DOI Page / Citation link:
https://doi.org/10.11588/diglit.67657#0597
476 Known Masters and their Immediate Followers.
7. NYMPH AND SATYRS. P. v. 158, 50.
A nymph reclines towards the 1. on a drapery spread over a couch,
resting her head on her r. arm. At either side os her is a child, one of
them playing with her r. breast. Two Satyrs advance srom the r. and
the soremost lists the drapery which has covered the nymph.
[156 x 216] Clear impression of the second state, somewhat damaged, and cut
along the lower margin (the initials b m being cut away).
Purchased 1845. 8. 25. 755.
Other impressions : Paris, B. N. (two states).
Reproductions: Illustr. 27.
The first state (Paris) shows a tree behind Venus, and pedestal and vase to
1. of her head; her hair is covered with a veil. In the second state the head
is changed in character, and details mentioned erased.
The same composition (with details as in first state) is seen in a contem-
porary Italian bronze plaquette, attributed to Fra Antonio da Brescia (described
and reprod. in Molinier, Les Plaguettes, Paris, 1886, No. 122 ; Berlin, Museen,
Beschreibung der Bildwerhe der Christi. Epochen. 2te Auss. Bd. II, Die Ital.
Bronzen, 1904, No. 972).
8. THE RISEN CHRIST. P. v. 156, 37.
Christ stands in full face near the soreground towards the 1. on
a rocky ledge. His lest arm and body to the waist are bare ; heavy
drapery covers his r. arm and hand and lower limbs, and trails along the
ground. He holds a banner in his r. hand, and in his 1. a scroll inscribed
ressvresit. To the r. is the opening os the tomb in the side os
a rock, with the stone rolled away from besore it. In the background
1. is a landscape with buildings and distant mountains. Signed • b • m • on a
little tablet towards the 1. below.
[262 x 166] Good impression, but considerably cut (especially in its breadth)
and torn.
Purchased 1845. 8. 25. 749.
Other impressions : Paris (B. N.), Basle, Vienna (Alb.).
Reproductions : Illustr. 9.
The original drawing for this engraving (in reverse and showing slight
variations) is in the Louvre and attributed to Mantegna (reproduced Braun 409).
Morelli attributed it to Buonconsigli, Dr. Kristeller (Mantegna, London 1901,
p. 459 ; Leipzig 1902, p. 481) to Mocetto. On the whole I am inclined to
regard it as the engraver’s study for his own plate. The manner of shading is
more simply Mantegnesque than in his engraving, but there is no reason to
expect that Benedetto could have used exactly the same system in both mediums.
The style is of course exceedingly close to that of his brother Bartolommeo,
whose originals he must have largely used. But among Bartolommeo’s extant
drawings I do not know any example of pen-work similar to the Louvre drawing.
There is a drawing of a somewhat similar risen Christ attributed to the school
of Bartolommeo Montagna in the collection of Prince Liechtenstein (Feldsberg)
(Schonbrunner and Meder, Handzeichnungen alter Meister, Vienna No. 433).
Resemblance may be noted also to the figure of Christ in Mocetto’s engraving
of the Resurrection, P. 9.
9. S. ANTHONY. P. v. 156, 41.
S. Anthony stands in the centre on a rocky ledge, sacing three-quarters
1., and looks upwards with folded hands. A pig appears r., a butterssy
7. NYMPH AND SATYRS. P. v. 158, 50.
A nymph reclines towards the 1. on a drapery spread over a couch,
resting her head on her r. arm. At either side os her is a child, one of
them playing with her r. breast. Two Satyrs advance srom the r. and
the soremost lists the drapery which has covered the nymph.
[156 x 216] Clear impression of the second state, somewhat damaged, and cut
along the lower margin (the initials b m being cut away).
Purchased 1845. 8. 25. 755.
Other impressions : Paris, B. N. (two states).
Reproductions: Illustr. 27.
The first state (Paris) shows a tree behind Venus, and pedestal and vase to
1. of her head; her hair is covered with a veil. In the second state the head
is changed in character, and details mentioned erased.
The same composition (with details as in first state) is seen in a contem-
porary Italian bronze plaquette, attributed to Fra Antonio da Brescia (described
and reprod. in Molinier, Les Plaguettes, Paris, 1886, No. 122 ; Berlin, Museen,
Beschreibung der Bildwerhe der Christi. Epochen. 2te Auss. Bd. II, Die Ital.
Bronzen, 1904, No. 972).
8. THE RISEN CHRIST. P. v. 156, 37.
Christ stands in full face near the soreground towards the 1. on
a rocky ledge. His lest arm and body to the waist are bare ; heavy
drapery covers his r. arm and hand and lower limbs, and trails along the
ground. He holds a banner in his r. hand, and in his 1. a scroll inscribed
ressvresit. To the r. is the opening os the tomb in the side os
a rock, with the stone rolled away from besore it. In the background
1. is a landscape with buildings and distant mountains. Signed • b • m • on a
little tablet towards the 1. below.
[262 x 166] Good impression, but considerably cut (especially in its breadth)
and torn.
Purchased 1845. 8. 25. 749.
Other impressions : Paris (B. N.), Basle, Vienna (Alb.).
Reproductions : Illustr. 9.
The original drawing for this engraving (in reverse and showing slight
variations) is in the Louvre and attributed to Mantegna (reproduced Braun 409).
Morelli attributed it to Buonconsigli, Dr. Kristeller (Mantegna, London 1901,
p. 459 ; Leipzig 1902, p. 481) to Mocetto. On the whole I am inclined to
regard it as the engraver’s study for his own plate. The manner of shading is
more simply Mantegnesque than in his engraving, but there is no reason to
expect that Benedetto could have used exactly the same system in both mediums.
The style is of course exceedingly close to that of his brother Bartolommeo,
whose originals he must have largely used. But among Bartolommeo’s extant
drawings I do not know any example of pen-work similar to the Louvre drawing.
There is a drawing of a somewhat similar risen Christ attributed to the school
of Bartolommeo Montagna in the collection of Prince Liechtenstein (Feldsberg)
(Schonbrunner and Meder, Handzeichnungen alter Meister, Vienna No. 433).
Resemblance may be noted also to the figure of Christ in Mocetto’s engraving
of the Resurrection, P. 9.
9. S. ANTHONY. P. v. 156, 41.
S. Anthony stands in the centre on a rocky ledge, sacing three-quarters
1., and looks upwards with folded hands. A pig appears r., a butterssy