Perseus

Description

Antonio Canova is one of the most important Italian sculptors of all time. His marble statues are characterized by classical beauty and they are now on show in the most important museums of the world. Antonio Canova (1757 – 1822) was born in Possagno (a village of the Republic of Venice). His father and grandfather followed the occupation of stone-cutters and so he was educated in drawing at a young age. Indeed he spent most of his youth studying, with a strong bias towards the art of sculpture, and was greatly rewarded by the benefit of his grandfather’s workshop. His move to Rome as a young man, in 1780, was an important development in his career. It allowed him to examine the splendid relics of antiquity and put his abilities to the test as he began to compete with the true masters of his craft. His resulting works were truly extraordinary.

It was May 9, 1801, when Canova wrote to James Zustinian Recanati, “These days I have finished a statue, perhaps larger than the Apollo Belvedere, representing a triumphant Perseus with Medusa's head in one hand and a sword in the other.” These words came only a few months after the date on which the sculptor began to hew the marble of Perseus, which was completed between late 1800 and early 1801.

The Perseus had not been commissioned by anybody and Canova began the selling after its completion. About the selling, he wrote, “Many people want the Perseus but the first person who was interested, since I sketched the model, is now in Paris, so I have to wait for a reply.” This person was the French tribune Onorato Duveyriez, followed by the government of Cisalpine Milan who came in contact with Canova through Giuseppe Bossi, secretary of the Academy of Brera, and personal friend of the sculptor.

Bossi wanted to place the Perseus in the Foro Bonaparte and he had already begun the payments when a letter came from Cardinal Doria informing Canova that Pope Pius VII wanted to buy the sculpture for 3,000 gold coins to place it in the Vatican Museum. Thus, the Perseus was moved to the Vatican and was placed on the empty pedestal of the famous Apollo Belvedere which had previously been moved to Paris by the French, following the Treaty of Tolentino.

 Pope Pius VII also appointed Canova with the prestigious award received by Raphael under Leo X: the Inspector General of Fine Arts. The location of the statue on the pedestal of the famous Apollo together with the nomination of the sculptor as Inspector consecrated the success of Canova. The imposing statue depicts the hero of Greek mythology Perseus, son of Zeus and Danaë, with the helmet of Pluto (which had the power of invisibility), the winged sandals of Mercury, and the diamond sword was given to him by Vulcan. These gifts were granted to Perseus to allow the hero to defeat Medusa, against whom he was sent by Polykleitos, king of the island of Serifos. Canova represented Perseus triumphantly raising his left arm with the head of Medusa. The excitement of the action is frozen as is customary of the classical style. The Argive hero has similar proportions and positioning to the Apollo Belvedere. By following the classical theme of the heroic male nude in action, Canova seems to have been able to achieve results as advised by Winckelmann and the Neoclassical age, according to which the only way to become great is to be inspired by ancient models. Stendhal said that Canova imitated the Greeks, but like them, his genius invented a new beauty.

State of Preservation

The condition of this statue was generally good. However, its surface was covered with a layer of dust and debris. As well, fissures and cracks were present on the base. The stability of Perseus was compromised by the poor preservation of the pedestal which has been renovated. The cleaning enabled better preservation for the future and a better outfit of the statue for the public. Complex studies and investigations allowed a better understanding of the piece and Canova’s technique.

Restoration Procedures

The restoration of Antonio Canova’s Triumphant Perseus aimed at both an aesthetic upgrading of the statue, as well as the static recovery and securing of the sculpture itself. A thorough cleaning of the marble surfaces and the restoration of the position of the head of Medusa has returned the work to its original appearance. The restoration, which was completed in several technical aspects, was conducted in line with the executive technique adopted by Antonio Canova. The second version of Perseus, made by Canova himself and kept in the Metropolitan Museum of Art in New York was important for research as it was used as a direct analytical comparison. In addition, the plaster casts in the Canova Plaster Museum in Possagno were also useful tools for the restoration in that they provided a thorough knowledge of the technical choices adopted by the master during the execution of the statue. 

The restoration was carried out based on these studies, trying to remain as close as possible to the original materials through the use of technology, while ensuring the effectiveness of the operation and by adopting the latest technology available. The replacement of the pins and the metal elements was carried out respecting the conformation and the nature of the originals. The methods of handling the work, dismantling the stone elements, the use of materials for assembly and integration were chosen, adhered to, implemented, and adopted originally in the artist’s studio.

Various plaster molding operations provided casts that adhered to the inside of the marble base, which was useful in the realization and integration of machinery specially designed for vibrations in the Vatican Museums by the Scientific Research Laboratory for Conservation (GRS) in synergy with the Marble Restoration Lab. Each element and marble frame of the base was relocated without tampering, using the same original predispositions of the anchor. Throughout the work, the correct dialogue between modern technological solutions and the traditional sculptural practice has proved to be a determining factor. Simultaneously, with the restoration of Perseus, the two boxers Creugas and Damoxenus were subjected to a careful cleaning inspired by the same criteria used for Perseus.