The itinerary <em>TITULORECORRIDO</em> has been successfully created. Now you can add in works from the Collection browser
<em>TITULOOBRA</em> added to <em>TITULORECORRIDO</em> itinerary

Search

Explore the collection

Refine results
14 results
The Empress Sabina
White marble. Ca. 130
Roman Sculptor
The Empress Sabina
White marble. Ca. 130
Roman Sculptor

This is the last portrait of Vibia Sabina (83-136 A. D.), wife of the emperor Hadrian. It does not represent her at her real age (some 48 years), but is a highly idealised and rejuvenated image. Her hairstyle is not a traditional roman one but is inspired by the imagery of the goddess of Diana. The portrait reflects the intention of making her appear ageless.

Deified Emperor
Marble. Ca. 50
Roman Sculptor
Deified Emperor
Marble. Ca. 50
Roman Sculptor

This sculpture consists of a seventeenth-century head of Augustus and a torso of Augustus or Tiberius dating from the beginning of the first century A.D. This type of iconography, with a body based on the art of Polycletus (fifth century B.C.) and clothed in the traditional Roman toga, was used to represent emperors deified after death. These statues were made for the temples of imperial worship.

Prince Gaius Caesar
White marble. Ca. 13 a.C.
Roman Sculptor
Prince Gaius Caesar
White marble. Ca. 13 a.C.
Roman Sculptor

Gaius Caesar (20 B. C.- 4 A. D.) was adopted, together with his brother Lucius Caesar, in the year 16 B.C. by his grandfather the emperor Augustus, with a view to possibly having him succeed him. This portrait, created when the boy was seven years old, was conceived to be like a young version of the portrait of Augustus with a hairstyle very similar to that of the emperor.

Roman Woman
White marble. 150 - 155
Roman Sculptor
Roman Woman
White marble. 150 - 155
Roman Sculptor

The portrait is of a mature, high-class lady with a serene and somewhat tired expression. Like many portraits of its era, it imitates the hairstyles adopted in the imperial household, in this case of Faustina the Elder (105-141 B. C.), wife of the emperor Antoninus Pius.

Hadrian as a hero
White marble. Ca. 136
Roman Sculptor
Hadrian as a hero
White marble. Ca. 136
Roman Sculptor

In 136 A.D., two years before his death, Emperor Hadrian had the previous realism of his portraits replaced with an idealized image of him as a young hero. Gold coins with this portrait, minted during his last years as emperor, indicate that he was probably represented as New Romulus. The bust was added in the sixteenth-century.

Drusus the Younger
Marble. I century
Roman Sculptor
Drusus the Younger
Marble. I century
Roman Sculptor

The son and heir of Tiberius, Drusus the Younger was portrayed from his father’s assumption of imperial power in 14 A. D., until his own violent death at the hands of his wife in 23 A. D. The realism of his facial features pays tribute to the Republican tradition of the gens Claudia, the patrician family to which he belonged.

Augustus wearing a toga
White marble. Late I a.C. century
Roman Sculptor
Augustus wearing a toga
White marble. Late I a.C. century
Roman Sculptor

Two ancient fragments with a different origin were skilfully joined in the seventeenth century to create the statue. Augustus, clad in the toga of a Roman citizen, offers a sacrifice with his head covered, thereby demonstrating veneration of the gods. The portrait, less common than the other type in the Prado (E00119), offers a more realistic representation and a more natural hairstyle. Both portr

Trajan (?) in military costume
White marble. Ca. 100
Roman Sculptor
Trajan (?) in military costume
White marble. Ca. 100
Roman Sculptor

Originally, the statue was probably the effigy of the emperor Trajan (98-117 A. D.) as a general. The only ancient part of the sculpture is the torso covered with anatomical armour (thorax in Latin), adorned with the head of the Medusa and a trophy with two victories. The head, which copies a portrait of the era of Trajan, and the bottom part with the footwear, date from the seventeenth century an

Bust of Emperor Augustus (''Prima Porta'' type)
White marble. 14 - 37
Roman Sculptor
Bust of Emperor Augustus (''Prima Porta'' type)
White marble. 14 - 37
Roman Sculptor

This type of portrait of the first Roman emperor , Augustus Caesar –born Gaius Octavius– (63 B.C.-14 A.D.), was the best and most widely known. It corresponds to the "Prima Porta" type, which was created as an expression of the virtues of humanity and responsibility characteristic of a good prince and first citizen, and was very often employed in effigies of the Emperor. It was created around 27 B

Emperor Clodius Albinus
Marble. 193 - 196
Roman Sculptor
Emperor Clodius Albinus
Marble. 193 - 196
Roman Sculptor

This work is particularly valuable as one of the very few surviving effigies of emperor Clodius Albinus (193-197 A.D.), who fought Septimus Severus with the support of the Senate in 196 A.D., and managed to continue as emperor of Gaul from 193 to 196 A.D. Albinus´ hair is inspired by portraits from the court of Marcus Aurelius.

Orestes and Pylades or The San Ildefonso Group
White carrara marble. Ca. 10 a.C.
Pupil Of Pasiteles
Orestes and Pylades or The San Ildefonso Group
White carrara marble. Ca. 10 a.C.
Pupil Of Pasiteles

The San Ildefonso Group was discovered in Rome in 1623 and arrived at the palace of La Granja de San Ildefonso one hundred years later. This work shows Orestes and Pylades, legendary models of friendship, offering a sacrifice after having returned to Tauris with the image of Artemis (the statuette on the right). This act purified Orestes, freeing him from his divine punishment. Other authors ident

The Emperor Antoninus Pius
White marble. Ca. 140
Roman Sculptor
The Emperor Antoninus Pius
White marble. Ca. 140
Roman Sculptor

Titus Aurelius Boionius Arrius Antoninus (86-161 A. D.) was adopted in 138 A. D. by the moribund emperor Hadrian to be his successor. His portrait, dating from shortly after, did not change during the whole of his reign. The effigy prolongs the style of Hadrian’s portraits, intending to emphasize the loyalty of Antoninus Pius to the pacifist policy of his predecessor.

The Emperor Marcus Aurelius
White marble. Ca. 161
Roman Sculptor
The Emperor Marcus Aurelius
White marble. Ca. 161
Roman Sculptor

In 161 A.D., when Marcus Aurelius (121-180) was named Emperor of Rome, this type of portrait was created. It was very wide-spread, and is well known through the equestrian statue at the Capitol in Rome. His curly hair is very well-kept and his short beard is that of Greek philosophers, models to be imitated by the “philosopher emperor,” who was himself author of Reflections, written in Greek.

Roman Woman
White marble. Ca. 40
Roman Sculptor
Roman Woman
White marble. Ca. 40
Roman Sculptor

This sculpture of a young Roman aristocrat was possibly made for her tomb. She wears the hairstyle of Agrippina the Elder, mother of the Emperor Caligula (37-41 A. D.), and a robe in the Greek style. The virtuoso execution of the carving suggests that it was made in one of the leading workshops of the day. Traces of the original polychromy have survived.

Up