Apollo was considered an epitome of youth and beauty, source of life and healing, patron of the civilized arts, and as bright and powerful as the sun itself. He was, arguably, the most loved of all the Greek gods. Although he was associated with many positive aspects of the human condition such as music, poetry, and medicine, the god also had his darker side as the bringer of plague and divine retribution. Most famously as the remorseless slayer of Niobe’s six sons as punishment for her boasting and as the flayer of Marsyas after his presumptuous claim to be more musically gifted than Apollo himself. Objects traditionally associated with the god include: a silver bow, a Kithara or a lyre, a laurel branch, the omphalos of Delphi, and a palm tree. These can be variously seen in the many depictions of Apollo from Archaic, Classical and Hellenistic Greece and through to Roman times. Greek Apollo
During a recent trip to Rome, I paid a long overdue visit to the Centrale Montemartini, an annexe of the Capitoline Museums located on the Via Ostiense just beyond Porta San Paolo. Centrale Montemartini was Rome’s first electrical power station when it opened in 1912, and was later converted into a museum of ancient Roman art in the late 1990s. Like the Tate Modern in London, Centrale Montemartini places art in an industrial setting but, unlike the Tate, the imposing machinery has not been moved out. The engines’ grey mass provides a stark contrast to the white marble and offers a unique backdrop for classical art. Centrale Montemartini has a collection of about four hundred sculptures, reliefs and mosaics dating from the Republican to the late Imperial era. The works of art, exhibited in chronological order, are part of an outstanding collection of classical sculptures from the excavations carried out in Rome between the end of the 19th century and the beginning of the 20th. The masterpieces were moved here during the reorganisation of the Capitoline …
This week’s sculpture from Hadrian’s Villa is a red-marble statue of a satyr, the so-called “Fauno rosso” (red faun).
This week’s sculpture from Hadrian’s Villa is a marble statue of a young nude, the so-called ‘Capitoline Antinous’. It was found in 1723/24 during the time when Giuseppe Fede was undertaking the earliest concerted excavations at the Villa Adriana. However its exact provenance within the Villa is unknown.
The National Roman Museum is of course situated in Rome, but the collection is divided among different buildings around the city. One of the branches of NRM is situated in the Palazzo Altemps. Designed in XV century, this building passed from hand to hand of many well-off families, until 1997 when it became a part of the museum. Today it is home to one of the most impressive collections of Greek and Roman sculptures. It is usually not crowded with people and during your visit to Rome this is that rare place where you can feel the luxury of contemplating the sculptures, probably alone just like all those popes, cardinals and other collectors of this kind of beauty. Or, if you are like me and you usually do street photography, you can just take your time and click: the sculptures look very much alive but I am sure they will not move. Here are the stars of the collection. Ludovisi Battle Sarcophagus
This week’s masterpieces from Hadrian’s Villa are eight marble statues depicting seated muses. In Greek mythology, the Muses were sister goddesses of music, poetry, and other artistic and intellectual pursuits. Poets and other artists often called on them for inspiration. Zeus, the king of the gods, was the father of the Muses. Their mother was Mnemosyne, goddess of memory. It was not until the 1st century BC that each of the Muses began to be related to a specific art. They were worshipped at the Museion of the famous library of Alexandria, from where the modern term “Museum” originates. The statues were unearthed at Hadrian’s Villa in the 1500′s. They were made at the end of Hadrian’s reign by two Roman workshops reproducing Greek models from the 2nd century BC. The seated muses decorated the scenae frons (stage) of the odeon, a small theatre that could have held around 1,200 people. The statues are now on display in the Prado Museum in Madrid.