The Rape of Proserpina
Baroque marble group depicting Pluto's abduction of Proserpina.
Gian Lorenzo Bernini carved *The Rape of Proserpina* (more precisely called *The Abduction of Proserpina*) from rare Carrara marble in 1621 and 1622, completing the large Baroque group when he was only 23 years old. The sculpture captures the moment the god Pluto seizes Proserpina and carries her into the underworld; he holds her aloft, and a marble Cerberus marks the border he crosses. Cardinal Scipione Borghese commissioned the work and later gave it to the newly appointed Cardinal-nephew, Ludovico Ludovisi, likely to win favor. The choice of the Proserpina myth may reference the recent death of Pope Paul V or Ludovico’s rise to power. Bernini drew on Giambologna and Annibale Carracci for inspiration, and this is the only Bernini sculpture for which preparatory sketches survive. The piece originally sat on a pedestal, now lost, that bore a poem by Maffeo Barberini. Critics have praised its realism: the marble convincingly mimics flesh and other materials, and a carved trickle of tears heightens Proserpina’s expression.
The myth, found in Ovid’s *Metamorphoses* and Claudian’s *De Raptu Proserpinae*, tells how Proserpina—daughter of Jupiter and Ceres, the goddess of agriculture—was gathering flowers when Pluto burst from the ground in a chariot pulled by four black horses and forced her into the underworld. Ceres heard her scream, then dried the earth and ruined harvests until Jupiter brokered a deal: Proserpina would spend half the year with Pluto and half with Ceres, explaining the seasons. Bernini’s statue shows the climactic struggle, with Proserpina fighting as Pluto carries her over the underworld’s border. Both figures are nearly nude, though cloth covers Pluto’s thigh and Proserpina’s shoulder, and the marble Cerberus connects to Pluto through that drapery. Unlike many contemporary sculptures that required viewing from multiple angles, this one can be fully understood from a single point directly in front of its base; all other perspectives are secondary.
Scipione Borghese commissioned the work—along with a bust of his uncle, Pope Paul V, who died in January 1621—as the first of a series of major pieces that would include *David* and *Apollo and Daphne*. Bernini received at least three payments totaling 450 Roman scudi. The statue was finished in 1622 and delivered to the Villa Borghese, whose main facade already depicted the Proserpina myth. In su
- artist
- Gian Lorenzo Bernini
- year
- 1621–1622
- material
- Carrara marble
- commissioned_by
- Cardinal Scipione Borghese
- current_location
- Originally Villa Borghese, later gifted to Villa Ludovisi
- subject
- Abduction of Proserpina by Pluto
Lore & Background
Cardinal Scipione Borghese commissioned the sculpture and gave it to the newly appointed Cardinal-nephew, Ludovico Ludovisi, possibly as a means of gaining favour. The choice to depict the myth of Proserpina may relate to the recent death of Pope Paul V, or to the recent empowerment of Ludovico. Bernini drew inspiration from Giambologna and Annibale Carracci for the sculpture, which is the only work for which preparatory material survives. The Rape of Proserpina is made of rare Carrara marble, and was originally placed on a pedestal, since destroyed, with a poem by Maffeo Barberini. It has been praised for its realism, as the marble mimics other materials like flesh. The detail is notable; for instance, a trickle of tears contributes to the expressiveness of Proserpina's face.
The Rape of Proserpina is based on the myth of Proserpina's abduction, which is found in both Ovid's Metamorphoses and Claudian's De Raptu Proserpinae. Bernini's statue depicts the climactic moment of the story, when Pluto grabs Proserpina, who struggles against him as he carries her over the border of the underworld, symbolized by a marble Cerberus. The combatants are almost fully nude, though cloth still covers Pluto's thigh and Proserpina's shoulder. The marble Cerberus is joined to Pluto through this cloth. Many sculptures of the time did not have one central perspective from which to view them, but The Rape of Proserpina can be seen in full from one angle, directly in front of the base.
Reader's Guide
The Rape of Proserpina is significant as an early masterpiece by Gian Lorenzo Bernini, completed when he was only 23, and as the first in a series of major Borghese works including the David and the Apollo and Daphne. It demonstrates Bernini's ability to render flesh and emotion in marble, with particular attention to realism and detail, such as the trickle of tears on Proserpina's face. The sculpture's single predominant perspective marks a departure from many contemporary works that required multiple viewpoints. Its commission and subsequent gifting to Cardinal-nephew Ludovico Ludovisi reflect the political dynamics of the Borghese and Ludovisi families, with possible interpretations ranging from a gesture of favor to an insult. The work also preserves the only known preparatory drawing by Bernini for a Borghese commission, offering insight into his creative process.
Did You Know?
- The Rape of Proserpina is the only Bernini work for which preparatory material survives.
- The sculpture was originally placed on a pedestal with a poem by Maffeo Barberini, since destroyed.
- A fragment study of the head of Proserpina, made of terracotta, resides in the Cleveland Museum of Art.
- Bernini received at least three payments for its creation, of the value of at least 450 Roman scudi.
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