Hoc modo Apelles suum periculum in tabula est imitatus." retro igitur flectebatur lugens: et cum verecundia valde veritatem advenientem aspiciebat.
post tergum vero sequebatur valde lugubriter quaedam adornata pullis vestibus induta laceraque penitentia: et haec dicebatur. postquam autem mihi interpres imaginis significavit: altera quidem insidia erat: altera autem fraus. Atqui et quædam aliae duae sequuntur dìrigentes et adornantes calumniam. Hunc igitur esse invidiam aliquis coniectaret. Praecedit autem vir pallidus et deformis acute intuens et similis qui ex longo morbo sunt exsiccati. Circa ipsum vero stant duae mulieres: ignorantia mihi esse videtur et suspitio: ex alia parte accedit calumnia muliercula supra modum pulchra, ardens autem et concitata sicut per rabiem et iram ostendens, sinistra quidem facem accensam tenens, altera vero adolescentem quendam per capillos trahens manus tendentem in caelum et testantem deos. "In dextra quidem vir sedet permagnas habens aures ferme auriculis Midae similes manum protendens longe ad calumniam adhuc accedentem. 112 f.) the passage in Lucian as translated by Bordo ('Luciani de veris narrationibus', &c, Venice, 1494), perhaps the most probable immediate source. It will, however, be as well to quote from him (op. Richard Förster has gone into the question of the subject with great thoroughness in the article cited above, to which we would refer the reader. The judge is attended by 'suspicione' on the left and 'ignorātia' on the right 'ividia' in the form of a hag with ass's ears approaches from the right introducing a crowned woman, underneath whom is inscribed 'Calumnia di apelle', who drags a youth 'Inocentia' by the hair Calumny is attended by 'decptione' and 'insidia' following these 'penitentia' with folded hands turns back to 'Verita' on the extreme right. 113, 10) with the addition of a view of the Campo di S. 138Įngraved in the same direction on a larger scale by Girolamo Mocetto (B. cat., Florence, Gabinetto Disegni e Stampe degli Uffizi, 'Disegni del Rinascimento in Valpadana', 2001, under no.
cat., London, Royal Academy and New York, the Metropolitan Museum of Art, 'Andrea Mantegna', 1992, no. Massing, 'La Calomnie d'Apelle', Strasbourg, 1990, no. CXLVI R.Lightbown, 'Mantegna', Oxford, Berkeley and Los Angeles, 1986, no. Pouncey, 'Italian drawings in the BM, the fourteenth and fifteenth centuries', London, 1950, I, no. Parker, 'North Italian Drawings of the Quattrocento', London, 1927, no.
INSIDIA LATIN REGISTRATION
See also related inscription by John Barnard on separate sheet (bearing same registration number) which describes the subject. 135 in the London and New York exhibition). Popham and Pouncey, followed by Ekserdjian, date this to Mantegna's last period 1504-6, comparing it in style and the frieze-like composition to the 'Introduction of the Cult of Cybele in Rome' in the National Gallery, London (no. However this does not seem a satisfactory explanation since Mocetto's print does not reverse the composition and, as Ekserdjian noted, the gestures of the King and of Truth are all made with the right hand, something that the artist would have presumably avoided. This could be due to Mantegna's intention to have the design engraved, a process which normally resulted in the composition being reversed. Alberti alone does not specify that the King is seated on the right, and here he is shown on the left. The drawing differs from the Lucian's text and the various translations in a number of respects, notably by representing Innocence (the figure dragged by the hair) and Envy (the figure leading Calumny) as females. The text had been translated from the original Greek into Latin by Guarino of Verona, and his description had been paraphrased and slightly adapted by Leon Battista Alberti in both the Italian and Latin versions of his treatise 'On Painting'. Mantegna's drawing is based on a lost allegorical painting by the Greek artist Apelles described by Lucian in his 'Calumny'. A drawn copy by Rembrandt after Mantegna's study, which he probably owned, is in the BM (1860,0616.86) Curator's comments Engraved in the same direction on a larger-scale by Girolamo Mocetto (Bartsch XIII, 113.10), with the addition of a view of the Campo di San Giovanni e Paolo, Venice in the background.
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