Trajan Recruits Soldiers. Arch of Trajan at Beneventum, 114 CE

A cuirassed military god in the centre presents a recruit to the roman emperor. The new soldier stands feet together: his height is being measured by a wooden frame held by the soldier on the right (in situ, west side, middle zone)

Ashmolean Museum, Oxford

A marble sculpture of the Minotaur. A Roman copy of a Greek original by Myron. (National Archaeological Museum, Athens)

I've always loved how they loved

The Hunt of the Caledonian Boar - Marble sarcophagus relief known as the Meleager Sarcophagus, c. 250-270 CE

Liebieghaus Sculpture Museum, Frankfurt, Germany

Apollo Barberini - a Roman sculpture of Apollo Citharoedus dating back to the 1st or 2nd century. It is possible that the original statue was installed in the temple of Apollo Palatinus in Rome while this might be a copy, though this is unclear.

Photo credit: F. Tronchin

This is a reconstruction of the Belvedere Apollo that I did last semester for a class on Roman sculpture if y’all want the report that I wrote for it lemme know. Fun fact: most (if not all) statues from antiquity would be painted!

A ROMAN BRONZE THEATRE MASK CIRCA 1ST-2ND CENTURY A.D. 4 5/16 in. (10.9 cm.) high.

„Busts” - Museo Pio Clementino, Vatican

📍Metropolitan Museum (MET), New York 🇺🇸

Roman Classical Style Relief of the Three Mother Goddesses found in Cirencester Centre, Corinium Museum, Cirencester

Inv.-Nr. 1922,  Museo Chiaramonti, Rome triple-bodied Hecate Roman copy (early third century) after an original of the Hellenistic period Ancient chthonic goddess, daughter of the Titan Perses and Asteria, originating from Caria; very diverse in her functions. She helps kings in the administration of justice, people in counselling and war, protects hunting and fishing, helps women in childbirth and raising children, protects gates and paths (often with haunting), therefore with a ghostly character and goddess of folk superstition, accompanied by the souls of the violently dead; according to Hesiod, she is directly descended from the Titans; she is related to the underworld and to magic; she is often depicted as a circular group of three female figures with their backs turned to the centre, each carrying a torch and accompanied by a dog;  howling dogs announced her nocturnal approach; patroness of magic and superstition until the Middle Ages; also represented in the great frieze of Pergamon

ARTEMIS Statue: "A young girl of unknown identity is portrayed as the goddess Artemis, dressed in a short high-girdled chiton [tunic] and hunting boots. The figure is reconstructed with her right arm raised up in the act of taking an arrow from her quiver. She was accompanied by a dog, traces of which still remain near her leg.." [txt ©MNR Palazzo Massimo]

Greek marble, Found in Ostia near Rome [1921] 1 AD.

Palazzo Massimo, Museo Nazionale Romano | MNR PM [Ground Floor, Galleria II.] • Web : https://museonazionaleromano.beniculturali.it/en/palazzo-massimo • FB : https://www.facebook.com/MNRomano • IG : @museonazionaleromano • X : @MNR_museo

MNR PM | Michael Svetbird phs©msp | 06|23 6200X4100 600 [I., II.] The photographed object is collection item of MNR PM, photos are subject to copyrights. [non commercial use | sorry for the watermarks]

📸 Part of the "Reliefs-Friezes-Slabs-Sculpture" MSP Online Photo-gallery:

👉 D-ART: https://www.deviantart.com/svetbird1234/gallery/72510770/reliefs-friezes-slabs-sculpture

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Apollo Sauroctono sketch in the Uffizi Musei, Florence ✏️

Colossal Male Torso, 1st century, Roman, found in Catania in 1737

Museo Civico al Castello Ursino - Catania, Sicily

Photos by Charles Reeza

Portrait of a young woman

A ROMAN MARBLE TORSO OF THE DIADUMENOS OF POLYKLEITOS

CIRCA 1ST CENTURY B.C.-1ST CENTURY A.D.

30 in. (76.2 cm.) high.

This superb muscular torso can be recognized as a Roman copy of Polykleitos’ Diadumenos, or fillet-binder, one of the most celebrated sculptures from antiquity. The pelvic thrust to the left and the accompanying curvatures of the lower abdomen, plus the articulation of the shoulders resulting from the arms once being raised, are all exactly matched on several more complete versions of the now-lost original (for the best preserved example see the figure from Delos, now in Athens, pl. 176 in H. Beck, P.C. Bol, and M. Bückling, Polyklet, Der Bildhauer der griechischen Klassik).

The Diadumenos is referred to by the Roman writers Lucian, Pliny, and Seneca, who praised it for its beauty and value. The original does not survive, but based on these literary descriptions, it is securely recognized in Roman copies. Where the original once stood and what precisely was depicted is not known, and the ancients are quiet on these points. Undoubtedly, Polykleitos' creation was in bronze, and would have been commissioned to celebrate an athletic victory and set up in one of the Panhellenic sanctuaries.

Polykleitos was one of the most famous and influential sculptors of the High Classical period. A native of Argos in the Peloponnesus, his artistic career flourished from circa 450-420 B.C. In addition to the Diadumenos, several other of his works are described in ancient literature and are recognized in surviving Roman copies, including the Doryphoros or Spear-Bearer, as well as his Kyniskos, identified as the Westmacott Athlete since the 19th Century. His Amazon of Ephesus was famed for having been chosen in a competition over works by the sculptors Pheidias and Kresilas, while his most magnificent creation was the colossal gold and ivory cult statue of Hera from the Heraeum of his native Argos. Pliny tells us that Polykleitos wrote about his theories of rhythm and proportion. This sculptural Canon emphasized the juxtaposition of antithetical pairs, such as right and left, straight and curved, relaxed and tensed, rest and movement. The Doryphoros is considered the embodiment of Polykleitos's canon, while the Diadumenos beautifully demonstrates the canon's "inexhaustible possibilities".