The Trojans Repairing Their Ships in Sicily
c. 1520
Painter, Ferrarese, active 1512 - 1542
The obscure iconography of Dosso's canvas has caused much speculation. In the past it has been titled simply Scene from a Legend and, more often, Departure of the Argonauts. The present title refers instead to an event in Virgil's Aeneid. Designed to celebrate the origin and growth of the Roman Empire, the Aeneid tells the story of Aeneas, who after the fall of Troy and seven years wandering, founded a settlement on the Italian peninsula, establishing the Roman state. The story of Aeneas and Achates is taken from Book I of the Aeneid, where Aeneas and his faithful companion Achates, their journey just begun, take refuge on the Libyan coast after their ships are wrecked in a storm.
Two other surviving scenes from the Aeneid by Dosso have been located, one in England, the other in Canada, and along with the Washington canvas have been identified as part of a frieze of ten pictures painted by the artist for the camerino, or study of Alfonso d'Este in his castle at Ferrara. Dosso Dossi was greatly influenced by Venetian art, especially the use of color and treatment of landscape as seen in works by Titian and Giorgione. He was perhaps best known in his time for soft, feathery landscapes and scenes of everyday life that are nevertheless infused with a touch of fantasy.
West Building Main Floor, Gallery 17
Artwork overview
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Medium
oil on canvas
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Credit Line
-
Dimensions
overall: 58.7 × 87.6 cm (23 1/8 × 34 1/2 in.)
framed: 83.5 × 205.3 × 8.5 cm (32 7/8 × 80 13/16 × 3 3/8 in.) -
Accession
1939.1.250
Associated Artworks
The Trojans Building the Temple to Venus and Making Offerings at Anchises's Grave in Sicily
Dosso Dossi
1520
Artwork history & notes
Provenance
Commissioned by 1520/21 by Alfonso I d'Este, Duke of Ferrara [1476–1534] for the Camerino d’Alabastro of the Castello Estense in Ferrara;[1] by inheritance to his son, Ercole II d’Este, Duke of Ferrara [1534–1559]; by inheritance to his son Alfonso II, Duke of Ferrara [1533–1597];[2] removed as early as 1608 from the Camerino d'Alabastro, when acquired by Cardinal Scipione Borghese [1577–1633], Rome;[3] by inheritance to his cousin Marcantonio II Borghese [1601-1658], 1st Prince of Sulmona, Rome; by inheritance to his grandson Giovanni Battista Borghese [1639–1717], 2nd Prince of Sulmona, Rome;[4] probably by descent to Camillo Filippo Ludovico Borghese [1775-1832], 6th Prince of Sulmona, Rome;[5] José de Madrazo y Agudo [1781–1859], Madrid, certainly by 1847, but probably acquired between 1803 and 1819;[6] possibly by inheritance to Federico Madrazo y Kuntz (1815-1894), Madrid; purchased probably 1861 by José de Salamanca y Mayol (1811-1883), Marqués of Salamanca, Madrid.[7] Hans Wendland, Basel; sold 1925 to (Kunsthandel AG, Lucerne); sold 1927 through (Julius Böhler, Munich and Luzerne) to (Count Alessandro Contini-Bonacossi [1878–1955], Florence and Rome);[8] sold 1936 to the Samuel H. Kress Foundation, New York;[9] gift 1939 to NGA.
[1] This painting and NGA 2021.6.1 are two halves of a canvas divided probably sometime in the late nineteenth century. The original intact canvas was one of ten paintings by Dosso featuring scenes from Virgil’s Aeneid placed as a frieze above a series of mythologies painted by Titian, Bellini, and Dosso. The earliest direct reference to the Aeneid scenes occurs in a somewhat garbled description by Giorgio Vasari in his Life of Titian (1568): “Avendo l’anno 1514, il duca Alfonso da Ferrara fatto acconciare un camerino, ed in certi spartimenti fatto fare al Dosso, pittore ferrarese, istorie di Enea, di Marte e di Venere, et in una grotta Vulcano con due fabbri all fucina...” (“During the year 1514 Duke Alfonso of Ferrara caused to be decorated a small chamber, for which he commissioned the local painter Dosso to paint various compartments showing the stories of Aeneas, Mars and Venus, and in a grotto Vulcan with two smiths at the forge.”); Giorgio Vasari, Le vite de’ più eccellenti pittori, scultori e architettori nelle redazioni del 1550 e 1568, edited by Rosanna Bettarini and Paola Barocchi, 8 vols., Florence, 1966-1987: 6(1987):158. The ten scenes were, according to Peter Humfrey, almost certainly painted in 1520-1521 (Peter Humfrey, “More on Dosso’s Aeneas Frieze,” Artibus et Historiae 81 [2020]: 137-156). Humfrey’s article and Christie’s sale catalogue entry for the other half of the painting (22 April 2021, no. 22), provide much of the detail of this provenance; see also the following notes as well as correspondence with Humfrey dated 29 May 2021 in NGA curatorial files.
[2] When Alfonso II d’Este died childless, his cousin Cesare d’Este (1562-1628) inherited Ferrara. However, Pope Clement VIII refused to recognize the legitimacy of his succession and instead absorbed the duchy into the Papal States in 1598. Cesare moved to Modena and never took possession of the paintings.
[3] Writing to the Cardinal in March 1608 immediately before they were removed, the papal legate to Ferrara, Innocenzo Massimo, described the scenes as follows: “Et questi sono dieci pezzi che servono per fregio ad un Camerino; sono lunghi ogni pezzo una Canna et alto tre palmi rappresentano diverse azioni d’Enea, scritte da Virgilio sono bellissimi.” (“These consist of ten pieces forming the frieze of a small chamber; each is one canna wide by three palmi high; they represent different deeds by Aeneas, as recounted by Virgil; and they are very beautiful”.) See Amalia Mezzetti, “Le ‘Storie di Enea’ del Dosso nel ‘camerino d’alabastro’di Alfonso I d’Este,” Paragone nos. 189–190 (1965): 82. One canna architettonica romana, comprising 10 palmi architettonici, was equivalent to 2.234 m; one canna mercantile romana, comprising 8 palmi mercantile, was equivalent to 1.992 m. Whichever method of measurement was adopted here, it is clear that the dimensions given by Massimo are only very approximate.
[4] This painting and NGA 2021.6.1, still joined, may almost certainly be identified with an item recorded in the Borghese inventory of 1693, which included the ten paintings of the series described vaguely in terms of dimensions and subjects. This half of the painting was previously mistakenly identified as no. 390 in the inventory. Instead, as noted in Christie’s 2021 sale catalogue (see note 1), the painting in its original format is probably no. 192, described as “…un quadro longo con paesi e Marine con figure e vascello del No 2 del Dosi de ferrara con cornice dorata" (…an oblong painting with landscape and seascape, figures, and a vessel, by Dosso of Ferrara, belonging to no. 2, in a gilded frame). See P. Della Pergola, “L’inventario Borghese del 1693,” Arte Antica e Moderna, no. 26 (1964): 218-230, no. 28 (1964):451-467, no. 30 (1965):202-217; cited in Humfrey 2020: 155 n. 8. The NGA painting is listed in issue no. 28 (1964): 452, no. 192. As Humfrey notes, the frieze canvases are no longer mentioned in a Borghese inventory of c. 1790.
[5] For details of the Princes of Sulmona (Borghese) lineage, see the entry for lot 22 (NGA 2021.6.1) in Christie's 2021 sale catalogue.
[6] A multi-volume dictionary from 1847 lists the uncut painting as among the ten canvases from Dosso’s frieze acquired by Madrazo from the Borghese princes in Rome. (Vincenzo Farinella, Alfonso I d’Este. Le immagini e il potere, Milan, 2014: 505-506, n. 60). It is likely to be no. 7, titled “Recompocision que hacen los Frigios de sus naves” (The Phrygians [Trojans] repairing their ships). D. José Rojas, ed., Diccionari geográfico-estadistico-histórico de España y su posesiones de Ultramar por Pascual Madoz, X, Madrid, 1847, p. 860. The dictionary provides no dimensions, but they are given in an 1856 catalogue of the Madrazo collection. Renato Berzaghi, “Una segnalazione per le ‘Storie di Enea’ di Dosso Dossi,” Prospettiva, nos. 139/140 (2010): 135-136; cited in Humfrey 2020: 155 n.7. Madrazo, a Spanish neoclassical painter and later director of the Prado, spent the years from 1803 to 1819 in Rome. The 1856 catalogue confirms their presence in his collection in Madrid at that date, as well as the earlier Borghese provenance, and provides exact dimensions, detailed descriptions of the subjects, and the books of The Aeneid from which they are taken. The NGA paintings, still intact, are listed as no. 77, 59 x 183 cm, the subject taken from Book V: “Reparans los Troyanos sus naves en la ribera del mar junta á un grupo de árboles” (The Trojans repairing their ships on the seashore near a group of trees), which places the scene in Sicily (Humfrey 2020: 142-143).
[7] The 1861 date purchase date comes from the provenance of 2021.6.1 as relayed by Christie's 2021 sale catalogue. The still-intact painting, with dimensions of .59 x 1.83 m and same title as in the 1856 Madrazo catalogue cited in footnote 6, is included in the 1865 catalogue of the Marqués de Salamanca's collection of paintings, no. 77. Copy in NGA curatorial files.
[8] The transfer from Hans Wendland to the Kunsthandel AG Lucerne, founded by Julius Böhler, and then to Contini-Bonacossi, is recorded in records of Julius Böhler held at the Zentralinstitut für Kunstgeschichte, Munich. See inventory cards digitized at http://boehler.zikg.eu/karteikarten-bersicht. (Copies in NGA curatorial files). Dimensions on the cards indicate the canvas was cut by 1925.
[9] According to Kress records in NGA curatorial files. See also The Kress Collection Digital Archive, https://kress.nga.gov/Detail/objects/141.
Associated Names
Exhibition History
1933
Pitture Ferrarese del Rinascimento, Ferrara, 1933, no. 198, repro.
1939
Masterpieces of Art. European Paintings and Sculpture from 1300-1800, New York World's Fair, 1939, no. 83, as Departure of the Argonauts, repro.
1996
Obras Maestras de la National Gallery of Art de Washington, Museo Nacional de Antropología, Mexico City, 1996-1997, unnumbered catalogue, 58-59, color repro.
1998
Dosso Dossi: Court Painter in Renaissance Ferrara, Exhibit Halls, Palazzo dei Diamanti, Ferrara; The Metropolitan Museum of Art, New York; The J. Paul Getty Museum, Los Angeles, 1998-1999, no. 19, repro.
2023
Dosso Dossi: The Aeneas Frieze, Rome, Museo Galleria di Villa Borghese, no. 5 (together with 2021.6.1), repro.
Bibliography
1865
Catalogo de la galeria de Cuadros de la posesion de Vista-Alegre, de propriedad del Ezcmo. Sr. Marques de Salamanca. Madrid, 1865: 25, no. 77.
1927
Longhi, Roberto. "Una Favola del Dosso." Vita Artistica 2 (May 1927): 92-95, repro. color plate, figs.1-3 (det.), as La partenza degli Argonauti (departure of the Argonauts).
1933
Barbantini, Nino. Catalogo della esposizione della pittura ferrarese del Rinascimento. Exh. cat. Palazzo dei Diamanti, Ferrara. Venice, 1933: 162-163.
Venturi, Adolfo. "L'esposizione della pittura ferrarese del Rinascimento per il Cenenario Ariostesco." L'Arte 36 (1933): 386.
1934
Longhi, Roberto. Officina Ferrarese. Rome, 1934. Reprinted in Edizione delle opere complete di Roberto Longhi. 14 vols. Florence, 1961-1984: 5(1956):86.
1935
Buscaroli, Renzo. La Pittura di Paesaggio in Italia. Bologna, 1935: 216.
1940
Suida, Wilhelm. "Die Sammlung Kress: New York." Pantheon 26 (1940): 280.
1941
Preliminary Catalogue of Paintings and Sculpture. National Gallery of Art, Washington, 1941: 58, no. 361, as Scene from a Legend.
1942
Book of Illustrations. National Gallery of Art, Washington, 1942: 246, repro., as Scene from a Legend.
1948
Tietze-Conrat, Erika. "Two Dosso Puzzles in Washington and New York." Gazette des Beaux-Arts 33 (1948): 129-136.
1949
Suida, Wilhelm. "Lucrezia Borgia: In Memoriam." Gazette des Beaux-Arts 35 (1949): 284.
1952
Gilbert, Creighton. "On Subject and Not-subject in Italian Renaissance Pictures." The Art Bulletin 34 (1952): 205.
1956
Longhi, Roberto. Officina ferrarese (1934), seguíta dagli Ampliamenti (1940) e dai Nuovi ampliamenti (1940-1955). Florence, 1956: 86.
1957
Arslan, Edoardo. “Una Natività di Dosso Dossi.” Commentari 8 (1957): 260.
1959
Paintings and Sculpture from the Samuel H. Kress Collection. National Gallery of Art, Washington, 1959: 169, repro., as Scene from a Legend.
1964
Antonelli Trenti, Maria Grazia. "Notizie e precisazioni sul Dosso giovane." Arte Antica e Moderna 28 (1964): 410.
Dreyer, Peter. "Die Entwicklung des jungen Dosso. Ein Beitrag zur Chronologie des Meisters biz zum Jahre 1522." Pantheon n.s. 22 (1964): 363.
Pergola, Paola Della. "L'Inventario Borghese del 1693 (II)." Arte Antica e Moderna 28 (1964): 452, no. 192.
1965
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 43, as Scene from a Legend.
Dreyer, Peter. "Die Entwicklung des jungen Dosso. Ein Beitrag zur Chronologie des Meisters bis zum Jahre 1522." Pantheon 23 (1965): 24.
Mezzetti, Amalia. "Le 'Storie di Enea' del Dosso nel 'camerino d'alabastro' di Alfonso I d'Este." Paragone 189-190 (1965): 71-84.
Puppi, Lionello. Dosso Dossi. I Maestri di Colore 78. Milan, 1965.
1966
Vasari, Giorgio. Le vite de’ più eccellenti pittori, scultori e architettori nelle redazioni del 1550 e 1568. Ed. Rosanna Bettarini and Paola Barocchi. 8 vols. Florence, 1966-1987: 6(1987):158.
1968
National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 36, repro., as Scene from a Legend.
Shapley, Fern Rusk. Paintings from the Samuel H. Kress Collection: Italian Schools, XV-XVI Century. London, 1968: 73-74, fig. 183.
Berenson, Bernard. Italian Pictures of the Renaissance. Central Italian and North Italian Schools. 3 vols. London, 1968: 1:114, as Departure of the Argonauts.
Gibbons, Felton. Dosso and Battista Dossi: Court Painters at Ferrara. Princeton, 1968: 91, 114, 123-124, 214-215.
Puppi, Lionello. "A Monograph on Dosso Dossi." The Burlington Magazine 110 (1968): 360.
1971
Freedberg, Sydney J. Painting in Italy 1500-1600. Harmondsworth, 1971, rev. ed. 1975: 316.
Hope, Charles. "The 'Camerini d'Alabastro' of Alfonso d'Este." The Burlington Magazine 113 (1971): 643, n. 19.
1975
European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 110, repro.
1978
Goodgal, Dana. "The Camerino of Alfonso I d'Este." Art History 1 (1978): 170-173.
1979
Shapley, Fern Rusk. Catalogue of the Italian Paintings. 2 vols. National Gallery of Art, Washington, 1979: 1:164-166; 2:pl. 115.
1982
Kaplan, Paul. "Titian's Laura Dianti and the Origins of the Motif of the Black Page in Portraiture." Antichità viva 21 (1982): 13.
1985
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 133, repro.
1986
Humfrey, Peter. "Dosso Dossi." In The Age of Correggio and the Carracci: Emilian Painting of the Sixteenth and Seventeenth Centuries. Exh. cat. Pinacoteca Nazionale, Bologna; National Gallery of Art, Washington, D.C.; The Metropolitan Museum of Art, New York, 1986: 114-115.
1987
Brown, Beverly L. "On the Camerino." In Görel Cavalli-Björkman, ed. Bacchanals by Titian and Rubens: Papers given at a Symposium in the Nationalmuseum, Stockholm, March 18-19, 1987. Stockholm, 1987: 47-49.
Cavalli-Björkman, Görel. "Camerino d’Alabastro: A Renaissance Room in Ferrara." Nationalmuseum Bulletin 11 (1987): 75, 89.
Laskin, Myron, and Michael Pantazzi, eds. European and American Painting, Sculpture and Decorative Arts, Vol. 1: 1300-1800. Catalogue of the National Gallery of Canada, Ottawa. Ottawa, 1987: 94-95.
1990
Bull, David. "Introduction." Studies in the History of Art 40 (1990): 11, 15, repro. no. 8.
1992
National Gallery of Art. National Gallery of Art, Washington. New York, 1992: 33, repro.
1993
Ballarin, Alessandro. "Dosso Dossi." In Gilles Fage, ed. Le Siècle de Titien: L'âge d'or de la peinture à Venise. Paris, 1992: 409.
Berrie, Barbara H., and Sarah L. Fisher. "A Technical Investigation of the Materials and Methods of Dosso Dossi." In Janet Bridgland, ed. 10th Triennial Meeting, Washington, DC, 22-27 August 1993: Preprints. ICOM Committee for Conservation. 2 vols. Paris and Lawrence, Kansas, 1993: 1:70-74.
1994
Del Bravo, Carlo. "L'Equicola e il Dosso." Artibus et historiae 30 (1994): 81.
Ballarin, Alessandro. Dosso Dossi: La Pittura a Ferrara negli anni del Ducato di Alfonso I. 2 vols. Cittadella, 1994-1995: 2(1995):40, 45, 71-73, 309-310.
1998
Humfrey, Peter, and Maruo Lucco. Dosso Dossi. Court Painter in Renaissance Ferrara. Ed. Andrea Bayer. Exh. cat. Galleria d'Arte Moderna e Contemporanea, Ferrara; The Metropolitan Museum of Art, New York; J. Paul Getty Museum, Los Angeles, 1998-1999: 130-132.
2000
Christiansen, Keith. "Dosso Dossi's Aeneas Frieze for Alfonso d'Este's Camerino." Apollo 151, no. 455 (January 2000): 36-45, fig. 11.
2003
Ghersi, Lorenzo Finocchi. "Dosso Dossi, Giovanni Bellini e Tiziano nei "Camarini" di Alfonso I d'Este." Saggi e Memorie di Storia dell'Arte 27 (2003): 216, 217.
2007
Farinella, Vicenzo. "L'Eneide' di Dosso per Alfonso d'Este (ed altre mitologie)." In Alessandro Ballarin, ed. Il Camerino delle Pitture di Alfonso I. 6: Dosso Dossi e La Pittura a Ferrara negli anni Del Ducato di Alfonso I. Atti del Convegno di Studio, Padova, Palazzo del Bo, 9-11 maggio 2001. Padua, 2007: 308-309, 326, 331.
2010
Berzaghi, Renato. "Una segnalazione per le 'Storie di Enea' di Dosso Dossi." Prospettiva 139-140 (2010): 135, repro. 136.
2013
"Vasari and the National Gallery of Art." National Gallery of Art Bulletin 48 (Spring 2013): 20, repro.
2014
Farinella, Vincenzo, et al. Alfonso I d'Este: le immagini e il potere, da Ercole de' Roberti a Michelangelo. Milan, 2014: 529-532, fig. 233.
2020
Humfrey, Peter. "More on Dosso's Aeneas Frieze." Artibus et historiae no. 81 (2020): 137-156, 139, fig. 3, as The Trojans Repairing their Ships at Acesta, 143 fig. 9, as left half of The Trojans at Acesta.
Zaninelli, Fulvia. "The Interesting Case of Alessandro Contini Bonacossi (1878-1955) and Wilhelm von Bode (1845-1929)." In Florence, Berlin and Beyond. Late Nineteenth-Century Art Markets and Their Social Networks, ed. Lynn Catterson. Leiden, Boston, 2020: 265.
2021
Straussman-Pflanzer, Eve. "Gifts & Acquisitions." Art for the Nation no. 64 (Fall 2021): 20-21, repro.
Wikidata ID
Q3725199