Marble veil dimensions of the Vestal sculpture. Marble veils

radiant_kristal wrote in May 20th, 2014

What delicate work, because the veil looks so natural that it seems that at the slightest breath the fabric will begin to move.

There were several sculptors who so masterfully conveyed the impression of the finest fabric that you are amazed - how was it done?

However... The technique of veils in sculpture has been known since the times of Ancient Greece.

Terracotta head of a woman in a veil, Cyprus, 2nd - 1st century BC.

Terracotta head of a veiled woman, 4th century BC.

Ancient Greece, 4th century BC. Metropolitan Museum of Art.

Ancient Greece, 3rd - 2nd century BC. e. Bronze.

"Christ under the Shroud"

Antonio Corradini (Antonio Corradini, September 6, 1668, Este, Padua - June 29, 1752, Naples) and Giuseppe Sanmartino (Giuseppe Sanmartino, 1720 - 1793) combines the 18th century, profession - they are both Italian sculptors, and the work "Christ under the Shroud", commissioned by Raimondo de Sangro (seventh prince of San Severo) for the San Severo Chapel in Naples .

Initially, the prince entrusted the work to Antonio Corradini, but he only managed to make a clay model (kept in the Certosa Museum of San Martino). After Corradini's death, Prince Raimondo entrusted the completion of the work to the young and unknown Neapolitan sculptor Giuseppe Sanmartino.

Sanmartino retained the main feature of the original design - the finest marble canvas.
Prince Raimondo intended to place “Christ under the Shroud” not in the chapel itself, but under it - in the crypt, where, according to the prince’s plan, the sculpture of Sanmartino was supposed to be illuminated with a special “eternal light” invented by him.

Antonio Corradini, "Sara"

Antonio Corradini

For the most part he worked for Venetian clients. His sculptures are in the squares and parks, cathedrals and museums of Este, Venice, Rome, Vienna, Gurkha, Dresden, Detroit, London, Prague, Naples, where he, commissioned by Raimondo de Sangro, worked on the decoration of the San Severo Chapel. The sculpture of Christ under the Shroud he began in the chapel (he only managed to make a clay model) was executed by the young and then unknown Neapolitan sculptor Giuseppe Sanmartino.

"Purity"
Antonio Corradini, Bust of a Veiled Woman (Puritas) 1717/ 1725 Marble Museo del Settecento Veneziano, Ca" Rezzonico, Venice

"Chastity", Naples, San Severo Chapel.

The statue of Chastity (Pudizia) represents tombstone Cecilia Gaetani del L'Aquila d'Aragona (1690 - 1710), mother of Prince Raimondo, died shortly after giving birth.

"The Veiled Lady"

"The Veiled Girl"

Bust "The Veiled Girl"(Carrara marble) - fragment famous statue"Faith" by the sculptor Antonio Corradini (1688-1752), purchased for the collection of Peter the Great in Venice by S. Raguzinsky for "100 gold ducats." Was in Summer Garden before late XVIII century, then - in the St. George's Hall Winter Palace, where it was damaged in a fire in 1837. Top part After restoration, the statue was placed by A.I. Stackenschneider in the Inner Garden of the Tsarina Pavilion in Peterhof.

Giuseppe Sammartino

Giuseppe Sanmartino."Christ under the Shroud"

Giuseppe Sammartino (1720-1793) - Italian sculptor of the Southern Italian school. Worked in Naples. In his style, the Baroque traditions were combined with the verism of Neapolitan plastic art.

The first dated work is marble sculpture"Christ under the Shroud" (1753), originally commissioned from the sculptor Antonio Corradini, in the Chapel of San Severo.

The sculpture aroused the admiration of Antonio Canova, who, according to him, would give ten years of his life to become the author of such a work. Legend has it that the real veil was petrified.

Raffaello Monti

"The dream of sorrow and the joy of dreams." Raffaello Monti, London, 1861.

"Night", 1862

"True"

"Vestal"

A marble bust of a Vestal Virgin under a veil was created Italian sculptor Raffaello Monti (1818-1881) in 1860.
The bust is exhibited at the Minneapolis Institute of Arts, and for the English estate of Chatsworth the sculptor made the same vestal in full height.

The sculpture depicts the veiled priestess of Vesta - the Vestal Virgin. Vesta is the Roman guardian goddess of the sacred fire, symbolizing the center of life - the state, city, home. It was believed that in any fire there is a particle of the spirit of Vesta.

"Circassian Slave" (1851)

Marble Bust of a Veiled Maiden Signed By Raffaello Monti

Giovanni Strazza

"Virgin Mary" in marble by Giovanni Strazza (1818-1875), mid-19th century.

Sculptural bust "Woman in a hat and veil". Marble. Western Europe. Beginning of the 20th century

Museum d'Orsay in Paris

“In a transparent veil”, 20th century. Elizabeth Ackroyd. Bankfield Museum, UK.
The effect does not disappear at any angle and at any distance.

“Ondine Coming Out of the Water,” 1880. Chancey Bradley Eves. Yale University Gallery, USA.

Veiled Lady. Artist Rossi, Pietro. 1882

Look and...

Starting from the end of the 17th century, amazing sculptures, hitherto unseen. They are made so delicately that some contemporaries cannot even believe that they were made by ordinary, albeit very talented, craftsmen, with ordinary human hands. It's about about marble sculptures decorated with a veil. The veil, of course, is also marble.

These works are so striking in their elegance and subtlety of work that they are even seriously cited as arguments by some supporters of “non-traditional” historical theories. First of all, this concerns the works of Raphael Monti. However, he was not the pioneer on this path.

The first sculptor who managed to create that same marble veil was the Neapolitan master Antonio Corradini, born in 1668. His most famous sculpture “under the veil” is “Chastity”, 1752, now located in Naples, in the Chapel San Severo.

You may notice that in the same Chapel there is another sculpture, no less amazing - “Deliverance from Enchantment”, which Francesco Quirolo completed in 1757. Although it has nothing to do with the “marble veils”, nevertheless, it amazes the imagination no less - it is simply incomprehensible to the mind how such a masterpiece could be created manually.

However, returning to the topic of our material - the authorship of Corradini belongs to several more busts, made using the same “marble veil” technique, and while creating another work of art with a similar effect, Antonio was overtaken by death.

The master had just begun to fulfill the order of Raimondo de Sangro, Prince of San Severo, but he only managed to create a clay model of the sculpture, now known as “Christ under the Shroud.” Luck smiled in such a unique way on another Neapolitan sculptor, Giuseppe Sammartino, whose name became famous thanks to this particular work. He slightly changed Corradini’s original plans, but left the essence unchanged.

The very image of Christ, the symbolism of the compositional elements and that same amazing marble veil - all this transformed this work art into an imperishable masterpiece, the greatest of those preserved by the Chapel of the Princes of San Severo. Surprisingly, Giuseppe Sammartino never created anything even approximately equal in greatness.

For almost a whole century, sculptors did not turn to the most complex and, at the same time, most spectacular technique of the “marble veil”. “Little things” in the middle of the 19th century Giovanni Strazza distinguished himself by sculpting a bust of the Virgin Mary using the same effect. Another similar sculpture from approximately the same period is “Rebecca under the Veil”, sculpted by Giovanni Maria Benzoni. Surprisingly, others similar works no sculptors survived, and the sculptors themselves did not gain much fame.

However, another Italian sculptor, Rafael Monti, who by the will of fate ended up in England, nevertheless returned the fashion for the marble veil, so to speak. In addition, it was he who described the technological process for creating such sculptures, which, presumably, he learned in his homeland, in Italy, and later successfully applied in England.

The point turned out to be simple - Monty used special material. He selected marble with an unusual structure, two-layer. The top layer was more transparent, the bottom layer was denser. The veil effect was achieved through the finest processing, as a result of which the same “transparent” veil was obtained from the top layer of marble - such a thin layer of material remained.

Try to imagine the complexity of this technique in conditions where everything is done manually. More early masters, probably also used marble with a similar structure. The rarity of the material and the complexity of production can explain the small number of sculptures with a marble veil.

In the 20th century, sculptors such as Elizabeth Ackroyd or Kevin Francis Gray also turned to the effect of a marble veil, but modern technologies, the emerging variety of tools and access to specialized information do not allow us to put their work on a par with the works of masters of previous centuries, who created their masterpieces virtually by hand.

If you think about it, the titanic complexity of the works now peacefully gathering dust in the Capella San Severo, willy-nilly, suggests that we definitely still don’t know something about those people who created these brilliant sculptures, and the conditions in which they created. So all that remains is to enjoy their beauty and marvel at the skill with which they were created, imbued with respect for human nature and the ability to create something beautiful.

Starting from the end of the 17th century, amazing sculptures, hitherto unseen, began to appear. They are made so delicately that some contemporaries cannot even believe that they were made by ordinary, albeit very talented, craftsmen, with ordinary human hands. We are talking about marble sculptures decorated with a veil. The veil, of course, is also marble.

You may notice that in the same Chapel there is another sculpture, no less amazing - “Deliverance from Enchantment”, which Francesco Quirolo completed in 1757. Although it has nothing to do with the “marble veils,” it nevertheless amazes the imagination no less - it’s simply incomprehensible to the mind how such a masterpiece could be created by hand.

The very image of Christ, the symbolism of the compositional elements and that amazing marble veil - all this turned this work of art into an imperishable masterpiece, the greatest of those kept by the Chapel of the Princes of San Severo. Surprisingly, Giuseppe Sammartino never created anything even approximately equal in greatness.

For almost a whole century, sculptors did not turn to the most complex and, at the same time, most spectacular technique of the “marble veil”. “Little things” in the middle of the 19th century Giovanni Strazza distinguished himself by sculpting a bust of the Virgin Mary using the same effect. Another similar sculpture from approximately the same period is “Rebecca under the Veil”, sculpted by Giovanni Maria Benzoni. Surprisingly, no other similar works by sculptors have survived, and the sculptors themselves have not gained much fame.

The point turned out to be simple - Monty used a special material. He selected marble with an unusual structure, two-layer. The top layer was more transparent, the bottom layer was denser. The veil effect was achieved through the finest processing, as a result of which the same “transparent” veil was obtained from the top layer of marble - such a thin layer of material remained.

Try to imagine the complexity of this technique in conditions where everything is done manually. Earlier craftsmen probably also used marble with a similar structure. The rarity of the material and the complexity of production can explain the small number of sculptures with a marble veil.

In the 20th century, sculptors such as Elizabeth Ackroyd or Kevin Francis Gray also turned to the effect of a marble veil, but modern technologies, the emerging variety of tools and access to specialized information do not allow their work to be put on a par with the works of masters of previous centuries who created their masterpieces actually manually.

What about pure intention, thought form, consciousness interacting with the quantum structures of minerals? Not without available tools, of course.

Original taken from masterok c It's a stone!

"Marble Veil". Virgin Mary in marble by Giovanni Strazza. Mid XIX century.

At all amazing works There are a lot of old masters. Here are a couple more examples under the cut:

Statue of Chastity by Antonio Corradini. Marble. 1752 Chapel San Severo in Naples. The sculpture is a tombstone to the mother of Prince Raimondo, who gave him life at the cost of her own.

Sculpture "The Rape of Proserpina". Marble. Height 295 cm. Borghese Gallery, Rome. Lorenzo Bernini created this masterpiece when he was 23 years old. In 1621. “I conquered marble and made it as flexible as wax.”

Can anyone explain how it is possible to make this net from stone?

An even more complex allegory is the monument (to the father of Prince Raimondo -Antonio de Sangro (1685 - 1757 ). Italian name this monumentDisingannooften translated into Russian as “Disappointment”, but not in the current generally accepted meaning, but inChurch Slavonic — « Getting rid of the spell» (Capella San Severo, in Naples)

"Breakthrough of the Spell" (after 1757) completed Francesco Quiroloand is the most famous of his works. The monument is valuable for its finest marble work and pumice , from which it is made net . Quirolo was the only one of the Neapolitan craftsmen who agreed to such a delicate work; the rest refused, believing that with one touch of the cutter the net would crumble into pieces.

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Original taken from sibved c It's a stone!

Similar, almost modern works(late 19th century) many. It’s amazing that many corners in the elements cannot be made with a chisel, drill or grinder. There must be a chip, defect, etc. But he's not there! The statues are made perfectly!

Bust of a Veiled Woman (Puritas) 1717 - 1725
Museo del Settecento Veneziano, Ca" Rezzonico, Venice, Italy
Sculpture, Marble
Done by Antonio Corradini

Veiled Woman (Puritas)

Antonio Corradini

Giuseppe Sanmartino, one of the most famous sculptor of his time, which masterpiece, Il Cristo Velato, is hosted by Sansevero Chapel, the legend says that a real veil was petrified thanks to alchemical processes.

"The Dream of Sorrow and the Joy of Dreams"
Made in London by Raffaelle Monti, 1861

The Sleep Of Sorrow And The Dream Of Joy By Raffaelle Monti

This one is sculpted as if from clay...

Giovanni Battista Lombardi (1823-1880): Veiled Woman, 1869.

Stefano Maderno 1576-1636

A few more works:

Original taken from gallika in Sideshow. Girl in the Vorontsov Palace

Have you ever seen such statues? With lively sparkling eyes and silky eyebrows?

With clothes on which not only lace is visible, but also seams and fabric texture. With a body on which there are folds and pockmarks. And they say that upon closer inspection there are pores...

This is "The Girl" by the Italian sculptor Quintillian Corbellini, early XIX century. She stands in Winter Garden Palace of Count Vorontsov in Alupka. And it truly is his treasure.

The first glance at her gives a completely different impression. Yes, not bad, a lively face, a playful pose, a frivolous dress, not appropriate for her age, lowered from her just emerging breasts.

But once you take a closer look... Lord! She's real!

And it’s not so much the filigree of the lace, but the folds and wrinkles on the knees that attract attention.

Swollen baby feet with dirty toes.

The pose is caught in motion, so unstable.

Seams on the fabric!

A gentle, childish, but at the same time playful face...

And not a childish perspective.

But the fabric!

Texture, folds, seams! How is this possible?

On the other side.

Pockmark above the elbow.

Unforgettably alive.

This is the girl in all her charm that I wanted to show you. Do you believe that this happens?

Unfortunately, I was unable to find any information about its author. Does anyone know what else he created?

Judging by Lorenzo Bernini’s remark “I conquered marble and made it as plastic as wax,” until quite recently the recipe for “softening” any stone was known. I'm not even talking about the plasticine technology of the ancients, especially in Mesoamerica.

. a marble sculpture of a female head, as if alive, as if covered in transparent, flowing silk

This bust Milanese sculptor of the 19th century Giuseppe Croffa “The Veiled Nun” - “The Veiled Nun” meets you immediately on the stairs, at the entrance to the gallery, I later went to look at it many times when I came to Washington DC.

Then my husband tried to recreate a similar head from cold porcelain and wood http://www.liveinternet.ru/users/mi...a/post226324472, and I was completely confident that this Washington sculpture was unique, until recently until, unexpectedly, in the LiveJournal of my friend uzoranet and my reader Li-rushnaya Galina_vel, I discovered that it turns out that there is a whole community of such ladies in the world.

See for yourself:

This Sculpture of the Vestal Virgin at Chatsworth By Raffaello Monti.

The veiled marble bust of the Vestal Virgin was created by the Italian sculptor Raffaello Monti (1818-1881) in 1860. The bust is exhibited at the Minneapolis Institute of Arts, and for the English estate of Chatsworth, the sculptor made the same vestal in full height.

Undine Rising from the Waters
ca. 1880-1882, by Chauncey Bradley Ives (1810-1894), Chrysler Museum of Art, Gallery 263
Yale University Art Gallery, New Haven, C.T., United States Of America
Yale University Gallery (USA), by Chauncey Bradley Ives. .

Marble sculpture. "Ondine emerging from the water", 1880,

The Vestal Virgin sculpture was featured in the 2005 film Pride and Prejudice.

Beautiful "The Veiled Virgin", at Presentation Convent in St. John's, Newfoundland.

Giovanni Strazza (1818-1875)

White Carrara marble. Sculptor V.P. Brodzsky. 1881

Lady from Kochubey's palace.

Marble bust with transparent veil, 20th century, Bankfield Museum -
This sculpture is given as an example of how to create optical illusion — technical technique in art, the purpose of which is to create the illusion that the depicted object is in three-dimensional space, while in reality it is drawn in a two-dimensional plane.) The effect does not disappear at any angle and at any distance

The pearl of the Petrodvorets collection "The Veiled Lady" by Antonio Corradini.
The sculptor became famous for his skill in depicting faces and figures covered with thin fabric. Purchased by Peter. This sculpture was once full-length, but split in half and is now displayed here in a truncated form)))

Veiled Virgin
Giovanni Strazza

Biblical Rebecca, at Salarjung Museum in India.
Giovanni Benzoni

Veiled Lady
Chatsworth
Femme Voilée (la foi?), by Antonio Corradini, early to mid 1700s, in the Louvre

The Veiled Lady. The Gibbs Museum of Art, Charleston, SC