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Article Evalution:

Article: Acroterion

This article makes very poor use of sources. Three of the six cited sources are just dictionary definitions. One of the six cited sources is improperly cited without a link to the work. The article does remain neutral. There is hardly any information or specifics regarding the types of Acroterion. The article is rated as a stub because it doesn't provide enough information. I think a great way to expand the article would be to find information on the acroterion of different time periods and separate the article by those. There is only one post on the talk page of the article. The facts are true because they are almost just dictionary definitions.

Ideas for Article Enhancement

Article: Resting Satyr I plan to fix the citation format of this article as the author included sources but did not properly cite them. I want to add information regarding satyrs and their role in mythology. I also would like to add information on how their role in mythology influences this representation in art. I think the description section of this piece could be a lot more detailed. I would really like to see this page have some connection with other satyr statue types if there are more so I hope to include reference to those.

Palagia, Olga, and Jerome Jordan Pollitt. Personal styles in Greek sculpture. Vol. 30. Yale Classical Studies . Cambridge: Cambridge University Press, 1998.

This source has information on the attributed artist Praxiteles and other satyr types he made.

Furtwängler, Adolf . Masterpieces of Greek Sculpture: A Series of Essays on the History of Art. Vol. 2. NY: Charles Scribner's Sons, 1895.

This source also makes mention of Praxiteles and his satyr types.

Bartman, Elizabeth. Ancient sculptural copies in miniature. Vol. 19. Columbia Studies in Classical Tradition. Leiden: Brill, 1992.

This source mentions the sculpture type by name. The author also includes a list of other sculptures of the same type that are not attributed to Praxiteles. The author elaborates on the pose and style of this sculpture type.

Outline

• Bold is my contribution, unbold is current article content.

Resting Satyr Wikipedia Article

I. Descripton

It shows a young satyr, identifiable from his clearly pointed ears and the pardalide (panther pelt) worn across his torso. He rests his right elbow on a tree trunk, in an unstable position, supported only on his left leg. His right leg is bent, with his right foot just touching his left heel. In a number of examples a restorer has added an attribute held in his right hand, often a flute or Pan pipes, while the left hand is on the left hip holding down the pelt. The facial features are well defined and the nose slightly upturned. His heavy hair, recalling the iconography of river gods, is held by a cord or a crown. According to E.M. Hurll, the Resting Satyr was originally displayed at the  streets Tripods in Athens.  The presence of the panther pelt on the Satyr signifies their connection to their beastly nature. Satyrs are associated with the Greek god of wine and ritual madness, Dionysus, as his male companions. In Greek Mythology,  As this is thought to be one of many satyr types produced by Praxiteles, this sculptures defining features are the relaxed slant of the body as well as relaxed pose of the arms. 

II. Attribution The Resting Satyr is traditionally identified as the "satyr periboêtos" mentioned by Pliny the Elder in his Natural History XXXIV, 69:

 "[Praxiteles produced in bronze] a Liber Pater, and a famous Drunkard, and a satyr that the Greeks call periboêtos
   (et Liberum patrum Ebriatem nobilemque una satyrum quem Græci periboeton cognominant)

Since Winckelmann this word has traditionally been translated as "famous".[1] This celebrity explains the large number of examples of this type, one of the most popular in the Mediterranean - just under 115 have been found, including 15 from Rome, 4 from North Africa, 8 from Greece, two from Spain and one from Gaul.[2] According to E.M. Hurll, Praxiteles considered this one of his two best works. Praxiteles's sculpture differs from other artist's portrayals of satyrs by showing them as graceful.

III. List of Other Known Ancient Copies

 According to KJ. Hartswick, two copies of Praxiteles Resting Satyr were found in the Gardens of Sallust where several other Dionysiac sculptures. Another copy of the statue was found at the villa Borghesos and was initially mistaken as a sculpture of Dionysus.  One-fifth of the approximately 115 surviving copies are miniatures.  Compared to the large scale copies of this sculpture, the miniatures have a lack of uniformity in proportions.  

IV. Mentions in Writing

 In 1860, Nathaniel Hawthorne, an American Novelist, wrote his gothic novel The Marble Faun that is believed to be a descendent of Praxiteles’ Marble Faun due to his uncanny resemblance to the sculpture.  This novel was inspired by Hawthorne’s visit to the Palazzo Nuovo of the Capitoline Museum in Rome.

Notes: I am having a hard time gathering a large chunk of actually important information for each part so my it is spread throughout the sections of my outline. Thank you!

Source Bank for Resting Satyr

A Catalogue of the Ancient Sculptures Preserved in the Municipal Collections of Rome ...: The sculptures of the Museo capitolino, ed. by H. S. Jones Volume 1, Part 1 of A Catalogue of the Ancient Sculptures Preserved in the Municipal Collections of Rome, British School at Rome

"It has been disputed what is the exact motive of the statue; the reply probably is that the motive is purely artistic, to exhibit in the most favourable position an exquisitely formed impersonation of the wild life of Nature as understood in the fourth century" (350) gives exact details about one specific copy and its restoration history. — Preceding unsigned comment added by Hunterkiley (talk • contribs) 05:05, 13 November 2017 (UTC)

Description

The Resting Satyr statue type shows a youthful satyr, sometimes referred to as a faun, who is identifiable by their clearly pointed ears and the pardalide (panther pelt) worn across their torso or placed on a post near the satyr. The satyr rests his right elbow on a tree trunk, in a relaxed pose, supported only on his left leg. His right leg is bent, with his right foot just touching his left heel. In a number of examples, a restorer has added an attribute held in the right hand, often a flute or Pan pipes, while the left hand is on the left hip holding down the pelt. The facial features are well defined and the nose slightly upturned. The hair is often heavy, curled, and held by a cord or a crown. According to E.M. Hurll, the Resting Satyr was originally displayed at the streets Tripods in Athens. As this is thought to be one of many satyr types produced by Praxiteles, this sculptures defining features are the relaxed s-shaped slant of the body as well as relaxed pose of the arms characteristic of the artist's work.

Satyr Origin and Iconography

In Ancient Greek Mythology, Satyrs are male companions to Dionysus, the god of grape harvest, ritual madness, theater, and fertility. As followers of Dionysus, satyrs are known for their love of drinking wine, women, and playing music on their pipes or flutes. Famous satyrs in mythology include Silenus, a satyr nurse to the Dionysus and a demi-god of excessive drunkeness and Tityri, a flute-playing satyr in the train of Dionysus. Satyrs are referenced in The Homeric Hymns, Aesop's Fables, The Orphic Hymns, Ovid's Metamorphoses and Fasti, and Virgil's Georgics.

In early Greek art, satyrs were often portrayed as rugged, older, and ugly in art. The artist Praxiteles is credited with creating a softer and youthful satyr type in his sculptures. The presence of the panther pelt on the Satyr signifies their connection to their beastly animal nature. Satyrs were also often depicted on pottery as nude with an erect phallus to infer their savage and brutish sexual nature. The iconography involving their sexual nature did not carry over into the medium of sculpture. Satyrs are often depicted with musical instruments, usual a flute or pipes. The inclusion of musical instruments solidifies the satyr's connection with Dionysus and his festivities.

Attribution

The Resting Satyr is traditionally identified as the "satyr periboêtos" mentioned by Pliny the Elder in his Natural History XXXIV, 69:

"[Praxiteles produced in bronze] a Liber Pater, and a famous Drunkard, and a satyr that the Greeks call periboêtos

(et Liberum patrum Ebriatem nobilemque una satyrum quem Græci periboeton cognominant)

Since Winckelmann this word has traditionally been translated as "famous". This celebrity explains the large number of examples of this type, one of the most popular in the Mediterranean - just under 115 have been found, including 15 from Rome, 4 from North Africa, 8 from Greece, two from Spain and one from Gaul. According to H.S. Jones, there is no documented motive for the creation of this statue type but infers that the motive was most likely purely artistic.

The resting satyr type is just one of the satyr types attributed to Praxiteles. The pouring satyr type is the other most common satyr type attributed to him. The resting satyr type and pouring satyr type share much of the same satyr iconography including references to their relationship with Dionysus. The pouring satyr type depicts the satyr with one arm raised above their head with a pouring vessel. The difference in pose is the most notable difference between the two types.

Other Known Copies

According to KJ. Hartswick, two copies of Praxiteles Resting Satyr were found in the Gardens of Sallust where several other Dionysiac sculptures. Another copy of the statue was found at the villa Borghesos and was initially mistaken as a sculpture of Dionysus. One-fifth of the approximately 115 surviving copies are miniatures. Compared to the large scale copies of this sculpture, the miniatures have a lack of uniformity in proportions.

• Resting Satyr. Roman artwork sculpted in marble between 150 and 175 CE, in Prado Museum, Spain.
• Resting Satyr. Roman copy after the mid-4th century B.C, marble, height 168 cm, in Hermitage Museum, Russia.
• Resting Satyr (Satyrus anapauomenos). Roman copy of the 2nd century CE, in Hermitage Museum, Russia. Inv. No. Гр. 3058 / A.154.
• Resting Satyr, 2nd century AD, Royal Castle, Warsaw, Poland.
• Resting Satyr, Roman copy of the 2nd century, marble, height 180 cm, in Ny Carlsberg Glyptotek, Copenhagen, Denmark. Inv. No. 474.
• Resting Satyr, Roman copy, first half of the 2nd cent. Carrara marble, height (without pedestal) 1.78 m, width of the statue 0.76 m, height of the pedestal 0.08 m., Santa Maria Capua Vetere, Archaeological Museum of ancient Capua, Italy.
• Capitoline Faun, 19th Century Italian Bronze Statue, Benedetto Boschetti, 28-1/2 inches (72.4 cm) high on 7 inches (17.7 cm) high marble base.

Mentions in Literature

In 1860, Nathaniel Hawthorne, an American Novelist, wrote his Gothic novel The Marble Faun. The novel is centered around, Donatello, an man who is believed to be a descendant of Praxiteles’ Marble Faun due to his uncanny resemblance to the sculpture. This novel was inspired by Hawthorne’s visit to the Palazzo Nuovo of the Capitoline Museum in Rome after moving his family to Italy in 1858. This novel was later adapted into an Opera in 1996 with music by Ellen Bender and a liberetto by Jessica Treadway.

Examples

• 
  Ruspoli Faun, Munich Glyptothek (inv. 228)
• 
  Ruspoli Faun, Munich Glyptothek (inv. 229)
• 
  Farnese Faun, Louvre (Ma 664)
• 
  Resting Satyr, Prado Museum
• 
  Resting Satyr, Hermitage Museum
• 
  Resting Satyr, 2nd century AD, Royal Castle, Warsaw, Poland
• 
  Satyr Anapauomenos, Centrale Montemartin, Capitoline Museums, Italy