How about a dance with history? Right here stands the Terpsichore Sculpture. It is not just a statue. It embodies art, history, and a touch of scandal.
The Terpsichore Sculpture links us to Antonio Canova. He was a master sculptor from Possagno, Venice. Canova lived from 1757 to 1822. He began creating Terpsichore in 1808.
Originally, the sculpture was commissioned by the Bonaparte family. It was meant to be a portrait. The portrait would deify Alexandrine de Bleschamp. She was the wife of Lucien Bonaparte. Lucien was Napoleon’s younger brother.
But, things changed. Giovanni Battista Sommariva acquired the commission. Sommariva was building a neoclassical temple at Villa Carlotta. He sought art from the best artists. This included Antonio Canova. Sommariva requested Canova to idealize the statue’s features. It should no longer resemble Alexandrine de Bleschamp.
Canova and Sommariva developed a strong bond. Terpsichore became one of Sommariva’s favorite pieces. He bought and commissioned many works from Canova. Sommariva’s obsession with Terpsichore was intense. He bought the marble statue. He also secured the plaster model. This ensured no other copies could be made.
In a letter dated March 31, 1813, Sommariva called the sculpture “my bride”. He desired it greatly. Upon its arrival at his Parisian home, he placed it at the foot of his bed. This reflected the 19th-century taste for sensuality. The aristocracy and bourgeoisie couldn’t openly appreciate the nude form. So, they surrounded themselves with art. These artworks had erotic overtones. They were justified as classical nudity. They also aligned with the emerging Eastern preference.
There are several versions of Terpsichore. A plaster model exists at Villa Carlotta. Another plaster cast is in Possagno’s Gypsotheca Museo Canoviana. Two marble versions also exist. One is at the Fondazione Magnani Rocca in Parma. The other is at the Cleveland Museum of Art. Canova made this replica in 1814–16 for Simon Houghton Clarke. He signed and dated it 1816.
The plaster model at Villa Carlotta is unique. It still has the markers from Canova’s creative process. Canova meticulously organized his work. He controlled every stage. He started with a clay model. This model captured the initial idea. Often, he used preparatory drawings. Then, he created a life-size clay model.
Canova used a supporting framework. It included an iron rod. The rod matched the height of the finished work. Smaller metal rods connected to wooden crosses. This helped Canova assess the work’s overall effect before sculpting. The transition from clay to plaster involved the lost cast technique. The clay model was covered with reddish gypsum. Then, a white plaster layer hardened into a cast. After removing the clay, the cast was filled with plaster. This created a new three-dimensional model.
Once the plaster hardened, the external cast was carefully destroyed. The reddish plaster was handled with care. Iron nails were inserted into the gypsum model. These markers were reference points. Students used them to transfer measurements to the marble block. This prepared the block for roughing.
Canova called the final stage “the final hand”. He reserved this for himself. Some say he worked by candlelight. This ensured perfect rendering of volumes and shadows. Others claim he listened to ancient texts like the Odyssey. Helpers read aloud to him.
To enhance realism, Canova applied a special patina. It suggested the softness of skin. The patina contained various materials. Only rare traces remain today. It also protected against time, ensuring lasting harmony.
So, the Terpsichore Sculpture embodies dance and choral singing. The lyre in her left hand symbolizes this. This statue links art, history, and personal stories. It’s a dance through time.