• Greek Classical Period Bronze Statue of Zeus or Poseidon found in the sea of Cape Artemision of the north Eastern Euboea Island, Greece.  The God is shown in a great stride about to throw either a trident of a thunderbolt that is now missing from his right hand. The statue is one of the only preserved statues of the preserved style with exquisite rendering of motion & anatomy. The identity of the statue is controversial and is probably more likely to be Zeus rather than Poseidon. 460 BC Ref No X15161 Athens Archaeological Museum
  • Greek Classical Period Bronze Statue of Zeus or Poseidon found in the sea of Cape Artemision of the north Eastern Euboea Island, Greece.  The God is shown in a great stride about to throw either a trident of a thunderbolt that is now missing from his right hand. The statue is one of the only preserved statues of the preserved style with exquisite rendering of motion & anatomy. The identity of the statue is controversial and is probably more likely to be Zeus rather than Poseidon. 460 BC Ref No X15161 Athens Archaeological Museum
  • Greek Classical Period Bronze Statue of Zeus or Poseidon found in the sea of Cape Artemision of the north Eastern Euboea Island, Greece.  The God is shown in a great stride about to throw either a trident of a thunderbolt that is now missing from his right hand. The statue is one of the only preserved statues of the preserved style with exquisite rendering of motion & anatomy. The identity of the statue is controversial and is probably more likely to be Zeus rather than Poseidon. 460 BC Ref No X15161 Athens Archaeological Museum
  • Greek Classical Period Bronze Statue of Zeus or Poseidon found in the sea of Cape Artemision of the north Eastern Euboea Island, Greece.  The God is shown in a great stride about to throw either a trident of a thunderbolt that is now missing from his right hand. The statue is one of the only preserved statues of the preserved style with exquisite rendering of motion & anatomy. The identity of the statue is controversial and is probably more likely to be Zeus rather than Poseidon. 460 BC Ref No X15161 Athens Archaeological Museum
  • Greek Classical Period Bronze Statue of Zeus or Poseidon found in the sea of Cape Artemision of the north Eastern Euboea Island, Greece.  The God is shown in a great stride about to throw either a trident of a thunderbolt that is now missing from his right hand. The statue is one of the only preserved statues of the preserved style with exquisite rendering of motion & anatomy. The identity of the statue is controversial and is probably more likely to be Zeus rather than Poseidon. 460 BC Ref No X15161 Athens Archaeological Museum
  • Kouros Statues of the Archaic Period. Early 6th c. B.C. (circa 580 B.C.)  Known as Kleovis and Biton, the two boys who heroically pulled their mother on her chariot to the sanctuary where she was to worship. They pulled the chariot for a distance of about 8km. They died the same night peacefully in their sleep according to Herodotus. Delphi Archaeological Museum.
  • Kouros Statues of the Archaic Period. Early 6th c. B.C. (circa 580 B.C.)  Known as Kleovis and Biton, the two boys who heroically pulled their mother on her chariot to the sanctuary where she was to worship. They pulled the chariot for a distance of about 8km. They died the same night peacefully in their sleep according to Herodotus. Delphi Archaeological Museum.
  • Kouros Statues of the Archaic Period. Early 6th c. B.C. (circa 580 B.C.)  Known as Kleovis and Biton, the two boys who heroically pulled their mother on her chariot to the sanctuary where she was to worship. They pulled the chariot for a distance of about 8km. They died the same night peacefully in their sleep according to Herodotus. Delphi Archaeological Museum.
  • Kouros Statues of the Archaic Period. Early 6th c. B.C. (circa 580 B.C.)  Known as Kleovis and Biton, the two boys who heroically pulled their mother on her chariot to the sanctuary where she was to worship. They pulled the chariot for a distance of about 8km. They died the same night peacefully in their sleep according to Herodotus. Delphi Archaeological Museum.
  • Kouros Statues of the Archaic Period. Early 6th c. B.C. (circa 580 B.C.)  Known as Kleovis and Biton, the two boys who heroically pulled their mother on her chariot to the sanctuary where she was to worship. They pulled the chariot for a distance of about 8km. They died the same night peacefully in their sleep according to Herodotus. Delphi Archaeological Museum.
  • "Charioteer of Delphi" 470 BC. The "Charioteer of Delphi" is one of the best known ancient Greek statues, and one of the best preserved examples of classical bronze casts. It is considered a fine example of the "Severe" style. Delphi Archaeological Museum.
  • "Charioteer of Delphi" 470 BC. The "Charioteer of Delphi" is one of the best known ancient Greek statues, and one of the best preserved examples of classical bronze casts. It is considered a fine example of the "Severe" style. Delphi Archaeological Museum.
  • "Charioteer of Delphi" 470 BC. The "Charioteer of Delphi" is one of the best known ancient Greek statues, and one of the best preserved examples of classical bronze casts. It is considered a fine example of the "Severe" style. Delphi Archaeological Museum.
  • "Charioteer of Delphi" 470 BC. The "Charioteer of Delphi" is one of the best known ancient Greek statues, and one of the best preserved examples of classical bronze casts. It is considered a fine example of the "Severe" style. Delphi Archaeological Museum.
  • "Charioteer of Delphi" 470 BC. The "Charioteer of Delphi" is one of the best known ancient Greek statues, and one of the best preserved examples of classical bronze casts. It is considered a fine example of the "Severe" style. Delphi Archaeological Museum.
  • "Charioteer of Delphi" 470 BC. The "Charioteer of Delphi" is one of the best known ancient Greek statues, and one of the best preserved examples of classical bronze casts. It is considered a fine example of the "Severe" style. Delphi Archaeological Museum.
  • "Charioteer of Delphi" 470 BC. The "Charioteer of Delphi" is one of the best known ancient Greek statues, and one of the best preserved examples of classical bronze casts. It is considered a fine example of the "Severe" style. Delphi Archaeological Museum.
  • "Charioteer of Delphi" 470 BC. The "Charioteer of Delphi" is one of the best known ancient Greek statues, and one of the best preserved examples of classical bronze casts. It is considered a fine example of the "Severe" style. Delphi Archaeological Museum.
  • "Charioteer of Delphi" 470 BC. The "Charioteer of Delphi" is one of the best known ancient Greek statues, and one of the best preserved examples of classical bronze casts. It is considered a fine example of the "Severe" style. Delphi Archaeological Museum.
  • "Charioteer of Delphi" 470 BC. The "Charioteer of Delphi" is one of the best known ancient Greek statues, and one of the best preserved examples of classical bronze casts. It is considered a fine example of the "Severe" style. Delphi Archaeological Museum.
  • Large Sphinx of Naxos sitting on an Ionic column circa 560 B.C. Delphi Archaeological Museum.
  • Large Sphinx of Naxos sitting on an Ionic column circa 560 B.C. Delphi Archaeological Museum.
  • Large Sphinx of Naxos sitting on an Ionic column circa 560 B.C. Delphi Archaeological Museum.
  • Large Sphinx of Naxos sitting on an Ionic column circa 560 B.C. Delphi Archaeological Museum.
  • Large Sphinx of Naxos sitting on an Ionic column circa 560 B.C. Delphi Archaeological Museum.
  • Large Sphinx of Naxos sitting on an Ionic column circa 560 B.C. Delphi Archaeological Museum.
  • Large Sphinx of Naxos sitting on an Ionic column circa 560 B.C. Delphi Archaeological Museum.
  • Large Sphinx of Naxos sitting on an Ionic column circa 560 B.C. Delphi Archaeological Museum.
  • Large Sphinx of Naxos sitting on an Ionic column circa 560 B.C. Delphi Archaeological Museum.
  • Large Sphinx of Naxos sitting on an Ionic column circa 560 B.C. Delphi Archaeological Museum.
  • Large Sphinx of Naxos sitting on an Ionic column circa 560 B.C. Delphi Archaeological Museum.
  • Large Sphinx of Naxos sitting on an Ionic column circa 560 B.C. Delphi Archaeological Museum.
  • Large Sphinx of Naxos sitting on an Ionic column circa 560 B.C. Delphi Archaeological Museum.
  • Large Sphinx of Naxos sitting on an Ionic column circa 560 B.C. Delphi Archaeological Museum.
  • Large Sphinx of Naxos sitting on an Ionic column circa 560 B.C. Delphi Archaeological Museum.
  • Large Sphinx of Naxos sitting on an Ionic column circa 560 B.C. Delphi Archaeological Museum.
  • Large Sphinx of Naxos sitting on an Ionic column circa 560 B.C. Delphi Archaeological Museum.
  • Large Sphinx of Naxos sitting on an Ionic column circa 560 B.C. Delphi Archaeological Museum.
  • Large Sphinx of Naxos sitting on an Ionic column circa 560 B.C. Delphi Archaeological Museum.
  • Large Sphinx of Naxos sitting on an Ionic column circa 560 B.C. Delphi Archaeological Museum.
  • Greek  Hellenistic marble statue of Apollo, God of light, fine arts & prophecy, 2nd cent. B.C.  Istanbul Archaeological museum Inv 383 T.  Cat. Mendel 548
  • Greek statue of a male figure, 2nd cent B.C Greek Hellenistic period, from Pergamon ( Bergama ) , Turkey. Istanbul Archaeological museum Inv 2707 T.
  • Greek  Hellenistic marble statue of Apollo, God of light, fine arts & prophecy, 2nd cent. B.C.  Istanbul Archaeological museum Inv 383 T.  Cat. Mendel 548
  • Greek Late Hellenistic marble statue of Baeria, from Magnesia AD Maeandrum ( Menderes Manisasi ), temple of Athens, Turkey. Mid 1st cent. B.C .  Istanbul Archaeological museum Inv 605 T.  Cat. Mendel 550
  • Greek statue of a male figure, 2nd cent B.C Greek Hellenistic period, from Pergamon ( Bergama ) , Turkey. Istanbul Archaeological museum Inv 2707 T.
  • Greek statue of a male figure, 2nd cent B.C Greek Hellenistic period, from Pergamon ( Bergama ) , Turkey. Istanbul Archaeological museum Inv 2707 T.
  • Greek  Hellenistic marble statue of Apollo, God of light, fine arts & prophecy, 2nd cent. B.C.  Istanbul Archaeological museum Inv 383 T.  Cat. Mendel 548
  • Greek Late Hellenistic marble statue of Baeria, from Magnesia AD Maeandrum ( Menderes Manisasi ), temple of Athens, Turkey. Mid 1st cent. B.C .  Istanbul Archaeological museum Inv 605 T.  Cat. Mendel 550
  • Greek Late Hellenistic marble statue of Baeria, from Magnesia AD Maeandrum ( Menderes Manisasi ), temple of Athens, Turkey. Mid 1st cent. B.C .  Istanbul Archaeological museum Inv 605 T.  Cat. Mendel 550
  • Greek Late Hellenistic marble statue of Baeria, from Magnesia AD Maeandrum ( Menderes Manisasi ), temple of Athens, Turkey. Mid 1st cent. B.C .  Istanbul Archaeological museum Inv 605 T.  Cat. Mendel 550
  • Greek  Hellenistic marble statue of Apollo, God of light, fine arts & prophecy, 2nd cent. B.C.  Istanbul Archaeological museum Inv 383 T.  Cat. Mendel 548
  • Greek statue of a male figure, 2nd cent B.C Greek Hellenistic period, from Pergamon ( Bergama ) , Turkey. Istanbul Archaeological museum Inv 2707 T.
  • Full length tree quarter view of the Riace bronze Greek statue B cast about 460 - 450 BC. statue B was probably sculpted by Phidias. There is a sense of movement in the statues their legs being bent as if they are about to take a step. Their heads are turned which accentuates a sense of anticipation as if they are looking for something. The anatomical detail is extraordinary which gives a startling realism to the statue and demonstarte the high level of skill of the Greek sculptors of this peiod. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • Full length side view of the Riace bronze Greek statue B cast about 460 - 450 BC. statue B was probably sculpted by Phidias. There is a sense of movement in the statues their legs being bent as if they are about to take a step. Their heads are turned which accentuates a sense of anticipation as if they are looking for something. The anatomical detail is extraordinary which gives a startling realism to the statue and demonstarte the high level of skill of the Greek sculptors of this peiod. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • Upper torso of the Riace bronze Greek statue B cast about 460 - 450 BC. statue B was probably sculpted by Phidias. There is a sense of movement in the statues their legs being bent as if they are about to take a step. Their heads are turned which accentuates a sense of anticipation as if they are looking for something. The anatomical detail is extraordinary which gives a startling realism to the statue and demonstarte the high level of skill of the Greek sculptors of this peiod. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • Full length face on view of the Riace bronze Greek statue B cast about 460 - 450 BC. statue B was probably sculpted by Phidias. There is a sense of movement in the statues their legs being bent as if they are about to take a step. Their heads are turned which accentuates a sense of anticipation as if they are looking for something. The anatomical detail is extraordinary which gives a startling realism to the statue and demonstarte the high level of skill of the Greek sculptors of this peiod. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • Torso of the Riace bronze Greek statue A cast about 460 BC. statue A was probably sculpted by Myron. The style of the Riace statues straddles the archaic period and heralds the start of the classical period. Both statues depict strong young naked warriors who stand calmly but exuding great power. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • Torso of the Riace bronze Greek statue B cast about 460 - 450 BC. statue B was probably sculpted by Phidias. There is a sense of movement in the statues their legs being bent as if they are about to take a step. Their heads are turned which accentuates a sense of anticipation as if they are looking for something. The anatomical detail is extraordinary which gives a startling realism to the statue and demonstarte the high level of skill of the Greek sculptors of this period. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • low full length view of the  Riace bronze Greek statue A cast about 460 BC. statue A was probably sculpted by Myron. The style of the Riace statues straddles the archaic period and heralds the start of the classical period. Both statues depict strong young naked warriors who stand calmly but exuding great power. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • Full length view of the Riace bronze Greek statue A cast about 460 BC. statue A was probably sculpted by Myron. The style of the Riace statues straddles the archaic period and heralds the start of the classical period. Both statues depict strong young naked warriors who stand calmly but exuding great power. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • Torso three quarter of the Riace bronze Greek statue A cast about 460 BC. statue A was probably sculpted by Myron. The style of the Riace statues straddles the archaic period and heralds the start of the classical period. Both statues depict strong young naked warriors who stand calmly but exuding great power. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • Torso face on view of the Riace bronze Greek statue A cast about 460 BC. statue A was probably sculpted by Myron. The style of the Riace statues straddles the archaic period and heralds the start of the classical period. Both statues depict strong young naked warriors who stand calmly but exuding great power. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue head cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue head cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue head cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue head cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue A cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue A cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue A cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue A cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue A cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue A cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue head cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue head cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue head cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue A cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue A cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue A cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue A cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue A cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue A cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue head cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue A cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue A cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue A cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue A cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue A cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue A cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue A cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue head cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue head cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue A cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • Roman copy of a Greek  Hellenistic period statue of the poetess Sappho, from Symrna ( Izmir ), Turkey.. Sappho wrote about love with both sexes and her name led to the phrase "Sapphic love" which became synonmymous with lesbianism in the 20th century. Sappho was also from the island of Lesbos.  Istanbul Archaeological museum Inv 358 T. Cat Mendell 626.
  • Roman copy of a Greek  Hellenistic period statue of the poetess Sappho, from Symrna ( Izmir ), Turkey.. Sappho wrote about love with both sexes and her name led to the phrase "Sapphic love" which became synonmymous with lesbianism in the 20th century. Sappho was also from the island of Lesbos.  Istanbul Archaeological museum Inv 358 T. Cat Mendell 626.
  • Roman copy of a Greek  Hellenistic period statue of the poetess Sappho, from Symrna ( Izmir ), Turkey.. Sappho wrote about love with both sexes and her name led to the phrase "Sapphic love" which became synonmymous with lesbianism in the 20th century. Sappho was also from the island of Lesbos.  Istanbul Archaeological museum Inv 358 T. Cat Mendell 626.
  • Roman copy of a Greek  Hellenistic period statue of the poetess Sappho, from Symrna ( Izmir ), Turkey.. Sappho wrote about love with both sexes and her name led to the phrase "Sapphic love" which became synonmymous with lesbianism in the 20th century. Sappho was also from the island of Lesbos.  Istanbul Archaeological museum Inv 358 T. Cat Mendell 626.
  • Roman Sebasteion relief  sculpture of the Three Graces, Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
The Three Graces stand in their familiar hellenistic composition. They were handmaids of Aphrodite and appeared in this form on the decoration of her cult statue at Aphrodisias. Their names evoked their character: Euphrosyne (joy), Aglaia (Splendour) and Thaleia (Bloom).
  • Roman Sebasteion relief  sculpture of the Three Graces, Aphrodisias Museum, Aphrodisias, Turkey.  Against an art background.<br />
<br />
The Three Graces stand in their familiar hellenistic composition. They were handmaids of Aphrodite and appeared in this form on the decoration of her cult statue at Aphrodisias. Their names evoked their character: Euphrosyne (joy), Aglaia (Splendour) and Thaleia (Bloom).
  • Roman Sebasteion relief  sculpture of the Three Graces, Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
The Three Graces stand in their familiar hellenistic composition. They were handmaids of Aphrodite and appeared in this form on the decoration of her cult statue at Aphrodisias. Their names evoked their character: Euphrosyne (joy), Aglaia (Splendour) and Thaleia (Bloom).
  • Close up of a Roman Sebasteion relief  sculpture of the Three Graces, Aphrodisias Museum, Aphrodisias, Turkey.  <br />
<br />
The Three Graces stand in their familiar hellenistic composition. They were handmaids of Aphrodite and appeared in this form on the decoration of her cult statue at Aphrodisias. Their names evoked their character: Euphrosyne (joy), Aglaia (Splendour) and Thaleia (Bloom).
  • Close up of a Roman Sebasteion relief  sculpture of the Three Graces, Aphrodisias Museum, Aphrodisias, Turkey.  <br />
<br />
The Three Graces stand in their familiar hellenistic composition. They were handmaids of Aphrodite and appeared in this form on the decoration of her cult statue at Aphrodisias. Their names evoked their character: Euphrosyne (joy), Aglaia (Splendour) and Thaleia (Bloom).
  • Close up of a Roman Sebasteion relief  sculpture of the Three Graces, Aphrodisias Museum, Aphrodisias, Turkey.  <br />
<br />
The Three Graces stand in their familiar hellenistic composition. They were handmaids of Aphrodite and appeared in this form on the decoration of her cult statue at Aphrodisias. Their names evoked their character: Euphrosyne (joy), Aglaia (Splendour) and Thaleia (Bloom).
  • Close up of a Roman Sebasteion relief  sculpture of the Three Graces, Aphrodisias Museum, Aphrodisias, Turkey.  <br />
<br />
The Three Graces stand in their familiar hellenistic composition. They were handmaids of Aphrodite and appeared in this form on the decoration of her cult statue at Aphrodisias. Their names evoked their character: Euphrosyne (joy), Aglaia (Splendour) and Thaleia (Bloom).
  • Close up of a Roman Sebasteion relief  sculpture of the Three Graces, Aphrodisias Museum, Aphrodisias, Turkey.  <br />
<br />
The Three Graces stand in their familiar hellenistic composition. They were handmaids of Aphrodite and appeared in this form on the decoration of her cult statue at Aphrodisias. Their names evoked their character: Euphrosyne (joy), Aglaia (Splendour) and Thaleia (Bloom).
  • Roman Sebasteion relief  sculpture of the Three Graces, Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.<br />
<br />
The Three Graces stand in their familiar hellenistic composition. They were handmaids of Aphrodite and appeared in this form on the decoration of her cult statue at Aphrodisias. Their names evoked their character: Euphrosyne (joy), Aglaia (Splendour) and Thaleia (Bloom).
  • Roman Sebasteion relief  sculpture of the Three Graces, Aphrodisias Museum, Aphrodisias, Turkey.     Against a white background.<br />
<br />
The Three Graces stand in their familiar hellenistic composition. They were handmaids of Aphrodite and appeared in this form on the decoration of her cult statue at Aphrodisias. Their names evoked their character: Euphrosyne (joy), Aglaia (Splendour) and Thaleia (Bloom).
  • Roman Sebasteion relief  sculpture of Dionysus Drunk Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
A prancing woodland nymph leads drunken Dionysus who supports himself languidly on a small satyr. This is an image of Dionysian enjoyment and pleasure, hellenistic in style and fluently designed
  • Roman Sebasteion relief  sculpture of Dionysus Drunk Aphrodisias Museum, Aphrodisias, Turkey.  Against an art background.<br />
<br />
A prancing woodland nymph leads drunken Dionysus who supports himself languidly on a small satyr. This is an image of Dionysian enjoyment and pleasure, hellenistic in style and fluently designed
  • Roman Sebasteion relief  sculpture of Dionysus Drunk Aphrodisias Museum, Aphrodisias, Turkey.     Against a white background.<br />
<br />
A prancing woodland nymph leads drunken Dionysus who supports himself languidly on a small satyr. This is an image of Dionysian enjoyment and pleasure, hellenistic in style and fluently designed
  • Roman Sebasteion relief  sculpture of Dionysus Drunk Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
A prancing woodland nymph leads drunken Dionysus who supports himself languidly on a small satyr. This is an image of Dionysian enjoyment and pleasure, hellenistic in style and fluently designed
  • Roman Sebasteion relief  sculpture of Dionysus Drunk Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.<br />
<br />
A prancing woodland nymph leads drunken Dionysus who supports himself languidly on a small satyr. This is an image of Dionysian enjoyment and pleasure, hellenistic in style and fluently designed
  • 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
  • 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 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,  grey art background
  • Side view of a 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,  art 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
  • Three quarter view of a  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,  art 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
  • Side three quarter view of a 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,  art 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 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
  • The Riace bronze Greek statues cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statues cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statues cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statues cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statues cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statues cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statues cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statues cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statues cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statues cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statues cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statues cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statues cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statues cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statues cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statues cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statues cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statues cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statues cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • Roman statue 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,  white 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
  • 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,  white 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  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,  art background
  • 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.
  • Sleeping Hermaphroditus, The Borghese Hermaphrodite.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus, The Borghese Hermaphrodite.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • 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. Louvre Museum, Paris. Usual No 2184
  • Sleeping Hermaphroditus.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Aphrodite, Roman Venus, of Vienne Goddess of Love. This 1st to 2nd century Roman marble copy of a lost Greek original attributed to attibuee Doidalsas Bithynia around 250BC, is of the crouching Venus style. Excavated from the Palace of Mirrors in Saint Romain en Gal (Isere France). The Crouching Venus is a Hellenistic model of Venus surprised at her bath. Venus crouches with her right knee close to the ground, turns her head to the right and, in most versions, reaches her right arm over to her left shoulder to cover her breasts. Louvre Museum, Inv No MNB 1292 ( Usual No Ma 2240)
  • Rare Greek bronze statue known as the Hellenistic Prince, a 2nd cent BC Hellenistic bronze, one of the few in existence.  The figure is leaning with its left arm on a long shaft, a modern replica of the original bronze spear. The head clearly shows that the artist intended it as a portrait as it is proportionally smaller than the rest of the body. The letter L. VI.P.L.XXIIX, later incised on the abdomen are inventory numbers that included the statue in the catalogue of works of art present in Rome during the Republican period. Records of the catalogue (Tabulae) ere kept in the Tabulatium archives on the Capitoline Hill. The figure is represented in heroic nudity and is a copy of a famous statue by Lysippus (371-305 BC) of Alexander the Great. The statue is considered to depict a Hellenistic Prince, possibly an early portrait of Attalus II, King of Pergamon. More recent interpretations take into account the realistic facial features and consider the work to be a portrait of a Roman who had ties to the Greek world and wished to be represented as a Hellenistic Prince. This is a rare example of a 2nd cent BC Hellenistic bronze statue  The National Roman Museum, Rome, Italy
  • Rare Greek bronze statue known as the Hellenistic Prince, a 2nd cent BC Hellenistic bronze, one of the few in existence.  The figure is leaning with its left arm on a long shaft, a modern replica of the original bronze spear. The head clearly shows that the artist intended it as a portrait as it is proportionally smaller than the rest of the body. The letter L. VI.P.L.XXIIX, later incised on the abdomen are inventory numbers that included the statue in the catalogue of works of art present in Rome during the Republican period. Records of the catalogue (Tabulae) ere kept in the Tabulatium archives on the Capitoline Hill. The figure is represented in heroic nudity and is a copy of a famous statue by Lysippus (371-305 BC) of Alexander the Great. The statue is considered to depict a Hellenistic Prince, possibly an early portrait of Attalus II, King of Pergamon. More recent interpretations take into account the realistic facial features and consider the work to be a portrait of a Roman who had ties to the Greek world and wished to be represented as a Hellenistic Prince. This is a rare example of a 2nd cent BC Hellenistic bronze statue  The National Roman Museum, Rome, Italy
  • Rare Greek bronze statue known as the Hellenistic Prince, a 2nd cent BC Hellenistic bronze, one of the few in existence.  The figure is leaning with its left arm on a long shaft, a modern replica of the original bronze spear. The head clearly shows that the artist intended it as a portrait as it is proportionally smaller than the rest of the body. The letter L. VI.P.L.XXIIX, later incised on the abdomen are inventory numbers that included the statue in the catalogue of works of art present in Rome during the Republican period. Records of the catalogue (Tabulae) ere kept in the Tabulatium archives on the Capitoline Hill. The figure is represented in heroic nudity and is a copy of a famous statue by Lysippus (371-305 BC) of Alexander the Great. The statue is considered to depict a Hellenistic Prince, possibly an early portrait of Attalus II, King of Pergamon. More recent interpretations take into account the realistic facial features and consider the work to be a portrait of a Roman who had ties to the Greek world and wished to be represented as a Hellenistic Prince. This is a rare example of a 2nd cent BC Hellenistic bronze statue  The National Roman Museum, Rome, Italy
  • Rare Greek bronze statue known as the Hellenistic Prince, a 2nd cent BC Hellenistic bronze, one of the few in existence.  The figure is leaning with its left arm on a long shaft, a modern replica of the original bronze spear. The head clearly shows that the artist intended it as a portrait as it is proportionally smaller than the rest of the body. The letter L. VI.P.L.XXIIX, later incised on the abdomen are inventory numbers that included the statue in the catalogue of works of art present in Rome during the Republican period. Records of the catalogue (Tabulae) ere kept in the Tabulatium archives on the Capitoline Hill. The figure is represented in heroic nudity and is a copy of a famous statue by Lysippus (371-305 BC) of Alexander the Great. The statue is considered to depict a Hellenistic Prince, possibly an early portrait of Attalus II, King of Pergamon. More recent interpretations take into account the realistic facial features and consider the work to be a portrait of a Roman who had ties to the Greek world and wished to be represented as a Hellenistic Prince. This is a rare example of a 2nd cent BC Hellenistic bronze statue  The National Roman Museum, Rome, Italy
  • Rare Greek bronze statue known as the Hellenistic Prince, a 2nd cent BC Hellenistic bronze, one of the few in existence.  The figure is leaning with its left arm on a long shaft, a modern replica of the original bronze spear. The head clearly shows that the artist intended it as a portrait as it is proportionally smaller than the rest of the body. The letter L. VI.P.L.XXIIX, later incised on the abdomen are inventory numbers that included the statue in the catalogue of works of art present in Rome during the Republican period. Records of the catalogue (Tabulae) ere kept in the Tabulatium archives on the Capitoline Hill. The figure is represented in heroic nudity and is a copy of a famous statue by Lysippus (371-305 BC) of Alexander the Great. The statue is considered to depict a Hellenistic Prince, possibly an early portrait of Attalus II, King of Pergamon. More recent interpretations take into account the realistic facial features and consider the work to be a portrait of a Roman who had ties to the Greek world and wished to be represented as a Hellenistic Prince. This is a rare example of a 2nd cent BC Hellenistic bronze statue  The National Roman Museum, Rome, Italy
  • Rare Greek bronze statue known as the Hellenistic Prince, a 2nd cent BC Hellenistic bronze, one of the few in existence.  The figure is leaning with its left arm on a long shaft, a modern replica of the original bronze spear. The head clearly shows that the artist intended it as a portrait as it is proportionally smaller than the rest of the body. The letter L. VI.P.L.XXIIX, later incised on the abdomen are inventory numbers that included the statue in the catalogue of works of art present in Rome during the Republican period. Records of the catalogue (Tabulae) ere kept in the Tabulatium archives on the Capitoline Hill. The figure is represented in heroic nudity and is a copy of a famous statue by Lysippus (371-305 BC) of Alexander the Great. The statue is considered to depict a Hellenistic Prince, possibly an early portrait of Attalus II, King of Pergamon. More recent interpretations take into account the realistic facial features and consider the work to be a portrait of a Roman who had ties to the Greek world and wished to be represented as a Hellenistic Prince. This is a rare example of a 2nd cent BC Hellenistic bronze statue  The National Roman Museum, Rome, Italy
  • Rare Greek bronze statue known as the Hellenistic Prince, a 2nd cent BC Hellenistic bronze, one of the few in existence.  The figure is leaning with its left arm on a long shaft, a modern replica of the original bronze spear. The head clearly shows that the artist intended it as a portrait as it is proportionally smaller than the rest of the body. The letter L. VI.P.L.XXIIX, later incised on the abdomen are inventory numbers that included the statue in the catalogue of works of art present in Rome during the Republican period. Records of the catalogue (Tabulae) ere kept in the Tabulatium archives on the Capitoline Hill. The figure is represented in heroic nudity and is a copy of a famous statue by Lysippus (371-305 BC) of Alexander the Great. The statue is considered to depict a Hellenistic Prince, possibly an early portrait of Attalus II, King of Pergamon. More recent interpretations take into account the realistic facial features and consider the work to be a portrait of a Roman who had ties to the Greek world and wished to be represented as a Hellenistic Prince. This is a rare example of a 2nd cent BC Hellenistic bronze statue  The National Roman Museum, Rome, Italy
  • Rare Greek bronze statue known as the Hellenistic Prince, a 2nd cent BC Hellenistic bronze, one of the few in existence.  The figure is leaning with its left arm on a long shaft, a modern replica of the original bronze spear. The head clearly shows that the artist intended it as a portrait as it is proportionally smaller than the rest of the body. The letter L. VI.P.L.XXIIX, later incised on the abdomen are inventory numbers that included the statue in the catalogue of works of art present in Rome during the Republican period. Records of the catalogue (Tabulae) ere kept in the Tabulatium archives on the Capitoline Hill. The figure is represented in heroic nudity and is a copy of a famous statue by Lysippus (371-305 BC) of Alexander the Great. The statue is considered to depict a Hellenistic Prince, possibly an early portrait of Attalus II, King of Pergamon. More recent interpretations take into account the realistic facial features and consider the work to be a portrait of a Roman who had ties to the Greek world and wished to be represented as a Hellenistic Prince. This is a rare example of a 2nd cent BC Hellenistic bronze statue  The National Roman Museum, Rome, Italy
  • Rare Greek bronze statue known as the Hellenistic Prince, a 2nd cent BC Hellenistic bronze, one of the few in existence.  The figure is leaning with its left arm on a long shaft, a modern replica of the original bronze spear. The head clearly shows that the artist intended it as a portrait as it is proportionally smaller than the rest of the body. The letter L. VI.P.L.XXIIX, later incised on the abdomen are inventory numbers that included the statue in the catalogue of works of art present in Rome during the Republican period. Records of the catalogue (Tabulae) ere kept in the Tabulatium archives on the Capitoline Hill. The figure is represented in heroic nudity and is a copy of a famous statue by Lysippus (371-305 BC) of Alexander the Great. The statue is considered to depict a Hellenistic Prince, possibly an early portrait of Attalus II, King of Pergamon. More recent interpretations take into account the realistic facial features and consider the work to be a portrait of a Roman who had ties to the Greek world and wished to be represented as a Hellenistic Prince. This is a rare example of a 2nd cent BC Hellenistic bronze statue  The National Roman Museum, Rome, Italy
  • Rare Greek bronze statue known as the Hellenistic Prince, a 2nd cent BC Hellenistic bronze, one of the few in existence.  The figure is leaning with its left arm on a long shaft, a modern replica of the original bronze spear. The head clearly shows that the artist intended it as a portrait as it is proportionally smaller than the rest of the body. The letter L. VI.P.L.XXIIX, later incised on the abdomen are inventory numbers that included the statue in the catalogue of works of art present in Rome during the Republican period. Records of the catalogue (Tabulae) ere kept in the Tabulatium archives on the Capitoline Hill. The figure is represented in heroic nudity and is a copy of a famous statue by Lysippus (371-305 BC) of Alexander the Great. The statue is considered to depict a Hellenistic Prince, possibly an early portrait of Attalus II, King of Pergamon. More recent interpretations take into account the realistic facial features and consider the work to be a portrait of a Roman who had ties to the Greek world and wished to be represented as a Hellenistic Prince. This is a rare example of a 2nd cent BC Hellenistic bronze statue  The National Roman Museum, Rome, Italy
  • Roman statue of Silenus or Papposilenus from the mid 2nd cent. AD excavated from the Villa Spithoever, via Flavia, Rome, Italy. Papposilenus, the aged Silenus was tutor to Cionysus. In this statue he is portrayed with a hairy coat accentuating his wild nature. When the statue was complete it may have had its right arm held up grasping a bunch of grapes and a cup of wine in the left hand. The statue is copied from a late hellenistic original dating from 2nd cent. BC known as the satyr pouring wine by Greek sculptor Praxiteles circa 370-300 BC .  Inv  78294, The National Roman Museum, Rome, Italy
  • Roman statue of Silenus or Papposilenus from the mid 2nd cent. AD excavated from the Villa Spithoever, via Flavia, Rome, Italy. Papposilenus, the aged Silenus was tutor to Cionysus. In this statue he is portrayed with a hairy coat accentuating his wild nature. When the statue was complete it may have had its right arm held up grasping a bunch of grapes and a cup of wine in the left hand. The statue is copied from a late hellenistic original dating from 2nd cent. BC known as the satyr pouring wine by Greek sculptor Praxiteles circa 370-300 BC .  Inv  78294, The National Roman Museum, Rome, Italy
  • Roman statue of Silenus or Papposilenus from the mid 2nd cent. AD excavated from the Villa Spithoever, via Flavia, Rome, Italy. Papposilenus, the aged Silenus was tutor to Cionysus. In this statue he is portrayed with a hairy coat accentuating his wild nature. When the statue was complete it may have had its right arm held up grasping a bunch of grapes and a cup of wine in the left hand. The statue is copied from a late hellenistic original dating from 2nd cent. BC known as the satyr pouring wine by Greek sculptor Praxiteles circa 370-300 BC .  Inv  78294, The National Roman Museum, Rome, Italy
  • Roman statue of Silenus or Papposilenus from the mid 2nd cent. AD excavated from the Villa Spithoever, via Flavia, Rome, Italy. Papposilenus, the aged Silenus was tutor to Cionysus. In this statue he is portrayed with a hairy coat accentuating his wild nature. When the statue was complete it may have had its right arm held up grasping a bunch of grapes and a cup of wine in the left hand. The statue is copied from a late hellenistic original dating from 2nd cent. BC known as the satyr pouring wine by Greek sculptor Praxiteles circa 370-300 BC .  Inv  78294, The National Roman Museum, Rome, Italy
  • Roman statue of Silenus or Papposilenus from the mid 2nd cent. AD excavated from the Villa Spithoever, via Flavia, Rome, Italy. Papposilenus, the aged Silenus was tutor to Cionysus. In this statue he is portrayed with a hairy coat accentuating his wild nature. When the statue was complete it may have had its right arm held up grasping a bunch of grapes and a cup of wine in the left hand. The statue is copied from a late hellenistic original dating from 2nd cent. BC known as the satyr pouring wine by Greek sculptor Praxiteles circa 370-300 BC .  Inv  78294, The National Roman Museum, Rome, Italy
  • Roman statue of Silenus or Papposilenus from the mid 2nd cent. AD excavated from the Villa Spithoever, via Flavia, Rome, Italy. Papposilenus, the aged Silenus was tutor to Cionysus. In this statue he is portrayed with a hairy coat accentuating his wild nature. When the statue was complete it may have had its right arm held up grasping a bunch of grapes and a cup of wine in the left hand. The statue is copied from a late hellenistic original dating from 2nd cent. BC known as the satyr pouring wine by Greek sculptor Praxiteles circa 370-300 BC .  Inv  78294, The National Roman Museum, Rome, Italy
  • Roman statue of Silenus or Papposilenus from the mid 2nd cent. AD excavated from the Villa Spithoever, via Flavia, Rome, Italy. Papposilenus, the aged Silenus was tutor to Cionysus. In this statue he is portrayed with a hairy coat accentuating his wild nature. When the statue was complete it may have had its right arm held up grasping a bunch of grapes and a cup of wine in the left hand. The statue is copied from a late hellenistic original dating from 2nd cent. BC known as the satyr pouring wine by Greek sculptor Praxiteles circa 370-300 BC .  Inv  78294, The National Roman Museum, Rome, Italy
  • Roman statue of Silenus or Papposilenus from the mid 2nd cent. AD excavated from the Villa Spithoever, via Flavia, Rome, Italy. Papposilenus, the aged Silenus was tutor to Cionysus. In this statue he is portrayed with a hairy coat accentuating his wild nature. When the statue was complete it may have had its right arm held up grasping a bunch of grapes and a cup of wine in the left hand. The statue is copied from a late hellenistic original dating from 2nd cent. BC known as the satyr pouring wine by Greek sculptor Praxiteles circa 370-300 BC .  Inv  78294, The National Roman Museum, Rome, Italy
  • Roman statue of Silenus or Papposilenus from the mid 2nd cent. AD excavated from the Villa Spithoever, via Flavia, Rome, Italy. Papposilenus, the aged Silenus was tutor to Cionysus. In this statue he is portrayed with a hairy coat accentuating his wild nature. When the statue was complete it may have had its right arm held up grasping a bunch of grapes and a cup of wine in the left hand. The statue is copied from a late hellenistic original dating from 2nd cent. BC known as the satyr pouring wine by Greek sculptor Praxiteles circa 370-300 BC .  Inv  78294, The National Roman Museum, Rome, Italy
  • Roman statue of Silenus or Papposilenus from the mid 2nd cent. AD excavated from the Villa Spithoever, via Flavia, Rome, Italy. Papposilenus, the aged Silenus was tutor to Cionysus. In this statue he is portrayed with a hairy coat accentuating his wild nature. When the statue was complete it may have had its right arm held up grasping a bunch of grapes and a cup of wine in the left hand. The statue is copied from a late hellenistic original dating from 2nd cent. BC known as the satyr pouring wine by Greek sculptor Praxiteles circa 370-300 BC .  Inv  78294, The National Roman Museum, Rome, Italy
  • Roman statue of Silenus or Papposilenus from the mid 2nd cent. AD excavated from the Villa Spithoever, via Flavia, Rome, Italy. Papposilenus, the aged Silenus was tutor to Cionysus. In this statue he is portrayed with a hairy coat accentuating his wild nature. When the statue was complete it may have had its right arm held up grasping a bunch of grapes and a cup of wine in the left hand. The statue is copied from a late hellenistic original dating from 2nd cent. BC known as the satyr pouring wine by Greek sculptor Praxiteles circa 370-300 BC .  Inv  78294, The National Roman Museum, Rome, Italy
  • Roman statue of Silenus or Papposilenus from the mid 2nd cent. AD excavated from the Villa Spithoever, via Flavia, Rome, Italy. Papposilenus, the aged Silenus was tutor to Cionysus. In this statue he is portrayed with a hairy coat accentuating his wild nature. When the statue was complete it may have had its right arm held up grasping a bunch of grapes and a cup of wine in the left hand. The statue is copied from a late hellenistic original dating from 2nd cent. BC known as the satyr pouring wine by Greek sculptor Praxiteles circa 370-300 BC .  Inv  78294, The National Roman Museum, Rome, Italy
  • Roman statue of Silenus or Papposilenus from the mid 2nd cent. AD excavated from the Villa Spithoever, via Flavia, Rome, Italy. Papposilenus, the aged Silenus was tutor to Cionysus. In this statue he is portrayed with a hairy coat accentuating his wild nature. When the statue was complete it may have had its right arm held up grasping a bunch of grapes and a cup of wine in the left hand. The statue is copied from a late hellenistic original dating from 2nd cent. BC known as the satyr pouring wine by Greek sculptor Praxiteles circa 370-300 BC .  Inv  78294, The National Roman Museum, Rome, Italy
  • Roman statue of Silenus or Papposilenus from the mid 2nd cent. AD excavated from the Villa Spithoever, via Flavia, Rome, Italy. Papposilenus, the aged Silenus was tutor to Cionysus. In this statue he is portrayed with a hairy coat accentuating his wild nature. When the statue was complete it may have had its right arm held up grasping a bunch of grapes and a cup of wine in the left hand. The statue is copied from a late hellenistic original dating from 2nd cent. BC known as the satyr pouring wine by Greek sculptor Praxiteles circa 370-300 BC .  Inv  78294, The National Roman Museum, Rome, Italy
  • Roman statue of Silenus or Papposilenus from the mid 2nd cent. AD excavated from the Villa Spithoever, via Flavia, Rome, Italy. Papposilenus, the aged Silenus was tutor to Cionysus. In this statue he is portrayed with a hairy coat accentuating his wild nature. When the statue was complete it may have had its right arm held up grasping a bunch of grapes and a cup of wine in the left hand. The statue is copied from a late hellenistic original dating from 2nd cent. BC known as the satyr pouring wine by Greek sculptor Praxiteles circa 370-300 BC .  Inv  78294, The National Roman Museum, Rome, Italy
  • Roman statue of Silenus or Papposilenus from the mid 2nd cent. AD excavated from the Villa Spithoever, via Flavia, Rome, Italy. Papposilenus, the aged Silenus was tutor to Cionysus. In this statue he is portrayed with a hairy coat accentuating his wild nature. When the statue was complete it may have had its right arm held up grasping a bunch of grapes and a cup of wine in the left hand. The statue is copied from a late hellenistic original dating from 2nd cent. BC known as the satyr pouring wine by Greek sculptor Praxiteles circa 370-300 BC .  Inv  78294, The National Roman Museum, Rome, Italy
  • Roman statue of Silenus or Papposilenus from the mid 2nd cent. AD excavated from the Villa Spithoever, via Flavia, Rome, Italy. Papposilenus, the aged Silenus was tutor to Cionysus. In this statue he is portrayed with a hairy coat accentuating his wild nature. When the statue was complete it may have had its right arm held up grasping a bunch of grapes and a cup of wine in the left hand. The statue is copied from a late hellenistic original dating from 2nd cent. BC known as the satyr pouring wine by Greek sculptor Praxiteles circa 370-300 BC .  Inv  78294, The National Roman Museum, Rome, Italy
  • Roman statue of Silenus or Papposilenus from the mid 2nd cent. AD excavated from the Villa Spithoever, via Flavia, Rome, Italy. Papposilenus, the aged Silenus was tutor to Cionysus. In this statue he is portrayed with a hairy coat accentuating his wild nature. When the statue was complete it may have had its right arm held up grasping a bunch of grapes and a cup of wine in the left hand. The statue is copied from a late hellenistic original dating from 2nd cent. BC known as the satyr pouring wine by Greek sculptor Praxiteles circa 370-300 BC .  Inv  78294, The National Roman Museum, Rome, Italy
  • 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,  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
  • 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 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 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,  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,  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
  • 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
  • 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,  black 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,  grey  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
  • 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 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,  grey art 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,  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,  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,  white 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
  • Face on three quarter 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
  • Close up 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
  • Face on 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
  • 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 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 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 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 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 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 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 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 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
  • 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
  • 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,  grey 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,  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,  grey art background
  • Roman statue of Athena (Roman Minerva) Sitting - from the Augustan period circa 63-43 BC the statue is a copy of a  5th century BC Greek  original, found in a palace on the Via Marmorato off the piazza dell’Emporio, Rome. The statue represents the goddess Minerva, dressed in chiton and himation which covers her head. The face and neck, now lost, have been substituted by a plaster cast of the Athena Carpegna. The aegis with the gorge emblem on her breast have enabled the goddess to be identified as Athena, the Roman Minerva, genially depicted in the guise of a helmeted female warrior. Its remarkable size suggests that this was a cult image, although a hypothesis remains linking it to the temple of Minerva on the Aventine. The sculpture bears the hallmark of a second of the 5th century BC Hellenistic Greek statue  made by Phidias. but uses different materials from the original which would have been in gold and ivory .National Roman Museum, Rome, Italy
  • Roman statue of Athena (Roman Minerva) Sitting - from the Augustan period circa 63-43 BC the statue is a copy of a  5th century BC Greek  original, found in a palace on the Via Marmorato off the piazza dell’Emporio, Rome. The statue represents the goddess Minerva, dressed in chiton and himation which covers her head. The face and neck, now lost, have been substituted by a plaster cast of the Athena Carpegna. The aegis with the gorge emblem on her breast have enabled the goddess to be identified as Athena, the Roman Minerva, genially depicted in the guise of a helmeted female warrior. Its remarkable size suggests that this was a cult image, although a hypothesis remains linking it to the temple of Minerva on the Aventine. The sculpture bears the hallmark of a second of the 5th century BC Hellenistic Greek statue  made by Phidias. but uses different materials from the original which would have been in gold and ivory .National Roman Museum, Rome, Italy
  • Roman statue of Athena (Roman Minerva) Sitting - from the Augustan period circa 63-43 BC the statue is a copy of a  5th century BC Greek  original, found in a palace on the Via Marmorato off the piazza dell’Emporio, Rome. The statue represents the goddess Minerva, dressed in chiton and himation which covers her head. The face and neck, now lost, have been substituted by a plaster cast of the Athena Carpegna. The aegis with the gorge emblem on her breast have enabled the goddess to be identified as Athena, the Roman Minerva, genially depicted in the guise of a helmeted female warrior. Its remarkable size suggests that this was a cult image, although a hypothesis remains linking it to the temple of Minerva on the Aventine. The sculpture bears the hallmark of a second of the 5th century BC Hellenistic Greek statue  made by Phidias. but uses different materials from the original which would have been in gold and ivory .National Roman Museum, Rome, Italy
  • Roman statue of Athena (Roman Minerva) Sitting - from the Augustan period circa 63-43 BC the statue is a copy of a  5th century BC Greek  original, found in a palace on the Via Marmorato off the piazza dell’Emporio, Rome. The statue represents the goddess Minerva, dressed in chiton and himation which covers her head. The face and neck, now lost, have been substituted by a plaster cast of the Athena Carpegna. The aegis with the gorge emblem on her breast have enabled the goddess to be identified as Athena, the Roman Minerva, genially depicted in the guise of a helmeted female warrior. Its remarkable size suggests that this was a cult image, although a hypothesis remains linking it to the temple of Minerva on the Aventine. The sculpture bears the hallmark of a second of the 5th century BC Hellenistic Greek statue  made by Phidias. but uses different materials from the original which would have been in gold and ivory .National Roman Museum, Rome, Italy
  • Roman statue of Athena (Roman Minerva) Sitting - from the Augustan period circa 63-43 BC the statue is a copy of a  5th century BC Greek  original, found in a palace on the Via Marmorato off the piazza dell’Emporio, Rome. The statue represents the goddess Minerva, dressed in chiton and himation which covers her head. The face and neck, now lost, have been substituted by a plaster cast of the Athena Carpegna. The aegis with the gorge emblem on her breast have enabled the goddess to be identified as Athena, the Roman Minerva, genially depicted in the guise of a helmeted female warrior. Its remarkable size suggests that this was a cult image, although a hypothesis remains linking it to the temple of Minerva on the Aventine. The sculpture bears the hallmark of a second of the 5th century BC Hellenistic Greek statue  made by Phidias. but uses different materials from the original which would have been in gold and ivory .National Roman Museum, Rome, Italy
  • Roman statue of Athena (Roman Minerva) Sitting - from the Augustan period circa 63-43 BC the statue is a copy of a  5th century BC Greek  original, found in a palace on the Via Marmorato off the piazza dell’Emporio, Rome. The statue represents the goddess Minerva, dressed in chiton and himation which covers her head. The face and neck, now lost, have been substituted by a plaster cast of the Athena Carpegna. The aegis with the gorge emblem on her breast have enabled the goddess to be identified as Athena, the Roman Minerva, genially depicted in the guise of a helmeted female warrior. Its remarkable size suggests that this was a cult image, although a hypothesis remains linking it to the temple of Minerva on the Aventine. The sculpture bears the hallmark of a second of the 5th century BC Hellenistic Greek statue  made by Phidias. but uses different materials from the original which would have been in gold and ivory .National Roman Museum, Rome, Italy
  • Roman statue of Athena (Roman Minerva) Sitting - from the Augustan period circa 63-43 BC the statue is a copy of a  5th century BC Greek  original, found in a palace on the Via Marmorato off the piazza dell’Emporio, Rome. The statue represents the goddess Minerva, dressed in chiton and himation which covers her head. The face and neck, now lost, have been substituted by a plaster cast of the Athena Carpegna. The aegis with the gorge emblem on her breast have enabled the goddess to be identified as Athena, the Roman Minerva, genially depicted in the guise of a helmeted female warrior. Its remarkable size suggests that this was a cult image, although a hypothesis remains linking it to the temple of Minerva on the Aventine. The sculpture bears the hallmark of a second of the 5th century BC Hellenistic Greek statue  made by Phidias. but uses different materials from the original which would have been in gold and ivory .National Roman Museum, Rome, Italy
  • Roman statue of Athena (Roman Minerva) Sitting - from the Augustan period circa 63-43 BC the statue is a copy of a  5th century BC Greek  original, found in a palace on the Via Marmorato off the piazza dell’Emporio, Rome. The statue represents the goddess Minerva, dressed in chiton and himation which covers her head. The face and neck, now lost, have been substituted by a plaster cast of the Athena Carpegna. The aegis with the gorge emblem on her breast have enabled the goddess to be identified as Athena, the Roman Minerva, genially depicted in the guise of a helmeted female warrior. Its remarkable size suggests that this was a cult image, although a hypothesis remains linking it to the temple of Minerva on the Aventine. The sculpture bears the hallmark of a second of the 5th century BC Hellenistic Greek statue  made by Phidias. but uses different materials from the original which would have been in gold and ivory .National Roman Museum, Rome, Italy
  • Roman statue of Athena (Roman Minerva) Sitting - from the Augustan period circa 63-43 BC the statue is a copy of a  5th century BC Greek  original, found in a palace on the Via Marmorato off the piazza dell’Emporio, Rome. The statue represents the goddess Minerva, dressed in chiton and himation which covers her head. The face and neck, now lost, have been substituted by a plaster cast of the Athena Carpegna. The aegis with the gorge emblem on her breast have enabled the goddess to be identified as Athena, the Roman Minerva, genially depicted in the guise of a helmeted female warrior. Its remarkable size suggests that this was a cult image, although a hypothesis remains linking it to the temple of Minerva on the Aventine. The sculpture bears the hallmark of a second of the 5th century BC Hellenistic Greek statue  made by Phidias. but uses different materials from the original which would have been in gold and ivory .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
  • 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
  • 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
  • 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
  • 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
  • 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
  • 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
  • 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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