Giambologna’s masterpiece stands before us. The Sabine Statue depicts a dramatic scene. It shows a man lifting a woman. Another man crouches below.
This Sabine Statue embodies a pivotal moment in Roman history. Legend says Romulus secured Rome’s future through trickery. He invited neighboring Sabines to a festival. Roman men then seized the unmarried Sabine women. This ensured Rome’s population growth. Plutarch even linked this event to the custom of carrying a bride over the threshold.
Giambologna sculpted this marble Sabine Statue between 1579 and 1583. He captured the essence of the Sabine abduction. The Sabine Statue wasn’t initially named. Giambologna wanted to showcase his artistic skill. Vincenzo Borghini later suggested the title. A bronze relief was added to connect it to the Roman myth.
This Sabine Statue stands 410 cm tall. It depicts three nude figures. A young man lifts a woman. An old man crouches in despair. The woman reaches out. She is struggling to escape. The old man seems defeated. His shame is evident in his downturned face.
Giambologna aimed to rival Michelangelo and Bandinelli. He wanted his Sabine Statue to be a statement. The pedestal bears an inscription. It reads: “OPVS IOANNIS BOLONII FLANDRI MDLXXXII”. This translates to: “The work of Johannes of Boulogne of Flanders, 1582”.
A bronze model of the Sabine Statue exists in New York’s Metropolitan Museum of Art. The statue underwent restoration in 2001 and 2007.
The Sabine Statue’s influence is widespread. It inspired works like Bernini’s “The Kidnapping of Proserpina”. Puget’s “Perseus and Andromeda” also shows its impact.
The term “rape” in the title refers to “raptio”. This means “mass kidnap” in classical Roman terms. It is not the modern English meaning. Therefore, “abduction” is a more accurate term.
The Sabine Statue before you may be one of several casts. One cast belonged to Emperor Rudolph II. Another belonged to Markus Zäch in Augsburg in 1610. These early casts suggest the statue’s immediate appeal.
Minor variations exist among the bronze versions. The Sabine woman in the bronzes often lacks the anguish of the marble version. She may also wear a diadem. The eyes in the bronze figures have irises and pupils. The marble statue only shows this detail in the Sabine woman’s eyes.
The casting technique suggests a date after 1584. Wire brushing enhances the figures’ forms. A reddish varnish provides a Florentine touch. Details such as fingernails and veins showcase Giambologna’s skill.
While Antonio Susini was a known assistant, Felice Trabellesi may have worked on it too. The inscription “GIO BOLONGE” appears on some bronzes. This suggests Giambologna’s direct involvement or supervision.
The Zäch family owned a similar bronze. Its features align with the Passion reliefs in Munich. It is believed that this is the lost Zäch Rape, acquired in the 1590s.
So the Sabine Statue is not just a sculpture. It is a story of history, abduction, and artistic genius.