From Wikipedia

The Pasquino Group (also known as Menelaus Carrying the Body of Patroclus or Ajax Carrying the Body of Achilles) is a group of marble sculptures that copy a Hellenistic bronze original, dating to ca. 200–150 BCE. At least fifteen Roman marble copies of this sculpture are known. Many of these marble copies have complex artistic and social histories that illustrate the degree to which improvisatory “restorations” were made to fragments of ancient Roman sculpture during the 16th and 17th centuries, in which contemporary Italian sculptors made original and often arbitrary and destructive additions in an effort to replace lost fragments of the ancient sculptures.

One of the most famous versions of the composition, though so dismembered and battered that the relationship is scarcely recognizable at first glance, is the so-called Pasquin, one of the talking statues of Rome. It was set up on a pedestal in 1501 and remains unrestored. A version of the group, probably intended to represent other Homeric figures, is part of the Sperlonga sculptures found in 1957.

Ancient Roman copies of the original Greek sculptural group were first documented in Rome ca. 1500. During the 16th century, various authors proposed different identifications for the dead figure, including Hercules, Geryon, and Alexander the Great. Bernhard Schweitzer’s 1936 Das Original der sogennanten Pasquino-Gruppe identifies the subject of the group as Menelaus carrying the body of Patroclus; however, this identification has been questioned and the subject of Ajax carrying the body of Achilles is now widely accepted for most of the Roman copies.

In the case of the very fragmentary group from Sperlonga, most scholars agree it is here intended to show Odysseus carrying the body of the dead Achilles off the battlefield outside Troy (or possibly Ajax doing the carrying), as the other sculptures in the ensemble show scenes from the story of Odysseus. This is an unusual subject, not in Homer, but one that is mentioned by Ovid (Metamorposes, 13, 282 ff) and fits the rest of the programme. Here Odysseus is shown at his most conventionally virtuous, demonstrating pietas.

The Pasquino fragment still shows the warrior’s eroded hand on the limp torso
Cosimo I, Grand Duke of Tuscany purchased an ancient marble fragment depicting the headless torso of a man in armor supporting a heroically nude dying comrade soon after it was discovered in the vigna of Antonio Velli, half a Roman mile beyond Porta Portese, Rome. With the consent of Pope Pius V, it was taken immediately to Florence, where it appears in the inventory taken at Cosimo’s death in 1574. The project for completing the truncated torso of the “Ajax” figure, missing above the waist when it was found according to the Memorie (1594) of the sculptor and antiquarian Flaminio Vacca, was commissioned by Ferdinando II; the “restoration” was worked out by Pietro Tacca and executed by Lodovico Salvetti from Tacca’s model, according to Filippo Baldinucci. It was set up in a niche on the south end of the Ponte Vecchio. Paolo Alessandro Maffei’s engraving of 1704 shows that the “Ajax” figure then was wearing a helmet much simpler than the elaborate neoclassical one erroneously provided by Ricci seen on the sculpture today.

In 1771, the neoclassic artist Anton Raphael Mengs took moulds of the parts he considered genuinely ancient (and thus original) of this sculpture and the version at the Palazzo Pitti (discussed below) and reassembled them in a plaster model that was intended to be more faithful to the Roman original. It was taken away to be further repaired in 1798 and remained in obscurity, undergoing further adjustments by Stefano Ricci in the 1830s, until it was finally re-erected in 1838, in the Loggia dei Lanzi in the Piazza della Signoria, Florence. The feature which still draws most attention is the lifeless hanging left arm of the “Achilles” figure, seemingly dislocated, which was in fact part of the Tacca-Salvetti restoration. Other errors in restoration are the lifted left leg of the bearer, the raised right knee of Patroclus, and the mounded ground that serves as a base.

Object description
Type: Sculpture
Location: Loggia dei Lanzi, Florence, Italy
Material: Marble
Artist: Anton Raphael Mengs (1728-1779)
Date: 1771

Image Details
Date: 16 September 2022
Camera body: iPhone Xs
Lens: Telephoto Camera 52mm ƒ/2.4
Focal Length: 52mm
Aperture: ƒ/2.4
Shutter Speed: 1/216s
ISO: 16
Licence: Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International

From Wikipedia

The Pasquino Group (also known as Menelaus Carrying the Body of Patroclus or Ajax Carrying the Body of Achilles) is a group of marble sculptures that copy a Hellenistic bronze original, dating to ca. 200–150 BCE. At least fifteen Roman marble copies of this sculpture are known. Many of these marble copies have complex artistic and social histories that illustrate the degree to which improvisatory “restorations” were made to fragments of ancient Roman sculpture during the 16th and 17th centuries, in which contemporary Italian sculptors made original and often arbitrary and destructive additions in an effort to replace lost fragments of the ancient sculptures.

One of the most famous versions of the composition, though so dismembered and battered that the relationship is scarcely recognizable at first glance, is the so-called Pasquin, one of the talking statues of Rome. It was set up on a pedestal in 1501 and remains unrestored. A version of the group, probably intended to represent other Homeric figures, is part of the Sperlonga sculptures found in 1957.

Ancient Roman copies of the original Greek sculptural group were first documented in Rome ca. 1500. During the 16th century, various authors proposed different identifications for the dead figure, including Hercules, Geryon, and Alexander the Great. Bernhard Schweitzer’s 1936 Das Original der sogennanten Pasquino-Gruppe identifies the subject of the group as Menelaus carrying the body of Patroclus; however, this identification has been questioned and the subject of Ajax carrying the body of Achilles is now widely accepted for most of the Roman copies.

In the case of the very fragmentary group from Sperlonga, most scholars agree it is here intended to show Odysseus carrying the body of the dead Achilles off the battlefield outside Troy (or possibly Ajax doing the carrying), as the other sculptures in the ensemble show scenes from the story of Odysseus. This is an unusual subject, not in Homer, but one that is mentioned by Ovid (Metamorposes, 13, 282 ff) and fits the rest of the programme. Here Odysseus is shown at his most conventionally virtuous, demonstrating pietas.

The Pasquino fragment still shows the warrior’s eroded hand on the limp torso
Cosimo I, Grand Duke of Tuscany purchased an ancient marble fragment depicting the headless torso of a man in armor supporting a heroically nude dying comrade soon after it was discovered in the vigna of Antonio Velli, half a Roman mile beyond Porta Portese, Rome. With the consent of Pope Pius V, it was taken immediately to Florence, where it appears in the inventory taken at Cosimo’s death in 1574. The project for completing the truncated torso of the “Ajax” figure, missing above the waist when it was found according to the Memorie (1594) of the sculptor and antiquarian Flaminio Vacca, was commissioned by Ferdinando II; the “restoration” was worked out by Pietro Tacca and executed by Lodovico Salvetti from Tacca’s model, according to Filippo Baldinucci. It was set up in a niche on the south end of the Ponte Vecchio. Paolo Alessandro Maffei’s engraving of 1704 shows that the “Ajax” figure then was wearing a helmet much simpler than the elaborate neoclassical one erroneously provided by Ricci seen on the sculpture today.

In 1771, the neoclassic artist Anton Raphael Mengs took moulds of the parts he considered genuinely ancient (and thus original) of this sculpture and the version at the Palazzo Pitti (discussed below) and reassembled them in a plaster model that was intended to be more faithful to the Roman original. It was taken away to be further repaired in 1798 and remained in obscurity, undergoing further adjustments by Stefano Ricci in the 1830s, until it was finally re-erected in 1838, in the Loggia dei Lanzi in the Piazza della Signoria, Florence. The feature which still draws most attention is the lifeless hanging left arm of the “Achilles” figure, seemingly dislocated, which was in fact part of the Tacca-Salvetti restoration. Other errors in restoration are the lifted left leg of the bearer, the raised right knee of Patroclus, and the mounded ground that serves as a base.

Object description
Type: Sculpture
Location: Loggia dei Lanzi, Florence, Italy
Material: Marble
Artist: Anton Raphael Mengs (1728-1779)
Date: 1771

Image Details
Date: 16 September 2022
Camera body: Nikon D50
Lens: Tamron 70.0-300.0 mm f/4.0-5.6
Focal Length: 180mm
Aperture: ƒ/4.8
Shutter Speed: 1/500s
ISO: 400
Licence: Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International

From Wikipedia

The Pasquino Group (also known as Menelaus Carrying the Body of Patroclus or Ajax Carrying the Body of Achilles) is a group of marble sculptures that copy a Hellenistic bronze original, dating to ca. 200–150 BCE. At least fifteen Roman marble copies of this sculpture are known. Many of these marble copies have complex artistic and social histories that illustrate the degree to which improvisatory “restorations” were made to fragments of ancient Roman sculpture during the 16th and 17th centuries, in which contemporary Italian sculptors made original and often arbitrary and destructive additions in an effort to replace lost fragments of the ancient sculptures.

One of the most famous versions of the composition, though so dismembered and battered that the relationship is scarcely recognizable at first glance, is the so-called Pasquin, one of the talking statues of Rome. It was set up on a pedestal in 1501 and remains unrestored. A version of the group, probably intended to represent other Homeric figures, is part of the Sperlonga sculptures found in 1957.

Ancient Roman copies of the original Greek sculptural group were first documented in Rome ca. 1500. During the 16th century, various authors proposed different identifications for the dead figure, including Hercules, Geryon, and Alexander the Great. Bernhard Schweitzer’s 1936 Das Original der sogennanten Pasquino-Gruppe identifies the subject of the group as Menelaus carrying the body of Patroclus; however, this identification has been questioned and the subject of Ajax carrying the body of Achilles is now widely accepted for most of the Roman copies.

In the case of the very fragmentary group from Sperlonga, most scholars agree it is here intended to show Odysseus carrying the body of the dead Achilles off the battlefield outside Troy (or possibly Ajax doing the carrying), as the other sculptures in the ensemble show scenes from the story of Odysseus. This is an unusual subject, not in Homer, but one that is mentioned by Ovid (Metamorposes, 13, 282 ff) and fits the rest of the programme. Here Odysseus is shown at his most conventionally virtuous, demonstrating pietas.

The Pasquino fragment still shows the warrior’s eroded hand on the limp torso
Cosimo I, Grand Duke of Tuscany purchased an ancient marble fragment depicting the headless torso of a man in armor supporting a heroically nude dying comrade soon after it was discovered in the vigna of Antonio Velli, half a Roman mile beyond Porta Portese, Rome. With the consent of Pope Pius V, it was taken immediately to Florence, where it appears in the inventory taken at Cosimo’s death in 1574. The project for completing the truncated torso of the “Ajax” figure, missing above the waist when it was found according to the Memorie (1594) of the sculptor and antiquarian Flaminio Vacca, was commissioned by Ferdinando II; the “restoration” was worked out by Pietro Tacca and executed by Lodovico Salvetti from Tacca’s model, according to Filippo Baldinucci. It was set up in a niche on the south end of the Ponte Vecchio. Paolo Alessandro Maffei’s engraving of 1704 shows that the “Ajax” figure then was wearing a helmet much simpler than the elaborate neoclassical one erroneously provided by Ricci seen on the sculpture today.

In 1771, the neoclassic artist Anton Raphael Mengs took moulds of the parts he considered genuinely ancient (and thus original) of this sculpture and the version at the Palazzo Pitti (discussed below) and reassembled them in a plaster model that was intended to be more faithful to the Roman original. It was taken away to be further repaired in 1798 and remained in obscurity, undergoing further adjustments by Stefano Ricci in the 1830s, until it was finally re-erected in 1838, in the Loggia dei Lanzi in the Piazza della Signoria, Florence. The feature which still draws most attention is the lifeless hanging left arm of the “Achilles” figure, seemingly dislocated, which was in fact part of the Tacca-Salvetti restoration. Other errors in restoration are the lifted left leg of the bearer, the raised right knee of Patroclus, and the mounded ground that serves as a base.

Object description
Type: Sculpture
Location: Loggia dei Lanzi, Florence, Italy
Material: Marble
Artist: Anton Raphael Mengs (1728-1779)
Date: 1771

Image Details
Date: 16 September 2022
Camera body: Nikon D50
Lens: Tamron 70.0-300.0 mm f/4.0-5.6
Focal Length: 70mm
Aperture: ƒ/4
Shutter Speed: 1/1,000s
ISO: 400
Licence: Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International

From Wikipedia

Perseus with the Head of Medusa is a bronze sculpture made by Benvenuto Cellini in the period 1545-1554. The sculpture stands upon a square base with bronze relief panels depicting the story of Perseus and Andromeda, similar to a predella on an altarpiece. It is located in the Loggia dei Lanzi of the Piazza della Signoria in Florence, Italy. The second Florentine duke, Duke Cosimo I de’ Medici, commissioned the work with specific political connections to the other sculptural works in the piazza. When the piece was revealed to the public on 27 April 1554, Michelangelo’s David, Bandinelli’s Hercules and Cacus, and Donatello’s Judith and Holofernes were already erected in the piazza.

The subject matter of the work is the mythological story of Perseus beheading Medusa, a hideous woman-faced Gorgon whose hair was turned to snakes and anyone that looked at her was turned to stone. Perseus stands naked except for a sash and winged sandals, triumphant on top of the body of Medusa with her snakey head in his raised hand. The body of Medusa spews blood from her severed neck. The bronze sculpture and Medusa’s head turns men to stone and is appropriately surrounded by three huge marble statues of men: Hercules, David, and later Neptune. Cellini breathed new life into the piazza visitor through his new use of bronze in Perseus and the head of Medusa and the motifs he used to respond to the previous sculpture in the piazza. If one examines the sculpture from the back, you can see the self-image of the sculptor Cellini on the backside of Perseus’ helmet.

The sculpture is thought to be the first statue since the classical age where the base included a figurative sculpture forming an integral part of the work.

Background

Cellini was the first to integrate narrative relief into the sculpture of the piazza. As the Perseus was installed in the Loggia, it dominated the dimensions of later pedestals of other sculptural works within the Loggia, like Giambologna’s The Rape of the Sabine. Perseus added to the cast of Olympian gods protecting the Medici. Weil-Garris also focuses on the pedestal beneath the sculpture in the round. However, it may not have been Cellini’s original intent, as the relief was still being worked on and installed when the bronze sculpture above had already been revealed. The Medici still dominated the theme of the pedestal as Perseus in the pedestal acts as an allegory to Duke Francesco Medici.

The politics of the Medici and Florence dominate the Piazza della Signoria, specifically referencing the first three Florentine dukes. Duke Alessandro I was the first Florentine duke and Hercules and Cacus was revealed during his time and met with terrible reception by the public in 1534. The next sculpture to be revealed was Cellini’s Perseus and Cosimo I was very cautious about the public’s reaction to the piece. Thankfully, the public received the sculpture well as Cosimo watched the reception from a window in the Palazzo Vecchio. The third duke is directly related to the sculpture’s relief panel on the base as the Perseus can be seen as an allegory to Duke Francesco and Andromeda as his Habsburg bride, Giovanna. Similarly, Andromeda acts as an allegory to Florence, while Perseus is the collective Medici swooping down to save Florence. Cellini chose to represent the sad side of the story of Andromeda; however he drew focus to the Medici as Perseus saving the somber Andromeda. Every sculpture within the piazza responds politically or artistically to each other and the Medici.

The work

At the time of creating the sculpture bronze had not been used in almost half a century for a monumental work of art. Cellini made the conscious decision to work in this medium because pouring molten metal into his cast, he was vivifying the sculpture with life-giving blood. The most difficult part would be completing the entire cast all at once. Donatello’s Judith and Holofernes was already placed within the Loggia dei Lanzi in the westernmost arch. Judith had been cast in bronze, but in several sections jointed together. Cellini was competing against monumental works, like Michelangelo’s David and wanted to make a statement for himself and the patron, Cosimo I.

Michael Cole specifically draws attention to the process of casting the Perseus. Citing Cellini’s Vita, Cole notes how Cellini’s assistants let the metal clot and had Cellini not been present the work would have been destroyed. Cole then asserts that Cellini goes beyond reviving the work, but raised the dead, in which he means that Cellini’s salvation was remelting the bronze. Cellini also invokes Christ and by doing so he breathes life into the sculpture. Casting the Perseus was more than meeting the demand of Cosimo I; Cellini was proving himself to Florence in a newly refurbished medium.

Perseus was one of Cellini’s crowning works, completed with two different ideals in mind. He wanted to respond to the sculpture already placed within the piazza, which he did with the subject matter of Medusa reducing men to stone. Secondly, the Medici were represented by Perseus and the subject matter achieved that in the round sculpture and the relief below. Moreover, in that respect, Cellini also made a statement for himself in the actual casting of Perseus. Cellini gave life with his new sculpture in his use of bronze and asserted the Medician control over the Florentine people through the Perseus motif.

Object description
Type: Sculpture
Location: Loggia dei Lanzi, Florence, Italy
Material: Bronze
Artist: Benvenuto Cellini (1500–1571)
Date: 1545–1554

Image Details
Date: 16 September 2022
Camera body: Nikon D50
Lens: Tamron 70.0-300.0 mm f/4.0-5.6
Focal Length: 260mm
Aperture: ƒ/5.3
Shutter Speed: 1/500s
ISO: 640
Licence: Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International

From Wikipedia

Perseus with the Head of Medusa is a bronze sculpture made by Benvenuto Cellini in the period 1545-1554. The sculpture stands upon a square base with bronze relief panels depicting the story of Perseus and Andromeda, similar to a predella on an altarpiece. It is located in the Loggia dei Lanzi of the Piazza della Signoria in Florence, Italy. The second Florentine duke, Duke Cosimo I de’ Medici, commissioned the work with specific political connections to the other sculptural works in the piazza. When the piece was revealed to the public on 27 April 1554, Michelangelo’s David, Bandinelli’s Hercules and Cacus, and Donatello’s Judith and Holofernes were already erected in the piazza.

The subject matter of the work is the mythological story of Perseus beheading Medusa, a hideous woman-faced Gorgon whose hair was turned to snakes and anyone that looked at her was turned to stone. Perseus stands naked except for a sash and winged sandals, triumphant on top of the body of Medusa with her snakey head in his raised hand. The body of Medusa spews blood from her severed neck. The bronze sculpture and Medusa’s head turns men to stone and is appropriately surrounded by three huge marble statues of men: Hercules, David, and later Neptune. Cellini breathed new life into the piazza visitor through his new use of bronze in Perseus and the head of Medusa and the motifs he used to respond to the previous sculpture in the piazza. If one examines the sculpture from the back, you can see the self-image of the sculptor Cellini on the backside of Perseus’ helmet.

The sculpture is thought to be the first statue since the classical age where the base included a figurative sculpture forming an integral part of the work.

Background

Cellini was the first to integrate narrative relief into the sculpture of the piazza. As the Perseus was installed in the Loggia, it dominated the dimensions of later pedestals of other sculptural works within the Loggia, like Giambologna’s The Rape of the Sabine. Perseus added to the cast of Olympian gods protecting the Medici. Weil-Garris also focuses on the pedestal beneath the sculpture in the round. However, it may not have been Cellini’s original intent, as the relief was still being worked on and installed when the bronze sculpture above had already been revealed. The Medici still dominated the theme of the pedestal as Perseus in the pedestal acts as an allegory to Duke Francesco Medici.

The politics of the Medici and Florence dominate the Piazza della Signoria, specifically referencing the first three Florentine dukes. Duke Alessandro I was the first Florentine duke and Hercules and Cacus was revealed during his time and met with terrible reception by the public in 1534. The next sculpture to be revealed was Cellini’s Perseus and Cosimo I was very cautious about the public’s reaction to the piece. Thankfully, the public received the sculpture well as Cosimo watched the reception from a window in the Palazzo Vecchio. The third duke is directly related to the sculpture’s relief panel on the base as the Perseus can be seen as an allegory to Duke Francesco and Andromeda as his Habsburg bride, Giovanna. Similarly, Andromeda acts as an allegory to Florence, while Perseus is the collective Medici swooping down to save Florence. Cellini chose to represent the sad side of the story of Andromeda; however he drew focus to the Medici as Perseus saving the somber Andromeda. Every sculpture within the piazza responds politically or artistically to each other and the Medici.

The work

At the time of creating the sculpture bronze had not been used in almost half a century for a monumental work of art. Cellini made the conscious decision to work in this medium because pouring molten metal into his cast, he was vivifying the sculpture with life-giving blood. The most difficult part would be completing the entire cast all at once. Donatello’s Judith and Holofernes was already placed within the Loggia dei Lanzi in the westernmost arch. Judith had been cast in bronze, but in several sections jointed together. Cellini was competing against monumental works, like Michelangelo’s David and wanted to make a statement for himself and the patron, Cosimo I.

Michael Cole specifically draws attention to the process of casting the Perseus. Citing Cellini’s Vita, Cole notes how Cellini’s assistants let the metal clot and had Cellini not been present the work would have been destroyed. Cole then asserts that Cellini goes beyond reviving the work, but raised the dead, in which he means that Cellini’s salvation was remelting the bronze. Cellini also invokes Christ and by doing so he breathes life into the sculpture. Casting the Perseus was more than meeting the demand of Cosimo I; Cellini was proving himself to Florence in a newly refurbished medium.

Perseus was one of Cellini’s crowning works, completed with two different ideals in mind. He wanted to respond to the sculpture already placed within the piazza, which he did with the subject matter of Medusa reducing men to stone. Secondly, the Medici were represented by Perseus and the subject matter achieved that in the round sculpture and the relief below. Moreover, in that respect, Cellini also made a statement for himself in the actual casting of Perseus. Cellini gave life with his new sculpture in his use of bronze and asserted the Medician control over the Florentine people through the Perseus motif.

Object description
Type: Sculpture
Location: Loggia dei Lanzi, Florence, Italy
Material: Bronze
Artist: Benvenuto Cellini (1500–1571)
Date: 1545–1554

Image Details
Date: 16 September 2022
Camera body: Nikon D50
Lens: Tamron 70.0-300.0 mm f/4.0-5.6
Focal Length: 92mm
Aperture: ƒ/4.2
Shutter Speed: 1/1,000s
ISO: 400
Licence: Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International

From Wikipedia

Perseus with the Head of Medusa is a bronze sculpture made by Benvenuto Cellini in the period 1545-1554. The sculpture stands upon a square base with bronze relief panels depicting the story of Perseus and Andromeda, similar to a predella on an altarpiece. It is located in the Loggia dei Lanzi of the Piazza della Signoria in Florence, Italy. The second Florentine duke, Duke Cosimo I de’ Medici, commissioned the work with specific political connections to the other sculptural works in the piazza. When the piece was revealed to the public on 27 April 1554, Michelangelo’s David, Bandinelli’s Hercules and Cacus, and Donatello’s Judith and Holofernes were already erected in the piazza.

The subject matter of the work is the mythological story of Perseus beheading Medusa, a hideous woman-faced Gorgon whose hair was turned to snakes and anyone that looked at her was turned to stone. Perseus stands naked except for a sash and winged sandals, triumphant on top of the body of Medusa with her snakey head in his raised hand. The body of Medusa spews blood from her severed neck. The bronze sculpture and Medusa’s head turns men to stone and is appropriately surrounded by three huge marble statues of men: Hercules, David, and later Neptune. Cellini breathed new life into the piazza visitor through his new use of bronze in Perseus and the head of Medusa and the motifs he used to respond to the previous sculpture in the piazza. If one examines the sculpture from the back, you can see the self-image of the sculptor Cellini on the backside of Perseus’ helmet.

The sculpture is thought to be the first statue since the classical age where the base included a figurative sculpture forming an integral part of the work.

Background

Cellini was the first to integrate narrative relief into the sculpture of the piazza. As the Perseus was installed in the Loggia, it dominated the dimensions of later pedestals of other sculptural works within the Loggia, like Giambologna’s The Rape of the Sabine. Perseus added to the cast of Olympian gods protecting the Medici. Weil-Garris also focuses on the pedestal beneath the sculpture in the round. However, it may not have been Cellini’s original intent, as the relief was still being worked on and installed when the bronze sculpture above had already been revealed. The Medici still dominated the theme of the pedestal as Perseus in the pedestal acts as an allegory to Duke Francesco Medici.

The politics of the Medici and Florence dominate the Piazza della Signoria, specifically referencing the first three Florentine dukes. Duke Alessandro I was the first Florentine duke and Hercules and Cacus was revealed during his time and met with terrible reception by the public in 1534. The next sculpture to be revealed was Cellini’s Perseus and Cosimo I was very cautious about the public’s reaction to the piece. Thankfully, the public received the sculpture well as Cosimo watched the reception from a window in the Palazzo Vecchio. The third duke is directly related to the sculpture’s relief panel on the base as the Perseus can be seen as an allegory to Duke Francesco and Andromeda as his Habsburg bride, Giovanna. Similarly, Andromeda acts as an allegory to Florence, while Perseus is the collective Medici swooping down to save Florence. Cellini chose to represent the sad side of the story of Andromeda; however he drew focus to the Medici as Perseus saving the somber Andromeda. Every sculpture within the piazza responds politically or artistically to each other and the Medici.

The work

At the time of creating the sculpture bronze had not been used in almost half a century for a monumental work of art. Cellini made the conscious decision to work in this medium because pouring molten metal into his cast, he was vivifying the sculpture with life-giving blood. The most difficult part would be completing the entire cast all at once. Donatello’s Judith and Holofernes was already placed within the Loggia dei Lanzi in the westernmost arch. Judith had been cast in bronze, but in several sections jointed together. Cellini was competing against monumental works, like Michelangelo’s David and wanted to make a statement for himself and the patron, Cosimo I.

Michael Cole specifically draws attention to the process of casting the Perseus. Citing Cellini’s Vita, Cole notes how Cellini’s assistants let the metal clot and had Cellini not been present the work would have been destroyed. Cole then asserts that Cellini goes beyond reviving the work, but raised the dead, in which he means that Cellini’s salvation was remelting the bronze. Cellini also invokes Christ and by doing so he breathes life into the sculpture. Casting the Perseus was more than meeting the demand of Cosimo I; Cellini was proving himself to Florence in a newly refurbished medium.

Perseus was one of Cellini’s crowning works, completed with two different ideals in mind. He wanted to respond to the sculpture already placed within the piazza, which he did with the subject matter of Medusa reducing men to stone. Secondly, the Medici were represented by Perseus and the subject matter achieved that in the round sculpture and the relief below. Moreover, in that respect, Cellini also made a statement for himself in the actual casting of Perseus. Cellini gave life with his new sculpture in his use of bronze and asserted the Medician control over the Florentine people through the Perseus motif.

Object description
Type: Sculpture
Location: Loggia dei Lanzi, Florence, Italy
Material: Bronze
Artist: Benvenuto Cellini (1500–1571)
Date: 1545–1554

Image Details
Date: 16 September 2022
Camera body: Nikon D50
Lens: Tamron 70.0-300.0 mm f/4.0-5.6
Focal Length: 150mm
Aperture: ƒ/4.5
Shutter Speed: 1/500s
ISO: 400
Licence: Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International

Object description
Type: Sculpture
Location: Loggia dei Lanzi, Florence, Italy
Material: Marble
Artist: Giambologna (1529-1608)
Date: 1599

Image Details
Date: 16 September 2022
Camera body: Nikon D50
Lens: Tamron 70.0-300.0 mm f/4.0-5.6
Focal Length: 135mm
Aperture: ƒ/4.5
Shutter Speed: 1/640s
ISO: 400
Licence: Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International