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Folia Historiae Artium
Seria Nowa, t. 18: 2020 / PL ISSN 0071-6723
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The artistic legacy left by Alexandre Ubeleski (/–
–) covers paintings and drawings made with vari-
ous techniques, including interesting red chalk drawings
(Fig. and ), which have not yet been discussed in detail.1
The attribution of the drawings to Ubeleski has been veri-
fied by the analysis of asignature visible on the reverse of
the first sheet (Fig. ), the works’ history, their style, and
comparative studies of the painter’s oeuvre.2 This article
presents new findings based on an in-depth analysis of
the form and iconography of the drawings, which allow
for their grouping, the identification of their subject mat-
ter and potential sources of inspiration, their dating, and
the discovery of their ideological meaning. The analysis of
the drawings treated as aseries offers an insight into the
nature of Ubeleski’s work, and places it in abroader con-
text of not only the arts but also the literature and music
created within the culture of King Louis XIV’s court.
1 is article is aseparate analysis, the starting point of which was
indicated in the monograph: B. H, Le Peintre du Roi. Alek-
sander Ubeleski (1649/1651–1718) – malarz polskiego pochodzenia
we Francji ijego dzieła, Kraków, . Iwould like to express my
gratitude for assistance in my research to Prof. Pierre Rosenberg
and Lutz Riester.
2 Ubeleski’s signature: Alexandre pinx. is one of the ve variants
I found during my research. An identical signature, from an
unknown work, was published in: E. B, Dictionnaire cri-
tique et documentaire des peintres, sculpteurs, dessinateurs et gra-
veurs, vol. , Paris, , p. . e artist’s similar signatures can
be found in the following works: e Peasant Dance, e Marriage
of the Virgin, Christ Healing the Sick; see B. H, ‘Alexan-
dre Ubeleski (Ubelesqui): e Oeuvre of the Painter and Deni-
tion of his Style’, Artibus et Historiae, /, , pp. , –,
gs. , , .
BARBARA HRYSZKO
Jesuit University Ignatianum
THE ICONOGRAPHY AND DATING
OF THREE MYTHOLOGICAL DRAWINGS
BY ALEXANDRE UBELESKI
e drawings were part of the collection of Gilbert
Paig non-Dijonval (–).3 Among the drawings be-
longing to the École Française, the catalogue of this collec-
tion lists three red chalk drawings on paper, each inches
high and inches wide, assigned to ‘Alexandre Ubeliski’
(sic). e subject of the rst work was described as Apollo
kissing the shepherdess’ hand, in the background Cupid is
shown holding amask (Fig. ), and the titles of the other
two were Diana leaving the heavens to visit Endymion
(Fig. ) and Bacchus consoling Ariadne.4 Two of these
drawings have been preserved to this day. e rst of them
appeared at auction on April in the Danish Bruun
Rasmussen Auctioneers in Copenhagen (Fig.),5 while
the other was put up for sale in Kunsthandel Dr.Moeller
in Hamburg in (Fig. ).6
3 It was one of the biggest private collections of drawings and prints
created between and , and included fourteen works by
Alexandre Ubeleski. ey are listed in acatalogue published in
by the collector’s heir and grandson, Charles-Gilbert-Terray,
vicomte de Morel-Vindé (–). Cabinet de M. Paignon Di-
jonval. Etat détaillé et raisonné des dessins et estampes dont il est
composé, ed. by [P. M.] Bénard, Paris, , pp. VI and .
4 Cabinet de M. Paignon Dijonval, p. (as in note ): ‘2911. Apollon
baisant la main d’une bergère; on voit dans le fond l’Amour tenant
un masque: d. à la sanguine; l.[arge] 8 po.[uce] sur 5 po.[uce]. …
2915. Diane quittant le ciel pour visiter Endymion. Bacchus conso-
lant Ariane: deux dessins à la sanguine sur papier blanc; l.[arge] 8
po.[uce] sur 5 po.[uce]’.
5 Drawing no. in the sales catalogue of Bruun Rasmussen de
Copenhague – see P. R, ‘Un émule polonais de Le Brun:
Alexandre Ubelesqui’, Artibus et Historiae, /, , p. ,
note.
6 M. M, Meisterzeichnungen, Hamburg, , p. .
52
e technique, the description of the scenes, and the
size given in the catalogue of the Paignon-Dijonval collec-
tion in inches, according to the French metric scale in use
in the th and th centuries, all correspond to the extant
drawings.7 Moreover, their composition is similar: the g-
ures are depicted in the foreground, agirl (Fig. ) and En-
dymion (Fig. ) bow their heads in corresponding poses,
and they rest on the edge of acli against some scrub in
front of an open area on the right. e couples, cupids,
dogs and some objects scattered on the ground are shown
in comparable landscape scenery. Both scenes are framed
from below by acorrugated bow-like shape. Despite these
similarities and their provenance, the drawings have not
been linked so far. Yet they are analogous and certainly
used to belong to one series. What is more, on account
of the information from the catalogue of the eighteenth-
-century collection, it is reasonable to think that alost, or
not yet identied, drawing of Bacchus consoling Ariadne
belonged to this series as well. e meticulously drawn
scenes and the characteristic frame in the lower part of
the drawings suggest that they might have been the de-
signs of paintings intended as aseries. However, as of to-
day, the purpose of these works is unknown.
7 One French inch equalled approximately , cm., see H. D-
, Dictionnaire universel des poids et mésures anciens et mo-
dernes contenant des tables des monnaies de tous les pays, Ams-
terdam, , p. .
IDENTIFICATION
OF THE SUBJECT MATTER
The catalogue mentions the first of the drawings under
the title Apollo kissing the shepherdess’ hand (Fig. ). This
title was also repeated by Pierre Rosenberg.8 The elements
presented in the drawing, i.e. alyre, abow, and aradial
glow around the man’s head, allow us to recognize the fig-
ure as the god of the Sun. Dressed in scanty attire, Apollo
kneels next to agirl, holding her hand with both of his.
Acupid is flying above the couple. He points at Apollo
with his right hand and simultaneously removes amask
from his face with his other hand. Adog sleeps by the bare
feet of the woman, and ashepherd’s staff is lying in front
of Apollo, while some sheep graze on the plain.
Apollo’s presence points at mythology as the source of
the theme of the drawing. us, the question arises what
mythological story featuring him the imaginary scene de-
picts. Who is the girl? Is she really ashepherdess? Why is
Apollo kissing her hand? Furthermore, what is the sym-
bolism of the particular motifs of the scene, e.g. acupid
with amask?
e poem Metamorphoses d’Ovide en rondeaux, writ-
ten by Isaac de Benserade (-) on King Louis
XIV’s commission,9 might prove helpful in answering
8 P. R, ‘Un émule polonais de Le Brun’, p. , g. (as in
note ).
9 [I. B], Metamorphoses d’Ovide en rondeaux im-
primez et enrichis de gures par ordre de Sa Majesté, et dediez
1. Alexandre Ubeleski, Apollo and Issa, 1697 or aer, red chalk on light paper, 14,6 × 23,8 cm, Paris, Private Collection
53
these questions. e volume contains aprint by François
Chauveau (–) presenting asimilar scene, featur-
ing Apollo kneeling in front of asitting girl and holding
her hand (Fig. ).10 Acupid with amask ies between the
gures and aock of sheep appears in asimilarly com-
posed landscape. An inscription below the image reads:
‘APOLLON épris des beautez de la jeune Nimphe Issé,
l’abusa sous la forme d’ un jeune Berger’.11 At the bottom
of the page there is afragment of verse from Book
of Ovid’s Metamorphoses12, which refers to alove aair
shown on the tapestry Arachne wove for acontest with
àMonseigneur Le Dauphin, Paris, , p. . At the court of Lou-
is XIV Issac de Benserade created poems and librettos to Jean-
Baptiste Lully’s works, among others see J. G, AGeneral
Biographical Dictionary, vol. , London, , unnumbered pages.
10 e composition is signed lower le: F. Chauveau jn et fec. Biblio-
thèque nationale de France, Cabinet des Estampes, inv. No. Sa;
M. On François Chauveau’s oeuvre see Mémoire sur la vie de
François Chauveau, peintre et graveur, et de ses ls, Évrard Chau-
veau, peintre, et René Chauveau, sculpteur, par Jean Michel Papil-
lon, Paris, , pp. – and R.-A. W, Inventaire du fonds
français, graveurs du XVIIe siècle, vol. , Boulanger (Jean) – Chau-
veau (François), pp. – and .
11 [I. B], Metamorphoses d’Ovide en rondeaux, p.
(as in note ): ‘APOLLON épris des beautez de la jeune Nimphe
Issé, l’abusa sous la forme d’un jeune Berger’.
12 Ibidem: ‘ut pastor Macareida luserit Issen’.
Minerva for pre-eminence in the art of weaving.13 An
Ovidian theme of minor importance – Apollo’s adven-
ture, disguised as ashepherd, with Issa, adaughter of Ma-
careus14 – became asource for the sonnet accompanying
François Chauveau’s print, entitled APOLLON en Berg-
er.15 e poem, almost apaean in honour of the nymph
13 Cf. P. Ovidii Nasonis Metamorphoseon, id est transformationu[m]
libri XV. Cum indice, Lugduni, , p. . e work, written in
Latin, was also translated into French, see Les Metamorphoses
d’Ovide, traduites en prose françoise et de nouveau soigneusement
reuenës, corrigees en innis endroits, et enrichies de gures à cha-
cune Fable. Avec XV. Discours contenans l’explication Morale et his-
torique, Paris, , p. ; Les Metamorphoses d’Ovide, traduittes
de nouveau en prose Françoise, soigneusement reveuës & corrigées
avec XV. Discours contenans l’explication Morale des Fables, Lyon,
, p. .
14 On Issa see P. C, Dictionnaire abrégé de la fable, pour l’in-
telligence des poëtes, des tableaux & des statues, dont les sujets sont
tirés de l’histoire poétique, Paris, , p. ; Stephani Byzantii
Ethnicorum quae supersunt, ex recensione Augusti Meinekii, vol.,
Berolini, , p. ; J. D. R, e Oxford Guide to Classical
Mythology in the Arts, 1300–1990s, vol. , New York, , p. .
15 [I. de B], Metamorphoses d’Ovide en rondeaux, p.
(as in note ): ‘APOLLON en Berger. / Quelle merveille est la Beau-
té naissante! / Issé parut à Phébus ravissante, / Depuis la chaste
& farouche Daphné / Il n’avoit point esté mieux enchaisné, / Mais
celle-cy devint plus caressante. / Du Ciel pour elle il t une descente,
/ Sa Deïté fut trop embarassante, / Il en quitta son Char illuminé./
Quelle merveille. / Elle estoit douce, elle estoit innocente, / Et ne crût
2. Alexandre Ubeleski, Diana as Luna visiting Endymion, 1697 or aer, red chalk on light paper, 14,7 × 23,5 cm, Freiburg, Private Collection
54
whose beauty enchanted Apollo, explains the content of
Chauveau’s engraving, which is presented on the follow-
ing page (Fig. ). Issa, in contrast to Daphne, proved to
be susceptible to the god’s charms and reciprocated his
feelings. According to Benserade’s work, it was not Issa
who was ashepherdess, but Apollo who disguised him-
self as a shepherd, as stated already in the poem’s title.
us, the title Apollo kissing the shepherdess’ hand is erro-
neous and should be formulated afresh as Apollo and Issa
(Fig.). e sonnet accentuates the reciprocal, equal emo-
tional involvement of both the god and the nymph, which
is symbolized by the cupid ying over the couple. He is
holding amask in his hand which refers to the camouage
that Apollo assumed, as his intimidating godly image was
an impediment in his amorous conquests.
e subject matter of the second drawing, contain-
ing the names Diana and Endymion in its title, also needs
some clarication. As was the case with the rst draw-
ing, Benserade’s poem with Chauveau’s illustration of the
myth of Endymion (Fig. )16 can shed some light on the
issue discussed here. e inscription on the print can be
translated as: ‘Luna/Moon fell in love with shepherd En-
dymion when she found him sleeping on Mount Karia’.17
us, we learn that the female gure in the illustration is
Luna, the personication of the Moon.18 Ubeleski’s draw-
ing also contains references to her: the chariot in the
clouds, harnessed to apair of horses, which accompanies
the goddess of the moon19 is an obvious one. However, the
artist also depicted Endymion’s mistress holding abow in
pas faire chose indécente / D’aimer quelqu’un à luy plaire adonné, /
Il estoit beau, tendre, passionné, / L’ardeur entr’eux fut égale & pres-
sante. / Quelle merveille.’
16 e monogram on the engraving, F. C. jn. fc., conrms its author-
ship as that of François Chauveau. See [I. de B], Meta-
morphoses d’Ovide en rondeaux, p. (as in note ).
17 Ibidem: ‘La Lune devint éprise du Berger Endymion, l’ayant trouvé
endormi sur une Montagne de la Carie’. e word „La Lune” signi-
es both the moon and the goddess Luna.
18 A. P, Barockthemen. Eine Auswahl von Verzeichnissen zur
Ikonographie des 17. und 18. Jahrhunderts, vol. , Profane Darstel-
lungen, p. ; P. G, Słownik mitologii greckiej irzymskiej,
transl. M. Bronarska, Wrocław–Warszawa–Kraków, , p. .
19 A. P, Barockthemen, vol. , p. (as in note ); P. G,
Słownik mitologii, p. (as in note ); W. K, Słownik
mitów itradycji kultury, Warszawa, , p. .
her hand, and the bow is an attribute of Diana, the god-
dess of hunting (Fig. ). As aresult, the drawing seems to
mix various motifs and to refer simultaneously to Luna
and Diana. e two gures were oen equated with each
other, as is evidenced by numerous representations of this
love aair.20 In order to emphasize the reference to the
Moon and night (which will be discussed later), it might
seem justied to modify the title of the drawing to Diana
as Luna visiting Endymion, as more clearly expressing its
subject matter.
INSPIRATIONS FOR THE DRAWINGS
The compositions of both of Ubeleski’s drawings (Fig.
and ) resemble Chauveau’s prints (Fig. and ), although
they are reversed as in amirror reflection. Similarities can
be found in the landscape arrangement: the background
is covered by several trees on one side and an open area on
the other, and in the arrangement of the lovers and their
poses: Apollo is kneeling in front of the sitting nymph
and holding her hand (Fig. and ), while Luna, shown
in profile, is kneeling in front of Endymion and looking at
him. His head, shown en trois quarts, is leaning towards
her, with one arm drooping toward the ground (Fig. and
). Other elements shared by the engraving and the draw-
ing include the drapery characteristically flying over Lu-
na’s head, the dog placed next to the sleeping Endymion,
which is craning its neck to look at the goddess who has
just arrived, and aspear that lies on the ground.
From the number of similarities between them, it can
be inferred that Ubeleski was inspired by illustrations of
Benserade’s work. It is likely that the renown of the splen-
did visual setting for Benserade’s poem made it famous
in the circle of the Royal Academy of Painting and Sculp-
ture; the artist surely knew it as well. e prestige of the
poem’s sumptuous, partially coloured and gilded engrav-
ings is evidenced by the fact that King Louis XIV had as-
signed the impressive sum of one thousand louis d’ors for
this work.21
20 See A. P, Barockthemen, vol. , pp. – (as in note );
J.D. R, e Oxford Guide, vol. , pp. – (as in note ).
21 [L.-M. C ], Nouveau dictionnaire historique-portaif, ou,
Histoire abrégée de tous les hommes qui se sont fai un nom par
des Talens, des Vertus, des Forfaits, des Erreurs, &c. &c. depuis
3. Signature Alexandre pinx. overleaf the drawing Apollo and Issa by Alexandre Ubeleski
55
e layout of the scenes in the engravings suggests that
Ubeleski used not the prints, but the sketches for them.
Undoubtedly, Chauveau’s drawings were carefully pre-
served in the royal collection (since the prints were so
generously paid for by the king) and known to Parisian
academicians including Ubeleski.
It should be stressed, however, that the poses of Ube-
leski’s gures are more interesting, more artistically ac-
complished, and more vivid, and their gestures are more
meaningful, than their corresponding elements on the
prints. Innovations in Ubeleski’s works include the hand-
kissing, asleeping dog, abow, and alyre (Fig. ) and the
absence of acreek, present in the engraving. In the draw-
ing Luna is depicted in the clouds, along with achariot,
horses, and cupids; asleeping dog, abow and ahorn ap-
pear on the ground (Fig. ).
e sources of Ubeleski’s two extant drawings and their
similarities to the engravings from the book by Benserade
le commencement du monde jusqu’à nos jours, Paris, vol. , ,
pp.–; J. G, AGeneral Biographical Dictionary, vol. ,
unnumbered pages (as in note ). Along with François Chauveau,
Jean Le Pautre and Sébastian Le Clerc took part in the enter-
prise. e latter engraved the frontispiece based on adrawing by
Charles Le Brun; this information is included in aletter of No-
vember from the Premier peintre du Roi to the poet, pub-
lished in the introduction to Benserande’s poem.
allow for formulating the hypothesis that the third draw-
ing, Bacchus consoling Ariadne, may resemble the illustra-
tions to the sonnets entitled Bachus et Ariane and Cou-
ronne d’Ariane en astre in Benserade’s work.22 However, at
present only the subject of the work is known, which then
can be compared with the iconography of extant drawings
showing couples of lovers in idyllic love scenes.
SUGGESTED DATING
It is noteworthy that the subject matter discussed here was
especially popular in operas composed at the end of the
th century. For example, Ariane et Bacchus – an opera
by Marin Marais with lyrics by Saint-Jean based on Ovid’s
Metamorphoses – was published in .23 It was staged
on March in the same year at the Académie Royale de
Musique in Paris.24 The pastorale héroïque entitled Issé,
22 [I. de B], Metamorphoses d’Ovide en rondeaux, pp.
and (as in note ).
23 Anecdotes dramatiques, Paris, , vol. , p. and vol. , pp.
and ; A. de L, Dictionnaire portatif historique et litteraire
des theatres contenant l’origine des dierens theatres de Paris, Paris,
, pp. and .
24 A. de L, Dictionnaire portatif historique, pp. – (as in
note ); Ballets, opéra et autres ouvrages lyriques, par ordre
4. François Chauveau, Apollon épris des beautez de la jeune Nimphe Issé, l’abusa sous la forme d’un jeune Berger, cop-
perplate engraving, Gent, Universiteitsbibliotheek
56
composed by André Cardinal Destouches (–)
with lyrics by Antoine Houdar de La Motte (–),25
premiered on October in the apartments of Louis
XIV in Fontainebleau,26 and performances were repeated
there on and October.27 The king chose it in order to
add splendour to his grandson Louis de Bourgogne’s and
chronologique, depuis leur origine; avec une table alphabétique des
ouvrages et des auteurs, Paris, , pp. –.
25 e opera script: Issé, pastorale héroïque en musique, représentée
devant sa Majesté à Trianon le 17 décembre 1697 par l’Académie
royale de musique, Paris, ; libretto: [A. H. L M], Issé,
pastorale héroïque, représentée pour la première fois devant Sa Ma-
jesté à Trianon le 17 décembre 1697 par l’Académie royale de mu-
sique, remise au éatre, augmentée de deux Actes, le Dimanche
quatorzième jour d’Octobre 1708, Paris, ; A. de L, Diction-
naire portatif historique, pp. and (as in note ).
26 According to Philippe de Courcillon, Marquis de Dangeau’s re-
port: Journal du marquis de Dangeau publié en entier pour la pre-
mière fois par MM. Soulié, Dussieux, de Chennevières, Mantz, de
Montaiglon, vol. , (1696–1698), Paris, , p. .
27 Information provided by: R. F , ‘Introduction’, in A.-C.
D, Issé, pastorale héroïque, New York (French
Opera in the 17th & 18th Centuries, vol. ), p. XXIII.
Marie-Adelaïde de Savoie’s wedding ceremony. The pasto-
rale héroïque, extended with aprologue and the final feste
on the monarch’s order,28 was officially staged on De-
cember 29 in the presence of the king and his court in
the Salle de la Comédie in the north wing of the Grand
Trianon in Versailles. The play was performed again
on December at the Académie Royale de Musique
in Paris.30 Ayear later an opera in three acts entitled Dia-
ne et Endymion with music composed by Anne Danican
Philidor (–) was published and performed at the
Château de Marly.31
28 Ibidem, p. XIX.
29 Issé, pastorale héroïque en musique (as in note ); [A. H. de La
M], Issé, pastorale héroïque (as in note ); A. de L, Dic-
tionnaire portatif historique, pp. , (as in note ); J. D. R,
e Oxford Guide, vol. , p. (as in note ); R. F, ‘Intro-
duction’, p. XXV (as in note ). e Anecdotes dramatiques, vol.,
p. (as in note ), give amistaken year of the staging, .
30 A. de L, Dictionnaire portatif historique, pp. , (as in
note ); J. D. R, e Oxford Guide, vol. , p. (as in note ).
31 e King ordered livres to be paid to the composer for acopy
of the work. is information can be found on the second page
of the opera script copy that used to belong to the royal library.
5. Franz Ertinger, Apollon changé en Berger, copperplate engraving, Salins les Bains, Bibliothèque
57
Operas based on mythological love stories were highly
popular at the end of the seventeenth century. e excep-
tional position of Issé among other such operas is con-
rmed not only by the fact that it was staged ve times
in , but also that the Sun King – to whom the divine
Apollo obviously referred – appreciated this work. Aer
the performances both at Fontainebleau and at the Tri-
anon, His Majesty deigned to praise the work, saying that
since the death of Jean-Baptiste Lully he had not heard
any piece of music he could enjoy more. He granted
louis d’or to Destouches.32
e opera suited the taste of both Louis XIV and the
entire court. Ahistorical record notes that Françoise Ma-
rie de Bourbon (–) – the Duchesse d’Orléans, an
illegitimate daughter of the king and Marquise de Mon-
tespan, and the wife of Philippe d’Orléans, the monarch’s
nephew and future regent – expressed her delight and
pleasure at watching the opera.33 e composer was con-
gratulated by the courtiers as well, and the work was com-
monly considered amasterpiece.34 It was this piece of art
that gained Destouches his reputation and fortune – he
Bibliothèque nationale de France, Département Musique, RES-,
Diane et Endimion. Pastorale Heroïque, Mise en Musique par le
Fils de Philidor l’aisné ordinaire de la Musique du Roy, 1698, p.:
‘Le roi ordonna de verser 100 liv.[res] à Philidor ľaine pour faire la
copie de cet opéra : le présent exemplaire est cette copie qui entre
dans la bibliothèque royale ainsi que ľatteste ľexlibris posé à la
page 44. Cet exlibris est celui de la Bibl.[iothèque] royale de mu-
sique’. See also Ballets, opéra et autres ouvrages lyriques, p. (as
in note); A. de L, Dictionnaire portatif historique, pp.
and (as in note ); Anecdotes dramatiques, vol. , pp. –
and vol., p. (as in note ) (it is not known why the rst
name of the composer is given as François here); J. D. R, e
Oxford Guide to Classical Mythology, vol. , p. (as in note ).
32 Anecdotes dramatiques, vol. , pp. – (as in note ): ‘S.[a]
M.[ajesté] t donner an Musicien une bourse de deux cents louis,
l’assurant que depuis la mort de Lully elle n’avoit point entendu de
musique qui lui plût davantage’. Ibidem, vol. , p. : ‘Opéra d’Issé,
qui parut, pour la première fois à Trianon, & dont Louis XIV fut si
content, qu’il dit à Destouches, qu’il étoit le seul qui ne lui eût point
fait regretter Lully’. Also the marquis de Dangeau wrote on Oc-
tober in Journal du marquis de Dangeau, pp. and (as
in note ): ‘…le roi et les courtisans conviennent qu’elle est aussi
bonne que celle de Lully et qu’elle n’est point volée’, and on De-
cember he made the following note: ‘…l’opéra d’Issé, dont le roi fut
fort content’ and ‘Le spectacle fut fort beau; il n’y avoit que des gens
de condition; cependant la foule ne laissa pas d’y être fort grande’.
33 Anecdotes dramatiques, vol. , p. (as in note ): ‘Quelques
jours après que la Pastorale d’Issé fut chantée à la Cour, Destouche
alla faire sa cour à Mde. la Duchesse d’Orléans. Elle lui témoigna le
plaisir que son Opéra lui avoit causé’.
34 Ibidem: ‘Quelques Seigneurs qui étoient présens, ne manquerent
pas de lui en faire compliment’. About the great success of the
opera see Ballets, opéra et autres ouvrages lyriques, p. (as in
note); Anecdotes dramatiques, vol. , pp. and – (as in
note).
was appointed the Royal Superintendent and Inspector
General of Académie Royale de Musique with asalary of
louis d’or.35 La Motte’s lyrics received equal recog-
nition with the music by Destouches, being praised for
their exceptional qualities as poetry, and the elegance and
sweetness of expression.36 e libretto was even described
as an unequalled paragon of the pastorale héroïque.37
Undoubtedly, it was this opera that made the so far lit-
tle-known mythological love story between the god and
the nymph recognisable and disseminated it among the
public. It should be stressed that it is the only case when
the story of Apollo and Issa became atheme for an op-
era whose success made this rare topic fashionable. More-
over, in the same year of , a poem by omas Cor-
neille (–) was published in Paris38 and ayear later
in Liège.39 It contained averse chapter about the aair be-
tween Apollo and the nymph along with aprint by Franz
Ertinger (Fig. ) based on Chauveau’s composition.40 It
may be inferred from these facts that Ubeleski’s series of
drawings could have been created at the time of the op-
era’s popularity, that is, in or shortly aer . e possi-
bility is strengthened by the stylistic features of the works
(Figs. and ).41
AN ATTEMPT TO DISCOVER
THE IDEOLOGICAL MEANING
OF THE DRAWINGS
The artist prepared three drawings as sketches for pa-
intings presenting mythological lovers: Apollo and Issa,
Diana as Luna and Endymion, and Bacchus and Ariadne.
The artist’s signature on the reverse of the first of them
may signify its superior role in the series (Fig. ). This
conclusion is supported by the iconography of this work
which stresses both the importance of Apollo in compa-
rison to the other gods depicted in the drawings, and also
by the exceptional renown of the opera Issé.
anks to the opera libretto, the content of Ubeles-
ki’s drawing can be understood more fully (Fig. ). e
35 Ibidem, vol. , p. .
36 Ibidem, vol. , p. : ‘…cette molle élégance, cette douceur d’ex-
pression si essentielle à ce genre’.
37 Ibidem, vol. , pp. –.
38 [T. C], Les metamorphoses d’Ovide, mises en vers fran-
çois, Paris .
39 Idem, Les metamorphoses d’Ovide, mises en vers françois, Liège
.
40 e inscription under the engraving reads: ‘APOLLON CHANGÉ
EN BERGER. FABLE VIII’, see idem, Les metamorphoses d’Ovide,
vol. , p. (as in note ). Corneille’s work was richly illustrat-
ed with engravings modelled on the illustrations from de Bense-
rade’s book.
41 ey were discussed in: B. H, ‘Alexandre Ubeleski’, pp.
– (as in note ); eadem, Le Peintre du Roi, p. (as in
note).
58
composition presents the climax of the heroic idyll, when
Apollo reveals his true divine nature to the nymph. is
is indicated not only by the beams around his head, and
the attributes of the god of the Sun, the bow and lyre, but
above all by acupid pointing to the young man and re-
moving amask from his face. e mask symbolises the
disguise of Apollo as ashepherd and the fact that he has
hidden his divinity.42 It is the cupid – the god of love –
who is holding the mask in his hand, as Apollo deceived
the nymph in the name of love. e connection between
the plot of the opera and the drawing enables us to explain
Apollo’s pose and gestures. He is kneeling in front of the
nymph and bringing her hand closer to his lips. He is ap-
parently going to kiss her in order to ask for her forgive-
ness. It is also away to illustrate the heat of the god’s love
for the nymph who, regardless of who he was, proved to
be faithful. is feature of Issa’s character is twice referred
to in the opera libretto43 and her faithfulness is symbolised
42 On the symbolism of amask, see G. de T, Attributs et
symboles dans l’art profane, 1450–1600, Dictionnaire d’un langage
perdu, Genève, , pp. –.
43 [A. H. de La M], Issé, pastorale héroïque, p. (as in note ):
‘Nymphe trop delle’ and ‘Vous Mortels, accourez, célebrez la Beau-
té / La plus tendre & la plus dele.’
in the drawing by adog sleeping at her feet. e cupid y-
ing over the couple symbolises the love that united Apollo
and his chosen one. e opera’s heroes, who belong to dif-
ferent categories of beings, were united by the power of
love. us the god of love, breaking down all divisions,
takes control over the whole world. e opera ends with
the triumph of love and ajoyful ballet by personications
of the four continents as representatives of the universe.44
Apollo – the god of light and sun, and thus also of
bright day – is depicted in adaytime scene (Fig. ), while
the portrayal of Diana/Luna, the goddess of the night,
is anocturne (Fig. ). In this way, the two compositions
can be treated as allegories of love in the two parts of the
twenty-four hour day.45 Unfortunately, we do not know
how Ubeleski presented the scene of Bacchus consol-
ing Ariadne. In keeping with the iconographic tradition,
44 Ibidem, pp. –.
45 Another example of the allegories of the times of day is as et of gar-
den sculptures at Versailles, where four parts of the twenty-four
hours have been associated with the following goddesses: the
Morning is Aurora, the Noonday is Venus, the Evening is Dia-
na and the Night is Proserpine. Compare: A. M, La Grande
Commande de 1674. Chefs-d’oeuvre sculptés des jardins de Ver-
sailles sous Louis XIV, Versailles, , passim.
6. François Chauveau, La Lune devint éprise du Berger Endymion, l’ayant trouvé endormi sur une Montagne de la Carie,
copperplate engraving, Gent, Universiteitsbibliotheek
59
it would possibly have been lit by the warm glow of the
setting sun;46 it can be assumed that he also depicted it
as an evening scene. is topic is described in mythol-
ogy in the story of Bacchus presenting to his chosen one
agolden crown made by Hephaestus as awedding gi.
is was aer wards transferred into the sky as aconstel-
lation known as the Northern Crown (Corona Borealis).
Comparing this topic with the scenes that included
Apollo, the god of the Sun, and Diana/Luna, the goddess
of the moon, we may wonder whether the series of paint-
ings planned by Ubeleski can be linked with the celestial
bodies: the sun, the moon, and Corona Borealis.47 Can
they be linked with the times of day? Was there afourth
drawing that could have completed the meaning of the se-
ries, i.e. the representation of the patroness of the Morn-
ing Star, that is, Aurora, the goddess of dawn who, at this
particular time of day, seduced the hunter Cephalus?48 At
present these questions remain unanswered.
All three love stories depicted in the drawings pres-
ent the unication of opposites: a god of poetry and
a nymph,49 a goddess of hunting and a shepherd50 (or
hunter),51 and agod of wine and agirl abandoned by e-
seus. ey can be interpreted as an indication that love
depends on neither the time of day nor the rank or posi-
tion of the beings touched by it. Love as asuperior value
46 For example, apainting ascribed to Nicolas Poussin, Bacchus et
Ariane, Madrid, the Prado Museum, dated by Pierre Rosenberg
to the years –: A. M, Poussin, Paris, 1990, p. .
47 e astronomical aspect of Apollo and Issa’s story is conrmed
by acertain event connected with the reception of the opera Issé.
In Anecdotes dramatiques one can read that afew days aer the
staging of the pastoral at Trianon one of the courtiers noticed that
it had been cloudy for the two previous days and there had been
no sunshine. is remark was met with an immediate retort ut-
tered by the Duchesse d’Orléans who said that the sun was with
Issa. Anecdotes dramatiques, vol. , pp. – (as in note ):
’… il y en eut un qui t remarquer que depuis deux jours, le tem[p]
s étoit très-obscur, & que le Soleil n’avoit point paru; sur quoi Ma-
dame répartit dans le moment: c’est qu’il est avec Issé.’ is mes-
sage demonstrates that the sun as aplanet illuminating the earth
was strongly associated with the theme of this opera, whose main
protagonist is Apollo.
48 Cephalus was not the only mortal lover of the goddess of the
dawn. However, due to the early time of day when Cephalus was
seduced, such ascene may be thought most appropriate. It should
be noted that there are two other drawings referring to the love of
Aurora and Cephalus in Ubeleski’s oeuvre. See B. H, ‘Alex-
andre Ubeleski’, p. , gs. , (as in note ); eadem, Le Peintre
du Roi, pp.– (as in note ).
49 Both in the opera and Corneille’s poem, she is mortal because she
ees from abear: [T. C], Les metamorphoses d’Ovide,
vol. , pp. – (as in note ).
50 In the inscription under the engraving, Endymion is referred to
as ashepherd: cf. note .
51 is is indicated by the attributes in Ubeleski’s drawing (Fig. )
and iconographic tradition, see note .
is more precious than splendours and privileges. e rules
of love are obeyed by mortals and powerful gods alike. In
Ubeleski’s drawings it is gods who are kneeling in front
of sitting mortals. In the name of love, the inhabitants of
Olympus, forsaking their own sublimity and majesty, do
not choose lovers equal to their rank but instead com-
mit mythological “mésalliances” with beautiful yet mortal
creatures.52 Maybe this series of drawings, particularly the
one based on the myth of Apollo and Issa, could be read
as an allusion to morganatic marriage of the Sun King and
Madame de Maintenon.
52 Information about the wedding, see P. C, Dictionnaire
abrégé de la fable, p. (as in note ): ‘ISSÉ, une des femmes
d’Apollon, qui se déguisa en berger pourl’épouser’ and see [I. de
B], Metamorphoses d’Ovide en rondeaux, p. (as in
note ): ‘Bachus ayant trouvé Ariane dans un desert, en devient
amoureux, et l’épouse’.
60
SUMMARY
Barbara Hryszko
THE ICONOGRAPHY AND DATING
OF THREE MYTHOLOGICAL DRAWINGS
BY ALEXANDRE UBELESKI
e in-depth analysis of the form and iconography ofthree
drawings by Alexandre Ubeleski(/–) allow
for their grouping, the identication of their subject mat-
ter and potential sources of inspiration, their dating, and
the discovery of their ideological meaning. e draw-
ings are the designs of paintings presenting mythological
lovers: Apollo and Issa(Fig. ), Diana as Luna and En-
dymion(Fig. ), and Bacchus and Ariadne (lost). Most
probably, the artist prepared these scenes using François
Chauveau’s drawings as amodel. ese drawings were de-
signs of prints (Fig. and ) used to illustrating the poem
of Isaac de Benserade entitled Metamorphoses d’Ovide
en rondeaux (). Ubeleski’s drawings are related to
the themes of operas composed in the second half of the
s, including Ariane et Bacchus (), Issé (),
andDiane et Endymion().Isséwas particularly pop-
ular at that time and greatly contributed to popularising
this rare Ovid’s theme. is allows us to put forward the
hypothesis that aseries of Ubeleski’s drawings could have
been created at the same time. All three love stories de-
picted in the drawings present the unication of oppo-
sites: agod ofsunandanymph, agoddess of moon/hunt-
ingandashepherd/hunter, and agod of wine andagirl
abandoned by eseus, and they also depict peculiar
mythological “mésalliances” that link the immortal gods
with beautiful yet mortal creatures. e question remains
open whether the series of paintings planned by Ube-
leski can be linked with the celestial bodies: the sun, the
moon, and Corona Borealis, into which Ariadne’s dia-
dem - awedding gi from Bacchus - was transformed.
e analysis of the drawings treated as aseries oers an
insight into the nature of Ubeleski’s work, and places it in
abroader context of not only the arts but also the litera-
ture and music created within the culture of King Louis
XIV’s court.