THE DANCING FAUN OF POMPEII
After the model of Antiquity, Grand Tour era, Italy ca. mid-19th century
Cast by Pietro Masulli, Naples, ca. mid-19th century
Patinated bronze with cold-painted eyes, signed in base "Masulli"
30 1/2" H x 10 7/16" W x 11 1/8" D
The present cast of Dancing Faun is a testament to the careful production that occurred in the Masulli foundry, expertly cast using the lost-wax method, chiseled and chased to bring out the ruddy textures and patinated in a manner that simulates the textures on the bronze garnered by exposure to the elements while retaining the Herculaneum black patina cherished by collectors. Note the numerous levels and layers of the patination, ranging from the natural burnished autumnal tones of caramel and warm brown to green verdigris and a wide spectrum of dark browns and blacks. The eyes of the faun are cold-painted. Rarely do we find such a pleasing example of this model - a very fine acquisition.
Condition: Old repaired crack to the foot. Nuanced patina showing natural wear and rubbing, notably around edges of the base and to raised elements.
Essay:
Dancing Faun is one of the most renowned and truly iconic bronze sculptures to survive from ancient Rome. It was unearthed in 1830 during excavations of the House of the Faun in Pompeii and is believed to date to the 2nd century BCE. Once discovered, the fame of the small figure was nearly instantaneous, creating a sensation that gave the name to the house it was found in (House of the Dancing Faun, Pompeii). Its reputation was no doubt heightened by the many exquisite reproductions made of the model and sold to wealthy Grand Tourists - a reproduction by Fonderia Sommer was installed in the House of the Dancing Faun, allowing visitors to have a sense of how visitors to the house would have encountered the sculpture. Cast in bronze using the lost-wax technique, the faun would have been an expensive commission, likely intended to display the wealth and cultural refinement of the villa’s owner. Though Roman, the figure is almost certainly a copy of a Hellenistic work.
The sculpture depicts a faun captured in an energetic dance. The figure’s twisting contrapposto torso, raised arms, and lifted heel give it a sense of movement and spontaneity that reflects the artistic interests of the period, especially the fascination with expressive and lifelike forms. An early catalog of the Naples museum noting the figure as being ecstatic and not inebriated, like most faun depictions, no doubt helped ease its introduction into collections and homes.
The original sculpture is held in the permanent collection of the Museo Archeologico Nazionale in Naples.
PIETRO MASULLI & FONDERIA MASULLI
Long before the name Chiurazzi became synonymous with Neapolitan bronze casting, there was Pietro Masulli—a sculptor with a sharp eye and a deep respect for the classical world. In the mid-19th century, Masulli set out to do something unusual: he wanted to recreate ancient sculptures with the kind of care and precision normally reserved for original works. This was not simply a process of mass production, but rather a form of deeply researched scholarship conserved in bronze, marble and other mediums. Inspired by masters like Benvenuto Cellini, Masulli approached reproduction as both a technical challenge and an art form.
Masulli opened a school inside the Reale Ospizio dell’Albergo dei Poveri in Naples, where young artisans learned to work from classical forms. His castings, which faithfully echoed Greco-Roman originals, started gaining attention—not just in Naples, but far beyond. He went on to establish two permanent galleries: one in the Galleria Principe di Napoli, the other in Piazza dei Martiri. These spaces showcased reproductions that were as much about education and cultural pride as they were about decoration.
When Masulli died, the foundry didn't vanish: his student, apprentice and long-time follower Gennaro Chiurazzi (b. 1842) re-opened the retired studio under his own name in 1870. The mission stayed the same: cast ancient masterpieces using a library of plaster molds, many taken directly from archaeological finds. That legacy survives. Pieces from the Masulli and early Chiurazzi periods are deeply cherished today, not only for their craftsmanship but for what they represent: a time when Naples saw reproduction not as imitation, but as preservation.
Literature:
Taste and the Antique, Haskell & Penny, Yale, 1981, p. 208-209, fig. 107
ref. 505XGP05E
