Roger and Angelica Mounted on the Hippogriff

CC0 Public Domain Designation

Modeled c. 1840, cast c. 1884

Antoine Louis Barye (French, 1795–1875)

This bronze depicts a scene from Orlando Furioso, a chivalric epic from the Italian Renaissance that inspired artists well into the 19th century. In it, Roger, a knight, rides a hippogriff to save Princess Angelica, who has been chained to a rock to be devoured by a sea monster. Antoine Louis Barye captured the moment the heroes take flight, leaving behind the defeated monster with waves lapping around it. This sculptural group formed part of a decorative ensemble for a fireplace mantel, which was commissioned around 1840 by Antoine, Duke of Montpensier, the youngest son of King Louis Philippe of France. The composition was recast frequently during and after Barye’s lifetime.

Status: On View, Gallery 220
Department: Painting and Sculpture of Europe

Artist: Antoine Louis Barye
Title: Roger and Angelica Mounted on the Hippogriff
Place: France (Artist's nationality:)
Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.: Modeled 1835–1845
Medium: Bronze
Inscriptions: Inscribed: Barye (faintly on front of base); 5474 (inside on tape)
Dimensions: 51.1 × 66.8 × 32 cm (20 1/8 × 26 1/4 × 12 5/8 in.)
Credit Line: George F. Harding Collection
Reference Number: 1984.34
IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.: https://api.artic.edu/api/v1/artworks/102105/manifest.json

Charles DeKay, Life and Works of Barye the Sculptor (New York: Barye Monument Association, 1889), pp. 70-73, no. 53.
Jane Van Nimmen and Ruth Mirolli, Nineteenth-Century French Sculpture: Monuments for the Middle Class, (Louisville, Kentucky: J.B. Speed Art Museum, 1971), pp. 39–50.
Stuart Pivar, The Barye Bronzes: A Catalogue Raisonne (Woodbridge, England: Antique Collectors’ Club, 1974), pp. 7, 20, 65, cat. F16.
Glenn F. Benge, Antoine-Louis Barye: Sculptor of Romantic Realism (University Park: Pennsylvania State University Press, 1984), pp. 95-96, fig. 84.
Elizabeth Briggs Lynch, “Barye’s Mythological Subjects,” Antoine-Louis Barye: The Corcoran Collection, edited by Lilien F. Robinson and Edward J. Nygren (Washington, D.C.: Corcoran Gallery of Art, 1988), pp. 45-47.
Isabelle Leroy-Jay Lemaistre, La griffe et la dent, Antoine Louise Barye (1795–1875) sculpteur animalier (Paris: Réunion des Musées Nationaux, 1996), pp. 38-45.
Édith Mannoni, Barye (Paris: Les Éditions de l’Amateur, 1996) pp. 79, 96-98.
Michel Poletti and Alain Richarme, Barye: Catalogue raisonné des sculptures (Paris: Gallimard, 2000), pp. 92-95, cats. F22, F23.

Art Institute of Chicago, “Small Bronzes from Chicago Collections,” 22 July - 8 October 1972 [no cat.].

George F. Harding, Jr. (d. 1939), Chicago, by 1939; bequeathed to the George F. Harding Museum, Chicago, 1939; transferred to the Art Institute, 1982; accessioned by the Art Institute, 1984.

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Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

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Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

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IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world.

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