Satyr and Hermaphrodite

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The modest size and crisp white hue make this cast of Satyr and Hermaphrodite stand out in the display on the western side of the Cast Gallery. The sculpture depicts a struggle between the two naked figures, though it is unclear who initiates the attack and who is being attacked. At first glance, it appears that the Satyr extends his legs around his opponent's thighs in an attempt to grasp the Hermaphrodite from behind to satisfy his own sexual desire while the Hermaphrodite fights for release and grabs the Satyr's face and right foot to push him away. In the struggle, their garment has slipped off and lies partly on the ground, partly on the rock upon which the Satyr is seated. An alternative viewing of the pair identifies the Hermaphrodite as the aggressor: they have locked the left foot of the Satyr with their right leg and are trying to bring the Satyr closer with their hands. In this case, the reluctance of the Satyr would be justified by his surprise on discovering that his opponent is not a female Nymph but an ambiguous Hermaphrodite. The uncomfortable posture of the Hermaphrodite with strenuously twisted waist and unstable position of the legs are perhaps in favor of the first reading. However, one cannot completely exclude the second reading, and it is exactly this ambiguity that the theme intends to evoke as a playful trick on its audience. This effect would have been further enhanced by the two principal views of the group with the 'front' presenting the Hermaphrodite's back and the 'back' showing its chest and genitalia visible only from the closer intermediary view. What is beyond doubt is the popularity of this sculptural type in the Roman period, as 28 marble and two bronze versions of it have been discovered. They date to the 1st and 2nd centuries AD, are all smaller than life-size, and are thought to be replicas of an earlier Hellenistic original. The cast in the Ashmolean replicates the most complete version in marble, which is the group of the State Collection of Art in Dresden. The exact provenance and original context is known only for five of the surviving versions. Two come from Roman villas, and three come from theatres, indicating that the group was used to embellish both private and public spaces. The type is also depicted in two-dimensional media, such as mosaic floors, frescoes, and gemstones. The norm in Classical art was to present the Hermaphrodite alone and asleep, while satyrs were usually depicted attempting to seduce Nymphs or Maenads. The pairing of the two figures was unique and highly admired, as seen in versions in different media. Seen either as 'erotic art', or as a theme from the world of Dionysus, or simply admired for the vigorous postures and complex interaction between the two figures, the group today still engages, amuses, and charms the viewer. This object is part of "Scan The World", a non-profit initiative introduced by MyMiniFactory. Scan the World is creating a digital archive of fully 3D printable sculptures, artworks, and landmarks from across the globe for the public to access for free. It is an open source, community effort, and if you have interesting items around you and would like to contribute, email stw@myminifactory.com to find out how you can help.