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BULLETIN OBERLIN Cjpllege FALL 1969 jtjaevnr***-•***-• :jjjlir-**"^"* - '•• • .- • i et^SlflfP ALLEN MEMORIAL ART MUSEUM BULLETIN OBERLIN CjpLLEGE FALL 1969 I v 4r • /***' . r -^***#&sf ALLEN MEMORIAL ART MUSEUM BULLETIN VOLUME XXVII, NUMBER 1 FALL 1969 Contents Two Bronze Plaquettes by Moderno by John R. Spencer ----- 3 A Wall Paneling by Jan Weenix by Wolfgang Stechow - - - - - 13 A Note on Rodin's Prodigal Son and on the Relationship of Rodin's Marbles and Bronzes by Athena T. Spear ----- 25 Notes Baldwin Lectures 1969-70 37 Oberlin-Ashland Archaeological Society 37 Exhibitions 1969-70 37 Loans to Museums and Institutions 39 Friends of Art Concert Series 42 Friends of Art Film Series 43 Friends of the Museum ----- 44 Museum Christmas Cards ----- 50 Published three times a year by die Department of Art of Oberlin College, Oberlin, Ohio. $6.00 a year, this issue $2.00; mailed free to members of the Oberlin Friends of Art. Printed by the Press of the Times, Oberlin, Ohio. 1 Aloderno, Hercules triumphing over Antaeus (Cacus) Oberli: Two Bronze Plaquettes by Moderno For a museum director small bronzes hold a particular fascination that is probably not shared by the general public. For the museum staff these objects have a weight, texture and character that are known by touch while the museum visitor can only know them by sight. More­ over, small bronzes are exceedingly difficult to classify. As utilitarian objects they would seem to belong to the category of the decorative arts, yet they can equally well be classified with the "nobler" art of relief sculpture. At their origin they were no doubt intended as quasi-utili­ tarian objects that were not completely popular in their appeal but still not strictly the sole province of the princely collector. In the last 100 years they have been increasingly sought after by collectors and mu­ seums both for their own intrinsic artistic value and for their value as representatives of one aspect of Renaissance art. The Allen Memorial Art Museum has recently acquired two plaquettes in bronze by the late 15th- early 16th century Paduan sculptor known as Moderno that pre­ sents all the problems and all the delights that only a small bronze affords (figs. 1-2).1 The artist who designed and cast these bronze plaquettes is one of the great enigmas of the Renaissance. He is known as Moderno from his signatures on a hard stone carving and two silver plaquettes in the Kunsthistorisches Museum in Vienna and from a series of four plaquettes depicting the Labors (or a Labor) of Hercules which are signed O(pus) MODERNI. It has been suggested that he may have taken the artistic name of Moderno to indicate his rivalry with the sculptor l'Antico who was active at about the same period in Mantua. He is named in the Dialogue of Francisco de Olanda along with Cellini Hercules triumphing over Antaeus (Cacus). Ace. no. 68.28. H. 2nM in. W. 2%6 in. (68 x 53 mm). Mrs. F. F. Prentiss Fund. Hercules and the Nemean Lion. Ace. no. 68.29. H. 2+J in. W. 2M in. (75 x 56 mm.). Mrs. F. F. Prentiss Fund. 2 Aloderno, Hercules and the Nemean Lion Oberli and Caradosso and characterized as a maker of lead seals (bullae).2 Al­ though one is tempted to associate the artist with Papal Curia and its need for quantities of elaborate seals, it must be recognized that the bullae of Venice, Milan and Florence were no less elaborate than those of the Vatican. There have been no less than seven different identifi­ cations of Moderno with known sculptors, but none is wholly convinc­ ing.3 We can only say of him that he was active during the closing years of the 15th century and the opening years of the 16th. Stylistic analysis of his work indicates that he must have been trained in Padua and that he worked there most of his life. His sculpture is influenced by Riccio (c. 1470/5-1532). An engraving, an impression of which is owned by the Allen Art Museum, suggests that he knew or worked with Giovanni Antonio da Brescia who was active in Rome from 1509- 1525 (fig. 3). He executed a number of religious works but he was also much interested in antique themes. It has been suggested that his in­ terest in antiquity points to residence in Rome, but it should also be noted that Padua was a Roman city and a center throughout the 15th century for the study of the art of antiquity. Finally he executed no less than 59 plaquettes or, according to some authors, as many as 72. Molinier made the first, and perhaps the most successful, attempt to define the plaquette.4 Unlike a medal a plaquette is generally rec­ tangular, and it was never intended to have a reverse. It is primarily religious, mythological or allegorical in subject matter as opposed to a medal which is generally historical or commemorative in nature. Clearly there are exceptions to these rules and, as Molinier was quick to recognize, the artists themselves probably did not make such fine distinctions. Within broad terms Molinier's definition still generally applies and is followed by all cataloguers of Renaissance relief sculpture. Plaquettes were probably produced in considerable quantity and, like medals, were collected by amateurs as soon as they were made, although no precise records on collections of plaquettes have come down to us. The plaquette served primarily a decorative function. Those with religious subject matter were let into reliquaries and other pieces of church furniture or were mounted in a frame to serve as a pax. Those with mythological or allegorical subject matter served as items of per­ sonal adornment, worn either on the clothing or on a hat. On special Emile Alolinier, Les Bronzes de la Renaissance. Les Plaquettes, Paris, 1886. vol. I, pp. 113-114. John Pope-Hennessy, Renaissance Bronzes from the Samuel H. Kress Collec­ tion. Reliefs, plaquettes, etc., London, 1965. See p. 42 for a summary of the proposed identifications. Alolinier, I, pp. I-XX. 3 G. A. da Brescia, Hercules and Antaeus, B. 13 Oberlin occasions they could be used to decorate the bridle or trappings of a horse. Round plaquettes were often mounted in the pommel of a sword. Many were used to decorate objects of household furniture such as ink­ wells, lamps, caskets. Our Hercules and the Nemean Lion has been found on a casket dated 1546 which is now in the Musee des arts de- coratifs in Paris.5 Contrary to earlier belief, the plaquette was not made in bronze as a record for the artist of an object cast in some precious material such as gold or silver. The number of bronze plaquettes that exist and the care lavished on each individual cast indicate that they were made for themselves alone and not as a record. Our Hercules and the Nemean Lion partially failed in the casting, yet the artist exercised as much care in cleaning and correcting this small (approximately 3 inches high) bronze as if it had been a work ten times the size and cast in a precious metal. Plaquettes were also highly esteemed by artists of the Renaissance as a means of transmitting themes, compositions and an interpretation of antiquity. They were eminently portable and much less subject to damage than paper, parchment or canvas. The wide diffusion of the compositions that appeared first on plaquettes has already been the sub­ ject of serious discussion in an essay by Molinier.0 Moderno's so-called Hercules Triumphing over Antaeus is repeated enlarged and in stone on the Porta della Rana of the cathedral of Como (1507). Amateurs must have early recognized the intrinsic value of pla­ quettes. They occasionally appear in 16th century inventories, but the earliest known serious collector of bronze plaquettes is Johann Wolfgang Goethe. This remarkable man must have begun his collec­ tion sometime after 1786 and his first trip to Italy. In 1848, sixteen years after his death, his collection was catalogued and found to con­ tain almost 100 of the finest Renaissance bronze plaquettes. According to Molinier,7 serious collecting did not begin until the middle of the 19th century with such amateurs as His de la Salle, Piot, Armand and Gustav Dreyfus. National museums founded in the 19th century now number their collections in the hundreds, but plaquettes have always been rare objects. Although Bange8 in his catalogue of the Berlin 5 Gaston Migeon, Les Arts, August 1908, p. 21. 6 Molinier, pp. XXVIII-XXXVI. 7 Molinier, pp. XXXVII-XXXVIII. See also Seymour de Ricci, Samuel H. Kress Collection of Renaissance Bronzes, vol II. Reliefs and Plaquettes, Ox­ ford, 1931, pp. viii-xiii. 8 E. F. Bange, Die italienischen Bronzen der Renaissance und des Barock, II. Reliefs und Plaketten, Berlin, 1922. collections was able to list almost 1000 items, the most common com­ positions are known only in 10 to 15 examples. The so-called Hercides Triumphing over Antaeus (fig. 1) is pro­ bably one of the better known plaquettes by Moderno. Although no proper corpus exists for plaquettes as it does for medals, Seymour de Ricci9 lists eleven known examples to which can be added a cast in the University of Kansas Museum, Lawrence, and the cast which has re­ cently entered the Allen Memorial Art Museum. Hercules is depicted nude, clad only in his lion skin with the forepaws knotted over his chest and the tail waving sinuously behind. The hero leans upon a staff (not a club as de Ricci and others have assumed) and places his left foot upon the left knee of the fallen giant.
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