correggio ” no. 2), Cinisello Balsamo 2000, p. 131.
8 Rather than to Michelangelo’s Eve in The Original Sin, as claimed by Rubach
(as in note 5). See ibidem, pp. 131-134.
9 Ibidem.