catalog text
AFTER GIAMBOLOGNA (Jean de Bologne)
Flemish, 1529-1608
Mercury Riding on the Wind
Patinated bronze | engraved to base "F. BARBEDIENNE. FONDEUR." and sealed with A. Collas reduction cachet | plaster core of marble underside incised "31" | cast circa 1890
Item # 406QRC02A
Giambologna's "Mercury" was initially commissioned from Pope Pius IV in bronze around 1560, a commission that was eventually cancelled but that Giambologna moved forward with completing regardless and issued in several dimensions. The figural sculpture depicts Mercury (or Hermes in Greek mythology), the messenger of the gods of Olympus as well as being the patron of travelers, commerce, and trade. He is caught in a dynamic pose, frozen in mid-stride with one leg lifted as if he has been captured in the midst of a swirl of movement while his other foot is lifted on a column of wind from the mouth of Zephyr, the ruler of the winds in Greek mythology. It emphasizes a certain dominion Mercury holds Zephyr, standing on the face of the ruler who controls the winds. His finger is raised in the direction of God, the infinite source of knowledge with a harmonious line that stretches from his raised index finger in a contrapposto twist down through to his rooted foot. It is conceived in a spiral that makes the sculpture all the more interesting to circle around and view from every angle or to rotate to find a different point of emphasis.
In his hand he lightly grasps the caduceus, a winged staff entwined by two serpents that is important in mythology and classical iconography. It symbolizes Mercury's role as a chief negotiator, a diplomat, an eloquent speaker who embodies persuasive speech and mediation. These attributes have led the caduceus to symbolize peace, where the intertwined snakes on the short staff are thought to represent balance and harmony, a motif that possibly originates from a myth where Hermes used the staff to separate two fighting snakes, bringing peace. It is a lesser-known but symbolic story that highlights his role as a peacemaker and mediator.
According to the myth, Hermes was walking one day when he encountered two snakes engaged in a fierce battle. Observing their conflict, he decided to intervene and bring about peace between them. He took his simple rod of a staff and placed it between the two snakes. As he did so, the snakes ceased their fighting and instead coiled themselves around the staff in perfect symmetry. This act not only ended their conflict but transformed the staff into a symbol of balance and harmony. The intertwined snakes around the staff came to represent the idea of opposites coming together in unity while the wings at the top of the staff signified Hermes' swiftness as the messenger of the gods. This imagery of the caduceus became closely associated with Hermes, symbolizing his role as a mediator and bringer of peace.
The present example was cast by Barbedienne in the last quarter of the 19th century and is raised on an original rouge marble base finished with a polished bronze plate on the underside. It features a translucent medium-brown surface patina with a range of light and dark browns that work to accentuate the textures. Note the exquisite highs and lows in the wings of his anklets, helmet and caduceus. The cast is very finely chiseled and chased with great care shown to preserving fluidity while bringing out the details with brilliant subtlety.
GIAMBOLOGNA
ean Boulogne was born in 1529 in Douai, Flanders (now in France). He trained under Jacques du Broeucq in Antwerp and relocated to Florence by 1550, adopting the Italianized moniker Giambologna.
His career flourished under the patronage of the influential Medici family, where Giambologna's sculptures became renowned for their technical prowess and dynamic compositions. A notable early work is the marble masterpiece "Samson Slaying a Philistine" (1562), which showcases his adeptness in capturing intense movement and emotional depth.
Giambologna revolutionized the art of sculpture with his innovative approach to form and space, exemplified in his iconic "Rape of the Sabine Women" (1579-1583). This monumental marble group epitomizes his ability to create intricate, twisting compositions that seemingly transcend the inherent limitations of stone.
He died in Florence in 1608, leaving behind a legacy that transformed Renaissance sculpture and established him as a pivotal figure bridging the Renaissance and Baroque periods.
Artist Listings & Bibliography:
- 1000 Sculptures of Genius, fig. 481, p. 246
Measurements: 33 1/4" H (total); 28 7/8" H (bronze); base is 6 5/8" W x 6 5/8" D
Condition Report:
Old restored cracks to the rouge marble; minor discolorations and handling wear to the patina, this overall remaining in a very fine state of preservation; trace wear within the hair of Zephyr. Carefully conserved and sealed with wax, ready to place.