Seated Mercury /Hermes

Bronze, green patina
Italy - Naples, 19th Century
Chiurazzi workshop
After the Antique, the Roman statue is kept in the Archaeological Museum of Naples, Inv. 5625


H 118 x L 74 x P 120 cm
H 46 1/2 x L 29 1/8 x P 47 1/4 inch



The bronze sculpture depicts Hermes (or Mercury, in the Roman context), the god of commerce, travelers, and messengers, seated in a relaxed natural posture.
He sits with his left leg bent at the knee, while his right leg extends outward in a casual manner. The statue is life-size, with a meticulous rendering of anatomical precision that reflects the classical sculptural tradition.

Hermes is seated on a rock with his upper body slightly twists to his right, with his head tilted gently downwards and turned to the left, giving the figure a dynamic, life-like quality. The face is youthful, serene, and contemplative, with finely chiseled features that convey a sense of calm and introspection.
His eyes, deeply set, suggest he’s lost in thought. His hair is short and curly, closely framing his face. The curls are carefully detailed, creating a sense of texture and movement.
The statue is mostly nude, typical of representations of Hermes, emphasizing the beauty and athleticism of his physique. He wears winged sandals (talaria), one of Hermes' key attributes, which symbolize his role as the messenger of the gods and his swiftness.

The anatomy of the statue is exceptionally realistic, showcasing Hermes’ athletic build. The muscles are subtly defined, with smooth transitions between the limbs and torso, indicating both strength and grace. The body is proportional and balanced, with the limbs and torso harmoniously arranged to create a sense of relaxed elegance.

The bronze surface has developed a greenish patina over time, also characteristic of ancient bronze artifacts. This adds an aged, historic quality to the piece, with hints of the original bronze color visible in some areas.

Hermes is seated on a rock, which provides support to the figure, integrating him into a natural setting. This feature adds to the statue's stability and enhances its realism.

Overall, the Seated Hermes captures the god's grace, athleticism, and serenity. It is a blend of idealized beauty and naturalism, embodying the skill and artistry of ancient Roman sculptors.

The original Seated Hermes is a Roman Imperial statue, discovered in the Villa of the Papyri in Herculaneum, a town buried by the catastrophic eruption of Mount Vesuvius in 79 AD. The statue was unearthed during the Bourbon excavations of the 18th century, part of the broader rediscovery of classical art in the region.

Herculaneum, a prosperous town near the Bay of Naples, was home to wealthy Roman citizens, who adorned their lavish villas with art pieces like the Seated Hermes. The statue likely graced a prominent space within one of these estates, signifying the owner’s cultural sophistication and appreciation of classical ideals. Roman patrons frequently commissioned copies of renowned Greek works, and this sculpture is thought to reflect Hellenistic influence in its calm and poised representation of the god.

Hermes, known to the Romans as Mercury, was the god of trade, travelers, and communication, often depicted in motion. However, in this seated representation, the god is portrayed in a relaxed and contemplative manner, signaling a peaceful moment of repose rather than his usual active role. This contrast may have been intended to evoke an atmosphere of intellectual reflection, fitting the serene environment of a Roman villa.

The original sculpture, a masterpiece of Roman adaptation of Greek art, is now housed in the National Archaeological Museum of Naples (Museo Archeologico Nazionale di Napoli), where it remains one of the most celebrated artifacts from Herculaneum.

The Chiurazzi Foundry, established in 1870 in Naples by Gennaro Chiurazzi, became internationally renowned for its meticulous bronze reproductions of classical sculptures. Chiurazzi gained access to plaster casts from the collections of the National Archaeological Museum of Naples, allowing the production of faithful replicas of ancient masterpieces, including the Seated Hermes.

Using the cire perdue (lost wax) technique, the foundry produced high-quality reproductions, renowned for their accuracy in replicating even the most delicate details of the original sculptures. Chiurazzi's bronzes were sought after by collectors, museums, and Grand Tour travelers alike, who desired a piece of classical antiquity to adorn their homes or private collections.

Chiurazzi’s works were exported around the globe, furthering the spread of classical art and ideals beyond Italy. By offering accessible reproductions of iconic ancient works, Chiurazzi contributed to the 19th-century fascination with classical antiquity, ensuring that these timeless forms could be appreciated by a broader audience.

During the 18th and 19th centuries, the Grand Tour became an essential part of the education of young European aristocrats and intellectuals. This journey, typically through Italy, aimed to expose travelers to the cultural and artistic heritage of the classical world and the Italian Renaissance. Sites such as Rome, Naples, Herculaneum, and Pompeii were highlights of these tours, offering visitors direct contact with the remnants of antiquity.

The bronze reproductions produced by Chiurazzi, including the Seated Hermes, played a significant role in the souvenir culture of the Grand Tour. Wealthy travelers, enchanted by the newly unearthed treasures of Herculaneum and Pompeii, sought to bring home tangible mementos of their journey. Owning a reproduction of an ancient statue was a symbol of erudition and cultural refinement.

This Seated Hermes fits perfectly into the broader context of the 19th-century fascination with antiquity. As archaeological discoveries in Southern Italy captured the imagination of Europe, the desire to own a piece of this history grew. These sculptures served not only as art objects but also as intellectual trophies, emblematic of the classical ideals of beauty, philosophy, and virtue.