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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.

Torso of a Youth
White marble. Ca. 150
Roman Sculptor
Torso of a Youth
White marble. Ca. 150
Roman Sculptor

This sculpture reproduces a Greek original of around 410 BC by a follower of Polyclitus. There are numerous copies of that work, known as the "Dresden Youth type" in reference to the best and most complete surviving example, now in the Albertinum in Dresden. From that work it is known that the young athlete was looking pensively at his left hand in which he held a now unknown object.

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.

Silenus
Marble. 170 - 190
Roman Sculptor
Silenus
Marble. 170 - 190
Roman Sculptor

This fragment of a Roman statue shows Silenus holding the infant Dionysus in his arms. It is a copy of a Greek original made between 290 and 280 B. C. by one of Lysippus´s pupils. The realistic features of Silenus, the young god’s master, pave the way for the naturalism of Hellenistic art. The herm was added in the seventeenth century.

Sophocles
White marble. Ca. 150
Roman Sculptor
Sophocles
White marble. Ca. 150
Roman Sculptor

Sophocles (497/6-406/5 b.c.e.) was already famous during his lifetime as his tragedies triumphed at the Dionysian Feasts in Athens more frequently than any others. He is represented with a thin cord around his head, which indicates that, as a priest of the local gods of health, Amynus and Halon, in the year 420/19, he took care of health god Asclepius of Epidaurus, probably at the sanctuary of Amy

Dionysus
White marble. Ca. 150
Roman Sculptor
Dionysus
White marble. Ca. 150
Roman Sculptor

The Roman copy of a late Hellenistic model (125-100 B. C.) which, on account of its relaxed posture, recalls Praxiteles’ art. The god, who is leaning on a herm, a distinctive feature of the late first century B. C., personifies the abundance of a good life through his soft, sensual body. He was also worshipped in Antiquity as the benefactor of humanity for his gift of wine.

Xenophon
White marble. Ca. 150
Roman Sculptor
Xenophon
White marble. Ca. 150
Roman Sculptor

The portrait of the writer Xenophon (430-354 b.c.e.), who was a disciple of Socrates in Athens and later commanded an army serving the Persians and Spartans, was identified in 1949, when a herm inscribed with his name was discovered in Alexandria (120 A.D., BA Antiquities Museum, inv. 25778).Six Roman copies of this portrait are now known: the Alexandria herm, an incomplete portrait from Pergamon,

Philosopher with the head of Pseudo-Seneca
White marble. Ca. 150
Anonymous; Roman Sculptor
Philosopher with the head of Pseudo-Seneca
White marble. Ca. 150
Anonymous; Roman Sculptor

The body is a Roman copy of a Hellenic original from around 270 B.C.E. which may represent a philosopher of the Epicurean school. The head is a Baroque copy of the type known as pseudo-Seneca. It is mentioned for the first time in the collection of Christine of Sweden, where it already appears as a restored effigy of Seneca, and it does not seem to have been altered in any noticeable manner since

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.

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.

Herm
White marble. Ca. 150 a.C.
Roman Sculptor
Herm
White marble. Ca. 150 a.C.
Roman Sculptor

This is a Roman copy of an Attic work of about 410-400 B. C. representing Hermes in the form of a pillar. In Athens, the different types of hermae included those donated by councillors so they could be situated in a place in front of the Stoa Basileios or the Stoa Poikile of the Agora called the “place of the hermae”. The official nature of these hermae, whose bases often bore honorary inscription

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