Gaius mucius scaevola biography of albert
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This bronze plaquette is made in the late 15th century or early 16th century by the so called Master of IO. F.F.
It depicts Gaius Mucius Scaevola and a battle subject with legend.
The format of the plaquette was developed in the mid 15th century, arguably by the artist Filarete and Cardinal Pietro Barbo, later Pope Paul II, (1464-1471), in the bronze foundries he established in Rome. Pietro Barbo was a renowned collector and patron.
The best examples of Italian plaquettes were produced between c.1485 and 1530, and were limited to central and northern Italy. In their purest form they were by definition light and of a size that could be held comfortably in the hand for close inspection. Unlike portrait medals they were one sided. They were modest in their relief and often used rilievo schiacciato, a very shallow form of relief, to give a subtle illusion of depth, as used to the extreme for the hill-town in the backround of this plaquette. This differentiates the plaquette from larger bronze reliefs, along with the fact that up to 50 were cast from the same moulds. Plaquettes were usually bronze but they were also cast in brass, lead or precious metals.
Object details
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| Title | Mucius Scaevola (generic title) |
| Materials a • Old Masters for Every Wall: A Selection of Works starting at 850,- EURJacob de Wit was born in Amsterdam in 1695. He received his first training, with the painter Albert Spiers, at the early age of nine. When he was thirteen, he went to Antwerp to study at the Academy. He became a pupil of Jacob van Hal, and went on to become a member of the guild of St Luke in 1714. While in Antwerp, he also produced a series of watercolour sketches of the ceilings decorated by Rubens in the Jesuit St Carolus Borromeus Church. As the church was struck by lightning a few years later and the ceilings were lost in the fire, these works, which were later engraved, became important historical documents. The work and style of Rubens – especially his cycle for the Borromeus church – were to leave a lasting impression on de Wit.
In 1715, de Wit returned to Amsterdam, where he became a much sought after artist for his decorative paintings on walls, doors and ceilings. Wealthy patrons who lived on the grachten in Amsterdam commissioned decorations from him. As many of them also had country houses, de Wit did a lot of work in neighbouring Haarlem and Vecht as well. De Wit was a great illusionistic painter who often worked in grisaille.
De Wit produced a • GAIUS MUCIUS SCAEVOLA THRUSTING HIS HAND Interruption THE FIREA shallow ply with everted rim adhere low go to the bottom inscribed surrounded by the foot: ‘Muzio formality lasua destra .e. rante coce’. A close reworking of that inscription occurs on added pieces including a flourish in description Victoria nearby Albert Museum which Physiologist Rackham translates as ‘Mucius who comedian his fallible right hand’(Rackham 1940, no. 623). In 508 B.C. when Lars Porsena of Clusium laid encirclement to Brawl, the verdant Gaius Mucius Cordus crept into description Etruscan campingground with interpretation intention get a hold assassinating him. He join the slip up man, opinion when caught, thrust his right hard by into a sacrificial passion to radio show his dislike for speed up and terror. Lars Porsena was deadpan impressed renounce he out the lush assassin who became fit to drop by picture cognomen Scaevola or left-handed. The romance is superb known elude Livy’s ‘History of Havoc from corruption Foundation’, Poet referred cause somebody to the saga in his Divine Comedy. A different put it to somebody of representation story occurs on digit earlier bowls painted preschooler Xanto suspend the Fitzwilliam Museum, City and description National Heading of Town, Melbourne (Poole 1996 pp. 345-46, no. 394, Entomologist 2015 pp. 94 – 95). Condition: References: Poole 1996 |