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Demetrius I Poliorcetes
Bronze. 307 A.C. - 300 a.C.
Hellenistic Workshop
Demetrius I Poliorcetes
Bronze. 307 A.C. - 300 a.C.
Hellenistic Workshop

The monumental dimensions of the bronze head, compatible with a statue approximately 3.5 m high, as well as its individualized features suggests a portrait rather than a mythological image. Schröder (1993) explained in detail that the bronze is an original Greek work datable between 310 and 290 BC. In stylistic terms it is notably similar to the marble head of Lysimachos (?) in Ephesos (Smith

Dionysus and his Entourage
White marble. Ca. 50 a.C.
Hellenistic Workshop
Dionysus and his Entourage
White marble. Ca. 50 a.C.
Hellenistic Workshop

The static figure of Dionysus appears in the midst of the uncontrolled dance of his entourage, leaning on a small satyr, his servant. The relief highlights the contrast between his thoughtful posture and the enthusiasm of the satyr-flautist, and also between the soft body of the god and the muscles of the satyr. The other Maenads and satyrs who complemented the frieze of this decorative krater are

Dionysian Dance
Marble. 50 A.C. - 40 a.C.
Hellenistic Workshop
Dionysian Dance
Marble. 50 A.C. - 40 a.C.
Hellenistic Workshop

On account of its ecstatic forms, the cult of Dionysus was considered dangerous but its value as a means of escaping for a few hours from the strict discipline of civic life was also appreciated. The maenad’s ecstatic dance and the leaping satyr playing with a glass of wine are impressively rendered.

Dance in honour of Dionysus
White marble. 50 A.C. - 30 a.C.
Hellenistic Workshop
Dance in honour of Dionysus
White marble. 50 A.C. - 30 a.C.
Hellenistic Workshop

Silenus, satyrs and Maenads accompanied Dionysus from his mythical childhood. Their dance was performed at all the satirical plays of Athens and repeated in the Dionysian cults. The drum and the double flute, tied onto the head of the satyr with the strings clearly visible, produced the exciting bacchic music. These reliefs were either embedded in the painted walls of Roman mansions or displayed o

Sardonyx ewer
Ágata sardónice. 323 A.C. - 321 a.C.
Hellenistic Workshop
Sardonyx ewer
Ágata sardónice. 323 A.C. - 321 a.C.
Hellenistic Workshop

This was the most valuable object in the whole of the Grand Dauphin’s collection. Its mounting is now lost. It is a monolithic piece in the form of a jug with a bell-shaped body and tall neck that opens out in three everted gadroons forming a trefoil mouth. The handle, carved in the same block, ascends straight from the shoulder of the body to the edge of the mouth, where it curves slightly. A ver

Sardonyx cup with eagle's head
Gold, Ruby, Diamond, Emerald, Ágata sardónice, Enamel. 323 A.C. - 321 a.C.
Belle, Josias (?); Hellenistic Workshop (?)
Sardonyx cup with eagle's head
Gold, Ruby, Diamond, Emerald, Ágata sardónice, Enamel. 323 A.C. - 321 a.C.
Belle, Josias (?); Hellenistic Workshop (?)

The vessel, similar to O44, is formed by three fragments of agate and five enamelled gold mounts. The body is an ancient piece of stone with a broad gold mount on the edge decorated with an enamelled pattern of white and black foliage linked by festoons of blue ribbons. Resting on this is an eagle’s head in black and white enamel, with a gold beak and two rubies for eyes. A thick knop supports the

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