File:Illustrated catalogue of the exceedingly rare and valuable art treasures and antiquities formerly contained in the famous Davanzati Palace, Florence, Italy (1916) (14779986055).jpg

Identifier: ilcdavaatal00amer (find matches)
Title: Illustrated catalogue of the exceedingly rare and valuable art treasures and antiquities formerly contained in the famous Davanzati Palace, Florence, Italy
Year: 1916 (1910s)
Authors: American Art Association Townsend, Horace, 1859-1922 Volpi, Elia, 1858-1938 Guglielmetti, Cesare A Rusconi, Arturo Jahn
Subjects: Volpi, Elia, 1858-1938
Publisher: New York : American Art Association
Contributing Library: Philadelphia Museum of Art, Library
Digitizing Sponsor: LYRASIS Members and Sloan Foundation

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chaeology and the History of Art. In it Professor Hendinelli says that he had the good fortune, while at Athens,to see this very important work of classical art, which he then hadan opportunity to study. It was exhumed at Melos, he tells us, andproceeds to devote the first part of his article to a comparison of thebronze and the elegant Tanagrene terracottas which, he points out, wereso numerous on the Greek market at the death of Alexander in thethird century B.C. He concludes that there are but few points ofresemblance between these Tanagra figures and the bronze he is study-ing. Onlv in such exceptional terra-cottas as display the serenity of theschool of Pheidias and the influence of Scopas, Praxiteles and Lysippus does he find any resemblance to its facial expression. He finds itsentire conception akin rather to the series of important works headedby the Psyche of the Naples Museum and the Resting Warrior of theLudovisi, the first attributed to Praxiteles or Scopas, the second to
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fi P WU W H Po W « O o Ph Oh & o w HHWPH«!H asw n O PS « w Pi O d x 6 Lysippus. Our subject, he finally declares, belongs to the goldenperiod of (ireek art, the close of the fourth century B.C., and is anindividual work of art not to be classified with any other examples. Itsoriginality transcends every artistic tradition and its beauty liasnever been exceeded. Professor Hendinelli then proceeds to state his conviction that thebronze is intended to represent the poetess Sappho, Byrons BurningSappho who loved and sung. Passing in review the familiar represen-tations of the poetess, from the Syracusan statue stolen by that Yerrcsagainst whom Cicero delivered his orations to the representation on avase in the Athens Museum, he finally concludes that this bronze is moreundoubtedly a portrait of Sappho than any of the others. (Illustrated) a 81—Fifteenth Century Italian Bronze Statuette (By An-//° tonio Pollaiuolo: 1433-1498) >)y. /$ y

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