Attributed to Pietro Baratta (1668–1729) Italian, Veneto, circa 1700

Giuseppe Caprin (1843-1904), Palazzo Caprin, Trieste;
private collection, Padua

M. Fabro, 'Il palazzo e le collezioni di Giuseppe Caprin', Arte in Friuli, arte a Trieste, 23, 2004, pp. 153-86, figs. 15-16

Overall the condition of the busts is good, with dirt and wear to the surfaces consistent with age. There is veining to the marble consistent with the material, including to Heraclitus's proper right shoulder. There are a few naturally occurring inclusions, including to the back of Democritus's head. There are a few small chips to the drapery, and there is a larger chip to Democritus's drapery on his proper left shoulder. There are stable open veins throughout the bases, consistent with the material. There are possibly original chips and losses to the backs of the bases.
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These two busts represent the Greek philosophers Democritus and Heraclitus, one laughing and one weeping, following the traditional iconography that was widely represented during the Renaissance and Baroque periods. From the 1870s onwards this pair of busts could be seen on the landing of the Palazzo Caprin, as part of the superlative collection of the prominent Italian writer and nationalist Giuseppe Caprin. Much of his collection was transferred to the communal museum of Trieste upon Caprin's death but the busts remained in the palazzo with his heirs, where they were last recorded in 1933.

The two philosophers are represented in a typically Venetian Baroque fashion. The philosopher's expressions are vivid while sharp effects of light and shade are created by the vigorous carving of the hair and rich folds of drapery. The sculptor also varied the finish of the marbles by polishing the skin while leaving the hair and beards matt creating an even more dynamic play of light and shade.

Even though close analogies are offered by the work of Orazio Marinali and Michele Fabris, stylistically this pair is closest to sculptures by Pietro Baratta. His Saint Joseph and Saint Anne in the church of Saint Sebastian present a similar treatment of the drapery with deep folds creating sharp angles. The bust of Heraclitus is also reminiscent of the Allegory of Winter by Baratta in the Summer Garden in Saint Petersburg.

RELATED LITERATURE
C. Semenzato, 'Lo scultore Pietro Baratta' Critica d'Arte, 1958, pp. 25-6; C. Semenzato, La scultura Veneta del seicento e del settecento, Venice, 1966, fig. 47; M. De Grassi, 'Francesco Cabianca e la prima attività Veneziana di Pietro Baratta', J. Höfler (ed.), Francesco Robba and the Venetian sculpture of the Eighteenth Century, Ljubljana, 2000, pp 51-60, fig.10; A. Bacchi, La scultura a Venezia da Sansovino a Canova, Milan, 2000, pp. 690-692; G. Pavanello (ed.), La scultura Veneta del seicento e del settecento, Venice, 2002, pp. 107, 112-3, 116-7 and 123