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The Resurrection

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The Resurrection after 1550

Not on display

Typically for Franco, many of the figures in this lively drawing were adapted from well known works by other masters that he admired. The soldier in the foreground that points to the risen Christ was derived from one of the figures in the fresco of the Battle of Milvian Bridge, which was executed by Raphael’s workshop in the Vatican. Franco’s figure of Christ shows his awareness of Francesco Salviati’s Resurrection fresco in Santa Maria dell’Anima (Rome), which was unveiled in 1550. Franco’s design must, therefore, date from after then. This spirited drawing was subsequently reproduced by Franco as a print that he etched himself. All the prints that Franco made using etching alone date to his last years in Venice.

Glossary Open


A form of printmaking in which a metal plate is covered with a substance called a 'ground', usually wax, into which an image is drawn with a needle. Acid is applied, eroding the areas of the plate exposed but not the areas covered by wax. The action of the acid creates lines in the metal plate that hold the ink from which a print is made when the plate is pressed against paper under pressure.


A wall painting applied to fresh, wet plaster so that the coloured pigment is absorbed into the surface of the wall.


Specifically used for a group of artists or craftsmen working collaboratively, usually under the direction of a master, up to the mid-17th century. The phrase 'Workshop of…' is used to describe the origin of an artwork when the master artist had no hand in its creation.

Etching, Fresco, Workshop


  • Acc. No. D 634
  • Medium Pen and brown ink on paper
  • Size 21.40 x 14.60 cm
  • Credit David Laing Bequest to the Royal Scottish Academy transferred 1910