Advanced Search
Fountain basin with a reclining river god
Roman
Imperial Period
A.D. 98–138
Place of Manufacture: Italy
Medium/Technique
Marble from Carrara, Italy
Dimensions
Overall: 69.2 × 88.6 × 72.5 cm, 408.24 kg (27 1/4 × 34 7/8 × 28 9/16 in., 900 lb.)
Framed (Steel tube palette /four gusset angles for lifting): 7.8 x 90.5 x 74.3 cm (3 1/16 x 35 5/8 x 29 1/4 in.)
Block (Rolling wooden pedestal includes steel palette): 91.4 x 102.2 x 142.2 cm (36 x 40 1/4 x 56 in.)
Framed (Steel tube palette /four gusset angles for lifting): 7.8 x 90.5 x 74.3 cm (3 1/16 x 35 5/8 x 29 1/4 in.)
Block (Rolling wooden pedestal includes steel palette): 91.4 x 102.2 x 142.2 cm (36 x 40 1/4 x 56 in.)
Credit Line
Museum purchase with funds by exchange from a Gift of Mr. and Mrs. Henry P. Kidder, a Gift of Thomas Gold Appleton, a Gift of Edward Jackson Holmes, a Gift of Mrs. Francis C. Lowell, Otis Norcross Fund, and a Gift of Edward Perry Warren
Accession Number2002.21
NOT ON VIEW
CollectionsAncient Greece and Rome
ClassificationsSculpture
Roman designers often incorporated the soothing sight and sound of running water into public and private architectural monuments. This small three-niche fountain most likely adorned a luxurious private house. Although scaled for an intimate setting, it is nevertheless a sophisticated composition that recalls the great public fountains built in Rome and throughout the empire.
The central niche is occupied by Nilus, the personification of the river Nile, who reclines against a now-headless sphinx and holds a fragmentary cornucopia; the river running through Egypt was famous for its annual fertilizing flood, making Nilus a symbol of abundance and wealth and even a metaphor for generous patronage. Water emerged from a slot beneath the god, first into a smaller basin and then into a larger one below. Water also flowed out through holes below the two side niches, which would once have contained statuettes, probably representing the nymphs Memphis and Anchirrhoë (or Anchinoë), the daughters of Nilus; jets of water would have spouted from jars they held. The palm trees carved on the outside walls of the side niches would have complemented the Egyptianizing statuary and evoked the exotic ambience of the Nile, a source of endless fascination for the Romans.
The central niche is occupied by Nilus, the personification of the river Nile, who reclines against a now-headless sphinx and holds a fragmentary cornucopia; the river running through Egypt was famous for its annual fertilizing flood, making Nilus a symbol of abundance and wealth and even a metaphor for generous patronage. Water emerged from a slot beneath the god, first into a smaller basin and then into a larger one below. Water also flowed out through holes below the two side niches, which would once have contained statuettes, probably representing the nymphs Memphis and Anchirrhoë (or Anchinoë), the daughters of Nilus; jets of water would have spouted from jars they held. The palm trees carved on the outside walls of the side niches would have complemented the Egyptianizing statuary and evoked the exotic ambience of the Nile, a source of endless fascination for the Romans.
Catalogue Raisonné
Highlights: Classical Art (MFA), p. 136.
DescriptionLustral double basin with a bearded river god (the Nile) with wreathed hair swept back in a bun, nude apart from a cloak draped over his legs, holding a cornucopia in his left hand, a scroll (?) in his right. The god's left elbow reclines against a female sphinx (head missing), and his right foot rests against a rock; he is flanked on either side by a small shrine recessed for a statue (now missing), with pedimented tiled roof, decorated with an inverted double bound lotus flower in relief within each pediment, and a tall date palm carved in relief on either side. The deep slanting inner basin, into which water entered from a slit below the reclining deity, fits into a square basin with plughole; the front panels are recessed and decorated with two relief rings at each end. The back of the fountain has three holes for the introduction of water into each of the arched shrines.
Scientific Analysis:
University of South Florida Lab No. 8450: Isotope ratios - delta13C +2.2 / delta18O -2.1,
Attribution - Carrara. Justification - C and O isotopes, fine grain, white with flecks of gray.
University of South Florida Lab No. 8451: Isotope ratios - delta13C +2.4 / delta18O -2.0,
University of South Florida Lab No. 8452: Isotope ratios - delta13C +2.3 / delta18O -2.0,
University of South Florida Lab No. 8453: Isotope ratios - delta13C +2.3 / delta18O -2.0,
University of South Florida Lab No. 8454: Isotope ratios - delta13C +2.3 / delta18O -2.0,
University of South Florida Lab No. 8455: Isotope ratios - delta13C +2.3 / delta18O -2.0,
Attribution - in all five cases, Carrara. Justification - C and O isotopes, fine grain, white with flecks of gray.
Scientific Analysis:
University of South Florida Lab No. 8450: Isotope ratios - delta13C +2.2 / delta18O -2.1,
Attribution - Carrara. Justification - C and O isotopes, fine grain, white with flecks of gray.
University of South Florida Lab No. 8451: Isotope ratios - delta13C +2.4 / delta18O -2.0,
University of South Florida Lab No. 8452: Isotope ratios - delta13C +2.3 / delta18O -2.0,
University of South Florida Lab No. 8453: Isotope ratios - delta13C +2.3 / delta18O -2.0,
University of South Florida Lab No. 8454: Isotope ratios - delta13C +2.3 / delta18O -2.0,
University of South Florida Lab No. 8455: Isotope ratios - delta13C +2.3 / delta18O -2.0,
Attribution - in all five cases, Carrara. Justification - C and O isotopes, fine grain, white with flecks of gray.
ProvenanceBy 1724, engraved and published [note 1]. By 1802, Welbore Ellis, 1st Baron Mendip (b. 1713- d. 1802), Twickenham, Middlesex, England [note 2]; May 17, 1802, Mendip sale, Christie’s, London, lot 28, to John Bligh, 4th Earl of Darnley (b. 1767- d. 1831), Cobham Hall, Kent, England [note 3]; until at least 1954, by descent within the Earls of Darnley, Cobham Hall [note 4]. Possibly late 1950s or 1960s, Spink & Son, London [note 5]. Possibly Binney Collection, Kent, England [note 6]. About 1960s, private collection, Richmond, Surrey, England [note 7]; November 7, 2001, anonymous sale (auction 9244), Christie’s, London, lot 332, sold to the MFA. (Accession Date: February 27, 2002)
Notes
[1] Engraved by Christian Fritzsch (1695-1769) and published by Bernard De Montfaucon, L'antiquité expliquée et illustrée en figures, Supplement III, Qui comprend les habits et les usages de la vie (1724), pp. 168-69, pl. 63. No location for the fountain was given.
[2] Also see The Gentleman’s Magazine (August 1802), p. 705, fig. 2. Many thanks to Jörg Deterling for sharing this provenance information.
[3] Annotated Lord Mendip sale catalog, bound with Edward Ironside, The History and Antiquities of Twickenham (1797), Oxford University (available on Google Books).
[4] Photographed there by Cornelius Vermeule in 1954. Cornelius C. Vermeule, "Notes on a New Edition of Michaelis: Ancient Marbles in Great Britain," American Journal of Archaeology 59, no. 2 (1955), p. 133.
[5] According to information provided by Cornelius Vermeule at the time of acquisition, but in an article Vermeule writes it was sold by Sotheby’s in the 1960s (Cornelius C. Vermeule, The Celator 16, no. 10 (October 2002), p. 7).
[6] According to the curatorial recommendation for purchase, but this provenance has not been verified.
[7] Information provided by Christie’s at the time of acquisition. The London-based seller claimed that it had belonged to his grandmother and had been kept in her conservatory in Richmond, Surrey, for the past fifty years.
Notes
[1] Engraved by Christian Fritzsch (1695-1769) and published by Bernard De Montfaucon, L'antiquité expliquée et illustrée en figures, Supplement III, Qui comprend les habits et les usages de la vie (1724), pp. 168-69, pl. 63. No location for the fountain was given.
[2] Also see The Gentleman’s Magazine (August 1802), p. 705, fig. 2. Many thanks to Jörg Deterling for sharing this provenance information.
[3] Annotated Lord Mendip sale catalog, bound with Edward Ironside, The History and Antiquities of Twickenham (1797), Oxford University (available on Google Books).
[4] Photographed there by Cornelius Vermeule in 1954. Cornelius C. Vermeule, "Notes on a New Edition of Michaelis: Ancient Marbles in Great Britain," American Journal of Archaeology 59, no. 2 (1955), p. 133.
[5] According to information provided by Cornelius Vermeule at the time of acquisition, but in an article Vermeule writes it was sold by Sotheby’s in the 1960s (Cornelius C. Vermeule, The Celator 16, no. 10 (October 2002), p. 7).
[6] According to the curatorial recommendation for purchase, but this provenance has not been verified.
[7] Information provided by Christie’s at the time of acquisition. The London-based seller claimed that it had belonged to his grandmother and had been kept in her conservatory in Richmond, Surrey, for the past fifty years.