This print is based on an original design by Lèonard Thiry, and it is a reverse copy by Virgil Solis after Jacques Androuet Du Cerceau’s prints from 1550. Solis was a prolific printmaker, whose workshop produced ornament prints intended for furniture decoration, jewelry and so on, as well as biblical illustrations. Solis borrowed from German and Italian engravers; this example shows him borrowing from Du Cerceau, who was French. Solis produced popular prints, and the antique theme in this print is typical of the time.
Physical description
Print depicting an imaginary scene of ancient Roman ruins, engraving on paper. At the base of a hill, to the left, a man seated, seen from behind, sketching; on the right a man slightly stooping by a pillar.
Place of Origin
Nuremberg, Germany (made)
Date
ca. 1560 (made)
Artist/maker
Solis, Virgil, born 1514 - died 1562 (engraver)
thiry (after, artist)
Du Cerceau, Jacques Androuet (I), born 1510 - died 1585 (after, engraver)
Materials and Techniques
Etching on paper
Marks and inscriptions
'V.S.'
Dimensions
Height: 15 cm, Width: 10 cm
Object history note
In these imaginary scenes artists draw and measure the ruins. One view shows the type of buried building in which painted grotesque wall and ceiling decorations were found. These are reversed copies from a set engraved by Jacques Androuet Ducerceau after Léonard Thiry, published in 1550.
From the Lanna Collection (1107; Sr 6412).
Historical context note
This print belongs to a set of thirteen engravings by Virgil Solis which is referred to as ‘the little book of architecture ruins’ in The Illustrated Bartsch (vol. 19, part 1, pp. 161-167; B. 352a and B. 354 missing in the V&A collections). Solis actually copied Jacques Androuet Du Cerceau’s Duodecim Fragmenta structurae veteris published in 1550 in Orléans. Both Du Cerceau and Solis praise Léonard Thiry, the artist who made the original drawings. Thiry was a Flemish artist who worked at Fontainebleau with Rosso Fiorentino. It is not established whether he went to Rome; he could very well have been inspired by the many prints showing views of Rome that were circulating at the time. The antique theme, and the taste for views of ruins were indeed widespread in the 16th century.
Solis was a prolific printmaker, whose workshop produced ornament prints intended for furniture decoration, jewellery and so on, as well as biblical illustrations. Solis borrowed from German, Italian and French (as was Du Cerceau) engravers. In the first print (The Illustrated Bartsch, vol. 19, part 1, p. 161, no. 352a), he explains that he has copied this set because it was unavailable in Germany: ' I have realized that it would be for the common good and that of all art lovers, if I were to publish it [...], so that our country would be as fortunate as the Italians and the French'.
Descriptive line
Print depicting ruins of classical architecture, engraving by Virgil Solis, Germany (Nuremberg), about 1560
Bibliographic References (Citation, Note/Abstract, NAL no)
Strauss, Walter L. and Jane S. Peters, eds. The Illustrated Bartsch, 19 (Part 1). German masters of the sixteenth century: Virgil Solis. New York: Abaris Books, 1987. No. 362.
Zorach, Rebecca. Rome virtuelle? Présence et absence de la Ville éternelle dans les estampes du XVIe siècle. In: Renaissance en France, renaissance française. Henri Zerner et Marc Bayard (dir.). Actes du colloque Les arts visuels de la Renaissance en France (XVe-XVIe siècles), Rome, Villa Médicis, 7-9 juin 2007. Paris: Somogy, 2009. p. 61-78.
Production Note
Reversed copy by Virgil Solis from a set engraved by Jacques Androuet Ducerceau after Léonard Thiry, published in 1550.
Materials
Paper; Ink
Techniques
Etching (printing process)
Subjects depicted
Landscapes; Ruins; Rome; Columns; Roman ruins; Trajan's Column; Architectural orders
Categories
Prints
Collection code
PDP
