Statuette Of A Prophet - Florence, 1300 / 1325

This magnificent marble statuette, dated to the first half of the 14th century, from Florence, is related to a group of followers of the Tuscan sculptor Arnolfo di Cambio. The work shows a man, standing, resting on a sculpted base. His head is broad and round. His hair, short, reveals traces of drill bits in his locks. His face, somewhat erased, due to natural erosion, shows lively eyes, a flat nose and a half-open mouth. His head is slightly turned to the right. He wears loose clothing, with heavy folds. His right hand holds his coat. In his left hand, he holds a rolled-up parchment, identifying him as a prophet. His sculpted knees appear under the thick fabric, and break the formal rigidity of the sculpture. His feet are shod with open sandals. We note the presence of two sculpted holes: one in the back of the statue, the other on the base, between the two feet. The hole at the base of the sculpture is used to support it, while the hole at the back was used to hang the sculpture from behind, to prevent it from falling or tipping over. The formal and stylistic characteristics of this work have several similarities with six other statuettes visible at the Museo dell'Opera del Duomo in Florence. These six statuettes, dated to the first quarter of the 14th century and made by followers of Arnolfo di Cambio, were originally placed in the embrasures of the main door of the Gothic façade of the Cathedral of Santa Maria del Fiore. All the statues preserved in Florence and that of our Prophet have several similarities that need to be addressed. First, the dimensions and body proportions of the figures are identical. Then we find the width of the head, the drooping shoulders, the heavy folds of the draperies, the short legs, the elongated fingers and the open sandals. In some of them we can observe an attempt at contrapposto by the protruding knee, and finally, we notice the presence of a sculpted shaft, starting from the base and joining the statue, acting as a fixing support. Although this shaft is not found on the statue of the prophet, its trace is present in the hole appearing between his feet. The work that we present here has some similarities with the production of Arnolfo di Cambio, however its similarities are not developed enough to emit a proven paternity with the sculptor. The statuette is then closer to the works of the followers of di Cambio, decorators of the facade of the cathedral Santa Maria del Fiore.