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INDEX I: COLLECTIONS This index lifts ail the book illustrations and title-pages designed by Rubens and the preparatory works by him or by the engravers or their assistants (drawings, oil sketches, proofs, copper plates). Copies after these have also been included. The works are lifted alphabetically according to place. AMSTERDAM, PROF, J.Q. VAN REGTEREN 260, 333, fig. 204 ALTENA Title-page for M.C. Sarbievski, Lyri- Rubens, drawing: corum Libri IV, Cat. 62a, 290, 55, Title-page for Gelresche Rechten des i5on, 218, 259, 267, 268, 448, Ruremundtschen Quartiers, Cat. 47a, 44 9 . fig- 213 27, 214, 215, 401, figs. 159, 160 Rubens, drawings: AMSTERDAM, RIJKSPRENTENKABINET Title-page for B. Bauhuis and B. Ca- J. Collaert, engraving, proof: billiau, Epigrammata, C. Malapert, Title-page for H, Rosweyde, ’t Vaders Poëmata, Cat. 63a, 269-271, 449, Boeck, Cat. 42, 200, fig. 147 fig. 214 C. Galle, engraving: Title-page for J. Bidermann, Heroum The Death of Seneca, Cat. 31, 162 EpiStolae, Epigrammata et Herodias, C. Galle, engravings, proofs: Cat. 67a, 282, 283, 449, fig. 226 Portrait of Philip Rubens, Cat. 29, Title-page for J. Lipsius, Opera 1 53, fig. roi Omnia, I, Cat. 73a, 3m , 304, 305, Title-page for L. Lessius, De Juftitia 448, 449, fig. 247 et Jure, Cat. 38,186 Vignette for J. Lipsius, Opera Omnia, Title-page for F. Tristan, La Peinture II-IV, Cat. 74a, 286, 307-309, fig. de la Sérénissime Princesse Isabelle 255 Claire Eugénie, Cat. 66, 28on, ? Rubens, drawing: fig. 223 Title-page for M. Barberini, Poëmata, Title-page for O. Boonaerts, In Ecde- Cat. 68b, 31, 230, 258, 263, 286, siafticum Commentarius, Cat. 70, 287, 291, 294, 304, fig. 228 292 ? C. Galle, drawing: Title-page for J. Lipsius, Opera The Ascension of Christ, Cat. 9, 99 Omnia, I, Cat. 73, 302, 303, fig. E. Quellin, drawings: 248 Title-page for M. de Morgues, Diver­ Title-page for M. de Morgues, Diver­ ses Pièces pour la Défense de la ses Pièces pour la Défense de la Royne Mere, Cat. 75, 31, 35, 60, Royne Mere, Cat. 75, 313, fig. 259 3 1 1 » 3 I 3n> 422-425, 489, fig. 258 Title-page for H. Goltzius, Romanae Title-page for J. Boyvin, Le Siège de et Graecae Antiquitatis Monumenta la Ville de Dole, Cat. 76, 31, 3x6, (Opera Omnia), firSt State, Cat. 82, 319, 390, 490, fig. 262 338, fig. 276 Title-page for Liutprand, Opera, Cat. Title-page for H. Goltzius, Romanae 78, 31, 63, 321, 322n, 505, 506, et Graecae Antiquitatis Monumenta fig. 266 (Opera Omnia), second State, Cat. Portrait of Count-Duke Olivares, Cat. 82, 382, fig. 277 79, 3 1 . 322> 323> 4 9 1 ! fig- 2?9 ANTWERP, PLANTIN-MORETUS MUSEUM Title-page for B. de los Rios, De Rubens, grisaille sketches: Hierarchia Mariana Libri sex, Cat. Printer’s Device for Jan van Meurs, 80, 31, 62, 325, 326, 418, 505, 506, Cat. 60a, 29, ison, 1760, 256- fig. 272 511 COLLECTIONS Title-page for H. Goltzius, Icônes Im- Title-page for J. Boyvin, Le Siège de peratorum Romanorum (Opera Om- la Ville de Dole, Cat. 76, 316 nia, V ), Cat. 83, 342, 489, fig. 280 Title-page for H. Goltzius, Romanae Anonymous, drawing: et Graecae Antiquitatis Monumenta The Annunciation, Cat. 20, 126 (Opera Omnia), Cat. 82, 338 C. Galle, copper plates: Title-page for H. Goltzius, Icônes Im- Portrait of JuStus Lipsius, Cat. 30, peratorum Romanorum (Opera Om­ 158 ,16 2 nia, V ), Cat. 83, 342, fig. 282 C. Galle the Younger, copper plates: The Death of Seneca, Cat. 31, 162 Title-page for Liutprand, Opera, Cat. The Buft of Seneca, Cat. 32, 166 78, 322 Title-page for G. Bosio, Crux Trium- Portrait of Count-Duke Olivares, Cat. phans et Gloriosa, Cat. 37, 182 79 , 324 Title-page for L. Lessius, De Juititia Title-page for B. de Ios Rios, De et Jure, Cat. 38, 187 Hierarchia Mariana Libri sex, Cat. Title-page for F. Longo a Coriolano, 80, 326 Summa Conciliorum Omnium, Cat. Title-page for Ph. Chifflet, Concilii 50. 225 Tridentini . Canones et Décréta, Title-page for F. Van Haer, Annales Qt. 77, 319 Ducum seu Principum Brabantiae T. Galle, copper plates: totiusque Belgii, I—II, Cat. 51, 229 Title-page for F. Aguilon, Opticorum Title-page for H. Hugo, Obsidio Bre- Libri sex, Cat. 10, 104 dana, Cat. 55, 242 Title-page for the Breviarium Roma- Portrait of L. Lessius, Cat. 56, 245 num, a t . 18 ,1 2 1 Title-page for H. Rosweyde, Vitæ David Poenitens, Cat. 19 ,12 5 Patrum, Cat. 57, 248 ChriSt Dead on the Cross, a t . 34, Title-page for B. Cordier, Catena W sexaginta quinque Graecorum Pa­ Title-page for Thomas a Jesu, De trum in S. Lucam, Cat. 58, 251 Contemplatione Divina, a t . 45, Title-page for L. Blosius, Opera, Cat. 208 61, 262 Title-page for A. Tomiello, Annales Sacri, Cat. 46, 210 Title-page for M .C Sarbievski, Lyri- corum Libri IV, Cat. 62, 267 Title-page for A. Mascardi, Silvarum Libri IV, Cat. 48, 217 Title-page for B. Cordier, Opera S. M. Lasne, copper plate: Dionysii Areopagitae, I, Cat. 64, Title-page for J. De Bie, Nomismata 274 Imperatorum Romanorum, Cat. 39, Title-page for M. Barberini, Poëmata, 189 Cat. 68, 284, fig. 230 L. Vorfterman, copper plate: Title-page for S. Pietrasanta, De Sym- Title-page for F. Van Haer, Annales bolis Heroicis, Cat. 69, 289 Ducum seu Principum Brabantiae Title-page for J. Lipsius, Opera Om- totiusque Belgii, III, Cat. 52, 233 nia, I, Cat. 73, 303 ANTWERP, STEDELIJK PRENTENKABINET Title-page for M. de Morgues, Diver­ A. Van Diepenbeeck, drawing: ses Pièces pour la Défense de la The Conteft between Minerva and Royne Mere, Cat. 75, 313 Neptune, Cat. 86, 360, fig. 294 512 COLLECTIONS BESANÇON, MUSEE DES BEAUX-ARTS Anonymous, woodcut: Anonymous, drawing: Printer’s Device for Jan van Keerber­ The Buft of Seneca, Cat. 32 ,16 5 gen, Q t. 41, 197 BRAUNSCHWEIG, HERZOG ANTON ULRICH- LENINGRAD, HERMITAGE MUSEUM After Rubens, drawings: ? T. Galle, drawing: Title-page for C. Scribani, Politico- The Ascension of Christ, Cat. 9a, 100, ChriStianus, Cat. 54a, 31, 239, 240, 287, fig. 186 fig- 54 Printer’s Device for Jan van Meurs, CAMBRIDGE, FITZWILLIAM MUSEUM Cat. 60a, 29-31, 257-259, 20on, Rubens, grisaille sketch: 287, 304, fig. 207 Title-page for C. Gevartius, Pompa LONDON, BRITISH MUSEUM Introitus Ferdinandi, Cat. 81a, 2çn, Rubens, drawings: 58, ijon , 258, 259, 333, 334, fig. Title-page for F. Aguilon, Opticorum 274 Libri sex, Q t. 10a, 28, 44, 45, 104, C. Galle, engraving, proof: 105, 178, fig. 56 Title-page for H. Goltzius, Romanae Title-page for the Breviarium Roma- et Graecae Antiquitatis Monumenta num, Q t. 18a, 28, 32, 45, 46, 118, (Opera Omnia), Cat. 82, 338, fig. 122, 123, 127, i36n, 447, 448, 278 fig. 72 DIJON, MUSEE DES BEAUX-ARTS The Resurreâion, Cat. 23a, 118 , 127, After Rubens, drawing: 1 34—i36, 4 4 7 . 4 4 8; fig- 86 Title-page for H. Hugo, Obsidio Bre- Portrait of JuStus Lipsius, Q t. 30a, dana, Cat. 55a, 28, 30, 183, 243, 155, 159, 160, 447, 448, fig. 107 244, 287, fig. 192 Christ Crucified with the two Thieves, DRESDEN, KUPFERSTICHKABINETT Cat. 35, 118 , 123, 127, 145, 172, C. Galle, engraving, proof: 173, fig. 117 Title-page for B. Cordier, Opera S. Title-page for J. De Bie, Nomismata Dionysii Areopagitæ, I, Cat. 64, Imperatorum Romanorum, Cat. 39a, 274, 275, fig. 220 2 8 ,18 9 -19 3, 230, 231, fig. 13 1 EDINBURGH, NATIONAL GALLERY Title-page for A. Torniello, Annales Anonymus, drawing: Sacri, Q t. 46a, 2 11, 448, 449, fig. Title-page for J. Boyvin, Le Siège de 155 la Ville de Dole, Cat. 76, 314 Title-page for H. Hugo, Obsidio Bre- HAARLEM, TEYLERS MUSEUM dana, Q t. 55a, 28, 30, 243, 244, Rubens, drawing: 2940, 402-404, 448, 449, fig. 191 Title-page for D. Mudzaert, De ? Rubens, drawings: Kerckelycke Historie, Cat. 49, 30, Title-page for F. Van Haer, Annales 222, 223, 2940, fig. 167 Ducum seu Principum Brabantiae C. Galle, engravings, proofs: totiusque Belgii, I—II, Cat. 51b, 31, Title-page for H. Rosweyde, Vitae 230, 231, 263, fig. 175 Patrum, Cat. 57, 248, fig. 195 Title-page for L. Blosius, Opera, Cat. Title-page for B. Cordier, Opera S. 61b, 30, 230, 258, 262-265, fig. Dionysii Areopagitæ, I, Cat. 64, 209 274, fig. 219 LONDON, COUNT A. SEILERN C. Galle the Younger, engraving, proof: Rubens, grisaille sketch: Title-page for F. De Marselaer, Lega- Title-page for B. Cordier, Catena tus, Cat. 84, 347 sexaginta quinque Græcorum Pa- 513 COLLECTIONS tram in S. Lucam, Cat. 58a, 29, 30, The LaSt Supper, Cat. 26b, 142, 143, 54, 1500, 252, 253, 258, 259, fig. 91 27Ön, 333. 448, 449. % 200 The Assumption of the Virgin, Cat. LONDON, PRIVATE COLLECTION 27b, 146, fig. 93 Rubens, drawing: Ail Saints, Cat. 28b, 149, 150, fig. 96 Vignette for F. Aguilon, Opticorum J. Collaert, engraving, proof: Libri sex, I, Cat. 1 ia, 107, fig. 62 Title-page for Gelresche Rechten des LONDON, VICTORIA AND ALBERT MUSEUM Ruremundtschen Quartiers, Cat. 47, Rubens, grisaille sketch: 214, fig. 16 1 C. Galle, engravings, proofs: Title-page for D. de Aedo y Gallart, Title-page for G. Bosio, Crux Trium- E l . Viaje . del Infante Carde- phans et Gloriosa, Cat. 37, 182 nal . , Cat. 72a, 29n, i5on, 259, Title-page for F. Longo a Coriolano, 298, 299, fig. 245 ? Rubens, drawing: Summa Conciliorum Omnium, Cat. 50, 225n, fig.
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    NATIONAL GALLERY OF ART New West Building Sculpture Galleries Checklist *measurements are given in centimeters with inches in parentheses. G1A: Lost-Wax Bronze Casting Display 2002.58.1 Coubertin Factory after Auguste Rodin Lost-Wax Casting Display: plaster model (first of ten steps), 1990 plaster .295 x .170 x .140 (11 5/8 x 6 11/16 x 5 1/2); length of entire display: 3.962 (156) Gift of the Iris and B. Gerald Cantor Collection 2002.58.2 Coubertin Factory after Auguste Rodin Lost-Wax Casting Display: mold, front half (second of ten steps), 1990 wax, plaster, cement and bronze .370 x .315 x .180 (14 9/16 x 12 3/8 x 7 1/16); length of entire display: 3.962 (156) Gift of the Iris and B. Gerald Cantor Collection 2002.58.3 Coubertin Factory after Auguste Rodin Lost-Wax Casting Display: clay model (third of ten steps), 1990 wax, plaster, cement and bronze .370 x .315 x .290 (14 9/16 x 12 3/8 x 11 7/16); length of entire display: 3.962 (156) Gift of the Iris and B. Gerald Cantor Collection 2002.58.4 Coubertin Factory after Auguste Rodin Lost-Wax Casting Display: clay model reduced by thickness of final bronze (fourth of ten steps), 1990 wax, plaster, cement and bronze .370 x .315 x .230 (14 9/16 x 12 3/8 x 9 1/16); length of entire display: 3.962 (156) Gift of the Iris and B. Gerald Cantor Collection 2002.58.5 Coubertin Factory after Auguste Rodin Lost-Wax Casting Display: wax model (fifth of ten steps), 1990 wax, plaster, cement and bronze .370 x .315 x .290 (14 9/16 x 12 3/8 x 11 7/16); length of entire display: 3.962 (156) Gift of the Iris and B.
  • Breastfeeding Pero Sign of Desire, Transgression, and Dionysian Excess (1525–50)

    Breastfeeding Pero Sign of Desire, Transgression, and Dionysian Excess (1525–50)

    Chapter 1: Breastfeeding Pero Sign of Desire, Transgression, and Dionysian Excess (1525–50) It is hard to do justice to the bewildering complexity of representations of Pero and Cimon in the arts, which started to appear in the early sixteenth century in a wide range of media: bronze medals, frescoes, engravings, drawings, oil paintings, ceramics, inlaid wood decorations, and statues. Each medium was associated with diff erent viewing practices and generated its own framework of references. The signifi cance of the motif diff ered, depending on the stylistic choices and visual rhetoric employed by printmakers in Nürnberg, gallery painters in Venice, or palace artists at Fontainebleau. What these diff erent renderings have in common is a distinctly erotic presentation of the anecdote in response to Valerius Maximus’s ekphrastic challenge (see Chapter 4). The motif appeared in both its mother-daughter and father-daughter variety, although the cross-gendered version was more popular. The earliest depictions of the theme emerged independently of each other in Southern Germany and Northern Italy around 1525.1 They consist of a miniature pornographic print by Barthel Beham (1525) (Figure 1.1); a Venetian oil-painting of the “bella donna” type, now lost, reproduced in an auction catalog in Vienna from 1922 (Figure 1.2);2 a round monochrome ceiling fresco in the monastery of Sant’Abbondio in Cremona (Figure 1.3) inspired by a bronze medal preserved in the Victoria and Albert Museum (Figure 1.4);3 and a ceramic dish from Pesaro.4 Of the mother-daughter variety, we have fi fteenth-century French book illuminations (Figure 1.5) and a few prints and drawings in the sixteenth century until Poussin rendered the motif famous in his Gathering of the Manna of 1639 (Figure 3.3).