ЦИЗА ФЛАВИЯ (Университет «Кора» в Энне, Италия). Влияние скульптурного образца «Арротино» на создание типа «Скорчившегося мальчика»
FLAVIA ZISA (The Kore University of Enna, Italy). The Impact of the Ancient “Arrotino” Model on the “Crouching Boy” Type
The so-called “Arrotino”(knife sharpener) at the Uffizi, a Roman copy in marble after a Hellenistic original, discovered in Rome before 1519, depicts the barbarian slave who whets the knife for the sacrifice of the satyr Marsya, according to a myth represented in Classical art since the beginning of IV B.C.
In 1751, Pandolfo Titi, the author of a detailed guide to Pisa monuments, mentioned a sandstone statue located in the main room of the Lanfranchi Palace in Pisa, and “was made by Michelangelo Buonarroti on the model of the “Arrotino” at the Uffizi”.
This replica has been recently discovered in 2000 by this writer, and published on scientific literature since than.
Alessandro Parronchi, one of the most distinguished scholars on Michelangelo, has dedicated a large part to the searching for documents related to the hypothesis of the Michelangelo’s interest to the theme of the “Arrrotino”. Though the purpose of prof. Parronchi was (wrongly) to show that the statue at the Uffizi was made by Michelangelo himself, all the arguments he collected can represent a strong evidence of the interest of Michelangelo to the innovative figure of a nude crouched man with turned up around head. This figurative convention first appears during the period of Michelangelo’s youth and it depends on the new discovering of classical sculptures in Rome.
Michelangelo itself said that the “Torso Belvedere” was his Maestro, a prelude to his original concept for the Crouching Boy at the Hermitage.
Due to the formal and aesthetical relationship with the Classical world, these sculptures represent a wonderful exercise in tracking down the differences from copy to copy over the centuries. Our sculptures contributes to our knowledge of the transformations of a model also by the material: the Hellenist bronze original (lost); the roman copy (Uffizi); the Renaissance sandstone copy or Roman copy (gonfolina); the Hermitage Crouching Boy. Through this itinerary, we can recognize how an artist modifies the Ancient and makes himself fully free from the original model, as seen with the Hermitage Crouching Boy.
In conclusion, the Arrotino schema represents a remarkable occasion to explore a large spectrum of connections and aspects in art history, from the Classical period to Renaissance art.
Арротино, античное искусство, эпоха Возрождения, Уффици, Эрмитаж, Марсий, Пиза, Ланфранки, точильщик ножа, Пандольфо Тити, Микеланджело, Флоренция
Arrotino, classical art, Renaissance, Uffizi, Hermitage, Marsya, Pisa, Lanfranchi, knife-sharpener, Saint Peterburg, Pandolfo Titi, Michelangelo, Florence