DOI Page / Citation link:
https://doi.org/10.11588/diglit.67657#0211
124
Florentine—Broad Manner.
[B. III.
3. THE BRAZEN SERPENT IN THE WILDERNESS AND MOSES ON
MOUNT SINAI.
Zani, Encicl. Pt. II. vol. iii. p. 180.—P. v. 39, 93.—K. ii. 2.—Chalc. Soc. 1889, 9.
In front the whole breadth of the composition is taken up by a crowd
of Israelites, fifty-sour in number, dressed in the Florentine costume os
the period. Os those on the right, four are overthrown and another
attacked by two fiery serpents (in the shape os winged dragons) while
others are scattered in consternation. To the left, raised on a post, is
the brazen serpent set up by Moses, and towards this most of the figures
in the middle and to the left of the crowd are looking with gestures os
wonder and gratitude. In the background rises Mount Sinai; on its
summit Moses kneels with his back to the spectator, and receives the
two tables from the Lord, who appears in a glory with four angels in
adoration on either side. Lower down the mountain towards the right
kneels Aaron.
t (i) First state : before the inscription. Reproduction of an impression in
the Bibliotheque Nationale, Paris. Other impression: Dresden (F.A.).
(ii) Second state : with the addition of the inscriptions ■ moises • and • aeon •
[293 x 418] Fair impression from a slightly worn state of the plate: the paper is
in two parts and joined perpendicularly across the middle. Watermark 3a.
Collection: Hon. Rowland Winn.
Purchased 1870. 6. ‘25. 1050.
Other impressions : Paris (E. de R.), Vienna (Hofmuseum ; Klebebander, 6622).
Reproductions : Illustr. B. III. 5; B. M. Reproductions, Pt. I. 1882, No. 2; Braun.
Doubtless the Storla, di Muise of the Rosselli inventory, on the back os
which was engraved according to Del Badia’s transcription a Morte d' Ugolin.
Considering the correspondence in dimensions of this print and the David, and
Goliath (B. III. 5), we may with some confidence assume the title given to
be a misreading for Morte di Golia.
A drawing in the British Museum carefully finished in pen and bistre wash
on vellum corresponds very closely in respect to the figures with this print.
There is considerable variation, however in the structure of the mountain, and
there is added landscape background with hills, trees, towers and walls r. and 1.
The walled town 1. corresponds in reverse to the same subject in r. upper
corner of the Adoration of the Magi (B. III. 6). If the drawing, which
looks as though it were contemporary with the print, be the original used by
the engraver, the latter has departed from the usual practice of the time by
copying his model exactly in every detail of the figures and dress. If it be a
copy, its author must either have introduced elements from other prints like
the Adoration or made his copy from an early state with a different landscape
background of which no impression is known (see above, p. 101).
4. THE TEMPLE OF SOLOMON: WITH THE VISIT OF THE QUEEN
OF SHEBA.
Zani, Encicl. Pt. II. vol. iii. p. 348.—P. v. 39, 95.—Archiv fur die zeich-
nenden Kiinste, xvi (1870), 93, 10.—K. ii. 4.—Chalc. Soc. 1889, 8.
The foreground is occupied by a number os standing figures in
conversation: to the 1. the retinue of the queen, with horses and a camel,
two couples of hunting-leopards and a couple of hounds in leash : to the
r. a variety os lookers-on: a dwars approaching the coupled hounds
serves to unite the two groups. Farther off, in the centre, Solomon is
seen giving his hand to the Queen of Sheba. He stands, attended by a
numerous following, under an advancing portico of his Temple, which is
Florentine—Broad Manner.
[B. III.
3. THE BRAZEN SERPENT IN THE WILDERNESS AND MOSES ON
MOUNT SINAI.
Zani, Encicl. Pt. II. vol. iii. p. 180.—P. v. 39, 93.—K. ii. 2.—Chalc. Soc. 1889, 9.
In front the whole breadth of the composition is taken up by a crowd
of Israelites, fifty-sour in number, dressed in the Florentine costume os
the period. Os those on the right, four are overthrown and another
attacked by two fiery serpents (in the shape os winged dragons) while
others are scattered in consternation. To the left, raised on a post, is
the brazen serpent set up by Moses, and towards this most of the figures
in the middle and to the left of the crowd are looking with gestures os
wonder and gratitude. In the background rises Mount Sinai; on its
summit Moses kneels with his back to the spectator, and receives the
two tables from the Lord, who appears in a glory with four angels in
adoration on either side. Lower down the mountain towards the right
kneels Aaron.
t (i) First state : before the inscription. Reproduction of an impression in
the Bibliotheque Nationale, Paris. Other impression: Dresden (F.A.).
(ii) Second state : with the addition of the inscriptions ■ moises • and • aeon •
[293 x 418] Fair impression from a slightly worn state of the plate: the paper is
in two parts and joined perpendicularly across the middle. Watermark 3a.
Collection: Hon. Rowland Winn.
Purchased 1870. 6. ‘25. 1050.
Other impressions : Paris (E. de R.), Vienna (Hofmuseum ; Klebebander, 6622).
Reproductions : Illustr. B. III. 5; B. M. Reproductions, Pt. I. 1882, No. 2; Braun.
Doubtless the Storla, di Muise of the Rosselli inventory, on the back os
which was engraved according to Del Badia’s transcription a Morte d' Ugolin.
Considering the correspondence in dimensions of this print and the David, and
Goliath (B. III. 5), we may with some confidence assume the title given to
be a misreading for Morte di Golia.
A drawing in the British Museum carefully finished in pen and bistre wash
on vellum corresponds very closely in respect to the figures with this print.
There is considerable variation, however in the structure of the mountain, and
there is added landscape background with hills, trees, towers and walls r. and 1.
The walled town 1. corresponds in reverse to the same subject in r. upper
corner of the Adoration of the Magi (B. III. 6). If the drawing, which
looks as though it were contemporary with the print, be the original used by
the engraver, the latter has departed from the usual practice of the time by
copying his model exactly in every detail of the figures and dress. If it be a
copy, its author must either have introduced elements from other prints like
the Adoration or made his copy from an early state with a different landscape
background of which no impression is known (see above, p. 101).
4. THE TEMPLE OF SOLOMON: WITH THE VISIT OF THE QUEEN
OF SHEBA.
Zani, Encicl. Pt. II. vol. iii. p. 348.—P. v. 39, 95.—Archiv fur die zeich-
nenden Kiinste, xvi (1870), 93, 10.—K. ii. 4.—Chalc. Soc. 1889, 8.
The foreground is occupied by a number os standing figures in
conversation: to the 1. the retinue of the queen, with horses and a camel,
two couples of hunting-leopards and a couple of hounds in leash : to the
r. a variety os lookers-on: a dwars approaching the coupled hounds
serves to unite the two groups. Farther off, in the centre, Solomon is
seen giving his hand to the Queen of Sheba. He stands, attended by a
numerous following, under an advancing portico of his Temple, which is