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The Venus de' Medici or Medici Venus is a lifesize〔Height 1.53m〕 Hellenistic marble sculpture depicting the Greek goddess of love Aphrodite. It is a 1st-century BC marble copy, perhaps made in Athens, of a bronze original Greek sculpture, following the type of the Aphrodite of Cnidos,〔Mansuelli〕 which would have been made by a sculptor in the immediate Praxitelean tradition, perhaps at the end of the century. It has become one of the navigation points by which the progress of the Western classical tradition is traced, the references to it outline the changes of taste and the process of classical scholarship.〔This general theme is the subject of Francis Haskell and Nicholas Penny, ''Taste and the Antique: The Lure of Classical Sculpture 1500–1900'' (Yale University Press) 1981.〕 It is housed in the Uffizi Gallery, Florence, Italy. ==Origin== The goddess is depicted in a fugitive, momentary pose, as if surprised in the act of emerging from the sea, to which the dolphin at her feet alludes. The dolphin would not have been a necessary support for the bronze original. It bears a Greek inscription CLEOMENES SON OF APOLLODORUS OF ATHENS on its base.〔Beard Mary, and Henderson, John. "Classical Art: From Greece to Rome ". Oxford University Press, 2001. p. 117. ISBN 0-19-284237-4〕 The inscription is not original, but in the 18th century the name "Cleomenes" was forged on sculptures of modest quality to enhance their value, while the inscription on the Venus de' Medici was doubted in order to ascribe the work to one of various highly-thought-of names: besides Praxiteles the less-likely names of Phidias or Scopas.〔Haskell and Penny p. 326.〕 The restorations of the arms was made by Ercole Ferrata, who gave them long tapering Mannerist fingers that did not begin to be recognized as out of keeping with the sculpture until the 19th century. The Venus de' Medici is the name piece under which are recognized many replicas and fragments of this particular version of Praxiteles' theme, which introduced the life size nude representation of Aphrodite. Though this particular variant is not identifiable in any extant literature, it must have been widely known to Greek and Roman connoisseurs. Among replicas and fragments of less importance,〔A list was given in B.M. Felleti-Maj, in ''Archaeologica Classica'' 3 (1951).〕 the closest in character and finest in quality is a marble Aphrodite at the Metropolitan Museum of Art, described below. Such sculptures are described as "Roman copies", with the understanding that these were produced, often by Greek sculptors, anywhere under Roman hegemony "say, between the dictatorship of Sulla and the removal of the Capital to Constantinople, 81 B.C. to A.D. 330"〔Christine Alexander, "A Statue of Aphrodite" ''The Metropolitan Museum of Art Bulletin'' New Series, 11.9 (May, 1953 pp. 241-251) p 245.〕 Their quality may vary from work produced by a fine sculptor for a discerning patron, to commonplace copies mass-produced for gardens. 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「Venus de' Medici」の詳細全文を読む スポンサード リンク
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