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3.15 Annotated documentation of all statues

erstellt von Kulawik Veröffentlicht 05.06.2019 20:47, zuletzt verändert: 05.06.2019 20:47

The next book in Tolomei’s list consequently would be dedicated to statues, which were often used to embellish buildings but which also provide information about mythical or historical persons and their relation to certain buildings, such as temples or palaces:

Cosi ancora si farà una altra opera de le statue, ritraendole tutte in un libbro, dichiarandovi appresso, prima che statua ella sia, e perche ragioni, o segni, o autoritá, o conietture si comprenda [Tolomei 1547, 83v].

In the same way another work will be made on statues showing all of them in a book and explaining, first, which statue it is and for which reasons or signs or authority or conjections it is understood.

The Österreichische Nationalbibliothek in Vienna owns a codex with 174 systematically arranged and uniformly made drawings of ancient statues from the hand or workshop of Jacopo Strada, who was documented as an active member of the Roman Accademia between 1553 and 1555.5 In addition, Friedrich Eugen Keller recently suggested that some 67 drawings after ancient statues by painter Giovanni Battista Franco may be related to the Accademia’s project.6 While Tolomei does not mention portrait busts explicitly, it should be observed that Strada also left several volumes of systematically arranged and uniformly depicted busts of emperors and their families, many if not all of these after ancient prototypes, comprising examples of some 200 sculptures.7Stephan Pighius describes how the interpretation of objects such as statues and reliefs was discussed among the members of the Accademia in a vivid dialogue in his Themis Dea, where Antonio Agustín, Jean Matal (Metellus), and Antoine Morillon discuss the interpretation of a damaged herme in the garden of Cardinal Rodolfo Pio da Carpi [Pighius 1568]. The book is dedicated to Cardinal Granvelle, who took over Pighius as his secretary after the death of his Roman employer, Marcello Cervini in 1555 and, later, also employed Justus Lipsius. The dialogue reported by Pighius gives an impressive account of the intense work connected with at least some of the artifacts documented by the Accademia, even though their interpretation of the ancient object in this special case is wrong, as was shown by Wrede [Wrede 1993].