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Carlo Albacini (1739? — after 1807〔Death as in ''Dizionario biographico degli italiani'', (Rome 1960) vol. I:588〕) was an Italian sculptor and restorer of Ancient Roman sculpture. He was a pupil of Bartolomeo Cavaceppi, an eminent sculptor and restorer of Rome. Albacini was notable for his copies after classical originals such as the Farnese Hercules; his version of the ''Castor and Pollux'' at the Prado is now in the Hermitage Museum〔(Hermitage ''Castor and Pollux'' ).〕) or the Capitoline ''Flora'' from Hadrian's Villa,〔A half-size copy is conserved in the Indianapolis Museum of Art; it was included in the exhibition ''The Splendor of Eighteenth-Century Rome'', Philadelphia and Houston, 2000.〕 for the Grand Tourist market. Like Cavaceppi, he also restored classical sculptures, notably the Farnese marbles, which Albacini worked on in 1786-89, in preparation for their transfer to Naples under the direction of the German painter Hackert and Domenico Venuti.〔Alvar González-Palacios, "The Furnishing of the King of Naples's Hunting Lodge at Carditello", ''The Burlington Magazine'' 146No. 1219, Art in Italy: Discoveries and Attributions (October 2004:683-690) pp 683.〕 Some of his restorations were free, by modern standards: in the famous Farnese ''Aphrodite Kallipygos'' at Naples, the head, the exposed right breast, left arm and right leg below the knee are restorations by Albacini.〔Gösta Säflund, Peter M. Fraser, tr. ''Aphrodite Kallipygos'', Stockholm, 1963.〕 Not restored in Rome before shipment to Naples, however, were the Farnese paired ''Tyrannicides'' restored as ''Gladiators''.〔Illustrated by Howard 1993 pl. 38c, as restored by Albacini, but see Andrew Stewart, "David's 'Oath of the Horatii' and the Tyrannicides" ''The Burlington Magazine'' 143 No. 1177 (April 2001: 212-219) p. 216 note 9.〕 Albacini was the principal restorer for Thomas Jenkins, whose pre-eminent client was Charles Townley; Townley's collection is at the British Museum. Townley introduced Albacini to Henry Blundell whose collection of Roman sculptures was magnificently displayed at Ince Blundell.〔Gerard Vaughan, in Davies 1991.〕 In 1776 Blundell, considering that a fine modern copy was superior to a mediocre antiquity, commissioned from Albacini a copy of a colossal marble head of Lucius Verus;〔Jane Fejfer, ''The Ince Blundell Collection of Classical Sculpture 2: The Roman Male Portraits'', 1997〕 when the young Antonio Canova visited the workshops of Cavaceppi and of Albacini in 1779-80, he spoke to one of Albacini's ''garzonieri'' who said he had already spent fourteen months pointing up a copy of the Borghese bust of Lucius Verus and had five months of work still to do.〔Hugh Honour, "Canova's Studio Practice-I: The Early Years", ''The Burlington Magazine'' 114No. 828 (March 1972:146-159) p.153, noting Canova's ''Quaderni di viaggio''.〕 He catalogued the immense collection of antique sculpture, some of its freely restored, left by Cavaceppi,〔Seymour Howard, "Some Eighteenth-Century 'Restored' Boxer", ''Journal of the Warburg and Courtauld Institutes'' 56 (1993;238-255) p. 243.〕 and he assembled the collection of casts of Greco-Roman portrait busts that was sold by Filippo Albacini and can be seen in the Capitoline Museums, the Vatican Museums, in Naples, and at the Prado and Casa del Labrador, Aranjuez,〔Seymour Howard, "Ancient busts and the Cavaceppi and Albacini casts", ''Journal of the History of Collections'' 3 (1991:199-217); (Glenys Davies, "The Albacini Cast Collection - Character and significance" ), ''Journal of the History of Collections'' 1991 32:145-165.〕 and especially at the National Gallery of Scotland, where the presence of a large group of plaster casts purchased from Albacini's son in 1838 was the subject of a colloquium on the varying reputation and cultural significance of casts of classical sculptures and the varying parameters of ethical restorations.〔Glenys Davies, ed. ''Plaster and Marble: the Classical and Neo-Classical Portrait Bust (the Edinburgh Albacini Colloquium)'', ''Journal of the History of Collections'' 3, (Oxford University Press) 1991.〕 On a smaller scale his workshop, working with Luigi Valadier, produced the elaborate table-setting in gilded and patinated bronze and rare coloured marbles on the Romantic-Classical theme ''The Ruins of Paestum'' that was designed for Maria Carolina by Domenico Venuti, 1805.〔Alvar González-Palacios, ''Il gusto dei principi: arte del corto nel xvii e xviii secoli''1993.〕 As marble masons, Albacini's workshop also executed architectural sculptures, such as the two simple chimneypieces of white and coloured marble for the gallery of Ferdinand IV of Naples' hunting box, the Casino Reale at Carditello,〔González-Palacios 2004:683, illus. p. 686 ; González-Palacios notes that the two chimneypieces in question were stolen from storage in 2002.〕 about 14 km northeast of Naples. Pedestals for sculpture, for which Albacini was to be paid, were shipped from Livorno in 1780 by Gavin Hamilton intended for Thomas Pitt, later Lord Camelford, who did not take them.〔Brendan Cassidy, "Gavin Hamilton, Thomas Pitt and Statues for Stowe" ''The Burlington Magazine'' 146 No. 1221 (December 2004:806-814) p. 809.〕 His son, also Carlo Albacini (1777 – 1858), was a sculptor. ==Some other sculptors in Rome renowned for their restorations== *Orfeo Boselli *Bartolomeo Cavaceppi *Ippolito Buzzi *Ercole Ferrata *Francesco Nocchieri *Francesco Fontana *Giovanni Battista Piranesi *Vincenzo Pacetti 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Carlo Albacini」の詳細全文を読む スポンサード リンク
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