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The Cover | August 5, 2009

Bust of Marsyas

Thomas B. Cole, MD, MPH

JAMA. 2009;302(5):469. doi:10.1001/jama.2009.985.

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The sculptor Gian Lorenzo Bernini (1598-1680) was in the vanguard of a 17th-century movement that made art more accessible and more emotional. In Rome, theatrical altars and elaborate fountains were constructed in public places such as churches and plazas, where they could be experienced by anyone. On an emotional level, sculptors began to emphasize human action and expression in their stone carvings. To connect with the audience of common people by creating sculptures that looked alive, to elicit empathy for the artist's subject while bringing the most intimate of its emotions to public view: this was the challenge accepted by Bernini and his successors, one of whom was Balthasar Permoser (1651-1732).

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Balthasar Permoser (1651-1732), Bust of Marsyas, circa 1680-1685, German. Marble, ebony socle inlaid with marble. 70.5 × 41.7 × 22.9 cm. Courtesy of The Metropolitan Museum of Art (http://www.metmuseum.org/), New York, New York; Rogers Fund and Harris Brisbane Dick Fund, 2002 (2002.468). Image © The Metropolitan Museum of Art.

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Country-Specific Mortality and Growth Failure in Infancy and Yound Children and Association With Material Stature

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Cole TB. Bust of Marsyas. JAMA. 2009;302(5):469. doi:10.1001/jama.2009.985.

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