• "Charioteer of Delphi" 470 BC. The "Charioteer of Delphi" is one of the best known ancient Greek statues, and one of the best preserved examples of classical bronze casts. It is considered a fine example of the "Severe" style. Delphi Archaeological Museum.
  • "Charioteer of Delphi" 470 BC. The "Charioteer of Delphi" is one of the best known ancient Greek statues, and one of the best preserved examples of classical bronze casts. It is considered a fine example of the "Severe" style. Delphi Archaeological Museum.
  • "Charioteer of Delphi" 470 BC. The "Charioteer of Delphi" is one of the best known ancient Greek statues, and one of the best preserved examples of classical bronze casts. It is considered a fine example of the "Severe" style. Delphi Archaeological Museum.
  • "Charioteer of Delphi" 470 BC. The "Charioteer of Delphi" is one of the best known ancient Greek statues, and one of the best preserved examples of classical bronze casts. It is considered a fine example of the "Severe" style. Delphi Archaeological Museum.
  • "Charioteer of Delphi" 470 BC. The "Charioteer of Delphi" is one of the best known ancient Greek statues, and one of the best preserved examples of classical bronze casts. It is considered a fine example of the "Severe" style. Delphi Archaeological Museum.
  • "Charioteer of Delphi" 470 BC. The "Charioteer of Delphi" is one of the best known ancient Greek statues, and one of the best preserved examples of classical bronze casts. It is considered a fine example of the "Severe" style. Delphi Archaeological Museum.
  • "Charioteer of Delphi" 470 BC. The "Charioteer of Delphi" is one of the best known ancient Greek statues, and one of the best preserved examples of classical bronze casts. It is considered a fine example of the "Severe" style. Delphi Archaeological Museum.
  • "Charioteer of Delphi" 470 BC. The "Charioteer of Delphi" is one of the best known ancient Greek statues, and one of the best preserved examples of classical bronze casts. It is considered a fine example of the "Severe" style. Delphi Archaeological Museum.
  • Greek Classical Period Bronze Statue of Zeus or Poseidon found in the sea of Cape Artemision of the north Eastern Euboea Island, Greece.  The God is shown in a great stride about to throw either a trident of a thunderbolt that is now missing from his right hand. The statue is one of the only preserved statues of the preserved style with exquisite rendering of motion & anatomy. The identity of the statue is controversial and is probably more likely to be Zeus rather than Poseidon. 460 BC Ref No X15161 Athens Archaeological Museum
  • "Charioteer of Delphi" 470 BC. The "Charioteer of Delphi" is one of the best known ancient Greek statues, and one of the best preserved examples of classical bronze casts. It is considered a fine example of the "Severe" style. Delphi Archaeological Museum.
  • "Charioteer of Delphi" 470 BC. The "Charioteer of Delphi" is one of the best known ancient Greek statues, and one of the best preserved examples of classical bronze casts. It is considered a fine example of the "Severe" style. Delphi Archaeological Museum.
  • Greek Classical Period Bronze Statue of Zeus or Poseidon found in the sea of Cape Artemision of the north Eastern Euboea Island, Greece.  The God is shown in a great stride about to throw either a trident of a thunderbolt that is now missing from his right hand. The statue is one of the only preserved statues of the preserved style with exquisite rendering of motion & anatomy. The identity of the statue is controversial and is probably more likely to be Zeus rather than Poseidon. 460 BC Ref No X15161 Athens Archaeological Museum
  • Greek Classical Period Bronze Statue of Zeus or Poseidon found in the sea of Cape Artemision of the north Eastern Euboea Island, Greece.  The God is shown in a great stride about to throw either a trident of a thunderbolt that is now missing from his right hand. The statue is one of the only preserved statues of the preserved style with exquisite rendering of motion & anatomy. The identity of the statue is controversial and is probably more likely to be Zeus rather than Poseidon. 460 BC Ref No X15161 Athens Archaeological Museum
  • Greek Classical Period Bronze Statue of Zeus or Poseidon found in the sea of Cape Artemision of the north Eastern Euboea Island, Greece.  The God is shown in a great stride about to throw either a trident of a thunderbolt that is now missing from his right hand. The statue is one of the only preserved statues of the preserved style with exquisite rendering of motion & anatomy. The identity of the statue is controversial and is probably more likely to be Zeus rather than Poseidon. 460 BC Ref No X15161 Athens Archaeological Museum
  • Greek Classical Period Bronze Statue of Zeus or Poseidon found in the sea of Cape Artemision of the north Eastern Euboea Island, Greece.  The God is shown in a great stride about to throw either a trident of a thunderbolt that is now missing from his right hand. The statue is one of the only preserved statues of the preserved style with exquisite rendering of motion & anatomy. The identity of the statue is controversial and is probably more likely to be Zeus rather than Poseidon. 460 BC Ref No X15161 Athens Archaeological Museum
  • Aphrodite of Fréjus in the style known as "Venus Genetrix". A 1.64m high Roman statue, dating from the end of the 1st century BC to the start of the 1st century AD, in Parian marble, was discovered at Fréjus (Forum Julii) in 1650. It is considered as the best Roman copy of the lost Greek work. Louvre Museum, Paris<br />
<br />
The Venus Genetrix style of statue depicts Aphrodite (Venus to the Romans) as Genetrix ( Latin for Mother). This sculptural type was adopted by the Julia-Claudian dynasty after Julius Caesar claimed that he was defended from Venus herself.  The original lost Greek statue is attributed to Greek sculpture Callimachus who created a Bronze Aphrodite in 420-410. According to Pliny's Natural History showing her dressed in a light but clinging chiton or peplos, which was lowered on the left shoulder to reveal her left breast and hung down in a sheer face and decoratively carved so as not to hide the outlines of the woman's body. Venus was depicted holding the apple won in the Judgement of Paris in her left hand, whilst her right hand moved to cover her head. From the lost bronze original are derived all surviving copies. The composition was frontal, the body's form monumental, and in the surviving Roman replicas its proportions are close to the Polyclitean, an ancient Greek sculptor in bronze of the fifth century BC.
  • Sleeping Hermaphroditus.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Artemis and a deer, known as "Diana of Versailles”, a 1st - 2nd century Roman statue in marble probably from Italy.  Artemis, Diana to the Romans, is goddess of the hunt, is accompanied by a deer.  The Diana of Versailles, similar to other Roman replicas was found in Libya or Turkey and was copied from a lost Greek bronze original attributed to Leochares, c. 325 BC .  First the statue was at Fontainbleau then the Louvre ancient hall and finally it went to Versailles. From the collection of Louis XIV, Pope Paul IV and Henry II (1556) . Inv MR 152 ( or Ma 589), Louvre Museum Paris
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177. Against grey<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177. Against grey<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177, Against white, <br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177. Against grey<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177. Against grey<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177. Against white, <br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177, Against white, <br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177. Against grey<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177. Against grey<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177. Against grey<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177. Against grey<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177, Against white, <br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177. Against grey<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177, Against white, <br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177, Against white, <br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177. Against grey<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • The Riace bronze Greek statue head cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue head cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue head cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue A cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue A cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue A cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statues cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue A cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue A cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue A cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statues cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statues cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statues cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue A cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statues cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • Upper torso of the Riace bronze Greek statue B cast about 460 - 450 BC. statue B was probably sculpted by Phidias. There is a sense of movement in the statues their legs being bent as if they are about to take a step. Their heads are turned which accentuates a sense of anticipation as if they are looking for something. The anatomical detail is extraordinary which gives a startling realism to the statue and demonstarte the high level of skill of the Greek sculptors of this peiod. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • Torso of the Riace bronze Greek statue B cast about 460 - 450 BC. statue B was probably sculpted by Phidias. There is a sense of movement in the statues their legs being bent as if they are about to take a step. Their heads are turned which accentuates a sense of anticipation as if they are looking for something. The anatomical detail is extraordinary which gives a startling realism to the statue and demonstarte the high level of skill of the Greek sculptors of this period. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue head cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue head cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue head cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue head cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue head cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue A cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue A cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue A cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statues cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statues cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue A cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statues cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statues cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue A cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statues cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue A cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statues cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statues cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue A cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statues cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statues cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statues cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue A cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • low full length view of the  Riace bronze Greek statue A cast about 460 BC. statue A was probably sculpted by Myron. The style of the Riace statues straddles the archaic period and heralds the start of the classical period. Both statues depict strong young naked warriors who stand calmly but exuding great power. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • Full length view of the Riace bronze Greek statue A cast about 460 BC. statue A was probably sculpted by Myron. The style of the Riace statues straddles the archaic period and heralds the start of the classical period. Both statues depict strong young naked warriors who stand calmly but exuding great power. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • Torso face on view of the Riace bronze Greek statue A cast about 460 BC. statue A was probably sculpted by Myron. The style of the Riace statues straddles the archaic period and heralds the start of the classical period. Both statues depict strong young naked warriors who stand calmly but exuding great power. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • Full length tree quarter view of the Riace bronze Greek statue B cast about 460 - 450 BC. statue B was probably sculpted by Phidias. There is a sense of movement in the statues their legs being bent as if they are about to take a step. Their heads are turned which accentuates a sense of anticipation as if they are looking for something. The anatomical detail is extraordinary which gives a startling realism to the statue and demonstarte the high level of skill of the Greek sculptors of this peiod. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • Torso three quarter of the Riace bronze Greek statue A cast about 460 BC. statue A was probably sculpted by Myron. The style of the Riace statues straddles the archaic period and heralds the start of the classical period. Both statues depict strong young naked warriors who stand calmly but exuding great power. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • Torso of the Riace bronze Greek statue A cast about 460 BC. statue A was probably sculpted by Myron. The style of the Riace statues straddles the archaic period and heralds the start of the classical period. Both statues depict strong young naked warriors who stand calmly but exuding great power. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • Full length face on view of the Riace bronze Greek statue B cast about 460 - 450 BC. statue B was probably sculpted by Phidias. There is a sense of movement in the statues their legs being bent as if they are about to take a step. Their heads are turned which accentuates a sense of anticipation as if they are looking for something. The anatomical detail is extraordinary which gives a startling realism to the statue and demonstarte the high level of skill of the Greek sculptors of this peiod. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • Full length side view of the Riace bronze Greek statue B cast about 460 - 450 BC. statue B was probably sculpted by Phidias. There is a sense of movement in the statues their legs being bent as if they are about to take a step. Their heads are turned which accentuates a sense of anticipation as if they are looking for something. The anatomical detail is extraordinary which gives a startling realism to the statue and demonstarte the high level of skill of the Greek sculptors of this peiod. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue head cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue head cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue A cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statues cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue A cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue A cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statues cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statues cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue A cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue A cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statues cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • Bronze statue of Roman empress Julia Aquilia Severa found at Sparta. circa 221-222 AD.  Athens National Archaeological Museum, Cat No X23321. Against white.<br />
<br />
The women in the Bronze statue wears a Chiton and himation and would have had a crwon on her head. The hair style is typical of the Severan dynisty. Julia Aquilia was the last wife of emperor Elagobalus (218-222 AD) and the damage to the statue is due to a building collapsing on it after a fire circa 221-222 AD
  • Bronze statue of Roman empress Julia Aquilia Severa found at Sparta. circa 221-222 AD.  Athens National Archaeological Museum, Cat No X23321. Against black<br />
<br />
The women in the Bronze statue wears a Chiton and himation and would have had a crwon on her head. The hair style is typical of the Severan dynisty. Julia Aquilia was the last wife of emperor Elagobalus (218-222 AD) and the damage to the statue is due to a building collapsing on it after a fire circa 221-222 AD
  • Bronze statue of Roman empress Julia Aquilia Severa found at Sparta. circa 221-222 AD.  Athens National Archaeological Museum, Cat No X23321. Against grey.<br />
<br />
The women in the Bronze statue wears a Chiton and himation and would have had a crwon on her head. The hair style is typical of the Severan dynisty. Julia Aquilia was the last wife of emperor Elagobalus (218-222 AD) and the damage to the statue is due to a building collapsing on it after a fire circa 221-222 AD
  • Bronze statue of Roman empress Julia Aquilia Severa found at Sparta. circa 221-222 AD.  Athens National Archaeological Museum, Cat No X23321. Against grey.<br />
<br />
The women in the Bronze statue wears a Chiton and himation and would have had a crwon on her head. The hair style is typical of the Severan dynisty. Julia Aquilia was the last wife of emperor Elagobalus (218-222 AD) and the damage to the statue is due to a building collapsing on it after a fire circa 221-222 AD
  • Bronze statue of Roman empress Julia Aquilia Severa found at Sparta. circa 221-222 AD.  Athens National Archaeological Museum, Cat No X23321.<br />
<br />
The women in the Bronze statue wears a Chiton and himation and would have had a crwon on her head. The hair style is typical of the Severan dynisty. Julia Aquilia was the last wife of emperor Elagobalus (218-222 AD) and the damage to the statue is due to a building collapsing on it after a fire circa 221-222 AD
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322. Against black<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322. Against grey.<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322.<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322. Against white.<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322. Against black<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322. Against grey.<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322. Against grey.<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322. Against grey.<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322.<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322. Against grey.<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322.<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322. Against black<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322. Against white.<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322. Against white.<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322. Against grey.<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Cycladic bronze dagger.  Early Cycladic II (2800-2300 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat no 9337.  Black background.
  • Cycladic bronze spearhead.  Early Cycladic II (2800-2300 BC) , Amorgos. National Archaeological Museum Athens.  Black background.
  • Cycladic bronze spearhead.  Early Cycladic II (2800-2300 BC) , Amorgos. National Archaeological Museum Athens.  White background.
  • Cycladic bronze spearhead.  Early Cycladic II (2800-2300 BC) , Amorgos. National Archaeological Museum Athens.   Grey background.
  • Cycladic bronze spearhead.  Early Cycladic II (2800-2300 BC) , Amorgos. National Archaeological Museum Athens.   Gray background.
  • Cycladic bronze spearhead.  Early Cycladic II (2800-2300 BC) , Amorgos. National Archaeological Museum Athens.
  • Cycladic bronze dagger.  Early Cycladic II (2800-2300 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat no 9337.   White background.
  • Cycladic bronze dagger.  Early Cycladic II (2800-2300 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat no 9337
  • Cycladic bronze dagger.  Early Cycladic II (2800-2300 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat no 9337.   Grey background.
  • Cycladic bronze dagger.  Early Cycladic II (2800-2300 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat no 9337.   Gray background.
  • Mycenaean  Bronze sword with inlaid lions from  Grave Circle A, Mycenae, 16th cent BC. National Archaeological Museum Athens. Cat No 395. 16th Cent BC. Grey Background
  • Mycenaean  Bronze sword with inlaid lions from  Grave Circle A, Mycenae, 16th cent BC. National Archaeological Museum Athens. Cat No 395. 16th Cent BC. Black Background
  • Mycenaean  Bronze sword with inlaid lions from  Grave Circle A, Mycenae, 16th cent BC. National Archaeological Museum Athens. Cat No 395. 16th Cent BC. White Background.
  • Mycenaean  Bronze sword with inlaid lions from  Grave Circle A, Mycenae, 16th cent BC. National Archaeological Museum Athens. Cat No 395. 16th Cent BC.
  • Mycenaean  Bronze sword with inlaid lions from  Grave Circle A, Mycenae, 16th cent BC. National Archaeological Museum Athens. Cat No 395. 16th Cent BC. Grey art Background
  • Mycenaean  Bronze dagger with inlaid lion hunt scene from Grave V, Grave Circle A, Mycenae, 16th cent BC. National Archaeological Museum Athens. 16th Cent BC. Cat No 394
  • Mycenaean  Bronze dagger with inlaid lion hunt scene from Grave V, Grave Circle A, Mycenae, 16th cent BC. National Archaeological Museum Athens. 16th Cent BC. Cat No 394.  Black Background
  • Mycenaean  Bronze dagger with inlaid lion hunt scene from Grave V, Grave Circle A, Mycenae, 16th cent BC. National Archaeological Museum Athens. 16th Cent BC. Cat No 394
  • Mycenaean  Bronze dagger with inlaid lion hunt scene from Grave V, Grave Circle A, Mycenae, 16th cent BC. National Archaeological Museum Athens. 16th Cent BC. Cat No 394,  White Background.
  • Mycenaean  Bronze dagger with inlaid lion hunt scene from Grave V, Grave Circle A, Mycenae, 16th cent BC. National Archaeological Museum Athens. 16th Cent BC. Cat No 394.  Grey Background
  • Ancient Greek funerary statue of a women, type Small Herculaneum Woman style. From Delos circa 2nd Cent BC. Athens National Archaeological Museum. Cat No 1827. against black<br />
<br />
This marble statue from Delos shopws a women wearing a full length chiton and a himation that covers her entire body and arms. This style of statue is known os 'Small Herculaneum Woman' and is a copy of a famous original dating from 300 BC.
  • Ancient Greek funerary statue of a women, type Small Herculaneum Woman style. From Delos circa 2nd Cent BC. Athens National Archaeological Museum. Cat No 1827. Against grey<br />
<br />
This marble statue from Delos shopws a women wearing a full length chiton and a himation that covers her entire body and arms. This style of statue is known os 'Small Herculaneum Woman' and is a copy of a famous original dating from 300 BC.
  • Ancient Greek funerary statue of a women, type Small Herculaneum Woman style. From Delos circa 2nd Cent BC. Athens National Archaeological Museum. Cat No 1827, Against white, <br />
<br />
This marble statue from Delos shopws a women wearing a full length chiton and a himation that covers her entire body and arms. This style of statue is known os 'Small Herculaneum Woman' and is a copy of a famous original dating from 300 BC.
  • Ancient Greek funerary statue of a women, type Small Herculaneum Woman style. From Delos circa 2nd Cent BC. Athens National Archaeological Museum. Cat No 1827<br />
<br />
This marble statue from Delos shopws a women wearing a full length chiton and a himation that covers her entire body and arms. This style of statue is known os 'Small Herculaneum Woman' and is a copy of a famous original dating from 300 BC.
  • Ancient Greek funerary statue of a women, type Small Herculaneum Woman style. From Delos circa 2nd Cent BC. Athens National Archaeological Museum. Cat No 1827. Against grey<br />
<br />
This marble statue from Delos shopws a women wearing a full length chiton and a himation that covers her entire body and arms. This style of statue is known os 'Small Herculaneum Woman' and is a copy of a famous original dating from 300 BC.
  • Rare original Greek bronze statue of an Athlete after a boxing match, a 1st cent BC. The athlete, seated on a boulder, is resting after a boxing match. The boulder is a modern addition that replicates the ancient original. The face, ears, and nose are severely wounded by blows received during the match. No wounds appear on the body since ancient boxing practices made the afce the main target. The boxer is only wearing a sort of loin cloth (kynodesme) around his waist. Elaborate leather gloves (himantes oxeis) protect the hands and the forearms. They consist of thick leather straps that bind the four fingers, leaving the thumb free. On the forearms the gloves are bordered with fur lining. A series of marks on the straps above the left ring fingers seem to be a signature of the Athenian sculptor Appolonios, son of Nestor who was active during the 1st century B.C. Careful analysis shows that the marks are actually corrosions of the bronze surface. The Greek letter ‘a’ is impressed on the middle toe of the left foot and is probably a mark identifying the workshop that produced the statue. The statue of the boxer is of the highest quality with a highly detailed rendition of the athletic anatomy and facial feature. The artist was clearly inspired by the style of Greek sculptor Lysippus and scholars generally consider it an original Greek bronze of the 1st Century B.C. . The National Roman Museum, Rome, Italy
  • Aphrodite of Fréjus in the style known as "Venus Genetrix". A 1.64m high Roman statue, dating from the end of the 1st century BC to the start of the 1st century AD, in Parian marble, was discovered at Fréjus (Forum Julii) in 1650. It is considered as the best Roman copy of the lost Greek work. Louvre Museum, Paris<br />
<br />
The Venus Genetrix style of statue depicts Aphrodite (Venus to the Romans) as Genetrix ( Latin for Mother). This sculptural type was adopted by the Julia-Claudian dynasty after Julius Caesar claimed that he was defended from Venus herself.  The original lost Greek statue is attributed to Greek sculpture Callimachus who created a Bronze Aphrodite in 420-410. According to Pliny's Natural History showing her dressed in a light but clinging chiton or peplos, which was lowered on the left shoulder to reveal her left breast and hung down in a sheer face and decoratively carved so as not to hide the outlines of the woman's body. Venus was depicted holding the apple won in the Judgement of Paris in her left hand, whilst her right hand moved to cover her head. From the lost bronze original are derived all surviving copies. The composition was frontal, the body's form monumental, and in the surviving Roman replicas its proportions are close to the Polyclitean, an ancient Greek sculptor in bronze of the fifth century BC.
  • Aphrodite of Fréjus in the style known as "Venus Genetrix". A 1.64m high Roman statue, dating from the end of the 1st century BC to the start of the 1st century AD, in Parian marble, was discovered at Fréjus (Forum Julii) in 1650. It is considered as the best Roman copy of the lost Greek work. Louvre Museum, Paris<br />
<br />
The Venus Genetrix style of statue depicts Aphrodite (Venus to the Romans) as Genetrix ( Latin for Mother). This sculptural type was adopted by the Julia-Claudian dynasty after Julius Caesar claimed that he was defended from Venus herself.  The original lost Greek statue is attributed to Greek sculpture Callimachus who created a Bronze Aphrodite in 420-410. According to Pliny's Natural History showing her dressed in a light but clinging chiton or peplos, which was lowered on the left shoulder to reveal her left breast and hung down in a sheer face and decoratively carved so as not to hide the outlines of the woman's body. Venus was depicted holding the apple won in the Judgement of Paris in her left hand, whilst her right hand moved to cover her head. From the lost bronze original are derived all surviving copies. The composition was frontal, the body's form monumental, and in the surviving Roman replicas its proportions are close to the Polyclitean, an ancient Greek sculptor in bronze of the fifth century BC.
  • Aphrodite of Fréjus in the style known as "Venus Genetrix". A 1.64m high Roman statue, dating from the end of the 1st century BC to the start of the 1st century AD, in Parian marble, was discovered at Fréjus (Forum Julii) in 1650. It is considered as the best Roman copy of the lost Greek work. Louvre Museum, Paris<br />
<br />
The Venus Genetrix style of statue depicts Aphrodite (Venus to the Romans) as Genetrix ( Latin for Mother). This sculptural type was adopted by the Julia-Claudian dynasty after Julius Caesar claimed that he was defended from Venus herself.  The original lost Greek statue is attributed to Greek sculpture Callimachus who created a Bronze Aphrodite in 420-410. According to Pliny's Natural History showing her dressed in a light but clinging chiton or peplos, which was lowered on the left shoulder to reveal her left breast and hung down in a sheer face and decoratively carved so as not to hide the outlines of the woman's body. Venus was depicted holding the apple won in the Judgement of Paris in her left hand, whilst her right hand moved to cover her head. From the lost bronze original are derived all surviving copies. The composition was frontal, the body's form monumental, and in the surviving Roman replicas its proportions are close to the Polyclitean, an ancient Greek sculptor in bronze of the fifth century BC.
  • Aphrodite of Fréjus in the style known as "Venus Genetrix". A 1.64m high Roman statue, dating from the end of the 1st century BC to the start of the 1st century AD, in Parian marble, was discovered at Fréjus (Forum Julii) in 1650. It is considered as the best Roman copy of the lost Greek work. Louvre Museum, Paris<br />
<br />
The Venus Genetrix style of statue depicts Aphrodite (Venus to the Romans) as Genetrix ( Latin for Mother). This sculptural type was adopted by the Julia-Claudian dynasty after Julius Caesar claimed that he was defended from Venus herself.  The original lost Greek statue is attributed to Greek sculpture Callimachus who created a Bronze Aphrodite in 420-410. According to Pliny's Natural History showing her dressed in a light but clinging chiton or peplos, which was lowered on the left shoulder to reveal her left breast and hung down in a sheer face and decoratively carved so as not to hide the outlines of the woman's body. Venus was depicted holding the apple won in the Judgement of Paris in her left hand, whilst her right hand moved to cover her head. From the lost bronze original are derived all surviving copies. The composition was frontal, the body's form monumental, and in the surviving Roman replicas its proportions are close to the Polyclitean, an ancient Greek sculptor in bronze of the fifth century BC.
  • Aphrodite of Fréjus in the style known as "Venus Genetrix". A 1.64m high Roman statue, dating from the end of the 1st century BC to the start of the 1st century AD, in Parian marble, was discovered at Fréjus (Forum Julii) in 1650. It is considered as the best Roman copy of the lost Greek work. Louvre Museum, Paris<br />
<br />
The Venus Genetrix style of statue depicts Aphrodite (Venus to the Romans) as Genetrix ( Latin for Mother). This sculptural type was adopted by the Julia-Claudian dynasty after Julius Caesar claimed that he was defended from Venus herself.  The original lost Greek statue is attributed to Greek sculpture Callimachus who created a Bronze Aphrodite in 420-410. According to Pliny's Natural History showing her dressed in a light but clinging chiton or peplos, which was lowered on the left shoulder to reveal her left breast and hung down in a sheer face and decoratively carved so as not to hide the outlines of the woman's body. Venus was depicted holding the apple won in the Judgement of Paris in her left hand, whilst her right hand moved to cover her head. From the lost bronze original are derived all surviving copies. The composition was frontal, the body's form monumental, and in the surviving Roman replicas its proportions are close to the Polyclitean, an ancient Greek sculptor in bronze of the fifth century BC.
  • Aphrodite of Fréjus in the style known as "Venus Genetrix". A 1.64m high Roman statue, dating from the end of the 1st century BC to the start of the 1st century AD, in Parian marble, was discovered at Fréjus (Forum Julii) in 1650. It is considered as the best Roman copy of the lost Greek work. Louvre Museum, Paris<br />
<br />
The Venus Genetrix style of statue depicts Aphrodite (Venus to the Romans) as Genetrix ( Latin for Mother). This sculptural type was adopted by the Julia-Claudian dynasty after Julius Caesar claimed that he was defended from Venus herself.  The original lost Greek statue is attributed to Greek sculpture Callimachus who created a Bronze Aphrodite in 420-410. According to Pliny's Natural History showing her dressed in a light but clinging chiton or peplos, which was lowered on the left shoulder to reveal her left breast and hung down in a sheer face and decoratively carved so as not to hide the outlines of the woman's body. Venus was depicted holding the apple won in the Judgement of Paris in her left hand, whilst her right hand moved to cover her head. From the lost bronze original are derived all surviving copies. The composition was frontal, the body's form monumental, and in the surviving Roman replicas its proportions are close to the Polyclitean, an ancient Greek sculptor in bronze of the fifth century BC.
  • Aphrodite of Fréjus in the style known as "Venus Genetrix". A 1.64m high Roman statue, dating from the end of the 1st century BC to the start of the 1st century AD, in Parian marble, was discovered at Fréjus (Forum Julii) in 1650. It is considered as the best Roman copy of the lost Greek work. Louvre Museum, Paris<br />
<br />
The Venus Genetrix style of statue depicts Aphrodite (Venus to the Romans) as Genetrix ( Latin for Mother). This sculptural type was adopted by the Julia-Claudian dynasty after Julius Caesar claimed that he was defended from Venus herself.  The original lost Greek statue is attributed to Greek sculpture Callimachus who created a Bronze Aphrodite in 420-410. According to Pliny's Natural History showing her dressed in a light but clinging chiton or peplos, which was lowered on the left shoulder to reveal her left breast and hung down in a sheer face and decoratively carved so as not to hide the outlines of the woman's body. Venus was depicted holding the apple won in the Judgement of Paris in her left hand, whilst her right hand moved to cover her head. From the lost bronze original are derived all surviving copies. The composition was frontal, the body's form monumental, and in the surviving Roman replicas its proportions are close to the Polyclitean, an ancient Greek sculptor in bronze of the fifth century BC.
  • Sleeping Hermaphroditus.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Minoan bronze jug decorated with spirals and arches, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.
  • Minoan bronze jug decorated with spirals and arches, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.
  • Minoan bronze jug decorated with spirals and arches, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.
  • Minoan bronze jug decorated with spirals and arches, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.
  • Minoan bronze jug decorated with spirals and arches, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.
  • Sleeping Hermaphroditus.  A Life size  2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • "Charioteer of Delphi" 470 BC. The "Charioteer of Delphi" is one of the best known ancient Greek statues, and one of the best preserved examples of classical bronze casts. It is considered a fine example of the "Severe" style. Delphi Archaeological Museum.
  • "Charioteer of Delphi" 470 BC. The "Charioteer of Delphi" is one of the best known ancient Greek statues, and one of the best preserved examples of classical bronze casts. It is considered a fine example of the "Severe" style. Delphi Archaeological Museum.
  • Artimis and Doe also known as the Diana of Versailles. A 1st- 2nd century Imperial Roman marble statue of the Greek Goddess Artimis ( Roman Diana) copied from a lost Greek bronze original attributed to Leochares, c. 325 BC .  Louvre Mueum, Paris. Cat No MA 589<br />
The slightly over life size Diana (goddess of the hunt)  is accompanied by a under life size doe with antlers. She wears a short Dorian chiton, a himation around her waist, and sandals. She is looking to the right and with her right hand is starting to take an arrow out of a quiver on her back. The bow used to be in her left hand which is holding the deers antlers and part of it can be seen in this hand. This was a popular statue with replicas being found at Leptis Magna (Libya) and at Antalya (Turkey).
  • Artimis and Doe also known as the Diana of Versailles. A 1st- 2nd century Imperial Roman marble statue of the Greek Goddess Artimis ( Roman Diana) copied from a lost Greek bronze original attributed to Leochares, c. 325 BC .  Louvre Mueum, Paris. Cat No MA 589<br />
The slightly over life size Diana (goddess of the hunt)  is accompanied by a under life size doe with antlers. She wears a short Dorian chiton, a himation around her waist, and sandals. She is looking to the right and with her right hand is starting to take an arrow out of a quiver on her back. The bow used to be in her left hand which is holding the deers antlers and part of it can be seen in this hand. This was a popular statue with replicas being found at Leptis Magna (Libya) and at Antalya (Turkey).
  • Artimis and Doe also known as the Diana of Versailles. A 1st- 2nd century Imperial Roman marble statue of the Greek Goddess Artimis ( Roman Diana) copied from a lost Greek bronze original attributed to Leochares, c. 325 BC .  Louvre Mueum, Paris. Cat No MA 589<br />
The slightly over life size Diana (goddess of the hunt)  is accompanied by a under life size doe with antlers. She wears a short Dorian chiton, a himation around her waist, and sandals. She is looking to the right and with her right hand is starting to take an arrow out of a quiver on her back. The bow used to be in her left hand which is holding the deers antlers and part of it can be seen in this hand. This was a popular statue with replicas being found at Leptis Magna (Libya) and at Antalya (Turkey).
  • Ancient Greek Cycladic statue torso fragment: Canonical spedos variety , Early Cycladic period II, Syros phase 2800-2300 BC. Cycladic Museum of Art, Athens.   Against black<br />
<br />
Arrtibuted to 'Goulandris Master'.  A very rare unique example of a canonical Spedos variety Cycladic statue of a male. The genetals are carved in the round in a naturalistic manner and unusually the forearms dont touch as in the female figures. This is a totaly unique example of a Cycladic canonical male figure of monumental dimensions.
  • Ancient Greek Cycladic statue torso fragment: Canonical spedos variety , Early Cycladic period II, Syros phase 2800-2300 BC. Cycladic Museum of Art, Athens. Female figurine statuette : Cycladic Canonical type, Kapsala variety. Against white.<br />
<br />
Arrtibuted to 'Goulandris Master'.  A very rare unique example of a canonical Spedos variety Cycladic statue of a male. The genetals are carved in the round in a naturalistic manner and unusually the forearms dont touch as in the female figures. This is a totaly unique example of a Cycladic canonical male figure of monumental dimensions.
  • Ancient Greek Cycladic statue torso fragment: Canonical spedos variety , Early Cycladic period II, Syros phase 2800-2300 BC. Cycladic Museum of Art, Athens.  Grey Background. <br />
<br />
Arrtibuted to 'Goulandris Master'.  A very rare unique example of a canonical Spedos variety Cycladic statue of a male. The genetals are carved in the round in a naturalistic manner and unusually the forearms dont touch as in the female figures. This is a totaly unique example of a Cycladic canonical male figure of monumental dimensions.
  • Ancient Greek Cycladic statue torso fragment: Canonical spedos variety , Early Cycladic period II, Syros phase 2800-2300 BC. Cycladic Museum of Art, Athens. <br />
<br />
Arrtibuted to 'Goulandris Master'.  A very rare unique example of a canonical Spedos variety Cycladic statue of a male. The genetals are carved in the round in a naturalistic manner and unusually the forearms dont touch as in the female figures. This is a totaly unique example of a Cycladic canonical male figure of monumental dimensions.
  • Ancient Greek Cycladic statue torso fragment: Canonical spedos variety , Early Cycladic period II, Syros phase 2800-2300 BC. Cycladic Museum of Art, Athens.  Grey Background. <br />
<br />
Arrtibuted to 'Goulandris Master'.  A very rare unique example of a canonical Spedos variety Cycladic statue of a male. The genetals are carved in the round in a naturalistic manner and unusually the forearms dont touch as in the female figures. This is a totaly unique example of a Cycladic canonical male figure of monumental dimensions.
  • Ancient Greek Cycladic female figurine of the canonical type, Dokathismata and Spedos variety, Early Cycladic period II, Syros phase, 2800-2300 BC, Museum of Cycladic Art, Athens. Grey Background. <br />
<br />
Considered to be an intermediate or transitional form between the Dokathismata and Spedos varieties/
  • Ancient Greek Cycladic female figurine of the canonical type, Dokathismata and Spedos variety, Early Cycladic period II, Syros phase, 2800-2300 BC, Museum of Cycladic Art, Athens. Against white.<br />
<br />
Considered to be an intermediate or transitional form between the Dokathismata and Spedos varieties/
  • Ancient Greek Cycladic female figurine of the canonical type, Dokathismata and Spedos variety, Early Cycladic period II, Syros phase, 2800-2300 BC, Museum of Cycladic Art, Athens.   Against black<br />
<br />
Considered to be an intermediate or transitional form between the Dokathismata and Spedos varieties/
  • Ancient Greek Cycladic female figurine of the canonical type, Dokathismata and Spedos variety, Early Cycladic period II, Syros phase, 2800-2300 BC, Museum of Cycladic Art, Athens. Grey Background. <br />
<br />
Considered to be an intermediate or transitional form between the Dokathismata and Spedos varieties/
  • Ancient Greek Cycladic female figurine of the canonical type, Dokathismata and Spedos variety, Early Cycladic period II, Syros phase, 2800-2300 BC, Museum of Cycladic Art, Athens.<br />
<br />
Considered to be an intermediate or transitional form between the Dokathismata and Spedos varieties/
  • Post canonical female ancient Greek Cycladic figurine, Late Ccladic priod  II to Cycladic period III (2500-2000 BC)Museum of Cycladic Art Athens, cat no 312,  Against white.
  • Post canonical female ancient Greek Cycladic figurine, Late Ccladic priod II to Cycladic period III (2500-2000 BC)Museum of Cycladic Art Athens, cat no 312.   Against black
  • Post canonical female ancient Greek Cycladic figurine, Late Ccladic priod II to Cycladic period III (2500-2000 BC)Museum of Cycladic Art Athens, cat no 312.  Grey Background.
  • Post canonical female ancient Greek Cycladic figurine, Late Ccladic priod II to Cycladic period III (2500-2000 BC)Museum of Cycladic Art Athens, cat no 312
  • Marble ancient Greek Cycladic figurine wearing a conical pilos, early Plastiras type, Early Cycladic Period I, circal 2800 BC, Museum of Cycladic Art Athens, cat no 1111.   Against black
  • Marble ancient Greek Cycladic figurine wearing a conical pilos, early Plastiras type, Early Cycladic Period I, circal 2800 BC, Museum of Cycladic Art Athens, cat no 1111
  • Marble ancient Greek Cycladic figurine wearing a conical pilos, early Plastiras type, Early Cycladic Period I, circal 2800 BC, Museum of Cycladic Art Athens, cat no 1111.  Against Grey Background.
  • Post canonical ancient Greek Cycladic warrior or hunter figurine, Late Ccladic prioc II to Cycladic period II (2500-2000 BC)Museum of Cycladic Art Athens, cat no 308.  Against black<br />
<br />
The relif of a baldric crossing the body left to righ suggest the figure was of a warrior or hunter. A small triangular dagger is incised as if hanging from the baldric.
  • Post canonical ancient Greek Cycladic warrior or hunter figurine, Late Ccladic prioc II to Cycladic period II (2500-2000 BC)Museum of Cycladic Art Athens, cat no 308. Against Grey Background. <br />
<br />
The relif of a baldric crossing the body left to righ suggest the figure was of a warrior or hunter. A small triangular dagger is incised as if hanging from the baldric.
  • Post canonical ancient Greek Cycladic warrior or hunter figurine, Late Ccladic prioc II to Cycladic period II (2500-2000 BC)Museum of Cycladic Art Athens, cat no 308.<br />
<br />
The relif of a baldric crossing the body left to righ suggest the figure was of a warrior or hunter. A small triangular dagger is incised as if hanging from the baldric.
  • Post canonical ancient Greek Cycladic warrior or hunter figurine, Late Ccladic prioc II to Cycladic period II (2500-2000 BC)Museum of Cycladic Art Athens, cat no 308. Against Grey Background. <br />
<br />
The relif of a baldric crossing the body left to righ suggest the figure was of a warrior or hunter. A small triangular dagger is incised as if hanging from the baldric.
  • Post canonical female ancient Greek Cycladic figurine, Late Ccladic priod II to Cycladic period III (2500-2000 BC)Museum of Cycladic Art Athens, cat no 312.  Grey Background.
  • Marble ancient Greek Cycladic figurine wearing a conical pilos, early Plastiras type, Early Cycladic Period I, circal 2800 BC, Museum of Cycladic Art Athens, cat no 1111.  Against white.
  • Marble ancient Greek Cycladic figurine wearing a conical pilos, early Plastiras type, Early Cycladic Period I, circal 2800 BC, Museum of Cycladic Art Athens, cat no 1111.  Grey Background.
  • Post canonical ancient Greek Cycladic warrior or hunter figurine, Late Ccladic prioc II to Cycladic period II (2500-2000 BC)Museum of Cycladic Art Athens, cat no 308. Against white.<br />
<br />
The relif of a baldric crossing the body left to righ suggest the figure was of a warrior or hunter. A small triangular dagger is incised as if hanging from the baldric.
  • Ancient Greek Cycladic female figurine of the canonical type, Dokathismata variety, Early Cycladic period II, Syros phase, 2800-2300 BC, Museum of Cycladic Art, Athens. Against white.<br />
<br />
Attributed to the 'Ashmolean Museum Master'
  • Ancient Greek Cycladic female figurine of the canonical type, Dokathismata variety, Early Cycladic period II, Syros phase, 2800-2300 BC, Museum of Cycladic Art, Athens. Grey Background. <br />
<br />
Attributed to the 'Ashmolean Museum Master'
  • Ancient Greek Cycladic female figurine of the canonical type, Dokathismata variety, Early Cycladic period II, Syros phase, 2800-2300 BC, Museum of Cycladic Art, Athens. Grey Background. <br />
<br />
Attributed to the 'Ashmolean Museum Master'
  • Ancient Greek Cycladic female figurine of the canonical type, Dokathismata variety, Early Cycladic period II, Syros phase, 2800-2300 BC, Museum of Cycladic Art, Athens.<br />
<br />
Attributed to the 'Ashmolean Museum Master'
  • Ancient Greek Cycladic female figurine of the canonical type, Dokathismata variety, Early Cycladic period II, Syros phase, 2800-2300 BC, Museum of Cycladic Art, Athens.  Against black<br />
<br />
Attributed to the 'Ashmolean Museum Master'
  • Ancient Greek Cycladic figurine, Kilia type ('stargazer'). Kilia, Gallipoli, Turkey, Circa 4360-3500 BC. Museum of Cycladic Art Athens,  Against white.
  • Ancient Greek Cycladic figurine, Kilia type ('stargazer'). Kilia, Gallipoli, Turkey, Circa 4360-3500 BC. Museum of Cycladic Art Athens, Grey Background.
  • Ancient Greek Cycladic figurine, Kilia type ('stargazer'). Kilia, Gallipoli, Turkey, Circa 4360-3500 BC. Museum of Cycladic Art Athens,   Against black
  • Ancient Greek Cycladic figurine, Kilia type ('stargazer'). Kilia, Gallipoli, Turkey, Circa 4360-3500 BC. Museum of Cycladic Art Athens,
  • Ancient Greek Cycladic figurine, Kilia type ('stargazer'). Kilia, Gallipoli, Turkey, Circa 4360-3500 BC. Museum of Cycladic Art Athens, Grey Background.
  • Ancient violin shaped schematic figure from the Pelos phase,  'Kusura type', probably from Asia Minor. Early Cycladic period I 3200-2800 BC. Museum of Cycladic Art Athens, Cat no 961.  Against white.
  • Ancient violin shaped schematic figure from the Pelos phase,  'Kusura type', probably from Asia Minor. Early Cycladic period I 3200-2800 BC. Museum of Cycladic Art Athens, Cat no 961.   Against black
  • Ancient violin shaped schematic figure from the Pelos phase,  'Kusura type', probably from Asia Minor. Early Cycladic period I 3200-2800 BC. Museum of Cycladic Art Athens, Cat no 961. Grey Background.
  • Ancient violin shaped schematic figure from the Pelos phase,  'Kusura type', probably from Asia Minor. Early Cycladic period I 3200-2800 BC. Museum of Cycladic Art Athens, Cat no 961
  • Ancient spade shaped schematic figure from the Pelos phase,   probably from Asia Minor. Early Cycladic period I 3200-2800 BC. Museum of Cycladic Art Athens, Cat no 333.  Against white.
  • Ancient spade shaped schematic figure from the Pelos phase,   probably from Asia Minor. Early Cycladic period I 3200-2800 BC. Museum of Cycladic Art Athens, Cat no 333. Grey Background.
  • Ancient spade shaped schematic figure from the Pelos phase,   probably from Asia Minor. Early Cycladic period I 3200-2800 BC. Museum of Cycladic Art Athens, Cat no 333
  • Ancient spade shaped schematic figure from the Pelos phase,   probably from Asia Minor. Early Cycladic period I 3200-2800 BC. Museum of Cycladic Art Athens, Cat no 333
  • Ancient spade shaped schematic figure from the Pelos phase,   probably from Asia Minor. Early Cycladic period I 3200-2800 BC. Museum of Cycladic Art Athens, Cat no 333. Grey Background.
  • Ancient violin shaped schematic figure from the Pelos phase,  'Kusura type', probably from Asia Minor. Early Cycladic period I 3200-2800 BC. Museum of Cycladic Art Athens, Cat no 961. Grey Background.
  • Cycladic  clay jug with fish design from the  Knossos-Temple Repositories 1650-1550 BC, Heraklion Archaeological  Museum.<br />
<br />
Cycladic vessels found iun Knossos Temple Repositories show the trading links with the rest of ancient Greece
  • Cycladic  clay jug with fish design from the  Knossos-Temple Repositories 1650-1550 BC, Heraklion Archaeological  Museum.<br />
<br />
Cycladic vessels found iun Knossos Temple Repositories show the trading links with the rest of ancient Greece
  • Cycladic  clay jug with fish design from the  Knossos-Temple Repositories 1650-1550 BC, Heraklion Archaeological  Museum, grey background..<br />
<br />
Cycladic vessels found iun Knossos Temple Repositories show the trading links with the rest of ancient Greece
  • Cycladic  clay jug with fish design from the  Knossos-Temple Repositories 1650-1550 BC, Heraklion Archaeological  Museum, black background.<br />
<br />
Cycladic vessels found iun Knossos Temple Repositories show the trading links with the rest of ancient Greece
  • Cycladic  clay jug with fish design from the  Knossos-Temple Repositories 1650-1550 BC, Heraklion Archaeological  Museum, grey background..<br />
<br />
Cycladic vessels found iun Knossos Temple Repositories show the trading links with the rest of ancient Greece
  • Artemis and a deer, known as "Diana of Versailles”, a 1st - 2nd century Roman statue in marble probably from Italy.  Artemis, Diana to the Romans, is goddess of the hunt, is accompanied by a deer.  The Diana of Versailles, similar to other Roman replicas was found in Libya or Turkey and was copied from a lost Greek bronze original attributed to Leochares, c. 325 BC .  First the statue was at Fontainbleau then the Louvre ancient hall and finally it went to Versailles. From the collection of Louis XIV, Pope Paul IV and Henry II (1556) . Inv MR 152 ( or Ma 589), Louvre Museum Paris
  • Roman bust of Greek philosopher Aristolte. 1st - 2nd century AD from Italy made of Pentilic Marble from Athens Greece. Aristotle lived around 384-322 BC and became the tutor of Alexander The Great. This bust was copied from a lost Greek bronze original by Lysippe (370-300BC) , sculptor to Alexander The Great. Traces of the original paint can be seen on the beard. From the Borghese collection Inv Mr or Ma 80 ,  Louvre Museum, Paris.
  • Artemis and a deer, known as "Diana of Versailles”, a 1st - 2nd century Roman statue in marble probably from Italy.  Artemis, Diana to the Romans, is goddess of the hunt, is accompanied by a deer.  The Diana of Versailles, similar to other Roman replicas was found in Libya or Turkey and was copied from a lost Greek bronze original attributed to Leochares, c. 325 BC .  First the statue was at Fontainbleau then the Louvre ancient hall and finally it went to Versailles. From the collection of Louis XIV, Pope Paul IV and Henry II (1556) . Inv MR 152 ( or Ma 589), Louvre Museum Paris
  • Artemis and a deer, known as "Diana of Versailles”, a 1st - 2nd century Roman statue in marble probably from Italy.  Artemis, Diana to the Romans, is goddess of the hunt, is accompanied by a deer.  The Diana of Versailles, similar to other Roman replicas was found in Libya or Turkey and was copied from a lost Greek bronze original attributed to Leochares, c. 325 BC .  First the statue was at Fontainbleau then the Louvre ancient hall and finally it went to Versailles. From the collection of Louis XIV, Pope Paul IV and Henry II (1556) . Inv MR 152 ( or Ma 589), Louvre Museum Paris
  • Artemis and a deer, known as "Diana of Versailles”, a 1st - 2nd century Roman statue in marble probably from Italy.  Artemis, Diana to the Romans, is goddess of the hunt, is accompanied by a deer.  The Diana of Versailles, similar to other Roman replicas was found in Libya or Turkey and was copied from a lost Greek bronze original attributed to Leochares, c. 325 BC .  First the statue was at Fontainbleau then the Louvre ancient hall and finally it went to Versailles. From the collection of Louis XIV, Pope Paul IV and Henry II (1556) . Inv MR 152 ( or Ma 589), Louvre Museum Paris
  • Lely’s Venus (Aphrodite) Greek goddess of love, 1st 2nd century Roman Copy of a lost Greek original. This style of Aphrodite statue is known as the Crouching or bathing Aphrodite. Her arms stretch across in front of her and her right hand gently touches her right shoulder hiding her breasts. she looks to one side in surprise as if disturbed whilst bathing. Walking around the statue reveals 4 distinct viewpoints that tantalise the viewer and reveal nothing of Aphrodites nakedness. This statue is a  2nd century Roman copy of a lost Greek. Hellanistic original of the mid 3rd century BC Bronze attributed to the Greek sculptor Doldalsas of Bethynia. British Museum, London.
  • Lely’s Venus (Aphrodite) Greek goddess of love, 1st 2nd century Roman Copy of a lost Greek original. This style of Aphrodite statue is known as the Crouching or bathing Aphrodite. Her arms stretch across in front of her and her right hand gently touches her right shoulder hiding her breasts. she looks to one side in surprise as if disturbed whilst bathing. Walking around the statue reveals 4 distinct viewpoints that tantalise the viewer and reveal nothing of Aphrodites nakedness. This statue is a  2nd century Roman copy of a lost Greek. Hellanistic original of the mid 3rd century BC Bronze attributed to the Greek sculptor Doldalsas of Bethynia. British Museum, London.
  • Lely’s Venus (Aphrodite) Greek goddess of love, 1st 2nd century Roman Copy of a lost Greek original. This style of Aphrodite statue is known as the Crouching or bathing Aphrodite. Her arms stretch across in front of her and her right hand gently touches her right shoulder hiding her breasts. she looks to one side in surprise as if disturbed whilst bathing. Walking around the statue reveals 4 distinct viewpoints that tantalise the viewer and reveal nothing of Aphrodites nakedness. This statue is a  2nd century Roman copy of a lost Greek. Hellanistic original of the mid 3rd century BC Bronze attributed to the Greek sculptor Doldalsas of Bethynia. British Museum, London.
  • Lely’s Venus (Aphrodite) Greek goddess of love, 1st 2nd century Roman Copy of a lost Greek original. This style of Aphrodite statue is known as the Crouching or bathing Aphrodite. Her arms stretch across in front of her and her right hand gently touches her right shoulder hiding her breasts. she looks to one side in surprise as if disturbed whilst bathing. Walking around the statue reveals 4 distinct viewpoints that tantalise the viewer and reveal nothing of Aphrodites nakedness. This statue is a  2nd century Roman copy of a lost Greek. Hellanistic original of the mid 3rd century BC Bronze attributed to the Greek sculptor Doldalsas of Bethynia. British Museum, London.
  • Lely’s Venus (Aphrodite) Greek goddess of love, 1st 2nd century Roman Copy of a lost Greek original. This style of Aphrodite statue is known as the Crouching or bathing Aphrodite. Her arms stretch across in front of her and her right hand gently touches her right shoulder hiding her breasts. she looks to one side in surprise as if disturbed whilst bathing. Walking around the statue reveals 4 distinct viewpoints that tantalise the viewer and reveal nothing of Aphrodites nakedness. This statue is a  2nd century Roman copy of a lost Greek. Hellanistic original of the mid 3rd century BC Bronze attributed to the Greek sculptor Doldalsas of Bethynia. British Museum, London.
  • Lely’s Venus (Aphrodite) Greek goddess of love, 1st 2nd century Roman Copy of a lost Greek original. This style of Aphrodite statue is known as the Crouching or bathing Aphrodite. Her arms stretch across in front of her and her right hand gently touches her right shoulder hiding her breasts. she looks to one side in surprise as if disturbed whilst bathing. Walking around the statue reveals 4 distinct viewpoints that tantalise the viewer and reveal nothing of Aphrodites nakedness. This statue is a  2nd century Roman copy of a lost Greek. Hellanistic original of the mid 3rd century BC Bronze attributed to the Greek sculptor Doldalsas of Bethynia. British Museum, London.
  • Lely’s Venus (Aphrodite) Greek goddess of love, 1st 2nd century Roman Copy of a lost Greek original. This style of Aphrodite statue is known as the Crouching or bathing Aphrodite. Her arms stretch across in front of her and her right hand gently touches her right shoulder hiding her breasts. she looks to one side in surprise as if disturbed whilst bathing. Walking around the statue reveals 4 distinct viewpoints that tantalise the viewer and reveal nothing of Aphrodites nakedness. This statue is a  2nd century Roman copy of a lost Greek. Hellanistic original of the mid 3rd century BC Bronze attributed to the Greek sculptor Doldalsas of Bethynia. British Museum, London.
  • Lely’s Venus (Aphrodite) Greek goddess of love, 1st 2nd century Roman Copy of a lost Greek original. This style of Aphrodite statue is known as the Crouching or bathing Aphrodite. Her arms stretch across in front of her and her right hand gently touches her right shoulder hiding her breasts. she looks to one side in surprise as if disturbed whilst bathing. Walking around the statue reveals 4 distinct viewpoints that tantalise the viewer and reveal nothing of Aphrodites nakedness. This statue is a  2nd century Roman copy of a lost Greek. Hellanistic original of the mid 3rd century BC Bronze attributed to the Greek sculptor Doldalsas of Bethynia. British Museum, London.
  • Lely’s Venus (Aphrodite) Greek goddess of love, 1st 2nd century Roman Copy of a lost Greek original. This style of Aphrodite statue is known as the Crouching or bathing Aphrodite. Her arms stretch across in front of her and her right hand gently touches her right shoulder hiding her breasts. she looks to one side in surprise as if disturbed whilst bathing. Walking around the statue reveals 4 distinct viewpoints that tantalise the viewer and reveal nothing of Aphrodites nakedness. This statue is a  2nd century Roman copy of a lost Greek. Hellanistic original of the mid 3rd century BC Bronze attributed to the Greek sculptor Doldalsas of Bethynia. British Museum, London.
  • Lely’s Venus (Aphrodite) Greek goddess of love, 1st 2nd century Roman Copy of a lost Greek original. This style of Aphrodite statue is known as the Crouching or bathing Aphrodite. Her arms stretch across in front of her and her right hand gently touches her right shoulder hiding her breasts. she looks to one side in surprise as if disturbed whilst bathing. Walking around the statue reveals 4 distinct viewpoints that tantalise the viewer and reveal nothing of Aphrodites nakedness. This statue is a  2nd century Roman copy of a lost Greek. Hellanistic original of the mid 3rd century BC Bronze attributed to the Greek sculptor Doldalsas of Bethynia. British Museum, London.
  • Lely’s Venus (Aphrodite) Greek goddess of love, 1st 2nd century Roman Copy of a lost Greek original. This style of Aphrodite statue is known as the Crouching or bathing Aphrodite. Her arms stretch across in front of her and her right hand gently touches her right shoulder hiding her breasts. she looks to one side in surprise as if disturbed whilst bathing. Walking around the statue reveals 4 distinct viewpoints that tantalise the viewer and reveal nothing of Aphrodites nakedness. This statue is a  2nd century Roman copy of a lost Greek. Hellanistic original of the mid 3rd century BC Bronze attributed to the Greek sculptor Doldalsas of Bethynia. British Museum, London.
  • Lely’s Venus (Aphrodite) Greek goddess of love, 1st 2nd century Roman Copy of a lost Greek original. This style of Aphrodite statue is known as the Crouching or bathing Aphrodite. Her arms stretch across in front of her and her right hand gently touches her right shoulder hiding her breasts. she looks to one side in surprise as if disturbed whilst bathing. Walking around the statue reveals 4 distinct viewpoints that tantalise the viewer and reveal nothing of Aphrodites nakedness. This statue is a  2nd century Roman copy of a lost Greek. Hellanistic original of the mid 3rd century BC Bronze attributed to the Greek sculptor Doldalsas of Bethynia. British Museum, London.
  • Lely’s Venus (Aphrodite) Greek goddess of love, 1st 2nd century Roman Copy of a lost Greek original. This style of Aphrodite statue is known as the Crouching or bathing Aphrodite. Her arms stretch across in front of her and her right hand gently touches her right shoulder hiding her breasts. she looks to one side in surprise as if disturbed whilst bathing. Walking around the statue reveals 4 distinct viewpoints that tantalise the viewer and reveal nothing of Aphrodites nakedness. This statue is a  2nd century Roman copy of a lost Greek. Hellanistic original of the mid 3rd century BC Bronze attributed to the Greek sculptor Doldalsas of Bethynia. British Museum, London.
  • Lely’s Venus (Aphrodite) Greek goddess of love, 1st 2nd century Roman Copy of a lost Greek original. This style of Aphrodite statue is known as the Crouching or bathing Aphrodite. Her arms stretch across in front of her and her right hand gently touches her right shoulder hiding her breasts. she looks to one side in surprise as if disturbed whilst bathing. Walking around the statue reveals 4 distinct viewpoints that tantalise the viewer and reveal nothing of Aphrodites nakedness. This statue is a  2nd century Roman copy of a lost Greek. Hellanistic original of the mid 3rd century BC Bronze attributed to the Greek sculptor Doldalsas of Bethynia. British Museum, London.
  • Lely’s Venus (Aphrodite) Greek goddess of love, 1st 2nd century Roman Copy of a lost Greek original. This style of Aphrodite statue is known as the Crouching or bathing Aphrodite. Her arms stretch across in front of her and her right hand gently touches her right shoulder hiding her breasts. she looks to one side in surprise as if disturbed whilst bathing. Walking around the statue reveals 4 distinct viewpoints that tantalise the viewer and reveal nothing of Aphrodites nakedness. This statue is a  2nd century Roman copy of a lost Greek. Hellanistic original of the mid 3rd century BC Bronze attributed to the Greek sculptor Doldalsas of Bethynia. British Museum, London.
  • Lely’s Venus (Aphrodite) Greek goddess of love, 1st 2nd century Roman Copy of a lost Greek original. This style of Aphrodite statue is known as the Crouching or bathing Aphrodite. Her arms stretch across in front of her and her right hand gently touches her right shoulder hiding her breasts. she looks to one side in surprise as if disturbed whilst bathing. Walking around the statue reveals 4 distinct viewpoints that tantalise the viewer and reveal nothing of Aphrodites nakedness. This statue is a  2nd century Roman copy of a lost Greek. Hellanistic original of the mid 3rd century BC Bronze attributed to the Greek sculptor Doldalsas of Bethynia. British Museum, London.
  • Artimis and Doe also known as the Diana of Versailles. A 1st- 2nd century Imperial Roman marble statue of the Greek Goddess Artimis ( Roman Diana) copied from a lost Greek bronze original attributed to Leochares, c. 325 BC .  Louvre Mueum, Paris. Cat No MA 589<br />
The slightly over life size Diana (goddess of the hunt)  is accompanied by a under life size doe with antlers. She wears a short Dorian chiton, a himation around her waist, and sandals. She is looking to the right and with her right hand is starting to take an arrow out of a quiver on her back. The bow used to be in her left hand which is holding the deers antlers and part of it can be seen in this hand. This was a popular statue with replicas being found at Leptis Magna (Libya) and at Antalya (Turkey).
  • Greek Classical Period Bronze Statue of Zeus or Poseidon found in the sea of Cape Artemision of the north Eastern Euboea Island, Greece.  The God is shown in a great stride about to throw either a trident of a thunderbolt that is now missing from his right hand. The statue is one of the only preserved statues of the preserved style with exquisite rendering of motion & anatomy. The identity of the statue is controversial and is probably more likely to be Zeus rather than Poseidon. 460 BC Ref No X15161 Athens Archaeological Museum
  • Sleeping Hermaphroditus, The Borghese Hermaphrodite.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus, The Borghese Hermaphrodite.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris

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