Cornelis
Bloemaert (1603–1692)
“Diana” (upper image) and “Minerva” (lower image), c.1677, from
the series of 15/26 unnumbered plates, “Heroicae virtutis imagines” (Images of
heroic deeds) (for information about the series see: Anna Grelle Iusco 1996, “Indice
delle stampe de' Rossi”, pp.454 [pp.62-63]) and the series of 4 plates, “Four
gods to Pietro da Cortona”, after Pietro
da Cortona’s (1597–1669) frescoes in the Palazzo Pitti in Florence
(for information about these frescoes in the Sala de Giove [1642-43/44], see: M
Campbell 1877, “Pietro da Cortona at the Pitti Palace: A study of the planetary
rooms and related projects”, New Haven), published by Giovanni Giacomo de' Rossi (1627–1691) in Rome.
Two engravings on laid paper with margins as published, glued
together and stamped with a collector’s ink seal.
Size of the two-sheet glued assemblage: 48.3 x 37.7 cm
Size of upper engraving: (sheet) 25.3 x 37.7 cm; (plate) 20 x 34.4
cm; (lunette image borderline) 17.2 x 33.6 cm
Size of lower etching (with engraving): (sheet) 25.2 x 37.7 cm;
(plate) 19.7 x 34 cm; (lunette image borderline) 17.6 x 33.5 cm
Lettered on both plates below the image borderline (with minor
differences): (left) 'Eq. Petrus Beretinus Corton. pinx. Florentiae in aedib.
Sereniss. Magni Ducis Hetrur. in camera Iovis”; (centre) “Io. Iacobus de Rubeis
formis Romae ad Templ. Pacis cu Priv. S. Pont.” (right) “Cornel. Bloemart
sculp.”
The British Museum offers the following description of the upper engraving,
“Diana” (Hollstein Dutch 75):
“Diana asleep in a landscape under trees with her two dogs; a plate
from Rossi's series of engravings of Pietro da Cortona's frescoes in the Pitti
Palace in Florence.”
The British Museum offers the following description of the lower
etching (with engraving), “Minerva” (Hollstein Dutch 75):
“Minerva seated at left, resting her right arm on a shield; she is
turned towards Cecrops who is holding a tree at right; landscape with trees in
the background, after Pietro da Cortona's lunette …”
See also the description of “Minerva” at the Rijksmuseum:
Condition: both prints are crisp impressions and in good condition
for their age (i.e. there are no tears, holes, folds, significant abrasions,
stains or foxing) with only minimal signs of handling in terms of minor surface
marks. The glued assemblage is skilfully handled by a past collector whose oval
seal is stamped towards the centre of the glued sections.
I am selling this very elegant—and very rare—assemblage of prints
showing classical Greek gods with their symbolic attributes (e.g. Diana with
her sickle of the moon on her forehead quiver and hunting dogs and Minerva with
her armour, shield, helmet and an olive branch), for the total cost of AU$239
(currently US$179/EUR150.61/GBP132.35 at the time of posting these engravings)
including postage and handling to anywhere in the world.
If you are interested in purchasing this large and impressive
grouping of two important prints by one of the most famous of the 17th
century old masters, please contact me (oz_jim@printsandprinciples.com) and I
will send you a PayPal invoice to make the payment easy.
Note: In my previous post I offered the other two prints from the
same series of four plates.
This print has been sold
The stories behind the two goddesses shown here (viz. Diana and Minerva)
are easy to "Google" and so I thought I would add a few thoughts about a subject
that is less often discussed linking them: childbirth. Diana’s connection with
childbirth is rather obvious as this goddess, as the “virgin huntress,” has
become the symbol of chastity and (according to the British Museum’s
biographical details for Diana) is “associated with helping women at childbirth.”
Less obvious is Minerva’s connection with childbirth and here I
wish to draw upon this goddesses’ own birth and it is a VERY unusual story!
My version of the story of Minerva’s childbirth is that her mother, Metis,
was swallowed by Jupiter (after tricking her into becoming a fly) because
Jupiter wished to ensure that Metis would be unable to have a child that could
grow up and replace him as the boss of heaven.
From this point in the story it becomes really fascinating.
Metis the fly in Jupiter’s stomach starts to forge armour for her
developing foetus. The racket that Metis makes doing her metal work for the
armour gives Jupiter a serious headache and he discusses options of how to
remedy his sore head with the god of the forge, Vulcan (see the previous post featuring
the print, “Vulcanus”). Vulcan’s manly solution to Jupiter’s request for help
with his pounding headache is swift and helpful as he splits Jupiter’s head
with a hammer. Interestingly, and unexpectedly, Minerva, who was once Metis’
foetus but has developed into an agile young lady freshly born leaps out of the
cleft in Jupiter’s split head to take on governance of the heavenly realm.
In the lower print showing Minerva clad in her armour there is one
other figure that adds another dimension to Minerva’s connection with
childbirth: the mythical figure of Cecrops (aka Kekrops) holding a tree. For
those unfamiliar with Cecrops, this is the legendary first king of Athens who is
cherished for civilizing Attica with the institution of marriage replacing the indiscriminate and rampant promiscuity.
