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The '' Sleeping Ariadne'', housed in the Vatican Museums in Vatican City, is a Roman Hadrianic copy of a Hellenistic sculpture of the Pergamene school of the 2nd century BCE,〔Wolfgang Helbig, ''Fürer durch die öffenticher Sammlungen klassischer Altertümer in Rom'', 1969 I:109f; the extent to which such copies are free pastiches is always an unknown.〕 and is one of the most renowned sculptures of Antiquity.〔The high reputation of the ''Sleeping Ariadne'' is sketched by Francis Haskell and Nicholas Penny, ''Taste and the Antique: the lure of classical sculpture 1500-1900'', 1981, cat. no. 24 (as ''Cleopatra''):184-87.〕 The reclining figure in a chiton bound under her breasts half lies, half sits,〔The unobtrusive rockwork is restored.〕 her extended legs crossed at the calves, her head pillowed on her left arm, her right thrown over her head. Other Roman copies of this model exist: one, the "Wilton House Ariadne", is substantially unrestored,〔"The Wilton House Ariadne, totally unrestored, is therefore of great importance in suggesting a more horizontal position than the Vatican figure" observes Brunilde Sismondo Ridgway, ''Hellenistic Sculpture: The Styles of ca. 331-200 B.C.'' 2001:331; the ''Ariadne'' is discussed pp 330-32.〕 while another, the "Medici Ariadne" found in Rome, has been "seriously reworked in modern times", according to Brunilde Sismondo Ridgway.〔Ridgway 2001 ''eo. loc.''.〕 Two surviving statuettes〔In Providence, Rhode Island (pose reversed), and San Antonio, Texas.〕 attest to a Roman trade in reductions of this familiar figure. A variant ''Sleeping Ariadne'' is in the Prado Museum, Madrid.〔Prado E-167, illustration.〕 A later Roman variant found in the Villa Borghese gardens, Rome, is at the Louvre Museum. Purchased from the Roman Angelo Maffei〔The Maffei had already accumulated an extensive assemblage of sculptures, reliefs and inscriptions that had been unearthed on the properties.〕 in 1512 by Pope Julius II, it was immediately installed in the Belvedere Courtyard, which links the Vatican Palace with the papal ''casina'' called the Belvedere; there its neighbors were the recently discovered ''Laocoön'' and the ''Belvedere Apollo''. Once she had been initially identified as Cleopatra〔Leonard Barkan, "The Beholder's Tale: Ancient Sculpture, Renaissance Narratives" ''Representations'' 44 (Autumn 1993:133-166) explores the rhetoric inextricably tied to decoding this image (''ekphrasis'') and providing a narrative for it, whether "Cleopatra", "Sleeping Nymph" or "Ariadne"; Peter Higgs, "Searching for Cleopatra's image: classical portraits in stone", in Susan Walker and Peter Higgs, ''Cleopatra of Egypt. From History to Myth'', 2001, begins with the ''Sleeping Ariadne'' misidentification before moving to historical portraiture of Cleopatra.〕 because of the snake bracelet on the upper left arm, which was taken for the asp by which she died, supportive narrative could easily be brought to bear: Ulisse Aldrovandi thought he detected that "she appears to have collapsed and fainted",〔Aldrovandi, ''Delle statue antiche'', Venice, 1556, quoted in Barkan 1993:138 note 18.〕 and a sense of fitful uneasiness has been ascribed to her by the modern viewer Sheila McNally (below). The "''Cleopatra''" became the main model〔The ''Barberini Faun'' was not found until the 1620s, by which time the convention had been thoroughly established〕 through which a conventional pose signifying sleep,〔Sheila McNally, "Ariadne and Others: Images of Sleep in Greek and Early Roman Art", ''Classical Antiquity'' 4.2 (October 1985:152-192), esp. 170ff; Brunilde Sismondo Ridgway, "A Story of Five Amazons", ''American Journal of Archaeology,'' 78.1 (January 1974:1-17), notes archaic representations of the dead and dying and briefly sketches the progression of the pose as it was extended to other figures; compare the sleeping pose of Endymion on sarcophagi and in post-Renaissance paintings.〕 with one elbow cocked above the head, was transmitted from Antiquity to High Renaissance and later painters and sculptors. T.B.L. Webster invoked for the uneasy pose of the sleeper, between sleep and wakening, a Hellenistic innovation in the sleeping Ariadne motif long known from vase-painting, which now placed greater emphasis on the stress of Ariadne herself; perhaps, Webster suggests, it was reflecting a new, literary source that has not survived.〔Webster, "The myth of Ariadne from Homer to Catullus", ''Greece and Rome'' 13 (1966:22-31) pp 29-31.〕 Sheila McNally detected in the sculpture a new "sense of unease that informs the whole" and "an effort to throw off some inner discomfort — a sluggish effort, restrained by a slumber that is more oppressive than relaxing. Her drapery bunches about her legs, imprisoning her loins."〔McNally 1985:172.〕 Soon she may wake to threaten vengeance on Theseus, as in Catullus' description in ''Peleus and Thetis''.〔Quoted by Webster 1966:30〕 ==Since the Renaissance== The ''Cleopatra'', as it was then known, was set upon a Roman sarcophagus and fitted as a fountain in a niche at one end of the uppermost terrace of the ''Cortile del Belvidere'', embodying in its setting the description of a ''Sleeping Nymph'' allegedly found by the far-off Danube, with a suitably Antique-sounding four-line Latin epigram beginning HUIUS NYMPHA LOCI... that was then making the humanist rounds. The epigram, which passed until modern times for a Roman one, was composed by Giovanni Antonio Campani, a humanist at the court of Pius II who moved in the academic circle of Julius Pomponius Laetus. But the ''Sleeping Nymph'' motif and the accompanying inscription applied to it became part and parcel of humanistic and fashionable recreations of paradisal garden spots with classical affinities— ''loci amoeni''— right through the 18th century, all the while assimilated to the "''Cleopatra''", Leonard Barkan observes, "by a contagion among quite separate narratives that happen to converge in the enigmatic space of the ''signum''/statue".〔"One of the words for 'statue' in Latin is, after all ''signum''" (Barkan 1993:43).〕 The niche, if it was not a grotto from the first, was redecorated as a grotto in the 1530s, when Francisco de Holanda made a drawing of it.〔Illustrated Barkan 1993:143 fig. 3.〕 In the 1550s, under the general direction of Giorgio Vasari the sculpture was reinstalled indoors in an adjoining long gallery, for which, still as a fountain in a shallow grotto niche, it served as the visual focus at one end; Danielle da Volterra provided the designs for the setting in what became known as the ''Stanza Cleopatra''.〔Norman Canedy, "The Decoration of the Stanza della Cleopatra", ''Essays in the History of Art Presented to Rudolf Wittkower'', II (1967).〕 When the Museo Pio-Clementino was established, it received its similar new setting, set on a sarcophagus that bears a frieze of the Titanomachy.〔Haskell and Penny 1981:184.〕 Poems were dedicated to the sculpture during the 16th century, sometimes expressed as if in the statue's own voice, in the rhetorical device called ''prosopopoeia''; Baldassare Castiglione wrote one of these, in the form of a dramatic monologue,〔Noted by Haskell and Penny 1981:〕 which Alexander Pope Englished in the early 18th century.〔Pope, "On the Statue of Cleopatra, made into a Fountain by Leo the Tenth Translated from the Latin of Count Castiglione".〕 The sculpture was one of a dozen selected by Primaticcio to be molded for plaster copies and then cast in bronze for Francis I at the château de Fontainebleau. In the process, the pose was slightly adjusted, and the sleeping nymph's limbs were gently lengthened, to accord better with French Mannerist canons of female beauty. From the bronze at Fontainebleau numerous copies and reductions were made.〔Sylvia Pressouyre, "Les fontes de Primatice à Fontainebleau", ''Bulletin Monumental'' 1969::223-39.〕 In Rome Nicolas Poussin made a small wax copy of the papal sculpture to keep by him, which has come to be preserved in the Louvre Museum. Copies in marble were commissioned by Louis XIV. Pierre Julien sculpted a marble copy during his sojourn at the French Academy in Rome, 1768 to 1773, and shipped it to France to demonstrate the progress he was making, as was the expected gesture of the king's ''pensionnaires''.〔Illustration, at Versailles〕 In Henry Hoare's picturesque garden at Stourhead, a lakeside temple contained John Cheere's whited-lead copy (1766) of the Vatican ''Ariadne'' with the suitably Antique-sounding verses beginning HUIUS NYMPHA LOCI.... In America, not very much later, Thomas Jefferson acquired a small marble copy of the "''Cleopatra''", as he first knew it, for the sculpture gallery he planned at Monticello but which was never realised.〔Seymour Howard, "Thomas Jefferson's Art Gallery for Monticello", ''The Art Bulletin'' 59.4 (December 1977:583-6000 p 587, 592)〕 It was a gift from James Bowdoin, in 1805, and remains in Jefferson's hallway.〔("Ariadne (Sculpture)" ), ''Thomas Jefferson Encyclopedia''. Retrieved 7 June 2010.〕 Napoleon's agents in Rome naturally selected the "''Cleopatra''" to join the choicest antiquities to be taken to Paris, forming the short-lived ''Musée Napoléon''; with Napoleon's fall, it was returned to Rome with the other treasures. 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「Sleeping Ariadne」の詳細全文を読む スポンサード リンク
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