- Museum number
Allegory of rage and drunkenness; scene with group formed by partially blindfolded man holding a mask in front of him, screaming nude woman, figure wrapped in a drapery and holding a hammer, reclining male figure, boar, dog, bear and donkey. 1543
- Production date
Height: 313 millimetres (trimmed)
Width: 281 millimetres
- Curator's comments
- This print shows Rosso's design for a small stucco relief located below the fresco of the 'Combat of the centaurs and Lapiths' in the Galerie François I, Fontainebleau. The Monogrammist IQV has expanded and changed the cramped setting, placing the figures in a forest from which emerges a Renaissance building that reflects, but does not copy, the architecture in stucco. A number of landscape elements derive from Dürer's 'St Eustace' (E,4.113 and 1868,0822.183), including the tree stump depicted at lower right and a small spiky tree in the distance.The printmaker replaces one of the boars in Rosso's image with a dog.
The iconography of this allegory relates to the fresco above, which shows the drunken brawl between the centaurs and the Lapiths at the wedding feast of Pirithous and Hippodamia (Ovid, 'Metamorphoses', XII, 210–535). Blindness and Deceit are symbolised by the central blindfolded figure holding a mask and Envy by the nude old woman. Tribulation is represented by the figure with a hammer. Jenkins 2017.
The attribution of the plate to Fantuzzi, supported by Bartsch, Herbet and Kusenberg, was rejected by Zerner in his introduction to Fantuzzi's works; Zerner finds the attribution to Monogrammist IQV possible, but makes no firm statement. Carroll ('Rosso Fiorentino', Washington 1987, cat. No.72), without rejecting this proposition, establishes a connection with the Holy Family described in the same catalogue (cat. No.103, also see 1850,0527.47).
- Not on display
- Exhibition history
1987-8, Washington, NGA, Rosso Fiorentino, cat.72
- Acquisition date
- Acquisition notes
- See comment to 1850,0527.1
- Prints and Drawings
- Registration number