Editing I Modi (section)

== Copies of the Agostino Veneziano copy of ''I modi'' ==
'''Woodcut booklet copy (around 1555)'''

A possibly infringing<ref>''A History of Erotic Literature'', P.J. Kearney, Macmillan 1982.</ref> copy of ''I modi'' with crude illustrations created using [[woodcut]] relief printing is thought to copy the images of ''I modi'' that were in the Agostino Veneziano replacement copy of the work.<ref name="December 2004"/>

It is speculated that this woodcut booklet was created around 1555.<ref name="December 2004"/> The artist who created the woodcut images in the booklet is unknown.<ref name="December 2004"/> The booklet was discovered in the 1920s.<ref name="Lawner 1998"/><ref>It was formerly owned by the son of [[Toscanini]] and is now in a private collection. See; James Grantham Turner, December 2004</ref>

It is thought that this woodcut booklet is "…several generations removed from the original engravings…"<ref name="December 2004"/> of Marcantonio. It is thought that these generations of ''I modi'' copies have been based on the Agostino Veneziano edition of ''I modi''.<ref name="December 2004"/>

It has been speculated that this woodcut booklet from around 1555 may have been copied from a second woodcut copy of ''I modi'' that is speculated to have been created around 1540.<ref name="June 2009 pages 116-117">{{Cite journal
|url=https://www.jstor.org/stable/43826068
|author=James Grantham Turner
|date= June 2009
|title=Woodcut Copics of the "Modi"
|journal=Print Quarterly
|volume=26
|issue=2
|pages=116–117
|jstor=43826068
|access-date=2 August 2023
}}</ref>

It is thought the woodblocks that were used to print the woodcut booklet may have been reused multiple times.<ref name="June 2009 pages 116-117"/> The images have borders that were frequently broken indicating wear and breakage in the woodblocks.<ref name="June 2009 pages 116-117"/>

One of the leaves is missing from this woodcut booklet<ref name="June 2009"/> and there were two ''I modi-''related images on this leaf.<ref name="December 2004"/>

This woodcut booklet shows that there were more images in Giulio and Marcantonio's edition of ''I modi'' than is shown by the nine remaining fragments and the one whole image that are thought to be by Agostino Veneziano.<ref name="December 2004"/>

It has been described that for this woodcut booklet there are two images "…in the abbreviated final signature…[that] seem to come from different traditions."<ref name="December 2004"/> For one of these two images it has been commented that "…both image and text differ markedly in style from those that precede them…" in the woodcut booklet.<ref name="spring 2009">{{Cite journal
|url=https://www.jstor.org/stable/23208534 
|author=James Grantham Turner
|date= Spring 2009
|title=Woodcut Copics of the "Modi"
|journal=Source: Notes in the History of Art
|volume=28
|issue=3
|pages=115–123
|jstor=43826068
|access-date=2 August 2023
}}</ref>

When the images in the woodcut booklet are compared to the engravings thought to be by Agostino it is thought they have been changed to suit the woodcut medium, with the images being square and reduced in size.<ref name="June 2009"/>

'''Engraving in the Albertina museum (16th century)'''

There is one engraving in the [[Albertina]] museum<ref name="Albertina engraving">{{Cite web|url=https://sammlungenonline.albertina.at/?query=search=/record/objectnumbersearch=[It/I/22/49]&showtype=record|title=A couple making love|work=Albertina|access-date=14 November 2022|archive-url=https://web.archive.org/web/20221114003111/https://sammlungenonline.albertina.at/?query=search=/record/objectnumbersearch=%5BIt/I/22/49%5D&showtype=record#/query/35affc77-9048-43be-943d-6d273bdce0e1|archive-date=14 November 2022}}</ref><ref name="December 2004"/> that is thought to have been copied from Agostino Veneziano's edition of ''I modi''.<ref name="December 2004"/> It matches an oval fragment in the British Museum<ref name="December 2004"/> and the 11th image in the woodcut booklet.

It is thought that this single engraving comes from a set of engravings<ref name="December 2004"/> and only this one engraving presently remains from this set.<ref name="December 2004"/>

It is dated to the 16th century, and the artist is unknown.<ref name="Albertina engraving"/> It is numbered in the bottom right corner with two.<ref name="December 2004"/>

'''Francesco Xanto Avelli maiolica dishes'''

It is thought that between 1531 and 1535 [[Francesco Xanto Avelli]] saw Agostino Veneziano's copy of ''I modi''.<ref name="December 2004"/> Xanto painted a [[maiolica]] dish titled ''The Tiber in Flood'', and the figures on this dish have the same postures as those in images numbered 1, 3, 8 and 14 in the woodcut booklet.<ref name="December 2004"/> The dish also includes a herm sculpture that copies a herm that can be seen in image 1 of the woodcut booklet.<ref name="2017 Visible"/>

Xanto painted a second maiolica dish titled ''Narcissus (The vain lover of his own image)''.<ref name="2017 Visible"/> The figure of Narcissus on this maiolica plate has been copied from the third woodcut copy image of ''I modi''.<ref name="2017 Visible"/>

'''Parmigianino drawing'''

Parmigianino drew a copy of one of the engravings in ''I modi'' with sex occurring between two figures who are seated. This drawing is similar to the 10th image in the woodcut booklet.<ref name="2017 Visible"/> It includes similar postures of the figures and details of drapery and furniture.<ref name="2017 Visible"/> A second drawing by Parmigianino has similarities to the 10th image in the woodcut booklet.<ref name="2017 Visible"/>

'''Engravings in the National Library of Spain'''

There is an engraving in the [[Biblioteca Nacional de España|National Library of Spain]] that copies one scene from ''I modi''.<ref name="2017 Visible p157">{{Cite book
|url=https://worldcat.org/title/976405866
|author=James Grantham Turner
|date=2017
|title=Eros Visible: Art, Sexuality and Antiquity in Renaissance Italy
|publisher=Yale University Press
|pages=156–157
|isbn=978-0-300-21995-1 
}}</ref> The engraving shows two figures seated having sex with a wooden cradle lying on the ground next to them, and the foot of one of the figures is rocking the cradle.<ref name="2017 Visible p157"/> This engraving is not present in the woodcut booklet<ref name="December 2004"/> and does not correspond to any of the fragments thought to be by Agostino Veneziano that are in the British Museum.<ref name="December 2004"/>

A second engraving in the National Library of Spain has been copied from the one whole engraving that is thought to be by Agostino Veneziano and that corresponds to image one in the woodcut booklet.<ref name="2017 Visible p409">{{Cite book
|url=https://worldcat.org/title/976405866
|author=James Grantham Turner
|date=2017
|title=Eros Visible: Art, Sexuality and Antiquity in Renaissance Italy
|publisher=Yale University Press
|pages=409
|isbn=978-0-300-21995-1
}}</ref> This second engraving has been created in reverse when compared to the image thought to be by Agostino.<ref name="2017 Visible p409"/>

Both of these two images in the National Library of Spain are by an unknown artist and dated to after 1530.<ref name="2017 Visible p157"/> They are also both "…uniform in engraving style, paper and ink…".<ref name="2017 Visible p409"/>

'''Sepia drawings by Johan Tobias Sergel'''

A sepia drawing by [[Johan Tobias Sergel]] (1740–1814) possibly copies one scene from ''I Modi''. The scene that it copies is the scene that is shown on an engraving in the National Library of Spain of sex between two seated figures.

A second sepia drawing by Johan Tobias Sergel has some similarities to this image in the National Library of Spain.

'''"The French Arétin by a member of the Academy of Ladies" - François-Félix Nogaret, Francois-Rolland Elluin, Antoine Borel - (1787)'''

In 1787 a book of sonnets and engravings of sexual scenes was published under the title "L'Aretin François, by a member of the [[Academy of Ladies]]".<ref name=Aretin1787>{{cite book |author= François-Félix Nogaret |date=1787 |title=L'Arétin François, par un membre de l'Académie des dames |url=https://fr.wikisource.org/wiki/L%E2%80%99Ar%C3%A9tin_Fran%C3%A7ois/1 |location=Reims, Paris |publisher=Hubert Cazin}}</ref><ref name=bnf>{{cite web |url=https://gallica.bnf.fr/ark:/12148/bpt6k1511472t |title=L'Arétin :franc̜ois: +franc̜ais+ par un membre de l'Académie des dames |date=27 March 2017 |website=bnf.fr |publisher=Bibliothèque nationale de France |access-date=24 June 2024}}</ref> The sonnets were written by [[François-Félix Nogaret]]<ref name=Aretin1787/> and the engravings were created by [[Francois-Rolland Elluin]] based on drawings by [[Antoine Borel]].<ref name=Aretin1787/> It is thought to have been published in Reims or Paris and is in the collection of the National Library of France.<ref name=bnf/>

It is commented in the book that; "Do not expect to find here a literal translation of the Sonnets of Aretino.... ...The Poet only applied himself to rendering the various subjects of the Designer..."<ref>{{cite book |author= François-Félix Nogaret |date=1787 |title=L'Arétin François, par un membre de l'Académie des dames |url=https://fr.wikisource.org/wiki/L%E2%80%99Ar%C3%A9tin_Fran%C3%A7ois/1 |location=London |publisher= Hubert Cazin |page=1}}</ref>

These same sonnets by François-Félix Nogaret were published again in a book in 1869 under the same title.<ref name=Aretin1869>{{cite web |url=https://wellcomecollection.org/works/x8gyp8xd |title=L'Arétin français : par un membre de l'Académie des dames ... Sur la copie à Londres, 1782. |website=wellcomecollection |publisher=Wellcome collection |access-date=24 June 2024}}</ref><ref>{{cite web |url=https://archive.org/details/b20442014/page/n21/mode/2up |title=L'Arétin français : par un membre de l'Académie des dames ... Sur la copie à Londres, 1782. |website=Archive.org |publisher=Wellcome collection |access-date=24 June 2024}}</ref> It is also commented in this book from 1869 that the poems in this book have been translated from the sonnets of Pietro Aretino.<ref name=Aretin1869/>

In a foreword to the book published in 1869 it is commented that "L'Arétin français, followed by Les Epices de Vénus, first appeared in 1787, then in 1788, then in 1803, 1829, 1830 and 1869".<ref name=Aretin1869/>

In this book from 1869 there are a total of eighteen engravings.<ref name=Aretin1869/> Seventeen of these eighteen engravings are copies of engravings that are in the book published in 1787.<ref name=Aretin1869/><ref name=Aretin1787/>

For the book published in 1787 there are two images that have some similarities to two images from I modi. One image is similar to an engraving in the National Library of Spain showing sex between two people who are seated. The second image is similar to the 14th image in the woodcut booklet.

For the book published in 1869 there is also an image that is similar to the 14th image in the woodcut booklet.

'''Henry Wellesley engravings '''

[[Henry Wellesley (1794–1866)|Henry Wellesley]] owned two engravings that are now in the collection of the [[Bibliothèque nationale de France|National Library of France]],<ref name="December 2004"/> and both engravings are related to ''I modi'' images.<ref name="December 2004"/> One engraving was similar to the whole single image thought to be by Agostino in the British Museum and was numbered, and the other engraving was similar to the image in the Albertina museum and was numbered two.<ref name="December 2004"/>

'''Delaborde and Bartsch descriptions'''

[[Henri Delaborde (painter)|Henri Delaborde]] and [[Adam Bartsch]] gave descriptions of images as belonging to ''I modi''.<ref name="December 2004"/> The descriptions that they gave do not relate to any existing images and perhaps are examples of additional images that may have been in the original ''I modi''.<ref name="December 2004"/>