A Naples Biscuit Group of Mercury and Paris, Modelled by Filippo Tagliolini (1745-1809), Real Fabbrica Ferdinandea, circa 1790

Filippo Tagliolini and the Language of Neoclassicism

The sculptor Filippo Tagliolini was among the first in Europe to shape a new and original artistic language—that of Neoclassicism—through copying, reproducing, and restoring prototypes of classical and antique statues.

The practice of imitating the antique was not, in itself, new. Small-scale reproductions had already been successfully undertaken in bronze by Giacomo Zoffoli (1731–1785) and Francesco Righetti (1749–1819), both of whom Tagliolini likely encountered in Rome. What distinguished his work was the choice of biscuit porcelain: with its pure white color, matte surface, and marble-like texture, it proved an ideal medium for experimental creations in the new classical style.

Tagliolini’s artistic language was unmistakable, refined, and deeply cultured, thanks to three key factors:

First-hand knowledge of antiquity: he had direct and intimate access to the sculptures of Herculaneum and Pompeii, as well as the celebrated Farnese Collection, many of which were deposited in the rooms of the Royal Porcelain Factory. This daily contact and minute observation informed his work. He also became a skilled restorer, contributing to the head of the Flora Farnese and finishing details on the Hercules Farnese.

A visionary cultural program: Tagliolini worked within the ambitious Neoclassical strategy of Domenico Venuti (1745–1817), director of the Royal Factory from 1779 to 1800. Internationally acclaimed as an archaeologist and virtually acting as Minister of Arts and Culture for the Kingdom, Venuti promoted grand projects such as monumental centrepieces designed as miniature classical monuments. These included: the Servizio Ercolanese, presented to King Charles III of Spain in 1781; the dessert service for King George III of England in 1783.

The allure of exclusivity and wonder: antiquities from Herculaneum and Pompeii, excavated since 1743, were strictly controlled by the court, which prohibited unauthorized reproductions. By granting privileged visual access through porcelain copies, Tagliolini introduced a sense of surprise and enchantment, while reinforcing the prestige of royal patronage.

These “portable classics”, small-format reproductions of antique statues, highlight the central role of creativity in Neoclassical sculpture, a field rooted in both erudition and imagination. Copying, restoring, and miniaturizing were not passive acts but dynamic processes of reinvention, in which ancient models were re-imagined and re-interpreted.

Underlying this was an aesthetic principle of embellishment and improvement: a poetic, even romantic sensibility—perhaps naïve, but never arrogant—that rejected the presentation of fragmented statues “as excavated,” preferring instead to restore their idealized beauty.

Tagliolini was also a shrewd entrepreneur. He balanced commercial appeal with archaeological rigor, targeting the desires of wealthy young Northern European travellers on the Grand Tour, eager to take home tangible memories of the masterpieces they had seen. His strategy included competitive pricing: one of his porcelain figures cost only six zecchini, compared to the 15–20 zecchini required for a small bronze by Zoffoli.