Unveiling the Intricacies of Jacopo Sansovino’s Lucretia

Introduction to Lucretia

Observing and conducting scientific investigations into a sculpture can lead to fascinating insights regarding an artist’s techniques. A detailed examination of Lucretia, a gilded wood statuette created by the renowned Italian sculptor and architect Jacopo Sansovino between 1508 and 1512, has unveiled new understanding about his artistic process and decisions.

History and Attribution

Initially believed to be of French origin when it was acquired by the Victoria and Albert Museum (V&A) in 1962, Lucretia received little attention until it underwent conservation and analysis in the 1980s. Although the sculpture was associated with Sansovino decades ago, it was only recently that the scholar Lorenzo Principi made a compelling case for its attribution, a view supported by curator Bruce Boucher.

Artistic Experimentation

During a PhD placement at the V&A, Lucretia was closely studied, leading to insights from conservation reports and scientific analysis. This experience revealed that Lucretia is a true reflection of Sansovino’s meticulous attention to detail and his willingness to experiment with various materials.

The Depiction of Lucretia

Lucretia, a character from a Roman tale, is portrayed in the critical moment just before she takes her own life. Although the dagger’s blade is missing, her fist clutches the remnants of the hilt. With an outstretched arm, furrowed brows, and elegantly positioned legs, she embodies a moment suspended in intense emotion.

Materials Used

Analysis performed by V&A conservation scientist Jo Darrah in 1982 exposed that both the base and body of Lucretia were carved from a single piece of poplar wood. Contrarily, the figures representing the Virgin and Child were crafted entirely from wax and covered in linen, whereas The Descent from the Cross combines wood and wax, enhancing specific details with layered wax around a metal skeleton.

This range of techniques indicates Sansovino’s diverse use of materials and methods in creating each model. Perhaps, these various models allowed him to explore realistic depictions across different mediums.

The Art of Drapery

Utilizing lightweight glue in Lucretia’s robe enabled Sansovino to craft defined folds with precision. Upon initial inspection, her garment seems casually draped at the waist and slips off one side. However, a closer look reveals deliberate arrangements that contour her movement and narrative. The linen clings to her legs, and the pose accentuates her forward step, demonstrating Sansovino’s intent to bring her to life visually and symbolically.

Refining the Sculpture’s Pose

Adjustments made to Lucretia’s wooden body reflect her sculptural essence. Post-carving alterations were made to her arm, head, and neck to amplify the drama in her posture. The pivot of her head down to the right directs her gaze towards her arm, drawing the viewer’s focus. Evidence of these alterations can be found in X-ray imagery revealing earlier joins and adjustments.

Details of the Gesture

Sansovino‘s meticulous nature is perhaps most visible in Lucretia’s left hand. The delicate curl encompasses her robe’s edge, enhancing the impression that she is pulling the fabric aside to reveal her heart. Examination indicates that this finger might have been detached and reattached, allowing for linen placement beneath it, making her gesture appear more authentic.

Concluding Reflections

The intricate design of Lucretia indicates that smaller sculptures provided Sansovino ample opportunity for experimentation with materials and structure. Continued inquiries might lead to additional revelations: Was Lucretia intended solely as an artistic venture? What other materials did Sansovino manipulate in his other creations? Such questions underscore the importance of ongoing visual analysis, promising to enrich our understanding of his work.

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