Beautiful genuine bronze sphinx in very good condition (fully functional). There is a hairline crack on the very bottom where the lamp rod joins the base but nothing in the sphinx. The structural integrity is sound. No missing or chipped pieces. The sphinx models the 16th-century Mannerist sphinx (also known as French sphinx). Measurements: Bronze statue only 11.5" length Bronze statue only 5" width Bronze statue only 6 3/4" height Base only 13.5"length Base only 7 1/4" width Base only 5" Overall Lamp height 27.5" Top of Sphinx head to base bottom 12 1/4" Total Weight 12 lbs. 8 oz. The revived Mannerist sphinx of the 16th century is sometimes thought of as the French sphinx. Her coiffed head is erect and she has the breasts of a young woman. Often she wears ear drops and pearls as ornaments. Her body is naturalistically rendered as a recumbent lioness. Such sphinxes were revived when the grottesche or "grotesque" decorations of the unearthed Golden House (Domus Aurea) of Nero were brought to light in late 15th-century Rome, and she was incorporated into the classical vocabulary of arabesque designs that spread throughout Europe in engravings during the 16th and 17th centuries. Sphinxes were included in the decoration of the loggia of the Vatican Palace by the workshop of Raphael (1515–20), which updated the vocabulary of the Roman grottesche . The first appearances of sphinxes in French art are in the School of Fontainebleau in the 1520s and 1530s and she continues into the Late Baroque style of the French Régence (1715–1723). From France, she spread throughout Europe, becoming a regular feature of the outdoors decorative sculpture of 18th-century palace gardens, as in the Upper Belvedere Palace in Vienna, Sanssouci Park in Potsdam, La Granja in Spain, Branicki Palace in Bia?ystok, or the late Rococo examples on the grounds of the Portuguese Queluz National Palace (of perhaps the 1760s), with ruffs and clothed chests ending with a little cape. Sphinxes are a feature of the neoclassical interior decorations of Robert Adam and his followers, returning closer to the undressed style of the grottesche. They had an equal appeal to artists and designers of the romantic, and later symbolism movements in the 19th century. Most of these sphinxes alluded to the Greek sphinx, rather than the Egyptian, although they may not have wings."