Differences
Indications that my original could have served as a model for all these works
Portrait Heinrich IV.
Detail from engraving from 1610 by Petrus Firens; pictured is the portrait of Henry IV
Detail from the engraving by Johann Gelle after Georg Geldorp was made around 1600;
also this portrait of Henry IV is very similar to the portrait of my original relief.
The portrait of Henry IV on my original is very accurate compared to two engravings from the period.
On it Henry IV is shown with strong protruding eyes and very full lips, so he is also depicted on my relief.
The two engravings depict Henry IV with a full beard cut short around his mouth.
This is also depicted in my relief, but not in the painting by Baron Francois Gerard and the engraving by Paolo Toschi shortly thereafter.
There, Henry IV will simply depict a full beard.
Detail Copper engraving Paolo Toschi from 1819; The beard of Henry IV is depicted on it as a full beard and not cut short around the mouth, as shown on the copper engravings from the time and on my original relief.
Lisene at the palace
In my original, the Lisene is shown damaged on the right side of the palace.
This is also consistent with the picture content because it is a scene after a war or civil war.
Everywhere warriors are depicted with weapons.
A damaged lisene fits this into the whole picture.
In the painting by Baron Francois Gerard in 1817, it is striking that the Lisene has no signs of damage at the palace on the right.
In the case of a painting, of course, such detail may be lost in the course of restoration work.
The engraving by Paolo Toschi, who reproduced the painting in detail in 1819 - that is, two years after the creation of the painting by Francois Gerard - is also undamaged.
Toschi reproduced only what he saw in the painting by Baron Francois Gerard.
It can therefore be assumed that on the painting by Baron Francois Gerard the lisene on the right side of the palace was never damaged.
On my original, the lisene is damaged at the palace, so has traces of a war or civil war.
Inscription / Signature on the left rock in front
On my original is located in front left below on a rock an inscription / signature which has been crossed out and therefore no longer legible. Presumably the signature on my original was crossed out when the original was made available for duplication. On the painting by Baron Francois Gerard and the engraving by Paolo Toschi, the front left rock is shown only in a small part, so that no surface for an inscription / signature was created. Subsequently, a part of the front lower edge was left centered and Right.
But on the Galvanoplast, which I bought new and on the metal plates, the signature is crossed out.
On my original is located in front left below on a rock an inscription / signature which has been crossed out and therefore no longer legible.
Enlarged excerpt from the engraving by Paolo Toschi, 1819, which completely depicts the painting by Baron Francois Gerard in this respect;
The rock on which the inscription /
signature is located on my original is only partially shown and there is no lettering on it
On my newly purchased Galvanoplast the crossed-out inscription / signature is visible
Even with the galvanized plaque, the crossed-out inscription / signature on the rock front is visible
Illustration of a widow on the front left
The description of the painting by Baron Francois Gerard also describes a widow cheering heroes on the front left.
At the end of the 16th century (at the time of the incident) or at the beginning of the 19th century (when the painting was created by Baron Francois Gerard), a dress with a neckline on the back
was certainly not suitable mourning clothing.
A neckline on the back also allows a conclusion that also on the front of the dress is a large cleavage
Rather, when coloring this detail was overlooked.
The dress of the alleged widow and her hair veil were shown in black.
Paolo Toschi's copperplate engraving also highlighted the "widow's" clothing in the foreground, so it is impossible that a change in the restoration of the painting by Baron Francois Gerard could
have happened.
Enlarged view copper engraving by Paolo Toschi from 1819