DOI Kapitel:
Apollon
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.62400#0149
Il più grande rislauro presenta questa
statua semi-colossale di porfido pro-
venientedalla collezione Farnese.Essa fu
rinvenuta dalle campagne di Roma,con
gli altri monumenti in istato di complotta
mutilazione. Nel masso porfireo non ve-
deansi che pieghe, ed appunto dalla veste
del genere talare che la ricopra, da princi-
pio fu considerato un simulacro mulie-
bre, ma lo scultore d’Albaccini, che di
suo è la testa, la mani, i piedi, la cetra,
il lauro, creduto riconoscere in questa
statua Apollo, ed avere colta la divina-
zione, e al suo associossi il parere degli
altri; ristorazione piena di gusto e di ta-
lento.
La tunica a lunghe maniche è stretta
da una fascia, il grandioso manto che ca-
de di dietro, e giunge in sulle cosce in
bel concerto di pieghe; la grande diffi-
coltà per l’antico artista di lavorare una
figura semi-colossale, ch’è quanto dire
su d’un blocco di durissimo porfido, ed
in fine la profondità che seppe dare alli
panneggiamenti, indurono a dire che la
pietra dura si cangiò in argilla nelle ma-
ni dello scultore.
Gli antichi non avendo riguardo a
spese , a tempo , a travaglio, trattandosi
di superare ogni difficoltà nelle arti,
convien credere, che ciò non poco con-
ribuisse al felice andamento del colossale
lavoro; ed in fatti nell’Apollo vegonsi
superati tutti gli ostacoli.
spelimi.
I
Gel te statue demi-colossale en porphy-
re, se trouvait dans la galerie Farnese.
Elle fut déterrée aux environs de Rome,
avec plusieurs autres monuments, dans
un état complet de mutilation. Cette
masse de porphyre n’offrait que les plis
d’une robe longue et traînante, de celles
que les anciens appelaient Talaris (qui
va jusqu’aux talons) , et ces plis, d’une
grande richesse de sculpture, semblaient
indiquer que le personnage était une
femme. Mais le sculpteur Albaccini crut
reconnaître dans ce magnifique débris
du temps les restes d’une statue d’Apol-
lon, et suivant cette hypothèse, qui du
reste n’a pas rencontré de contradicteurs,
il rétablit en marbre blanc la tête, les
mains, les pieds, la lyre, la couronne de
laurier, tels qu’on les voit aujourd’hui.
Restauration pleine de goût et de talent,
qui s’harmonie parfaitement avec le tra-
vail ancien.
La tunique serrée à la ceinture par
une bandelette, a de longues manches.
Un superbe manteau tombe de l’épaule
droite et vient s’étaler sur les cuisses, en
offrant une ingénieuse disposition des
plis. Quel ne dut pas être le travail de
l’artiste en sculptant ce porphyre, en
donnant tant de profondeur aux drape-
ries! ne dirait-on pas que cette pierre si
dure s’est changée en argile sous sa
main? C’est ce travail à la fois patient et
habile, joint au prix de la matière, qui
place cette statue en dehors de toutes
celles que l’on connaît dans ce genre.
Les anciens n’avaient égard ni à la
dépense ni au temps, ni au travail, lors-
qu’il s’agissait de surmonter les grandes
difficultés qui se rencontraient dans la
pratique des arts. C’est à cette constance
qu’ils doivent d’être arrivés au plus haut
degré de perfection, et cette statue en
est une preuve convaincante.
This semi-colossal statue in porphyry,
belonged to theFarnesian gallery. It was
disenterred in theenvirons of Rome with
several other monuments,in a state of mu-
tilation, all that remained of this mass of
porphyry were the folds of a long robe
such as was called by the ancients Talaris
(descending to the feet) and these folds
richly sculptured seemed to indicate, that
they formed the garment of a woman,
but the sculptor Albaccini is of opinion
that these magnificent fragments respec-
ted by time were the remains of a statue of
Apollo and in this hypothesis which was
not contested , he restord in white mar-
ble the head, hands, feet the lyre and
the crown of laurel, such as we see them
in the engraving. In this restoration
which corresponds perfectly with thean-
cient work, Albaccini has displayed
great judgement taste , and talent.
The tunic confined round the waist by
a band, has long sleeves, a splendid
cloak falls from the right shoulder and
covers a part of the thighs with its ample
and admirably distributed folds, what
pains must not the artist have taken, in
sculpturing this porphyry? In the deep
incisures of the draperies, in so hard a
substance? In contemplating this mas-
terpiece one might suppose that, stone
had been transformed to argile under the
strokes of his chisel. The patience and
labour manifested in this execution, and
the value of the materials, places this
statue apart from all others of the kind
yet known.
The ancients spared neither lime la-
bour nor expense when their end was
that of surmounting the immense diffi-
culties which accompanied the study and
practice of the arts. To this constancy
they owed the talent, by which they
acquired perfection, and this perseve-
rance is incontestibly proved in the
execution of the sta tue here produced.
87
statua semi-colossale di porfido pro-
venientedalla collezione Farnese.Essa fu
rinvenuta dalle campagne di Roma,con
gli altri monumenti in istato di complotta
mutilazione. Nel masso porfireo non ve-
deansi che pieghe, ed appunto dalla veste
del genere talare che la ricopra, da princi-
pio fu considerato un simulacro mulie-
bre, ma lo scultore d’Albaccini, che di
suo è la testa, la mani, i piedi, la cetra,
il lauro, creduto riconoscere in questa
statua Apollo, ed avere colta la divina-
zione, e al suo associossi il parere degli
altri; ristorazione piena di gusto e di ta-
lento.
La tunica a lunghe maniche è stretta
da una fascia, il grandioso manto che ca-
de di dietro, e giunge in sulle cosce in
bel concerto di pieghe; la grande diffi-
coltà per l’antico artista di lavorare una
figura semi-colossale, ch’è quanto dire
su d’un blocco di durissimo porfido, ed
in fine la profondità che seppe dare alli
panneggiamenti, indurono a dire che la
pietra dura si cangiò in argilla nelle ma-
ni dello scultore.
Gli antichi non avendo riguardo a
spese , a tempo , a travaglio, trattandosi
di superare ogni difficoltà nelle arti,
convien credere, che ciò non poco con-
ribuisse al felice andamento del colossale
lavoro; ed in fatti nell’Apollo vegonsi
superati tutti gli ostacoli.
spelimi.
I
Gel te statue demi-colossale en porphy-
re, se trouvait dans la galerie Farnese.
Elle fut déterrée aux environs de Rome,
avec plusieurs autres monuments, dans
un état complet de mutilation. Cette
masse de porphyre n’offrait que les plis
d’une robe longue et traînante, de celles
que les anciens appelaient Talaris (qui
va jusqu’aux talons) , et ces plis, d’une
grande richesse de sculpture, semblaient
indiquer que le personnage était une
femme. Mais le sculpteur Albaccini crut
reconnaître dans ce magnifique débris
du temps les restes d’une statue d’Apol-
lon, et suivant cette hypothèse, qui du
reste n’a pas rencontré de contradicteurs,
il rétablit en marbre blanc la tête, les
mains, les pieds, la lyre, la couronne de
laurier, tels qu’on les voit aujourd’hui.
Restauration pleine de goût et de talent,
qui s’harmonie parfaitement avec le tra-
vail ancien.
La tunique serrée à la ceinture par
une bandelette, a de longues manches.
Un superbe manteau tombe de l’épaule
droite et vient s’étaler sur les cuisses, en
offrant une ingénieuse disposition des
plis. Quel ne dut pas être le travail de
l’artiste en sculptant ce porphyre, en
donnant tant de profondeur aux drape-
ries! ne dirait-on pas que cette pierre si
dure s’est changée en argile sous sa
main? C’est ce travail à la fois patient et
habile, joint au prix de la matière, qui
place cette statue en dehors de toutes
celles que l’on connaît dans ce genre.
Les anciens n’avaient égard ni à la
dépense ni au temps, ni au travail, lors-
qu’il s’agissait de surmonter les grandes
difficultés qui se rencontraient dans la
pratique des arts. C’est à cette constance
qu’ils doivent d’être arrivés au plus haut
degré de perfection, et cette statue en
est une preuve convaincante.
This semi-colossal statue in porphyry,
belonged to theFarnesian gallery. It was
disenterred in theenvirons of Rome with
several other monuments,in a state of mu-
tilation, all that remained of this mass of
porphyry were the folds of a long robe
such as was called by the ancients Talaris
(descending to the feet) and these folds
richly sculptured seemed to indicate, that
they formed the garment of a woman,
but the sculptor Albaccini is of opinion
that these magnificent fragments respec-
ted by time were the remains of a statue of
Apollo and in this hypothesis which was
not contested , he restord in white mar-
ble the head, hands, feet the lyre and
the crown of laurel, such as we see them
in the engraving. In this restoration
which corresponds perfectly with thean-
cient work, Albaccini has displayed
great judgement taste , and talent.
The tunic confined round the waist by
a band, has long sleeves, a splendid
cloak falls from the right shoulder and
covers a part of the thighs with its ample
and admirably distributed folds, what
pains must not the artist have taken, in
sculpturing this porphyry? In the deep
incisures of the draperies, in so hard a
substance? In contemplating this mas-
terpiece one might suppose that, stone
had been transformed to argile under the
strokes of his chisel. The patience and
labour manifested in this execution, and
the value of the materials, places this
statue apart from all others of the kind
yet known.
The ancients spared neither lime la-
bour nor expense when their end was
that of surmounting the immense diffi-
culties which accompanied the study and
practice of the arts. To this constancy
they owed the talent, by which they
acquired perfection, and this perseve-
rance is incontestibly proved in the
execution of the sta tue here produced.
87