Jupiter thumbnail 1
Jupiter thumbnail 2
+3
images
Image of Gallery in South Kensington
On display at V&A South Kensington
Medieval & Renaissance, Room 62, The Foyle Foundation Gallery

Jupiter

Firedog
1570-1600 (made)
Artist/Maker
Place of origin

Pairs of firedogs or andirons, such as this and its partner surmounted by Vulcan, were used to support logs for the fire. These highly decorated examples were popular in the Veneto from at least the sixteenth century, and continued to be made as long as the open fireplaces were in regular use. Some were clearly designed to complement the carved decoration on the stone or marble fire surrounds that they sat within. The crowing figures were usually paired male and female gods. Vulcan, being the god of fire, was particularly common, and he would normally be paired with his partner, Juno, accompanied by her attribute, the peacock. The crowning figure here was, therefore, until recently identified as Juno, but not only is the peacock absent, but she modestly holds her clothes to cover her femininity in the manner of Venus Pudica. This pairing, though unusual, is known in other settings.

Giuseppe de Levis was by far the most successful member of a family of bronze founders in sixteenth-century Verona. Several of his works have been identified from the signature that he frequently cast into them, in this case, IOSEPHO DI LEVI IN VERONA MI FECE. This manner of signing - Joseph di Levi - led to speculation that he may have been Jewish, but this has been discounted since Luciano Rognini discovered that his family came from the village of Levo. In addition to signing, Giuseppe often dated his works which has allowed around 30 to be firmly identified.

The de Levis foundry specialised in ornamental artefacts such as bells, mortars, inkstands, door-knockers and firedogs. Like other foundrymen, notably those working in nearby Venice, where there was an active bronze industry, Giuseppe was skilled enough to design and produce these decorative utensils, including the crowning figures, but for more challenging and significant sculptural works he often collaborated with the sculptor, Angelo de' Rossi, and some objects carry both their signatures. Giuseppe's style was clearly inspired by the work of Angelo and other contemporary sculptors active in the Veneto.

A number of motifs seen on these firedogs, such as the sphinx-like forms and sea horses, were typical of the de Levis foundry. They are often used to identify unsigned works as by Giuseppe or the de Levis foundry. When taken with other factors, it is quite likely to be the case, but such popular motifs would have been used by several foundries, particularly in the Veneto, and it is, therefore, not always possible to securely attribute utensils to a specific maker. From the 19th century onward, crowning figures were often separated from their firedogs so as to appear like statuettes, as this increased their appeal to collectors, and possibly, therefore, their value. Versions of Venus Pudica from this firedog, and its pair, Vulcan, were sold at Christie's, Paris, in June 2015, mounted on imitation marble socles.




Object details

Categories
Object type
Parts
This object consists of 9 parts.

  • Firedog
  • Firedog Section
  • Firedog Section
  • Firedog Section
  • Firedog Section
  • Firedog Rod
  • Firedog Nut
  • Firedog Washer
  • Firedog
TitleJupiter (generic title)
Materials and techniques
Bronze. Quaternary alloy, with antimony and possibly silver.
Brief description
Firedog, bronze, Jupiter, by Giuseppe de Levis, Italy (Verona), ca. 1570-1600
Physical description
Firedog, created in sections and ornamented with arabeques and terminal figures. Surmounted by statuette of Jupiter. Cast-in signature at the back. "Joseph di Levi in Verona mi fece"
Dimensions
  • Height: 107cm
  • Width: 61.5cm
  • Depth: 51cm
  • Weight: 27,450g
Measured for the Medieval & Renaissance Galleries
Marks and inscriptions
'JOSEPHO DI LEVI IN VERONA MI FECE' (Inscribed on the back)
Object history
This firedog is one of a pair (the other is 3011-1857, and crowned with Venus Pudica). Bought in 1857 for £151 (for the pair), vendor unknown.

Giuseppe de Levis was by far the most successful member of a family of bronze founders in sixteenth-century Verona. Several of his works have been identified from the signature that he frequently cast into them, in this case, IOSEPHO DI LEVI IN VERONA MI FECE. This manner of signing - Joseph di Levi, led to speculation that he may have been Jewish, but this has been discounted since Luciano Rognini discovered that his family came from the village of Levo. In addition to signing, Giuseppe often dated his works which has allowed around 30 to be firmly identified.

The de Levis foundry specialised in ornamental artefacts such as bells, mortars, inkstands, door-knockers and firedogs. Like other foundrymen, notably those working in nearby Venice, where there was an active bronze industry (see Victoria Avery, ...), Giuseppe was skilled enough to design and produce these decorative utensils, including the crowning figures, but for more challenging and significant sculptural works he often collaborated with the sculptor, Angelo de Rossi, and some objects carry both their signatures.

A number of motifs seen on these firedogs, such as the sphinx-like forms and sea horses, were typical of the de Levis foundry. They are often used to identify unsigned works as by Giuseppe or the de Levis foundry. When taken with other factors, it is quite likely to be the case, but such popular motifs would have been used by several foundries, particularly in the Veneto, and it is, therefore, not always possible to securely attribute utensils to a specific maker. From the 19th century onward, crowning figures were often separated from their firedogs so as to appear like statuettes, as this increased their appeal to collectors, and possibly, therefore, their value. Versions of Venus Pudica from this firedog, and its pair, Vulcan, were sold at Christie's, Paris, in June 2015, mounted on imitation marble socles.

Historical context
Firedogs or andirons were placed within the fireplace and would have been used to hold utensials which were required for tending the fire. Often, firedogs do not even appear on inventories which indicates their status as standard household objects, not necessarily worthy of particular note.
Subjects depicted
Summary
Pairs of firedogs or andirons, such as this and its partner surmounted by Vulcan, were used to support logs for the fire. These highly decorated examples were popular in the Veneto from at least the sixteenth century, and continued to be made as long as the open fireplaces were in regular use. Some were clearly designed to complement the carved decoration on the stone or marble fire surrounds that they sat within. The crowing figures were usually paired male and female gods. Vulcan, being the god of fire, was particularly common, and he would normally be paired with his partner, Juno, accompanied by her attribute, the peacock. The crowning figure here was, therefore, until recently identified as Juno, but not only is the peacock absent, but she modestly holds her clothes to cover her femininity in the manner of Venus Pudica. This pairing, though unusual, is known in other settings.

Giuseppe de Levis was by far the most successful member of a family of bronze founders in sixteenth-century Verona. Several of his works have been identified from the signature that he frequently cast into them, in this case, IOSEPHO DI LEVI IN VERONA MI FECE. This manner of signing - Joseph di Levi - led to speculation that he may have been Jewish, but this has been discounted since Luciano Rognini discovered that his family came from the village of Levo. In addition to signing, Giuseppe often dated his works which has allowed around 30 to be firmly identified.

The de Levis foundry specialised in ornamental artefacts such as bells, mortars, inkstands, door-knockers and firedogs. Like other foundrymen, notably those working in nearby Venice, where there was an active bronze industry, Giuseppe was skilled enough to design and produce these decorative utensils, including the crowning figures, but for more challenging and significant sculptural works he often collaborated with the sculptor, Angelo de' Rossi, and some objects carry both their signatures. Giuseppe's style was clearly inspired by the work of Angelo and other contemporary sculptors active in the Veneto.

A number of motifs seen on these firedogs, such as the sphinx-like forms and sea horses, were typical of the de Levis foundry. They are often used to identify unsigned works as by Giuseppe or the de Levis foundry. When taken with other factors, it is quite likely to be the case, but such popular motifs would have been used by several foundries, particularly in the Veneto, and it is, therefore, not always possible to securely attribute utensils to a specific maker. From the 19th century onward, crowning figures were often separated from their firedogs so as to appear like statuettes, as this increased their appeal to collectors, and possibly, therefore, their value. Versions of Venus Pudica from this firedog, and its pair, Vulcan, were sold at Christie's, Paris, in June 2015, mounted on imitation marble socles.


Associated object
Bibliographic references
  • Mann, V.B. Gardens and Ghettos, The Art of Jewish Life in Italy (University of California Press 1989), p. 287
  • Inventory of Art Objects Acquired in the Year 1857. In: Inventory of the Objects in the Art Division of the Museum at South Kensington, Arranged According to the Dates of their Acquisition. Vol I. London: Printed by George E. Eyre and William Spottiswoode for H.M.S.O., 1868, p. 19
  • Avery, Charles. "Giuseppe de Levis of Verona", Connoisseur, Vol 185, No. 744, Fev. 1974, p. 123-129
  • Motture, Peta. "The Decoration of Italian Renaissance hand-bells." In: Cume, S. and Motture, P., eds. The Sculpted Object 1400-1700. Aldershot, 1997, pp. 101, 108, n. 10
  • Motture, Peta. “The Production of Firedogs in Renaissance Venice”, in: Motture, Peta (ed.), Large Bronzes in the Renaissance, National Gallery of Art, Washington, 2003, pp. 276-307 pp. 278, 279, 295
  • Motture, Peta. “The Production of Firedogs in Renaissance Venice”, in: Motture, Peta (ed.), Large Bronzes in the Renaissance, National Gallery of Art, Washington, 2003, pp. 276-307
  • Avery, Charles, Joseph De Levis & Company: Renaissance Bronze-founders in Verona, Philip Wilson, London, 2016, pp. 14 and 131, figs 13, 22, 94 and 95
Collection
Accession number
3012:1 to 9-1857

About this object record

Explore the Collections contains over a million catalogue records, and over half a million images. It is a working database that includes information compiled over the life of the museum. Some of our records may contain offensive and discriminatory language, or reflect outdated ideas, practice and analysis. We are committed to addressing these issues, and to review and update our records accordingly.

You can write to us to suggest improvements to the record.

Suggest feedback

Record createdJuly 25, 2007
Record URL
Download as: JSONIIIF Manifest