The art of the Vatican; a brief history of the palace, and an account of the principal works of art within its walls . nd eye leap to thatnext — in this lies Myrons great genius. As Liibkesays, there is in it the most acute observation oflife, the most just conception of bold, rapid move^ment, and the greatest freedom in the expression ofthe action. It was found by Count Fede in 1791 inHadrians Tiburtine Villa, and Pius VI. bought it. Of almost modern feeling and treatment is thelovely crouching Venus in the Gabinetto delleMaschere. It was discovered about 1760 in theTenuta Salone, situated on
The art of the Vatican; a brief history of the palace, and an account of the principal works of art within its walls . nd eye leap to thatnext — in this lies Myrons great genius. As Liibkesays, there is in it the most acute observation oflife, the most just conception of bold, rapid move^ment, and the greatest freedom in the expression ofthe action. It was found by Count Fede in 1791 inHadrians Tiburtine Villa, and Pius VI. bought it. Of almost modern feeling and treatment is thelovely crouching Venus in the Gabinetto delleMaschere. It was discovered about 1760 in theTenuta Salone, situated on the Via Prasnestina, andgot by Pius VI. from the painter La Piccola. Theentire back of the head, tbe upper part of the leftear, and all the hair except that lying upon the nedc,are restored. The fingers are modern, as well,probably, as the whole of the right hand and , too, are the front of the right foot, twotoes on the left, most of the vase, with its waves,and various fragments of the body. The face alsohas been slightly retouched by the restorer. As the name indicates, the goddess is represented. CROUCHINO VENUS In the Gabinetto delle Maschere irbe Sculpture ©alleries 265 in a crouching position, as if she were just underthe spray of a shower bath. The attitude isextremely charming in the way the limbs cross andpartly conceal each other, and the modelling of thewhole body is delicate and sensitive to a to Pliny, the temple of Jupiter, within thePortico of Octavia in Rome, had a marble statue byDsedalos, of Venus seated in the bath. It is reas-oned that this and similar statues are reproductionsof this ancient one. Dsedalos is supposed to havebeen a Bithynian of the period of the is especially regarded as true, as it is notlikely such a statue was designed before the CnidianAphrodite. The accentuation of the sensuouselement and the realistic treatment of the nudepresuppose a period after rather than before Alex-ander the Great. I
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Keywords: ., boo, bookcentury1900, bookdecade1900, booksubjectart, bookyear1903
