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The Siesta, or Pompeian Scene
Oil on canvas. 1868
Alma-Tadema, Sir Lawrence
The Siesta, or Pompeian Scene
Oil on canvas. 1868
Alma-Tadema, Sir Lawrence

A domestic scene set in classical antiquity. An old man and a youth recline on divans while an attractive young woman plays music on a double flute. Both the clothing and the setting suggest the Greek world, and the motives and clothing are rigorously faithful to archeological discoveries made in the mid nineteenth century. Despite being Dutch by birth, Sir Lawrence Alma cultivated an eclectic per

Crouching Aphrodite
White marble. Mid-IIcentury
Roman Sculptor
Crouching Aphrodite
White marble. Mid-IIcentury
Roman Sculptor

Roman copy of a crouching Aphrodite who originally had both arms raised to shake her long hair with her hands. The copy is based on a late Hellenistic original created circa 100 B. C. in Rhodes which, in turn, combines the figure of the famous Crouching Aphrodite by the sculptor Doidalsas of Bithynia (c. 250 B. C.) with a standing Aphrodite Anadyomene (rising from the waters) from the same period.

Venus of Madrid
White marble. Ca. 150
Roman Sculptor
Venus of Madrid
White marble. Ca. 150
Roman Sculptor

This sculpture is a Roman copy of a Hellenistic original dating from the second-first century B.C. Stripped of the baroque additions that distorted it, it is part of a large cycle of Venuses linked by similar postures. The beginning of this type of sculpture would seem to lie in a work by Lysipus or his school known through a Roman copy: the Venus of Capua. In it, the goddess, with a nude torso, l

Aegis-Bearing Jupiter
White marble. Ca. 150
Roman Sculptor
Aegis-Bearing Jupiter
White marble. Ca. 150
Roman Sculptor

The Roman image of Jupiter, inspired by a statue of Zeus from the fifth century B. C., shows the god wearing the aegis (protective cloak) which, according to Homer, was used by Zeus as a weapon to create clouds and thunderstorms. Zeus later gave it to Athena as a magic shield. The sculpture was restored to include a lightning bolt in the right hand.

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

Torso of Aphrodite
Marble. 50 - 75
Roman Sculptor
Torso of Aphrodite
Marble. 50 - 75
Roman Sculptor

In order to emphasise Aphrodite’s nudity and arouse interest Hellenistic artists rarely depicted her entirely without clothes. Here the goddess’s mantle is held up between her legs. This sculpture follows a model of the second century BC in which Aphrodite looked into a mirror held in her left hand while covering her pubis with her right.

Small Kouros
Marble. Ca. 545 a.C.
Naxian Sculptor
Small Kouros
Marble. Ca. 545 a.C.
Naxian Sculptor

The kouroi (“young people”), statues of nude men with long hair and a somewhat stiff posture, based on Egyptian art, are the most representative sculptures in marble of the Greek Archaic Period. They were created from the seventh century B.C. onwards in the whole of Greece, frequently in monumental size. The statues may represent both humans and gods. On account of its small size, this statue prob

Apollo with Zither
White marble. 175 - 200
Roman Sculptor
Apollo with Zither
White marble. 175 - 200
Roman Sculptor

This statue is a Roman copy of a late Hellenistic statue (c. 100 B. C.) which, in turn, was inspired by the main statue of the temple of Apollo Sosianus in Rome, made by the Athenian sculptor Timarchides (c. 150 B. C.). The god is represented as the guide of the muses and the source of divine inspiration, playing his favourite instrument with his (now lost) right hand.

Isis
White marble. 170 - 190
Roman Sculptor
Isis
White marble. 170 - 190
Roman Sculptor

Roman copy of a late Hellenistic figure, created in Egypt circa 100 B. C. The cult of Isis was widely disseminated in the Roman world and was practised especially by women. She wears a typical Egyptian dress which ends on her breast in the so-called “knot of Isis”. The situla in the left hand contained water from the Nile or milk and the bowl in the right served to pour the offering into. The cloa

The Dance of the Maenads
White marble. 120 - 140
Roman Sculptor
The Dance of the Maenads
White marble. 120 - 140
Roman Sculptor

The four reliefs of Bacchantes (E00042, E00043, E00045 y E00046) are Roman copies of Greek originals made in Athens in the late fifth-century B.C. to adorn a monument to Dionysius, or related with theatrical activity under his patronage. The reliefs show Dionysus’s followers who, on account of their unrestrained dance, were called Maenads. Wearing almost transparent dresses and their jewels, they

Head of a Horse
Marble. Ca. 515 a.C.
Greek Sculptor From Attica
Head of a Horse
Marble. Ca. 515 a.C.
Greek Sculptor From Attica

The original context for this partially conserved life-size sculpture of a horse’s head is now unknown. Only a few clues remain to clarify it. García y Bellido determined that it was from late archaic times as its style closely resembles the horses on the Acropolis in Athens. While the neck appears wide and robust in profile, with a bulging jaw and muscles artistically emphasized and a slig

Sarcophagus with the story of Achilles and Polyxena (Fragment)
Afyon-docimium marble. Ca. 250
Taller Neoático
Sarcophagus with the story of Achilles and Polyxena (Fragment)
Afyon-docimium marble. Ca. 250
Taller Neoático

Fragment from an incomplete and fragmented Attic sarcophagus (E00118, E00120 and E00182) dating from around 250 A.D. with an especially interesting because it is the only example of its iconography. The story, which is highly appropriate because of its tragic character, is divided into various scenes. The front shows the armistice celebrated between Aqueans and Trojans to celebrate the marriage of

Sarcophagus with the story of Achilles and Polyxena (Fragment)
Afyon-docimium marble. Ca. 250
Taller Neoático
Sarcophagus with the story of Achilles and Polyxena (Fragment)
Afyon-docimium marble. Ca. 250
Taller Neoático

Fragment from an incomplete and fragmented Attic sarcophagus (E00118, E00120 and E00180) dating from around 250 A.D. with an especially interesting because it is the only example of its iconography. The story, which is highly appropriate because of its tragic character, is divided into various scenes. The front shows the armistice celebrated between Aqueans and Trojans to celebrate the marriage of

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

The Dance of the Maenads
White marble. 120 - 140
Roman Sculptor
The Dance of the Maenads
White marble. 120 - 140
Roman Sculptor

The four reliefs of Bacchantes (E00042, E00043, E00045 y E00046) are Roman copies of Greek originals made in Athens in the late fifth-century B.C. to adorn a monument to Dionysius, or related with theatrical activity under his patronage. The reliefs show Dionysus’s followers who, on account of their unrestrained dance, were called Maenads. Wearing almost transparent dresses and their jewels, they

Sarcophagus with the story of Achilles and Polyxena (Fragment)
Afyon-docimium marble. Ca. 250
Taller Neoático
Sarcophagus with the story of Achilles and Polyxena (Fragment)
Afyon-docimium marble. Ca. 250
Taller Neoático

Fragment from an incomplete and fragmented Attic sarcophagus (E00118, E00120, E00180, E00182) dating from around 250 A.D. with an especially interesting because it is the only example of its iconography. The story, which is highly appropriate because of its tragic character, is divided into various scenes. the front shows the armistice celebrated between Aqueans and Trojans to celebrate the marria

The Muse Polyhymnia
White marble. 150 - 175
Roman Sculptor
The Muse Polyhymnia
White marble. 150 - 175
Roman Sculptor

The upper part is a Roman copy of a late Hellenistic original (100-50 B. C.). It shows Polyhymnia, the muse of sacred poetry and dance, placing her cloak over her left shoulder. Another copy in the Vatican shows her wearing a crown of large flowers as her only attribute. The lower part (E00218) is an addition from the seventeenth century, perhaps made in Bernini’s workshop.

Dionysiac Party
Marble. 50 A.C. - 25 a.C.
Roman Sculptor
Dionysiac Party
Marble. 50 A.C. - 25 a.C.
Roman Sculptor

Queen Christina of Sweden’s famous puteal is not a parapet (puteal in Latin), but an altar from the garden of a Roman villa (the top is currently missing). The different scenes of the relief show several moments of a Dionysiac party in a sacred enclosure with its commemorative columns, altars, a Priapus herm and a sacred tree with a grapevine. The dance, music and drunkenness scenes interchange wi

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