DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.61668#0124
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POLLAIUOLO
tortoises on which the pedestal rests, being very roughly
indicated. The face of the Hercules, powerful as it is,
verges on caricature, with its huge nose and flattened
skull. Yet though it would be unfair to compare the
group with the highly finished paintings of the Uffizi,
in concentration of energy it falls short hardly at all
of these.*
The two groups carved on the breastplate of the terra
cotta bust of a Young Warrior, No. 161 of the Museo
Nazionale, (Plate XII.) are worked so elaborately that
they may be considered among this series as in-
dependent reliefs, apart from the bust they decorate.
On one side Hercules slays the Stymphalian bird,
* It is perhaps hardly necessary to refute the attribution to
Antonio of the bronze statuettes, called *‘Marsyas,” exhibited in
the same cabinet as the Hercules, for they have no resemblance
whatever to his style, and seem to be copies from some antique
original. There are four of these figures, each slightly varied.
Two are entered in the Inventory of the Medici possessions, made
by the Grand Duke Ferdinand in 1589, as follows. “ Una figurina
di bronzo moderno detta una paura, alta soldi n posa sur una base
ornata di legname colorita di mistio” . . . “ Una figura di bronzo
antico intera igniuda d’una paura posa sur una basa di bronzo alta
braccia f.” And again in the Inventory of 1684. “ Una statuette
di bronzo alta soldi undici di un giovane che ha intorno alia boccha
una fascia e fa atti con le mani ” . . . “Una figurina tutta di
bronzo che fa atti con le mani e pare che abbia una fascia alia
ooccha e posa sopra una basa lunga pure di bronzo, il tutto alto
fin circha.” Other more detailed descriptions are given in later in-
ventories. The other two statuettes were bought in 1769. (See
Catalogo del R. Museo Nazionale, 1898, p. 386.) Other copies
exist in the Berlin Museum, in the Louvre, and in the Collection of
Mr. Pierpont Morgan. In the so-called Raffaelle Sketch-Book are
studies of the figure drawn from several points of view.
POLLAIUOLO
tortoises on which the pedestal rests, being very roughly
indicated. The face of the Hercules, powerful as it is,
verges on caricature, with its huge nose and flattened
skull. Yet though it would be unfair to compare the
group with the highly finished paintings of the Uffizi,
in concentration of energy it falls short hardly at all
of these.*
The two groups carved on the breastplate of the terra
cotta bust of a Young Warrior, No. 161 of the Museo
Nazionale, (Plate XII.) are worked so elaborately that
they may be considered among this series as in-
dependent reliefs, apart from the bust they decorate.
On one side Hercules slays the Stymphalian bird,
* It is perhaps hardly necessary to refute the attribution to
Antonio of the bronze statuettes, called *‘Marsyas,” exhibited in
the same cabinet as the Hercules, for they have no resemblance
whatever to his style, and seem to be copies from some antique
original. There are four of these figures, each slightly varied.
Two are entered in the Inventory of the Medici possessions, made
by the Grand Duke Ferdinand in 1589, as follows. “ Una figurina
di bronzo moderno detta una paura, alta soldi n posa sur una base
ornata di legname colorita di mistio” . . . “ Una figura di bronzo
antico intera igniuda d’una paura posa sur una basa di bronzo alta
braccia f.” And again in the Inventory of 1684. “ Una statuette
di bronzo alta soldi undici di un giovane che ha intorno alia boccha
una fascia e fa atti con le mani ” . . . “Una figurina tutta di
bronzo che fa atti con le mani e pare che abbia una fascia alia
ooccha e posa sopra una basa lunga pure di bronzo, il tutto alto
fin circha.” Other more detailed descriptions are given in later in-
ventories. The other two statuettes were bought in 1769. (See
Catalogo del R. Museo Nazionale, 1898, p. 386.) Other copies
exist in the Berlin Museum, in the Louvre, and in the Collection of
Mr. Pierpont Morgan. In the so-called Raffaelle Sketch-Book are
studies of the figure drawn from several points of view.