Hercules (head and torso)

Attributed to Giambologna (Douai, 1529-Florence, 1608)

Florence, before 1581

Marble

55 cm in height

Depicted here is the torso of a naked man, who is standing with his head falling forward onto his chest, with the stump of the right arm raised, while the left is kept close to the body. The figure is leaning to the left as if applying force or striking something with the right arm. The weight of the piece is therefore falling to that side (the left) with a slight tilting movement that can be clearly appreciated on the back, with the curved portrayal of the spine. The eyes are devoid of irises and are shallowly etched; the forehead has only two wrinkles, while the mouth is straight and slightly open. The hair is curled into tight locks, the tips of the moustache point downwards and the beard consists of short ringlets. The model is muscular, with a very broad neck and thick arms and legs, as befits the depiction of a classical mythological hero. Seen as a whole, the figure presents a number of perspectives.

The piece has been executed with consummate mastery and freshness in the sculpting of the marble, with a detailed treatment of the hair and beard, although the surface reveals some of the wear caused by the passage of time and by the fact it has been exposed to the elements. The musculature is gently modelled, albeit with pronounced forms.

Although there are no signs to indicate that it bore a club behind its back as in other models, it is undoubtedly a depiction of Hercules, whose defining trait was the physical strength he used to undertake the labours that made him famous. The subject was extremely popular, which means that since Antiquity it has been portrayed in all kinds of media, including frescoes, pottery, stone coffins, and sculptures large and small, reaching its apogee during the Renaissance, when several stone coffins, or sarcophagi, on public display both in Rome and in Florence and Pisa provided a source of inspiration and instruction for artists. The subject was chosen for the series of medallions struck by Pier Jacopo Alari Bonacolsi, called “l’Antico”, a bronzesmith who plied his trade in Mantua in the court of the Gonzaga and, in due course, by now in the time of the Medici, for the series of monumental marbles commissioned to Vincenzo di Rossi for the ornament of the Great Hall in Florence’s Palazzo Vecchio.

Giambologna

According to his first biographer, Raffaello Borghini, Giambologna began sculpting marble miniatures to showcase his artistic skill, not only in such materials as clay and wax, but also in more refined and more durable media.

“After making much progress thereby, he began to be recognized by other artists as a man of great prowess -though they said that he was only good at modelling in clay and wax. So Giambologna wanted to show that he was also able to prove his talent in marble and begged Vecchietti to let him have the marble to make something. Having got hold of a block he carved from it in no time at all an exceedingly beautiful Venus. Next he was introduced by Vecchietti into the service of Signor Don Francesco Medici, he was then only Prince, and began to draw a salary”1

The writer was referring to a marble Venus that Giambologna presented as a gift to his patron, and owner of the “Il Riposo” villa, Bernardo Vecchietti. In turn, according to the same source, he carved another statue in marble, Galatea, measuring 2.5 braccia (146 cm), which his patron sent to Germany (both pieces are now lost).

After entering a model in the 1560 competitive tender for the Fountain of Neptune in the Piazza della Signoria (which he did not win because of his youth, although according to the chroniclers of the time it was the best), Giambologna created a small alabaster relief, the Allegory of Prince Francesco de’ Medici (Prado Museum)2, (Fig. 1) which served both to introduce him to the court, and shortly afterwards, in 1562, to receive his first commission for a monumental group, Samson and a Philistine, in

1 Borghini, 1584, p. 586, (the original text is in Italian). The English translation is by Avery, 1987, p. 250. 2 Coppel, 1998, no. 3 marble, to be mounted on a fountain in the gardens of one of the villas belonging to the Duke and Duchess of Tuscany, the Casino at San Marco.3 (Fig. 2) Shortly afterwards, he received the commission that would finally establish him as a sculptor, the Fountain of Neptune, in bronze, located in the main square in Bologna. In addition to the huge statue of the god of the sea, the fountain in question also included four putti supporting dolphins on the plinth, four Nereids, and numerous ornaments of imaginary foliage.4 Over the course of those years, he also sculpted other pieces in marble, a putto for the Ospedale degli Innocenti (Hospital of the Innocents), which is now to be found in Douai, at the Musée de la Chartreuse, and the portrayal of Architecture (Florence, Bargello National Museum).

In 1566, Giambologna relocated to the workshop in the Palazzo Vecchio, designed by Vasari, where he would remain for twenty years; with the reason for the move being to sculpt the marble statue of Florence Triumphant over Pisa (which he had previously executed in plaster), to be installed in the great hall, facing Michelangelo’s Victory. At around that time, he was extremely busy as a decorator of gardens, casting a series of bronze animals for the grotto at Castello, another of the villas belonging to the Medici,5 which would culminate with the great marble statue on the Fountain of the Ocean (1567-76) for the Boboli Gardens at the Pitti Palace, for which he also made the bronze statue of the so-called Venus of the Grotticella.6 (Fig. 3)

In August 1569, according to documents in the State Archives of Florence, several blocks of marble were delivered to the sculptor’s workshop:

“per fare una statua per Gabolognia iscultore per il salone del palazzo ducale”. / Nel 1572 Gio. Bologna lavorava la Firenze per il palazzo Pitti (sic) e Gio. Cioli fece il basamento”.7

3 It was sent to Spain in 1601, as a courtly gift for the Duke of Lerma, who displayed it in his palace in Valladolid. Years later, in 1623, it was presented to the Prince of Wales, and it is now to be found in London’s Victoria and Albert Museum. Avery, 1987, no. 3. 4 Dhanens, 1956, p. 330; Avery, 1987, no. 31. 5 Among them, all life size, the following are kept at the Bargello National Museum: Dove; Turkey; Thrush; Falcon; Eagle; Owl; Peacock. Exh. Cat. Giambologna, 2006, pp. 249-252, no. 50. 6 During his visit to Florence in 1572, Sir Joshua Reynolds saw the models, considering them to be “admirable”; later on, when he viewed the sources, he affirmed that these models were better than the original pieces by Michelangelo. Published by Avery, 1987, p. 248, note 2. 7 Keutner, 1968, note 9 on p. 307. What’s more, Giambologna remained in touch with his patron, Bernardo Vecchietti, for whom, in 1571, he drafted the design for a grotto in the garden at his villa, decorated with a fountain crowned by a marble sculpture, Fata Morgana.8 (Fig. 4) That same year, Vecchietti had travelled to Rome to acquire antiques for the Medici collection,9 an undertaking that may have influenced the trip that Giambologna himself later made with Vasari, and which the sculptor put to good use by drawing some of the city’s most famous statues.10 It was after that trip, by then in the 1570s, when Giambologna devoted himself with even greater ardour to the crafting of sculptures under the influence of Michelangelo and the statuary of Antiquity. There is a surviving sketchbook, known as the “Taccuino di Cambridge”, which contains some of the drawings made there, which are essential to an understanding of his early career.11

When Cosimo I died in 1574 and Francesco was named Duke of Tuscany, Giambologna continued to work for the latter – in 1571 he had cast a statue of Apollo, one of the eight bronzes he used to decorate his “Studiolo”,12 and in 1576 he was commissioned to produce a series on the Labours of Hercules to be cast in silver. This signalled the beginning of a period in which his bronze miniatures were highly sought after by the most renowned collectors, both at home in Italy and abroad, as has been well documented.

There is a surviving text of key importance that clearly describes the sculptor’s activity at that time. It is a letter dated 27 October 1581, written by Simone Fortuna to Francesco Maria II della Rovere, Duke of Urbino. In it, Simone Fortuna, the Duke’s artistic agent, informed the later who yearned to own marble figures of Adam and Eve, measuring one braccio (58.5 cm) by the great master-13 that Giambologna refused to

8 Sold by the heirs to Thomas Patch, it arrived in England in 1775, for the Count of Hopetoun. It is now in a private collection. Bury, 1990. 9 Jestaz, 1963, p. 462, no. 77. 10 Letter dated 25 January 1572, written by Vasari to Francesco de Medici, describing the journey: “Per la bocha di Maestro Giovan Bolognia intenderà che già ò fatto molti disegni per Nostro Signore di tavole et dellas vittoria de ‘ Turchi, che tutti gliò mostro, et menatolo a’piedi di Sua Santità., et detto che è creatura di Vostra Altezza, et che tiene il principato degli scultori. Lui a gia in pochi dì formato et ritratto mezzo Roma, che farà alle opere che a da fare gran proffito, et sono stati questi giorni bene spesi per lui: ill quale sen torna volentieri per servirla, et io rimango qua far quelle faccende (fatiche) che vorrà Nostro Signore, che si preparono assai…”, Dhanens, 1956, p. 341. 11 Held in Trinity College Library, Cambridge, (MS R 17, 3) published by Dhanens, 1963. 12 Exh. Cat. Giambologna, 2006, no. 30. 13 “Ho anco Desiderio di far fare due statuette di marmo per un mio studio cioè un’ Adone et una Venere, d’un braccia l’una; et perciò desiderarei che come da voi ne faceste parola con Gio. Bologna per scoprire da lui, se le farebbe et à che prezzo, ma non bisogneria palesargli che tal diligenza si facesse ad accept the commission with the excuse that he could not ask for any assistance on such small assignments, and he was busily engaged with a host of other tasks, not only for the Grand Duke and the Grand Duchess (who paid him a monthly stipend of 50 escudos), but with their approval he was also working on the Salviati Chapel in the convent of San Marco; the group of three figures (The Rape of the Sabines in marble) for the Logia dei Lanzi (which would accompany the statue of Judith by Donatello); the statue of Cosimo I; and a bronze version of Trajan’s horse, as large even as the one in the Piazza del Campidoglio, which would be placed facing Michelangelo’s huge statue of David. In view of all this, the sculptor offered to cast the statuettes of Adam and Eve in bronze, as in that case, once he had personally fashioned the models in wax or clay, he would immediately have the moulds made in plaster, with the casting and finishing performed by silversmiths. In order to convince the Duke to accept, Simone Fortuna told him that the sculptor had just completed the twelve Labours of Hercules, measuring half a braccio high, which had been very well received.

“…for whom [the Grand Duke] he most recently made a series of the twelve Labours of Hercules, half a braccio high (29 cm): they are so stupendous that everyone agrees that nothing finer could be imagined and neither Michelangelo nor Apelles would have known how to do anything as good”14.

Iconography

The marble statue that is the subject of this study is inspired by an ancient torso, possibly one from the Della Valle Collection drawn by Giambologna in the Taccuino di Cambridge.15 (Fig. 5) Nevertheless, albeit incomplete, the male figure follows the model that is depicted in one of the groups he created for the series of the Labours of Hercules.16 Specifically, the second labour, Hercules Slaying the Hydra, which had nine

instanza mia. Piacciavi di attastarlo in quel miglior modo che a voi parrà et darmi poi aviso del ritratto che ne farete che mi sara carissimo”. 22 October 1581, Pesaro, published by Dhanens, 1956, pp. 344-5. 14 ”…per la quale (Francesco I) ultimamente ha fatto le XII forze d’Hercole, di grandezza di mezzo braccio così stupendamente, che ogni uno dice non potersi veder cosa più bella, né più rara e che Michelangelo né Apelle avrebbero saputo far tanto”. Gaye, vol. III, 1840, pp. 440-444; Dhanens, 1956, p. 345; Avery, 1987, pp. 251-252. 15 Dhanens, 1963, fig. 30, no. 52v. 16 Radcliffe, 1978; Fock, 1983; Coppel 2013. heads, one of which was immortal –as whenever it was severed two new ones appeared in its place- and brought terror to the people of Lerna.17

There is also a clear link between the marble torso and a group attributed to Michelangelo, Samson and Two Philistines. Although best known through the stucco model housed at the Casa Buonarroti in Florence,18 there are several bronze versions, one of which is in the Bargello National Museum, and there is another in Berlin.19 (Fig. 6) The view generally held is that Giambologna had used this group as a source of inspiration for the monumental statue Samson and a Philistine. Specifically, a drawing by Federico Zuccaro, dated in 1575,20 (Fig. 7) portrays the sculptor holding the sketch of a small sculpture in his hand. Up until now, it has been believed to be the study of Samson from the aforementioned monumental group, but because the head is tilted downward and not toward the left shoulder it is, in our opinion, closer to the model of the marble Torso introduced here and to the Hercules Slaying the Hydra of Lerna. A surviving piece from this group is a wax model, measuring 35.5 cm in height, dating from sometime after 1576 (Florence, Museo di Palazzo Vecchio).21 (Fig. 8) Also surviving to this day are several bronze versions of the group, with one, measuring 41 cm in height, is to be found in Dublin at the National Gallery of Ireland.22 (Fig. 9)

17 Hall, 1974, pp. 148-150. 18 Schmidt, 1996, p. 99, fig. 27. 19 Ibid, pp. 79 and ss. Figs. 23-26; Exh. Cat. Giambologna, 2006, p. 28, fig. 9. 20 Edinburgh, National Gallery of Scotland. Heikamp, 1967; Exh. Cat. Giambologna, 2006, p. 47, fig. 3 21 Krahn, 2006, pp. 58-59, fig. 17; Exh. Cat. Giambologna, 2006, no. 14 (entry by S. Pini). 22Ibid, nº 15 (entry by T. Mozzati). Other versions in the Michael Hall Collection (Avery, 1999, pp. 86-88, 41 cm); Prague National Gallery; former William Salomon Collection, New York; Cramer Gallery in the Hague; Les Bronzes de la Couronne (Louvre, 1999, p. 81, nº 34); Marquis Carlo Gerini Collection, Florence (Borroni Salvadori 1974, p. 90).

Giambologna and marble sculptures before 1581

As deduced from the correspondence between Simone Fortuna and the Duke of Urbino, the marble statuettes were in great demand and were no strangers to the sculptor’s oeuvre. The reasons he gave for not accepting the commission for the figures of Adam and Eve provide a major insight into his wholly idiosyncratic approach to his trade. Giambologna admitted that not being able to call upon the collaboration of his assistants would mean that these small pieces would give him a lot of work and that he could not spare the time at that precise moment because he was stretched to the limit. However, faced with the proposal of casting them in bronze, a material with which the sculptor could have made swifter progress, the Duke expressed his disagreement and insisted on commissioning them in marble. He eventually had his way when, after ruling out Giambologna’s assistant Pietro Francavilla, he hired Giovanni Bandini, who entered his employment at the court.

Therefore, if as the famous letter suggests, Giambologna refused to make small marble statues in 1581, it is because he had already had some experience of making them, probably for private collectors.

The figure presented here appears to have been designed as a fragment, that is, depicting just the head and torso, and it has the right dimensions to be considered a statuette almost “one braccio” (58.5 cm). There is a chance that the marble Torso of Hercules predates the models of the series Labours of Hercules and it was made in fragmented form, without arms or legs, like the one that appears in the drawing in the Della Valle Collection. We know that before the monumental group of Samson and a Philistine (London, Victoria and Albert Museum), Giambologna had produced a Venus and a Galatea for Bernardo Vecchietti; these were followed by a putto for the Ospedale degli Innocenti (Musée de la Chartreuse, Douai) and the Architecture (Bargello National Museum). Yet the pieces with the greatest affinity to the style of the Torso of Hercules are those executed between 1571 and 1574, namely, Fata Morgana and the Venus of the Grotticella. This corresponds to the time when Giambologna had embarked upon another major project in marble, the Fountain of the Ocean, for the Boboli Gardens at the Palazzo Pitti.

The type of marble, the posture, the gentle yet pronounced modelling, the rounded shoulders, the manner of depicting the eyes, without irises and with clearly defined eyelids, the straight nose and mouth, the hair in tiny dense ringlets on Fata Morgana, are very similar to those on the Torso of Hercules. These same features are apparent on the Venus of the Grotticella, made to decorate the so-called Large Grotto in the Boboli Gardens, or on the Venus (Bathsheba) in the J. Paul Getty Museum, Los Angeles.23

The statue of Fata Morgana (private collection) measures 99.5 cm in height, and was made between 1571 and 1574. The Venus of the Grotticella, measuring 131 cm and dating from the same period, has a very similar style. Yet furthermore, the same likeness can be seen in other marble pieces from Giambologna’s early career. These are Samson and a Philistine; Florence Triumphant over Pisa; Putto and Architecture. On all of them, the artist experiments with the twisting of the model’s posture, managing to conjure up an almost photographic impression, capturing a specific moment in time.

On the other hand, the manner in which the back of the figure is sculpted, with a curved, depressed backbone and round and fleshy buttocks, is a feature of all Giambologna’s male models, both in marble and in bronze. Samson, Ocean, Hercules with the Club, Mars, and even one of his earliest pieces, the alabaster relief of the Allegory of Francesco de’ Medici in which the figure of Saturn is devouring one of his offspring on the left of the scene, already reveal these hallmarks. (Fig. 10)

From 1581 onwards, Giambologna produced other major works in marble, of a monumental size, in collaboration with his assistant Pietro Francavilla (Cambrai, 1548- Paris, 1615). These would comprise what is undoubtedly considered to be his most famous output, the Rape of the Sabines, made between 1581 and 1582, and placed in the Loggia dei Lanzi; the equestrian statue of Cosimo I, for the Piazza della Signoria; the ornament for the Salviati Chapel in the church at the convent of San Marco in Florence, with the statues of Saint Dominic, Saint Edward, Saint John the Baptist, Saint Phillip, Saint Anthony Abbot, and Saint Thomas Aquinas; the equestrian monument to Ferdinand I in the Piazza della Santissima Annunziata, and Hercules Slaying the

23 Avery, 1983; Fogelman, Fusco and Cambareri, 2002, pp. 84-96, no. 12. Centaur Nessus, which was to be his last piece of this kind, and was not completed until 1600. All these pieces reveal the mastery he ultimately achieved, above all in his most original aspect, the creation of the figura serpentinata (serpentine figure). Nevertheless, given the large size of the figures, some of which were meant to be seen from a great distance or from below, the facial features and attributes are worked with greater detail than on the small statues. The eyes are drilled holes, the eyebrows are thick, the hair is tousled and the mouth is open to reveal the teeth. These are the differences in style that can be noted between the body of large and small sculptures and the sculptor’s early and mature periods.

Conclusion

In view of all the above, it may be affirmed that the model of the Torso of Hercules derives directly from the one created by Giambologna for one of the waxes for the series Labours of Hercules, specifically Hercules Slaying the Hydra, of which there is a surviving wax at the Palazzo Vecchio in Florence, and several small bronzes. Nevertheless, the marble statue is different to them in several ways, which means it might be earlier and dated between the end of 1571, the occasion of his trip to Rome, and 1576, the date when the wax model was made.

The differences are as follows: firstly, the head on the marble torso leans less toward the left; secondly, the face differs from the prototype Giambologna used, and which is reiterated on many of his male figures, not only those of Hercules, but also the ones of Mars, among others. It is slightly broader, and the features are reminiscent of those on the dwarf Morgante, who he portrayed on several occasions, with one of these being dated as early as 1570 (Morgante Blowing a Cornetto, London, Victoria and Albert Museum) (Fig. 11) Finally, despite the considerable physical effort he is making, the hero’s expression is devoid of any dramatic effect. This idealisation of the model is closer to the classical ideal of beauty with which Giambologna initiated his professional career.

Rosario Coppel January 2014 Literature

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Figures

-Fig. 1. Giambologna, Allegory of Prince Francesco de’ Medici, alabaster, 31 x 45.8 x 5 cm, 1560-1561, Madrid, The Prado Museum.

-Fig. 2. Giambologna, Samson and a Philistine, marble, 210 cm, 1561-1562, London, Victoria and Albert Museum.

-Fig. 3. Giambologna, Venus de la Groticella, marble, 131 cm, c. 1570, Florence, Boboli Gardens, Grotto of Buontalenti, Pitti Palace.

-Fig. 4. Giambologna, Fata Morgana, marble, 99.5 cm, 1571-1574, Private Collection.

-Fig. 5. Attributed to Giambologna, Torso from Della Valle Collection, drawing, Rome, Taccuino di Cambridge, Trinity College of Cambridge.

-Fig. 6. After a model by Michelangelo, Samson y and two Philistines, bronze, c. 1550- 1560? Berlin, The Bode Museum.

-Fig. 7. Federico Zuccaro, sketch for a Portrait of Giambologna holding a model, drawing, 26 x 19 cm, 1575, Edinburgh, National Gallery of Scotland.

-Fig. 8. Giambologna, Hercules Slaying the Hydra of Lerna, wax, 35.5 cm, after 1576, Florence, Museo di Palazzo Vecchio.

-Fig. 9. Giambologna, Hercules Slaying the Hydra of Lerna, bronze, 41 cm, Dublin, National Gallery of Ireland.

-Fig. 10. Giambologna, Saturn (detail), Allegory of Prince Francesco de’ Medici, alabaster, 31 x 45.8 x 5 cm, 1560-1561, Madrid, Prado Museum.

-Fig. 11. Morgante blowing a cornetto, bronze, 13 cm, c. 1570? London,Victoria and Albert Museum.