Mercury binding Prometheus
Statuette
1700-1715 (made)
1700-1715 (made)
| Artist/Maker | |
| Place of origin |
In Greek mythology, Prometheus, the son of a Titan, stole fire from the gods for the benefit of mankind, and was punished by Jupiter by being chained to a rock, where an eagle fed daily on his liver, perpetually renewed. He was later set free by Hercules. According to legend, it was either Vulcan or Mercury that bound Prometheus, and here it is Mercury, the messenger of the gods, identified by his winged helmet and sandals, and his caduceus or magic wand with two entwined snakes, which lies by his foot.
An inscription on the base records that this bronze was given by Grand-Duke Cosimo III of Tuscany to the French painter Hyacinthe Rigaud in 1716, together with its companion group representing The Flaying of Marsyas (see A.2-1967). The bronzes were received in exchange for a self-portrait that Rigaud sent to form part of the Duke's collection of self-portraits (Uffizi, Florence). Such exchanges were common and considered by both sides as a honour. Cosimo probably ordered versions of existing models from his court sculptor, Giovanni Battista Foggini, and this is the only known cast of this model.
Foggini was born in Florence in 1652 and was later sent to Rome by Cosimo III, where he studied under Ecole Ferrata. On his return, he became the leading Florentine sculptor, bringing with him the exuberant Baroque style that had evolved in Rome. A gifted portrait artist, Foggini was appointed Grand-Ducal Sculptor in 1687, which gave him access to the foundry in the Borgo Pinto used by his predecessors Giambologna and Pietro Tacca. His elaborate bronzes mark the transition from the intimate small Renaissance bronze to larger-scale decorative and theatrical Baroque works. The dramatic movement and flowing drapery are typical of the style, but despite their dynamism, this group and its companion are designed to be seen primarily from the front.
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An inscription on the base records that this bronze was given by Grand-Duke Cosimo III of Tuscany to the French painter Hyacinthe Rigaud in 1716, together with its companion group representing The Flaying of Marsyas (see A.2-1967). The bronzes were received in exchange for a self-portrait that Rigaud sent to form part of the Duke's collection of self-portraits (Uffizi, Florence). Such exchanges were common and considered by both sides as a honour. Cosimo probably ordered versions of existing models from his court sculptor, Giovanni Battista Foggini, and this is the only known cast of this model.
Foggini was born in Florence in 1652 and was later sent to Rome by Cosimo III, where he studied under Ecole Ferrata. On his return, he became the leading Florentine sculptor, bringing with him the exuberant Baroque style that had evolved in Rome. A gifted portrait artist, Foggini was appointed Grand-Ducal Sculptor in 1687, which gave him access to the foundry in the Borgo Pinto used by his predecessors Giambologna and Pietro Tacca. His elaborate bronzes mark the transition from the intimate small Renaissance bronze to larger-scale decorative and theatrical Baroque works. The dramatic movement and flowing drapery are typical of the style, but despite their dynamism, this group and its companion are designed to be seen primarily from the front.
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Object details
| Categories | |
| Object type | |
| Title | Mercury binding Prometheus (generic title) |
| Materials and techniques | Bronze |
| Brief description | Statuette, bronze, of Mercury binding Prometheus, by Giovanni Battista Foggini, Italian (Florence), about 1700-15 |
| Physical description | This bronze group shown the figure of Prometheus bound to a rock by the god Mercury. An eagle to Prometheus's proper left devours his liver. Mercury is depicted with his usual winged sandals and helmet, his caduceus by his foot, and wearing a flowing swirl of drapery. His right leg, outstretched behind him, is raised above the rocky base which is decorated with foliage. |
| Dimensions |
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| Gallery label | MERCURY BINDING PROMETHEUS
Italian (Florence); before 1716
Bronze
By Giovanni Battista Foggini (1652-1725)
Presented by Miriam, Lady Marks
Am inscription around the base records that this bronze was given by Cosimo III to the painter Hyacinthe Rigaud in 1716. The bronze and its companion (Apollo and Marsyas; on display in room 64) were received in exchange for the self portrait of Rigaud, now in the Uffizi, Florence.
(1993 - 2011) |
| Credit line | Presented by Miriam, Lady Marks. |
| Object history | The model has been variously attributed, being given to Gianlorenzo Bernini (Christie's catalogues cited below) and to Massimiliano Soldani (see A.9-1954). In the Crozat de Thiers sale catalogue the bronze (together with its pair, The Flaying of Marsyas, A.2-1967) were given to Lespingola, highlighting the stylistic connections between the French sculptor's bronzes and those produced in Italy. By the time it entered the V&A's collections in 1967, it was already identified as the work of Cosimo III de' Medici's Grand-Ducal sculptor, Giovanni Battista Foggini (1652-1725). The Florentine Foggini was sent by Cosimo to train at the newly instituted Accademia Fiorentina (Florentine Academy) in Rome under the sculptor Ercole Ferrata and the painter Ciro Ferri. On his return in 1676, he soon received commissions from the court, and was later appointed both Sculptor and Architect to the Grand-Duke. This group (and its pendant) form one of the pairings of two- figure allegorical or mythical groups created by the artist in bronze, perhaps inspired by those of his predecessor as Grand-Ducal sculptor, Ferdinando Tacca. The compositions are designed with a primarily frontal viewpoint. The bronze was given to the French painter Hyacinthe Rigaud by Grand-Duke Cosimo III in 1716 in exchange for a self-portrait by the artist. Its later provenance includes: Louise-Antoine Crozat, Baron de Thiers sale, Paris, 26 Beb - 27 Mar 1772, lot 911; John Edward Taylor sale, Christie's 1-9 July 1912, lot 34; George Durlacher sale, Christie's, 6-7 April, 1938, lot 46; Miriam, Lady Marks; given to the Museum by Lady Marks in 1967. |
| Historical context | This group and its companion (A.2-1967) were in the John Edward Taylor Collection and appeared as lot 34 in the Taylor Sale at Christie's on July 1st, 1912. They were bought by George Durlacher for 1800 guineas, reappearing as lot 46 in the Durlacher Sale at Christie's on 6 April 1938. In both catalogue entries, which are virtually identical, they were described as 'by Bernini, Florentine 17th century'. They were purchased by G. Kerin for £67 4s 0d and subsequently sold to Lady Marks. (This information noted in departmental records as known from a verbal communication from G. Kerin to Terence Hodgkinson). |
| Subjects depicted | |
| Summary | In Greek mythology, Prometheus, the son of a Titan, stole fire from the gods for the benefit of mankind, and was punished by Jupiter by being chained to a rock, where an eagle fed daily on his liver, perpetually renewed. He was later set free by Hercules. According to legend, it was either Vulcan or Mercury that bound Prometheus, and here it is Mercury, the messenger of the gods, identified by his winged helmet and sandals, and his caduceus or magic wand with two entwined snakes, which lies by his foot. An inscription on the base records that this bronze was given by Grand-Duke Cosimo III of Tuscany to the French painter Hyacinthe Rigaud in 1716, together with its companion group representing The Flaying of Marsyas (see A.2-1967). The bronzes were received in exchange for a self-portrait that Rigaud sent to form part of the Duke's collection of self-portraits (Uffizi, Florence). Such exchanges were common and considered by both sides as a honour. Cosimo probably ordered versions of existing models from his court sculptor, Giovanni Battista Foggini, and this is the only known cast of this model. Foggini was born in Florence in 1652 and was later sent to Rome by Cosimo III, where he studied under Ecole Ferrata. On his return, he became the leading Florentine sculptor, bringing with him the exuberant Baroque style that had evolved in Rome. A gifted portrait artist, Foggini was appointed Grand-Ducal Sculptor in 1687, which gave him access to the foundry in the Borgo Pinto used by his predecessors Giambologna and Pietro Tacca. His elaborate bronzes mark the transition from the intimate small Renaissance bronze to larger-scale decorative and theatrical Baroque works. The dramatic movement and flowing drapery are typical of the style, but despite their dynamism, this group and its companion are designed to be seen primarily from the front. . |
| Associated object | A.2-1967 (Ensemble) |
| Bibliographic references |
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| Other numbers | |
| Collection | |
| Accession number | A.3-1967 |
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| Record created | June 24, 2009 |
| Record URL |
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