• 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, 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 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
  • 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.
  • 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 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 grey 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 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,  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,  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, 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
  • 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
  • Roman gilded bronze head of Emperor Constantine dating from about 330-337 AD.. Inv 5.13, The Capitoline Museums, Rome
  • Stone relief sculptured panel of horses and soldiers from corridor 10. Facade L. Inv AO 19918 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 Saron II. Facade L. Inv AO 19873-4 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
  • Stone relief sculptured panel fragment of a Dignitary. Inv AO 1432 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
  • Roman mask from the  National Roman Museum, Rome, Italy
  • Roman decoration panel of Medusa from a Roman ship, the age of Calligula, 37-41 AD, made from bronze. The head of the medusa is an example of refined craftsmanship. The detail of the hair, the scales, the snakes and the nostrils were made using hand held tools . the work is at its most frightening when viewed from a low anyle suggesting that it was designed to be places high up on the ship .  The National Roman Museum, Rome, Italy
  • Roman statue of Apollo. known as the Chigi Apollo,  mid 2nd cent. AD from the Imperial Villa, Rome. As suggested by the quiver strap slung across the body, the god held a bow and arrow , in a pose of absorbed meditation. Wrapped around the tree trunk which acts as a support are gods attributes: the laurel and the snake. This classical statue is a reworking of an original Greek statue of the 4th cent. BC.  Inv 75675, The National Roman Museum, Rome, ItalyThe National Roman Museum, Rome, Italy
  • Roman bust of a female deity, circa 117-138 AD from the Villa Adriana (Hadrian), Tivoli, Italy. The head, made separately for insertion onto a larger than life size body, is that of a female deity; type is known from other copies from a Greek original, probably from Attic circa 470-460 B.C. The bust was found in Hadrian’s villa and is therefore dated to 117-138 AD. The National Roman Museum, Rome, Italy
  • Roman portrait bust of Emperor Hadrian, 117-138 AD excavated from the S. Barbiana region near the Station Terminus, Rome. Hadrian ( Publius Aelius Hadrianus Augustus) was Roman Emperor from 117 to 138. 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. The great love of his life was Antinous who died tragically and suspiciously when he drowned in the Nile.  The National Roman Museum, Rome, Italy
  • 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
  • Roman Portrait bust of Roman Emperor Nerva, circa  96 to 98 AD excavated from Tivoli. Marcus Cocceius Nerva Caesar Augustus was Roman Emperor from 96 to 98 AD. On 18 September 96 AD Domitian was assassinated and Nerva became Emperor  at the age of sixty-five after a lifetime of imperial service under Nero and the rulers of the Flavian dynasty. The National Roman Museum, Rome, Italy
  • Roman marble sculpture of Faun, a 2nd century AD copy from an original of a late 2nd - 1st century BC late Hellanistic Greek original, inv 6332, Museum of Archaeology, Italy
  • Roman marble sculpture of Athena from the tabling of the Villa of the Papyri in Herculaneum, Naples Museum of Archaeology, Italy
  • Roman marble sculpture bust of an unkown women, Late Trajan period 98-117 AD , inv 6074 Farnese Collection, Naples  Museum of Archaeology, Italy
  • Roman marble sculpture bust of an unkown women, Late Trajan period 110-117 AD , inv 6074 Farnese Collection, Naples  Museum of Archaeology, Italy
  • Roman marble sculpture bust of Emperor  Vespasian 80 AD, inv 6068, Museum of Archaeology, Italy
  • Roman marble sculpture bust of Emperor Tiberius by Guglielmo della Porta 40 AD, inv 6051, Museum of Archaeology, Italy
  • Roman bronze sculpture of Hermes from the  rectangular peristyle of the Villa of the Papyri in Herculaneum, Naples Museum of Archaeology, Italy
  • Roman Bronze sculpture of a Dancing Women from the square peristyle of the Villa of the Papyri in Herculaneum, Museum of Archaeology, Italy
  • Roman Bronze sculpture of a Dancing Women from the square peristyle of the Villa of the Papyri in Herculaneum, Museum of Archaeology, Italy
  • 2nd century AD Roman marble sculpture known as ‘The Small Women’ the so called Flora, copied from a 4th century BC  Hellanistic Greek original,  inv 6404, Naples Museum of Archaeology, Italy
  • 2nd century AD Roman marble sculpture of Aristogeiton  from the Tyrannicide group,  a Roman copy of an early classical period Geek original, inv 6307, Naples Museum of Archaeology, Italy
  • 2nd century AD Roman marble sculptured of Dionysus and Eros, inv 6307, Naples Museum of Archaeology, Italy
  • 2nd century AD Roman marble sculptured head known as The Farnese Dionysus,  a Roman copy of a  Hellenistic Geek original, inv 6034, Naples Museum of Archaeology, Italy
  • Statue of a Captive Barbarian - a 2nd century Ad Roman sculpture made in Porphyry and white marble from Rome, Italy. Restored by Pietro Benini brother of Bernin. The head and hands do not belong to the statue. The head is wearing a hat Phyrigian hat and recalls the same style as the famous Farnese Prisoners statues who were defeated Dacians from the Forum of Trajan (98-117 AD). The statue was from the facade of the Villa Borghese. The Borghese Collection Inv No. MR 331 or Ma 1385, Louvre Museum, Paris.
  • Statue of a Captive Barbarian - a 2nd century Ad Roman sculpture made in Porphyry and white marble from Rome, Italy. The head and hands do not belong to the statue. The head is wearing a hat Phyrigian hat and recalls the same style as the famous Farnese Prisoners statues who were defeated Dacians from the Forum of Trajan (98-117 AD). The statue was from the facade of the Villa Borghese. The Borghese Collection Inv No. MR 332 or Ma 1381, Louvre Museum, Paris.
  • Statue of the Emperor Titus - an end of the 1st century AD Roman statue probably from Rome. Titus was Emperor of the Romans fom 79 to 81 AD. The statue looks like it may have recieved some restoration especially around the eyes and the style of changes points to the sculptor Girardon in 1685. From the French Royal Collection  Inv MR 358   (or Ma 1067), The Louvre Mueum, Paris.
  • 2nd century Roman marble torso copy of the statue of Aphrodite of Cnidus by Praixitele. Many Roman replicas exist of the Aphrodite of Cnidus which is one of the most famous statues of antiquity. The statue depicts the goddess bathing with a vase of water beside her. The lost original is a Hellenistic Greek sculpture made in 360-350 BC which is attributed to Athenian sculpture Praxiteles. Tradition has it that the model for the original was the lover of sculptor Phryne. The original is the oldest known female nude in Greek sculpture.  Inv Ma 2184 Louvre Museum, Paris.
  • Gigantic Roman bronze statue hand from Rome. The 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 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.
  • Double sided Roman herm of Dionysus from the mid 2nd cent. AD excavated from the via Sallustiani, Rome. This bust shows Dionysus with his traditional band around his head, he appears as a youthful man on one side and as a mature man with a beard on this sid.   The National Roman Museum, Rome, Italy
  • Roman statue of a young Satyr from the Hadranic period circa 117-138 AD excavated from an area near the via XX Settembre and Via Firenza, Rome, Italy. A young Satyr, wearing a panther’s skin tied on the right shoulder, plays the tibia oblique (flute) whist reclining next to a tree trunk. The statue is based on a Greek prototype from the school of Greek sculptor Praxiteles created around 300 BC.  Inv 551, The National Roman Museum, Rome, Italy
  • Roman statue of Apollo. known as the Chigi Apollo,  mid 2nd cent. AD from the Imperial Villa, Rome. As suggested by the quiver strap slung across the body, the god held a bow and arrow , in a pose of absorbed meditation. Wrapped around the tree trunk which acts as a support are gods attributes: the laurel and the snake. This classical statue is a reworking of an original Greek statue of the 4th cent. BC.  Inv 75675, The National Roman Museum, Rome, ItalyThe National Roman Museum, Rome, Italy
  • Roman portrait bust of Emperor Vespasian, circa 69-79 AD excavated from Ostia. Titus Flavius Caesar Vespasianus Augustus was Roman Emperor from AD 69 to AD 79. Vespasian founded the Flavian dynasty that ruled the Empire for twenty seven years.  The National Roman Museum, Rome, Italy
  • Roman portrait bust of a flavian women possibly Domita, circa 69-96 AD excavated from Terracina. This portrait can be dated from the typical hairstyle made popular by Flavian women. It may be of Domitia Longina who was  wife to the Roman Emperor Domitian. The National Roman Museum, Rome, Italy
  • Roman portrait bust of Sabina, circa 135 AD excavated from the via Appia, Rome. . The National Roman Museum, Rome, Italy
  • 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
  • Roman Portrait bust of Roman Emperor Nerva, circa  96 to 98 AD excavated from Tivoli. Marcus Cocceius Nerva Caesar Augustus was Roman Emperor from 96 to 98 AD. On 18 September 96 AD Domitian was assassinated and Nerva became Emperor  at the age of sixty-five after a lifetime of imperial service under Nero and the rulers of the Flavian dynasty. The National Roman Museum, Rome, Italy
  • Antinous Mondragone, A Roman marble bust from circa 130 AD. Antinous was the young Bithynian favoured by the emperor Hadrian who was deified after drowning under mysterious circumstances in the waters of the Nile circa 130AD. Thanks to the promotion of the cult Antinous portraits can be found throughout the Empire in the places most frequented by Hadrian. The Borghese Collection Inv No. MR 412 or Ma 1205, Louvre Museum, Paris.
  • Bust of Greek Philosopher Plato. A  2nd century AD Roman sculpture in marble. In  423-348 BC Greek sculptor Silanion created a bronze bust of Plato to adorn the gardens of the Acadamy in Athens, at the request of Persia Mithridite, according to Diogenes Laertius (De Vitis Philosophorum III, 25 citing Memorabilia Favorinus ). This Roman copy of the Greek original can be identified by the la two letters of “Plato” inscribed on it.  Inv MR 415   (or Ma 2654), The Louvre Mueum, Paris.
  • 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.
  • A Roman statue of the Parthenon Athena, a Roman copy of the great statue from the Parthenon in Athens.  Louvre Museum, Paris.
  • Roman marble sculpture bust of Emperor Tiberius by Guglielmo della Porta 40 AD, inv 6051, Museum of Archaeology, Italy
  • 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 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  “ 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,  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 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 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 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 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 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 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 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 known as the Farnese Bull from the Baths of Caracalla, Rome, Farnese Collection, 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 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.  Against a white 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.
  • 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.
  • 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 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 white 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 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 Augustus, excavated from El-Jem, sculpted circa 27BC-14AD The Bardo National Museum, Tunis, Inv No: C. 72
  • 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.
  • 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
  • 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
  • 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
  • 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
  • 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,  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 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
  • 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
  • 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
  • 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline' Type, copied from a Hellanistic Greek original,  inv 6296, Museum of Archaeology, Italy, grey art background
  • Full length three quarter view 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
  • 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, 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 art 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
  • 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, white 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 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 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 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 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
  • 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 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 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
  • Coloured glazed terracotta brick panels from the staircase walls excavated from the Palace of Daius 1st Susa, present day Iran. From the reign of Darius 1st and the First Persian or Achaemenid Empire around 510 BC. Inv AOD 490-491, 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.
  • 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
  • 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
  • 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 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 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 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 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 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 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 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 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 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
  • 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
  • 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
  • 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 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
  • 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
  • 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 relief sculpture on a sarcophagus side showing a married couple with pagan deities, circa 270 - 280 AD from the via Latina, Rome, Italy. National Roman Musuem, Rome.
  • 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 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 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
  • Roman relief sculpture on a sarcophagus side depiction the Muses, circa 280 - 290 AD from the Villa Celimontana. National Roman Musuem, Rome.
  • 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
  • Roman statue of an Emperor with a breastplate (loricata) from the 2nd cent AD from the Imperial Villa, Rome. The statue depicts a man in military dress, with a breastplate (lorca) decorated within griffins and a cluster of acanthus, and edged by a series of pendants (pteryges) with a head of ferocious animals and a cloak (paludamentum). In his left hand remains the traces of a sword; his raised right arm probably leant on a spear. On his feat he wears shoes decorated at the ankles with a lion skin. The statue dates from the dynasty of the Antonine Emperors and is the dress of the supreme military commander.  The National Roman Museum, Rome, Italy
  • Roman statue of an Emperor with a breastplate (loricata) from the 2nd cent AD from the Imperial Villa, Rome. The statue depicts a man in military dress, with a breastplate (lorca) decorated within griffins and a cluster of acanthus, and edged by a series of pendants (pteryges) with a head of ferocious animals and a cloak (paludamentum). In his left hand remains the traces of a sword; his raised right arm probably leant on a spear. On his feat he wears shoes decorated at the ankles with a lion skin. The statue dates from the dynasty of the Antonine Emperors and is the dress of the supreme military commander.  The National Roman Museum, Rome, Italy
  • Roman statue of an Emperor with a breastplate (loricata) from the 2nd cent AD from the Imperial Villa, Rome. The statue depicts a man in military dress, with a breastplate (lorca) decorated within griffins and a cluster of acanthus, and edged by a series of pendants (pteryges) with a head of ferocious animals and a cloak (paludamentum). In his left hand remains the traces of a sword; his raised right arm probably leant on a spear. On his feat he wears shoes decorated at the ankles with a lion skin. The statue dates from the dynasty of the Antonine Emperors and is the dress of the supreme military commander.  The National Roman Museum, Rome, Italy
  • 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
  • Stone relief sculptured panel fragment of a Dignitary. Inv AO 1432 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Roman statue of an Emperor with a breastplate (loricata) from the 2nd cent AD from the Imperial Villa, Rome. The statue depicts a man in military dress, with a breastplate (lorca) decorated within griffins and a cluster of acanthus, and edged by a series of pendants (pteryges) with a head of ferocious animals and a cloak (paludamentum). In his left hand remains the traces of a sword; his raised right arm probably leant on a spear. On his feat he wears shoes decorated at the ankles with a lion skin. The statue dates from the dynasty of the Antonine Emperors and is the dress of the supreme military commander.  The National Roman Museum, Rome, Italy
  • Roman decoration panel of Medusa from a Roman ship, the age of Calligula, 37-41 AD, made from bronze. The head of the medusa is an example of refined craftsmanship. The detail of the hair, the scales, the snakes and the nostrils were made using hand held tools . the work is at its most frightening when viewed from a low anyle suggesting that it was designed to be places high up on the ship .  The National Roman Museum, Rome, Italy
  • 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 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
  • Roman decoration panels that covered the end of the beams from a Roman ship, from the age of Calligula, 37-41 AD, made from bronze. The forearms were used to ward off evil the extended gesture was meant to keep danger away.  The National Roman Museum, Rome, Italy
  • Roman decoration panels that covered the end of the beams from a Roman ship, from the age of Calligula, 37-41 AD, made from bronze. The forearms were used to ward off evil the extended gesture was meant to keep danger away.  The National Roman Museum, Rome, Italy
  • Roman decoration panels that covered the end of the beams from a Roman ship, from the age of Calligula, 37-41 AD, made from bronze. The forearms were used to ward off evil the extended gesture was meant to keep danger away.  The National Roman Museum, Rome, Italy
  • Double sided Roman herm of Dionysus from the mid 2nd cent. AD excavated from the via Sallustiani, Rome. This bust shows Dionysus with his traditional band around his head, he appears as a youthful man on one side and as a mature man with a beard on this sid.   The National Roman Museum, Rome, Italy
  • Roman statue of Hercules from the mid 2nd cent. AD excavated from the Via Appia. Hercules is portrayed as a mature man at rest, his naked body wrapped in a lion skin; he probably geld his club in his left hand. His style of dress was typical of that used in the Roman theatre. The statue of Hercules is a reworking of a Greek original dating from around the 2nd or 3rd cent. BC .  Inv  115165, The National Roman Museum, Rome, Italy
  • Roman relief sculpture panel decorated on both sides with masks from the second half of the 1st cent. AD excavated from the Valle Giardino, Nemi, Italy. The panel is sculpted on both sides; the front side depicts the half moon shaped face of a deity wearing a crown.  Inv 112158, The National Roman Museum, Rome, Italy
  • Roman statue of a young Satyr from the Hadranic period circa 117-138 AD excavated from an area near the via XX Settembre and Via Firenza, Rome, Italy. A young Satyr, wearing a panther’s skin tied on the right shoulder, plays the tibia oblique (flute) whist reclining next to a tree trunk. The statue is based on a Greek prototype from the school of Greek sculptor Praxiteles created around 300 BC.  Inv 551, The National Roman Museum, Rome, Italy
  • Roman statue of an African Acrobat from early Imperial period excavated from the Villa Patrizi, via Nomentana, Rome, Italy. A young African performs an acrobatic trick very similar to those performed by tribal members from an area of the Nile, the Tentyitae (described by Pliny in Naturalis Historia), where skilled divers dive into the water from the backs of crocodiles. The work is based on a hellenistic original and here has beed adapted for the Roman period as a fountain decoration. The hole in the acrobats mouth is a water spout.  Inv 40009, The National Roman Museum, Rome, Italy  The National Roman Museum, Rome, Italy
  • Roman statue of an African Acrobat from early Imperial period excavated from the Villa Patrizi, via Nomentana, Rome, Italy. A young African performs an acrobatic trick very similar to those performed by tribal members from an area of the Nile, the Tentyitae (described by Pliny in Naturalis Historia), where skilled divers dive into the water from the backs of crocodiles. The work is based on a hellenistic original and here has beed adapted for the Roman period as a fountain decoration. The hole in the acrobats mouth is a water spout.  Inv 40009, The National Roman Museum, Rome, Italy  The National Roman Museum, Rome, Italy
  • Roman statue of Apollo. known as the Chigi Apollo,  mid 2nd cent. AD from the Imperial Villa, Rome. As suggested by the quiver strap slung across the body, the god held a bow and arrow , in a pose of absorbed meditation. Wrapped around the tree trunk which acts as a support are gods attributes: the laurel and the snake. This classical statue is a reworking of an original Greek statue of the 4th cent. BC.  Inv 75675, The National Roman Museum, Rome, ItalyThe National Roman Museum, Rome, Italy
  • Roman statue of Apollo. known as the Chigi Apollo,  mid 2nd cent. AD from the Imperial Villa, Rome. As suggested by the quiver strap slung across the body, the god held a bow and arrow , in a pose of absorbed meditation. Wrapped around the tree trunk which acts as a support are gods attributes: the laurel and the snake. This classical statue is a reworking of an original Greek statue of the 4th cent. BC.  Inv 75675, The National Roman Museum, Rome, ItalyThe National Roman Museum, Rome, Italy
  • Roman portrait bust of a flavian women possibly Domita, circa 69-96 AD excavated from Terracina. This portrait can be dated from the typical hairstyle made popular by Flavian women. It may be of Domitia Longina who was  wife to the Roman Emperor Domitian. The National Roman Museum, Rome, Italy
  • Roman statue in the nude hero style of Emperor Antoninus Pius, 138-161 AD. Titus Fulvius Aelius Hadrianus Antoninus Augustus Pius, also known as Antoninus, was Roman Emperor from 138 to 161. He was a member of the Nerva–Antonine dynasty and the Aurelii.[3]<br />
He acquired the name Pius after his accession to the throne, either because he compelled the Senate to deify his adoptive father Hadrian, or because he had saved senators sentenced to death by Hadrian in his later years. The National Roman Museum, Rome, Italy
  • Roman portrait bust of Emperor Antoninus Pius, 138-161 AD. Titus Fulvius Aelius Hadrianus Antoninus Augustus Pius, also known as Antoninus, was Roman Emperor from 138 to 161. He was a member of the Nerva–Antonine dynasty and the Aurelii.[3]<br />
He acquired the name Pius after his accession to the throne, either because he compelled the Senate to deify his adoptive father Hadrian, or because he had saved senators sentenced to death by Hadrian in his later years. The National Roman Museum, Rome, Italy
  • Roman portrait bust of Emperor Antoninus Pius, 138-161 AD. Titus Fulvius Aelius Hadrianus Antoninus Augustus Pius, also known as Antoninus, was Roman Emperor from 138 to 161. He was a member of the Nerva–Antonine dynasty and the Aurelii.[3]<br />
He acquired the name Pius after his accession to the throne, either because he compelled the Senate to deify his adoptive father Hadrian, or because he had saved senators sentenced to death by Hadrian in his later years. The National Roman Museum, Rome, Italy
  • Roman portrait bust of Sabina, circa 135 AD excavated from the via Appia, Rome. . The National Roman Museum, Rome, Italy
  • Roman portrait bust of Sabina, circa 135 AD excavated from the via Appia, Rome. . The National Roman Museum, Rome, Italy
  • Roman portrait bust of Sabina, circa 135 AD excavated from the via Appia, Rome. . The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young man from 110 AD. In this portrait, the hairstyle and facial features are typical of the Trajan era of portraiture. The hairstyle is characterised by a slight central parting on the forehead . Inv 287, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young man from 110 AD. In this portrait, the hairstyle and facial features are typical of the Trajan era of portraiture. The hairstyle is characterised by a slight central parting on the forehead . Inv 287, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young man from 110 AD. In this portrait, the hairstyle and facial features are typical of the Trajan era of portraiture. The hairstyle is characterised by a slight central parting on the forehead . Inv 287, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young man from 110 AD. In this portrait, the hairstyle and facial features are typical of the Trajan era of portraiture. The hairstyle is characterised by a slight central parting on the forehead . Inv 287, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young charioteer from the age of Domitian, 81-96AD. This statue of a young charioteer, with Oriental eastern Mediterranean features, is wearing a tunic stopped on the right shoulder by a flattened circular fibula (clasp). The hairstyle, with its ’S’ shaped curls, was made artificially with an iron (calamistrum). This style was inspired by official portrayts of a young Domitian, who emulated Neronian style during the last years of his reign. The bust was rounded to be inserted onto a modern pillar. . Inv 276, The National Roman Museum, Rome, Italy
  • Roman bust of Alexander the Great, 2nd cent B.C bronze with gold leaf. The head is from a smaller than life size statue. The elongated curls, the parted locks and the diadem that fastens the hair at the back, are clear indications that the head is a portrait of the Macedonian King Alexander the Great (356-323 B.C.). Inv 66177, The National Roman Museum, Rome, Italy
  • Greek  statue of a Niobid from the Horti Sallustiani (Gardens of Sallust), a Greek original from the 5th cent BC found near the Via Collina and Piazza Sallustio, Rome. The wounded female figure whose back has been struck by an arrow is one of fourteen children of Amphion of Thebes and Niobe.  According to myth, Niobe insulted Lato, mother of the divine Apollo and Artemis; “why ever should Lato, a women of common birth, with a coarse daughter and an effeminate son, be preferred to me, the niece of Zeus and Atlas, scourge of the Phyrigians and the royal house of Cadmus?.”. The vengeful Lato ordered Apollo and Artemis to kill Niobe’s children who were struck down with arrows. In antiquity the myth of the Niobids was the subject matter of numerous works of art. The statue , a 5th century Greek original, was used as an ornamental piece in the Horti Sallustiani (Gardens of Sallust), where it was found with other figures of Niobids, two of which are now at the Ny Carlsberg Glypotheck in Copenhargen. Originally it was part of a pedimental group which decorated the facade of a Greek Temple. Inv 72274, The National Roman Museum, Rome, Italy
  • Greek  statue of a Niobid from the Horti Sallustiani (Gardens of Sallust), a Greek original from the 5th cent BC found near the Via Collina and Piazza Sallustio, Rome. The wounded female figure whose back has been struck by an arrow is one of fourteen children of Amphion of Thebes and Niobe.  According to myth, Niobe insulted Lato, mother of the divine Apollo and Artemis; “why ever should Lato, a women of common birth, with a coarse daughter and an effeminate son, be preferred to me, the niece of Zeus and Atlas, scourge of the Phyrigians and the royal house of Cadmus?.”. The vengeful Lato ordered Apollo and Artemis to kill Niobe’s children who were struck down with arrows. In antiquity the myth of the Niobids was the subject matter of numerous works of art. The statue , a 5th century Greek original, was used as an ornamental piece in the Horti Sallustiani (Gardens of Sallust), where it was found with other figures of Niobids, two of which are now at the Ny Carlsberg Glypotheck in Copenhargen. Originally it was part of a pedimental group which decorated the facade of a Greek Temple. Inv 72274, The National Roman Museum, Rome, Italy
  • Greek  statue of a Niobid from the Horti Sallustiani (Gardens of Sallust), a Greek original from the 5th cent BC found near the Via Collina and Piazza Sallustio, Rome. The wounded female figure whose back has been struck by an arrow is one of fourteen children of Amphion of Thebes and Niobe.  According to myth, Niobe insulted Lato, mother of the divine Apollo and Artemis; “why ever should Lato, a women of common birth, with a coarse daughter and an effeminate son, be preferred to me, the niece of Zeus and Atlas, scourge of the Phyrigians and the royal house of Cadmus?.”. The vengeful Lato ordered Apollo and Artemis to kill Niobe’s children who were struck down with arrows. In antiquity the myth of the Niobids was the subject matter of numerous works of art. The statue , a 5th century Greek original, was used as an ornamental piece in the Horti Sallustiani (Gardens of Sallust), where it was found with other figures of Niobids, two of which are now at the Ny Carlsberg Glypotheck in Copenhargen. Originally it was part of a pedimental group which decorated the facade of a Greek Temple. Inv 72274, The National Roman Museum, Rome, Italy
  • Greek  statue of a Niobid from the Horti Sallustiani (Gardens of Sallust), a Greek original from the 5th cent BC found near the Via Collina and Piazza Sallustio, Rome. The wounded female figure whose back has been struck by an arrow is one of fourteen children of Amphion of Thebes and Niobe.  According to myth, Niobe insulted Lato, mother of the divine Apollo and Artemis; “why ever should Lato, a women of common birth, with a coarse daughter and an effeminate son, be preferred to me, the niece of Zeus and Atlas, scourge of the Phyrigians and the royal house of Cadmus?.”. The vengeful Lato ordered Apollo and Artemis to kill Niobe’s children who were struck down with arrows. In antiquity the myth of the Niobids was the subject matter of numerous works of art. The statue , a 5th century Greek original, was used as an ornamental piece in the Horti Sallustiani (Gardens of Sallust), where it was found with other figures of Niobids, two of which are now at the Ny Carlsberg Glypotheck in Copenhargen. Originally it was part of a pedimental group which decorated the facade of a Greek Temple. Inv 72274, The National Roman Museum, Rome, Italy
  • Greek  statue of a Niobid from the Horti Sallustiani (Gardens of Sallust), a Greek original from the 5th cent BC found near the Via Collina and Piazza Sallustio, Rome. The wounded female figure whose back has been struck by an arrow is one of fourteen children of Amphion of Thebes and Niobe.  According to myth, Niobe insulted Lato, mother of the divine Apollo and Artemis; “why ever should Lato, a women of common birth, with a coarse daughter and an effeminate son, be preferred to me, the niece of Zeus and Atlas, scourge of the Phyrigians and the royal house of Cadmus?.”. The vengeful Lato ordered Apollo and Artemis to kill Niobe’s children who were struck down with arrows. In antiquity the myth of the Niobids was the subject matter of numerous works of art. The statue , a 5th century Greek original, was used as an ornamental piece in the Horti Sallustiani (Gardens of Sallust), where it was found with other figures of Niobids, two of which are now at the Ny Carlsberg Glypotheck in Copenhargen. Originally it was part of a pedimental group which decorated the facade of a Greek Temple. Inv 72274, The National Roman Museum, Rome, Italy
  • Greek  statue of a Niobid from the Horti Sallustiani (Gardens of Sallust), a Greek original from the 5th cent BC found near the Via Collina and Piazza Sallustio, Rome. The wounded female figure whose back has been struck by an arrow is one of fourteen children of Amphion of Thebes and Niobe.  According to myth, Niobe insulted Lato, mother of the divine Apollo and Artemis; “why ever should Lato, a women of common birth, with a coarse daughter and an effeminate son, be preferred to me, the niece of Zeus and Atlas, scourge of the Phyrigians and the royal house of Cadmus?.”. The vengeful Lato ordered Apollo and Artemis to kill Niobe’s children who were struck down with arrows. In antiquity the myth of the Niobids was the subject matter of numerous works of art. The statue , a 5th century Greek original, was used as an ornamental piece in the Horti Sallustiani (Gardens of Sallust), where it was found with other figures of Niobids, two of which are now at the Ny Carlsberg Glypotheck in Copenhargen. Originally it was part of a pedimental group which decorated the facade of a Greek Temple. Inv 72274, The National Roman Museum, Rome, Italy
  • 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
  • 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
  • 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
  • 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
  • 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
  • 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 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
  • Roman sculpture bust of  Gordian III made between 238 and 244 AD and excavated from Ostia. At the age of 13, he became the youngest sole legal Roman emperor throughout the existence of the united Roman Empire. Gordian was the son of Antonia Gordiana and an unnamed Roman Senator who died before 238. When the Persians under Shapur I invaded Mesopotamia, the young emperor opened the doors of the Temple of Janus for the last time in Roman history, and sent a large army to the East. The Sassanids were driven back over the Euphrates and defeated in the Battle of Resaena (243AD). In the beginning of 244, the Persians counter-attacked. Persian sources claim that a battle was fought (Battle of Misiche) near modern Fallujah (Iraq) and resulted in a major Roman defeat and the death of Gordian III. The National Roman Museum, Rome, 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 sculpture bust of  Gordian III made between 238 and 244 AD and excavated from Ostia. At the age of 13, he became the youngest sole legal Roman emperor throughout the existence of the united Roman Empire. Gordian was the son of Antonia Gordiana and an unnamed Roman Senator who died before 238. When the Persians under Shapur I invaded Mesopotamia, the young emperor opened the doors of the Temple of Janus for the last time in Roman history, and sent a large army to the East. The Sassanids were driven back over the Euphrates and defeated in the Battle of Resaena (243AD). In the beginning of 244, the Persians counter-attacked. Persian sources claim that a battle was fought (Battle of Misiche) near modern Fallujah (Iraq) and resulted in a major Roman defeat and the death of Gordian III. The National Roman Museum, Rome, Italy
  • Stone relief sculptured panel of Saron II and a dignitary. Facade L. Inv AO 19873-4 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
  • Roman sculpture bust of  Alexander Severus made between 222 and 235 AD and excavated from Ostia. Roman Emperor from 222 to 235. Alexander was the last emperor of the Severan dynasty. As emperor, Alexander's peace time reign was prosperous. However militarily Rome was confronted with the rising Sassanid Empire. He managed to check the threat of the Sassanids, but when campaigning against Germanic tribes of Germania, Alexander attempted to bring peace by engaging in diplomacy and bribery. This alienated many in the legions and led to a conspiracy to assassinate and replace him. . The National Roman Museum, Rome, Italy
  • Roman sculpture bust of Septimius Severus made between 196 and 197 AD and excavated from Ostia. Severus became Roman emperor in 193 AD After deposing and killing the incumbent emperor Didius Julianus. In 202, he campaigned in Africa and Mauretania against the Garamantes; capturing their capital Garama and expanding the Limes Tripolitanus along the southern frontier of the empire. Late in his reign he travelled to Britain, strengthening Hadrian's Wall and reoccupying the Antonine Wall. Severus died in early 211 at Eboracum (today York, England), succeeded by his sons Caracalla and Geta who fought constantly until Caracalla had Geta murdered. The National Roman Museum, Rome, Italy
  • Roman sculpture bust of Septimius Severus made between 196 and 197 AD and excavated from Ostia. Severus became Roman emperor in 193 AD After deposing and killing the incumbent emperor Didius Julianus. In 202, he campaigned in Africa and Mauretania against the Garamantes; capturing their capital Garama and expanding the Limes Tripolitanus along the southern frontier of the empire. Late in his reign he travelled to Britain, strengthening Hadrian's Wall and reoccupying the Antonine Wall. Severus died in early 211 at Eboracum (today York, England), succeeded by his sons Caracalla and Geta who fought constantly until Caracalla had Geta murdered. The National Roman Museum, Rome, Italy
  • Roman sculpture bust of Publius Septimius Antoninus Geta better known as Geta brother of Caracalla, made between 209 and 212 AD and excavated from the via XX Septembre, Rome. Geta was the younger son of Septimius Severus by his second wife Julia Domna. Geta  was a Roman emperor who ruled with his father Septimius Severus and his older brother Caracalla from 209 until his death, when he was murdered on Caracalla's orders.  The National Roman Museum, Rome, Italy
  • Roman sculpture bust of Marcus Aurelius Severus Antoninus Augustus better known as Caracalla, made between 210 and 213 AD and excavated from the via Cassia, Rome. The realism of this  sculpture of Caracalla captures cruelty of the most notorious and unpleasant of emperors because of the massacres and persecutions he authorized and instigated throughout the Roman Empire. The eldest son of Septimius Severus, he reigned jointly with his father from 198 until Severus' death in 211. For a short time he then ruled jointly with his younger brother Geta until he had him murdered later in 211. Caracalla's reign was also notable for the Constitutio Antoniniana  granting Roman citizenship to all freemen throughout the Roman Empire. While travelling from Edessa to continue the war with Parthia, he was assassinated while urinating at a roadside near Carrhae on 8 April 217, by Julius Martialis, an officer of his personal bodyguard who was possibly resentful at not being promoted to the rank of centurion.  The National Roman Museum, Rome, Italy
  • Roman sculpture of a Discus Thrower, Paros marble made in the mid 2nd cent AD excavated from the Villa Palombara, Esquilino, Rome. The Disus Thrower statue is almost the only fully preserved example of its type, the statue is a faithful copy of one of the most admired works of antiquity; the bronze discobolus by Greek sculptor Myron circa 450 BC. The statue depicts the moment preceding the release of the discus, the athlete appears to move in the surrounding space with a complex action, exemplifying the Hellenistic experimentation of the plastic reprentation of the human body. Inv 126371, The National Roman Museum, Rome, Italy

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