The sculpture of Demeter, about 2 meters high, in the west corridor, mistakenly identified as the Goddess Juno in the inventory from the 18th century, portrays an iconographic type used for images of Demeter. The head and arms are the result of a modern integration. In the 16th century, the Uffizi Demeter was exhibited in the Belvedere courtyard in the Vatican. It was acquired by the Medici and placed at the Villa di Poggio Imperiale. It was brought to the Uffizi in the second half of the 18th century.
The Demeter goddess sculpture, standing with her weight on her right leg, is wearing a peplum falling at the waist with wide, flat folds. On the front side of the sculpture one notes the lightness of the material as it was sculpted over the left leg which is slightly bent. A short mantle is draped over the shoulders and covers the back side of the sculpture. This area appears less elaborated as the sculpture was destined from its origins to be displayed in a niche. This statuary type was created in the Roman era, a reworking of a classical model inspired by the Korai at the Erectheion from the end of the fifth century B.C. The rough and dry representation of the drapery suggests a sculptor active around the second century A.C. Although the artist who sculpted the Uffizi Demeter was not particularly gifted, thanks to the sensitive and expert restoration by Miriam Ricci, it asserts itself still today as a solemn and reassuring figure. Although the sculpture was previously restored in 1996 during the reordering of the Uffizi Corridors, the reading of the sculpture was obscured by a thick deposit of dust which covered the entire surface.
There was also evidence of corrosion in the marble in certain areas such as the left hand and above the left forearm and other areas on the left foot. The corroded areas present towards the middle on the back of the sculpture which weren’t particularly accentuated, testify that the sculpture was exhibited outdoors for an extended period of time. Two circular rust stains on the left leg are from an oxidation process caused by iron studs and most likely were formed during the period the sculpture was outside. At this point they are irreversible.
The restoration consisted in the cleaning of the surface which was done with blotters saturated with deionized water and at times, where necessary, with a solution of ammonium carbonate 0,17M. In these cases, the surface was then thoroughly rinsed. Some old, degraded, stuccoed areas were replaced with a cement made from hydrated calcium sulfate and acrylic resin (a.k.a. Polyfilla). In areas where it was determined necessary to eliminate strong incongruence and chromatic differences, watercolor made from natural pigments was applied with a fine brush. At the end of the restoration, the restorer, using a bistoury, removed particle and dust deposits that were compacted within some small surface abrasions and imperfections.
