Furietti Centaurs

[1] The strongly contrasted moods were intended to remind the Roman viewer of the soul troubled in pain with love or uplifted in joy, themes of Plato's Phaedrus and Hellenistic poetry.

[2] The sculptures were found together at Hadrian's Villa in Tivoli by Monsignor Giuseppe Alessandro Furietti in December 1736; they were the outstanding pieces of his collection of antiquities, which he refused to give to Pope Benedict XIV— at the cost of a cardinal's hat.

The observant Ennio Quirino Visconti[9] remarked on the Bacchic attributes of the Borghese/Louvre centaur, whose amorino is crowned with berried vine, to suggest that the forces in play were those of intoxication rather than love.

Casts of them were collected across Europe - for example, the pair at the Royal Academy, London, one at either side of the foot of the main staircase, which are there to this day (in what is now the Courtauld Institute gallery; or those bought by Joseph Nollekens from Bartolomeo Cavaceppi that may still be seen at Shugborough Hall, Staffordshire.

Full-sized marble copies were also produced in large numbers - Cavaceppi produced them, and Pietro Della Valle sculpted one in Rome for the count Grimod d'Orsay - he intended it to be placed on a fountain in the Museum Courtyard in 1795, but it was in fact placed at Saint-Cloud in July 1802 (it was later brought to Versailles on 23 March 1872, and on 24 September 1924 moved into the Grand Trianon garden there.