Apollo flaying Marsyas thumbnail 1

Apollo flaying Marsyas

Statue
ca. 1719-23 (made)
Artist/Maker
Place of origin

The subject of this group is one of the most disturbing in classical mythology. When the god Apollo beat the satyr Marsyas in a musical contest, Apollo chose to skin Marsyas alive as a penalty for losing. This group and its companion, Zephyr and Flora (Museum no. A.5-1967), belonged to a series of garden sculptures supplied by Corradini to Augustus the Strong, King of Poland and Elector of Saxony for his gardens in Dresden. Another group by Corradini fro the series, 'Truth and Sculpture', is now in the Château de Ferrières en Brie (near Paris).

Corradini was a virtuoso sculptor of marble, and although he was mainly active in the Veneto, also worked in Vienna and Rome. He was particularly renowned for his statues of veiled or partially veiled figures, such as his Modesty of about 1750. This figure and Zephyr and Flora exemplify his elegant style, rooted in a classical language, but also incorporating a rococo lightness and movement. Such a style was well suited to garden sculpture in the 18th century.

Object details

Category
Object type
TitleApollo flaying Marsyas
Materials and techniques
Carved marble
Brief description
Statue, marble, Apollo flaying Marsyas, by Antonio Corradini, ca. 1719-23
Physical description
Marsyas is shown upside-down, while Apollo commences peeling off his skin. One putto sits by Apollo's lyre on the ground, while another looks over Apollo's shoulder.
Dimensions
  • Object and plinth height: 1494in
  • Object only weight: 1088kg
  • Plinth ballast weight: 172kg
  • Plinth top weight: 65.5kg
  • Plinth base weight: 140.5kg
  • Plinth doors weight: 28kg
  • Height: 220cm
  • Width: 100cm
  • Depth: 57cm
Style
Production typeUnique
Gallery label
(2021)
Antonio Corradini (1668–1752)
Apollo Flaying Marsyas
About 1719–23

Like Zephyr and Flora nearby, this sculpture came from the royal gardens in Dresden. Its style is decorative, as was much garden sculpture at the time, but the subject is one of the most disturbing in classical mythology. It shows the god Apollo skinning Marsyas alive as a punishment for losing a musical contest. Intriguingly, we do not know why such an unsettling story was chosen.

Venice
Marble
Formerly in Easton Hall, Lincolnshire
Object history
This group and its companion, Zephyr and Flora (Museum no. A.5-1967), belonged to a series of garden sculptures supplied by Corradini to Augustus the Strong, King of Poland and Elector of Saxony, for his gardens in Dresden. They were sold in 1836 and brought to England shortly after. The two groups were subsequently sold at auction by Foster & Son in London on 7th June 1843 (cat. no. 34 and 35). The sculptures reappeared in the gardens of Easton Hall, Lincolnshire, in 1902 (Country Life Illustrated, 25th January 1902, p. 116). The house was damaged during the Second World War and pulled down in 1951, while the garden was abandoned. Around those years, the sculptures were rediscovered by the art dealer Ralph Cox, who, at the time, did not know by whom they had been carved. He then sold them to Mallets of Bourdon House. The groups were finally purchased by the V&A in 1967 from The Clock House, Ascot.
Subjects depicted
Summary
The subject of this group is one of the most disturbing in classical mythology. When the god Apollo beat the satyr Marsyas in a musical contest, Apollo chose to skin Marsyas alive as a penalty for losing. This group and its companion, Zephyr and Flora (Museum no. A.5-1967), belonged to a series of garden sculptures supplied by Corradini to Augustus the Strong, King of Poland and Elector of Saxony for his gardens in Dresden. Another group by Corradini fro the series, 'Truth and Sculpture', is now in the Château de Ferrières en Brie (near Paris).

Corradini was a virtuoso sculptor of marble, and although he was mainly active in the Veneto, also worked in Vienna and Rome. He was particularly renowned for his statues of veiled or partially veiled figures, such as his Modesty of about 1750. This figure and Zephyr and Flora exemplify his elegant style, rooted in a classical language, but also incorporating a rococo lightness and movement. Such a style was well suited to garden sculpture in the 18th century.
Associated object
A.5-1967 (Series)
Bibliographic references
  • Terence Hodgkinson, 'Two garden sculptures by Antonio Corradini' in Victoria and Albert Museum Bulletin vol.4 no.2 (April 1968) pp.37-49
  • Cogo, Bruno, Antonio Corradini. Scultore Veneziano 1668-1752 (Este, 1996), .245-7, fig.67
  • Snodin, Michael and Llewellyn, Nigel (eds.), Baroque 1620-1800. Style in the Age of Magnificence, exh. cat., V&A Publishing, London, 2009
Collection
Accession number
A.6-1967

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Record createdApril 26, 2005
Record URL
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