Magnificent Italian baroque reticulated walnut mirror, The Four Elements, composed of large acanthus scrolls that contain putti, birds, dolphins,

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Magnificent Italian baroque reticulated walnut mirror, The Four Elements, composed of large acanthus scrolls that contain putti, birds, dolphins,

1 Magnificent Italian baroque reticulated walnut mirror, The Four Elements, composed of large acanthus scrolls that contain putti, birds, dolphins, sunflowers and other floral motifs. These enclose four smaller scale mythological reserves symbolizing the four elements. Attributed to Maestro Giuseppe.

The Mythological Reserves (Air) Jupiter with his attributes an eagle and thunderbolts towers in the clouds above his scythe-wielding father, Saturn, and a female goddess holding a sheath of wheat

4 The Mythological Reserves (Air) Jupiter with his attributes an eagle and thunderbolts towers in the clouds above his scythe-wielding father, Saturn, and a female goddess holding a sheath of wheat (probably Saturn s wife, and Jupiter s mother, Ops or Opis). After his expulsion by Jupiter from Mount Olympus to Latium in Italy, Saturn became a benevolent god of wealth and agriculture with the scythe as attribute and later became the god of time. Saturn wears a crown because, as the former ruler of Olympus, he was preeminent among the Italian gods. Ops, similarly, was the goddess of plenty.

5 (Earth) Apollo slays the Python at Delphi with his bow and arrow. The lair of the Python was considered the center of the Earth.

6 (Water) Neptune, with the reluctant Amphitrite, is in his shell-form vessel that is pulled by hippocampi.

7 (Fire) Hercules slays the Lernean Hydra, while his companion, Iolaus, cauterizes the wounds with a torch to prevent the heads resprouting.

8 The Surrounds At the crest, two dolphins are flanked by putti that each hold a large bird aloft. There are two downcast sunflowers at the edges. There is also a snake crawling through the ribbon that binds the garland under the mirror glass.

9 The mythological roundels are surrounded by flowers and ribbon-bound leafage containing acorns a symbol of power and antiquity. They are enlivened with naturalistic groupings of birds cavorting in the foliage.

10 There are three Green Man foliate masks two smaller ones face inwards at the sides of the Hercules and Apollo roundels. A larger Green Man mascaron is located at the bottom of the frame; he is holding oak sprigs with acorns in his mouth.

Green Men earth; the dolphins water; and for fire, the unusual downcast sunflowers, which normally would face the blazing sun, and the two putti who protect themselves from the sun s flaming heat

11 At the sides there are two unusual torsos of putti whose arms become acanthus scrolls that curve over their heads. The Symbolism of the Surrounds The roundels depiction of the four elements extends to the surrounds, but here through motifs from nature: the birds symbolize air; the flora, the snake, and the Green Men earth; the dolphins water; and for fire, the unusual downcast sunflowers, which normally would face the blazing sun, and the two putti who protect themselves from the sun s flaming heat and light with their acanthus sunshade arms probably an invention unique to this mirror. Extraordinarily, the mirror maintains iconographic consistency across a complex array of interwoven motifs of varying scales while also forming a coherent and unified object of great beauty.

The baroque penchant for theatricality is clear not only in the dramatic mythological scenes chosen for the roundels but also in how the birds and putti are illusionistically integrated into the

The putti are individual beings adapting to the structure of the frame by positioning themselves in plausible and useful ways: the pair at the base stand in contrapposto and seem to bear the weight

12 The baroque penchant for theatricality is clear not only in the dramatic mythological scenes chosen for the roundels but also in how the birds and putti are illusionistically integrated into the composition of the surrounds. The birds are perched helter-skelter on the foliage in lifelike poses and actions. The putti are individual beings adapting to the structure of the frame by positioning themselves in plausible and useful ways: the pair at the base stand in contrapposto and seem to bear the weight of the rectangular frame of the glass on their backs; the pair higher up are balancing the Hercules and Apollo roundels on their shoulders; the pair shielding themselves from the sun become the acanthus scrolls that are the primary element of the overall composition; and the highest pair casually sit on the corners of the mirror s upper frame, each with one leg dangling while they interact with the birds held aloft.

FC Both groups of letters have tildes above indicating unwritten letters. Thus, GIVSEP. stands for Giuseppe.

13 The Signature(s) It is very unusual, if not unique, to find a signature on Italian baroque decorative art; however, both side roundels are signed at eye level. The Hercules reserve is signed: GIVSEP. AVP. FC Both groups of letters have tildes above indicating unwritten letters. Thus, GIVSEP. stands for Giuseppe. The meaning of the second group of letters remains obscure, although the FC almost surely means FECIT, i.e. Made [this]. The Apollo reserve is signed: AV. F. This is probably an abbreviation of the AVP. FC of the Hercules reserve.

14 Maestro Giuseppe was Wood Carver to the Duke of Parma at the period the mirror was made. Only a virtuoso craftsman would have been both awarded the title Maestro and have been famous enough to be known only by his first name in the same way Michelangelo, Leonardo and Elvis are known by theirs. Italian scholars of the decorative arts have long searched for his identity. It is well known that he was a teacher of Andrea Fantoni, who became one of the most illustrious wood carvers of the 17 th century. That the eminent Fantoni dynasty of wood carvers would send their most promising scion to Parma for training by Maestro Giuseppe is proof of his esteem at the time. Since it is so unusual for an Italian baroque decorative arts piece to be signed, one wonders if the artist was asked to because he had so successfully completed what must have been an enormous commission and difficult undertaking. It is certain that someone called Giuseppe was the sculptor of this masterpiece, and to sign such a piece in such a manner, the maker must have been well known. Since Maestro Giuseppe apparently is the only wood carver called Giuseppe with that sort of name recognition, it seems logical to assume that Maestro Giuseppe was the sculptor, especially since the mirror bears stylistic similarities with work from his region in his period. It is possible that AVP, or AUP (in a sculptural convention, a U often appears to be a V as in GIVSEP ), as well as the AV, are letters from Giuseppe s lost last name; it is also possible they are letters associated with the name of another artist who might have designed the elaborate composition and complicated iconography of the mirror. [Mirror glass replaced. Small repairs.] Height - 82" (208.3 cm.) Width - 57" (144.8 cm.) Italian, possibly Parma or Brescia, late 17 th century

Benchmark 6.1. Subject: English Language Arts. State: New Jersey

Benchmark 6.1. Subject: English Language Arts. State: New Jersey Benchmark 6.1 Subject: English Language Arts State: New Jersey Student Name: Teacher Name: School Name: Cupid, the god of love, used bows and arrows to affect others. Read below to understand the story