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Le cento statue più belle -- dall'A alla Z
"INDICE DI NOMI"
I have tried to pay particular attention to a fact which my research has shown me to be surprisingly elusive: the variations in nomenclature.
People have frequently referred to the same statues under a WIDE diversity of names.
The "Papirio", a group in the "MUSEO NAZIONALE ROMANO" has been called:
"PAPIRIO and his mother"
"IPPOLITO e FEDRA"
"La Pace dei Greci"
"ORESTE ED ELETTRA"
"MARC'AURELIO e LUCIO VERO".
Cfr.
Eco, "Il nome della rosa".
The naming of statues is a difficult matter,
it isn't just one of your holiday game
you may think at first I'm as mad as a hatter
when I tell you a statue may have NINE different names.
Philosophical point:
"We saw "Cleopatra" in the Vatican" -- knowing that she does not represent "Cleopatra". Grice on Names and Definite Descriptions.
"We saw "Cleopatra" in the Vatican" -- knowing that she does not represent "Cleopatra". Grice on Names and Definite Descriptions.
----
1. "AGRIPPINA", statua, Campidoglio. Aldo listed as "Poppea", "Sabina".
2. ALESSANDRO, testa, Uffizi, Firenze. Qua 'testa' only, it shouldn't really count as "most beautiful". We ascribe 'most beautiful' to a whole body, rather.
3. AMORE E PSICHE, sculptoric group, Campidoglio. The idea that a 'group' is 'beautiful' is somewhat controversial!
4. ANTINOO, Belvedere.
5. ANTINOO, Campidoglio.
6. ANTINOO, rilievo, Villa Albani, Torlonia. -- The idea of a 'rilievo' being 'beautiful' is understandable, but I don't think 'primary' in the Graeco-roman view of things?
7. APOLLINO, Tribuna, Uffizi.
9. APOLLO saurottono, oggi: Louvre.
10. ARISTIDE, Napoli.
11. ARROTINO, Tribuna, Firenze. Not 'heroic' (keyword: heroic nudity).
13. BALBO padre/figlio, cavallo, Napoli.
15. CAMILLO, palazzo dei Conservatori. Not in 'heroic nudity'.
16. CARACALLA, testa, Napoli. Again, a testa is beautiful if the body is beautiful.
17. CASTORE E POLLUCE, Piazza del Quirinale. A group is beautiful iff each member of it is beautiful.
18. CASTORE E POLLUCE, oggi, Prado, Madrid. Again: a group (not just symplegma) is beautiful if each body is beautiful.
19. CAVALLI di San Marco, Venezia. The realm of non-human beauty is still a different _animal_, no?
20. CENTAURI di Furietti, Campidoglio. Again, being a 'centaur' (and a group, on top) diverges from the canon of individual _human_ (male/female) beauty.
21. CENTAURO con Amore, oggi: Louvre. Again: a centaur, while a 'male' is not human.
22. CERES Mattei, galleria dei candelabri, Vaticano.
23. CINCINNATO, oggi: Louvre. Interesting iconography. Of course, archeologists don't really care if this is "Cincinatto" and a few art historians just care for the posture, too.
24. CLEOPATRA, galleria delle statue, Vaticano -- so-called of course. The whole question of "naming" this or that statue is quite a lovely sport.
25. COMMODO come Ercole, galleria Chiaramonti, Vaticano.
26. CURTIO MARZIO, rilievo, Villa Borghese. A rilievo is 'beautiful' in a different 'use' than a statue "a tutto tondo" is beautiful.
27. Metaphorically, the province of "DACIA", Palazzo dei Conservatori.
28. DANZANTI borghesiani, oggi: Louvre. Vide the point about a 'rilievo' being 'beautiful'.
29. DIANA d’Efeso, ora: Louvre.
30. DIANA di Gabii, ora Louvre
31. ERCOLE bronzeo del foro Boario, Palazzo dei Conservatori.
32. ETTORE, discobolo di Nettuno, Villa Borghese, oggi: Louvre.
33. ERCOLE farnesino, Napoli -- 'statua di uomo muscoloso' as a flickr caption read.
34. ERCOLE scoppia ANTEO, palazzo Pitt, Firenze. Again, a group is beautiful if each body is beautiful. In this case, being a 'symplegma', it is difficult to judge.
35. ERCOLE, torso, Vaticano. Some people say it's mainly the _face_ that is beautiful.
36. ERMAFRODITO sul mattarazzo di BERNINI, ora: Louvre. KEYWORD: not male nude, not female nude. Cfr. Clark, "The Nude".
37. FAUNO Barberini, oggi Monaco, glittoteca. A fauno is not a human, but some authors think that what makes this a faun are 'later additions'.
38. FAUNO con crotali, Tribuna, Firenze.
39. FAUNO danzante, Napoli.
40. FAUNO-satiro in riposo, di Lanuvio. Campidoglio. Hawthorne was obsessed with this.
41. FAUNO con capretto da Santa Maria in Vollicella, Parione, oggi: Prado,
Madrid.
42. FAUNO con flauto traverso, oggi: Louvre.
43. FAUNO in rosso antico, Campidoglio.
48. IDOLINO di Pesaro, palazzo della Crocetta, Firenze.
49. LAOCOONTE e il suo figlio (older son is later addition), cortile del
Belvedere, Vaticano. A group is beautiful if the figures are beautiful. The older son is described by a critic, rightly, as a "little man" (wrong proportions).
50. LEONE che attacca cavallo, giardino del palazzo nuovo,.Campidoglio. Not a human, and thus a different canon of 'beauty'. Plus, a group: so it's the question of what makes this horse beautiful, and what makes this lion beautiful.
51. LEONI Medici, loggia dei lanzi, Firenze. Again, a group, and not human, on top.
53. LOTTATORI, Tribuna, Uffizi. A symplegma (a noble one, not a pornographic one) -- the group is beautiful if each body is beautiful. Cfr. Plato on 'beautiful' form.
54. LUPA, Conservatori. Not human. The babies are later addition.
55. MARC’AURELIO sul cavallo, Campidoglio. A group: a beautiful horse, a beautiful male. Not heroic nudity. And oversize.
56. MARC’AURELIO, rilievi, Campidoglio. A rilievo is beautiful in a different way from a body. Plus, this is a GROUP of rilievi.
57. MARFORIO, Campidoglio.
58. MARSIA, Uffizi, Firenze.
59. MARTE in riposo, detto Ludovisi, palazzo Altemps, Roma.
62. MERCURIO, Uffizi
63. MERCURIO in riposo, Napoli
64. MINERVA Giustiniana, braccio nuovo, Vaticano
65. NARCISO, Napoli
66. NILO, braccio nuovo, Vaticano.
67. NIOBE e NIOBIDI, Uffizi, Firenze. A BIG group. A group is beautiful if each body in the group is beautiful.
68. NINFA Latona, ora: Louvre.
69. MIRMILLONE morente della Villa Ludovisi, Campidoglio.
70. PAETO ed ARRIA, Palazzo Altemps, Roma. A group is beautiful if both figures are beautiful.
71. PALLADE di Velletri, oggi, Louvre.
72. PAN ed Apollo, palazzo Massimo, Roma. Symplegma. A group is beautiful if the figures are beautiful. Haskell/Penny note that a lot of reproductions of this group came out as just the "Apollo" sans the Pan.
73. PAPIRIO, gruppo, Palazzo Massimo. A group is beautiful if each body is beautiful. The female figure was often misinterpreted as male. Roman authors preferred to view this as an event in Roman history, rather than Greek, too.
74. PASQUINO, e PATROCLO e Menelao, pazza Navona, Roma, loggia dei lanzi,
palazzo Pitti, Firenze. It's a face that is beautiful, some say. A group is beautiful is each body is beautiful.
75. POMPEI,palazzo Spada, Roma.
76. PORCELLINO di CALEDONIA, Uffizi. Non-human canon of beauty.
77. SATIRI della Valle, Campidoglio. A group is beautiful if each body is beautiful.
78. SCHIAVI farnesini, Napoli. Non-heroic.
79. SENECA, ora Louvre
83. VASO borghesiano, Louvre. An abstract form like a 'vaso' is beautiful in a different way from a 'body'.
84. VASO de' Medici, Uffizi. It's the rilievo that is beautiful, as rilievi can be.
86. VENERE, Campidoglio.
87. VENERE celeste, Uffizi, Firenze.
88. VENERE de’ Medici, Tribuna, Uffizi.
89. VENERE di Milo, oggi, Louvre.
90. VENERE felice, Belvedere, Vaticano.
91. VENERE nella cochiglia, nel bagno, Uffizi, Firenze
92. VENERE pudica, Vaticano.
93. VENERE vincitrice, Uffizi, Firenze
94. VITTORIA ALATA di Samotracia, oggi Louvre.
96.
2. ALESSANDRO, testa, Uffizi, Firenze. Qua 'testa' only, it shouldn't really count as "most beautiful". We ascribe 'most beautiful' to a whole body, rather.
3. AMORE E PSICHE, sculptoric group, Campidoglio. The idea that a 'group' is 'beautiful' is somewhat controversial!
4. ANTINOO, Belvedere.
5. ANTINOO, Campidoglio.
6. ANTINOO, rilievo, Villa Albani, Torlonia. -- The idea of a 'rilievo' being 'beautiful' is understandable, but I don't think 'primary' in the Graeco-roman view of things?
7. APOLLINO, Tribuna, Uffizi.
8. APOLLO pizio, Belvedere. This is held to be the "most beautiful". The
point about scale is an interesting one. I would think, alla a few theorists of
sculpture in the Renaissance that 'over-sized' statues are a no-no when it comes
to canons of beauty.
9. APOLLO saurottono, oggi: Louvre.
10. ARISTIDE, Napoli.
11. ARROTINO, Tribuna, Firenze. Not 'heroic' (keyword: heroic nudity).
12. AUGUSTO o Germanico nudo, il giocatore di morra, oggi: Louvre.
13. BALBO padre/figlio, cavallo, Napoli.
14. BRUTO, testa, palazzo dei Conservatori. Again, we assume that a 'testa'
is beautiful if it belongs to a beautiful body.
15. CAMILLO, palazzo dei Conservatori. Not in 'heroic nudity'.
16. CARACALLA, testa, Napoli. Again, a testa is beautiful if the body is beautiful.
17. CASTORE E POLLUCE, Piazza del Quirinale. A group is beautiful iff each member of it is beautiful.
18. CASTORE E POLLUCE, oggi, Prado, Madrid. Again: a group (not just symplegma) is beautiful if each body is beautiful.
19. CAVALLI di San Marco, Venezia. The realm of non-human beauty is still a different _animal_, no?
20. CENTAURI di Furietti, Campidoglio. Again, being a 'centaur' (and a group, on top) diverges from the canon of individual _human_ (male/female) beauty.
21. CENTAURO con Amore, oggi: Louvre. Again: a centaur, while a 'male' is not human.
22. CERES Mattei, galleria dei candelabri, Vaticano.
23. CINCINNATO, oggi: Louvre. Interesting iconography. Of course, archeologists don't really care if this is "Cincinatto" and a few art historians just care for the posture, too.
24. CLEOPATRA, galleria delle statue, Vaticano -- so-called of course. The whole question of "naming" this or that statue is quite a lovely sport.
25. COMMODO come Ercole, galleria Chiaramonti, Vaticano.
26. CURTIO MARZIO, rilievo, Villa Borghese. A rilievo is 'beautiful' in a different 'use' than a statue "a tutto tondo" is beautiful.
27. Metaphorically, the province of "DACIA", Palazzo dei Conservatori.
28. DANZANTI borghesiani, oggi: Louvre. Vide the point about a 'rilievo' being 'beautiful'.
29. DIANA d’Efeso, ora: Louvre.
30. DIANA di Gabii, ora Louvre
31. ERCOLE bronzeo del foro Boario, Palazzo dei Conservatori.
32. ETTORE, discobolo di Nettuno, Villa Borghese, oggi: Louvre.
33. ERCOLE farnesino, Napoli -- 'statua di uomo muscoloso' as a flickr caption read.
34. ERCOLE scoppia ANTEO, palazzo Pitt, Firenze. Again, a group is beautiful if each body is beautiful. In this case, being a 'symplegma', it is difficult to judge.
35. ERCOLE, torso, Vaticano. Some people say it's mainly the _face_ that is beautiful.
36. ERMAFRODITO sul mattarazzo di BERNINI, ora: Louvre. KEYWORD: not male nude, not female nude. Cfr. Clark, "The Nude".
37. FAUNO Barberini, oggi Monaco, glittoteca. A fauno is not a human, but some authors think that what makes this a faun are 'later additions'.
38. FAUNO con crotali, Tribuna, Firenze.
39. FAUNO danzante, Napoli.
40. FAUNO-satiro in riposo, di Lanuvio. Campidoglio. Hawthorne was obsessed with this.
41. FAUNO con capretto da Santa Maria in Vollicella, Parione, oggi: Prado,
Madrid.
42. FAUNO con flauto traverso, oggi: Louvre.
43. FAUNO in rosso antico, Campidoglio.
44. FLORA, Campidoglio.
45. FLORA Farnessina, Napoli.
46. GIACINTO discobolo Lancellotti, Villa alla Palombara, Palazzo Massimo,
Roma. Haskell/Penny write that there is this tendncy to think that each statue must represent a specific individual. Call me an Occamist (anti-Platonic) but I agree. So, I go with wiki in that this is GIACINTO (Smith).
Roma. Haskell/Penny write that there is this tendncy to think that each statue must represent a specific individual. Call me an Occamist (anti-Platonic) but I agree. So, I go with wiki in that this is GIACINTO (Smith).
47. GIUNO di Cesi, Campidoglio.
48. IDOLINO di Pesaro, palazzo della Crocetta, Firenze.
49. LAOCOONTE e il suo figlio (older son is later addition), cortile del
Belvedere, Vaticano. A group is beautiful if the figures are beautiful. The older son is described by a critic, rightly, as a "little man" (wrong proportions).
50. LEONE che attacca cavallo, giardino del palazzo nuovo,.Campidoglio. Not a human, and thus a different canon of 'beauty'. Plus, a group: so it's the question of what makes this horse beautiful, and what makes this lion beautiful.
51. LEONI Medici, loggia dei lanzi, Firenze. Again, a group, and not human, on top.
52. LIVIA Mattei, braccio nuovo, Vaticano
53. LOTTATORI, Tribuna, Uffizi. A symplegma (a noble one, not a pornographic one) -- the group is beautiful if each body is beautiful. Cfr. Plato on 'beautiful' form.
54. LUPA, Conservatori. Not human. The babies are later addition.
55. MARC’AURELIO sul cavallo, Campidoglio. A group: a beautiful horse, a beautiful male. Not heroic nudity. And oversize.
56. MARC’AURELIO, rilievi, Campidoglio. A rilievo is beautiful in a different way from a body. Plus, this is a GROUP of rilievi.
57. MARFORIO, Campidoglio.
58. MARSIA, Uffizi, Firenze.
59. MARTE in riposo, detto Ludovisi, palazzo Altemps, Roma.
60. MARZIO NUDO DELLA SPINA, Palazzo dei Conservatori. Not a _heroic_ nude,
alas.
61. MELEAGRO, Vaticano
62. MERCURIO, Uffizi
63. MERCURIO in riposo, Napoli
64. MINERVA Giustiniana, braccio nuovo, Vaticano
65. NARCISO, Napoli
66. NILO, braccio nuovo, Vaticano.
67. NIOBE e NIOBIDI, Uffizi, Firenze. A BIG group. A group is beautiful if each body in the group is beautiful.
68. NINFA Latona, ora: Louvre.
69. MIRMILLONE morente della Villa Ludovisi, Campidoglio.
70. PAETO ed ARRIA, Palazzo Altemps, Roma. A group is beautiful if both figures are beautiful.
71. PALLADE di Velletri, oggi, Louvre.
72. PAN ed Apollo, palazzo Massimo, Roma. Symplegma. A group is beautiful if the figures are beautiful. Haskell/Penny note that a lot of reproductions of this group came out as just the "Apollo" sans the Pan.
73. PAPIRIO, gruppo, Palazzo Massimo. A group is beautiful if each body is beautiful. The female figure was often misinterpreted as male. Roman authors preferred to view this as an event in Roman history, rather than Greek, too.
74. PASQUINO, e PATROCLO e Menelao, pazza Navona, Roma, loggia dei lanzi,
palazzo Pitti, Firenze. It's a face that is beautiful, some say. A group is beautiful is each body is beautiful.
75. POMPEI,palazzo Spada, Roma.
76. PORCELLINO di CALEDONIA, Uffizi. Non-human canon of beauty.
77. SATIRI della Valle, Campidoglio. A group is beautiful if each body is beautiful.
78. SCHIAVI farnesini, Napoli. Non-heroic.
79. SENECA, ora Louvre
80. SILENO e Bacco, oggi: Louvre.
81. TEVERE, oggi: Louvre.
82. TORO FARNESINO, Napoli. A group. A group is beautiful if each body
(excluding perhaps the bull) is beautiful.
83. VASO borghesiano, Louvre. An abstract form like a 'vaso' is beautiful in a different way from a 'body'.
84. VASO de' Medici, Uffizi. It's the rilievo that is beautiful, as rilievi can be.
85. VENERE callipigia, Napoli.
86. VENERE, Campidoglio.
87. VENERE celeste, Uffizi, Firenze.
88. VENERE de’ Medici, Tribuna, Uffizi.
89. VENERE di Milo, oggi, Louvre.
90. VENERE felice, Belvedere, Vaticano.
91. VENERE nella cochiglia, nel bagno, Uffizi, Firenze
92. VENERE pudica, Vaticano.
93. VENERE vincitrice, Uffizi, Firenze
94. VITTORIA ALATA di Samotracia, oggi Louvre.
95. ZINGARA, oggi Louvre
96.
97.
98.
99.
100.
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