Dancing Satyr

  • Location: Tribuna, Uffizi Gallery, Florence.
  • Inventory nr. 220. Manuselli, nr. 51.
  • Greek marble
  • Ht: 1.43 m.
  • Condition: Of the ancient sculpture the base, the lower & upper part of the support, the figure’s feet, torso, and legs down to the knees are preserved. Head, arms and parts of the legs are restored, as well as a section of the support. Feet are signifigantly different; the right foot is sandaled, the left is not. Fill/Patching: base, abdomen, supports, left leg (3 holes in upper thigh), left hipbone, right knee.
  • History: Rome (?).
  • Type: Identification as a satyr is supported by the pointed ears, horns in the hair, thick locks of hair, and facial expression (common for this sculptural figure). The Dancing Satyr is one of a pair of statues that comprises a group known as the “invitation to the dance”. The other statue is a seated nymph, now in the short corridor near the porphyry wolf.
  • Inventory #’s that appear on the base, in order from left to right, are 1404, 17.194, 191.220, HS.108.
 

Agrippina Minor

  • Inventory 115 Mansuelli, nr. 59 Italian marble. Ht: 0.58 m (ancient part 0.30 m).
  • Condition: The tip of the nose is restored. The ancient part has been cleaned with chemical agents. The onyx bust is modern, as is the inscription “Messalina.”
  • History: Entered the collection between 1769 and 1786.
  • Iconography: F. Poulsen identified it as Agrippina Minor on the basis of a comparison with similar portraits in Copenhagen and Naples.
 

Molossian Dog

  • Inventory nr. 65. Pentelic marble. Ht: 1.18 m; W: 0.65 m; L: 1.10 m. Mansuelli, nr. 48.

  • Condition: Very well-preserved. The only restorations are the ends of the ears; the reapplied anterior part of the muzzle.

  • History: One of a pair of dogs (the other is inventory nr. 67) that were reportedly offered by Pius IV to Cosimo I together with the Boar (inventory nr. 63). They are first attested in the Medici collections in the second half of the sixteenth century.

  • Type: The two Uffizi dogs are practically identical. They exemplify a statue type also attested elsewhere, notably by two examples of comparable quality in the Vatican Museums (Sala degli Animali, inventory nrr. 161, 162). The date and authorship of the type are unknown.