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©
Thyssen-Bornemisza Collection, on loan with the Museu Nacional d'Art de Catalunya (MNAC)
Giovanni Agostino da Lodi

Pan and Syrinx

ca. 1510
Oil on panel.
46 x 36.5 cm
Thyssen-Bornemisza Collection, on deposit with the Museu Nacional d'Art de Catalunya (MNAC)
Inv. no.
49
(
1929.4
)
Not on display
  • Level 2 Permanent Collection
  • Level 1 Permanent Collection
  • Level 0 Carmen Thyssen Collection and Temporary exhibition rooms
  • Level -1 Temporary exhibition rooms, Conference room and EducaThyssen workshop
Level 2
Permanent Collection
1 2 3 4 5 6 7 8 9 10 11 12 14 13 15 16 17 18 22 19 20 21 23 24 25 26 27 28 29 Recommended start of the visitClassical rooms
1 14th Century. Early Italian Painting 2 15th Century. German and Spanish Painting 3 15th Century. Early Netherlandish Painting 4 15th Century. Italian Painting 5 15th and 16th Centuries. Renaissance Portraiture 6 16th Century. Villahermosa Gallery 7 16th Century. Italian Painting 8 15th and 16th Centuries. German Painting 9 15th and 16th Centuries. German Painting 10 16th Century. Netherlandish Painting 11 Tiziano, Tintoretto, Bassano and  El Greco 12 17th Century. Caravaggio and Baroque Painting 13 17th Century. Italian, French and Spanish Painting 14 17th Century. Italian, French and Spanish Painting 15 17th Century. Italian, French and Spanish Painting 16 18th Century. Italian Painting 17 18th Century. Italian Painting 18 18th Century. Italian Painting 19 Classical rooms 20 Classical rooms 21 Classical rooms 22 18th Century. Italian Painting 23 17th Century. Dutch Painting. Landscape 24 18th Century. French and English Painting 25 17th Century. Dutch Painting. Scenes of Daily Life and Interiors 26 17th Century. Dutch Painting. Landscape 27 17th Century. Dutch Painting. Portrait 28 17th Century. Dutch Painting. Landscape 29 19th Century. European Painting. Goya and Romanticism  
Level 1
Permanent Collection
30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 Postpop rooms Rodin room
30 18th and 19th Centuries. Transatlantic Relations 31 19th Century. American Landscape and Environmental Awareness 32 19th Century. American Landscape and Urban Life 33 Recovering the ligth. Restoration of Waterloo Bridge, by André Derain 34 20th Century. Expressionist Landscapes 35 20th Century. Expressionist Portraits 36 20th Century. The Language of the Body 37 20th Century. Urban unrest 38 20th Century. Flowers 39 20th Century. Pioneers of abstraction 40 20th Century. Popular flavor 41 20th Century. The Cubist Tradition I 42 20th Century. The Cubist Tradition II 43 20th Century. Abstract Utopias 44 20th Century. Dada and Surrealism 45 20th Century. Interwar Realisms 46 20th Century. American Abstraction I 48 20th Century. Post-ward American Art 49 20th Century. Post-ward European Figurative Art 50 20th Century. Informalisms 51 20th Century. Homo Ludens 52 20th Century. Pop Art 53 Postpop rooms 54 Postpop rooms 55 Postpop rooms 56 Postpop rooms Rodin Exhibition room
Level 0
Carmen Thyssen Collection and Temporary exhibition rooms
A B C D E F G H I J Hall Temporary exhibition rooms Access to Permanent Collection Entrance Access to Carmen Thyssen Collection Paseo del Prado Garden
A 17th and 18th Centuries. Old Masters B 19th Century. North American Landscape C 19th Century. French Naturalist Landscape D 19th Century. Impressionism E 19th Century. Monet and North American Impressionism F 19th Century. Gauguin and Postimpressionism G 19th and 20th Centuries. Neo Impressionism and its Wake H 20th Century. Early Avant-gardes I 20th Century. Between the Wars Painting. Cubism, Abstraction and Surrealism J 20th Century. North American Painting and Others • HALL
Level -1
Temporary exhibition rooms, Conference room and EducaThyssen workshop
Temporary exhibition rooms Conference room EducaThyssen Workshop
Both panels were acquired for the Collection in 1929 from Lucerne Fine Art, Switzerland. One month later, Georg Gronau wrote a report in which he praised the quality and artistic merit of these works and the poetic landscapes in which the narratives are set. It would seem that Gronau was already familiar with them when they were in a private London collection and his text indicates the order in which they were displayed at that date.

Since the time of their publication in the Munich catalogue in 1930, these two panels have been attributed to the Pseudo Boccaccino, an attribution to which Gronau also subscribed. The most recent studies on that artist, who was active in Venice in the early 16th century, have identified him as Giovanni Agostino da Lodi, who worked in a style that combined Lombard and Venetian elements. These panels were published by Berenson in 1968 as by Lodi.

The story depicted is taken from Ovid’s Metamorphoses (I), a source frequently used by Renaissance artists when depicting mythological episodes. In the 1988 catalogue of works from the Collection, David Ekserdjian noted that it was difficult to connect these two landscapes with the story of the nymph Syrinx as recounted in Ovid’s text. Chronologically, the story begins when the god Pan, half-man, half-goat, tries to win the nymph’s heart with his music. Syrinx, however, had dedicated her virginity to the goddess Artemis and on finding herself pursued by Pan, runs to the naiads asking for help. To save her virtue, the naiads transform her into reeds, as we see in the second panel in which Syrinx is depicted with her arms replaced by leafy branches. According to Ovid’s account, when Pan went to embrace her, he found himself surrounded by the reeds, whose sound pleased the god of shepherds and flocks. He made a musical instrument known as a syrinx or set of panpipes from them. The stream in the foreground has been identified as the crystalline Ladon.

The scenes in the middle and background planes are difficult to interpret within this context. In the panel of Pan and Syrinx the nymph and the male figure pursuing her have been identified as Daphne and Apollo. Still unidentified in the other panel of Ladon and Syrinx, however, are the three figures in the wood: a woman holding a lance and two soldiers walking round the foot of a mountain. Also difficult to explain is the transformation of Pan as he goes to embrace Syrinx, abandoning his usual guise and transforming himself into a human being. In Ekserdjian’s opinion the artist’s interpretation of Ovid’s story may be due to the particular literary source that he used, perhaps a free or incomplete translation of the text. Mina Gregori has suggested that in fact the panels depict a different, as yet unidentified mythological tale. It has been suggested on the basis of their format and subject that these panels, with their praise of woman’s chastity, formed part of a cassone or wedding chest.

Mar Borobia
16th Century16th Century - Italian paintingPaintingOilpanel
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More from the collection

Giovanni Agostino da Lodi
Giovanni Agostino da Lodi
Ladon and Syrinx
ca. 1510
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Pan and Syrinx. Pan y Siringe, c. 1510
Pan and Syrinx
Giovanni Agostino da Lodi

©

Thyssen-Bornemisza Collection, on loan with the Museu Nacional d'Art de Catalunya (MNAC)

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Commercial use
Pan and Syrinx. Pan y Siringe, c. 1510
Pan and Syrinx
Giovanni Agostino da Lodi

©

Thyssen-Bornemisza Collection, on loan with the Museu Nacional d'Art de Catalunya (MNAC)

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