Satyr holding a candle. Severo Calzetta da Ravenna (Ravenna 1465-1543). School of the 17th century, patinated bronze.

29 x 16 x 13 cm

The figure of the satyr was widely used in Renaissance iconography, starting with the chained satyrs that Andrea Briosco, known as Riccio, placed in his Easter candelabra in the Basilica del Santo in Padua.

From a humanistic point of view, the satyr represents a wild, cunning and sensual classicism that can fit well into a path in which Christianity incorporates and subjugates pagan myths.

Nonetheless, starting from the courtly example of the Easter candelabra, many small desk bronzes (inkwells or candelabra) depicting kneeling or standing satyrs were created by Andrea Briosco himself, known as Riccio.

Early 20th-century art historians, including Bode and Planiscig, attributed all satyrs to Riccio's hand, but as studies advanced, other foundries emerged producing these delightful everyday objects. In particular, many of the surviving bronze satyrs were traced back to the work of Desiderio da Firenze and Severo da Ravenna.

Given that Venetian foundries continued to produce objects of this type for a long time, extending into the 17th century and beyond, it seems correct and prudent to always refer to the school for this type of bronze, unless there are certain documents relating to the object's provenance.

The satyr presented here belongs to this type of object. The model is commonly attributed to the school of Severus of Ravenna, to whose work many bronzes attributed to Riccio are now traced. The relationship between these two great bronze masters has not yet been definitively clarified, but their collaboration is well established.

Models similar to our satyr are present in various museums and private collections, and bronzes belonging to this typology can also be found at auction.

In all cases, reference is always made to the "circle" or "school" of Severus, unless the attribution is confirmed by world-renowned scholars.

Our satyr falls into this category and appears to be an antique object with a beautiful patina, and what was said previously can be prudently confirmed.

Similar models:
Museum of the Palazzo di Venezia, Rome.
Civic Museums, Brescia.
Ca' d'Oro, Venice.
Various passages in international auctions among which I would mention the example from the Ives Saint Laurent and Pierre Berge' collection, Christie's auction, Paris 2009.

Reference bibliography:
Charles Avery, Amedeo Lia collection catalogue, Amilcare Pizzi Graphic Arts, Cinisello Balsamo, 1998.
Pietro Cannata, National Museum of the Palazzo di Venezia, bronze sculptures, Gangemi ed., Rome 2011.