The Naked Aphrodite

The statue of the nude Aphrodite (Venus) is an absolutely beautiful, larger than life, Roman sculpture constructed of marble around the 4^th century B.C.E but was later discovered in 17^th century A.D. (1666-1670). When looking at the sculpture, it is apparent that Aphrodite is attempting to cover herself possibly after bathing. She is standing with her right leg bent as her left leg remains straight. The detail in this sculpture is exquisite because her womanly shape is so precise it looks as if it is truly a real woman standing before you. Her right arm is making an effort to cover her breasts while her left hand is successful at covering her pubic area. The expression on her face is quite blank as she is maybe trying to hide her embarrassment very nonchalantly. Her head is turned to the left as if she is looking for a place to hide and her hair appears to be half up, half down in a messy fashion. Overall the piece is incredibly stunning and the appearance of the sculpture is smooth and soft similar to the way Aphrodite probably felt after her bath. The myth behind this sculpture relates to the story of how Aphrodite was born. Among other stories, Aphrodite was born of the sea foam when angry Cronus castrated his father Uranus (sky god) during his mating time with Gaia (Mother earth goddess) when Uranus' sperm fell from the sky, it landed in the sea and from the foam arose Aphrodite. Boticelli's famous painting The Birth of Venus perfectly depicts what Aphrodite looked like when she arose from the foam.

~Lisa Drusedum

Capitoline Faun

Capitoline Faun - Statue of a satyr in the Capitoline Museum

A satyr is a mythological creature closely associated with Dionysus, drinking, and lustfulness.  Sometimes in art they are given horse or goat legs and tales with upper bodies of men.  The common representation is that of a man with goat hooves and animal ears.  They typically inhabited the wilds and woodlands, playing pipes and causing mischief.  They loved to chase maenads, nymphs, bacchants (worshipers of Dionysus), and women in general.  They also have a special love for wine and are often depicted on wine cups.  The most well known satyr is the Greek God Pan, lord of the wild, shepherds, rustic music, and companion to the nymphs.  He is also connected to fertility and the season of Spring.  Pan is also the only Greek god in all of ancient mythology who dies.  According to Plutarch, the sailor Thamus was traveling to Italy when he heard a divine voice telling him that Pan was dead.  Another story concerning Pan is that of Pitys.  Pitys was a beautiful forest nymph who had attracted the attention of both Pan and Boreas, the raging North Wind.  Forced to choose between the two, Pitys chose Pan because he was being more quiet than Boreas.  Angry at not being chosen, Boreas tossed Pitys off a cliff and killed her.  When Pan found her body, he was sad and turned her into his patron tree, the pine tree.  Legend says that this is why pine trees have resin that drips down every Fall: it is the tears of the nymph that fall when the North Wind blows.

--Michael Green  

Leda With The Swan--Evan Rodenhausen

Leda With The Swan: Copy of marble statue attributed to Timotheos, from 360 B.C. 132 cm high.

Myth: Leda, the wife of Tyndareus, King of Sparta, was a beautiful mortal woman who was coveted by Zeus. Enamored with the woman, the Olympian God disguised himself as a gorgeous white swan, and proceeded to rape and/or seduce Leda. Certain myths speak of how this was the same night she lay with Tyndareus, and the result was two sets of twin off-spring, each set hatched from a different egg; from Zeus, she birthed the stunning Helen, who later played a role in the launching of the Trojan War after being taken by Paris, and Pollox. From Tyndareus came Castor, who formed a famous and deep relationship with Pollox, and Clytemnestra, the future wife (and murderer) of Agamemnon.

Pluto and Proserpina -- Ryan Flynn

Located in the Borghese Museum, the “Pluto and Proserpina” piece is a white marble statue designed by Gian Lorenzo Bernini. It portrays the mythological story of Pluto rising from the Underworld to steal Proserpina. Pluto was lonely and desired a wife, so Jupiter promised him Ceres’s daughter. Proserpina was in a field picking flowers when Pluto arrived and snatched her away, which is the climax of the story that Bernini chose to depict. Ceres and Pluto later agreed to split custody of Proserpina: Ceres would get Proserpina in the spring, and Pluto would have her in the Underworld during winter. The overall story attempts to explain the concept of seasons changing.

"Triumph of Galatea" By Raphael

Picture: Villa Farnesina Website.

Villa Farnesina in Rome was a vivid experience of the mythological illustrations throughout the 1500’s.“The Triumph of Galatea” created by Raphael in 1511-1512. This piece of artwork was created with a peculiar technique of fresco on plaster. The entire wall is engulfed by a mural of great proportions with elements that enrich the theme. The size of the painting is approximately 290 inches by 220 inches. The myth connected with this fresco was the story revolves around Polyphemus, the cyclops son of Poseidon, who was in love with the beautiful Nereid Galatea. Nereid Galatea fell in love with the peasant Aces and Polyphemus killed Aces out of jealousy by crushing him with a huge rock. After Aces untimely death Galatea transformed Aces into a river. Another part of the myth describes how Polyphemos would sit on a cliff and play songs out of pipes while Galatea would listen and enjoy them. In the main painting the Nymph, Galatea, is riding a chariot pulled by two grotesque dolphins. She seems to be enjoying the moment and the sound of the Cyclops playing his instrument. There are three cherubins, or cupids, with bow and arrows attempting to shoot the beautiful Nymph. Perhaps the multiple Cupids are the representation of the Cyclops’ love trying to bring down it’s quarry. The Nymph seems to be riding with great alacrity, so much so  that the wind is blowing and pulling her hair to the side.

Monica Salazar

Apollo and his Lyre

The piece I chose is a white marble statue of Apollo, located in Rome’s Capitoline museum.  The white marble statue beautifully depicts Apollo as a young man, boyishly naked, and with his lyre in hand.  The myth associated with this statue tells the story of how Apollo came to be depicted with a lyre. The myth states that Mercury found a tortoise shell lying in the glass, picked it up, and bored holes into the edge of the shell.  Mercury, then fastened hollow reed inside and with leather and strings made a lyre.   Later that night, he stole fifty of Apollo’s finest heifers.  Apollo believed that Mercury had stolen his cattle.  When Apollo accused him of stealing the beautiful cattle, Mercury innocently denied any accusations.  The two brothers paid a visit to Jupiter, their third brother, to settle the dispute.  Mercury then proceeded to play his lyre.  Apollo was astonished by the beautiful sound and agreed to allow Mercury to keep his cattle for producing such a lovely sound.  This act pleased Mercury so greatly that he gave Apollo the lyre. In return for the gift of the wonderful lyre, Apollo gave Mercury a golden wand. 

Dana Lerro 

Apollo and Daphne

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Commissioned by: Italian Cardinal Scipione Borghese
Completed by: Gian Lorenzo Bernini (Italian artist and architect)
Material: Marble
Style: Baroque
Date: 1622-1625



The mythological episode behind this sculpture has to do with an event that took place between Apollo, god of Sun, and the nymph, Daphne. Apollo mocked Eros, god of love, for his use of a bow and arrow because Apollo believed he had no use for these tools since he does not participate in war. Eros became insulted and took out one arrow of gold, which incites loves, and one of lead, which insights hatred. He shot Daphne with the lead arrow and shot Apollo through the heart with the golden arrow. Apollo instantly fell in love with Daphne, but she despised him. Daphne turned away all of her lovers and preferred exploring the woods instead. Eventually, her father, Peneus (a river god), demanded that she get married, but she begged him not to.

            Apollo continued to chase after her and beg for her love, but Daphne continued to run. It became a race and Eros got involved and helped Apollo to gain on the nymph. Daphne realized she was about to be caught and called for her father, “"Help me, Peneus! Open the earth to enclose me, or change my form, which has brought me into this danger! Let me be free of this man from this moment forward!" Peneus answered her cry for help by casting an enchantment upon her which turned her skin to bark, her hair to leaves, and her arms to branches. In addition, she could no longer run because her feet became rooted to the ground. Apollo embraces the branches, but there is nothing left he can do. Apollo promised to tend to her as his tree and never let any beasts of the earth do harm to her. He promised that her leaves would decorate the heads of leaders as crowns along with weapons. Also, Apollo used his ability of eternal youth and immortality to make her green forever and ensure the laurel tree will never decay.

By: Kyle Lockard

Marcus Aurelius and Faustina the Younger as Mars and Venus

This statue in the Capitoline Museums represents Marcus Aurelius and Faustina the Younger in the forms of Mars and Venus. The 228-centimeter tall marble sculpture was commissioned in 145 AD for the wedding of Marcus Aurelius, the future Roman Emperor, and Faustina the Younger, daughter of former Roman Emperor Antonius Pius. 

 

Pope Benedict XIV donated this sculpture to the Capitoline Museums in 1750 after its discovery at the Isola Sacra necropolis in Ostia. Scholars believe the statues were designed after the Borghese Ares and the Aphrodite of Capua. Considering himself a dominant force on the battlefield, Marcus Aurelius chose to display himself as a personification of the Roman god of war.

The combination of Mars and Venus, or Ares and Aphrodite, embodies a complex couple among the gods. After reluctantly wedding the ugly god of smiths Hephaestus, the beautiful Aphrodite does not remain faithful and continues an affair with Ares. One day after Hephaestus pretends to leave for a trip, he catches the two lovers in bed with an unbreakable bronze net. Humiliatingly displayed before the other Olympian gods, Aphrodite and her enchanting looks cause Poseidon, Hermes, and Dionysus to fall in love with her, as well. She cuckolds Hephaestus multiple times in the future with mortal and immortals alike. Moreover, their passionate love begrudges the other when they are caught cheating, as shown in Ares’ murder of Adonis. This myth of revenge resembles Hera’s malice that haunts many of Zeus’ lovers.

- Adam Gabay

Danaë by Correggio at the Galleria Borghese

Picture obtained from www.galleriaborghese.it 

The painting, Danaë, by Correggio is located in the Borghese Gallery.  The painting was created around 1531, is about 1.6 meters by 1.9 meters, and is oil on canvas. 

The painting references a mythological story in Ovid’s Metamorphoses about the Roman god Jupiter and the mortal princess Danaë.  King Acrisius of Argos hears an oracle that says his daughter, Danaë, will bear a child that will one day kill him.  King Acrisius, wanting to avoid this, decides to lock his daughter into a bronze tower of his palace (sometimes the story is told with her being locked in the basement) to keep her from having children.  However, Zeus falls in love with her and in order to lay with her while she is in the tower, he transforms himself into a golden cloud and rains down upon her golden raindrops.  This episode leads to Danaë becoming pregnant and giving birth to a demigod named Perseus.  Afraid her father will rid of her son, she hides him for four years.  However, the boy is discovered after Acrisius hears him playing, and he put Danaë and the child into a chest and throws them into the sea.  Upon request by Zeus, Poseidon carries the chest safely ashore to the island of Seriphos where they are discovered by a fisherman named Dictys who raises Perseus to manhood.

The painting depicts the moment in the myth where Zeus comes down upon Danaë as a golden shower.  In some versions of the myth, Cupid is sent down by Zeus to prepare Danaë and her bed for the arrival of Zeus.  

This painting, along with three others, were commissioned in 1530 by Federico II who wished to give them as a gift to Emperor Charles V when he came to Bologna in 1530 for his coronation.  Danaë and the three other paintings were part of a series of the loves of Jupiter.  The other three included Io, Ganymede, and Leda.  It is believed, however, that Danaë was not completed in time for the emperor’s visit as the painting inscription says the painting was completed in 1531. 

Written by: Adri Fernandez 

Statue of Leda with the Swan

Ashley Hough

A beautiful statue in the Palazzo Nuovo depicts the mortal woman Leda leaning against a tree trunk on her right and clutching a swan who is actually the king of the Olympian gods, Zeus, in the form of a swan. The white marble statue is slightly erotic in nature, and shows Leda partially nude protectively holding the majestic swan who is looking up at her lovingly. The magnificent work of art is thought to date back to the second century AD, however it is believed to be a replica of the lost work of the Greek sculptor Timotheos in the Fourth century BC. As the story goes, Zeus appears to the beautiful mortal woman Leda in the form of a swan and proceeds to seduce and impregnate her. That same night, however, Leda also slept with her husband, Tyndareus, the king of Sparta, and as a result, Leda becomes pregnant with two men's children. The mortal woman is said to have lain two eggs from which hatched two sets of twins: Helen (later Helen of Sparta, the beautiful woman who is responsible for the breakout of the Trojan war) and Polydeuces, the children of Zeus, from one egg, and Castor and Clytemnestra, the children of Tyndareus, her husband, from the other. The myth of Zeus and Leda was popular during the Middle Ages thanks to the literary works of Ovid, however during the Renaissance the story became much more popular and works of art depicting a naked Leda with Zeus in the guise of a swan begin to crop up quite frequently, again modeling Timotheos' lost masterpiece.

Athena Promachos

By: Taylor Clark 

Dating back to the mid to late first century BC, this large marble sculpture depicts “Athena Promachos”, or as the epithet suggests “Athena who fights in front”. Phidias’ “Athena Parthenos”, created during the fifth century BC for the Athenian Temple, inspired this particular sculpture.



There are a plethora of myths about Athena, especially when it comes to her cunning and wisdom. An example is the myth of “Arachne and the Weaving Contest”, which teaches the lesson of hubris, or disrespect and arrogance shown towards the Gods, while also giving a backstory to a natural phenomenon of the spider. Arachne was a young and beautiful girl who had the gifted skill of weaving. Yet she was so incredibly arrogant that she believed no one in the entire world could weave as well as she did, including the goddess Athena. Out of this conceit, Arachne then challenged Athena to a weaving contest. As Athena weaved her contest with Poseidon, Arachne disrespectfully weaved the Gods in an immoral light during their “amorous conquests” of deceived goddesses and mortal women. Athena, now jealous of Arachne’s skill, ripped up her tapestry, and as Arachne tried to take her own life by hanging herself, Athena cursed her into a spider, which continuously weaves and hangs itself. This myth is an example of hubris and wise punishment on the part of Athena, as Arachne’s fate was thematically connected to her wrongdoings.

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Odysseus and Calypso

“Mercury Ordering Calypso to Release Odysseus” is a oil paint on canvas piece of art by Gerard de Lairesse housed in the Rijks Museum. The piece shows Calypso, Odysseys, Mercury, and a small child child. This piece is based off one of Odysseus’ adventures on his home in the Odyssey. For the first seven years of his journey Odysseus has been imprisoned on the island of Ogygia by the nymph Calypso. She fell madly in love with Odysseus and forced him to remain with her on the island of Ogygia as a prisoner and immortal husband. Eventually Odysseus’ patron goddess Athena comes to his aid and convinces Zeus to compel Calypso to free him. Zeus orders his messenger Hermes to tell Calypso that the Olympian gods have determined that she must free Odysseus. Calypso sends an unhappy and angry message back to Zeus that is unfair that the gods do not allow the goddesses to have affairs with mortal, while the gods are continuously having affairs immortals. Despite her anger Calypso eventually allows Odysseus to leave. She helps Odysseus to build a raft and then gives him food and wine for his journey. 

Photo by Julia Comerford

Hercules and the Hydra

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Eric Lo

The modern restoration of this statue was completed by Alessandro Algardi in the seventeenth century and was rediscovered at the Church of Sant’Agnese fuori le Mura. The original statue was completed in the Early Hellenistic period and was attributed to the Greek sculptor Lysippus. Lysippus was also credited with the creation of Hercules’ other labors. Algardi’s reconstruction is made of marble and stands at a height of 200 cm.

            A nude man is depicted grappling with a monster possessing multiple serpentine heads. The figure is holding a torch to one of the several decapitated snake torsos, which seem to be emerging from the body of a different animal: perhaps a wolf. Although the statue is a single snapshot of action, the man’s larger size in comparison to the beast as well as his dominant position seems to indicate his triumph. Additionally, his built stature suggests strength.

            Without any prior knowledge of the exact nature of the statue, one would be able to deduce the man’s identity based on the context. The beast that the figure is cauterizing is most easily identified as the Hydra by the multiple snake heads. With this knowledge, the man can then be identified as Hercules completing one of his labors.

            My initial draw to this statue was its violent and aggressive nature. Hercules, in the nude, is simultaneously grappling and cauterizing the Hydra’s decapitated heads. Although I had trouble identifying a majority of the statues in the Capitoline Museum, this one only took me a few seconds. I was able to bridge the connection from the multiple snake head monster to the Hydra, and from there to the labors of Hercules.

             As mentioned before, this statue represents the fight between Hercules and the Hydra of Lerna. Confronting the Hydra was the second of Hercules’ twelve labors. The beast possessed nine heads, one of which was immortal and therefore rendered the monster, which already possessed a venomous bite, practically undefeatable. For this task, along with many others, Hercules was accompanied by his nephew Iolaus. The pair found the Hydra’s lair by the springs of Amymone. With flaming arrows, Hercules lured the Hydra out of its lair. Once the monster appeared, Hercules seized it. In the ensuing fight, the hydra coiled around Hercules’ legs. This is the moment captured by the Lysippus’ statue. Hercules was able to bash a number of the Hydra’s heads but each time, two would replace the previous one. Finally, Hercules enlisted the help of Iolaus, who took a torch to the decapitated heads before they could regenerate. After killing off the eight mortal ends, Hercules finally moved on to kill the ninth head. He repeated the process, cauterizing the gaping head wound and thus preventing the head from regenerating. For the head itself, he buried it in the ground next to the road between Lerna and Elaeus. Unfortunately, Eurystheus discredited Hercules’ labor based on the fact that Hercules had enrolled the help of his newphew Iolaus. Nevertheless, the ancient authors still give Hercules credit for the task.