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Figurative Sculpture Of Aphrodite Bronze Grand Tour After The Antique Grand Tour

after 1900



Standing on a Specimen polychrome marble base in rare and specimen marble breccia di Schio and white statuary marble, Aphrodite is depicted semi-naked, with a himation (cloak) covering her lower body supported by the knee of her slightly bent left leg, with her left foot resting on Ares' helmet. The arms are raised to probably hold Ares' shield, used as a mirror. The sculpture is a Grand Tour version after the roman one conserved at Archeological Museum of Naples of the age of Hadrian (117 - 138 AD), was found together with other marble statues that decorated the summa cavea of ​​the Campano Amphitheater in Capua. This roman Version derives from a bronze original of the end of the 4th century. B.C., taken up in the Hadrianic age, judging by the soft rendering of the face and the contrast between the smoothness of the bare parts and the chiaroscuro of the drapery. In Roman times this type was in other cases modified to the figure of Nike (Victory) in the act of writing the victor's praises on the shield, with the addition of wings and a stylus in his right hand. The Grand Tour was the 17th- and 18th-century custom of a traditional trip through Europe undertaken by upper-class young European men of sufficient means and rank (typically accompanied by a chaperone, such as a family member) when they had come of age (about 21 years old).The primary value of the Grand Tour lay in its exposure to the cultural legacy of classical antiquity and the Renaissance, and to the aristocratic and fashionably polite society of the European continent. In addition, it provided the only opportunity to view specific works of art, and possibly the only chance to hear certain music.In essence, the Grand Tour was neither a scholarly pilgrimage nor a religious one, though a pleasurable stay in Venice and a residence in Rome were essential. Catholic Grand Tourists followed the same routes as Protestant Whigs. Since the 17th century, a tour to such places was also considered essential for budding artists to understand proper painting and sculpture techniques, though the trappings of the Grand Tour—valets and coachmen, perhaps a cook, certainly a "bear-leader" or scholarly guide—were beyond their reach.In Rome, antiquaries like Thomas Jenkins were also dealers and were able to sell and advise on the purchase of marbles; their price would rise if it were known that the Tourists were interested. Coins and medals, which formed more portable souvenirs and a respected gentleman's guide to ancient history were also popular. Pompeo Batoni made a career of painting the English milordi posed with graceful ease among Roman antiquities. Many continued on to Naples, where they also viewed Herculaneum and Pompeii, but few ventured far into Southern Italy.


  • Creation Year
    after 1900
  • Dimensions
    Height: 15.75 in. (40 cm)Diameter: 5.52 in. (14 cm)
  • Medium
  • Period
  • Condition
  • Gallery Location
    Roma, IT
  • Reference Number
    1stDibs: LU135018230232

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    Estimated Customs Duties & Taxes to the Continental US: $0.
    Ships From: Roma, Italy
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