• 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.  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
  • 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 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
  • 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 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
  • 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. <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
  • 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 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. <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).
  • The Kaufmann Aphrodite head. 2nd century Roman marble copy modelled on the statue head 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. Borghese Collection, Louvre Museum, Paris. Inv no MR657 ( Usual No Ma 421)
  • The Kaufmann Aphrodite head. 2nd century Roman marble copy modelled on the statue head 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. Borghese Collection, Louvre Museum, Paris. Inv no MR657 ( Usual No Ma 421)
  • 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
  • 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
  • The Kaufmann Aphrodite head. 2nd century Roman marble copy modelled on the statue head 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. Borghese Collection, Louvre Museum, Paris. Inv no MR657 ( Usual No Ma 421)
  • The Kaufmann Aphrodite head. 2nd century Roman marble copy modelled on the statue head 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. Borghese Collection, Louvre Museum, Paris. Inv no MR657 ( Usual No Ma 421)
  • 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
  • 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
  • 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
  • 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
  • Roman sculpted head of Dionysus inspired by a Hellenistic original. Found in the Horti Lamiani near the Piazza Vittorio Emanuele, Rome. M.C. Inv 1129, The Capitoline Museums, Rome
  • 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.
  • 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
  • 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.
  • The Kaufmann Aphrodite head. 2nd century Roman marble copy modelled on the statue head 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. Borghese Collection, Louvre Museum, Paris. Inv no MR657 ( Usual No Ma 421)
  • 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
  • 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.
  • The Kaufmann Aphrodite head. 2nd century Roman marble copy modelled on the statue head 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. Borghese Collection, Louvre Museum, Paris. Inv no MR657 ( Usual No Ma 421)
  • The Kaufmann Aphrodite head. 2nd century Roman marble copy modelled on the statue head 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. Borghese Collection, Louvre Museum, Paris. Inv no MR657 ( Usual No Ma 421)
  • 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 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
  • 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.
  • Roman sculpted head of Dionysus inspired by a Hellenistic original. Found in the Horti Lamiani near the Piazza Vittorio Emanuele, Rome. M.C. Inv 1129, The Capitoline Museums, Rome
  • 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 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
  • 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.
  • 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.
  • The Kaufmann Aphrodite head. 2nd century Roman marble copy modelled on the statue head 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. Borghese Collection, Louvre Museum, Paris. Inv no MR657 ( Usual No Ma 421)
  • 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.
  • 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.
  • 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 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 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 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
  • 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.
  • 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
  • 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 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 sculpted head of Dionysus inspired by a Hellenistic original. Found in the Horti Lamiani near the Piazza Vittorio Emanuele, Rome. M.C. Inv 1129, The Capitoline Museums, Rome
  • 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 sculpted head of Dionysus inspired by a Hellenistic original. Found in the Horti Lamiani near the Piazza Vittorio Emanuele, Rome. M.C. Inv 1129, The Capitoline Museums, Rome
  • 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 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
  • 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.
  • Roman sculpted head of Dionysus inspired by a Hellenistic original. Found in the Horti Lamiani near the Piazza Vittorio Emanuele, Rome. M.C. Inv 1129, The Capitoline Museums, Rome
  • Roman sculpted head of Dionysus inspired by a Hellenistic original. Found in the Horti Lamiani near the Piazza Vittorio Emanuele, Rome. M.C. Inv 1129, The Capitoline Museums, Rome
  • Roman sculpted head of Dionysus inspired by a Hellenistic original. Found in the Horti Lamiani near the Piazza Vittorio Emanuele, Rome. M.C. Inv 1129, The Capitoline Museums, Rome
  • 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 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 sculpted head of Dionysus inspired by a Hellenistic original. Found in the Horti Lamiani near the Piazza Vittorio Emanuele, Rome. M.C. Inv 1129, The Capitoline Museums, Rome
  • 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 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 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 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 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 sculpted head of Dionysus inspired by a Hellenistic original. Found in the Horti Lamiani near the Piazza Vittorio Emanuele, Rome. M.C. Inv 1129, The Capitoline Museums, Rome
  • 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 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 sculpture head of Hercules, mid 2nd cent AD excavated from the Vale Giardino, Nemi. The head was probably made separately for the insertion onto a statue, probably depicting the gold seated. The work is a copy of a Greek original of the late Hellenistic period, inspired by a statue by the Greek sculptor Lysippos of Sicyon known as the ‘Herakles Epitapezios’ sculpted around 300 BC. The National Roman Museum, Rome, Italy
  • Roman sculpture head of Hercules, mid 2nd cent AD excavated from the Vale Giardino, Nemi. The head was probably made separately for the insertion onto a statue, probably depicting the gold seated. The work is a copy of a Greek original of the late Hellenistic period, inspired by a statue by the Greek sculptor Lysippos of Sicyon known as the ‘Herakles Epitapezios’ sculpted around 300 BC. The National Roman Museum, Rome, Italy
  • Roman sculpture head of Hercules, mid 2nd cent AD excavated from the Vale Giardino, Nemi. The head was probably made separately for the insertion onto a statue, probably depicting the gold seated. The work is a copy of a Greek original of the late Hellenistic period, inspired by a statue by the Greek sculptor Lysippos of Sicyon known as the ‘Herakles Epitapezios’ sculpted around 300 BC. 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
  • Roman sculpture head of Hercules, mid 2nd cent AD excavated from the Vale Giardino, Nemi. The head was probably made separately for the insertion onto a statue, probably depicting the gold seated. The work is a copy of a Greek original of the late Hellenistic period, inspired by a statue by the Greek sculptor Lysippos of Sicyon known as the ‘Herakles Epitapezios’ sculpted around 300 BC. 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 head of Hercules, mid 2nd cent AD excavated from the Vale Giardino, Nemi. The head was probably made separately for the insertion onto a statue, probably depicting the gold seated. The work is a copy of a Greek original of the late Hellenistic period, inspired by a statue by the Greek sculptor Lysippos of Sicyon known as the ‘Herakles Epitapezios’ sculpted around 300 BC. The National Roman Museum, Rome, Italy
  • Roman sculpture head of Hercules, mid 2nd cent AD excavated from the Vale Giardino, Nemi. The head was probably made separately for the insertion onto a statue, probably depicting the gold seated. The work is a copy of a Greek original of the late Hellenistic period, inspired by a statue by the Greek sculptor Lysippos of Sicyon known as the ‘Herakles Epitapezios’ sculpted around 300 BC. 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 head of Hercules, mid 2nd cent AD excavated from the Vale Giardino, Nemi. The head was probably made separately for the insertion onto a statue, probably depicting the gold seated. The work is a copy of a Greek original of the late Hellenistic period, inspired by a statue by the Greek sculptor Lysippos of Sicyon known as the ‘Herakles Epitapezios’ sculpted around 300 BC. 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 head of Hercules, mid 2nd cent AD excavated from the Vale Giardino, Nemi. The head was probably made separately for the insertion onto a statue, probably depicting the gold seated. The work is a copy of a Greek original of the late Hellenistic period, inspired by a statue by the Greek sculptor Lysippos of Sicyon known as the ‘Herakles Epitapezios’ sculpted around 300 BC. 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 Discus 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 head of Hercules, mid 2nd cent AD excavated from the Vale Giardino, Nemi. The head was probably made separately for the insertion onto a statue, probably depicting the gold seated. The work is a copy of a Greek original of the late Hellenistic period, inspired by a statue by the Greek sculptor Lysippos of Sicyon known as the ‘Herakles Epitapezios’ sculpted around 300 BC. 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 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
  • 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,  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 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,  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
  • 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 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
  • 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
  • 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
  • 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  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
  • 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
  • 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,  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
  • 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 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 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
  • 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,  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 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 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  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 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
  • 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
  • Gilded bronze 1st century AD Roman statue of Hercules found buried near Pompey's Theatre having possibly been struck by lightening and given a customary Roman burial. A Roman copy of a Hellenistic Athenian staue from around 390-370 BC, Vatican Museum Rome, Italy,  black background
  • 2nd century Roman statue of Venus known as the Venere Felice, inspired by the Hellenistic stsue of Aphrodite of Cnidus made by Greek sculptor Praixiteles in the 4th century BC. Possibly a Venus's face is a portrait of Sallustia who dedicated the statue with Helpidus, and the Eros may be a portrait of her young son. inv 129, Vatican Museum Rome, Italy,  white background
  • 2nd century Roman statue of Venus known as the Venere Felice, inspired by the Hellenistic stsue of Aphrodite of Cnidus made by Greek sculptor Praixiteles in the 4th century BC. Possibly a Venus's face is a portrait of Sallustia who dedicated the statue with Helpidus, and the Eros may be a portrait of her young son. inv 129, Vatican Museum Rome, Italy,  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
  • 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 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,  grey  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
  • 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 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
  • Roman sculpture of a Discus Thrower, Paros marble made in the mid 2nd cent AD excavated from the Villa Palombara, Esquilino, Rome. The Discus 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
  • 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
  • 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
  • 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
  • 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
  • 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
  • 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,  white 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 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
  • 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
  • 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
  • The Roman Venus Statue, the Goddess of Love, follows the style of a modest Aphrodite, known by other Roman replicas are copies of Ttththird century BC Hellenistic Greek statues now lost. Dated circa 1st quarter of second century AD, the Venus statue was excavated from the Odeon of Carthage. The National Bardo Museum, Tunis.  Against a black background.
  • The Roman Venus Statue, the Goddess of Love, follows the style of a modest Aphrodite, known by other Roman replicas are copies of Ttththird century BC Hellenistic Greek statues now lost. Dated circa 1st quarter of second century AD, the Venus statue was excavated from the Odeon of Carthage. The National Bardo Museum, Tunis.   Against a grey background.
  • 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
  • The Roman Venus Statue, the Goddess of Love, follows the style of a modest Aphrodite, known by other Roman replicas are copies of the third century BC Hellenistic Greek statues now lost. Dated circa 1st quarter of second century AD, the Venus statue was excavated from the Odeon of Carthage. The National Bardo Museum, Tunis.
  • The Roman Venus Statue, the Goddess of Love, follows the style of a modest Aphrodite, known by other Roman replicas are copies of the third century BC Hellenistic Greek statues now lost. Dated circa 1st quarter of second century AD, the Venus statue was excavated from the Odeon of Carthage. The National Bardo Museum, Tunis.  Against a white background.
  • The Roman Venus Statue, the Goddess of Love, follows the style of a modest Aphrodite, known by other Roman replicas are copies of the third century BC Hellenistic Greek statues now lost. Dated circa 1st quarter of second century AD, the Venus statue was excavated from the Odeon of Carthage. The National Bardo Museum, Tunis.
  • The Roman Venus Statue, the Goddess of Love, follows the style of a modest Aphrodite, known by other Roman replicas are copies of Ttththird century BC Hellenistic Greek statues now lost. Dated circa 1st quarter of second century AD, the Venus statue was excavated from the Odeon of Carthage. The National Bardo Museum, Tunis. Against a grey art background.
  • The Roman Venus Statue, the Goddess of Love, follows the style of a modest Aphrodite, known by other Roman replicas are copies of Ttththird century BC Hellenistic Greek statues now lost. Dated circa 1st quarter of second century AD, the Venus statue was excavated from the Odeon of Carthage. The National Bardo Museum, Tunis.   Against a grey background.
  • The Roman Venus Statue, the Goddess of Love, follows the style of a modest Aphrodite, known by other Roman replicas are copies of Ttththird century BC Hellenistic Greek statues now lost. Dated circa 1st quarter of second century AD, the Venus statue was excavated from the Odeon of Carthage. The National Bardo Museum, Tunis.  Against a black background.
  • The Roman Venus Statue, the Goddess of Love, follows the style of a modest Aphrodite, known by other Roman replicas are copies of Ttththird century BC Hellenistic Greek statues now lost. Dated circa 1st quarter of second century AD, the Venus statue was excavated from the Odeon of Carthage. The National Bardo Museum, Tunis. Against a grey art background.
  • The Roman Venus Statue, the Goddess of Love, follows the style of a modest Aphrodite, known by other Roman replicas are copies of The third century BC Hellenistic Greek statues now lost. Dated circa 1st quarter of second century AD, the Venus statue was excavated from the Odeon of Carthage. The National Bardo Museum, Tunis.  Against a white background.
  • 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
  • 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
  • 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
  • Roman Statue of an Amazon on horseback and a Barbarian, Circa mid 2nd cent AD excavated from the  Imperial villa near Faro, Italy. An Amazon perched on a rearing horse clashes with a barbarian who attempts to deal a final blow before dying. The work is based on a Hellenistic original from the Pergamon school from the second half of the 2nd cent. B.C, The group was displayed in the Imperial villa  with another of the same theme now in the Borghese collection. The National Roman Museum, Rome, Italy
  • 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
  • Roman Statue of an Amazon on horseback and a Barbarian, Circa mid 2nd cent AD excavated from the  Imperial villa near Faro, Italy. An Amazon perched on a rearing horse clashes with a barbarian who attempts to deal a final blow before dying. The work is based on a Hellenistic original from the Pergamon school from the second half of the 2nd cent. B.C, The group was displayed in the Imperial villa  with another of the same theme now in the Borghese collection. The National Roman Museum, Rome, Italy
  • Roman Statue of an Amazon on horseback and a Barbarian, Circa mid 2nd cent AD excavated from the  Imperial villa near Faro, Italy. An Amazon perched on a rearing horse clashes with a barbarian who attempts to deal a final blow before dying. The work is based on a Hellenistic original from the Pergamon school from the second half of the 2nd cent. B.C, The group was displayed in the Imperial villa  with another of the same theme now in the Borghese collection. The National Roman Museum, Rome, Italy
  • 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
  • Roman Statue of an Amazon on horseback and a Barbarian, Circa mid 2nd cent AD excavated from the  Imperial villa near Faro, Italy. An Amazon perched on a rearing horse clashes with a barbarian who attempts to deal a final blow before dying. The work is based on a Hellenistic original from the Pergamon school from the second half of the 2nd cent. B.C, The group was displayed in the Imperial villa  with another of the same theme now in the Borghese collection. The National Roman Museum, Rome, Italy
  • 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
  • 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
  • Roman Statue of an Amazon on horseback and a Barbarian, Circa mid 2nd cent AD excavated from the  Imperial villa near Faro, Italy. An Amazon perched on a rearing horse clashes with a barbarian who attempts to deal a final blow before dying. The work is based on a Hellenistic original from the Pergamon school from the second half of the 2nd cent. B.C, The group was displayed in the Imperial villa  with another of the same theme now in the Borghese collection. The National Roman Museum, Rome, Italy
  • Roman Statue of an Amazon on horseback and a Barbarian, Circa mid 2nd cent AD excavated from the  Imperial villa near Faro, Italy. An Amazon perched on a rearing horse clashes with a barbarian who attempts to deal a final blow before dying. The work is based on a Hellenistic original from the Pergamon school from the second half of the 2nd cent. B.C, The group was displayed in the Imperial villa  with another of the same theme now in the Borghese collection. The National Roman Museum, Rome, Italy
  • 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
  • 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
  • Roman Statue of an Amazon on horseback and a Barbarian, Circa mid 2nd cent AD excavated from the  Imperial villa near Faro, Italy. An Amazon perched on a rearing horse clashes with a barbarian who attempts to deal a final blow before dying. The work is based on a Hellenistic original from the Pergamon school from the second half of the 2nd cent. B.C, The group was displayed in the Imperial villa  with another of the same theme now in the Borghese collection. The National Roman Museum, Rome, Italy
  • 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
  • Roman Statue of an Amazon on horseback and a Barbarian, Circa mid 2nd cent AD excavated from the  Imperial villa near Faro, Italy. An Amazon perched on a rearing horse clashes with a barbarian who attempts to deal a final blow before dying. The work is based on a Hellenistic original from the Pergamon school from the second half of the 2nd cent. B.C, The group was displayed in the Imperial villa  with another of the same theme now in the Borghese collection. The National Roman Museum, Rome, Italy
  • 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
  • Roman Statue of an Amazon on horseback and a Barbarian, Circa mid 2nd cent AD excavated from the  Imperial villa near Faro, Italy. An Amazon perched on a rearing horse clashes with a barbarian who attempts to deal a final blow before dying. The work is based on a Hellenistic original from the Pergamon school from the second half of the 2nd cent. B.C, The group was displayed in the Imperial villa  with another of the same theme now in the Borghese collection. The National Roman Museum, Rome, Italy
  • 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.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus.  A Life size  2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • 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)
  • 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)
  • 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)
  • 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)
  • 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)
  • 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)
  • 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)
  • 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)
  • 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
  • The Riace bronze Greek statues cast about 460 BC. 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.
  • The Riace bronze Greek statue A cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • Torso face on view of the Riace bronze Greek statue A cast about 460 BC. statue A was probably sculpted by Myron. The style of the Riace statues straddles the archaic period and heralds the start of the classical period. Both statues depict strong young naked warriors who stand calmly but exuding great power. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • Full length tree quarter view of the Riace bronze Greek statue B cast about 460 - 450 BC. statue B was probably sculpted by Phidias. There is a sense of movement in the statues their legs being bent as if they are about to take a step. Their heads are turned which accentuates a sense of anticipation as if they are looking for something. The anatomical detail is extraordinary which gives a startling realism to the statue and demonstarte the high level of skill of the Greek sculptors of this peiod. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statues cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue A cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue head cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue head cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue A cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue A cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue A cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statues cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue A cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue A cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statues cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statues cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statues cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statue A cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • The Riace bronze Greek statues cast about 460 BC. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.

Paul Williams Photo Archive

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