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THE COLLECTION
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Berreginen Museoa
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Bilbao
CARYATID FROM THE ERECHTHEION
Plaster
Copy: British Museum. 1934
Original: Athens. 5th century BC
The term caryatid refers to any female figure which serves to support any part of a building. In this particular case, the caryatid is one of six female figures that supported one of the porticos of the temple dedicated to the goddess Athena in the Acropolis of Athens. This temple was called Erechtheion and the portico in question was called the Porch, or Portico, of the Caryatids.
There are many hypotheses surrounding their identity and meaning. It is also uncertain where the name caryatid actually comes from, or what it refers to. These figures may have been related to the Athena festival which was held in Athens every year. The festival’s main events took place in the Erechtheion and on the esplanade before it, just in front of the Portico of the Caryatids.
THE CHARIOTEER OF DELPHI
Painted plaster
Copy: Louvre Museum. 1932
Original: Greece. 70s of the 5th century BC
The Charioteer of Delphi is one of the few surviving original bronze statues from Ancient Greece. The original figure was cast in sections, utilising the lost wax method. Accordingly, a hollow figure could be created, thereby using considerably less bronze - a very expensive material.
A charioteer drove chariots, and, in this case, he drove a quadriga - a chariot drawn by four horses - in a race held at the ancient Delphi Sanctuary. This figure was part of a larger group of statues, consisting of him, a chariot, four horses and a groom. Only the charioteer has survived as it was buried in the Sanctuary in ancient times, following an earthquake which damaged the sculptures.
The Pythian Games were held in Delphi every four years. They were similar to the Olympics, but dedicated to the god Apollo, rather than Zeus. The Charioteer is believed to have served as a votive offering to commemorate a victory at the Pythian Games. It is also believed that the statue may have been dedicated by a member of the Syracuse tyrants family, in Sicily.
THE ALTAR OF ZEUS
Plaster
Copy: Berlin Museums Replica Workshop. 1932 and 1934
Original: Pergamon 2nd century BC
This copy reproduces a fragment of the Gigantomachy Frieze that decorated the Altar of Zeus, in Pergamon (Turkey). The Gigantomachy was one of the most important battles in Greek mythology that saw the gods of Olympus doing battle with the Giants. The Altar of Zeus was a temple which was built on one of the terraces of the Acropolis or high city of Pergamon. At the centre, surrounded by a colonnade, the temple also had a large altar where sacrifices would be burned. The decorative frieze, more than two meters tall and over 100 meters long, decorated the building’s perimeter.
The frieze’s expressivity stands out the most. The figures seem to move in waves in the heat of battle. The bodies swell, anatomies are exaggerated and the Giants’ faces that have been preserved express every ounce of the anguish of acknowledging defeat. This frieze is believed to be the Pergamenian baroque style model of the Hellenistic period. The Victory of Samothrace or the Laocoön group were later sculpted, following on from this example.
LORENZO DE’ MEDICI
Plaster
Copy: Roman workshop. 1934
Original: Florence. Michelangelo Buonarroti. 1531-1534
The thoughtful pose of the figure has resulted in him being known as Il Pensieroso (the thoughtful one) since the sixteenth century. The original figure forms a part of the sculptural decorations of the New Sacristy, the burial site of various members of the Medici family. The entire set was designed and decorated by Michelangelo. This particular statue decorates the tomb of Lorenzo II de’ Medici, Duke of Urbino.
The figure does not in fact bear any resemblance to the real Lorenzo. It is, rather, a perfect representation of the concept of contemplative life. Lorenzo is wearing a leather breastplate, as ancient Romans wore. He is bringing the index finger of his left hand towards his mouth in a thoughtful gesture. He is holding a handkerchief in the same hand. There is a box under his left elbow adorned with a bat’s face. Bats were symbolic of death and the afterlife in ancient times; a particularly appropriate theme for a funerary monument such as this one.
WINGED VICTORY OF SAMOTHRACE
Plaster
Copy: Louvre Museum. 1932
Original: Greece. 2nd century BC
The figure depicts Nike, the Greek goddess of Victory. This was discovered on the island of Samothrace in 1863. It was amongst the gifts offered in the Sanctuary of the Cabeiri gods. Nike’s body was broken into many fragments. Apart from the head, arms and right foot, the original is also missing the left breast area and the right wing. Both parts were restored at the Louvre Museum at the end of the 19th century. This is why they can be seen on both the original and the copy from the Reproductions Museum. Also, the original Victory is supported on a base in the form of a ship’s prow, something which is not reproduced here.
The theatricality of the figure is particularly striking. The goddess appears to be descending to alight upon the prow of a ship, while her dress blows in the wind. Majestically, she announces a naval battle victory. No one knows what she was carrying in her left hand. Her right hand palm was found to be open whereby it was believed that she could be making a greeting gesture.
MOSES
Plaster
Copy: Roman workshop. 1934
Original: Rome. Michelangelo Buonarroti. 1505-1545
The original statue of Moses forms a part of the decorations of the tomb of Pope Julius II, in the San Pietro in Vincoli Church, Rome. This is a set created by the celebrated Florentine sculptor Michelangelo Buonarroti. Here, Moses is located in the central part of the lower area. The original statue is carved in white marble extracted from the quarries of Carrara.
Moses’ presence is impressive. Focusing on his left side, it would appear that Moses is about to suddenly stand up in rage. Yet the right hand side of his body appears to be synonymous with calmness. His right hand is playing with his beard whilst his foot is planted fully on the ground. Michelangelo was a true master when it came to representing different moods in a single scene and Moses is a perfect example of this skill.
A small detail on the figure is particularly interesting. There are two horns on its head. In this representation, Michelangelo follows the Latin biblical text which described Moses as having horns when coming down from Mount Sinai, upon receiving the Tablets of the Covenant.
DYING SLAVE
Plaster
Copy: Benito Bartolozzi. 1930
Original: Rome. Michelangelo Buonarroti C. 1513
The Dying Slave was one of many figures Michelangelo carved for Pope Julius II’s tomb, but which were never placed there. The original forms a set of two, in the Louvre Museum, along with the Rebel Slave.
Michelangelo began carving the original figure in around 1513 but never completed it. No one knows why he never did although he would not have been able to finish it as there is not enough marble under the right foot to carve the full figure without the statue breaking.
Despite its name, the figure depicts a prisoner rather than a slave. It is believed that this was a painting allegory; a prisoner because, when the Pope passed away, there was no one to cultivate it. The sculpture has been associated with painting given the unfinished representation of the monkey behind the figure. Since the Middle Ages, monkeys were symbolic of painting as it was said that, of all the arts, this bore the most similarities to nature: ars simia naturae.
APHRODITE AND DIONE
Plaster
Copy: British Museum. 1932
Original: Greece. 5th century BC
These two female statues are said to depict the goddesses Aphrodite and Dione. The originals were sculpted in marble from Mount Pentelicus. These are round-bodied pieces, i.e. on all sides. They were sculpted to be laid on the main façade of the Parthenon in Athens, in a triangular area, crowning the top of the building, known as the pediment.
The woman lying down is believed to represent Aphrodite, the goddess of love, beauty and fertility for the Greeks. Aphrodite is believed to be resting on her mother, Dione. One of the most striking features of the figures is the fact that we can see the women’s bodies under their clothing. This fabric sculpting technique is known as the ‘wet-look.’ It was used to reveal the beauty of the female body, without having to actually undress it. Whilst men were most often represented in their naked form, putting the female body on display was frowned upon in Ancient Greece.
HERMES AND THE INFANT DIONYSUS
Plaster
Copy: Berlin Museums Replica Workshop. 1932
Original. Greece. 1st century BC to 1st century AD
Copying a Greek original from the 4th century BC
The original sculpture was discovered in 1877 in the sanctuary of Olympia. Given said location, it was believed to be an original piece created by the Athenian sculptor Praxiteles. However, it is now believed to be a copy of an original of said sculptor.
The group depicts the god Hermes, the messenger of the gods, holding baby Dionysus in his arms. This scene is part of the mythological tale of the birth of the god of wine, Dionysus for the Greeks and Bacchus for the Romans.
Hermes’ pose is particularly striking here. From the waist down, the body’s weight is only supported on the right leg, whereby the hip is also pushed out to the right. The trunk, however, leans to the left. And finally, the head is tilted back to the right. If we were to draw a vertical line from head to foot, it would be an “S” shape. This curve gives this athletic man’s body a very sensual look to it; a feature that was often apparent in Praxiteles’ work.
SILENUS AND THE INFANT DIONYSOS
Plaster
Copy: Louvre Museum. 1930
Original: Rome. 1st to 2nd centuries AD Copying a Greek original from the 4th century BC
The sculpture depicts Silenus cradling the infant Dionysos in his arms. According to Greek mythology Silenus was a satyr (a halfhuman, half-animal creature) to whom the newborn Dionysos was given to to be taken care of. The little god was the son of Zeus and a mortal lover and his wife, Hera, wanted to kill him. So as to prevent this from happening, Zeus had him hidden in the forest, under Silenus’ care.
Several copies of this sculptural group have been kept. The shapes would suggest that there was an original in bronze, possibly dating back to the end of the 4th century B.C. which inspired subsequent versions. Given its features, it is believed that the original bronze piece could have been created by the famous sculptor Lysippos, a personal portraitist to Alexander the Great.
BELVEDERE TORSO
Plaster
Copy: Benito Bartolozzi. 1930
Original. Greece 1st century BC
Copying a Greek original from the 4th century BC
The original sculpture is known as “El Torso.” During the Renaissance, any statue in a fragmentary state was described as a torso. However, the significance this particular figure acquired resulted in it being considered The Torso par excellence.
The legs from the knees down are missing, as well as the arms and the hip. And, despite this fact, we still have a rough idea of the entire body now. For centuries, it was believed to depict the hero Heracles (Hercules to the Romans). It was believed that he was sitting on a lion hide. But the tail, which can be seen on the right hand side, is clearly not that of a lion.
It is now believed to depict another Greek hero, Ajax. The warrior would have been sitting down, with his right elbow resting on his thigh. His right hand would have been holding a sword, with the sharp edge pointing down. His head would have been leant thoughtfully on the hilt of the sword. He would have held the scabbard in his left hand, with it running along his thigh on the same side.
The author’s inscription can still be read on the base. Said inscription is written in Greek: «Apollonios, son of Nestor, Athenian».
DIANA OF VERSAILLES
Plaster
Copy: Louvre Museum. 1932
Original: Rome. 2nd century AD
Copying a Greek original from the 4th century BC
The sculpture is known as Diana of Versailles as it was installed at the famous French palace for many years. The original figure reached France in around 1556, during the reign of Henry II. It is believed to have been a political gift from Pope Paul IV.
It was first installed in the Fontainebleau Palace before being moved to the Louvre Palace at the beginning of the seventeenth century. Then, in the middle of said century, Louis XIV removed it to Versailles, from where it coined its name.
It represents the Roman Goddess Diana or Greek Goddess Artemis. As goddess of hunting, she bears a quiver carrying arrows on her back. As protector of the wild, she is attended by a buck.
For many years, the statue was believed to be a Greek original dating back to the 4th century B.C. and that it is one of a set of two, with the other being the famous sculpture, the Apollo of the Belvedere (which can also be seen at the Museum). Today it is believed to be a Roman copy of a lost Greek statue.
VENUS DE MILO
Plaster
Copy: Louvre Museum. 1932
Original: Rome. 1st century BC
The Venus de Milo is currently one of the most celebrated sculptures of the ancient world. Notwithstanding, it is not a Greek figure. The sculpture was curated at Roman workshops and the forms follow the trends of the time.
The statue is named after the Greek island of Milos, where it was discovered in 1820. Since its discovery it became a model for Greek beauty, although the statue does in fact adapt forms of the Greek past to Roman tastes. The face appears to have been inspired by classic models of the fifth century B.C. The way in which flesh is represented alludes to Praxiteles’ creations, in the fourth century B.C. However, the body appears to follow cues of Hellenistic models and turns on itself, to provide different perspectives.
ESQUILINE VENUS
Plaster
Copy: Benito Bartolozzi. 1931
Original: Rome 1st century BC
The original statue was discovered in 1874 at the Roman Horti Lamiani (Lamian Gardens), on Esquiline Hill , in 1874. It depicts Venus, tying up her hair, naked, after a bath. Although the figure lost its arms, the remains of the fingers on its left hand can be seen holding her hair in place.
The sculpture follows the representation known as Venus Anadiómene or Venus emerging from the sea. According to one of the versions relating her birth, the goddess VenusAphrodite arose from the foam of the sea. This foam is said to have formed around the castrated genitals of the god Uranus when they were thrown into the water.
Notwithstanding, there is a small detail that lends an air of mystery to the figure. A snake is coiled around the sides of the vessel at the goddess’ feet. Investigations deduce this serpent to be a reference to Egypt. And, more specifically, to the famous Cleopatra.
APHRODITE OF KNIDOS
Plaster
Copy: Casa Juan Serra. 1943
Original: Rome. 1st century AD
Copying a Greek original from the 4th century BC
The Venus of Knidos or Aphrodite of Knidos was a famous ancient sculpture of which only copies and versions of the original are preserved. The original was carved by the Greek sculptor Praxiteles, in the 4th century B.C. It was famous from its conception as it was the first large-scale representation of the nude female form. The figure of the goddess Aphrodite was sold to the city of Knidus, in Asia Minor; hence her name. One of the most famous versions of the original is the Colonna Venus at the Vatican Museums.
Praxiteles was famous for depicting mythological scenes by making use of limited items. Here we can see Aphrodite holding a cloth over a pot whilst moving her right hand to her genitals. Looking at her, it gives the impression that we may have interrupted her in the bathroom. It is believed that the set depicted the goddess bathing and renewing and purifying herself, prior to the Judgement of Paris, where the most beautiful goddess was chosen.
LAOCOÖN AND HIS SONS
Plaster
Copy: Vatican Museums. 1934
Original: Greece. 3rd to 1st centuries BC
The group represents the Trojan priest Laocoön and his sons being attacked by serpents, sent by Poseidon. It is a scene attributed to the Trojan War. Laocoön refuses to accept the famous wooden horse and suggests it not be allowed into the city. Shortly afterwards, when making a sacrifice to the gods, with his sons present, two serpents emerge from the sea, killing both sons. The Trojans interpret their death as a punishment for not accepting the horse and they get it into the city. When night fell, Ulysses emerged from inside the horse with Greek troops, opened the gates of the city, consequently resulting in the fall of Troy.
The original sculpture is considered to be one of the most celebrated Greek groups of all time. It arrived at the Vatican in 1506, when coincidentally in Rome. It is considered to be one of the finest examples of Hellenistic baroque. The artistic style of the group is characterised by its expressive power, its dynamism and the powerful representation of the bodies.
BUST OF HOMER
Plaster
Copy: National Reproductions Museums of France
Original: Rome. 2nd century AD
Copying a Greek original from the 2nd century BC
Many ancient busts are preserved which depict the Greek poet par excellence: Homer; the author of the Iliad and the Odyssey who lived in the eighth century B.C. His portraits came centuries later, all of which were idealized.
The original bust is carved in marble, in a style reminiscent of the Pergamon workshop sculpture. It is believed that, in the second century B.C., this workshop created a life-size, full-body statue of Homer, which served as a prototype for many busts later curated. In Hellenistic times, the poet was held in high esteem in the entire Greek world. Many cities wanted to decorate their libraries with his image and many copies of he bust of said statue were created.
Homer is depicted as an elderly man, reaching the end of his life. His sunken, hollow eyes emote the poet’s blindness. Despite being imaginary, the portrait employs naturalistic forms in an attempt to create a real character, albeit not close. The band on his forehead associates him to the world of heroes and not to the mortal world.
DISCOBOLUS
Plaster
Copy: Benito Bartolozzi. 1930
Original: Rome. 2nd century AD
Copying a Greek original from the 4th century BC
The Discobulus figure is usually associated with the Greek sculptor Myron. He created the original bronze sculpture, but all that is left today are Roman copies of Myron’s aforementioned creation. There are various versions, in differing states of preservation and in various sizes and materials. The one seen here is a smaller version of the Townley Discobolus which is kept at the British Museum. The most coveted Roman copy is the Lancellotti Discobolus at the National Roman Museum.
The statue depicts a discus thrower, just before throwing. The figure summarises the movement involved in a single static pose. As a result, it is the viewer who recreates the complete action in their mind. It is a sterling example classical Greek art elegance.
Of all the copies of the Discobolus, this is the one with its head wrongly positioned. It appears that in Mirón’s original, the thrower was looking at the disc and not at the ground, as is the case here.
BELVEDERE APOLLO
Plaster
Copy: Vatican Museums. 1932
Original: Rome. 1st century AD
Copying a Greek original from the 4th century BC
The original Apollo of the Belvedere statue was part of a private collection owned by Cardinal Giuliano della Rovere. In 1503, the Cardinal became Pope Julius II and the statue was moved to the Vatican, where it can still be found today.
The figure depicts the Greek god Apollo. He was the twin brother of the goddess Artemis. Apollo was the god of music, poetry and mathematics. He was also associated with the concepts of beauty, moderation and order. He presided over the sanctuary of Delphi where he was the god of divination. According to mythology, in order to preside over the sanctuary, he had to first slay the serpent, Python. It is believed that this statue could be a depiction of Apollo shooting the serpent. Aside from carrying arrows on his back, it looks as though he may have been holding a bow in his left hand.
THE BORGHESE GLADIATOR
Plaster
Copy: Louvre Museum. 1934
Original: Greece. 2nd to 1st centuries BC
Whist the statue was christened with the name of a gladiator we know that it does not in fact depict one given that ancient Roman gladiators did not typically appear naked. On the contrary, the figure is now believed to be a depiction of Achilles. This hero could have been fighting against an enemy on horseback. He may have been holding a shield in his left hand that has since been lost. You can still see the clamp around his arm used to hold it with. Also, whilst protecting his body he appears to be attacking with the sword that he would have held in his right hand.
The sculpture’s pedestal is signed. In Greek it reads: This was created by Agasias, son of Dositheus, Ephesian. It is believed to be a Hellenistic copy of a bronze original of the 4th century B.C. It belonged to the Borghese family, from which it took its name, for centuries before Prince Camilo Borghese sold it to Napoleon in 1807.
THE SPINARIO
Plaster
Copy: Benito Bartolozzi. 1930
Original: Rome. 1st century AD
The Spinario was one of the few ancient sculptures exhibited in Rome during the Middle Ages. Located in the San Juan de Letrán Square, Sixto IV removed it to its current location in the Capitoline Museums.
The original piece, kept in Italy, was cast in bronze. Notwithstanding, there are many versions relating to the same theme, both in bronze and in marble. Anecdotal themes, such as this one, were particularly popular during the Hellenistic period.
Many of these Greek sculptures were curated to be sold to Roman elites. These clients often imposed certain trends. In this case, the figure combines the naturalism of the era, in terms of representing the body, with a head that evokes the classicism of the fifth century B.C. The face shows no signs of emotion and the hair is highly stylised.
It was inspired by an insignificant event: A boy who got a thorn stuck in his foot and tries to pull it out. The title of the piece is derived precisely from that action.
DIANA OF GABII
Plaster
Copy: Louvre Museum. 1932
Original: Rome. 2nd century AD
Copying a Greek original from the 4th century BC
The statue represents Diana, the goddess of hunting and the wild. Diana was her Roman name. In Greek it was Artemis.
The original statue was discovered in Gabii, Italy, in 1792 - hence its name. Since its discovery, it was believed to be a Roman copy of an earlier Greek original. The statue it was based on is believed to have been a statue created by Praxiteles, a famous Greek sculptor of the fourth century B.C. He was commissioned to sculpt a figure of the goddess Artemis for a temple of the Acropolis of Athens called the Brauroneion. The temple was dedicated to the goddess as protector of women. Artemis would receive gifts from them consisting of objects such as veils and other female items. The veil the goddess is wearing could be one of said gifts left at the temple.
BOY WITH GOOSE
Plaster
Copy: Benito Bartolozzi. 1930
Original: rome 2nd century AD
Copying a Greek original from the 2nd century BC
The 3rd, 2nd and 1st century B.C. of Greek art are known as the Hellenistic period. In said period, representing themes of little importance became popular in art. In addition, the scope of characters broadened significantly. The sculpture depicts not only young athletes and beautiful women in the prime of life, but also children, elderly people as well as ugly and deformed people. Another new trend was the abandonment of the “front on view” of sculptures. Figures were now conceived to be seen from all angles rather than just from the front.
The Boy with the Goose is a prime example of the new Hellenistic trends of the time. This group depicts a child playing with a goose. It is a simple and familiar scene has no intention of emoting any kind of symbolic meaning. In addition, its pyramid structure urges us move around the figures to admire every single detail of the scene.
THE WRESTLERS
Plaster
Copy: Royal Institute of Art of Florence. 1930
Original: Rome. 1st century AD
Copying a Greek original from the 3rd to 1st centuries BC
The original group of The Wrestlers was discovered in Rome towards the end of the 16th century. Francesco I de’ Medici purchased the group immediately after its discovery and transferred it to his villa in Rome. In the seventeenth century, the sculpture was moved to Florence where it was installed in the Tribuna, in the Uffizi Gallery, where it can still be seen today.
Both figures were headless when discovered. In order to complete the group, an ancient head from Roman times was fitted on one of the figures. A copy of the first one was made for the other figure.
It is believed that the figures depict two Greek men engaging in pankration. Pankration was one of three types of fighting styles practiced in ancient Greece. These types of intertwined pieces grew in popularity during the latter period of Greek art, the Hellenistic period.
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