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recognised it as a statue "of the first class" and much admired the head, "undoubtedly one of the most beautiful heads of a young man from
Antiquity", even though he criticised the working of its feet, stomach and legs In Winckelmann's time the statue's identification as Antinous had already been
115:
At 1.95 m (6 ft 5 in) tall, the statue shows a nude young man with a chlamys on his shoulder and left forearm. It is a variant of the Andros type; the Andros example has the chlamys and a serpent twined round the tree-support, with the tree and serpent allowing its definite
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in 1543, when a thousand ducats were paid to "Nicolaus de Palis for a very beautiful marble statue... which His
Holiness has sent to be placed in the Belvedere garden". The most likely site for its discovery is in a garden near
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studied the sculpture during his stay in Rome in the early 17th century and praised its beauty and proportions. The statue likely inspired him for the figure of Christ in the central panel of
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type. Today the sculpture is considered (in the most recent Helbig) to be a
Hadrianic copy (early second century AD) of a bronze by
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in his 1818 catalogue of the
Vatican museum. J. J. Pollitt, "Masters and masterworks", in O. Palagia and J. J. Pollitt,
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Daniela Gallo, notes to the
Pochothèque edition (Livre de Poche, 2005) of Johann Joachim Winckelmann's
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Jerome J. Pollitt, "Introduction: masters and masterworks", in O. Palagia and J. J. Pollitt (Ă©d.),
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79:, thrown over the left shoulder and wrapped round the left forearm, and the relaxed
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Proportions of the human body measured from the most beautiful statues of antiquity
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and casts can also be found in art academies such as those of Milan and Berlin.
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Führer durch die öffentlichen
Sammlungen der klassistischer AltertĂĽmer in Rom
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Führer durch die öffentlicher
Sammlungen klassischer AltertĂĽmer in Rom
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Taste and the
Antique: the Lure of Classical Sculpture 1500-1900
258:, II), but the identification as Hermes was not proposed before
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235:, in his catalogue of the Museo Pio-Clementino (1818–1822).
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included it in his collection of engravings representing the
314:, University of Wisconsin Press, 1997, p. 337 ;
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Brummer 1970:212, quoted in
Haskell and Penny 1981:141.
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disproved, and the statue was interpreted instead as a
294:, MNA 218, it is now conserved in the museum on
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340:The Castel Sant'Angelo had been built as Hadrian's
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La
Sculpture grecque II : la période classique
478:
466:(Yale University Press), cat. no. 4, pp 141–43.
443:, Cambridge University Press, 1999, p. 8.
392:Renaissance Quarterly 75, no. 3 (2022): 917–67
158:in the seventeenth century. A bronze copy by
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462:Haskell, Francis, and Nicholas Penny, 1981.
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47:, named from its prominent placement in the
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39:is an ancient Roman sculpture, part of the
187:Christ's First Apparition to the Disciples
146:The statue was immediately famous, as the
63:Its idealized face is not in fact that of
457:The Statue Court in the Vatican Belvedere
312:Fourth-Century Styles in Greek Sculpture
292:National Archaeological Museum of Athens
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51:. It is now inventory number 907 in the
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390:Pilgrim, James. "Rubens's Skepticism."
189:(central panel of the Rockox Triptych)
507:Archaeological discoveries in Italy
473:, (Tübingen) 4th ed., I, pp 190–91.
441:Personal Styles in Greek Sculptures
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298:under inventory number MA 245.
120:; it is directly influenced by the
43:, Rome. It was long admired as the
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502:Hellenistic-style Roman sculptures
266:, Cambridge University Press, p.8.
264:Personal Styles in Greek Sculpture
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492:Sculptures in the Vatican Museums
353:Haskell and Penny, p. 41-42.
71:'s beloved. The cloak known as a
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143:, where the Palis had property.
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380:Haskell and Penny, p. 109.
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371:Haskell and Penny, p. 117.
256:History of the Art of Antiquity
417:Haskell and Penny, p. 56.
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174:. A marble copy was bought by
162:figured in the collections of
134:The sculpture was bought for
123:Hermes and the Infant Dionysus
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1:
487:Statues mistaken for Antinous
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218:, meant for young sculptors.
154:in the sixteenth century and
455:Brummer, Hans Henrik, 1970.
322:, Picard, 1999, p. 265.
199:The Rockox Triptych (Rubens)
116:identification as Hermes as
87:identify the sculpture as a
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469:Helbig, Wolfgang, 1963–72.
250:This was recognized before
227:, hero of the hunt for the
37:of the Museo Pio-Clementino
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208:canon of ideal proportions
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308:Brunilde Sismondo Ridgway
166:before being acquired by
111:3/4 left view of the head
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408:, p. 675, note 23.
281:4th ed. (TĂĽn) 1963-72).
428:History of ancient art
406:History of Ancient Art
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260:Ennio Quirino Visconti
233:Ennio Quirino Visconti
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99:or one of his school.
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49:Cortile del Belvedere
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497:Sculptures of Hermes
164:Charles I of England
91:, one of a familiar
53:Museo Pio-Clementino
24:, long known as the
172:Louis XIV of France
148:Antinous Admirandus
41:Vatican collections
202:painted in 1615.
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141:Castel Sant'Angelo
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45:Belvedere Antinous
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26:Belvedere Antinous
275:Wolfgang Helbig,
194:Peter Paul Rubens
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229:Calydonian Boar
176:Peter the Great
168:Oliver Cromwell
160:Hubert Le Sueur
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59:Identification
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118:psychopompus
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83:contrapposto
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402:(in French)
252:Winckelmann
220:Winckelmann
103:Description
93:Praxitelean
481:Categories
450:References
156:Versailles
97:Praxiteles
342:mausoleum
225:Meleager
185:Rubens'
65:Antinous
204:Poussin
130:History
75:chlamys
69:Hadrian
296:Andros
89:Hermes
35:Hermes
22:Hermes
239:Notes
32:The
20:The
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254:(
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