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Ippolito Buzzi
Ippolito Buzzi (or Buzio) (1562–1634) was an Italian sculptor from Viggiù, near Varese, in northernmost Lombardy, a member of a long-established dynasty of painters, sculptors and architects from the town,〔(Viggiù: artisti )〕 who passed his mature career in Rome. His personality as a sculptor is somewhat overshadowed by the two kinds of work he is known for: restorations to ancient Roman sculptures, some of them highly improvisatory by modern standards, and sculpture contributed to architectural projects and funeral monuments, where he was one among a team of craftsmen working under the general direction of an architect, like Giacomo della Porta - in projects for Pope Clement VIII, or Flaminio Ponzio - in projects for Pope Paul V - who would provide the designs from which the work was executed, always in consultation with the patron.
Buzzi also turned his hand to garden sculpture of a high order, such as caryatids for the ''Teatro delle Acque'' in the Villa Aldobrandini, Frascati, works that were in the process of completion from 1603, with water features designed by Orazio Olivieri and Giovanni Guglielmi.〔C. d'Onofrio, ''La Villa Aldobrandini di Frascati'', (Rome) 1963.〕 Eva-Bettina Krems suggests〔Eva-Bettina Krems, "Die 'magnifica modestia' der Ludovisi auf dem Monte Pincio in Rom. Von der Hermathena zu Berninis Marmorbüste Gregors XV"''Marburger Jahrbuch für Kunstwissenschaft'' 29(2002), pp. 105–163.〕 that Pietro Aldobrandini's secretary, Monsignor Giovanni Battista Agucchi, is a likely candidate for the connection that introduced Buzzi to Cardinal Ludovico Ludovisi.
==Classical restorations==
From about 1620 Buzzi was virtually the house restorer for Cardinal Ludovisi,〔Yves Bruand, "La restauration des sculptures antiques du cardinal Ludovisi" ''Mélanges d'archéologie et d'histoire'' 68 (1956), pp. 397–418; Buzzi received more than 415 scudi in payments, 1621–24. By comparison Bernini received 50 scudi, 20 June 1622, and Algardi received 147 scudi 1626–31 (Krems 2002:254, note 131.〕 who possessed in his villa on the Quirinale one of the finest collections of Roman sculptures in Rome,〔Now reassembled in part by the Italian State and presented in the Palazzo Altemps ((La sede di Palazzo Altemps )).〕 and commissioned repairs from Gian Lorenzo Bernini—whose minor restorations to the ''Ludovisi Ares'' are discreet—and Alessandro Algardi, who supported himself with restoration work, as well as Buzzi. Some of Buzzi's restorations are minor interventions to satisfy the taste of the day, as with the Ludovisi ''Dying Gaul''; while others are more creative and incur the uneasy dissatisfaction of 21st-century writers on antiquities,〔Margarete Bieber, ''The Sculpture of the Hellenistic Age'' (New York) 1961, p. 80; a torso made by Buzzi into a Cnidian Venus, Eva-Bettina Krems calls "diese Großzügige Restaurierung" (Krems 2002:122).〕 especially when unrelated fragments were assembled, to create essentially new compositions, such as Buzzi's ''Amore and Psyche'' in the Ludovisi collection. A ''Hermaphroditus'' belonging to Ludovisi was restored by Buzzi, 1621–23; it was later purchased by Ferdinando II de' Medici and is in the Uffizi.〔Francis Haskell and Nicholas Penny, ''Taste and the Antique: The Lure of Classical Sculpture 1500-1900'' (Yale University Press) 1981, p. 235.)〕 Buzzi restored the marble group in the Prado now identified equally as ''Castor and Pollux'' or as ''Orestes and Pylades''〔''Orestes and Pylades'' was Winckelmann's interpretation, when he first published the group in 1767; it is followed recently by Stephan F. Schröder, ''Katalog der antiken Skulpturen des Museo del Prado in Madrid.'' Vol. 2: Idealplastik.'' (Mainz am Rhein: von Zabern) 2004 (cat. no. 181).〕 providing the headless torso with an ancient bust of Antinous, the emperor Hadrian's favorite.
Examples of a kind of hybrid sculpture that typifies some aspects of Roman taste of the time are two portrait heads that are fitted to antique Roman busts; they stand side by side in the Palazzo dei Conservatori, Sala dei Capitani: one is a head of Alessandro Farnese by Buzzi, 1593, the other a head of Carlo Barberini by Gian Lorenzo Bernini, 1630.〔For the context of seveneenth-century Rome, and taste in antiquities, see I. Faldi, "Il mito della classicità e il restauro delle sculture antiche nel XVII secolo a Roma" in ''La collezione Boncampagni-Ludovisi: Algardi, Bernini e la fortuna dell'antica'' (exhibition catalogue), A. Giuliano (Rome) 1992, pp. 207–25.〕
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