(b. 1737, Torino, d. 1801, Torino)
Tomb of Carlo Emanuele III1788
White and coloured marble, gilt bronze
La Superga, Turin
In Turin in the second half of the eighteenth century, the most notable members of the local school of sculpture were two brothers, Ignazio Collino (1724-1793) and Filippo Collino (1737-1801).
Trained in Rome, able and receptive, the two brothers studied the best examples of ancient and modern sculpture and were capable of reproducing Classical models when required; when faced with the tombs of Vittorio Amedeo II and Carlo Emanuele III, however, they instinctively reverted to the great papal tombs of earlier generations as models.
This is particularly the case with the tomb of Carlo Emanuele III, which, despite its veneer of Classicism, betrays an unmistakable affinity with the world of Algardi, Rusconi and Cametti. The inclination towards narrative links the gestures of Prudence, Valour, Military Genius and the two putti, all of whose actions centre upon the medallion of the late King. In fact, the gesture of Valour drawing back the drapery is modeled closely on Rusconi's memorial to Gregory XIII, itself a work midway the Baroque and Neoclassical styles. The main difference comes in the treatment of the figures, whose drapery and - in the case of Military Genius - semi-nudity point towards a closer study of antique models.