ATTRIBUTED TO CARLO FRANCESCO MELLONE (1670-CIRCA 1756)ITALIAN, ROME, CIRCA 1715-1725 | Bust of Pope Gregory XIII (1502-1585)

Overall the condition of the marble is very good, with minor dirt and wear to the surface consistent with age. There are some naturally occurring inclusions to the marble consistent with the material. There is natural veining to the marble consistent with the material. There appears to be a filled hole to the reverse of the sculpture under the head. The socle is probably associated.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

This beautifully carved late Baroque portrait of the 16th-century Pope Gregory XIII (who was responsible for the Gregorian Calendar) was almost certainly executed around the time of the creation of his posthumous monument for St Peters in Rome by Camillo Rusconi, between 1715 and 1723. The obvious candidate for the attribution of the present bust is the Milanese sculptor Carlo Francesco Mellone (Meloni) who was responsible for carving the bas-relief showing Gregory XIII reforming the calendar (probably to Rusconi's designs) on the fictive funerary urn below the sepulchral statue, and for which he was paid 108 scudi on 12 March 1718. Aside from the obvious portrait similarity between the present bust and the relief, the treatment of the beard and execution of the details and drapery are close. The present bust is preserved in excellent condition. RELATED LITERATURE
R. Enggass, Early Eighteenth-Century Sculpture in Rome, University Park and London, 1976, pp. 102-103, figs 67-68; G. Ferrari and S. Papaldo, Le sculture del Seicento a Roma, Rome, 1999, p. 110