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lower part of one putti's left arm was not finished at the elbow. The thin portion of marble that was left was inadequate to finish carving the defective arm. This mistake may have scared off prospective patrons meaning that the sculpture remained in
Bernini’s home. Furthermore, Bernini himself may have viewed this sculpture, which could reasonably be considered an unfinished and blemished exercise from his youth, as having little value. Publications have pointed out that Bernini’s disregard for his drawings points towards him perhaps having a mentality that places more value on unflawed, finished works. These two reasons could maybe explain why the work remained unidentified in Bernini’s own house for so long. The sculpture eventually made its way to a French collection sometime in the 20th century before inconspicuously appearing at a Paris auction house in 1972 where it was sold. The following year, the sculpture appeared on the London market where it was sold yet again. When the work appeared in London, it was identified as an early work of Gianlorenzo Bernini by Federico Zeri. Shortly afterwards in 1976, the Metropolitan Museum was able to purchase the group. Critics have noted that the classicism of its motifs and the superb carving and drilling technique make this sculpture one of the best Roman works of the early seventeenth-century.
180:. The sculpture, which was carved from a very shallow block, is roughly 4 ft (1.2 m) tall, 3 ft (0.91 m) wide, and just 18 in (460 mm) deep. In the sculpture, the faun stands with one leg on either side of a central tree he is climbing. The faun’s left hand is grasping a tree stump and his left leg is supported by a different stump. As he attempts to reach for a branch further up the tree that holds fruit, his head is being forced backwards by two putti that are situated just below the fruit-laden branch. There is an animal on the ground that has been variably described as a dog, lioness, or panther by scholars. This animal is lifting its head to feed on the grapes dangling from a branch as a putto stumbles over it. What has been described by scholars as either a lion’s pelt or a panther’s skin hangs over the tree’s lower rear branch. The marble used for this sculpture generally has a warm honey-colored tone. This tone is paler at the animal’s coat and the tree trunk and more brown at the bodies of the Faun and putti. The entire sculpture is well supported and stabilized by the use of legs and arms as reinforcements to support the structure. Adequate weight at the bottom of the structure prevents it from tipping over.
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lack wings and are thus formally characterized as putti. This sculpture is characterized as a bacchic group because of the presence of the lion’s pelt hanging over the lower rear branch and the panther on the ground. These two objects are symbolic of the god of wine, Bacchus. Bacchic groups like this one were not uncommon in early seventeenth-century Rome and
Florence. The sculpture’s exact iconography is not clear. One possible meaning derives from the fact that, in Renaissance times, the god Pan, satyrs, and fauns were all linked to the idea of lust. The faun represents a somewhat intoxicated Pan who is trying to collect fruit. This particular fruit is the fruit of eternal love because a living vine is wrapped around the dead tree holding the fruit. Pan is being held back by two putti who, in this interpretation, are cupids. These cupids are teasing Pan because he cannot understand the difference between earthly lust and divine, heavenly love. Another possible interpretation similarly promotes the idea that this sculpture represents a juxtaposition between divine love and earthly lust. Instead of teasing the faun (who is symbolic of animalistic lust), the two putti, symbolic of divine love, are spurning his indecorous aggression.
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222:. In carving the idealized faces of the two putti higher up the tree, Gianlorenzo may have been attempting to mimic the features that he himself had inherited from his father. The lofting of significant parts of the marble statue (the faun’s head, the two putti, and the vegetation on the tree) foreshadows how Gianlorenzo would loft significant sections of marble in later great works such as
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Both satyrs and fauns have pointed ears, small tails, and comparable facial features but satyrs also have the legs of a goat. Because the figure in this sculpture does not have the legs of a goat, it is formally characterized as a faun. Similarly, the three children, who could be confused for cupids,
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For a long time, the sculpture was kept in storage at
Gianlorenzo Bernini’s own house number 11 on via della Mercede in Rome. At the time, the sculpture was not identified as a work of Bernini. A significant blemish in the sculpture may be the reason why the work remained in storage for so long. The
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which discusses the idea of unrequited love. It has been proposed that
Gianlorenzo may have been influenced by Annibale Carracci’s Farnese frescoes which he studied thoroughly and carefully copied. The flowing outlines and fusion of classicism and naturalism in this sculpture can also be found in
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218:. This series of tapestries depicts putti climbing trees while fighting in a lighthearted manner. It has been suggested that the climbing stance of the faun was taken from one of the
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and his father Pietro
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The intricate marble sculpture consists of five figures and portrays a lighthearted fight between a
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Closer view of the faces of the Faun and two of the
Children.
880:. University Park: Pennsylvania State University Press.
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A closer view of one of the
Children teased by the Faun.
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Gian
Lorenzo Bernini: The Sculptor of the Roman Baroque
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Raggio, Olga (1978). "A New
Bacchic Group by Bernini".
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Raggio, Olga (1978). "A New
Bacchic Group by Bernini".
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The Goat Amalthea with the Infant Jupiter and a Faun
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833:Gibson, Eric (2012). "Bernini's feats of clay".
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726:Raggio, Olga. "A New Bacchic Group by Bernini".
632:Raggio, Olga. "A New Bacchic Group by Bernini".
588:Gibson, Eric (2012). "Bernini's feats of clay".
550:Raggio, Olga. "A New Bacchic Group by Bernini".
506:Gibson, Eric (2012). "Bernini's feats of clay".
462:Raggio, Olga. "A New Bacchic Group by Bernini".
443:Gibson, Eric (2012). "Bernini's feats of clay".
424:Gibson, Eric (2012). "Bernini's feats of clay".
405:Raggio, Olga. "A New Bacchic Group by Bernini".
386:Gibson, Eric (2012). "Bernini's feats of clay".
367:Raggio, Olga. "A New Bacchic Group by Bernini".
348:Raggio, Olga. "A New Bacchic Group by Bernini".
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16:Sculpture by Gianlorenzo and Pietro Bernini
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147:is a marble sculpture by Italian artists
899:. Chicago: University of Chicago Press.
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1190:Bust of Monsignor Pedro de Foix Montoya
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1211:Bust of Cardinal Escoubleau de Sourdis
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249:List of works by Gian Lorenzo Bernini
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144:Bacchanal: A Faun Teased by Children
22:Bacchanal: A Faun Teased by Children
1587:Equestrian Statue of King Louis XIV
1411:Confessio of Santa Francesca Romana
1316:Tomb of Countess Matilda of Tuscany
1197:Bust of Cardinal Roberto Bellarmine
680:. Bulfinch Press. pp. 24, 25.
1843:Marble sculptures in New York City
1833:Sculptures by Gian Lorenzo Bernini
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1838:Sculptures of classical mythology
1545:Statue of King Philip IV of Spain
1025:Bust of Giovanni Battista Santoni
1204:Bust of Cardinal Giovanni Dolfin
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1683:Fountains of St. Peter's Square
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1390:Memorial to Alessandro Valtrini
1225:Bust of Cardinal Melchior Klesl
1113:Bust of Carlo Antonio del Pozzo
1046:The Martyrdom of Saint Lawrence
1559:Angel with the Crown of Thorns
1067:Aeneas, Anchises, and Ascanius
897:Bernini: His Life and His Rome
859:Bernini: Genius of the Baroque
812:. Bulfinch Press. p. 24.
810:Bernini: Genius of the Baroque
749:. Bulfinch Press. p. 25.
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705:. Bulfinch Press. p. 25.
703:Bernini: Genius of the Baroque
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655:. Bulfinch Press. p. 24.
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611:. Bulfinch Press. p. 24.
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529:. Bulfinch Press. p. 24.
527:Bernini: Genius of the Baroque
485:. Bulfinch Press. p. 24.
483:Bernini: Genius of the Baroque
212:Triumph of Bacchus and Ariadne
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1747:Saint Andrew and Saint Thomas
1566:Angel with the Superscription
861:. London: Thames and Hudson.
1733:Self-Portrait as a Young Man
1397:Memorial to Ippolito Merenda
876:Baldinucci, Filippo (2006).
73:132 cm (52 in)
1740:Portrait of Pope Urban VIII
1260:Memorial to Carlo Barberini
1239:Bust of Francesco Barberini
1232:Two Angels in Sant'Agostino
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1612:Tomb of Pope Alexander VII
1605:Blessed Ludovica Albertoni
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1383:Bust of Cardinal Richilieu
1330:Bust of Costanza Bonarelli
1218:Bust of Antonio Cepparelli
1155:Charity with Four Children
914:Wittkower, Rudolf (1955).
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1302:Statue of Carlo Barberini
1246:Bust of Antonio Barberini
1095:Bust of Camilla Barbadoni
1074:Bust of Giovanni Vigevano
1032:A Faun Teased by Children
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950:A Faun Teased by Children
918:. London: Phaidon Press.
895:Mormando, Franco (2011).
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1863:Fauns in popular culture
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1619:Statue of Pope Clement X
1573:Bust of Gabriele Fonseca
1464:Busts of Pope Innocent X
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1803:Luigi Bernini (brother)
1798:Pietro Bernini (father)
1688:Fontana della Barcaccia
1531:Statue of Alexander VII
1439:Ecstasy of Saint Teresa
1404:Memorial to Maria Raggi
1281:Sleeping Hermaphroditus
1267:Tomb of Pope Urban VIII
1141:Bust of Pope Gregory XV
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808:Avery, Charles (1997).
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481:Avery, Charles (1997).
1793:Domenico Bernini (son)
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1499:Habakkuk and the Angel
1425:Truth Unveiled by Time
1351:Bust of King Charles I
1127:The Rape of Proserpina
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272:Mormando 2011, p. 75.
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1506:Chair of Saint Peter
1358:Bust of Thomas Baker
987:Gian Lorenzo Bernini
952:at Wikimedia Commons
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149:Gian Lorenzo Bernini
40:Gian Lorenzo Bernini
1693:Fontana del Tritone
1626:Bust of the Saviour
1492:Daniel and the Lion
1060:Bust of Pope Paul V
878:The Life of Bernini
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1653:St. Peter's Square
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1120:Neptune and Triton
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1348:
1346:
1345:
1341:
1339:
1338:
1334:
1332:
1331:
1327:
1325:
1324:
1320:
1318:
1317:
1313:
1311:
1310:
1306:
1304:
1303:
1299:
1298:
1296:
1292:
1283:
1282:
1278:
1276:
1275:
1271:
1269:
1268:
1264:
1262:
1261:
1257:
1255:
1254:
1250:
1248:
1247:
1243:
1241:
1240:
1236:
1234:
1233:
1229:
1227:
1226:
1222:
1220:
1219:
1215:
1213:
1212:
1208:
1206:
1205:
1201:
1199:
1198:
1194:
1192:
1191:
1187:
1185:
1184:
1180:
1178:
1177:
1176:Saint Bibiana
1173:
1171:
1170:
1166:
1164:
1163:
1159:
1157:
1156:
1152:
1150:
1149:
1145:
1143:
1142:
1138:
1136:
1135:
1131:
1129:
1128:
1124:
1122:
1121:
1117:
1115:
1114:
1110:
1109:
1107:
1103:
1097:
1096:
1092:
1090:
1089:
1085:
1083:
1082:
1078:
1076:
1075:
1071:
1069:
1068:
1064:
1062:
1061:
1057:
1055:
1054:
1050:
1048:
1047:
1043:
1041:
1040:
1036:
1034:
1033:
1029:
1027:
1026:
1022:
1020:
1019:
1015:
1014:
1012:
1008:
1005:
1001:
997:
996:List of works
992:
988:
981:
976:
974:
969:
967:
962:
961:
958:
951:
946:
942:
941:
937:
935:
927:
925:9780801414305
921:
917:
912:
908:
906:9780226538525
902:
898:
893:
889:
887:9780271730769
883:
879:
874:
870:
868:9780500286333
864:
860:
855:
854:
849:
848:
840:
836:
835:New Criterion
829:
826:
821:
815:
811:
804:
801:
796:
792:
785:
782:
777:
773:
766:
763:
758:
752:
748:
741:
738:
733:
729:
722:
719:
714:
708:
704:
697:
694:
689:
683:
679:
672:
669:
664:
658:
654:
647:
644:
639:
635:
628:
625:
620:
614:
610:
603:
600:
595:
591:
590:New Criterion
584:
581:
576:
572:
565:
562:
557:
553:
546:
543:
538:
532:
528:
521:
518:
513:
509:
508:New Criterion
502:
499:
494:
488:
484:
477:
474:
469:
465:
458:
455:
450:
446:
445:New Criterion
439:
436:
431:
427:
426:New Criterion
420:
417:
412:
408:
401:
398:
393:
389:
388:New Criterion
382:
379:
374:
370:
363:
360:
355:
351:
344:
341:
336:
332:
325:
322:
317:
313:
306:
303:
298:
294:
287:
284:
278:
275:
269:
266:
259:
258:
254:
250:
247:
245:
242:
241:
237:
235:
233:
229:
225:
221:
217:
213:
208:
207:Tenth Eclogue
200:
198:
191:
185:
181:
179:
175:
167:
165:
158:
156:
155:in New York.
154:
150:
146:
145:
136:
126:
98:
95:
90:
87:
83:
80:
76:
72:
68:
64:
60:
56:
52:
48:
44:
41:
38:
34:
30:
25:
20:
1766:
1759:
1752:
1745:
1738:
1731:
1640:Architecture
1624:
1617:
1610:
1603:
1585:
1578:
1571:
1564:
1557:
1550:
1543:
1536:
1529:
1511:
1504:
1497:
1490:
1483:
1476:
1469:
1462:
1444:
1437:
1430:
1423:
1416:
1409:
1402:
1395:
1388:
1381:
1363:
1356:
1349:
1342:
1335:
1328:
1321:
1314:
1307:
1300:
1279:
1272:
1265:
1258:
1251:
1244:
1237:
1230:
1223:
1216:
1209:
1202:
1195:
1188:
1181:
1174:
1167:
1160:
1153:
1146:
1139:
1132:
1125:
1118:
1111:
1093:
1088:Blessed Soul
1086:
1079:
1072:
1065:
1058:
1051:
1044:
1037:
1031:
1030:
1023:
1016:
933:
915:
896:
877:
858:
850:Bibliography
838:
834:
828:
809:
803:
794:
790:
784:
775:
771:
765:
746:
740:
731:
727:
721:
702:
696:
677:
671:
652:
646:
637:
633:
627:
608:
602:
593:
589:
583:
574:
570:
564:
555:
551:
545:
526:
520:
511:
507:
501:
482:
476:
467:
463:
457:
448:
444:
438:
429:
425:
419:
410:
406:
400:
391:
387:
381:
372:
368:
362:
353:
349:
343:
334:
330:
324:
315:
311:
305:
296:
292:
286:
277:
268:
231:
227:
223:
219:
215:
211:
206:
204:
195:
171:
162:
143:
142:
141:
1081:Damned Soul
577:: 409, 410.
318:: 415, 416.
168:Description
120: /
94:Coordinates
1822:Categories
1285:(mattress)
819:0821224654
756:0821224654
712:0821224654
687:0821224654
662:0821224654
618:0821224654
536:0821224654
492:0821224654
255:References
210:Caracci’s
201:Influences
108:73°57′49″W
105:40°46′44″N
70:Dimensions
1721:Paintings
1003:Sculpture
57:Sculpture
49:1616–1617
238:See also
176:and two
86:New York
78:Location
1782:Related
220:Niobids
159:History
1478:Corpus
1365:Medusa
922:
903:
884:
865:
816:
797:: 414.
791:Apollo
778:: 413.
772:Apollo
753:
734:: 415.
728:Apollo
709:
684:
659:
640:: 413.
634:Apollo
615:
571:Apollo
558:: 409.
552:Apollo
533:
489:
470:: 409.
464:Apollo
413:: 409.
407:Apollo
375:: 406.
369:Apollo
356:: 410.
350:Apollo
337:: 406.
331:Apollo
312:Apollo
299:: 415.
293:Apollo
230:, and
65:Marble
62:Medium
36:Artist
1858:Putti
1597:1670s
1523:1660s
1456:1650s
1375:1640s
1294:1630s
1162:David
1105:1620s
1010:1610s
260:Notes
178:putti
920:ISBN
901:ISBN
882:ISBN
863:ISBN
841:(4).
814:ISBN
751:ISBN
707:ISBN
682:ISBN
657:ISBN
613:ISBN
596:(4).
531:ISBN
514:(4).
487:ISBN
451:(4).
432:(4).
394:(4).
244:Faun
174:faun
54:Type
46:Year
795:108
776:108
732:108
638:108
575:108
556:108
468:108
411:108
373:108
354:108
335:108
316:108
297:108
1824::
839:31
837:.
793:.
774:.
730:.
636:.
594:31
592:.
573:.
554:.
512:31
510:.
466:.
449:31
447:.
430:31
428:.
409:.
392:31
390:.
371:.
352:.
333:.
314:.
295:.
234:.
226:,
84:,
979:e
972:t
965:v
928:.
909:.
890:.
871:.
822:.
759:.
715:.
690:.
665:.
621:.
539:.
495:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
