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拍品专文
Jupiter's left hand - which would have held a thunderbolt - is raised and his right hand would previously have held an orb or eaglet. The pose is based on an ancient Jupiter type, known in a number of examples in bronze. The figure’s outstretched left arm and covering drapery is surely inspired by that of the ancient marble Apollo Belvedere, installed in the Cortile del Belvedere in Rome in 1503. The elaborately crinkled drapery of the Apollo must have given rise to Jupiter’s mantle here. This is a particularly distinctive feature of the present bronze, in which the artist has made use of the tensile strength of the medium, pushing the folds out into space, a feat that would have been difficult - if not impossible - in marble.
The present bronze is known in one other cast, which was formerly in the Castiglione collection and is now in Budapest. The Budapest cast is virtually identical but appears to be slightly less refined in the details. The model has previously been called a general, emperor or Roman orator in the past, but was correctly identified as Jupiter by Eszlary and Koronknay in 1978 (loc. cit.).
Camins speculated whether the artist of the present bronze may have seen a preliminary model of Cellini’s now lost colossal figure of Jupiter in silver of 1541-1545, however the stylistic differences between the present bronze and Cellini’s work make this connection appear unlikely. In his autobiography, Cellini noted that the right arm of his Jupiter was raised, which is the opposite of the present model. It is perhaps more likely that the artist was versed in the classicizing works of Andrea Riccio (1470-1532; Bacchi and Giacomelli, loc. cit.). The heavy cast of the bronze, with traces of dark lacquer, suggests a north Italian facture of the early sixteenth century.
The present bronze is known in one other cast, which was formerly in the Castiglione collection and is now in Budapest. The Budapest cast is virtually identical but appears to be slightly less refined in the details. The model has previously been called a general, emperor or Roman orator in the past, but was correctly identified as Jupiter by Eszlary and Koronknay in 1978 (loc. cit.).
Camins speculated whether the artist of the present bronze may have seen a preliminary model of Cellini’s now lost colossal figure of Jupiter in silver of 1541-1545, however the stylistic differences between the present bronze and Cellini’s work make this connection appear unlikely. In his autobiography, Cellini noted that the right arm of his Jupiter was raised, which is the opposite of the present model. It is perhaps more likely that the artist was versed in the classicizing works of Andrea Riccio (1470-1532; Bacchi and Giacomelli, loc. cit.). The heavy cast of the bronze, with traces of dark lacquer, suggests a north Italian facture of the early sixteenth century.