Pages in category "Borghese antiquities"
The following 11 pages are in this category, out of 11 total. This list may not reflect recent changes (learn more).
The following 11 pages are in this category, out of 11 total. This list may not reflect recent changes (learn more).
1. Borghese Gladiator – The Borghese Gladiator is a Hellenistic life-size marble sculpture portraying a swordsman, created at Ephesus about 100 BCE. The sculpture is signed on the pedestal by Agasias, son of Dositheus and it is not quite clear whether the Agasias who is mentioned as the father of Heraclides is the same person. Agasias, son of Menophilus may have been a cousin and it was found before 1611, in the present territory of Anzio south of Rome, among the ruins of a seaside palace of Nero on the site of the ancient Antium. From the attitude of the figure it is clear that the statue represents not a gladiator, the sculpture was added to the Borghese collection in Rome. At the Villa Borghese it stood in a room named for it. Camillo Borghese was pressured to sell it to his brother-in-law, Napoleon Bonaparte, in 1807, it was taken to Paris when the Borghese collection was acquired for the Louvre, where it now resides. Misnamed a gladiator due to a restoration, it was among the most admired and copied works of antiquity in the eighteenth century. Other copies can be found at Petworth House and in the Green Court at Knole, originally a copy was also located in Lord Burlingtons garden at Chiswick House and later relocated to the gardens at Chatsworth in Derbyshire. In the United States, a copy of The Gladiator at Montalto was among the furnishings of a gallery of instructive art imagined by Thomas Jefferson for Monticello. The figure in the water in Watson and the Shark by John Singleton Copley is based on the sculptures pose, however, it was an anachronism in such a setting since Leonardo died in 1519, about ninety years before the statue was discovered. The headless statue in Thomas Coles 1836 painting Destruction is based on the Borghese warrior, Louvre catalogue Two copies at the Louvre here and here. Francis Haskell and Nicholas Penny,1981, taste and the Antique, the Lure of Classical Sculpture, 1500-1900 Cat. no. Lestache copy Selected Works on the Louvres web site The Villa Borghese in 1807, anatomie du gladiateur combattant, applicable aux beaux arts. In the US National Library of Medicines Digital Collections
2. Sleeping Hermaphroditus – The Sleeping Hermaphroditus is an ancient marble sculpture depicting Hermaphroditus life size. In 1620, Italian artist Gian Lorenzo Bernini sculpted the mattress upon which the statue now lies, the form is partly derived from ancient portrayals of Venus and other female nudes, and partly from contemporaneous feminised Hellenistic portrayals of Dionysus/Bacchus. It represents a subject that was repeated in Hellenistic times and in ancient Rome. Discovered at Santa Maria della Vittoria, Rome, the Sleeping Hermaphroditus was immediately claimed by Cardinal Scipione Borghese, the Borghese Hermaphroditus was later sold to the occupying French and was moved to The Louvre, where it is on display today. The discovery was made either when the foundations were being dug or when espaliers were being planted. In his new Villa Borghese, a called the Room of the Hermaphrodite was devoted to it. A second-century copy of the Sleeping Hermaphroditus was found in 1781, a third Roman marble variant was discovered in 1880, during building works to make Rome the capital of a newly united Italy. It is now on display at the Museo Palazzo Massimo Alle Terme, additional ancient copies can be found at the Uffizi in Florence, Vatican Museums in Vatican City, and the Hermitage Museum in St Petersburg. Many copies have been produced since the Renaissance, in a variety of media, full size copies were produced for Philip IV of Spain in bronze, ordered by Velázquez and now in the Prado Museum, and for Versailles. The composition has clearly influenced Velázquezs painting of the Rokeby Venus, a reduced-scale bronze copy, made and signed by Giovanni Francesco Susini, is now at the Metropolitan Museum. Another reduced-scale copy, this produced in ivory by François Duquesnoy, was purchased in Rome by John Evelyn in the 1640s. American artist Barry X Ball produced a copy after the Louvres version, made from Belgian black marble on a Carrara marble base. This sculpture is offered at Christies NY for sale,10 May 2016, Sleeping Hermaphroditos | Louvre Museum - Statue information The first copy, Louvre catalogue page Hermaphrodites at the Villa Borghese
3. Ares Borghese – The Ares Borghese is a Roman marble statue of the imperial era. It is identifiable as Ares by the helmet and by the ring given him by his lover Aphrodite. This statue possibly preserves some features of a work in bronze, now lost. The cult and representation of Ares are very rare in the ancient Greek world and it has been thought that this statue may be derived from one by Alcamenes, an Athenian sculptor who, according to Pausanias, made a statue of Ares that was erected on the Athenian agora. However, the temple of Ares to which he refers had only moved from Acharnes and re-sited in the Agora in Augustuss time. Also, statues known to derive from Alcamenes statue show the god in a breastplate, so, in all, this statue may not be a copy of Alcameness, but instead a Roman creation according to a classicising or Neo-Attic type. Formerly part of the Borghese collection, it was purchased from there in 1807 by Napoleon, 3D model of head of Ares Borghese via photogrammetric survey of a plaster cast of the Munich Glyptotheks bust Louvre catalogue Skulpturhalle Basel
4. Borghese Vase – Standing 1.72 metres tall and with a diameter of 1.35 m. The frieze depicts the thiasus, an ecstatic Bacchanalian procession accompanying Dionysus, draped with the skin and playing the aulos. The draped figures are said to be Maenads but are clearly not, Maenads are females who accompany Dionysus. This scene on the vase corresponds to the saying The Gods look after children and drunken men which has passed down orally through many generations. Many copies of the vase do not correctly depict the scene, the vase was rediscovered in a Roman garden that occupied part of the site of the gardens of Sallust in 1566 and acquired by the Borghese family. Napoleon bought it from his brother-in-law Camillo Borghese in 1808, robert also painted it in several other settings, including the gardens of Versailles with Marie Antoinette and Louis XVI. Three pairs were copied for the Bassin de Latone in the gardens of Versailles, alabaster pairs stand in the Great Hall at Houghton Hall, Norfolk, francis Haskell and Nicholas Penny,1981. Taste and the Antique, the Lure of Classical Sculpture 1500-1900 Cat. no.81, Louvre Database entry Wedgwood copy of the Borghese Vase Image of the Borghese vase showing male mortal next to female playing the lyre
5. Diana of Gabii – The Diana of Gabii is a statue of a woman in drapery which probably represents the goddess Artemis and is traditionally attributed to the sculptor Praxiteles. It became part of the Borghese collection and is now conserved in the Louvre with the inventory number Ma 529. The statue was discovered in 1792 by Gavin Hamilton on the property of the Prince Borghese at Gabii, in 1807, suffering from financial difficulties, the Prince was forced to sell the statue to Napoleon and it was on display in the Louvre from 1820. In addition, replicas of reduced size in terracotta or porcelain were manufactured, the statue represents a young woman of more than life size, standing in drapery. The weight of the body rests on the leg, supported by a tree stump. The left foot is back and the heel slightly raised with the toes turned outward. The statue is identified as Artemis, virgin goddess of hunting. She wears what is effectively a short chiton with large sleeves, the chiton is bound by two belts, one is visible around her waist, the other is hidden, allowing a portion of the fabric to be gathered, shortening the chiton and exposing the knees. The movement causes the collar of the chiton to fall, leaving the left shoulder exposed, the head is turned slightly to the right, but the goddess is not really focussed on what she is doing. Instead she looks out into space, as is common for statues of the Second classicism and her flowing hair is pulled back by a band tied above her neck. This hair is gathered in a bun held by a ribbon which is not visible. According to Pausanias, Praxiteles created the statue of Artemis of Brauron for the Athenian Acropolis, temple inventories dating from 347/6 BC mention among other things, a dedicated statue, described as representing the goddess in a chitoniskos. It is also known that the cult practiced for Artemis Brauronia included the consecration of garments offered by girls, Praxiteles statue has long been connected with the Diana of Gabii, the goddess apparently in the act of putting on the gift of her followers. Furthermore the head resembles that of the Aphrodite of Cnidus and the Apollo Sauroctonos which are attributed to Praxiteles. However, the identification has been questioned on several grounds, firstly, the inventories discovered at Athens have been proven to be copies of those from the sanctuary at Brauron - it is not certain the cult in Athens also involved the dedication of cloaks. In addition, the chiton is anachronistic for the fourth century BC. Finally, a recent hypothesis connects Praxiteles statue of Artemis Brauronia with a head in the Museum of the Ancient Agora. Aileen Ajootian, « Praxiteles », Personal Styles in Greek Sculpture, Cambridge University Press,1998, francis Haskell & Nicholas Penny, Taste and the Antique
6. Furietti Centaurs – The Furietti Centaurs are a pair of Hellenistic or Roman grey-black marble sculptures of centaurs based on Hellenistic models. One is a mature, bearded centaur, with an expression. The amorini are missing that once rode the backs of these centaurs, the strongly contrasted moods were intended to remind the Roman viewer of the soul troubled in pain with love or uplifted in joy, themes of Platos Phaedrus and Hellenistic poetry. Furietti was eventually created cardinal priest, by Pope Clement XIII in the consistory of 24 September 1759. After the cardinals death, his heirs sold the centaurs and the Furietti mosaic of four drinking doves for 14,000 scudi, and they have been in the Capitoline Museum ever since. Where the sculptures were produced is not sure either, whether in Aphrodisias, or whether the artists, to judge by the stylistic date these Hadrianic copies will date to the late 1st or early 2nd century AD. Another copy of the type as the Old Centaur, this time in white marble, was excavated in Rome in the 17th century. It entered the Borghese collection, but was acquired from Camillo Filippo Ludovico Borghese by Napoleon in 1807 and is now in the Louvre Museum. The pair were popular in the 18th century, as illustrations of centaurs that posed them as civilized patrons of hospitality and learning, like Chiron, rather than bestial half-animals. With their erotes, they were emblems of the joy of young love, media related to Young and Old Centaurs at Wikimedia Commons Louvre catalogue entry
7. Apollo Sauroctonos – Apollo Sauroktonos is the title of several 1st - 2nd century AD Roman marble copies of an original by the ancient Greek sculptor Praxiteles. The statues depict a nude adolescent male about to catch a lizard climbing up a tree, copies are included in the collections of the Louvre Museum, the Vatican Museums, and the National Museums Liverpool. The bronze original of this sculpture is attributed by Pliny to the Athenian sculptor Praxiteles and is dated to c. 350-340 BC. Martial wrote an epigram about the statue, Spare, treacherous child and it is eager to perish by your hands. The Cleveland Museum of Art claims to own an original of this work. The work is currently being analyzed to verify this claim by scholars, greece has raised questions about ownership and title. Small-scale decorative reproductions were made in the Roman era, the theme of Apollo and the lizard is also found on Roman mosaics. The Louvre version is 1.49 metres high, as Inventaire MR78, and the arm, the right hand. Formerly in the Borghese collection, it was bought by Napoleon in 1807
8. Antinous Mondragone – The Antinous Mondragone is a unique colossal 0.95 m high marble example of the iconographic type of the deified Antinous, of c.130 AD. It formed part of a colossal cult statue for the worship of Antinous as a god. 31 holes in 3 different sizes have been drilled for the attachment of a head-dress in metal and it is said to have been found at Frascati between 1713 and 1729 - it was certainly displayed as part of the Borghese collection at their Villa Mondragone there. This was since, though Roman in date, it echoed the 5th century BC Greek style which Winckelmann preferred over Roman art, in 1807 it was bought with a large part of the Borghese collections for Napoleon. Louvre database entry Photo repertory of Antinous types, for comparison Vout, Antinous, Face of the Antique, p. 80-81
9. Borghese Venus – Borghese Venus, 2nd century CE Roman marble copy of the Aphrodite of Cnidus. Once in the Borghese collection, it now resides in the Louvre Museum thanks to its purchase by Napoleon, the accompanying Cupid and dolphin are both classical attributes of Venus but are probably the addition of the Roman copyist. Its accession number is MR369
10. Gladiator Mosaic – The Gladiator Mosaic is a famous mosaic of gladiators, dated to the first half of the 4th century. It was discovered in 1834 on the Borghese estate at Torrenova and it was one of the antiquities which reinvigorated the Borghese collection after it had shrunk following the sale of much of the collection to Napoleon I. The name of each gladiator depicted is given in inscription next to the figure, the inscription is listed as CIL VI10206. A total of 33 names was on the mosaic, some of them now illegible