Classical Sculptures

A selection of classical sculptures representing human figures, often with intricate details and historical significance from various periods.

Symbolic female figure: Pictura, Louis Royer, c. 1803 - c. 1868 Pictura is on a square plinth on the left leg and with the bent right slightly aside. In the left hand she wears a paint pot, in the right a brush in front of the chest. A veil falls over the back. She wears a long shirt that leaves left shoulder and chest uncovered, and a cloak hit around the waist. Netherlands terracotta (clay material) Pictura is on a square plinth on the left leg and with the bent right slightly aside. In the left hand she wears a paint pot, in the right a brush in front of the chest. A veil falls over the back. She wears a long shirt that leaves left shoulder and chest uncovered, and a cloak hit around the waist. Netherlands terracotta (clay material)

Terracotta figurine; 4th century BC (-400-00-00--301-00-00);Czartoryski, Witold, Froehner, V., Ant.

French 19th Century, Bacchante, 19th century Bacchante

The Virgin and the Ivory Child, Ourscamp Abbey, France around 1200 ". Ivory. Museum of Fine Arts of the city of Paris, Petit Palais. 26322-5 Abbey Bearscamp, Catholic, Christian Chretian, Ivory, Statue, Virgin

The Prophet Balaam. This sculpted modello or bozzetto is a design for a statue of the prophet Balaam intended for the basilica of the pilgrimage site of Loreto in Central Italy. The church was built around the Santa Casa, the house where, according to legend, the Virgin was born. The statuette stands out for its virtuoso modelling, as in the figures right arm and hand. It was long thought to be by Michelangelo.

Allegorical Portrait of the van Risamburgh Family. Joseph Chinard (French, 1756 - 1813)

Young Woman with a Lamb, Jan Smeltzing (I), c. 1680 - c. 1700 Leiden terracotta (clay material) Leiden terracotta (clay material)

The Vestal ca. 1770 After a marble figure by Clodion (Claude Michel) French The model for this figure is a marble sculpture in the National Gallery of Art, Washington, D.C. The marble differs only slightly from this version, such as in the extended fingers on the Vestal's left hand. A signed terracotta, dated as early as 1765, was in the Alexander Stroganoff sale of 1931.. The Vestal. After a marble figure by Clodion (Claude Michel) (French, Nancy 1738-1814 Paris). French, Lorraine. ca. 1770. Terre de Lorraine. Ceramics-Pottery

Symbolic female figure: Pictura, Louis Royer, c. 1803 - c. 1868 Pictura is on a square plinth on the left leg and with the bent right slightly aside. In the left hand she wears a paint pot, in the right a brush in front of the chest. A veil falls over the back. She wears a long shirt that leaves left shoulder and chest uncovered, and a cloak hit around the waist. Netherlands terracotta (clay material) Pictura is on a square plinth on the left leg and with the bent right slightly aside. In the left hand she wears a paint pot, in the right a brush in front of the chest. A veil falls over the back. She wears a long shirt that leaves left shoulder and chest uncovered, and a cloak hit around the waist. Netherlands terracotta (clay material)

Mourning Saint John the Evangelist, early 1400s. Austria, Upper Rhine, 15th century. Gilt copper; overall: 14.6 cm (5 3/4 in.).

Judith with the Head of Holofernes, mid-1800s. France, 19th century. Terracotta; overall: 41.4 x 16.5 x 13 cm (16 5/16 x 6 1/2 x 5 1/8 in.).

Angel, c. 1250. France, vicinity of Reims, 13th century. Walnut with traces of gilding and polychromy; overall: 75 x 41.5 x 22.5 cm (29 1/2 x 16 5/16 x 8 7/8 in.). Surviving in fragmentary condition, this pair of angels lacks lower arms, hands, wings, and attributes. Their original paint and gilding, now almost entirely lost, once rendered their garments a rich brocade and their hair a luxuriant gold. Nonetheless, in their graceful poses and sublime faceswhich may portray tragic interest, anguish, or deep concerntheir original delicacy and power are still evident. They embody the monumental style of 13th-century High Gothic cathedral sculpture in France. Their style specifically suggests they were carved in or around Reims, possibly by sculptors associated with the cathedral there. Their original placement is unknown, but they may have flanked an altar on columns.

Architecture. Artist: Daniel Chester French (American, Exeter, New Hampshire 1850-1931 Stockbridge, Massachusetts). Dimensions: 12 3/8 × 4 1/8 × 2 3/4 in. (31.4 × 10.5 × 7 cm). Date: 1898.Located at Fifth Avenue and Seventieth Street, the Richard Morris Hunt Memorial was unveiled in 1898 in honor of Hunt (1827-1895), the architect who designed the central facade of The Metropolitan Museum of Art. The Hunt Memorial is flanked by allegorical representations of the sister arts: Painting and Sculpture on the left and Architecture on the right. In this maquette, or sketch model, Architecture holds a small representation of Hunt's Administration Building for the 1893 World's Columbian Exposition in Chicago. Museum: Metropolitan Museum of Art, New York, USA.

Mary Magdalene early 16th century French. Mary Magdalene 464296

Two Laughing Jesters, 1673 The one sits on a reverse basket three -quarters to the right and with the head to the left, the other, with the head in the same direction, stands with bent knees behind him with his hands on his shoulders; BEIDER TIGN go in the same direction. They have convex, smiling faces with open mouths, in which tongue and teeth are visible. The sitting jar points out with the right hand forward and holds a stick with the other call (Karwats with calling) In front of the chest. There is a wart on his cheek. He wears sedged narrel hood with decorated hem, on which they call, and over a rug with narrow sleeves a cloak with wide -spreading sleeves, the right of which a staff with fool's head berbs. The cloak covers its entire left leg, but releases the right -hand leg. The latter has under the knee a decorated band with bubbles, is tied together at the ankles and falls over the boot. On the head of the standing figure a fool with donkey ears, the wide collar of which has

Saint Catherine. Germany, Ulm, circa 1510. Sculpture. Linden wood with traces of polychromy

Statuette of Venus; 100 - 250; Silver; 19.2 × 8.5 × 5.4 cm (7 9,16 × 3 3,8 × 2 1,8 in.)

Henri Allouard (1844-1929). Portrait of the Marquise de Sévigné (1626-1696), epistolier. Terracotta, 1880-1900. Paris, Carnavalet museum. 60823-10 Writer, epistoliere, woman of letters, french, marquise, statue, terracotta

The Filatrice (The Spinner) 1850 Brooklyn. The woman in Henry Kirke Brownís sculpture holds a distaff in the crook of her right arm, twisting wool or flax into thread and onto a spindle. This classical portrayal of a domestic task evokes the mythic Three Fates, one of whom spins the thread of life. Brown modeled The Filatrice (Italian for ìspinnerî) in New York and cast it at the foundry he established there in 1848 after his return from Italy. The Filatrice was commissioned by the American Art-Union, an organization that aimed to bring the fine arts to middle-class audiences. Twenty casts were made of the sculpture and distributed to select members by way of lottery.. Bronze . Henry Kirke Brown (Sculptor)

Caryatide: the legal science, Eugène Lacomblé, 1800 - 1900 clay clay

Dancer with Finger on Chin. Dated: model 1809/1814, carved 1819/1823. Dimensions: overall (approximate height): 177 cm (69 11/16 in.) weight, with attached base: 724 lbs. Medium: marble. Museum: National Gallery of Art, Washington DC. Author: ANTONIO CANOVA.

Adoring Angel, 17th century, 17 1/2 x 7 x 9 in. (44.4 x 17.8 x 22.9 cm), Terracotta, Italy, 17th century

Statue of Venus (the Mazarin Venus); Roman Empire; 2nd century; Marble; 184 cm (72 7,16 in.)

Anonymous / 'The Muse Terpsichore'. 130 - 150. White marble. Museum: Museo del Prado, Madrid, España.

The Reading Girl (La Leggitrice). Dated: model 1856, carved 1861. Dimensions: height without base: 122 cm (48 1/16 in.) base (height): 51.5 cm (20 1/4 in.). Medium: marble. Museum: National Gallery of Art, Washington DC. Author: PIETRO MAGNI.

Terracotta statuette of a veiled woman 2nd century B.C. Greek, South Italian The modern head has been detached and is displayed next to the body of the piece.. Terracotta statuette of a veiled woman 246663

Pietà, anonymous, in or before 1875 Guelders (possibly) oak (wood) Guelders (possibly) oak (wood)

Terracotta statuette of an actor. Culture: Greek, Attic. Dimensions: H. 4 1/4 in. (10.8 cm). Date: late 5th-early 4th century B.C..Fourteen of these figures are said to have been found together in a burial in Attica. They are among the earliest known statuettes of actors and are superbly executed and preserved. Originally they were brightly painted. They document the beginning of standardized characters and masks, indicating the popularity not of a specific figure but of types--the old man, the slave, the courtesan, etc.--that appeared repeatedly in different plays. By the mid-fourth century B.C., Attic examples or local copies were known throughout the Greek world, from Southern Russia to Spain. Museum: Metropolitan Museum of Art, New York, USA.

Barbedian, Ferdinand (n.1810 - D.1892), EUTERPE (main title), 1889. BRONZE. Petit Palais, Museum of Fine Arts of the City of Paris.

Jean-François Théodore Gechter (1795-1844). Saint Cécile. Bronze. Around 1840. Paris, Museum of Romantic Life. 77177-5 Musical instrument, martyr, Roman, holy, statue, virgin

Virgin and Child, c. 1385-1390. France, Loire Valley, 14th century. Limestone with traces of polychromy; overall: 135.3 x 41.3 x 30.5 cm (53 1/4 x 16 1/4 x 12 in.).

Artist, possibly by: Master of the Gualino Saint Catherine, Italian, active 14th century, Crowned FemaleFigure, ca.1300, Painted wood, 152.4 cm (60in.), Italian,Umbria, 14thcentury, Sculpture

Charity ca. 1770-80 Ralph Wood the Younger. Charity. British, Burslem, Staffordshire. ca. 1770-80. Lead-glazed earthenware. Ceramics-Pottery

Vestal Figure, c. 1600, 10 1/8 x 4 7/8 x 3 3/4in. (25.7 x 12.4 x 9.5cm), Gilt bronze, Italy, 16th-17th century

. From c. 1650 Rombout Verhulst worked in the Netherlands, where he developed into the leading sculptor of monumental marbles - funerary monuments, garden figures and portraits. But he also demonstrated his skill in small-scale ivory carvings, such as this. The chubby Christ Child, the thick, wavy locks of hair and the heavy drapery seem almost tangibly realistic.

Terracotta statuette of a woman leaning on a pillar 3rd century B.C. Greek, South Italian, Tarentine Draped, leaning right arm on pedestal.. Terracotta statuette of a woman leaning on a pillar. Greek, South Italian, Tarentine. 3rd century B.C.. Terracotta. Hellenistic. Terracottas

Attributed to Jean-Antoine Houdon (1741-1828). "The given kiss". Patinated plaster and earthenware, wooden shower foot, around 1775. Paris, Carnavalet museum. Allegory. Woman, naked collar, pearl, flower, man, turban, drapery, kiss. Couple. Love Kiss gives, bust, copy, kiss, faience, sculptic group, shower foot, patterned patina, wood, couple

. Women's figure of faience, representing a Chinese woman. White glazed.

SAN JERONIMO- ESCULTURA PERTENECIENTE AL RETABLO DE SAN BENITO 1526- MANIERISMO ESPAÑOL. Author: ALONSO BERRUGUETE (1488-1561). Location: MUSEO NACIONAL DE ESCULTURA-COLECCION. Valladolid. SPAIN. SAN JERONIMO (347-420).

Genius of Mirth. Artist: Thomas Crawford (American, New York 1813-1857 London). Dimensions: 47 x 20 x 24 in. (119.4 x 50.8 x 61 cm). Date: 1842; carved 1843.During a visit to Crawford's Rome studio in 1842, the New Yorker Henry Hicks gave him an order for a sculpture, leaving the theme to the artist's choosing. Crawford's selection of a lighthearted youth was likely to please his patron, as images of children were especially popular in the mid-nineteenth century. He described his subject as "a boy of seven or eight years, dancing in great glee, and tinkling a pair of cymbals, the music of which seems to amuse him exceedingly." The sculptor and his contemporaries relished the technical challenges of carving marble; the disengaged raised left leg epitomizes the virtuosity they delighted in displaying. Museum: Metropolitan Museum of Art, New York, USA.

Tyche ofAntioch. Artist Roman copy of an original by: Eutychides, Greek, active ca. 295 B.C.

Sketch of an Allegory of the Abolition of Slavery Anonymous, French School, 19th Century French ca. 1848 A semi-naked and emaciated Black man casts an imploring gaze upward at a triumphally posed female figure who has broken the chains of bondage beneath her foot. Flowing drapery and a Phrygian cap, representing liberty, identify her as an allegory of the French Republic. This unsigned terracotta sketch may have been an anonymous submission to an open contest that called for symbolic representations of the newly formed Second Republic, a short-lived democratic regime that abolished slavery in 1848. Its emphasis on the female figures role as liberator reflected French patriotic sentiment, while the representation of the Black figure as helpless and in need of sanctuary advanced imperialist notions of racial difference. View more. Sketch of an Allegory of the Abolition of Slavery. Anonymous, French School, 19th Century (French, 1800-1899). French. ca. 1848. Terracotta. Sculpture

Venetian 14th Century, Saint Paul, c 1340 Saint Paul

Saint Matthias (). Culture: North Netherlandish. Dimensions: Overall: 26 1/2 x 9 1/2 x 5 3/8in. (67.3 x 24.1 x 13.7cm)without base: 24 5/8 x 6 1/2 x 4 1/8 in. (62.5 x 16.5 x 10.5 cm). Date: ca. 1500. Museum: Metropolitan Museum of Art, New York, USA.

The Samaritan Woman, 1767, Petronio Tadolini (1727-1813), Italian, (Bologna), 1727 - 1813, 22 1/2 x 11 1/4 x 6 3/4in. (57.2 x 28.6 x 17.1cm), Terracotta, polychrome, Italy, 18th century

Female Saint. Artist: Jan van Steffesweert (Maastricht, ca. 1460-1531). Culture: South Netherlandish. Dimensions: Overall: 32 1/4 x 11 1/16 x 9 7/8 in. (81.9 x 28.1 x 25.1 cm). Date: ca. 1520. Museum: Metropolitan Museum of Art, New York, USA.

Marble statue of a draped seated man. Culture: Roman. Dimensions: H. 51 1/2 in. (130.8 cm). Date: 1st century B.C..Copy of a Greek statue of the mid-2nd century B.C.Seated; fragmentary. Perhaps portrait statue of poet or philosopher; copy Greek original 2nd century B.C.For the ancient Greeks, it was important to represent the entire figure in a portrait, not just the head as became popular in the Roman period. Although the head of this Roman copy is missing, the turn of the upper body to the left, the three holes beneath the left shoulder, and the angular hollow at the inner side of the left arm suggest that the figure was playing the kithara and consequently, is best identified as a poet. It may be a retrospective portrait of one of the great Greek poets of the Hellenistic age, such as Kallimachos or Theokritos, or perhaps one of the legendary bards of earlier days portrayed in Hellenistic style. On the front of the seat, above the left foot, is the signature of the sculptor Zeuxis

Figurine with a sylenek carrying bacantk; III century BC (201-00-00-300-00-00);Ant., V., Froehner

Saint Matthew ca. 1700 Flemish. Saint Matthew 207672

St. John the Evangelist, 16th century, Italian, 1565 - 1607, 9 3/8 x 4 1/8 x 2 1/2in. (23.8 x 10.5 x 6.4cm), Bronze, gilt, Italy, 16th century

Portrait of Madame de Sérilly, 1780, Jean-Antoine Houdon, French, 1741-1828, 34 1/2 x 24 x 13 1/4 in. (87.63 x 60.96 x 33.66 cm), Marble, France, 18th century, Youth, beauty, wealth: Madame de Sérilly had it all. She was just 17 when Jean-Antoine Houdon, the foremost French portrait sculptor of the day, captured her in marble on the occasion of her marriage. But the marriage was short-lived. Her husband was executed during the French Revolution for supporting the royal family; Mme de Sérilly, a lady-in-waiting to Queen Marie-Antoinette, was imprisoned. She would marry twice more after her release, but at 36 she succumbed to smallpox. Houdon fared better: His fame brought him to the United States, where he sculpted busts of George Washington and other American political figures.

Design for a statue of Moliere.

Saint Augustine 1550-1600 Style of Jacopo Sansovino (Jacopo Tatti) Italian. Saint Augustine 190792

Terracotta statuette of a draped woman 3rd century B.C. Greek, probably Boeotian There are considerable remnants of color, especially on the face and hair. The lady is also wearing earrings.. Terracotta statuette of a draped woman. Greek, probably Boeotian. 3rd century B.C.. Terracotta. Hellenistic. Terracottas

SaintMark. Artist: Juan de Juni, French Spanish, ca. 1507-1577

Goddess, after the antique 17th-18th century Italian. Goddess, after the antique. Italian. 17th-18th century. Bronze. Sculpture-Bronze

Begating figure with gesturing arms, Simon Troger (School of), After 1693 - Before 1768 Sitting beggar with gesting arms. ivory Sitting beggar with gesting arms. ivory

Saint Mammes late 15th century French. Saint Mammes. French. late 15th century. Copper alloy. Made in Langres, Burgundy, France. Metalwork-Copper alloy

The Virgin and St John the Evangelist.The figures of the Virgin and the Apostle John originally flanked a crucified Christ. The Virgin is represented with an expression of intense sorrow, while he gazes upwards in dismay. Her masterfully carved, flowing robes and her face were inspired by the Italian Baroque. Johns dynamic pose is derived from a famous sculptural group from Classical antiquity, the Laocoön.

Seated Falconer mid-to-late 6th century China. Seated Falconer. China. mid-to-late 6th century. Earthenware with red and white pigments. Northern Wei (386-534)-Northern Qi (550-577) dynasty. Tomb Pottery

Saint Elzéar. Culture: French. Dimensions: Overall: 14 1/8 x 9 3/16 x 4 3/4 in. (35.9 x 23.3 x 12.1 cm). Date: ca. 1370-73.Knight, count, and member of the Franciscan order, Saint Elzéar (1285-1323) lived a life of chastity, prayer, and charity. This work was among the eight sculptural reliefs illustrating his saintly life that decorated his large reliquary tomb, erected in 1373 at the Franciscan church at Apt. The tomb was destroyed in the wake of the French Revolution. Museum: Metropolitan Museum of Art, New York, USA.

Terracotta statuette of a standing girl. Culture: Greek, probably Boeotian. Dimensions: H. 5 1/4 in. (13.3 cm). Date: early 3rd century B.C..This little figure stands in a pose similar to that of the nearby Attic figure; but the proportions are not as careful, the head seems too large, it is not clear which foot projects beyond the hem, and the drapery folds are cursory and thick. Museum: Metropolitan Museum of Art, New York, USA.

'Charity'. Italy, 1666. Dimensions: h. 46 cm. Museum: State Hermitage, St. Petersburg.

Limestone statue of the goddess Artemis 3rd century B.C. Cypriot Artemis, the Greek goddess responsible for the nurture of wild animals as well as the hunt, was sister of Apollo, and a number of statues representing her have been found at the sanctuary of Apollo at Pyla. Her cult was probably introduced on Cyprus during the fifth century B.C., and, like the Greek goddess Aphrodite, she became assimilated with the Great Goddess of fertility who had been worshiped on the island for centuries. Artemis carries a quiver and is accompanied by a fawn.. Limestone statue of the goddess Artemis 242292

Figurine of Adam. unknown, craftsman

Lid of a cinerary urn with a portrait of a reclining young man, 400/375 B.C., bronze

Dancer, from the Table Centerpiece "The Scarf Dance" Sculpture; Manufactured by Sèvres Porcelain Manufactory (France); Modeled by Agathon Léonard (b. in Belgium, active in France, 1841-1923); France; biscuit porcelain

Seated Musician, c. 1740. Strasbourg Factory (French). Faience; overall: 16.5 x 10 x 8.5 cm (6 1/2 x 3 15/16 x 3 3/8 in.).

Henri Chapu (1833-1891). "Security". Plaster. 1870-1873. Museum of Fine Arts of the City of Paris, Petit Palais. 123479-5

Terracotta woman figurine; 4th century BC (-400-00-00--301-00-00);

. Sculpture of animal or man with arm board, sitting on a column. The image belongs to eleven images (BK-NM-144-1 to BK-NM-144-12).

LUCRECIA MORIBUNDA(DAMA ROMANA DEL 510 AC-ESPOSA DE COLATINO) - 1803 - NEOCLASICISMO ESPAÑOL. Author: DAMIA CAMPENY (1771-1855). Location: MUSEU NACIONAL D'ART CATALUNYA. Barcelona. SPAIN.

Mother with child by unknown artist, terracotta sculpture, 4th century BC, Russia, St Petersburg, State Hermitage, 18, 5

Allegorical Group with a Bust of an Architect. Unknown maker, possibly Belgian

Mourner from the Tomb of Philip the Bold, Duke of Burgundy (1364-1404), 1404-10. Claus de Werve (Netherlandish, 1380-1439). Vizille alabaster; overall: 41.1 x 17.6 x 11 cm (16 3/16 x 6 15/16 x 4 5/16 in.).

Maternity, 1893, Emile Antoine Bourdelle, French, 1861 - 1929, 21 x 16 in. (53.3 x 40.6 cm), Bronze, France, 19th century

Enthroned Virgin ca. 1490-1500 Austrian Created in northern Austria along the Danube River, this sculpture is notable for the deep lyrical carving of the drapery. The delicately applied paint on the Virgins face is original. The current appearance of much of the surface is due to a past restoration that removed layers of overpaint exposing some areas of gesso and bole, reddish soft clay used as a base for gold leaf. Painted in intense azurite, the blue lining of the Virgins mantle, on the other hand, largely retains its original appearance. The Virgins hands, which would have held the infant Jesus, were carved separately and have been lost. This sculpture can be seen in the context of the monumental Kefermarkt altarpiece in Upper Austria which is dated about 1490-1497.. Enthroned Virgin. Austrian. ca. 1490-1500. Limewood with gesso, paint and gilding. Sculpture-Wood

Fragmentary terracotta statuette of a woman. Culture: Greek, Attic. Dimensions: H.: 4 3/16 in. (10.6 cm). Date: 3rd century B.C..Upper half of body; fragment. Museum: Metropolitan Museum of Art, New York, USA.

The Sacrifice to Ceres, 1766 Rome terracotta (clay material) Rome terracotta (clay material)

. She stands on an oval soil with left leg ahead and to the right of a lying lamb. In both hands she holds a wreath of roses against the left side. The head, three-quarters to the left, exhibits separate hair in the middle, which hangs on the back on either side of the shoulders in pipe curls.; About the hand a garland of flowers, which goes through to sleep; On the forehead against the separation to a small food. About a long, skirt falling to the shoe point, a dress, the skirt of which is absorbed back. Pofwauwen appears from the short wide sleeves of the keids. From the shoulders a removed stole hangs to the knees.

Jean-Pierre Dantan (1800-1869), said Dantan the young. Serious portrait of Madame Edouard BENAZET. Terracotta patinated plaster. 1860. Paris, Carnavalet museum. Woman, pattero patina, serious portrait, terracotta

Josep Llimona. Sant Jordi, 1928. Museo de Cerdanyola.

Kneeling woman ca. 1600 British. Kneeling woman. British. ca. 1600. Alabaster. Sculpture

Fragment of a Funerary Naiskos (Monument in the Shape of a Temple) 330 BCE Athens. These three figures are chiseled so deeply into the stone that they, like the head of the man on the left, are carved nearly in the round. From the preserved portions of the malesí right arms, it is clear they were clasping handsóa gesture signifying farewell in funerary scenes. Their impassive expressions contrast with the poignant gaze and gesture of the woman in the center, who places her right hand, palm up, on the standing manís shoulder. Perhaps he is the one who has died.. Marble . Ancient Greek

Portrait of cherished pink PAULINE BOUFF�. Portrait of Cherished Rose. Chest. Terracotta.

Faithful Love, 1800s. After Augustin Pajou (French, 1730-1809). Marble; without base: 26 x 10.9 x 10 cm (10 1/4 x 4 5/16 x 3 15/16 in.).

Milanese 16th Century, The Man of Sorrows, early 16th century The Man of Sorrows

Standing Virgin and Child. Culture: Central Italian. Dimensions: Overall: 47 x 16 3/16 x 9 3/8 in. (119.4 x 41.1 x 23.8 cm)at base: 13 7/8 x 5 3/4 in. (35.2 x 14.6 cm). Date: ca. 1380-1400. Museum: Metropolitan Museum of Art, New York, USA.

ESTATUA DE SANTA EULALIA EN TERRACOTA PROCEDENTE DE LA PUERTA DE LA CATEDRAL - SIGLO XV. Author: CLAPEROS ANTONIO SIGLO XV. Location: MUSEO DIOCESANO / PIA ALMOINA. Barcelona. SPAIN.

Saint Barbara. Culture: North French. Dimensions: Overall: 46 1/4 x 15 1/2 x 11 1/2 in. (117.5 x 39.4 x 29.2 cm). Date: ca. 1500. Museum: Metropolitan Museum of Art, New York, USA.

Polychrome terracotta statue depicting Zeus kidnapping Ganymede

Euterpe. Amsterdam banker and art collector Henry Hope commissioned this sculpture for his country estate Welgelegen near Haarlem. It was based on an Ancient marble figure now at Newby Hall in England. Euterpe, holding a flute, is the Muse of music and lyrical poetry.

Marble head and torso of Athena 1st-2nd century A.D. Roman The goddess Athena is rendered as a beautiful young woman. The lining of her helmetwhich was pushed up on the top of her headappears above her hair. The protective aegis (goatskin) with the Gorgon's head in the center is reduced to a kind of collar that permits the torso and garment to be articulated. The original Greek work was probably executed in bronze.. Marble head and torso of Athena. Roman. 1st-2nd century A.D.. Marble, Pentelic. Imperial. Stone Sculpture

Anonymous / 'The Muse Calliope'. 130 - 150. White marble. Museum: Museo del Prado, Madrid, España.

Statuette of a Woman. Unknown

'Sitting Woman'. Italy, Late 18th century or early 19th century. Dimensions: height: 28,0 cm. Museum: State Hermitage, St. Petersburg.

Statuette of Aphrodite. Unknown

Virgin and Child. Culture: French. Dimensions: Overall: 29 7/8 x 17 1/4 x 12in. (75.9 x 43.8 x 30.5cm). Date: early 16th century. Museum: Metropolitan Museum of Art, New York, USA.

Limestone statuette of Pan or Opaon Melanthios. Culture: Cypriot. Dimensions: Overall: 12 1/2 x 5 1/2 x 2 3/4 in. (31.8 x 14 x 7 cm). Date: 3rd century B.C..This figure with the horns and ears of a goat wears an animal skin and holds a syrinx (double pipes) and a pedum (shepherd's crook). Images of this type first appeared in Cypriot sanctuaries during the Hellenistic period. They may represent Pan, the Greek god who protected herdsmen and shepherds, or they may be associated with Opaon Melanthios, a Cypriot deity of rural life and fertility, who is known from inscriptions. Museum: Metropolitan Museum of Art, New York, USA.

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