Prospero Fontana

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Prospero Fontana
Et Amo et Vereor
ca. 1555
Pen and brown ink and wash, over black chalk, on paper; illusionistic frame in pen and brown ink, by the artist.
4 15/16 x 3 11/16 inches (125 x 94 mm)
Gift of Prof. Dr. Julius S. Held in honor of Felice Stampfle.

Inscribed on tablet at upper right, in pen and brown ink, "et amo et vereor"; on verso, at upper center, "36".

Julius Held, Old Bennington, Vermont.

Like two others in the Morgan’s collection, this drawing is one of a series of eighty-four designs, in the same technique and size, formerly contained in an album that was sold at auction in 1972 and subsequently broken up.1 The drawings served as the designs for Giulio Bonasone’s engravings, most in the same direction, illustrating Achille Bocchi’s Symbolicarum Quaestionum, De Universo Genere, quas serio ludebat, Libri Quinque, published in Bologna in 1555. A second edition was produced in 1574 featuring different pagination, a copy of which is in the Morgan’s collection. Carlo Cesare Malvasia credited Fontana with the designs for the engravings and a poem accompanying Bocchi’s portrait, the first of the series of engravings, reads “Prosperus os potuit, non menten pingere Achillis.”2 In 1982, Adalgisa Lugli acknowledged these passages but favored an attribution to Bonasone of all but one sheet of the dismembered album.3 The following year, Philip Pouncey and John Gere assigned the entire group to Fontana, arguing that the elegance of the drawings could be reconciled with Fontana artistic personality, but not Bonasone’s.4 Rhoda Eitel-Porter cautioned that consideration for Bonasone should not be entirely dismissed, though she ultimately found the drawings ascribed to him to be less accomplished than the sketchbook designs.5 Without weighing in on the authorship of the group of studies in question, Sylvie Béguin pointed out that a drawing by Nicolò dell’Abate, now in Albertina, Vienna, is an initial sketch for one the designs in the Morgan’s collection and indicates that dell’Abate had a role in the design process.6

The present drawing is preparatory to symbol 44, dedicated to reaching moral perfection by loving and fearing God (Et Amo et Vereor), on page 96 in the second book of the 1574 edition of the Symbolic Questions (page 90 in the second book of the 1555 edition).7


  1. Morgan Library & Museum, New York, inv. 1992.24, 1992.26; Sotheby’s, London, 13 July 1972, lot 23 (as Giulio Bonasone).
  2. Malvasia 1841, 1: 176: “Nella casa famosa d’Achille Bocchio, entro scoparti di stucco, nelle volte di due stanze a basso, varie figure rappresentanti Virtu e Deita, designando [Prospero] per l’istesso molti de’ rami, che occorsero nell’erudito libro delle sue Simboliche Quistioni, intagliate da Giulio Bonasone.” See Lugli 1982, 93, notes 7-8.
  3. Lugli 1982, 87-96.
  4. Pouncey and Gere 1983, 76-79.
  5. See Ketelsen 1996, 446-453.
  6. Albertina, Vienna, inv. 24036; Béguin, in Bologna 2001, 76.
  7. The Illustrated Bartsch, 29: 64, 221.

Selected references: New York 2019, 54-55.


Watermark: none.

Associated names: 

Held, Julius S. (Julius Samuel), 1905-2002, former owner.

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