• Painted colour verion of a Statue group identified as as the Laocoon described by Pliny as a masterpiece made by the sculptors of Rhodes. The Laocoon depicts a scene from the Trojan War in which Athena and Poseidon sent two great serpants to wrap themselves around Laocoon and his two sons to kill them. Circa 40-30BC, Pope Clement XIV coillection, Vatican Museum Rome, Italy,  grey art background
  • Painted colour verion of a Child and Goose - a 1st or 2nd century Roman sculpture from Villa des Quintilii on the Appia Way south of Rome, Italy. Three other similar versions of this Roman sculpture can be found in the Vatican, music and Geneva. The sculpture is attributed to Boethos who was a 2nd century sculptor.  The Braschi Collection, Inv No. MR168 (Usual No Ma 40), Louvre Museum, Paris.
  • Painted colour verion of a Nymph with a shell ( Nymphe a la coquille ) a 1st century marble statue from Italy which was part of the Borghese collection . Louvre Museum, Paris Cat No MR 309. <br />
The Nymph with a shell statue was much admired in the 17th century and influenced such art its as Velasquez. The statue symbolises a carefree childhood and the fact that terracotta versions have been found in tombs suggests that the statue was associated with the injustice of death or of a rebirth.
  • Painted colour verion of a Statue of  Atalanta a 2nd century Roman sculpture restored in the 17th century. Atalanta  is a character in Greek mythology, a virgin huntress, unwilling to marry, and loved by the hero Meleager.. The Mazarin Collection  Louvre Museum, Paris.
  • Painted colour verion of a Statue of  Atalanta a 2nd century Roman sculpture restored in the 17th century. Atalanta  is a character in Greek mythology, a virgin huntress, unwilling to marry, and loved by the hero Meleager.. The Mazarin Collection  Louvre Museum, Paris.
  • Painted colour verion of Aphrodite- type known as the Venus of Arles. A Roman statue in marble of the 1st - 2nd century AD in marble from Rome. The statue is a 1.94-metre-high (6.4 ft) and is  probably a copy of the Aphrodite of Thespiae a lost bronze sculpture by 4th century BC Greek Athenian sculpture Praxiteles . From the Royal collection Inv MR 366 ( or Ma 437), Louvre Museum, Paris.
  • Painted colour verion of Aphrodite- type known as the Venus of Arles. A Roman statue in marble of the 1st - 2nd century AD in marble from Rome. The statue is a 1.94-metre-high (6.4 ft) and is  probably a copy of the Aphrodite of Thespiae a lost bronze sculpture by 4th century BC Greek Athenian sculpture Praxiteles . From the Royal collection Inv MR 366 ( or Ma 437), Louvre Museum, Paris.
  • Painted colour verion of 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
  • Painted colour verion of  Centaur with Eros on its back, a 1st - 2nd AD Roman sculpture in marble. Tradition has it that a centaur be a monstrous half-man half-horse mythical creature. In this Roman statue the old centaur is being ridden by Eros (Cupid), the Greek god of Love represented in the form of a young wing child. The sculpture is a copy of a Greek original  attributed to school sculpture of Aphrodisias (Turkey) can be dating in the 2nd century BC. The Borghese Collection inv MR 122 ( or Ma 562 ), Louvre Museum Paris
  • Painted colour verion of  “ Silenus Drunk “ - A 2nd century AD Roman sculpture made from marble from Paros. Silenus was described as the oldest, wisest and most drunken of the followers of Dionysus, the god of wine. When intoxicated, Silenus was said to possess special knowledge and the power of prophecy. From the Ancient Royal Collection of France inv MR 343 (or MA 291) previously held at Versailles. Louvre Museum Paris.
  • Painted colour verion of  “ Silenus Drunk “ - A 2nd century AD Roman sculpture made from marble from Paros. Silenus was described as the oldest, wisest and most drunken of the followers of Dionysus, the god of wine. When intoxicated, Silenus was said to possess special knowledge and the power of prophecy. From the Ancient Royal Collection of France inv MR 343 (or MA 291) previously held at Versailles. Louvre Museum Paris.
  • Painted colour verion of  “ Silenus Drunk “ - A 2nd century AD Roman sculpture made from marble from Paros. Silenus was described as the oldest, wisest and most drunken of the followers of Dionysus, the god of wine. When intoxicated, Silenus was said to possess special knowledge and the power of prophecy. From the Ancient Royal Collection of France inv MR 343 (or MA 291) previously held at Versailles. Louvre Museum Paris.
  • Painted colour verion of Roman marble sculpture bust of Lucius Verus with the body of Diomedes, Cuma Munich Type, 160-170 AD, inv 6095, Naples Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture bust of Lucius Verus with the body of Diomedes, Cuma Munich Type, 160-170 AD, inv 6095,  Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture bust of Lucius Verus with the body of Diomedes, Cuma Munich Type, 160-170 AD, inv 6095,  Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite 2nd - 1st century BC Roman marble sculpture of Aphrodite (Venus), ‘Marine Venus' Type with a dolphin, copied from a Hellanistic Greek original,  inv 6296, Museum of Archaeology, Italy, white background
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite 2nd - 1st century BC Roman marble sculpture of Aphrodite (Venus), ‘Marine Venus' Type with a dolphin, copied from a Hellanistic Greek original,  inv 6296, Museum of Archaeology, Italy, white background
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite 2nd - 1st century BC Roman marble sculpture of Aphrodite (Venus), ‘Marine Venus' Type with a dolphin, copied from a Hellanistic Greek original,  inv 6296, Museum of Archaeology, Italy, white background
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Hellanistic Greek original,  inv 6238, Museum of Archaeology, Italy, black background
  • Painted colour verion of 2nd century AD Roman marble sculptured of Dionysus and Eros, inv 6307, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculptured of Dionysus and Eros, inv 6307, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculptured of Dionysus and Eros, inv 6307, Naples Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture of Ganymede with an eagle, a 2nd century AD copy from an original 2nd century BC late Hellanistic Greek original, inv 6405, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture of a warrior on horseback, a 2nd century AD copy from an original 2nd century BC Hellanistic Greek original, inv 6405, Naples Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture of a warrior on horseback, a 2nd century AD copy from an original 2nd century BC Hellanistic Greek original, inv 6405, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture of an Amazon on horseback, a 2nd century AD copy from an original 2nd century BC Hellanistic Greek original, inv 6407, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture of an Amazon on horseback, a 2nd century AD copy from an original 2nd century BC Hellanistic Greek original, inv 6407, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture bust of Emperor Domitian  81-96 AD, inv 6061, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture bust of Emperor Domitian  81-96 AD, inv 6061, Naples Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture bust of Emperor Domitian  81-96 AD, inv 6061, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture bust of Emperor  Claudius 41-54 AD, inv 6068, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture bust of Emperor  Claudius 41-54 AD, inv 6068, Museum of Archaeology, Italy
  • Painted colour verion of end of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • Painted colour verion of end of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Naples  Museum of Archaeology, Italy
  • Painted colour verion of end of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • Painted colour verion of end of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Harmodius  from the Tyrannicide group,  a Roman copy of an early classical period Geek original, inv 6009, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Harmodius  from the Tyrannicide group,  a Roman copy of an early classical period Geek original, inv 6009, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculptured of Dionysus and Eros, inv 6307, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Pan teaching Daphnis to play the pipes, a Roman copy late 2nd century BC Hellenistic Geek original attributed to Rodes sculptor Heliodoros. Pan's and Daphnis' heads and Daphnis' right arm are restorations.  The Farnese collection, Naples Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Pan teaching Daphnis to play the pipes, a Roman copy late 2nd century BC Hellenistic Geek original attributed to Rodes sculptor Heliodoros. Pan's and Daphnis' heads and Daphnis' right arm are restorations.  The Farnese collection, Naples Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman sculpture of Pothos, a copy of a 4th century BC Greek original attributed to Skopas of Paros, inv no 6253, The Farnese collection, Naples Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman sculpture of Pothos, a copy of a 4th century BC Greek original attributed to Skopas of Paros, inv no 6253, The Farnese collection, Naples Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman sculpture of Pothos, a copy of a 4th century BC Greek original attributed to Skopas of Paros, inv no 6253, The Farnese collection, Naples Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Bronze Hellanistic original from the mid 3rd century BC  attributed to the Greek sculptor Doldalsas of Bethynia,  inv 6283, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Bronze Hellanistic original from the mid 3rd century BC  attributed to the Greek sculptor Doldalsas of Bethynia,  inv 6283, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Bronze Hellanistic original from the mid 3rd century BC  attributed to the Greek sculptor Doldalsas of Bethynia,  inv 6283, Museum of Archaeology, Italy
  • The Roman Venus Statue, the Goddess of Love, follows the style of a modest Aphrodite, known by other Roman replicas are copies of Ttththird century BC Hellenistic Greek statues now lost. Dated circa 1st quarter of second century AD, the Venus statue was excavated from the Odeon of Carthage. The National Bardo Museum, Tunis.  Against a black background.
  • The Roman Venus Statue, the Goddess of Love, follows the style of a modest Aphrodite, known by other Roman replicas are copies of Ttththird century BC Hellenistic Greek statues now lost. Dated circa 1st quarter of second century AD, the Venus statue was excavated from the Odeon of Carthage. The National Bardo Museum, Tunis.   Against a grey background.
  • The Roman Venus Statue, the Goddess of Love, follows the style of a modest Aphrodite, known by other Roman replicas are copies of the third century BC Hellenistic Greek statues now lost. Dated circa 1st quarter of second century AD, the Venus statue was excavated from the Odeon of Carthage. The National Bardo Museum, Tunis.
  • The Roman Venus Statue, the Goddess of Love, follows the style of a modest Aphrodite, known by other Roman replicas are copies of Ttththird century BC Hellenistic Greek statues now lost. Dated circa 1st quarter of second century AD, the Venus statue was excavated from the Odeon of Carthage. The National Bardo Museum, Tunis. Against a grey art background.
  • The Roman Venus Statue, the Goddess of Love, follows the style of a modest Aphrodite, known by other Roman replicas are copies of Ttththird century BC Hellenistic Greek statues now lost. Dated circa 1st quarter of second century AD, the Venus statue was excavated from the Odeon of Carthage. The National Bardo Museum, Tunis.  Against a black background.
  • Roman sculpture of the Emperor Septime Severe, excavated  from Choud El Battan sculpted circa 193-211AD. The Bardo National Museum, Tunis, Inv No: C.73.  Against a white background.
  • Roman sculpture of the Emperor Septime Severe, excavated  from Choud El Battan sculpted circa 193-211AD. The Bardo National Museum, Tunis, Inv No: C.73.   Against a grey background.
  • Roman sculpture of the Emperor Marcus Aurelius, excavated  from Carthage made circa 161-180 AD. The Bardo National Museum, Tunis, Inv No: C.965.  Against a black background.
  • Roman sculpture of the Emperor Marcus Aurelius, excavated  from Carthage made circa 161-180 AD. The Bardo National Museum, Tunis, Inv No: C.965
  • Roman sculpture of the Emperor Vitellius, excavated  from Althiburos sculpted circa 20 April 69-20 Dec 69AD. The Bardo National Museum, Tunis, Inv No: C.1784. Against a grey art background.
  • Roman sculpture of the Emperor Vespesien, excavated  from Althiburos sculpted circa  69-79AD. The Bardo National Museum, Tunis, Inv No: C.1025.  Against a black background.
  • Roman sculpture of the Emperor Vespesien, excavated  from Althiburos sculpted circa  69-79AD. The Bardo National Museum, Tunis, Inv No: C.1025. Against a grey art background.
  • Roman sculpture of the Emperor Marcus Aurelius, excavated from Bulla Regia Theatre, sculpted circa late second century. The Bardo National Museum, Tunis.  Against a black background.
  • Roman sculpture of the Emperor Marcus Aurelius, excavated from Bulla Regia Theatre, sculpted circa late second century. The Bardo National Museum, Tunis.
  • Roman sculpture of the Emperor Lucius Verus, excavated from Bulla Regia Theatre, sculpted circa 161-169 AD. The Bardo National Museum, Tunis.  Against a black background.
  • Roman sculpture of the Emperor Gordian 1st, excavated from Carthage ( ruled 3 months in 238AD. The Bardo National Museum, Tunis, Inv No: C. 3212.  Against a black background.
  • Roman sculpture of the Emperor Caracalla, excavated from Thuburbo-Majus, sculpted circa 211-217AD. The Bardo National Museum, Tunis, Inv No: C. 1347.  Against a black background.
  • Roman sculpture of the Emperor Augustus, excavated from El-Jem, sculpted circa 27BC-14AD The Bardo National Museum, Tunis, Inv No: C. 72.  Against a white background.
  • Roman sculpture of the Emperor Augustus, excavated from El-Jem, sculpted circa 27BC-14AD The Bardo National Museum, Tunis, Inv No: C. 72.  Against a black background.
  • Roman sculpture of the Emperor Augustus, excavated from El-Jem, sculpted circa 27BC-14AD The Bardo National Museum, Tunis, Inv No: C. 72
  • Detail of a second Century Roman statue of Apollo excavated from the Theatre of Carthage. The Bardo National Museum, Tunis, Tunisia. Inv No C939
  • Detail of a second Century Roman statue of Apollo excavated from the Theatre of Carthage. The Bardo National Museum, Tunis, Tunisia. Inv No C939. Against a grey art background.
  • Second Century Roman statue of Apollo excavated from the Theatre of Carthage. The Bardo National Museum, Tunis, Tunisia. Inv No C939.   Against a grey background.
  • Roman sculpture of the Emperor Lucius Verus, excavated from Bulla Regia Theatre, sculpted circa 161-169 AD. The Bardo National Museum, Tunis.  Against a white background.
  • Statue group identified as as the Laocoon described by Pliny as a masterpiece made by the sculptors of Rhodes. The Laocoon depicts a scene from the Trojan War in which Athena and Poseidon sent two great serpants to wrap themselves around Laocoon and his two sons to kill them. Circa 40-30BC, Pope Clement XIV coillection, Vatican Museum Rome, Italy,  white background
  • Bronze head of possibly Trebonianus Gallus, 251-253 A.D., inv 15032, Vatican Museum Rome, Italy, art background
  • Upper part of a monumental Roman statue of an unknown person possibly a Roman magistrate of Imperial Rome , circa 40BC, inv 15055 Vatican Museum Rome, Italy, grey  background
  • Roman sarcophagus depicting a battle between Achilles and Pentesilea and Amazons, the faces of the deceased have been sculpted over the Greek heroes, circa 230-250 AD, inv 933, Vatican Museum Rome, Italy,  white background
  • Roman sarcophagus depicting a battle between Achilles and Pentesilea and Amazons, the faces of the deceased have been sculpted over the Greek heroes, circa 230-250 AD, inv 933, Vatican Museum Rome, Italy,  black background
  • Roman sarcophagus depicting a battle between Achilles and Pentesilea and Amazons, the faces of the deceased have been sculpted over the Greek heroes, circa 230-250 AD, inv 933, Vatican Museum Rome, Italy,  art background
  • The celebrated Greek statue known as 'The Belvedere Torso', possibly of Greek hero Ajax, signed by Athenian neo-Attic sculptor Apollonios, ist century BC, inv 1192, Pope Clement collection, Vatican Museum Rome, Italy,  grey art background
  • The celebrated Greek statue known as 'The Belvedere Torso', possibly of Greek hero Ajax, signed by Athenian neo-Attic sculptor Apollonios, ist century BC, inv 1192, Pope Clement collection, Vatican Museum Rome, Italy,  grey  background
  • Statue group identified as as the Laocoon described by Pliny as a masterpiece made by the sculptors of Rhodes. The Laocoon depicts a scene from the Trojan War in which Athena and Poseidon sent two great serpants to wrap themselves around Laocoon and his two sons to kill them. Circa 40-30BC, Pope Clement XIV coillection, Vatican Museum Rome, Italy,  black background
  • Statue group identified as as the Laocoon described by Pliny as a masterpiece made by the sculptors of Rhodes. The Laocoon depicts a scene from the Trojan War in which Athena and Poseidon sent two great serpants to wrap themselves around Laocoon and his two sons to kill them. Circa 40-30BC, Pope Clement XIV coillection, Vatican Museum Rome, Italy,  grey art background
  • Statue group identified as as the Laocoon described by Pliny as a masterpiece made by the sculptors of Rhodes. The Laocoon depicts a scene from the Trojan War in which Athena and Poseidon sent two great serpants to wrap themselves around Laocoon and his two sons to kill them. Circa 40-30BC, Pope Clement XIV coillection, Vatican Museum Rome, Italy,  white background
  • , Vatican Museum Rome, Italy,  grey art background
  • Roman ststue of Apollo with a lyre, copied from an earlier 4th cebtury BC Hellenistic statue, from a group of Muses found in Villa de Cassius at Tivoli,  inv 310, Vatican Museum Rome, Italy,  grey art background
  • Second century AD Roman statue of Urania holding, the muse of atronomy holding  a globe, the statue was restored from two separte staues of the period, inv 293, Vatican Museum Rome, Italy,  grey background
  • Second century AD Roman statue of Urania holding, the muse of atronomy holding  a globe, the statue was restored from two separte staues of the period, inv 293, Vatican Museum Rome, Italy,  grey art background
  • Second century AD Roman statue of Urania holding, the muse of atronomy holding  a globe, the statue was restored from two separte staues of the period, inv 293, Vatican Museum Rome, Italy,  art background
  • 2nd century Roman statue of Venus known as the Venere Felice, inspired by the Hellenistic stsue of Aphrodite of Cnidus made by Greek sculptor Praixiteles in the 4th century BC. Possibly a Venus's face is a portrait of Sallustia who dedicated the statue with Helpidus, and the Eros may be a portrait of her young son. inv 129, Vatican Museum Rome, Italy,  grey art background
  • Gilded bronze 1st century AD Roman statue of Hercules found buried near Pompey's Theatre having possibly been struck by lightening and given a customary Roman burial. A Roman copy of a Hellenistic Athenian staue from around 390-370 BC, Vatican Museum Rome, Italy,  white background
  • Gilded bronze 1st century AD Roman statue of Hercules found buried near Pompey's Theatre having possibly been struck by lightening and given a customary Roman burial. A Roman copy of a Hellenistic Athenian staue from around 390-370 BC, Vatican Museum Rome, Italy,  black background
  • 2nd century Roman statue of Venus known as the Venere Felice, inspired by the Hellenistic stsue of Aphrodite of Cnidus made by Greek sculptor Praixiteles in the 4th century BC. Possibly a Venus's face is a portrait of Sallustia who dedicated the statue with Helpidus, and the Eros may be a portrait of her young son. inv 129, Vatican Museum Rome, Italy,  white background
  • 2nd century Roman statue of Venus known as the Venere Felice, inspired by the Hellenistic stsue of Aphrodite of Cnidus made by Greek sculptor Praixiteles in the 4th century BC. Possibly a Venus's face is a portrait of Sallustia who dedicated the statue with Helpidus, and the Eros may be a portrait of her young son. inv 129, Vatican Museum Rome, Italy,  black background
  • 2nd century Roman statue of Venus known as the Venere Felice, inspired by the Hellenistic stsue of Aphrodite of Cnidus made by Greek sculptor Praixiteles in the 4th century BC. Possibly a Venus's face is a portrait of Sallustia who dedicated the statue with Helpidus, and the Eros may be a portrait of her young son. inv 129, Vatican Museum Rome, Italy,  black background
  • Side view of the  2nd century Roman statue of Venus known as the Venere Felice, inspired by the Hellenistic stsue of Aphrodite of Cnidus made by Greek sculptor Praixiteles in the 4th century BC. Possibly a Venus's face is a portrait of Sallustia who dedicated the statue with Helpidus, and the Eros may be a portrait of her young son. inv 129, Vatican Museum Rome, Italy,  art background
  • 2nd century Roman statue of Venus known as the Venere Felice, inspired by the Hellenistic stsue of Aphrodite of Cnidus made by Greek sculptor Praixiteles in the 4th century BC. Possibly a Venus's face is a portrait of Sallustia who dedicated the statue with Helpidus, and the Eros may be a portrait of her young son. inv 129, Vatican Museum Rome, Italy,  grey art background
  • 2nd century Roman statue of Venus known as the Venere Felice, inspired by the Hellenistic stsue of Aphrodite of Cnidus made by Greek sculptor Praixiteles in the 4th century BC. Possibly a Venus's face is a portrait of Sallustia who dedicated the statue with Helpidus, and the Eros may be a portrait of her young son. inv 129, Vatican Museum Rome, Italy,  grey  background
  • Roman stuate from the time of Hadrian of the muse Tersichore, inv 308, Vatican Museum Rome, Italy,  white background
  • Roman stuate from the time of Hadrian of the muse Tersichore, inv 308, Vatican Museum Rome, Italy,  grey background
  • 2nd century AD Roman statue of the muse of comedy, Thalia, with a tympanum and a comic mask. A Roman copy of a 4th century BCHellenistic statue, inv 295, Vatican Museum Rome, Italy,  grey art background
  • 1st century AD Roman statue of Silenus pouring wine from a jug. The head is from the Flavian period and the body 1st century. A copy of an earlier Hwellenistic sculpture by the school of Lysippus, inv 323, Vatican Museum Rome, Italy,  art background
  • 1st century AD Roman statue of Silenus pouring wine from a jug. The head is from the Flavian period and the body 1st century. A copy of an earlier Hwellenistic sculpture by the school of Lysippus, inv 323, Vatican Museum Rome, Italy,  grey background
  • Roman statue of a Boy strangling a goose, a Roman copy of a late 3rd century Hellenistic bronze statue attributed to Boethos. Excavated from the Villa dei Quintilli on the Appian Way, inv 2655, Vatican Museum Rome, Italy,  white background
  • 2nd century AD Roman statue of Apollo known as the Belvederre Apollo. The Apollo statue originally had a bow in its left hand and Apollo is depiceted having just fired an arrow.  Probably a Roman copy of a Hellenistic statue from around 330-320 BC by Leochares. Inv 1015, Vatican Museum Rome, Italy,  white background
  • 2nd century AD Roman statue of Apollo known as the Belvederre Apollo. The Apollo statue originally had a bow in its left hand and Apollo is depiceted having just fired an arrow.  Probably a Roman copy of a Hellenistic statue from around 330-320 BC by Leochares. Inv 1015, Vatican Museum Rome, Italy,  black background
  • 2nd century AD Roman statue of Apollo known as the Belvederre Apollo. The Apollo statue originally had a bow in its left hand and Apollo is depiceted having just fired an arrow.  Probably a Roman copy of a Hellenistic statue from around 330-320 BC by Leochares. Inv 1015, Vatican Museum Rome, Italy,  grey  background
  • 2nd century AD Roman statue of Apollo known as the Belvederre Apollo. The Apollo statue originally had a bow in its left hand and Apollo is depiceted having just fired an arrow.  Probably a Roman copy of a Hellenistic statue from around 330-320 BC by Leochares. Inv 1015, Vatican Museum Rome, Italy,  white background
  • Roman staue of Lucius Verus with the idealised body of Diomedes, AD 160-170, inv 6095, Naples National Archaeological Museum, black background
  • Roman staue of Lucius Verus with the idealised body of Diomedes, AD 160-170, inv 6095, Naples National Archaeological Museum, grey background
  • Roman Bronze sculpture of Silenus from atrium of the Villa of the Papyri in Herculaneum, Museum of Archaeology, Italy, white background
  • Roman Bronze sculpture of Silenus from atrium of the Villa of the Papyri in Herculaneum, Museum of Archaeology, Italy, grey art background
  • Roman bronze staue of Augustus Ceasar as Pontifex Maximus, late first century B.C, Naples National Archaeological Museum, grey background
  • Full length frontal view of 2nd - 1st century BC Roman marble sculpture of Aphrodite (Venus), ‘Marine Venus' Type with a dolphin, copied from a Hellanistic Greek original,  inv 6296, Museum of Archaeology, Italy
  • Full length frontal view of 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline' Type, copied from a Hellanistic Greek original,  inv 6296, Museum of Archaeology, Italy
  • 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline' Type, copied from a Hellanistic Greek original,  inv 6296, Museum of Archaeology, Italy, black background
  • 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline' Type, copied from a Hellanistic Greek original,  inv 6296, Museum of Archaeology, Italy, white background
  • 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Hellanistic Greek original,  inv 6238, Museum of Archaeology, Italy, white background
  • 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Hellanistic Greek original,  inv 6238, Museum of Archaeology, Italy, grey art background
  • 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Hellanistic Greek original,  inv 6238, Museum of Archaeology, Italy, white background
  • 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Hellanistic Greek original,  inv 6238, Museum of Archaeology, Italy, grey background
  • 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Hellanistic Greek original,  inv 6238, Museum of Archaeology, Italy, black background
  • 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Hellanistic Greek original,  inv 6238, Museum of Archaeology, Italy, grey background
  • Roman statue of goddes Athena from the tablinum of the Villa of the Papyri in Herculaneum, Museum of Archaeology, Italy, white background
  • Roman colossal seated staue of Augustus Caesar, white marble, late first century B.C, inv 6040, Naples National Archaeological Museum, grey background
  • Roman Bronze sculpture bust known as 'Sylla" from the tablinium of the Villa of the Papyri in Herculaneum, Museum of Archaeology, Italy, white background
  • Roman Bronze sculpture bust known as 'Sylla" from the tablinum of the Villa of the Papyri in Herculaneum, Museum of Archaeology, Italy, black background
  • End of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy, grey background
  • End of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy, black background
  • End of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy, grey art background
  • End of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy, black background
  • End of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy, grey background
  • Stone relief sculptured panel of aa Assyrian Chariot. From the palace of Ashurnasirpal II  room VI/T1, Nineveh, third quarter of the 8th century BC. inv 19909  Louvre Museum , Paris
  • Stone relief sculptured panel of aa Assyrian Chariot. From the palace of Ashurnasirpal II  room VI/T1, Niniveh, third quarter of the 8th century BC. inv 19909  Louvre Museum , Paris
  • Stone relief sculptured panel of a Genie blessing. From the palace of Assurnasirpal II, Nimrud, circa 865 BC. inv 19847  Louvre Museum , Paris
  • Stone relief sculptured panel of aa Assyrian Chariot. From the palace of Ashurnasirpal II  room VI/T1, Nineveh, third quarter of the 8th century BC. inv 19909  Louvre Museum , Paris
  • Stone relief sculptured panel of a Genie blessing. From the palace of Assurnasirpal II, Nimrud, circa 865 BC. inv 19847  Louvre Museum , Paris
  • Stone relief sculptured panel of aa Assyrian Chariot. From the palace of Assurbanipal room VI/T1, Nimrud, third quarter of the 8th century BC. inv 19909  Louvre Museum , Paris
  • Stone relief sculptured panel of a Genie blessing. From the palace of Assurnasirpal II, Nimrud, circa 865 BC. inv 9848  Louvre Museum , Paris
  • Stone relief sculptured panel of a the deportation of the Babylonians. From the palace of Ashurnasirpal II  , Niniveh, circa 645 BC. inv 19911  Louvre Museum , Paris
  • Stone relief sculptured panel of aa Assyrian Chariot. From the palace of Ashurnasirpal II  room VI/T1, Niniveh, third quarter of the 8th century BC. inv 19909  Louvre Museum , Paris
  • Stone relief sculptured panel of cedar of Lebanon being transported. From the northern courtyard,  Inv AO 19888 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone relief sculptured panel of a boat. From the northern courtyard,  Inv AO 19890 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone relief sculptured panel of cedar of Lebanon being transported. From the northern courtyard,  Inv AO 19889 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone relief sculptured panel of a terrapin. From the northern courtyard,  Inv AO 19890 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone relief sculptured panel of cedar of Lebanon being transported. From the northern courtyard,  Inv AO 19890 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Original Roman bronze statue of Emperor Marcus Aurelius on horseback. 175 AD. Marcus Aurelus was the last of the Five Good Emperors, and is also considered one of the most important Stoic philosophers. In 1979 it was discovered that the the equestrian statue of Marcus Aurelius, in the courtyard of the Capitline Museum, had suffered badly from corrosion, particularly in its legs. The staue was removed from Michael Angelo’s plinth and was transferred to the National Instution for the Restoration of works of art for preservation. On the 11th of April 1990 the restored statue was returned to the Cpitaline courtyard and covered with a glass protective casing. The glass box ruined the design of Michael Angelo’s courtyard and it was decided to make a copy to display in the courted and move the original into the Capitoiline Musuem. This is a rare example of a bronze equestrian statue as it became common practice for the Romans in the late empire to melt down bronze statues to mint coins. The Capitoline Museums, Rome
  • Original Roman bronze statue of Emperor Marcus Aurelius on horseback. 175 AD. Marcus Aurelus was the last of the Five Good Emperors, and is also considered one of the most important Stoic philosophers. In 1979 it was discovered that the the equestrian statue of Marcus Aurelius, in the courtyard of the Capitline Museum, had suffered badly from corrosion, particularly in its legs. The staue was removed from Michael Angelo’s plinth and was transferred to the National Instution for the Restoration of works of art for preservation. On the 11th of April 1990 the restored statue was returned to the Cpitaline courtyard and covered with a glass protective casing. The glass box ruined the design of Michael Angelo’s courtyard and it was decided to make a copy to display in the courted and move the original into the Capitoiline Musuem. This is a rare example of a bronze equestrian statue as it became common practice for the Romans in the late empire to melt down bronze statues to mint coins. The Capitoline Museums, Rome
  • Original Roman bronze statue of Emperor Marcus Aurelius on horseback. 175 AD. Marcus Aurelus was the last of the Five Good Emperors, and is also considered one of the most important Stoic philosophers. In 1979 it was discovered that the the equestrian statue of Marcus Aurelius, in the courtyard of the Capitline Museum, had suffered badly from corrosion, particularly in its legs. The staue was removed from Michael Angelo’s plinth and was transferred to the National Instution for the Restoration of works of art for preservation. On the 11th of April 1990 the restored statue was returned to the Cpitaline courtyard and covered with a glass protective casing. The glass box ruined the design of Michael Angelo’s courtyard and it was decided to make a copy to display in the courted and move the original into the Capitoiline Musuem. This is a rare example of a bronze equestrian statue as it became common practice for the Romans in the late empire to melt down bronze statues to mint coins. The Capitoline Museums, Rome
  • Original Roman bronze statue of Emperor Marcus Aurelius on horseback. 175 AD. Marcus Aurelus was the last of the Five Good Emperors, and is also considered one of the most important Stoic philosophers. In 1979 it was discovered that the the equestrian statue of Marcus Aurelius, in the courtyard of the Capitline Museum, had suffered badly from corrosion, particularly in its legs. The staue was removed from Michael Angelo’s plinth and was transferred to the National Instution for the Restoration of works of art for preservation. On the 11th of April 1990 the restored statue was returned to the Cpitaline courtyard and covered with a glass protective casing. The glass box ruined the design of Michael Angelo’s courtyard and it was decided to make a copy to display in the courted and move the original into the Capitoiline Musuem. This is a rare example of a bronze equestrian statue as it became common practice for the Romans in the late empire to melt down bronze statues to mint coins. The Capitoline Museums, Rome
  • Gigantic Roman bronze statue hand from Rome. The Capitoline Museums, Rome
  • Gigantic Roman bronze statue hand from Rome. The Capitoline Museums, Rome
  • Roman marble portrait bust of Emperor Hadrian, 117-138 AD found in the Horti Tauriani, Rome.  The bust portrays an elderly Hadrian with a well worn expression from around 130AD. An enthusiastic builder Hadrian rebuilt the Pantheon and constructed the Temple of Venus and Roma as well as building Hadrian's Wall, which marked the northern limit of Roman Britain. His villa at Tivoli also showed Hadrian passion for water and Roman baths. Hadrian was regarded by some as a humanist and was philhellene in most of his tastes. He is regarded as one of the Five Good Emperors.  MC inv 890, Capitoline Museums, Rome
  • Roman marble portrait bust of Emperor Hadrian, 117-138 AD found in the Horti Tauriani, Rome.  The bust portrays an elderly Hadrian with a well worn expression from around 130AD. An enthusiastic builder Hadrian rebuilt the Pantheon and constructed the Temple of Venus and Roma as well as building Hadrian's Wall, which marked the northern limit of Roman Britain. His villa at Tivoli also showed Hadrian passion for water and Roman baths. Hadrian was regarded by some as a humanist and was philhellene in most of his tastes. He is regarded as one of the Five Good Emperors.  MC inv 890, Capitoline Museums, Rome
  • Roman marble portrait bust of Matidia circa119 AD from Via Giolitti, Rome. Matidia was Sabina’s mother and Hadrian’s wife. The high level of idealisation of the portrait suggests that it was made after her death. Capitoline Museums, Rome
  • Roman marble statue of the Esquiline Venus or Aphrodite dated to the 1st cent. It was found in 1874 in Piazza Dante on the Esquiline Hill in Rome, probably part of the site of the Horti Lamiani, one of the imperial gardens, rich archaeological sources of classical sculpture. The Esquiline Venus is an example of the Pasitelean “eclectic" style of the Neo-Attic school. It combines elements from a variety of other previous schools - a Praxitelean idea of the nude female form; a face, muscular torso, and small high breasts in the fifth-century BC severe style; and pressed-together thighs typical of Hellenistic sculptures. Capitoline Museums, Rome
  • Roman marble statue of the Esquiline Venus or Aphrodite dated to the 1st cent. It was found in 1874 in Piazza Dante on the Esquiline Hill in Rome, probably part of the site of the Horti Lamiani, one of the imperial gardens, rich archaeological sources of classical sculpture. The Esquiline Venus is an example of the Pasitelean “eclectic" style of the Neo-Attic school. It combines elements from a variety of other previous schools - a Praxitelean idea of the nude female form; a face, muscular torso, and small high breasts in the fifth-century BC severe style; and pressed-together thighs typical of Hellenistic sculptures. Capitoline Museums, Rome
  • Roman marble statue of the Esquiline Venus or Aphrodite dated to the 1st cent. It was found in 1874 in Piazza Dante on the Esquiline Hill in Rome, probably part of the site of the Horti Lamiani, one of the imperial gardens, rich archaeological sources of classical sculpture. The Esquiline Venus is an example of the Pasitelean “eclectic" style of the Neo-Attic school. It combines elements from a variety of other previous schools - a Praxitelean idea of the nude female form; a face, muscular torso, and small high breasts in the fifth-century BC severe style; and pressed-together thighs typical of Hellenistic sculptures. Capitoline Museums, Rome
  • Roman marble bust of Commodus as Hercules. Circa191-192 AD found in an underground chamber in the Horti Lamiani area of Rome. The son of Marcus Aurelus is shown with the features of Hercules and is characterised by Greek hero’s attributes: the lion’s skin, the club, the apples of Hesperides. The character is accompanied by fantastic sea creatures in a composition symbolising his apotheosis. The work can be dated to the final period of the life of Commodus, between 191-192 AD. . MC.1120 Capitoline Museums, Rome
  • Roman marble bust of Commodus as Hercules. Circa191-192 AD found in an underground chamber in the Horti Lamiani area of Rome. The son of Marcus Aurelus is shown with the features of Hercules and is characterised by Greek hero’s attributes: the lion’s skin, the club, the apples of Hesperides. The character is accompanied by fantastic sea creatures in a composition symbolising his apotheosis. The work can be dated to the final period of the life of Commodus, between 191-192 AD. . MC.1120 Capitoline Museums, Rome
  • Roman gilded bronze head of Emperor Constantine dating from about 330-337 AD.. Inv 5.13, The Capitoline Museums, Rome
  • Roman gilded bronze head of Emperor Constantine dating from about 330-337 AD.. Inv 5.13, The Capitoline Museums, Rome
  • Roman gilded bronze head of Emperor Constantine dating from about 330-337 AD.. Inv 5.13, The Capitoline Museums, Rome
  • Roman gilded bronze head of Emperor Constantine dating from about 330-337 AD.. Inv 5.13, The Capitoline Museums, Rome
  • Roman sculpted head of Dionysus inspired by a Hellenistic original. Found in the Horti Lamiani near the Piazza Vittorio Emanuele, Rome. M.C. Inv 1129, The Capitoline Museums, Rome
  • Relief sculpture panels depicting men bearing gifts in the New Year festival, . From the reign of Darius 1st or Xerxes (485-465 BC) of the First Persian or Achaemenid Empire excavated from the Palace of Darius 1st Persepolis, present day Iran. Persepolis was one of the residential cities of the Achaemenid Kings. The panels depict the festival of New Year (Noruz) in which representatives of all the peoples of the realm participated. This panel comes from the stairways of the palace and show men bearing gifts. The clothing of this man with a lamb identifies him as a Mede. Persepolis was one of the residential cities of the Achaemenid Kings. The panels depict the festival of New Year (Noruz) in which representatives of all the peoples of the realm participated. This panel comes from the stairways of the palace and show men bearing gifts. The clothing of this man with a lamb identifies him as a Mede.. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed terracotta brick panels depicting Achaemenid Persian royal bodyguards or archers. From the reign of Darius 1st and the First Persian or Achaemenid Empire around 510 BC excavated from the Palace of Daius 1st. Susa was one of the residential cities of the Achaemenid Kings. The Palaces are noteworthy for their elaborate decorations which can be considered exemplary of art at a royal court. The walls of Darius’s palace at Susa were embellished with colourful reliefs made from glazed bricks on the Babylonian model. It is not certain which rooms of the palace was decorated with representations of a procession of royal bodyguards or archers, dressed in richly decorative costumes.  The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed terracotta brick panels depicting Achaemenid Persian royal bodyguards or archers. From the reign of Darius 1st and the First Persian or Achaemenid Empire around 510 BC excavated from the Palace of Daius 1st. Susa was one of the residential cities of the Achaemenid Kings. The Palaces are noteworthy for their elaborate decorations which can be considered exemplary of art at a royal court. The walls of Darius’s palace at Susa were embellished with colourful reliefs made from glazed bricks on the Babylonian model. It is not certain which rooms of the palace was decorated with representations of a procession of royal bodyguards or archers, dressed in richly decorative costumes.  The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed terracotta brick panels depicting Achaemenid Persian royal bodyguards or archers. From the reign of Darius 1st and the First Persian or Achaemenid Empire around 510 BC excavated from the Palace of Daius 1st. Susa was one of the residential cities of the Achaemenid Kings. The Palaces are noteworthy for their elaborate decorations which can be considered exemplary of art at a royal court. The walls of Darius’s palace at Susa were embellished with colourful reliefs made from glazed bricks on the Babylonian model. It is not certain which rooms of the palace was decorated with representations of a procession of royal bodyguards or archers, dressed in richly decorative costumes.  The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed terracotta brick panels depicting Achaemenid Persian royal bodyguards or archers. From the reign of Darius 1st and the First Persian or Achaemenid Empire around 510 BC excavated from the Palace of Daius 1st. Susa was one of the residential cities of the Achaemenid Kings. The Palaces are noteworthy for their elaborate decorations which can be considered exemplary of art at a royal court. The walls of Darius’s palace at Susa were embellished with colourful reliefs made from glazed bricks on the Babylonian model. It is not certain which rooms of the palace was decorated with representations of a procession of royal bodyguards or archers, dressed in richly decorative costumes.  The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed terracotta brick panels depicting Achaemenid Persian royal bodyguards or archers. From the reign of Darius 1st and the First Persian or Achaemenid Empire around 510 BC excavated from the Palace of Daius 1st. Susa was one of the residential cities of the Achaemenid Kings. The Palaces are noteworthy for their elaborate decorations which can be considered exemplary of art at a royal court. The walls of Darius’s palace at Susa were embellished with colourful reliefs made from glazed bricks on the Babylonian model. It is not certain which rooms of the palace was decorated with representations of a procession of royal bodyguards or archers, dressed in richly decorative costumes.  The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed terracotta tiled panels depicting mythical Griffins. From the reign of Darius 1st and the First Persian or Achaemenid Empire around 510 BC excavated from the Palace of Daius 1st Susa, present day Iran.. Inv AS 332607, The Louvre Museum, Paris.
  • Coloured glazed terracotta tiled panels depicting mythical Griffins. From the reign of Darius 1st and the First Persian or Achaemenid Empire around 510 BC excavated from the Palace of Daius 1st Susa, present day Iran.. Inv AS 332607, The Louvre Museum, Paris.
  • Coloured glazed terracotta tiled panels depicting mythical Griffins. From the reign of Darius 1st and the First Persian or Achaemenid Empire around 510 BC excavated from the Palace of Daius 1st Susa, present day Iran.. Inv AS 332607, The Louvre Museum, Paris.
  • Coloured glazed terracotta tiled panels depicting mythical Griffins. From the reign of Darius 1st and the First Persian or Achaemenid Empire around 510 BC excavated from the Palace of Daius 1st Susa, present day Iran.. Inv AS 332607, The Louvre Museum, Paris.
  • Coloured glazed terracotta brick panels depicting Achaemenid Persian royal bodyguards or archers. From the reign of Darius 1st and the First Persian or Achaemenid Empire around 510 BC excavated from the Palace of Daius 1st Susa, present day Iran. Susa was one of the residential cityes of the Achaemenid Kings. The Palaces are noteworthy for their elaborate decorations which can be considered exemplary of art at a royal court. The walls of Darius’s palace at Susa were embellished with colourful reliefs made from glazed bricks on the Babylonian model. It is not certain which rooms of the palace was decorated with representations of a procession of royal bodyguards or archers, dressed in richly decorative costumes. Inv Ab3312-21, The Louvre Museum, Paris.
  • Gypsum, schist, shells and lapis lazuli statue of Ebih-Il, early Dynastic; Shakkanakku (military governor) of the ancient city-state of Mari in present day eastern Syria, dating from circa 2340 BC or from the Akkadian period of rule Circa 2250 BC.. The statue carries a cuneiform inscription in Akkadian. Excavated from; the temple of Ishtar at Mari by André Parrot in 1934-1935 the statue measures; 52.5 cm (20.7 in) high; 20.6 cm (8.1 in) wide and 30 cm (11.8 in) deep. Department of Oriental Antiquities; Richelieu; ground floor; room 1b; inv AO 17551; Louvre Museum; Paris
  • Gypsum, schist, shells and lapis lazuli statue of Ebih-Il, early Dynastic; Shakkanakku (military governor) of the ancient city-state of Mari in present day eastern Syria, dating from circa 2340 BC or from the Akkadian period of rule Circa 2250 BC.. The statue carries a cuneiform inscription in Akkadian. Excavated from; the temple of Ishtar at Mari by André Parrot in 1934-1935 the statue measures; 52.5 cm (20.7 in) high; 20.6 cm (8.1 in) wide and 30 cm (11.8 in) deep. Department of Oriental Antiquities; Richelieu; ground floor; room 1b; inv AO 17551; Louvre Museum; Paris
  • Gypsum, schist, shells and lapis lazuli statue of Ebih-Il, early Dynastic; Shakkanakku (military governor) of the ancient city-state of Mari in present day eastern Syria, dating from circa 2340 BC or from the Akkadian period of rule Circa 2250 BC.. The statue carries a cuneiform inscription in Akkadian. Excavated from; the temple of Ishtar at Mari by André Parrot in 1934-1935 the statue measures; 52.5 cm (20.7 in) high; 20.6 cm (8.1 in) wide and 30 cm (11.8 in) deep. Department of Oriental Antiquities; Richelieu; ground floor; room 1b; inv AO 17551; Louvre Museum; Paris
  • Gypsum, schist, shells and lapis lazuli statue of Ebih-Il, early Dynastic; Shakkanakku (military governor) of the ancient city-state of Mari in present day eastern Syria, dating from circa 2340 BC or from the Akkadian period of rule Circa 2250 BC.. The statue carries a cuneiform inscription in Akkadian. Excavated from; the temple of Ishtar at Mari by André Parrot in 1934-1935 the statue measures; 52.5 cm (20.7 in) high; 20.6 cm (8.1 in) wide and 30 cm (11.8 in) deep. Department of Oriental Antiquities; Richelieu; ground floor; room 1b; inv AO 17551; Louvre Museum; Paris
  • Gypsum, schist, shells and lapis lazuli statue of Ebih-Il, early Dynastic; Shakkanakku (military governor) of the ancient city-state of Mari in present day eastern Syria, dating from circa 2340 BC or from the Akkadian period of rule Circa 2250 BC.. The statue carries a cuneiform inscription in Akkadian. Excavated from; the temple of Ishtar at Mari by André Parrot in 1934-1935 the statue measures; 52.5 cm (20.7 in) high; 20.6 cm (8.1 in) wide and 30 cm (11.8 in) deep. Department of Oriental Antiquities; Richelieu; ground floor; room 1b; inv AO 17551; Louvre Museum; Paris
  • Gypsum, schist, shells and lapis lazuli statue of Ebih-Il, early Dynastic; Shakkanakku (military governor) of the ancient city-state of Mari in present day eastern Syria, dating from circa 2340 BC or from the Akkadian period of rule Circa 2250 BC.. The statue carries a cuneiform inscription in Akkadian. Excavated from; the temple of Ishtar at Mari by André Parrot in 1934-1935 the statue measures; 52.5 cm (20.7 in) high; 20.6 cm (8.1 in) wide and 30 cm (11.8 in) deep. Department of Oriental Antiquities; Richelieu; ground floor; room 1b; inv AO 17551; Louvre Museum; Paris
  • Stone relief sculptured panel of a Genie blessing. From the palace of Assurnasirpal II, Nimrud, circa 865 BC. inv 19847  Louvre Museum , Paris
  • Stone relief sculptured panel of a Genie blessing. From the palace of Assurnasirpal II, Nimrud, circa 865 BC. inv 19847  Louvre Museum , Paris
  • Stone relief sculptured panel of a Genie blessing. From the palace of Assurnasirpal II, Nimrud, circa 865 BC. inv 9848  Louvre Museum , Paris
  • Stone relief sculptured panel of a Genie blessing. From the palace of Assurnasirpal II, Nimrud, circa 865 BC. inv 9848  Louvre Museum , Paris
  • Stone statue of a winged bull. Reproduction from the facade of the throne room,  Inv AO 30043 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone relief sculptured panel of a Hero holding a lion. From the facade of the throne room,  Inv AO 19862 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • . Room 4 - Ancient Meopotania 713-706 BC, Assyria, Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad.  Louvre Museum, Paris
  • Stone relief sculptured panel of a Servant. From the facade of the throne room,  Inv AO 22196 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone relief sculptured panel of soldiers carrying a war chariot . Facade L. Inv AO 19884 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone relief sculptured panel of soldiers carrying a war chariot . Facade L. Inv AO 19884 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone relief sculptured panel of soldiers carrying a war chariot . Facade L. Inv AO 19884 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone relief sculptured panel of soldiers carrying a war chariot . Facade L. Inv AO 19884 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone relief sculptured panel of two servants. Facade L. Inv AO 19879 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone statue of a winged bull. From city gate no 3,  Inv AO 19859 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone relief sculptured panel of a man holding an Ibex and a poppy flower. Facade L. Inv AO 19872 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone statue of a winged bull. From city gate no 3,  Inv AO 19859 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone relief sculptured panel of a man holding an Ibex and a poppy flower. Facade L. Inv AO 19872 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone relief sculptured panel of horses. From Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone relief sculptured panel of a man holding an Ibex and a poppy flower. Facade L. Inv AO 19872 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone relief sculptured panel of a man. From the facade of the throne room,  Inv AO 19917 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone relief sculptured panel of a Royal servant. From the palace of Teglat-phalasar II, Nimrud, third quarter of the 8th century BC. inv 19852  Louvre Museum , Paris
  • Stone relief sculptured panel of cedar of Lebanon being transported. From the northern courtyard,  Inv AO 19888 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone statue of a winged bull. From city gate no 3,  Inv AO 19859 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone statue of a winged bull. From facade m, door K,  Inv AO 19857 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone statue of a winged bull. From facade m, door K,  Inv AO 19857 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone relief sculptured panel of a man. From corridor 10,  Inv AO 19896 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone relief sculptured panel fragment of a Genie blessing. Inv AO 19864/19880 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone relief sculptured panel of a Genie blessing. Gate No 3, Inv AO 19863 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone relief sculptured panel of a man holding poppy seed pods. Facade N. Inv AO 19870 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone relief sculptured panel of two servants. Facade L. Inv AO 19879 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone statue of a winged bull. Reproduction from the facade of the throne room,  Inv AO 30043 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone statue of a winged bull. Reproduction from the facade of the throne room,  Inv AO 30043 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone statue of a winged bull. Reproduction from the facade of the throne room,  Inv AO 30043 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone statue of a winged bull. From facade m, door K,  Inv AO 19857 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone statue of a winged bull. Reproduction from the facade of the throne room,  Inv AO 30043 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone statue of a winged bull. From facade m, door K,  Inv AO 19857 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone relief sculptured panel of a Servant. From the facade of the throne room,  Inv AO 22196 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone relief sculptured panel of Horse Driver. Facade L. Inv AO 19883 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone relief sculptured panel of Soldier. Room 8. Inv AO 19877 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone relief sculptured panel of two functionaries. Room 811. Inv AO 19876 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone relief sculptured panel of a man holding poppy seed pods. Facade N. Inv AO 19870 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone relief sculptured panel of a man holding an Ibex and poppy seed pods. Facade N. Inv AO 19872 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone relief sculptured panel of two servants. Facade L. Inv AO 19879 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Roman marble sculpture of Aphrodite (Venus) of the Venus Felix Type , copied from a  2nd to 1st century BC Hellanistic Greek original, inv 6300, Naples Museum of Archaeology, Italy
  • Roman marble sculpture of Aphrodite (Venus) of the Venus Felix Type , copied from a  2nd to 1st century BC Hellanistic Greek original, inv 6300, Naples Museum of Archaeology, Italy
  • Stone relief sculptured panel of a Royal servant. From the palace of Teglat-phalasar II, Nimrud, third quarter of the 8th century BC. inv 19852  Louvre Museum , Paris
  • Roman marble sculpture of Aphrodite (Venus) of the Venus Felix Type , copied from a  2nd to 1st century BC Hellanistic Greek original, inv 6300 Farnese Collection, Naples Museum of Archaeology, Italy
  • Stone relief sculptured panel of tributaries. From corridor 10,  Inv AO 1433/19899/19895 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone statue of a Hero holding a lion. From facade M of the palace courtyard ,  Inv AO 19861 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone statue of a winged bull. From facade m, door K,  Inv AO 19857 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Bronze Hellanistic original from the mid 3rd century BC  attributed to the Greek sculptor Doldalsas of Bethynia,  inv 6283 Farnese Collection, Naples  Museum of Archaeology, Italy
  • Stone statue of a winged bull. From facade m, door K,  Inv AO 19857 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Hellanistic Greek original,  inv 6238  Farnese Collection, Naples Museum of Archaeology, Italy
  • 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Bronze Hellanistic original from the mid 3rd century BC  attributed to the Greek sculptor Doldalsas of Bethynia,  inv 6283  Farnese Collection, Naples  Museum of Archaeology, Italy
  • Stone relief sculptured panel of a Dignitary. Inv AO 7374 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone relief sculptured panel of a Genie with poppy seed heads next ro the tree of life.  Inv AO 19869 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Bronze Hellanistic original from the mid 3rd century BC  attributed to the Greek sculptor Doldalsas of Bethynia,  inv 6293, Farnese Collection - Naples Museum of Archaeology, Italy
  • Stone relief sculptured panel of two functionaries. Room 811. Inv AO 19876 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Hellanistic Greek original,  inv 6283 - Farnese Collection, Naples Museum of Archaeology, Italy
  • Stone relief sculptured panel of Soldier. Room 8. Inv AO 19877 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Roman statue of Augustus as Pontifex Maximus, circa 17-14 BC.  This statue of Augustus was typical of the approved style that Augustus used to control his public image. As Pontifex Maximus the statue emphasises the piety of the ruler and his reverence for the gods and traditions of Rome. Augustus thus revitalised the role and function of the most ancient Roman priesthoods and exalted the myths that narrated the origins of Rome. The statue is part of the political propaganda that Augustus used to cement his position of first amongst equals to the very conservative Romans.  National Roman Museum, Rome.
  • Roman statue of Augustus as Pontifex Maximus, circa 17-14 BC.  This statue of Augustus was typical of the approved style that Augustus used to control his public image. As Pontifex Maximus the statue emphasises the piety of the ruler and his reverence for the gods and traditions of Rome. Augustus thus revitalised the role and function of the most ancient Roman priesthoods and exalted the myths that narrated the origins of Rome. The statue is part of the political propaganda that Augustus used to cement his position of first amongst equals to the very conservative Romans.  National Roman Museum, Rome.
  • Roman statue of Augustus as Pontifex Maximus, circa 17-14 BC.  This statue of Augustus was typical of the approved style that Augustus used to control his public image. As Pontifex Maximus the statue emphasises the piety of the ruler and his reverence for the gods and traditions of Rome. Augustus thus revitalised the role and function of the most ancient Roman priesthoods and exalted the myths that narrated the origins of Rome. The statue is part of the political propaganda that Augustus used to cement his position of first amongst equals to the very conservative Romans.  National Roman Museum, Rome.
  • Roman relief panel showing a Barbarian, circa 98-117 AD from the Palace of Montecitorio, Rome. This  relief panel is part of a larger work. It represents a battle and the figure can be identified as a barbarian by his eastern style tunic and thick beard. Judging by the quality of the execution, the relief must have belonged to an important public monument situated in the area of the Campus Martius .  Inv 39163, National Roman Museum, Rome.
  • Roman relief panel showing a Barbarian, circa 98-117 AD from the Palace of Montecitorio, Rome. This  relief panel is part of a larger work. It represents a battle and the figure can be identified as a barbarian by his eastern style tunic and thick beard. Judging by the quality of the execution, the relief must have belonged to an important public monument situated in the area of the Campus Martius .  Inv 39163, National Roman Museum, Rome.
  • Roman bust of Socrates, 1st cent AD from the construction site of the monument to Vitorio Emanuel II,  Rome, Italy. This portrait of Socrates is similar to the Herm of Socrates from the Naples National Museum. In xenophon’s Symposium socrates is described as ‘Short body with wide shoulders, prominent belly, aquiline nose, thick wide mouth and head almost completely bold. In 399 BC the famous Athenian philosopher was condemned to death for impiety and corruption. Inv 1236, National Roman Museum, Rome.
  • Roman bust of Socrates, 1st cent AD from the construction site of the monument to Vitorio Emanuel II,  Rome, Italy. This portrait of Socrates is similar to the Herm of Socrates from the Naples National Museum. In xenophon’s Symposium socrates is described as ‘Short body with wide shoulders, prominent belly, aquiline nose, thick wide mouth and head almost completely bold. In 399 BC the famous Athenian philosopher was condemned to death for impiety and corruption. Inv 1236, National Roman Museum, Rome.
  • Roman bust of Socrates, 1st cent AD from the construction site of the monument to Vitorio Emanuel II,  Rome, Italy. This portrait of Socrates is similar to the Herm of Socrates from the Naples National Museum. In xenophon’s Symposium socrates is described as ‘Short body with wide shoulders, prominent belly, aquiline nose, thick wide mouth and head almost completely bold. In 399 BC the famous Athenian philosopher was condemned to death for impiety and corruption. Inv 1236, National Roman Museum, Rome.
  • Roman relief sculpture on the Christian sarcophagus side od Marcus Claudianus depicting scenes from  the new testament , circa 330 - 335 AD from the via della Lungara near S.Giacomo in Settimiana, Rome, Italy. National Roman Musuem, Rome.
  • Stone relief sculptured panel of a man. From the facade of the throne room,  Inv AO 19917 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris

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