Abstract

Inside Palazzo Tornabuoni-Corsi-Salviati in Florence is preserved a larger than life statue depicting Diana made of ‘bigio antico’ (for the body dressed in himation and chiton) and white marble (for the naked parts of the #gure), still unknown to archaeological literature. Formal considerations and archival data allow to attribute the restoration in white marble to Antonio Novelli (1599-1662), who worked for the commission of Giovanni Corsi (1600- 1661). e part in ‘bigio antico’ is, instead, what remains of a monumental sculpture from the imperial era that reproposes the iconographic scheme of the famous Fortuna-Isis by Palestrina. Considerations of antiquarian nature (shape of the Herculean knot of the belt) allow to deepen the question of the identity of the person represented and o+er the possibility of some reconsiderations on the iconographic model attested by the Florentine statue.