Ares Ludovisi

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Ares Ludovisi

The so-called Ares Ludovisi is a marble statue that was created in the 2nd century AD as a Roman copy of a statue that has since been lost. The underlying original is mostly dated to the time of the beginning Hellenism in the last third of the 4th century BC. Dated and associated with the environment of the late classical Greek sculptors Skopas or Lysipp .

description

lili rere
The hair on the back of the head on the left is less plastic.

The statue shows a young god or hero, seated on a rock, with his left foot on his helmet and his shield on his right. The left hand holds the sword in its scabbard. A gathered garment is wrapped around the waist, one end falls over the right thigh, but leaves the genitals uncovered, and the other end is thrown over the left forearm. Between the feet sits a little Eros looking up to the god, suggesting a connection to Aphrodite , as it existed between the goddess and the god of war Ares . Bosses and strut approaches on the left side, including on the shoulder, as well as a less detailed head section on the left side show that the statue was originally part of a group to which Aphrodite could have been added as another statue. Alternatively, a second Eros was thought of, which played the sitter around the left shoulder.

Find history

The statue was found in Rome before 1622 or at the beginning of the year. Pietro Santi Bartoli gave the site of discovery with the words “near the Palazzo Santacroce, towards Campitelli, when a sewer was being built”. Bartoli was not a contemporary of the discovery and it is unclear which Palazzo der Santacroce he meant. The main palace was in the Piazza Cairoli, far from the Regio X Campitelli . Filippo Coarelli therefore wanted to identify him with the older family palace, called a punte di diamante in the sources of the time , further east in Via del Pianto. Fausto Zevi , on the other hand, suggested that the indication refer to the side of the Palazzo facing the Via dei Giubbonari in Piazza Cairoli, because the street would have been the connection via andare a Campitelli . Both connect the find with the Martian temple built by Decimus Junius Brutus Callaicus on the southern part of the Martian field , but they localize it differently, whereby the location of the statue plays a decisive role. Heide Froning , on the other hand, pointed out that, for example, Fioravante Martinelli (1599–1667), a contemporary of Bartolis, in his Roma ornata dall'architettura, pittura e scoltura, written between 1660 and 1663, mentions a palazzo of the Santacroce a piedi di Campidoglio , which consequently was on the edge of the Campitelli and could well be meant by the palace named by Bartoli. In that case, there would no longer be a relationship to Marsfeld and Mars Temple in circo . This palazzo, mentioned several times in the sources, was located below the stairs of the Church of Santa Maria in Aracoeli . It is always referred to as "at the foot of the Capitol", "below the Aracoeli Church" or its stairs, "below the Capitol" or similar. A connection of this palazzo with the specification per andare a Campitelli was therefore ruled out again. After an in-depth analysis of the tradition of the Santacroce palazzi and their topographical integration into the cityscape of Rome in the 17th century, Simonetta Bombardi finally returned to Zevi's approach to identify the Palazzo Bartolis with the family headquarters in Piazza Cairoli.

Collection history

Eros with the additions of Bernini

The statue came into the collection of Cardinal Ludovico Ludovisi , where it was initially considered a statue of Adonis . Already on June 20, 1622, Gian Lorenzo Bernini received 50 scudi for the restoration of Adonis, the only statue in the cardinal's possession that corresponds to a description in the cardinal's first inventory, which is still clearly laid out and which only Ares can mean: “A seated gladiator Marble with a saber in hand and a Cupid with a bow in hand, 8 palmi high ... “In the inventory of 1633 the statue was described as Mars.

During the strong cleaning and restoration that attacked the original surface, the following areas were added: nose up to the right nostril, right hand except for the parts resting on the knee, fingertips and thumb of the left hand, sword hilt and parts of the scabbard, right foot from the Heel, the head of Eros, his left arm with the quiver, the right forearm with the bow, right foot.

From 1633 the restored statue was exhibited in the Palazzo Grande of the Ludovisi, and between 1885 and 1890 it was moved to the family's palazzo on Via Veneto. The Ludovisi collection and with it the Ares Ludovisi were acquired by the Italian state in 1901 and exhibited in the Museo Nazionale Romano . Since 1997 it has been in the Palazzo Altemps, which is part of the Museo Nazionale .

Dating and interpretation

Head replica of Ares in the Munich Glyptothek

Of the type of statue, which is related to the seated Ares from the frieze of the Parthenon, who encompasses one knee , there is only one other body replica in the National Archaeological Museum of Naples , while the head was often copied and in some cases also combined with other types of statues. In terms of copy quality, preference is given to the torso in Naples; the Ares head in the Munich Glyptothek is considered the best replica . The torso in Naples shows no traces of another figure, which could therefore be an ingredient of the copyist. In addition, a pillar serves as a seat in Naples; a shield is missing, but could have been attached.

The dating of the original generally varies between 330 BC. BC and the beginning of the 3rd century BC Depending on the dating, the type of statue is usually associated with the schools of Lysippus , Skopas or the environment of the Praxiteles . Deviating from this, with the late Classical-Early Hellenistic dating and interpretation of the statue as Ares, Camillo Praschniker suggested an assignment to the sculptor Piston , who Pliny reports that he created a Mars and a Hermes, which can be seen in the Concordia Temple in Rome. Johannes Sieveking connected the statue to Paris , which has been handed down for Euphranor . Steven Lattimore placed the statue in the same mythological context , for which he suggested an interpretation as Achilles and with a statue handed down by Pliny from the hand of the end of the 4th century BC. Chr. Acting sculptor Silanion combined what remains to be considered as a possibility.

Joseph Fink and Filippo Coarelli pursued completely different approaches . Coarelli connects the statue with the Martian temple erected by Decimus Junius Brutus Callaicus on the southern part of the field of Mars and recognizes in the original a portrait of the younger Skopas from the 2nd century BC. Who created the statues of the temple. Since the Ares Ludovisi lacks the colossality handed down by Pliny for the cult image of Scopas, this was excluded. Nevertheless, the statue is also addressed as Mars and Adolf Furtwängler saw in it a scaled-down replica of the cult statue of Mars in circo , which he attributed to the older Skopas. Joseph Fink had already expressed the opinion in 1964 that the work was an eclectic creation of the early 1st century BC. He saw in the statue type the combination of a late Hellenistic head with elements from the 5th and 4th centuries BC. BC and a late classical torso from the Lysippus environment.

reception

Numerous copies were made based on the Roman model, especially in the Baroque era. A marble copy was in the possession of Frederick the Great at Sanssouci Palace . It was made by Lambert-Sigisbert Adam in Rome between 1726 and 1730, signed in 1730 and in the same year as thanks for the financial support of his stay in Rome by the French King Louis XV. sent to Paris . With further works of Adam as well as Mercury and Venus from the hand of Jean-Baptiste Pigalle - two major works of French art of this time - the copy was in 1752 by Louis XV. made a gift to the Prussian king. Another bronze copy of the Ares was in Hermann Göring's art nursery on Carinhall . This is now set up again in front of the Spandau Citadel .

gallery

literature

  • Filippo Coarelli : Il Campo Marzio: dalle origini alla fine della Repubblica. Quasar, Rome 1997, pp. 433-446
  • Peter Cornelis Bol in: Peter Cornelis Bol (Hrsg.): The history of ancient sculpture. Volume 2: Classical Plastic. Zabern, Mainz 2004, p. 362 f.
  • Joseph Fink : One head for many. In: Communications of the German Archaeological Institute, Roman Department. Volume 71, 1964, pp. 152-157.
  • Steven Lattimore: Ares and the Heads of Heroes. In: American Journal of Archeology . Volume 83, 1979, pp. 71-78.
  • Hanz Günther Martin: Roman temple cult images: an archaeological investigation of the late republic. "L'Erma" di Bretschneider, Rome 1992, p. 157.
  • Erika Simon : Ares. In: Lexicon Iconographicum Mythologiae Classicae . Volume 2, 1981, p. 514 No. 23.
  • Brunilde Sismondo Ridgway : Hellenistic Sculpture. Volume 1: The Styles of ca. 331-200 BC University of Wisconsin Press, Madison 1989, pp. 84-87.
  • Paul Zanker in: Wolfgang Helbig : Guide through the public collections of classical antiquities in Rome. The State Collections. Volume 3. Fourth, completely revised edition, edited by Hermine Speier . Wasmuth, Tübingen 1969, pp. 268-270 cat. No. 2345.

Web links

Commons : Ares Ludovisi  - collection of images, videos and audio files

Remarks

  1. ↑ Printed in Carlo Fea : Miscellanea filologica critica e antiquaria. Volume 1. P. 253 No. 109 ( digitized version ): Vicino il palazzo delli signori Santa Croce, per andare a Campitelli, nel farsi una chiavica.
  2. ^ Filippo Coarelli: L'Ara di Domizio Enobarbo e la cultura artistica in Roma nel II secolo a. С. In: Dialoghi di Archeologia. Volume 2, 1968, p. 313 f.
  3. ^ Fauto Zevi: L'identificazione del tempio di Marte “in circo” e altre osservazioni. In: L'Italie préromaine et la Rome républicaine. Mélanges offerts à Jacques Heurgon (= (Publications de l'École française de Rome. Volume 27). Volume 1. École Française de Rome, Rome 1976, pp. 1047-1066, here: pp. 1054 f. ( Online ).
  4. ^ On Fioravante Martinelli Stefano Tabacchi:  Martinelli, Fioravante. In: Mario Caravale (ed.): Dizionario Biografico degli Italiani (DBI). Volume 71:  Marsilli – Massimino da Salerno. Istituto della Enciclopedia Italiana, Rome 2008.
  5. ↑ Heide Froning: Marble decorative reliefs with Greek myths in the 1st century BC. Chr. Study of chronology and function (= writings on ancient mythology. Vol. 5). von Zabern, Mainz 1981, p. 117.
  6. ↑ Simonetta Bombardi: Alcune osservazioni in merito al rinvenimento dell'Ares Ludovisi. In: Archeologia Classica. Volume 52, 2001, pp. 323–342, here: p. 334 with note 32.
  7. ↑ Simonetta Bombardi: Alcune osservazioni in merito al rinvenimento dell'Ares Ludovisi. In: Archeologia Classica. Volume 52, 2001, pp. 323-342.
  8. ↑ Yves Bruand: La restauration des sculptures antiques du Cardinal Ludovisi (1621-1632). In: Mélanges de l'école française de Rome. Volume 68, 1956, pp. 397-418, here: pp. 400-404
  9. ↑ Inventory of November 2, 1623: un gladiatore di marmo a sedere con una scimitarra in mano e un Cupido appresso con un arco in mano, alto palmi 8 ...; quoted from Yves Bruand: La restauration des sculptures antiques du Cardinal Ludovisi (1621–1632). In: Mélanges de l'école française de Rome. Volume 68, 1956, pp. 397-418, here: p. 400 note 2.
  10. ↑ Inventory of January 12, 1633: Un Marte a sedere, alto del naturale con un amoretto fra le gambe, un piede sopra la celata e tenga la spada in mano ...; quoted from Yves Bruand: La restauration des sculptures antiques du Cardinal Ludovisi (1621–1632). In: Mélanges de l'école française de Rome. Volume 68, 1956, pp. 397-418, here: p. 400 note 3.
  11. ^ Paul Zanker in: Wolfgang Helbig : Guide through the public collections of classical antiquities in Rome. The State Collections. Volume 3. Fourth, completely revised edition, edited by Hermine Speier . Wasmuth, Tübingen 1969, pp. 268-270 cat. No. 2345.
  12. ^ Nancy Thomson de Grummond (Ed.): Encyclopedia of the History of Classical Archeology. Volume 1. Routledge, London / New York 1996, p. 695.
  13. ↑ List of replicas by Steven Lattimore: Ares and the Heads of Heroes. In: American Journal of Archeology. Volume 83, 1979, pp. 71-78, here: pp. 72 f.
  14. ↑ So already Camillo Praschniker : A new replica of Ares Ludovisi. In: Annual books of the Austrian Archaeological Institute. Volume 21-22, 1922-1924, pp. 203-221; Johannes Sieveking : Roman small bronze. In: Munich Yearbook of Fine Arts. Volume 1, No. 1, 1924, pp. 2-74, here: pp. 11-13; see also Steven Lattimore: Ares and the Heads of Heroes. In: American Journal of Archeology. Volume 83, 1979, pp. 71-78, here: p. 72.
  15. ↑ For copy work and torso Naples see z. B. Adolf Furtwängler : Masterpieces of Greek sculpture. Art historical research. Giesecke & Devrient, Berlin Leipzig 1893, p. 526 with note 4 ( digitized version ), and Steven Lattimore: Ares and the Heads of Heroes. In: American Journal of Archeology. Volume 83, 1979, pp. 71-78, here: p. 75.
  16. ↑ Camillo Praschniker: A new replica of Ares Ludovisi. In: Annual books of the Austrian Archaeological Institute. Volume 21-22, 1922-1924, pp. 203-221; agreeing about Carl Watzinger : Expedition Ernst von Sieglin. Volume 2: The Greco-Egyptian Collection. Part 1b: painting and sculpture. Giesecke & Devrient Leipzig 1927, p. 31; Maximilian Mayer already suspected the sculptor Piston as the creator of the statue in 1889: Maximilian Mayer: Meeting reports of the Archaeological Society in Berlin. In: Archäologischer Anzeiger . 1889, p. 41 ( digitized version ).
  17. ↑ Pliny, Naturalis historia 34.89.
  18. ^ Johannes Sieveking: Roman small bronze. In: Munich Yearbook of Fine Arts. Volume 1, No. 1, 1924, pp. 2-74, here: pp. 11-13.
  19. ↑ Pliny, Naturalis historia 34, 82.
  20. ^ So Steven Lattimore: Ares and the Heads of Heroes. In: American Journal of Archeology . Volume 83, 1979, pp. 71-78.
  21. ↑ See Brunilde Sismondo Ridgway : Hellenistic Sculpture. Volume 1: The Styles of ca. 331-200 BC University of Wisconsin Press, Madison 1989, pp. 84-87.
  22. ^ Filippo Coarelli : L'Ara di Domizio Enobarbo e la cultura artistica in Roma nel II secolo a. С. In: Dialoghi di Archeologia. Volume 2, 1968, pp. 302-368, here: pp. 315 f .; last the same: Il Campo Marzio: dalle origini alla fine della Repubblica. Quasar, Rome 1997, p. 446.
  23. ↑ Pliny, Naturalis historia 36,26 : collisaeus.
  24. ↑ Hanz Günther Martin: Roman temple cult images: an archaeological study of the late republic. "L'Erma" di Bretschneider, Rome 1992, p. 157.
  25. ↑ Adolf Furtwängler: Masterpieces of Greek sculpture. Art history studies. Giesecke & Devrient, Berlin Leipzig 1893, p. 525 f. ( Digitized version ).
  26. ↑ Joseph Fink : One head for many. In: Communications of the German Archaeological Institute, Roman Department . Volume 71, 1964, pp. 152-157, especially p. 154.
  27. ^ Ares Ludovisi in the Arachne archaeological database .
  28. ^ Paul Seidel : Frederick the Great and the fine arts. Giesecke & Devrient, Berlin 1922, p. 179 f. ( Digitized version ); Mars at rest (based on Ares Ludovisi) in museum-digital (accessed on March 13, 2018).
  29. ^ Information from the Spandauer Volksblatt of April 12, 1964.