Abstract

This essay presents a detailed study of eight well-known School of Fontainebleau prints, Justice and the Seven Deadly Sins, etched by Leon Davent after the Franco-Italian artist Luca Penni. Some of Penni's borrowings from earlier graphic works are analyzed, in particular Sebastian Brant's Ship of Fools, a key source of inspiration. The prints are situated in the religious, social, and economic context of mid-sixteenth-century France, and the gender and ideological content of what may well be Penni's artistic testament is scrutinized. The series is interpreted as actively sustaining the creation of the early modern state.

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