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Young warrior sitting on the ground, pendant of the Ares Ludovisi. Pentelic marble (body) and Parian marble (head), Roman copy from a Hellenistic original. Some restorations; the head (of the type of Meleager of Skopas) is ancient, but does not belong to the body. Ares Ludovisi Realization: 200 BC "It is a Roman copy of a Greek original attributed to Scopas or Lysippus dating back to around 320 BC. The identification of the figure, traditionally considered the god of war, remains doubtful. Recently the hypothesis has been put forward that it is Achilles. The man is seated with his weapons laid down: he rests his left foot on his helmet, while his shield rests on his right leg. Found in 1622, it owes part of its fame to the restoration by Gian Lorenzo Bernini who, among other interventions, added the little cupid at the bottom. The famous archaeologist Winckelmann defined the statue as "the most beautiful Mars of antiquity"." Filmed at Palazzo Altemps and at the Galleria Borghese in Rome. Giovane guerriero seduto a terra, pendant dell'Ares Ludovisi. Marmo pentelico (corpo) e marmo pario (capo), copia romana da un originale ellenistico. Alcuni restauri; la testa (del tipo del Meleagro di Skopas) è antica, ma non appartiene al corpo. Ares Ludovisi Realizzazione: 200 a.C. È una copia romana di un originale greco attribuito a Scopa o a Lisippo databile intorno al 320 a.C. Resta dubbia l’identificazione della figura, tradizionalmente considerata il dio della guerra. Recentemente è stata avanzata l’ipotesi si tratti di Achille. L’uomo è seduto e con le armi deposte: poggia il piede sinistro sul suo elmo, mentre sulla gamba destra è poggiato il suo scudo. Rinvenuto nel 1622, deve parte della sua fama al restauro di Gian Lorenzo Bernini che, tra gli altri interventi, aggiunse il piccolo amorino in basso. Il celebre archeologo WInckelmann defini la statua «il più bel Marte dell’antichità».

Germain Pilon (c. 1525 – 3 February 1590) was a French Renaissance sculptor. His works - with their realism and theatrical emotion - show the influence of the School of Fontainebleau, Michelangelo and Italian Mannerism. Much of Pilon's work was on funerary monuments, especially the Valois Chapel at the Saint Denis Basilica designed by Francesco Primaticcio (never completed). He was the favorite sculptor of queen Catherine de' Medici. (wikipedia)

The Entombment of Christ a sculpted terracotta group composed of eight figures which dates from the end of the 16th century. SAINT-ÉTIENNE-DU-MONT Church in Paris

"The relief is probably one of the sculptures purchased by Guglielmo Gonzaga in the 1570s. The work depicts the dramatic death of Creusa, who was Jason's young wife and Medea's rival. Wrought with passion following Jason's rebuttal, Medea gives Creusa a diadem and a dress which, when worn, burn the flesh. The episode is preceded, on the left; by the scene of Creusa and Jason in their nuptial chamber and followed, to the right, by Medea plotting to kill her own children, and her escape with their corpses on a cart pulled by snakes."

Sacco di Troia, 170-180 d.C. Cavallo di Troia - dipinto murale, 1538 “The destruction of Troy can be seen on the front and sides of the sarcophagus. Such an subject is extremely rare on Roman sarcophagi and can probably be pinned down to the Middle Antonine age. In contrast to the frenetic movement of the battle scenes, the right side is filled with a static scene of funeral mourning.” "The Iliupersis (Greek: Ἰλίου πέρσις, Iliou persis, "Sack of Ilium"), also known as The Sack of Troy, is a lost epic of ancient Greek literature. It was one of the Epic Cycle, that is, the Trojan cycle, which told the entire history of the Trojan War in epic verse. The story of the Iliou persis comes chronologically after that of the Little Iliad, and is followed by the Nostoi ("Returns"). The Iliou persis was sometimes attributed by ancient writers to Arctinus of Miletus (8th century BCE). The poem comprised two books of verse in dactylic hexameter."

"The Prey", executed in marble in 1944/47, is "an act of the eternal drama [...] the cry of the innocent that finds no echo on this earth... " Carlo Fait Carlo Fait (1877 - 1968) was an Italian sculptor. "La Preda", eseguita in marmo nel 1944/47, è "un atto dell'eterno dramma [...] il grido dell'innocente che non trova eco su questa terra... " Carlo Fait

Flemish sculptor Gil de Ronza at Museo Nacional de Escultura, Valladolid "He worked in Spain around 1498 in the city of Toledo. Between 1503 and 1506, his collaboration is known in the choir stalls of the Zamora cathedral, work that he carried out in the workshop of Juan de Bruxelles. Later he was required in Salamanca but finally settled in Zamora where he recorded his activity in the sculptural groups for the funerary chapel of Dean Diego Velázquez de Cepeda, in the convent of San Francisco. Of these groups, the Ecce Homo, a Recumbent and an original sculpture called Death, preserved in the National Museum of Sculpture (Valladolid), are currently known." La Muerte : "This sculpture belongs to the ambitious sculptural group commissioned to the Flemish artist Gil de Ronza for a funeral chapel in the monastery of San Francisco in Zamora. It depicts the existence, in the late 16th century, of a vision of death marked by fear, a sense of the macabre and the awareness of human misery, and is represented by a decomposing human body. Covered with a shroud and holding aloft the trumpet of Judgement Day, it illustrates the moment of the Resurrection of the dead." https://www.cultura.gob.es/mnescultura/en/colecciones/escultura-espanola/la-muerte.html

1. CHINESE SCREEN dating from the 18th century, illustrating 8 luohan meditating and chatting in a mountain landscape, dotted with pines and waterfalls. Above the scene is a poem written by the emperor Qianlong in which he pays homage to the ancients. 2. Statuette in gilded bronze, from Mongolia, Zanabazar School, 18th century. It represents Amitabha Buddha, seated in padmasana, on a double lotus-shaped base with inverted, hemmed and chiselled rows, his hands in dhyana mudra. 3.CHINA - KANGXI period (1662 - 1722) A green, yellow and manganese enamelled porcelain table screen with openwork decoration of the three friends of winter: cherry trees, pine trees and bamboos. The support is decorated with a frieze of Grecians, the sides decorated with barrels. 4. A gold-lacquered bronze statue of Guanyin, late Qing period (1644-1911) 5. Stele illustrating Shakyamuni Buddha seated in the Badrasana posture. On either side, four Boddhisattvas. - Northern Qi "BeiQi" dynasty (550-577). 6. South China - Ming period, XVII-XVIII c. A gold and red lacquered bronze subject, representing the thousand-armed Avalokiteshvara, seated in padmasana on a lotus, crowned with a large five-flowered tiara, his two main hands joined in Anjali, the others radiating around the deity, holding various attributes, the upper ones carrying a figure of Amida Buddha on a cloud.

"Florence - An imposing life-size human torso, with a muscular, powerful anatomy, emerges from its fragile material in all its divine beauty illuminated by a renewed whiteness. After three years of restoration carried out with the sole objective of "restoring the conservative stability of the work that, fragile in itself, had undergone numerous interventions since the 16th century", the statue of the river god created by Michelangelo between 1526 and 1527, was returned in all its original splendour. Owned by the Accademia delle Arti e del Disegno - to which it had been donated in 1583 by the sculptor and architect Bartolomeo Ammannati - the work is unique in Michelangelo's corpus." "River God", sculpture exhibited at Palazzo Strozzi for the exhibition : Il Cinquecento a Firenze "The River God is a sculptural model (length 180 cm) by Michelangelo Buonarroti, datable to around 1526-1527 and kept at Casa Buonarroti in Florence. It is the only known life-size model by Michelangelo and was to represent one of the untamed river deities that had to decorate the space at the feet of the Medici sarcophagi in the San Lorenzo New Sacristy."

"The origins of Bes remain obscure. Perhaps he is a composite of up to 10 separate deities. From an art historical point of view, he is certainly a curiosity: unlike most Egyptian gods, who usually appear in profile, Bes is brazen and frontal, as well as comical. Some scholars suggest that he emerged in sub-Saharan Africa. It is possible that he began life as a lion or cat rearing on its hind paws. Ultimately Bes was celebrated because he was never official or exclusive. Mischievous and irreverent (it was said that he could make babies laugh by pulling funny faces), he was resolutely down-to-earth – a god for commoners rather than royalty. Performers tattooed their bodies with images of Bes because of his associations with music and dancing, while prostitutes may have placed tattoos of Bes near their genitalia, in order to stave off sexually transmitted diseases. By the end of the second millennium BC, Bes had proliferated across the Mediterranean world. Even local, non-Egyptian craftsmen produced objects decorated with his image. Early in the first millennium, the Phoenicians became big fans of Bes, as the Romans would too. Bes occasionally appears dressed as a Roman legionnaire. His rampant popularity even survived the advent of Christianity." https://www.bbc.com/culture/article/20130619-how-the-devil-got-his-looks "Bes, a minor god of ancient Egypt, represented as a dwarf with large head, goggle eyes, protruding tongue, bowlegs, bushy tail, and usually a crown of feathers. The name Bes is now used to designate a group of deities of similar appearance with a wide variety of ancient names. The god’s figure was that of a grotesque mountebank and was intended to inspire joy or drive away pain and sorrow, his hideousness being perhaps supposed to scare away evil spirits. He was portrayed on mirrors, ointment vases, and other personal articles. He was associated with music and with childbirth and was represented in the “birth houses” devoted to the cult of the child god. Contrary to the usual rule of representation, Bes was commonly shown full-faced rather than in profile, since full-faced figures were marginal to the normal, ordered world." (https://www.britannica.com/topic/Bes )

"Adam Kraft was a leading sculptor of the final phase of the Late Gothic period in Germany. His many works in stone, which range from monumental sculptures for public places to decorative ornaments for private residences, were commissioned primarily by Nuremberg patrons, between 1490 and 1509. When in 1490 Kraft was first mentioned in a Nuremberg document, he was already established as a master with his own workshop. In this year he was commissioned to make an elaborate stone relief to replace a weathered mural on the east choir of St. Sebaldus. This epitaph for the Schreyer and Landauer families, showing extended narrative scenes from the Passion and Resurrection, is replete with anecdotal detail, a hallmark of Kraft's work. Source: Grove Art Online; oxfordartonline.com/ The Schreyer-Landauer Monument (original & plaster cast) "Central panel, lower right detail showing figures holding the Crown of Thorns and tools of the Crucifixion. The original is in sandstone, dated ca. 1490-1492 and is located on the exterior of the apse at the Church of St. Sebaldus, Nuremberg, Germany.

"It was sculpted in a block of stone taken from the quarry of the Rano Raraku volcano, it probably originated from a statue measuring a total of 5 meters high, and vestiges of a natural white dye could be identified. Moai, perhaps divine representations of the ancestor of the clan, figures of great ancestors, were placed on ceremonial platforms (ahu), where burials had been carried out. Elongated and low fronts were oriented towards the populations over which they exercised a form of protective authority." France Culture

A thousand years of sculptural creation in Italy - in the collections of the Musée du Louvre "From the 5th century onwards, with the fall of the Western Roman Empire, Italy was divided into numerous kingdoms and principalities. Sculpture continued to depict figurative elements, leading to the creation of a Romanesque art characterised by a preoccupation with decoration and a simplification of forms. From the end of the twelfth to the fifteenth centuries, Gothic art underwent extensive development, culminating in the fourteenth century in works of great elegance, most often intended for religious buildings and illustrating Christian themes. The 15th century saw the emergence, from Florence and Tuscany, of Renaissance art, dominated by the major figure of Donatello. The human body acquired a new importance, driven by a desire to express reality and inspired by the style and themes of classical antiquity. These elements find an exceptional illustration in the revival of busts of contemporaries". (Louvre Museum documentation) 1. Saint militaire , marbre Constantinople(?), XIVème s. 2. Stèle funéraire ornée d'une croix Arménie, fin du XIIIème s. 3. L'Impératrice Arianne (?), marbre, début du VIème s., Rome ou Constantinople 4. Parapet d'ambon, orné des symboles des évangelistes Luc et Jean, marbre, Italie, première moitié du XIIème s. 5. Deux groupes de personnages en costume civil, marbre, Bologne, première moitié du XIVème s. 6. Quadrupèdes et rapaces combattant, marbre, Venise, XIIème- XIIIème s. 7. La Vierge et l'Enfant trônant, marbre, Ravenne, début du XIVème s. 8. Personnification des quatre Vertus cardinales, marbre, Campanie, première moitié du XIVème s. 9. Tête de personnage couronné, marbre avec incrustations de plmob, Campanie, XIIIème s. 10. Fragment de linteau, à décor de rinceau habité, pierre calaire, Abruzzes, débute du XIIIème s. 11. La Vierge et l'Enfant, stuc polychrome, Atelier florentin, première moitié du XVème s. 12. La Vierge et l'Enfant, stuc avec traces de polychromie, Florence, première moitié du XVème s. 13. La Vierge et l'Enfant, terre cuite, Atelier de Jacopo della Quercia, Sienne, vers 1374- Sienne, 1438 14. Dalle funéraire de chevalier napolitain Mario di Giovanni, marbre, Toscane, deuxième quart du XVème s. 15. Buste de femme, d'après Mino de Fiesole (?) XVème s. 16. Sainte Anne, la Vierge et l'Enfant entourés de Antoine abbé et saint Antoine de Padoue, terre cuite émaillée avec rehauts de polychromie, deuxième quart du XVIème s. , attribué à Santi Buglioni 17. Saint Georges combattant le Dragon, terre cuite émailée, vers 1520, attribué à Santi Buglioni 18. Le Christ mort adoré par Saint Jean l'évangéliste de la Madeleine, terre cuite polychrome, attribué à Domenico de Paris, 1470 / 1900 (3e quart du XVe siècle ; 2e moitié du XIXe siècle) 19. Buste d'un patricien génois, marbre, Italie, second quart du XVIème s. 22 Le Christ au Mont des Oliviers, terre cuite émaillée, attribué à Lucca della Robbia "le jeune", Florence, 1475-1548. 23. La Vierge adorant l'Enfant en présence de saint Jean-Baptiste enfant et de deux chrétiens, terre cuite émaillée, "Bottega" d'Andrea et Giovanni della Robbia, vers 1500

"According to a belief attested in Greece as early as the fourth century BCE, the practice of literature and the arts under the inspiration of the Muses eased the passage of the dead into the hereafter and ensured the salvation of their souls." "The sarcophagus was recovered thanks to the action of the Guardia di Finanza, which foiled a clandestine operation in 2008 to excavate the tomb and steal the sarcophagus, which was undoubtedly intended for the illegal antiquities trade. A precious artefact that, instead of ending up in the hands of an unscrupulous collector, now belongs to the entire community: it is on display in the Ostiense Museum, Room IX." "The Sarcophagus of the Muses from the Necropolis of the Isola Sacra is an extraordinary marble sarcophagus from the late 2nd century AD, decorated with the nine Muses accompanied by Apollo and the presence of Athena. Athena is indeed the central figure, placed under the cartouche on the lid, and divides the series of Muses into two: Polyhymnia, Clio, Thersicore, Thalia, Urania and then Erato, Euterpe, Melpomene and Calliope. The god Apollo, on the other hand, is depicted in a frontal position, dressed in a cloak that covers only his legs, leaving his torso uncovered; he keeps his legs crossed and leans with his left arm on his zither; his head is adorned with a laurel wreath, a symbol of immortality and victory. At his feet is the raven, a talking animal sacred to him.

The three ladies from the National Archaeological Museum Madrid - Étude Great Lady Offerer - Iberian sculpture from the 3rd or 2nd century BC. , made of limestone Lady of Elche - Iberian sculpture made of limestone between the 5th and 4th centuries B.C. Lady of Baza - Iberian sculpture from the 4th century BC, carved in polychrome limestone by the Bastetans. "Lady of Cerro de los Santos, also known as Gran Dama Oferente, is an Iberian sculpture from the 2nd century BCE, that is now in National Archaeological Museum in Madrid. This limestone sculpture depicts a full-length standing female figure 1.3 metres high. It was found in 1870 in the sanctuary of Cerro de los Santos in Montealegre del Castillo in Albacete province, Spain. The statue is sometimes called the Gran Dama Oferente because she is holding a container in her two hands and appears to be offering it. She is richly clad in three overlapping robes clasped with a fibula, or brooch, at the neck. Braided hair falls past her three necklaces. She is wearing fitted shoes. A rodete or wheel headgear appears on one side of her hair; if there was a similar one on the other side, it has been broken off. Like another contemporary Phoenician-influenced Iberian female sculpture, the Lady of Baza, her drapery falls in a zigzag pattern. The Lady of Elx or Lady of Elche : It is generally known as an Iberian artifact from the 4th century BC, although the artisanship suggests strong Hellenistic influences.According to The Encyclopedia of Religion, the Lady of Elche is believed to have a direct association with Tanit, the goddess of Carthage, who was worshiped by the Punic-Iberians. Similarly, the sculpture presents features of the Celtiberian culture (the mitre and the pendants) and the own Iberian (fibula). The originally polychromed bust is thought to represent a woman wearing an elaborate headdress and large wheel-like coils (known as rodetes) on each side of the face. The opening in the rear of the sculpture indicates it may have been used as a funerary urn. The Lady of Baza (la Dama de Baza) is a famous example of Iberian sculpture by the Bastetani. It is a limestone female figure with traces of painted detail in a stuccoed surface that was found on July 22, 1971, by Francisco José Presedo Velo, at Baza, in the Altiplano de Granada, the high tableland in the northeast of the province of Granada. The town of Baza was the site of the Ibero-Roman city of Basti and, in one of its two necropoleis, the Cerro del Santuario, the Lady of Baza was recovered. She is seated in an armchair, and an open space on the side is thought to have contained ashes from a cremation." wikipedia

"Accompanied by her two dogs, a greyhound and a water spaniel, Diana, the goddess of hunting, reclines with her arm around a majestic stag. This sculpture once surmounted a monumental fountain on the grounds of the Château of Anet, built by Philibert de L'Orme for Diane de Poitiers, Henry II's mistress. The elongated, naked silhouette of the chaste goddess, whose beauty had always been admired, became a symbol of the French Renaissance. Partie supérieure de la fontaine de la cour du château d'Anet (Eure-et-Loir), demeure de Diane de Poitiers, favorite d'Henri II. La sculpture a été successivement attribuée de façon erronée à Benvenuto Cellini, Jean Goujon et Germain Pilon. Mais il est difficile de juger de l'oeuvre qui a été largement complétée par le sculpteur Pierre-Nicolas Beauvallet en 1799-1800." documentation Musée du Louvre

At the Rolin museum in Autun: The Bulliot Virgin The Virgin and Child by Antoine le Moiturier (15th century)

Aphrodite of the Capitoline type with Eros mounted on a dolphin Based on a model by Praxiteles. Ancient Greece (period) – Hellenistic period (323-31 BC) Roman copy based on an original, the most famous copy of which is kept in the Capitoline Museum. Former Borghese collection.

Short visit at the archaeological site of Delphi "Delphi (in legend previously called Pytho (Πυθώ), was an ancient sacred precinct and the seat of Pythia, the major oracle who was consulted about important decisions throughout the ancient classical world. The ancient Greeks considered the centre of the world to be in Delphi, marked by the stone monument known as the Omphalos of Delphi (navel). According to the Suda, Delphi took its name from the Delphyne, the she-serpent (drakaina) who lived there and was killed by the god Apollo (in other accounts the serpent was the male serpent (drakon) Python). The sacred precinct occupies a delineated region on the south-western slope of Mount Parnassus." wikipedia

"Characterized for its geometry and conceptual approach, the ludic work by Barrios is an exploration of fundamental principles of perception-such as dynamism, balance, and distortion-that stems from the reinterpretation of elemental abstract forms from everyday life." (Janet Batet, ArtNexus )

Young dancers in the streets of Veracruz ( Mexico) - La Bruja, La Bamba

1. Colossal statue of a lion, about 883 - 859 BC ( "The fifth leg is an artistic convention to enable the figure to be seen either from the side, walking, or from the front, standing." from the British museum documentation ) 2. Attendant God, about 810- 800 BC 3. The black obelsik of Shalmaneser 4. Kurkh Stela, 858-824 BC 5.- 6. The capture of Astartu and the king in his chariot, about 730-724 BC 6.-7.-8.-9. King Tiglath - pileser III, about 728 BC 10. God and Monster, about 865-860 BC "Much of The British Museum's Mesopotamian collections, including the material from Nimrud, was brought to England by Austen Henry Layard (1817-1894)" Layard publicised his discoveries in "Nineveh and its Remainds (1849) and " Discoveries in the Ruines of Ninevah and Babylon (1853). These aroused great public interest and many Assyrians finds were displayed at the Great Exhibition in London in 1851." ( from the British museum publication )

"Discovered in Rome near the Baths of Diocletian in 1608, this statue was one of the most admired masterpieces of the Borghese Collection in the 17th and 18th centuries. In 1619, Cardinal Scipione Borghese commissioned the Baroque Italian sculptor Bernini to carve the mattress on which the ancient marble now lies. In the same year, David Larique worked on the restoration of the figure of Hermaphroditos. The work came to the Louvre after it had been bought, together with the rest of the Borghese Collection, by Napoleon I from his brother-in-law, Prince Camillo Borghese. Although the figure of Hermaphroditos in the Louvre is the best known, three other versions of the ancient statue have sometimes been compared with it: that of Velletri (also in the Louvre), that in the Uffizi in Florence, and a third version in the Villa Borghese in Rome." "There is nothing improper in this work, but it still intrigues the viewer. Hermaphroditos, son of Hermes and Aphrodite, had rejected the advances of the nymph Salmacis. Unable to resign herself to this rejection, Salmacis persuaded Zeus to merge their two bodies forever, hence the strange union producing one bisexed being with male sexual organs and the voluptuous curves of a woman. Stretched out in erotic abandon on the mattress provided by Bernini, the figure sleeps. Yet Hermaphroditos has only fallen half asleep: the twisting pose of the body and the tension apparent down to the slightly raised left foot are indicative of a dream state. An embodiment of Hellenistic taste"

“This winged young man who has just landed on a rock where a girl lies unconscious, is the god Eros – Cupid in Latin – and can be recognized by his wings and his quiver filled with arrows. The girl’s name is Psyche. Cupid’s mother Venus, goddess of Beauty, demanded that Psyche bring back a flask from the Underworld, strictly forbidding her to open it. But Psyche’s curiosity got the better of her; and no sooner had she had breathed in the terrible fumes than she fell into a deep, deathlike sleep. Seeing her lying motionless, Cupid rushed to her and touched her gently with the tip of his arrow, to make sure she was not dead. This is the moment caught by the sculptor: Cupid lifts his beloved Psyche in a tender embrace, his face close to hers. Psyche lets herself sink slowly backwards, languorously taking her lover’s head between her hands. Canova took his inspiration from a legend recounted by Latin author Apuleius in the Metamorphoses At the close of the tale the gods decide in council to grant Cupid Psyche’s hand in marriage, according her immortality and making her the goddess of the Soul.” http://musee.louvre.fr/oal/psyche/psy...