DOI Page / Citation link:
https://doi.org/10.11588/diglit.67657#0087
A. I.]
Resurrection—Profile of a Lady.
17
his r. to the risen Christ. In the soreground are sour soldiers in rich
armour ; one is sitting with his back towards the tomb, the rest just starting
from sleep and seizing their weapons in alarm. In the background are
cypresses and other trees, and on the 1. two hares, one os which is pursued
by a hound.
[275 x 201] Plate line visible r. and lower and upper edges.
Impression torn and rejoined perpendicularly down the centre ; somewhat
damaged in other parts and the paper is discoloured. Along and just above the
upper plate line a strip of the original paper (about 6 mm. wide) has been
severed and re-joined. A ms. inscription covers this strip and slightly overlaps
the lower part, so that it must have been written after the re-join. It is
extremely difficult to decipher, and the following letters with dots for omissions
are given as some basis for possible suggestions :—
... la Casa diprovenzano libl-)ris{?) di mur . . . e dipe[nta(f)\ . . . nella.no
1470 (or 9 .?).
Purchased 1845. 8. 5. 25. 365.
Reproductions: Illustr. D. 1. 1. and D. 1. 5.; H. N. Humphreys, Masterpieces
of the Early Printers and Engravers, 1870; Archivio Storico dell’ Arte,
VI. 391.
Unique.
The inscription may be considerably later than the engraving, but it is of
value as one of the very few pieces of limiting evidence we possess (compare
the following number). In method and technique the engraving comes near the
Albertina series of the Triumphs of Petrarch (A. I. f3), though the design
is of a different, far less harsh and exaggerated type. The ssowing folds of
drapery clinging round the feet of the angel immediately to the 1. of Christ may
be compared with those of the woman on the extreme r. of the Triumph of
Chastity. A characteristic point in common is the drawing of the nose half in
profile, with a second line continued from the outside eye-brow, while other
elements such as the hands (which are less knotted and articulated in this
Resurrection than in the Triumphs') do not so well correspond. Though the
identity of the engraver of this print with the engraver of the Triumphs is not
so convincingly apparent as that of the engraver of the Triumphs with the
master of the Larger Vienna Passion, the technical similarities seem to point
to its being at any rate a production of the same workshop. The composition
is not unlike that of Luca della Robbia’s relief of the Resurrection over the
door of the Sacristy in the Duomo, Florence (which was commissioned in 1443).
Somewhat similar again is a fresco attributed to Niccolo Gerini in Santa Croce,
Florence.
As direct evidence to its Florentine origin may be noted the Medici badge,
the three feathers within a ring, on the shield of the soldier in the right
foreground.
f6. PROFILE PORTRAIT OF A LADY (reproduction).
Pr. Jahrbuch, I. p. 11.—Chalc. Soc. 1887, No. 1.—Gazette des Beaux-
Arts, 2e per. XXI. p. 91.
Head and bust in profile 1. Features youthful and clear-cut; face
and neck without shading, but tinted in part with a light water-colour
wash. Forehead high, hair almost concealed by a richly embroidered and
jewelled head-dress with two low peaks and a lappet on either side, one of
which fringes the sarther outline os the neck and shoulder. The border
C
Resurrection—Profile of a Lady.
17
his r. to the risen Christ. In the soreground are sour soldiers in rich
armour ; one is sitting with his back towards the tomb, the rest just starting
from sleep and seizing their weapons in alarm. In the background are
cypresses and other trees, and on the 1. two hares, one os which is pursued
by a hound.
[275 x 201] Plate line visible r. and lower and upper edges.
Impression torn and rejoined perpendicularly down the centre ; somewhat
damaged in other parts and the paper is discoloured. Along and just above the
upper plate line a strip of the original paper (about 6 mm. wide) has been
severed and re-joined. A ms. inscription covers this strip and slightly overlaps
the lower part, so that it must have been written after the re-join. It is
extremely difficult to decipher, and the following letters with dots for omissions
are given as some basis for possible suggestions :—
... la Casa diprovenzano libl-)ris{?) di mur . . . e dipe[nta(f)\ . . . nella.no
1470 (or 9 .?).
Purchased 1845. 8. 5. 25. 365.
Reproductions: Illustr. D. 1. 1. and D. 1. 5.; H. N. Humphreys, Masterpieces
of the Early Printers and Engravers, 1870; Archivio Storico dell’ Arte,
VI. 391.
Unique.
The inscription may be considerably later than the engraving, but it is of
value as one of the very few pieces of limiting evidence we possess (compare
the following number). In method and technique the engraving comes near the
Albertina series of the Triumphs of Petrarch (A. I. f3), though the design
is of a different, far less harsh and exaggerated type. The ssowing folds of
drapery clinging round the feet of the angel immediately to the 1. of Christ may
be compared with those of the woman on the extreme r. of the Triumph of
Chastity. A characteristic point in common is the drawing of the nose half in
profile, with a second line continued from the outside eye-brow, while other
elements such as the hands (which are less knotted and articulated in this
Resurrection than in the Triumphs') do not so well correspond. Though the
identity of the engraver of this print with the engraver of the Triumphs is not
so convincingly apparent as that of the engraver of the Triumphs with the
master of the Larger Vienna Passion, the technical similarities seem to point
to its being at any rate a production of the same workshop. The composition
is not unlike that of Luca della Robbia’s relief of the Resurrection over the
door of the Sacristy in the Duomo, Florence (which was commissioned in 1443).
Somewhat similar again is a fresco attributed to Niccolo Gerini in Santa Croce,
Florence.
As direct evidence to its Florentine origin may be noted the Medici badge,
the three feathers within a ring, on the shield of the soldier in the right
foreground.
f6. PROFILE PORTRAIT OF A LADY (reproduction).
Pr. Jahrbuch, I. p. 11.—Chalc. Soc. 1887, No. 1.—Gazette des Beaux-
Arts, 2e per. XXI. p. 91.
Head and bust in profile 1. Features youthful and clear-cut; face
and neck without shading, but tinted in part with a light water-colour
wash. Forehead high, hair almost concealed by a richly embroidered and
jewelled head-dress with two low peaks and a lappet on either side, one of
which fringes the sarther outline os the neck and shoulder. The border
C