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The marble ''Gaddi Torso'' displayed in the Classical Sculpture Room of the Uffizi, Florence,〔Inv. no. 555〕 is a Hellenistic sculpture of the 2nd century BCE. ==Description== Its dynamic tension〔Compare the central figure in the Rhodian marble group of ''Laocoön and His Sons''.〕 and unusually refined modelling place it among sculptures of the .〔Giovanni Di Pasquale and Fabrizio Paolucci, ''Uffizi: the ancient sculptures'', 2001, p. 20f.〕 Formerly considered to be the torso of a satyr〔As by Augustus Hare, ''Florence'', ch. II Appendix: "The Uffizi Collection": in the ''Hall of the Hermaphrodite'', as this gallery was then called: "315. Torso of a Faun".〕 when it was in the Gaddi collection, Florence,〔Denys Eyre Lankester, ''The Arundel Marbles'' (University of Oxford, Ashmolean Museum) 1975, p. 9.〕 the sculpture is now thought to represent a centaur straining against his bonds, a theme that was represented several times in Hellenistic art, as it was an emblem of civilized control of Man's baser nature.〔Compare the Furietti Centaurs; Jon Van de Grift, "Tears and Revel: The Allegory of the Berthouville Centaur Scyphi" ''American Journal of Archaeology'' 88.3 (July 1984:377-88) esp. pp. 383, gives several literary instances of this theme in the context of the Furietti centaurs, notably Poseidippus, who complains in a poem of the Palatine Anthology of the power of love that drives him alternately "to tears and revel", and Roman references to the paradoxical nature of watered and unwatered wine, which espouse temperance and moderation.〕 The torso was very likely discovered in Rome, according to Giovanni Di Pasquale and Fabrizio Paolucci.〔Di Pasquale and Paolucci, ''Uffizi: the ancient sculptures'', 2001, p. 20f.〕 It was certainly already in the collections of the Florentine Gaddi family in the early 16th century, when Florentine artists and sculptors knew it. The sculpture appears on a pedestal, among other vestiges of shattered Classical pagan culture, in the ''Adoration of the Shepherds'' that was painted in 1515 by the Bolognese painter Amico Aspertini, now in the Uffizi.〔Di Pasquale and Paolucci 2001.〕 Rosso Fiorentino's ''Deposition of the Dead Christ'' (Boston Museum of Fine Arts) has been inspired by careful study of the ''Gaddi Torso''.〔 Its powerful, reaching and twisting musculature was a stimulus also to the young Michelangelo, whose mature style the ''Gaddi Torso'' seems to anticipate.〔 The ''Gaddi Torso'' remained with the Gaddi heirs until it was sold, still in its untouched fragmentary condition, to Leopold I, Grand Duke of Tuscany in 1778.〔Bober p. 318; Henry Edward Napier, ''Florentine History, From the Earliest Authentic Records to the Accession of Ferdinand the Third, Grand Duke of Tuscany'' (London, 1847) vol. VI, p. 154, noting, among "what remained of the Gaddi collection of pictures and statues, a beautiful ''Torso'' almost rivaling the magnificent fragment at Rome". (See Ferdinand III, Grand Duke of Tuscany.)〕 In its earlier history the ''Gaddi Torso''〔Not to be confused with the torso of the famous but heavily restored ''Satyr'' in the Tribune of the Uffizi, already in the Medici collection in Florence by 1665 (Nicholas Penny and Francis Haskell, ''Taste and the Antique: the Lure of Classical Sculpture 1500-1900'' 1981, cat. no. 34 "Dancing Faun", pp 205-08).〕 may have been in the collection of the great early Renaissance sculptor of Florence, Lorenzo Ghiberti,〔Julius von Schlosser reconstructed the collection of antiquities owned by Ghiberti, "Über einigen Antiken Lorenzo Ghibertis", ''Jahrbuch der kunsthistorischen Sammlungen der des AH Kaiserhauses'' 14 (1903) pp 125-59, "Der Torso der Sammlung Gaddi" p. 150ff, revised and included in Schlosser, ''Leben und Meinungen des florentinischen Bildner Lorenzo Ghiberti'' (Basel, 1941) pp 134-40, noted by Bober.〕 "who", according to Giorgio Vasari, "to say nothing of his own performance, bequeathed many relics of antiquity to his family,〔His son, Vasari relates, was Bonaccorso Ghiberti.〕 some in marble, others in bronze. Among these was the bed of Polycretus〔Polycleitus intended; the ''Letto di Poycreto'' is discussed by Phyllis Pray Bober, "Polykles and Polykleitos in the Renaissance: the 'Letto di Polycreto' " in Warren G. Moon, ed. ''Polykleitos, the Doryphoros, and Tradition'' (University of Wisconsin Press) 1995, p. 317ff.〕 which was a most rare thing; a leg of bronze, of the size of life, with certain heads, male and female,and some vases, which Lorenzo had caused to be brought from Greece at no small cost. He also left the torsi of many figures, with a great number of similar things, which were all dispersed, like the property of Lorenzo, suffered to be destroyed and squandered. Some of these antiquities were sold to Messer Giovanni Gaddi, then 'Cherico di Camera';〔Thus Vasari. Phyllis Bober reports (Bober 1995, p. 39) that Gaddi was in fact a Dean of the Apostolic Chamber; she adds that Gaddi had a ''vigna'' in Rome near the Baths of Trajan, according to Pirro Ligorio's encyclopedia under "Policleto"; the ''Gaddi Torso'' if not bought from Ghiberti's heirs, could have been unearthed in Gaddi's own ''vigna''.〕 and among them was the aforesaid bed of Polycletus, and some other matters, which formed the better part of the collection."〔"Among these were the torso of a Satyr, a work of the best period of Greece... The first of these torsi is in the Florentine gallery" (note by G. Masselli (Florence, 1832-38), in Mrs Jonathan Foster, tr. (Giorgio Vasari) ''Lives of the Most Eminent Painters, Sculptors and Architects'', (London, 1850) s.v.'' "Lorenzo Ghiberti" p 384.〕 In company with the ''Belvedere Torso'' in the Vatican collections, the ''Gaddi Torso'' was never restored by being completed, a fate undergone by most other fine Antique fragmentary sculpture.〔Numerous examples are discussed by Nicholas Penny and Francis Haskell, ''Taste and the Antique: the Lure of Classical Sculpture 1500-1900'' 1981, ''passim''; the ''Belvedere Torso'' retained its original state in large part because of Michelangelo's admiration for it (Penny and Haskell cat. no 80. Belvedere Torso, pp 311-14).〕 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「Gaddi Torso」の詳細全文を読む スポンサード リンク
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