The Farnese Hercules is an ancient statue of Hercules, probably an enlarged copy made in the early third century AD and signed by Glykon, who is otherwise unknown; he was an Athenian but he may have worked in Rome. Like many other Ancient Roman sculptures it is a copy or version of a much older Greek original that was well known, in this case a bronze by Lysippos that would have been made in the fourth century BC. This original survived for over 1500 years until it was melted down by Crusaders in 1205 during the Sack of Constantinople. The enlarged copy was made for the Baths of Caracalla in Rome, where the statue was recovered in 1546, and is now in the Museo Archeologico Nazionale in Naples. The heroically-scaled Hercules is one of the most famous sculptures of antiquity, and has fixed the image of the mythic hero in the European imagination.
The Farnese Bull, formerly in the Farnese collection in Rome, is a massive Roman elaborated copy of a Hellenistic sculpture. It is the largest single sculpture yet recovered from antiquity. Along with the rest of the Farnese antiquities, it has been since 1826 in the collection of the Museo Archeologico Nazionale Napoli in Naples, inv. no. 6002, though in recent years sometimes displayed at the Museo di Capodimonte across the city. The sculpture in Naples is much restored, and includes around the base a child, a dog, and other animals not apparently in the original composition, which is known from versions in other media.
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.
The life-size ancient but much restored marble statue known as the Barberini Faun, Fauno Barberini or Drunken Satyr is now in the Glyptothek in Munich, Germany. A faun is the Roman equivalent of a Greek satyr. In Greek mythology, satyrs were human-like male woodland spirits with several animal features, often a goat-like tail, hooves, ears, or horns. Satyrs attended Dionysus.
The Loggia dei Lanzi, also called the Loggia della Signoria, is a building on a corner of the Piazza della Signoria in Florence, Italy, adjoining the Uffizi Gallery. It consists of wide arches open to the street. The arches rest on clustered pilasters with Corinthian capitals. The wide arches appealed so much to the Florentines that Michelangelo proposed that they should be continued all around the Piazza della Signoria.
The Aphrodite of Knidos was an Ancient Greek sculpture of the goddess Aphrodite created by Praxiteles of Athens around the 4th century BC. It was one of the first life-sized representations of the nude female form in Greek history, displaying an alternative idea to male heroic nudity. Praxiteles' Aphrodite was shown nude, reaching for a bath towel while covering her pubis, which, in turn leaves her breasts exposed. Up until this point, Greek sculpture had been dominated by male nude figures. The original Greek sculpture is no longer in existence; however, many Roman copies survive of this influential work of art. Variants of the Venus Pudica are the Venus de' Medici and the Capitoline Venus.
The Medici Vase is a monumental marble bell-shaped krater sculpted in Athens in the second half of the 1st century AD as a garden ornament for the Roman market. It is now in the Uffizi Gallery in Florence.
The Villa Medici is a Mannerist villa and an architectural complex with a garden contiguous with the larger Borghese gardens, on the Pincian Hill next to Trinità dei Monti in Rome, Italy. The Villa Medici, founded by Ferdinando I de' Medici, Grand Duke of Tuscany and now property of the French State, has housed the French Academy in Rome since 1803. A musical evocation of its garden fountains features in Ottorino Respighi's Fountains of Rome.
Boy with Thorn, also called Fedele (Fedelino) or Spinario, is a Greco-Roman Hellenistic bronze sculpture of a boy withdrawing a thorn from the sole of his foot, now in the Palazzo dei Conservatori, Rome. There is a Roman marble version of this subject from the Medici collections in a corridor of the Uffizi Gallery, Florence.
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.
The Venus de' Medici or Medici Venus is a 1.53 m tall Hellenistic marble sculpture depicting the Greek goddess of love Aphrodite. It is a 1st-century BC marble copy, perhaps made in Athens, of a bronze original Greek sculpture, following the type of the Aphrodite of Knidos, which would have been made by a sculptor in the immediate Praxitelean tradition, perhaps at the end of the century. It has become one of the navigation points by which the progress of the Western classical tradition is traced, the references to it outline the changes of taste and the process of classical scholarship. It is housed in the Uffizi Gallery, Florence, Italy.
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 Ludovisi Gaul is an ancient Roman statue depicting a Gallic man plunging a sword into his breast as he holds up the dying body of his wife. This sculpture is a marble copy of a now lost Greek bronze original. The Ludovisi Gaul can be found today in the Palazzo Altemps in Rome. This statue is unique for its time because it was common to depict the victor but instead, the Ludovisi Gaul depicts the defeated.
The Capitoline Venus is a type of statue of Venus, specifically one of several Venus Pudica types, of which several examples exist. The type ultimately derives from the Aphrodite of Cnidus. The Capitoline Venus and her variants are recognisable from the position of the arms—standing after a bath, Venus begins to cover her breasts with her right hand, and her groin with her left hand.
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 Apollino or Medici Apollo is a Roman copy of a Hellenistic sculpture of the adolescent god Apollo of the Apollo Lykeios type. It is now in the Uffizi, Florence.
The Pasquino Group is a group of marble sculptures that copy a Hellenistic bronze original, dating to ca. 200–150 BCE. At least fifteen Roman marble copies of this sculpture are known. Many of these marble copies have complex artistic and social histories that illustrate the degree to which improvisatory "restorations" were made to fragments of ancient Roman sculpture during the 16th and 17th centuries, in which contemporary Italian sculptors made original and often arbitrary and destructive additions in an effort to replace lost fragments of the ancient sculptures.
The marble Gaddi Torso displayed in the Classical Sculpture Room of the Uffizi, Florence, is a Hellenistic sculpture of the 2nd century BCE.
The marble Cupid and Psyche conserved in the Capitoline Museums, Rome, is a 1st or 2nd century Roman copy of a late Hellenistic period original. It was given to the nascent Capitoline Museums by Pope Benedict XIV in 1749, shortly after its discovery. Its graceful balance and sentimental appearance made it a favourite among the neoclassical generations of artists and visitors, and it was copied in many materials from bronze to biscuit porcelain. Antonio Canova consciously set out to outdo the Antique original with his own Cupid and Psyche of 1808
The Sleeping Ariadne, housed in the Vatican Museums in Vatican City, is a Roman Hadrianic copy of a Hellenistic sculpture of the Pergamene school of the 2nd century BC, and is one of the most renowned sculptures of Antiquity. The reclining figure in a chiton bound under her breasts half lies, half sits, her extended legs crossed at the calves, her head pillowed on her left arm, her right thrown over her head. Other Roman copies of this model exist: one, the "Wilton House Ariadne", is substantially unrestored, while another, the "Medici Ariadne" found in Rome, has been "seriously reworked in modern times", according to Brunilde Sismondo Ridgway. Two surviving statuettes attest to a Roman trade in reductions of this familiar figure. A variant Sleeping Ariadne is in the Prado Museum, Madrid. A later Roman variant found in the Villa Borghese gardens, Rome, is at the Louvre Museum.
