Farnese Bull
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The Farnese Bull (Template:Langx), formerly in the Farnese collection in Rome, is a massive Roman elaborated copy of a Hellenistic sculpture. It is the largest single sculpture yet recovered from antiquity. Along with the rest of the Farnese antiquities, it has been since 1826 in the collection of the Museo Archeologico Nazionale Napoli in Naples, inv. no. 6002, though in recent years sometimes displayed at the Museo di Capodimonte across the city. The sculpture in Naples is much restored, and includes around the base a child, a dog, and other animals not apparently in the original composition, which is known from versions in other media.<ref>Smith, 108</ref>
Pliny the Elder mentions what was presumably the prime version of it as the work of the Rhodian artists Apollonius of Tralles and his brother Tauriscus, stating that it was commissioned at the end of the 2nd century BC and carved from just one whole block of marble. It was imported from Rhodes as part of the remarkable collection of artwork and sculpture owned by Asinius Pollio, a Roman politician who lived during the years between the Republic and the Principate.<ref>Pliny the Elder, Natural History, xxxvi.33-34; Smith, 108</ref>
This colossal marble sculptural group represents the myth of Dirce, first wife of Lykos, King of Thebes. She was tied to a wild bull by Amphion and Zethus, the sons of Antiope, who wanted to punish Dirce for the ill-treatment inflicted on their mother.
Rediscovery and reconstructionEdit
The group was unearthed in 1546 during excavations at gymnasium of the Roman Baths of Caracalla, commissioned by Pope Paul III in the hope of finding ancient sculptures to adorn the Palazzo Farnese, the Farnese family's palatial residence in Rome. This sculpture is dated to the Severian period (A.D. 222–235).<ref>Stefano De Caro, The National Archaeological Museum of Naples (Napoli: Electa, 2001), p. 334.</ref>
Unlike the discoveries of the Farnese Hercules and the Latin Hercules from this excavation, which were documented as to their location, the only reference to this grouping is from a 1595 engraving by Etienne du Perac of the ruins of the Baths, showing the end of the east palestra, which states: "...in the time of Paul III many beautiful fragments of statues and animals were found that were all in one piece in antiquity ... and Cardinal Farnese had [it] erected now in his Palazzo."<ref>Rudolpho Lanciani, Forma Urbis Romae, 1893-1901, vol. II, 201, fig. 129.</ref>
The group underwent a substantial restoration in the 16th century, when Michelangelo planned to use it for a fountain to be installed at the centre of a garden between Palazzo Farnese and the Villa Farnesina.<ref>Stefano De Caro, The National Archaeological Museum of Naples (2001), p. 334.</ref> It also could have been adapted for this use soon after it was found, which is supported by descriptions from the Renaissance era.<ref>E. Pozzi, (ed), Il Toro Farnese; "La montagna di marmo" tra Roma e Napoli, 1991, p. 63.</ref> Further restorations were made in the 18th and 19th centuries. In 1883, the original sculpture was noted by Domenico Monaco, curator of the (then) National Museum in Naples, to have been carved from a block of marble measuring Template:Convert;<ref> Template:Cite book</ref> after its restorations, the work's perimeter is approximately Template:Convert on each side and over Template:Convert high. As it is today, the sculpture weighs 21.8 tonnes (24 short tons).<ref name = Haskell1981>
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It has been argued that the sculpture noted by Pliny in his Natural History could not be the Farnese Bull, which is instead a 3rd-century AD Roman version, made specifically for Caracalla's Baths.<ref name = Haskell1981/><ref>Miranda Marvin, "Freestanding Sculpture in the Baths of Caracalla, American Journal of Archaeology, Vol. 87, No. 3, Jul., 1983, p. 380.</ref> Other scholars dispute this, arguing that since the work was originally located in the nearby Horti Asiniani, or Asiniani gardens, which the Pollio family owned, to have commissioned a copy specifically for the Baths would have meant both pieces would have been displayed in very close proximity.<ref>E. La Rocca, "Artisti rodici negli horti romani", CIMA, 1998, p. 203-274.</ref>
It is shown in the 1954 film Journey to Italy along with the Farnese Hercules. Henry Peacham, in The Compleat Gentleman, says that it "out-strippeth all other Statues in the world for greatnesse and workemanship".<ref>Template:Cite book</ref>
- EB1911 Greek Art - Farnese Bull.jpg
The Farnese Bull as it was depicted in the Encyclopædia Britannica (11th ed.), v. 12, 1911, Plate I, between pp. 480 and 481 (or pp. 472 and 473 depending on edition), Fig. 51.
- Farnese Bull MAN Napoli Inv6002 n07.jpg
An oblique front view of the Farnese Bull. Note that lighting greatly affects the appearance of the marble.
- Farnese Bull MAN Napoli Inv6002 n02.jpg
A detail view of the bull's head and the male figure holding it by the horns.
- Toro farnese.JPG
Front view, taken largely in natural light.
- Farnese Bull front.jpg
A front view, taken primarily using artificial light.
- Farnese Bull side.jpg
A side view showing a standing female figure that is obscured when the piece is viewed from the front.
- Farnese Bull back.jpg
A back view, showing further detail in the base, support for one of the male figures, and the standing female figure.
- Berlin plaster cast of Farnese Bull - 1.jpg
Plaster cast of the Farnese Bull in the Gipsformerei, Berlin-Charlottenburg, Germany
NotesEdit
ReferencesEdit
- Smith, R.R.R., Hellenistic Sculpture, a handbook, Thames & Hudson, 1991, Template:ISBN