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The Aphrodite of Arles Brunilde S Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Classical and Near Eastern Archaeology Faculty Classical and Near Eastern Archaeology Research and Scholarship 1976 The Aphrodite of Arles Brunilde S. Ridgway Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/arch_pubs Part of the Classical Archaeology and Art History Commons, and the History of Art, Architecture, and Archaeology Commons Custom Citation Ridgway, Brunilde S. 1976. The Aphrodite of Arles. American Journal of Archaeology 80:147-154. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/arch_pubs/11 For more information, please contact [email protected]. The Aphrodite of Aries BRUNILDE SISMONDO RIDGWAY PLATE 23 Despite intensiveand recentstudies on the sub- donated. This extensive search in the area of the ject, our understandingof Hellenisticsculpture re- original discovery seems to confirm that the head mains imperfect.In particular,it is still difficult belongs to the torso with which it was found, de- to identifyworks in a classicizingstyle, which often spite the fact that no true join exists between the are attributedto the Classicalperiod proper.It is fragments. This conclusion is of considerable im- perhapsworth recalling here that the Aphroditeof portance, since all other replicas of the type are Melos, which looks now so obviouslyHellenistic headless; yet this single extant head has inevitably in her rendering,could be considereda fourthcen- affected our stylistic evaluation of the type, since it tury work as late as 1930;and controversyis still greatly resembles the Knidia. rife over such statuesas the StephanosAthlete, the It had been assumed that no major repair work Idolino, and the EsquilineVenus. I have periodi- had been carriedout on the Arles statue at the time cally attemptedto redatesome ancientworks, with of its transfer to Versailles, except for the integra- varyingdegrees of evidenceand of success;I should tion of the composition through the addition of like to make here one more as regards arms and attributes. The sculptor Girar- suggestion Francois the dating of the so-calledAphrodite of Arles.' don, who had been in charge of restoration, as we The type is named aftera marblecopy found in learn from the Royal accounts, was not simply in- 1651 in the area of the Roman theater at Arles. terested in replacing the missing limbs of the muti- This remainsthe most completeof the few replicas lated figure. He was also responsible for settling we possess,and its historydeserves brief attention the question of identification which had been de- becauseof the circumstancesof discoveryand sub- bated since the finding of the work, with public sequentevents." The statuewas found by workmen opinion oscillating between Artemis and Aphro- digging a well for a priest living in the area of dite. By giving the Arles statue a mirror in the left the theater.The head was found first, at a depth hand and an apple in the right, Girardon followed of over six feet, and spurredfurther excavation the royal preference and performed what may be which subsequentlyyielded the torso and the considered a hermeneutic "prosthesis"of long-last- of the The with whatever effect drapedlegs figure. arms, ing (pl. 23, fig. I). attributesthey may have held, were never found, Because of the somewhat polemic nature of his despiterenewed excavation in 1684at the request restorations, Girardon seems to have disregarded of King Louis XIV to whom the statuehad been whatever evidence for the original pose the frag- 1 The concepts expressed in this article were presented, in Michon, "La Venus d'Arles et sa restauration par Girardon," lecture form, at the Third Middle Atlantic Symposium in the MonPiot 21 (1913) 13-45, and Ch. Picard, Manuel d'Archeo- History of Art 1973-1974 in April 1974, and the text of that logie Grecque, vol. 3 part 2 (Paris 1948) 462-88. Michon sum- lecture was released for publication in the second issue of Studies marizes the various opinions and the discrepancy of the early in Art History published by the Graduate School and the Depart- accounts as to the number of fragments in which the Arles ment of Art of the University of Maryland, College Park, Md. statue was found: some say three, others four, and others as The present article aims at developing the argument more many as five. The sculpture was transported from Arles to rigorously and with the help of documentation which would Paris in 1684, and from Paris to Versailles in 1685. The two have been out of place in a lecture. I have also profited greatly works mentioned above are also the most informative about the from discussing my theory with various colleagues and students, vicissitudes of the cast in Arles. I shall henceforth refer to them and I wish in particular to record here my indebtedness to as Michon and Picard respectively. Carlos A. Picon, Haverford '75, whose many helpful sugges- A list of replicas of the Arles type can be found in P. Mon- tions have been incorporated in my text. tuoro, "Una replica dell'Afrodite di Arles, nel Museo Musso- For brevity's sake, in discussing comparative material I shall lini in Campidoglio," BullCom 52-53 (1924-1925) 113-32 (see refer the reader, not to the best, but to the most convenient especially II8-20), and in D. Mustilli, II Museo Mussolini source of illustrations: G. Lippold, Die griechische Plastik, in (Rome 1939), 89 no. II. Of the replicas, the statue once in the W. Otto, Handbuch der Archdologie, vol. 6 part 3:I (Munich Cesi Collection and now in the Louvre has been restored twice 1950), henceforth quoted as Lippold. with different heads, and there is some dispute on whether the 2 My main sources on the history of the discovery are E. one at present on the figure is truly pertinent. 148 BRUNILDE SISMONDO RIDGWAY [AJA 80 mentary statue might have retained. This fact be- dite in the Louvre appears now significantly more came apparent in 1911, when Jules Formig6 made slender and less matronly than the cast. known to the scholarly world a cast of the statue The presence of the struts and the different posi- taken at Arles prior to its removal to Paris and tion of the right shoulder have thrown doubts on subsequently to Versailles. The cast itself had ob- the correctnessof Girardon'srestoration of the gen- viously been integrated with a set of arms and eral pose. In particular,a replica of the type, found perhaps with attributes more appropriate to an in Rome in 1921, has shown that the right arm Artemis. It had also been severely damaged by some (here preserved to the wrist) was held away from garrison soldiers in 1796, and suffered further at the body and bent upward at the elbow, remaining a later unspecified period. It was subsequently re- at considerable distance from the head. This sec- paired and covered with a thick layer of painted ond replica, although the most complete after the stucco, which could not be removed. Among the Arles statue in the Louvre, lacks the left forearm repairs, most noticeable are perhaps the breasts, at the point of emergence from the drapery, and which were given a peculiar hemispherical shape, the head; what remains of the neck suggests, how- and part of the feet and base, which may be respon- ever, that the head might have been more erect sible for the present backward lean of the cast. than in Girardon's restoration.' The treatment of But the value of Formig6's discovery, which at the naked torso is sensitive and conveys a rather the time caused considerable sensation, was to matronly image; the drapery, by contrast, appears prove the extent of Girardon's alterations on the dry and simplified, especially in the folds around Arlesian marble. The cast differs from the statue the left forearm. The carving of the back is thor- in Paris in several respects: the right shoulder is oughly perfunctoryand suggests that the statue was higher, the right leg more prominent, the head less meant for installment in a niche or against a back- inclined. But the most crucial modification was drop. Girardon's removal of two struts still visible on the This replica in Rome still retains a long strut cast: a one over the before the large right hip, just from right biceps to wrist, obviously meant to en- of the a smaller one over the beginning drapery, sure the safety of the raised arm; it shows, how- right shoulder,3 which Girardon utilized to carve ever, no strut on the right hip. The occurrence of the tip of the flowing head ribbon on that side. this support on the Arles statue has been This decorative fillet was not an arbitraryaddition, variously and some scholars have deduced from since the statue preserved the other end of the band interpreted, it the of another a small on the left shoulder; scholarly sources, however, presence figure, perhaps agree in accepting a different function for the origi- Eros playing alongside his mother. None of the nal strut. In eliminating these supports, Girardon other replicas, however, supports this reconstruc- must also have removed a layer of surface from the tion, and it is more probable that even the second entire naked torso, with the result that the Aphro- strut was meant to increase the safety of the right 3 For a photograph of the cast see Michon, fig. 3 on p. 34. bring out the difference in the appearance of the nude parts Some early drawings of the Aries statue before its transfer to after the repairs.
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