Overview of an Ancient Roman Sculpture
Period and Material
Dating from the late 1st century to the early 2nd century A.D., this sculpture is crafted from Carrara marble, measuring approximately 150.5 x 58.4 x 53.3 cm and weighing around 426.38 kg.
Acquisition Details
This artwork was purchased by the museum in honor of Mrs. W. Scott Fitz, funded by the Henrietta Goddard Fitz Fund and Edward Jackson Holmes, with the accession number 30.543.
Cultural Significance
This representation is akin to a series of statues linked to Venus (known as Aphrodite in Greek mythology), celebrated as the goddess of love and the embodiment of femininity. The figure is draped in a translucent tunic that shapes to the contours of her sculpted figure, enhancing her feminine form. In a pose that suggests she is adjusting her mantle with her right hand (which is now missing), the garment lightly cascades from her left shoulder, creating an alluring effect.
Artistic Style
The technique employed, known as “wet drapery,” originated during a time when fully nude female sculptures were considered unacceptable within Greek artistic traditions. This style first appeared in the figures on the east pediment of the Parthenon, gaining popularity during the late fifth century B.C. The Romans adapted this approach to create representations of Venus Genetrix, emphasizing her lineage as the progenitor of Aeneas and the Roman people, tying her to prominent families such as the Julii, which included notable figures like Julius Caesar and Augustus. Their political influence in the late B.C. and early A.D. periods led to an increased reverence for Venus Genetrix, culminating in the creation of a dedicated cult statue in Rome.
Local Interpretations
The classical figure structure was often replicated to symbolize various women – from empresses to common individuals – highlighting their qualities akin to those of Venus, notably their fertility. It is plausible that this statue originally had a distinct portrait head, portraying a Roman woman with possibly advanced age. Despite contemporary dissonance between an aged head and a youthful body, Romans valued the thematic meaning over physical appearance, symbolizing deeper ideals.
Description of the Figure
The sculpture depicts a standing, draped figure akin to the Louvre-Naples type. The head and neck were separately carved and then integrated into the body, with the right arm and shoulder similarly detached and rejoined using a sizable pin. The statue, originally depicted holding an item such as an apple or pomegranate, is missing not only these appendages but also the left arm. The garment, pinned at one shoulder, gracefully cascades down its sides, drawing attention to the body’s silhouette.
Many replicas lack coverage over the left breast, suggesting a modesty adaptation by copyists as the Venus form transitioned into portrait representations. The feet are adorned with sandals, while some areas of the statue, particularly near the drapery, show signs of wear, including a broken plinth at the right foot and chipped surface areas. Traces of pink pigment remain visible, hinting at prior coloration, and the statue surface displays a yellowish patina acquired over time.
Scientific Insights
Analysis conducted at Harvard reveals isotopic ratios – delta13C +2.17 and delta18O -1.88, confirming that the marble originated from Carrara, recognized for its fine quality.
History of Ownership
Reportedly discovered near Hadrian’s Villa in Tivoli, this sculpture was transported to Paris prior to 1930, with Italian government approval, before being returned to Italy. In 1930, it was acquired by Edward Jackson Holmes on behalf of the museum for $27,693 from Carlo M. Girard and Franklin Picciolo, Societa Anonima ADAC, Ltd., in Florence. The acquisition was reported in the “Boston Evening Transcript” on October 4, 1930.
References and Further Reading
– Sculpture in Stone (MFA), no. 182
– Sculpture in Stone and Bronze (MFA), p. 112
– Highlights: Classical Art (MFA), p. 166
