Ancient Sculpture Gallery

Boy with Thorn Hellenistic bronze sculpture statue

Made of 100% pure bronze (lost wax)

Finish: hand pantinated finish

Dimensions: 23.5" x 30" (60 x 76cm)

Item No. BE421

Museo Archeologico, Naples

Period: Hellenistic Age (4th-1st century B.C.)

$2,890.00

€2,099.30

£1,738.34



Boy with Thorn Hellenistic bronze sculpture statue
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Details

Boy with Thorn, also called Fedele (Fedelino) or Spinario, is a Greco-Roman Hellenistic Bronze sculpture of a boy withdrawing a thorn from the sole of his foot, now in the Palazzo dei Conservatori, Rome. A Roman marble of this subject from the Medici collections is in a corridor of the Uffizi Gallery, Florence. The sculpture was one of the very few Roman bronzes that was never lost to sight. It was standing outside the Lateran Palace when the Navarrese rabbi Benjamin of Tudela saw it in the 1160s and identified it as Absalom, who "was without blemish from the sole of his foot to the crown of his head.", It must have been one of the sculptures transferred to the Palazzo dei Conservatori by Pope Sixtus IV in the 1470s, though it is not recorded there until 1499-1500. It was celebrated in the Early Renaissance, one of the first Roman sculptures to be copied: there are bronze reductions by Severo da Ravenna and Jacopo Buonaccolsi, called "L'Antico" for his refined classicizing figures: he made a copy for Isabella d'Este about 1501 and followed it with a pendant that perhaps reversed the pose. For a fountain of 1500 in Messina, Antonello Gagini made a full-size variant, probably the bronze that is now in the Metropolitan Museum of Art, New York. In the sixteenth century, bronze copies made suitably magnificent ambassadorial gifts to the King of France and the King of Spain. For Francis I of France, the gift came from Ippolito II d'Este; his copy was overseen by Giovanni Fancelli and Jacopo Sansovino, and the transaction effected by the courtly Benvenuto Cellini. For Philip II of Spain, the copy was the gift of Cardinal Giovanni Ricci. In the following century Charles I of England had a bronze Spinario by Hubert Le Sueur (Haskell and Penny 1981: 308). Small bronze reductions were suitable for the less grand. A Still Life with 'Spinario' by Pieter Claesz, 1628, is conserved at the Rijksmuseum; among the riches emblemmatic of the good life, it displays a small plaster model of the Spinario. There were also marble copies. The Medici Roman marble seems to have been among the collection of antiquities assembled in the gardens at San Marco, Florence, which were the resort of the humanists in the circle of Lorenzo il Magnifico, who opened his collection to young artists to study from. The young Michelangelo profited from this early exposure to antique sculpture, and it has been discussed whether Masaccio was influenced by the Medici Spinario or by the bronze he saw in Rome in the 1420s, but Filippo Brunelleschi more certainly adapted the Spinario's pose for the left-hand attendant in the bronze competition panel, The Sacrifice of Isaac 1401, his trial piece for the doors of the Baptistery of San Giovanni. The formerly popular title Il Fedele ("The faithful boy") derived from an anecdote invented to give this intimate and naturalistic study a more heroic civic setting: the faithful messenger, a mere shepherd boy, had delivered his message to the Roman Senate first, only then stopping to remove a painful thorn from his foot: the Roman Senate commemorated the event. Such a story was already deflated in Paolo Alessandro Maffei's Raccolta di statue antiche e moderni... of 1704. Recent scholarship, taking into account Hellenistic marble variants that have been discovered, of which the best is the Thorn-Puller from the Castellani collection, now in the British Museum, none of which have the archaizing qualities of the bronze Spinario, has tended to credit this as a Roman bronze of the first century CE, with a head adapted from an archaic prototype.

Specification

Made of bronze (lost wax). "Lost Wax" bronze (or hot-cast bronze) is actually 100% pure Bronze - essentially copper and tin. The most known and used process for making "lost wax" involves pouring of molten bronze. This is the same method used by the ancient civilizations to create bronze sculptures. The making of a "lost wax" bronze is a complex and time consuming process, and specific technical expertise is needed to accomplish the task of making a bronze.

For more details please visit our "Bronze Fountains and Sculptures FAQ"

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Shipping

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Return Policy

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