The 1st-century BCE Greek sculptor Antioco carved this statue to match the most famed sculpture in antiquity, the long-lost Athena in Athens’ Parthenon.
This mid-3rd-century CE sarcophagus, deeply carved and remarkably well-preserved, shows the Romans victorious over the barbarian Ostrogoth hordes.
This 1st-century CE statue was carved by Menelaus, an imitator of the great Greek artist Praxiteles. The scraps of 15th-century fresco nearby depict some wedding gifts from the marriage of Girolamo Riario and Caterina Sforza.
The loggia frescoes (c. 1595) are a catalogue of the exotic fruits, plants, and animals then being imported from the New World.
Imperial Rome was in love with Greek sculpture, producing copies such as this grouping of Dionysus, a satyr, and a panther.
This set of 5th-century BCE reliefs came to Rome from a Calabrian Greek colony and were discovered in the 19th century.
There are two 1st-century CE Apollos in the museum, both restored in the 17th century.
This suicidal figure supporting his dead wife’s arm was part of a trio, including the Capitoline’s Dying Gaul, commissioned by Julius Caesar to celebrate a Gaulish victory.
The Egyptian collections are divided into three sections related to that culture’s influence on Rome: political theological, popular worship, and places of worship. The showpiece is the impressive granite Bull Api, or Brancaccio Bull (2nd century BCE).
Goethe called this his “first love in Rome.” It is believed to be a portrait of Claudius’s mother, Antonia.
Ancient Rome’s art was as conservative as its culture. From the middle Republican to the Imperial era, Romans shunned original sculpture for copies of famous Greek works. The Caesars imported Golden Age statuary from Greece, and Roman workshops churned out toga-wearing headless figures in stock poses to which any bust could be affixed. Romans excelled at bust portraiture, especially up to the early Imperial age when naturalism was still in vogue. Roman painting is divided into styles based on Pompeii examples. The First Style imitated marble; the Second Style imitated architecture, often set within the small painted scenes that became a hallmark of the Third Style. The Fourth Style was trompe l’oeil decoration. Mosaic, first developed as a floor-strengthening technique, could be simple black-on-white, or intricate work with shading and contour. Opus sectile (inlaid marble) was a style that was imported from the East.
4. Centrale Montemartini (Via Ostiense)
5. Ara Pacis (Lungotevere en Augusta)
6. Villa Giulia
8. Column of Marcus Aurelius (Piazza Colonna)
10. Museo Barracco (Corso Vittorio Emanuele II)
18.191.135.224