The Five Statues of the Tribune

The Tribune of the Uffizi is in shape an octagon, about twenty-five feet in diameter. The floor is paved with rich marbles, covered with rugs, and the vaulted ceiling is inlaid with mother-of-pearl.

It is lighted from above. Here are gathered some of the most remarkable works of art in the world. The five statues are the "Venus de Medici," "The Knife Grinder," "The Dancing Faun," "The Apollino," and "A Group of Wrestlers."

On the walls hang five pictures by Raphael, three by Titian, one by Michael Angelo, four by Correggio, and several others of note.

The "Venus de Medici," by Cleomenes, was found in Rome in the sixteenth century, some say in Hadrian's villa, others in the portico of the House of the Caesars. When found it was in thirteen pieces, and without arms. Its wonderful restoration is due to Bernini. The height is four feet and a half. It was brought to Florence by Cosimo de Medici III., 1680, hence its name. It is of Pantellic marble, and is considered a most perfect example of the sculptor's art. Hawthorne says: "As young and fair as she was three thousand years ago, and still to be young and fair as long as a beautiful thought shall require a physical embodiment."

If the Venus de Medici is the embodiment of feminine grace and beauty, the Apollino is that of manly grandeur combined with grace. These two statues bear so close an analogy in style that they are believed to be the work of the same sculptor. The Apollino statue is one of the few antiques that was found unbroken; but, unfortunately, a few years since it was broken by the picture of Charles V. falling upon it. It has been carefully restored by Bartolini, but to conceal his repairs he painted the whole statue, thus destroying the transparency of the marble.

The easy attitude, the dignity and grace of the figure, with the beauty of face and of limbs, is unaltered, however, and it still merits its reputation of being one of the most charming of antique statues. It was brought to Florence, with the Venus de Medici, by Cosimo III. in 1680.

"The Dancing Faun" is an antique of unknown date, but it displays unmistakably the great skill of a Greek artist in adapting form to the required purpose.

This creature, half-animal and half-human, engrossed with the pleasures of the moment, in the delirium of a Bacchanalian feast, is in strong contrast to the elegance and grace of the Apollino. The work is full of spirit, and admirably restored by Michael Angelo. The work of the restorer does not imply simply the putting together of broken fragments, but of restoring such parts of a statue which may be missing. In this case the head was gone. Michael Angelo had to study the character of the mutilated figure, decide as to what it originally represented, and then make such a head as would, by pose and feature, carry out the original idea.

"The Knife Grinder" was found in Rome in the sixteenth century. It is a revelation of the power of art. Some critics say that it is a slave overhearing, while at his occupation, some conspiracy. Others say it is one figure from the group of Marsyas, who was flayed alive, and that it is a slave whetting his knife. The attitude is one of action. The knife-blade, in the right hand, touches the grinder. The body, slightly bent forward, is balanced by the left hand resting upon the block; the head is slightly raised, and the face looks up with so keen and penetrating a glance that one wonders to what he is listening.

The character of a slave is plainly written on the coarse hands and wrinkled brow; while the expression of the whole figure entitles it to rank among the most valued works of art.

"The Wrestlers" is a noted group of statuary, and belongs to the best age of Greek art. It is much discussed. The weight of authority ascribes it to Kephissodotus, a son of Praxiteles. It is full of action. They are athletes contending for a prize; and one of the laws governing the game was that neither party was victor until he had made the shoulder of his opponent touch the ground.

This has not yet been accomplished, as is expressed by the face of the lower figure, although the conqueror is vigorously pressing his adversary. There is pleasurable excitement while gazing at them, which ends in disappointment, as the result of the struggle can never be known.

This statue exhibits the highest technical skill, and is the only specimen of the Lottatori (Wrestlers) in existence.