The Athena of Velletri or Velletri Pallas is a type of classical marble statue of Athena, wearing a helmet.
The Athena of Velletri or Velletri Pallas is a type of classical marble statue of Athena, wearing a helmet.
All statues of this type are 1st century Roman copies of a lost Greek bronze, possibly a bronze of c. 430 BC by Kresilas. The oval face and the sharpness of the eyebrow ridge, nose and eyes mirror those of the bust of the helmeted Pericles at British Museum. [1] That bust is identified with the statue of Pericles that Pliny the Elder ( Natural History , XXXIV, 25) [2] attributes to Kresilas and that Pausanias (I, 28, 2) records as sited on the acropolis in the 2nd century. This parallel gives us a date and author for this bronze Athena.
This replaces an old identification of the type's original with the cult statue by Alcamenes in the Temple of Hephaestus on the Athenian agora.
Plaster casts of the sculpture (probably taken from the original) have been found in excavations of a Roman copyist's workshop at Baiae, and these casts show that Kresilas's bronze was of the same dimensions as the Louvre copy, which is 3.05 metres.
Many ancient copies of the bronze have been found (and the Baiae find suggests industrial-scale production of them), but the most famous is the 3.05 m (10 ft) high example found in the ruins of a Roman villa in a vineyard near Velletri in 1797. This example is now in the Louvre, with Accession number is Ma 464 (MR 281). It has traces of red colour in the hair and around the eyes and mouth, a preparatory layer for a full polychromatic scheme.
Upon rediscovery, it was purchased by Vincenzo Pacetti, who added the peak of the helmet, the straight forearm, the hands, the feet, the snakes, and a section of the cloak, and polished the overall surface. He then sold it to the French Directory, which transported it to Rome, where it was soon seized by Neapolitan armies when they briefly held the city from November to December 1798 during the opening stages of the War of the Second Coalition. France then regained it in the Treaty of Florence (28 March 1801), and it was displayed at the Louvre from December 1803 onwards.
Phidias or Pheidias was an Ancient Greek sculptor, painter, and architect, active in the 5th century BC. His Statue of Zeus at Olympia was one of the Seven Wonders of the Ancient World. Phidias also designed the statues of the goddess Athena on the Athenian Acropolis, namely the Athena Parthenos inside the Parthenon, and the Athena Promachos, a colossal bronze which stood between it and the Propylaea, a monumental gateway that served as the entrance to the Acropolis in Athens. Phidias was the son of Charmides of Athens. The ancients believed that his masters were Hegias and Ageladas.
The statue of Athena Parthenos was a monumental chryselephantine sculpture of the goddess Athena. Attributed to Phidias and dated to the mid-fifth century BCE, it was an offering from the city of Athens to Athena, its tutelary deity. The naos of the Parthenon on the acropolis of Athens was designed exclusively to accommodate it.
Lysippos was a Greek sculptor of the 4th century BC. Together with Scopas and Praxiteles, he is considered one of the three greatest sculptors of the Classical Greek era, bringing transition into the Hellenistic period. Problems confront the study of Lysippos because of the difficulty in identifying his style in the copies which survive. Not only did he have a large workshop and many disciples in his immediate circle, but there is understood to have been a market for replicas of his work, supplied from outside his circle, both in his lifetime and later in the Hellenistic and Roman periods. The Victorious Youth or Getty bronze, which resurfaced around 1972, has been associated with him.
A bust is a sculpted or cast representation of the upper part of the human body, depicting a person's head and neck, and a variable portion of the chest and shoulders. The piece is normally supported by a plinth. The bust is generally a portrait intended to record the appearance of an individual, but may sometimes represent a type. They may be of any medium used for sculpture, such as marble, bronze, terracotta, plaster, wax or wood.
Kresilas was a Greek sculptor in the Classical period, from Kydonia. He was trained in Argos and then worked in Athens at the time of the Peloponnesian War, as a follower of the idealistic portraiture of Myron. He is best known for his statue Pericles with the Corinthian helmet.
The Diadumenos ("diadem-bearer"), together with the Doryphoros, are two of the most famous figural types of the sculptor Polyclitus, forming a basic pattern of Ancient Greek sculpture that all present strictly idealized representations of young male athletes in a convincingly naturalistic manner.
Callimachus was an architect and sculptor working in the second half of the 5th century BC in the manner established by Polyclitus. He was credited with work in both Athens and Corinth and was probably from one of the two cities. According to Vitruvius (iv.1), for his great ingenuity and taste the Athenians dubbed Callimachus katatêxitechnos. His reputation in the 2nd century AD was reported in an aside by Pausanias as one "although not of the first rank of artists, was yet of unparalleled cleverness, so that he was the first to drill holes through stones"—that is, in order to enhance surface effects of light and shade in locks of hair, foliage and other details. Thus it is reported that Callimachus was known for his penchant for elaborately detailed sculptures or drapery, though few securely attributed works by him survive.
The Athena Promachos was a colossal bronze statue of Athena sculpted by Pheidias, which stood between the Propylaea and the Parthenon on the Acropolis of Athens. Athena was the tutelary deity of Athens and the goddess of wisdom and warriors. Pheidias also sculpted two other figures of Athena on the Acropolis, the huge gold and ivory ("chryselephantine") cult image of Athena Parthenos in the Parthenon and the Lemnian Athena.
Apoxyomenos is one of the conventional subjects of ancient Greek votive sculpture; it represents an athlete, caught in the familiar act of scraping sweat and dust from his body with the small curved instrument that the Greeks called a stlengis and the Romans a strigil.
Hellenistic art is the art of the Hellenistic period generally taken to begin with the death of Alexander the Great in 323 BC and end with the conquest of the Greek world by the Romans, a process well underway by 146 BC, when the Greek mainland was taken, and essentially ending in 30 BC with the conquest of Ptolemaic Egypt following the Battle of Actium. A number of the best-known works of Greek sculpture belong to this period, including Laocoön and His Sons, Venus de Milo, and the Winged Victory of Samothrace. It follows the period of Classical Greek art, while the succeeding Greco-Roman art was very largely a continuation of Hellenistic trends.
The Sleeping Hermaphrodite is an ancient marble sculpture depicting Hermaphroditus life size. In 1620, Italian artist Gian Lorenzo Bernini sculpted the mattress upon which the statue now lies. The form is partly derived from ancient portrayals of Venus and other female nudes, and partly from contemporaneous feminised Hellenistic portrayals of Dionysus/Bacchus. It represents a subject that was much repeated in Hellenistic times and in ancient Rome, to judge from the number of versions that have survived. Discovered at Santa Maria della Vittoria, Rome, the Sleeping Hermaphrodite was immediately claimed by Cardinal Scipione Borghese and became part of the Borghese Collection. The "Borghese Hermaphrodite" was later sold to the occupying French and was moved to The Louvre, where it is on display.
The Athena Giustiniani or Minerva Giustiniani is a Roman marble statue of Pallas Athena, based on a Greek bronze sculpture of the late 5th–early 4th century BCE. Formerly in the collection of Vincenzo Giustiniani, it is now in the Vatican Museums.
The Diana of Versailles or Artemis, Goddess of the Hunt is a slightly over-lifesize marble statue of the Roman goddess Diana with a deer. It is currently located in the Musée du Louvre, Paris. The statue is also known as Diana with a Doe, Diana Huntress, and Diana of Ephesus. It is a partially restored Roman copy of a lost Greek bronze original attributed to Leochares, c. 325 BC.
The Lemnian Athena, or Athena Lemnia, was a classical Greek statue of the goddess Athena. According to geographer Pausanias (1.28.2), the original bronze cast was created by the sculptor Phidias circa 450–440 BCE, for Athenians living on the island of Lemnos to dedicate on the Acropolis of Athens.
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. To judge by the number of copies that have been excavated on Roman sites in Italy and France, this variant on Venus seems to have been popular.
The Ares Borghese is a Roman marble statue of the imperial era. It is 2.11 metres high. It is identifiable as Ares by the helmet and by the ankle ring given to him by his lover Aphrodite. This statue possibly preserves some features of an original work in bronze, now lost, of the 5th century BC.
The Venus Genetrix is a sculptural type which shows the Roman goddess Venus in her aspect of Genetrix, as she was honoured by the Julio-Claudian dynasty of Rome, which claimed her as their ancestor. Contemporary references identify the sculptor as a Greek named Arcesilaus. The statue was set up in Julius Caesar's new forum, probably as the cult statue in the cella of his temple of Venus Genetrix. Through this historical chance, a Roman designation is applied to an iconological type of Aphrodite that originated among the Greeks.
Pliny the Elder records five bronze statues of Amazons in the Artemision of Ephesus. He explains the existence of such a quantity of sculptures on the same theme in the same place by describing a 5th-century BC competition between the artists Polyclitus, Phidias, Kresilas, "Kydon" and Phradmon; thus:
The most celebrated of these artists, though born at different epochs, have joined in a trial of skill in the Amazons which they have respectively made. When these statues were dedicated in the Temple of Diana at Ephesus, it was agreed, in order to ascertain which was the best, that it should be left to the judgment of the artists themselves who were then present: upon which, it was evident that that was the best, which all the artists agreed in considering as the next best to his own. Accordingly, the first rank was assigned to Polycletus, the second to Phidias, the third to Cresilas, the fourth to Cydon, and the fifth to Phradmon.
The Piraeus Athena is a bronze statue dated to the fourth century BCE. It currently resides in the Archaeological Museum of Piraeus.
The statue of Pericles with the Corinthian Helmet is a lost, life-sized statue of the Athenian statesman and general Pericles. Today, only some of the base survives. Four Roman Imperial-era marble busts modelled after the head of the statue are known.
