Description
This powerful fragmentary sculpture, now a preserved torso, was acquired in 1778 by Grand Duke Peter Leopold of Tuscany from the Gaddi collection in Florence. Prior to its time in this private collection, its origins remain undocumented.
The work is based on a 2nd-century BC prototype and originally depicted a Centaur, its hands bound behind its back-part of a dynamic sculptural group contrasting youthful exuberance with restrained suffering. The group would have shown this young Centaur alongside an older counterpart, both under the control of Eros, with the latter riding and whipping them.
Despite the loss of limbs and head, the remaining torso conveys remarkable vitality. The twist of the muscular form captures an inner tension, as though the raw energy of the figure strains against the stillness of the stone. This dramatic tension serves as an evocative metaphor for Eros’ irresistible power-even capable of subduing wild, untamed beings.
The symbolic resonance of this figure proved influential, particularly during the 16th and 17th centuries, appearing in various artistic media. One notable example is Amico Aspertini’s 1515 painting Adoration of the Shepherds (Uffizi, Inv. 1890 no. 3803), where the torso is clearly referenced, positioned to the far left atop a base reminiscent of an altar.
