The 15th-Century Florentine Singer, sculpture by Paul Dubois, 1829/1905
Upon returning to Paris after spending four years in Rome, the sculptor Paul Dubois presented a plaster model of "The 15th-Century Florentine Singer" at the 1865 Paris Salon.
Paul Dubois, 33 years old, by Jules-Élie Delaunay.
The Florentine Singer, one of the most resounding successes in the history of French sculpture, was awarded the Medal of Honor at the Salon and, in a rare occurrence, was immediately followed by a commission from the French state.
Now housed in the Musée d'Orsay, the silvered bronze statue was cast in early 1866 at the Barbedienne workshops on the rue de Lancry in Paris.
Of the two other copies made, the one kept by Barbedienne was exhibited at the Universal Exhibition in Paris in 1867, at the Vienna Exhibition in 1873, and again in Paris in 1889.
The other copy was purchased by Princess Mathilde, who held one of the most prestigious artistic and literary salons in Paris during the Second Empire.
A modified version was executed in 1867 for the Ny Carlsberg Glyptotek in Copenhagen.
But while the young man, leaning against a column, is still dressed in Florentine style, his doublet reaches mid-thigh, covering his buttocks, and the edge of a cloak thrown over his shoulder conceals the tops of his breeches, which were the subject of prudish criticism.
Paul Dubois was one of the first sculptors to break free from classical references in favor of models borrowed from the Italian Renaissance, particularly Florentine, which he studied extensively during his travels in Italy. The 15th-century Florentine Singer is directly inspired by this work. The softness of the modeling, the subtle sway of the hips, and the slight tilt of the head give him a grace reminiscent of Donatello's David.
It is a young boy of about 15 who posed, offering his slender and elegant figure, which Dubois translates through the smooth, slender volumes of his legs, contrasting with the particularly ornate torso.
The sleeveless doublet, clearly separated from the shirt, appears to be draped over him. The folds of the fabric lend a sense of realism to the pose, especially those of the tightly fitted hose, at the buttocks and behind the knee.
But it is also a precise and faithful depiction of the details: the doublet, the sleeve buttons, the strings and keys of the instrument, the sculpted hair, the shoelaces…
Note the belt buckle adorned with a medallion of the mythological god Pan with his goatee. God of nature, shepherds, and rustic music.
The hose covered the lower part of the body, from the hips to the feet, the medieval precursors of what would become trousers. Wearing the traditional cap of 15th-century Fmorentin adolescents, what attracts attention and elicits prudish comments is the prominence of the codpiece.
This triangular piece covering the opening of the breeches is fastened with laces, a type of drawstring threaded through eyelets.
A brightly colored piece of fabric, often padded, it serves as both a status symbol and a display of the wearer's "spirit." This "pocket" also serves to hold a handkerchief, conceal one's purse and coins, and even, it is said, to ripen fruit intended as a gift.
In his review of the work, journalist Édouard Charton wrote: "This statue possesses what others lack: charm and life." And Louis de Laincel observed that "the realism of the work is such that we seem to hear it singing." These are remarks with a double meaning, subtly suggesting what captivates everyone's attention.
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