Colonne du temple de Brahma
The Saint-Guilhem Cloister in the Cloisters, Sept.…
The Saint-Guilhem Cloister in the Cloisters, Sept.…
The Saint-Guilhem Cloister in the Cloisters, Sept.…
The Saint-Guilhem Cloister in the Cloisters, Sept.…
The Saint-Guilhem Cloister in the Cloisters, Sept.…
Romanesque Marble Capital with Masks and Birds in…
Drainage column
Drainage column detail
Column, Getty Villa
The Alcázar of Seville, Spain
The Alcázar of Seville, Spain
The Alcázar of Seville, Spain
The Alcázar of Seville, Spain
The Alcázar of Seville, Spain
The Alcázar of Seville, Spain
The Alcázar of Seville, Spain
Abbotsford Convent 04
Borough Hall in Downtown Brooklyn, May 2008
The Mall
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The Getty Villa, July 2008
Detail of a South Italian Volute Krater with a Dec…
Architecture of the Getty Villa, July 2008
The Exterior of the Getty Villa, July 2008
The Inner Peristyle Garden in the Getty Villa, Jul…
The Inner Peristyle Garden in the Getty Villa, Jul…
The Inner Peristyle Garden in the Getty Villa, Jul…
The Inner Peristyle Garden in the Getty Villa, Jul…
The Inner Peristyle Garden in the Getty Villa, Jul…
The Inner Peristyle Garden in the Getty Villa, Jul…
The Inner Peristyle Garden in the Getty Villa, Jul…
Roman Wall Painting Reproduction in the Large Peri…
Detail of a Round Temple in the Bedroom from the R…
Detail of a Jeweled Column in the Bedroom from the…
Detail of a Jeweled Column, Peacock, and Bowl of F…
Column Capital With the 3 Marys and the Entombment…
Column Capital in the Trie Cloister at the Cloiste…
Column Capital in the Trie Cloister at the Cloiste…
Heraldic Column Capital in the Trie Cloister at th…
Column Capital in the Cuxa Cloister in the Cloiste…
Tree in the Cuxa Cloister in the Cloisters, April…
The Cuxa Cloister and Tower in the Cloisters, Apri…
Random bit of old London
Boo!
From the shadows
Turtle
Hewn from solid
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Bank on it
A Column inside the Oriental Pavilion in Prospect…
Large Ionic Column in the Brooklyn Museum Sculptur…
Detail of the Brooklyn Museum, August 2007
Detail of the Brooklyn Museum's Facade, August 200…
Detail of the Animal Totem Columns in the Disney S…
Detail of a Column Capital in the Disney Store on…
St. Peter Silver Plaque in the Metropolitan Museum…
St. Paul Silver Plaque in the Metropolitan Museum…
South Italian Sphinx Capital in the Metropolitan M…
South Italian Sphinx Column Capital in the Metropo…
Corinth 1
Trajan's Column
Detail of a Corinthian Column from the Peristyle i…
The Peristyle in Prospect Park, Oct. 2006
The Peristyle in Prospect Park, Oct. 2006
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Marble Statue of Dionysos Leaning on an Archaistic Female Figure in the Metropolitan Museum of Art, Sept. 2007
The Hope Dionysos, late 1st century A.D., with 18th-century restoration by Vincenzo Pacetti; Imperial
Roman
Marble; H. 82 1/4 in. (210.2 cm)
Gift of The Frederick W. Richmond Foundation, Judy and Michael Steinhardt and Mr. and Mrs. A. Alfred Taubman, 1990 (1990.247)
This monumental marble statue was named the Hope Dionysos after its former owner, Thomas Philip Hope. The figure of Dionysos is shown standing at ease with his left arm resting on an archaistic female figure traditionally identified as Spes, the personification of hope. He wears a panther skin over his chiton and a cloak wrapped around his upper right arm and shoulder. Part of the cloak trails down the right side and part of it loops around the back of the god and over the head of the archaistic support.
The archaistic female figure stands frontally with her feet together on a base that has been restored as a roughly hewn, blocklike pedestal. With her left hand, she pulls the lower part of her garment to one side. Her right arm, bent and extended toward the viewer, is restored as holding the bud of a lotus blossom. She wears a long, diagonal himation and a floor-length chiton. The heavy central pleat down the front of her himation and the V-folds near her neckline are retrospective elements, specifically archaistic, which look back to Archaic korai. Her coiffure consists of drilled Archaic snail-like curls over wavy hair that is parted down the middle, and two long spiral tresses that fall over each shoulder. Her facial features, however, recall those of sculpture dated to the first quarter of the fifth century B.C. (the Severe style), more than those of sculpture dated to the Archaic period. The figure's costume, hairstyle, and particularly her pose recall representations of Spes, who is usually depicted as a kore in an archaistic himation, holding a bud, either open or closed, in her right hand.
The torso and head of Dionysos, and most of the archaistic figure are Roman. However, the head was joined to the torso by the sculptor and restorer Vincenzo Pacetti, who also provided arms, lower legs, and other details to complete the composition. This torso and a copy at the Hermitage Museum are the most important Roman replicas of a Greek sculptural type of the second quarter of the fourth century B.C. Only four other fragmentary variants are recorded. The high quality of workmanship and good condition make the torso central to the study of this neglected sculptural type, and the decorative restorations document the taste of a notable period in the history of collecting antiquities.
Text from: www.metmuseum.org/toah/hd/grsc/hod_1990.247.htm
Roman
Marble; H. 82 1/4 in. (210.2 cm)
Gift of The Frederick W. Richmond Foundation, Judy and Michael Steinhardt and Mr. and Mrs. A. Alfred Taubman, 1990 (1990.247)
This monumental marble statue was named the Hope Dionysos after its former owner, Thomas Philip Hope. The figure of Dionysos is shown standing at ease with his left arm resting on an archaistic female figure traditionally identified as Spes, the personification of hope. He wears a panther skin over his chiton and a cloak wrapped around his upper right arm and shoulder. Part of the cloak trails down the right side and part of it loops around the back of the god and over the head of the archaistic support.
The archaistic female figure stands frontally with her feet together on a base that has been restored as a roughly hewn, blocklike pedestal. With her left hand, she pulls the lower part of her garment to one side. Her right arm, bent and extended toward the viewer, is restored as holding the bud of a lotus blossom. She wears a long, diagonal himation and a floor-length chiton. The heavy central pleat down the front of her himation and the V-folds near her neckline are retrospective elements, specifically archaistic, which look back to Archaic korai. Her coiffure consists of drilled Archaic snail-like curls over wavy hair that is parted down the middle, and two long spiral tresses that fall over each shoulder. Her facial features, however, recall those of sculpture dated to the first quarter of the fifth century B.C. (the Severe style), more than those of sculpture dated to the Archaic period. The figure's costume, hairstyle, and particularly her pose recall representations of Spes, who is usually depicted as a kore in an archaistic himation, holding a bud, either open or closed, in her right hand.
The torso and head of Dionysos, and most of the archaistic figure are Roman. However, the head was joined to the torso by the sculptor and restorer Vincenzo Pacetti, who also provided arms, lower legs, and other details to complete the composition. This torso and a copy at the Hermitage Museum are the most important Roman replicas of a Greek sculptural type of the second quarter of the fourth century B.C. Only four other fragmentary variants are recorded. The high quality of workmanship and good condition make the torso central to the study of this neglected sculptural type, and the decorative restorations document the taste of a notable period in the history of collecting antiquities.
Text from: www.metmuseum.org/toah/hd/grsc/hod_1990.247.htm
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