Marble Sculptures of Female Figures

Elegant marble sculptures depicting female figures in various poses, showcasing artistry from the 18th and 19th centuries.

Hercules and Déjanire "in terracotta (view of 3/4 right on a gray background). Paris, Cognacq-Jay museum. Antiquity, wife, woman, Greek mythological character, terracotta, mythology

'Venus Callipiga'. Italy, Late 18th century. Dimensions: height: 169,0 cm. Museum: State Hermitage, St. Petersburg.

Attributed to Joseph Broche (1740-after 1801) or Jean-Baptiste Ignace Broche (1741-1794). "Naked swimmer sitting on a rock". Marble sculpture, 1700-1799. Paris, Cognacq-Jay museum. 77946-12 Assisi, Baigneuse, cross, woman, leg, marble, female naked, nudite, base, statue, head, turn, 18th 18th 18th 18th 18th 18th century, sheet

'Flora'. Italy, 1840. Dimensions: 163 cm. Museum: State Hermitage, St. Petersburg.

Jupiter and the Sphinx. Artist: Auguste Préault (French, 1809-1879). Culture: French, Paris. Dimensions: Overall (confirmed): 46 × 44 1/8 × 23 3/4 in. (116.8 × 112.1 × 60.3 cm). Date: 1868.This group is the sculptor's working model for one of two monumental stone sculptures completed in 1870 and still in the garden of the palace at Fontainbleau. Like Venus, the companion sculpture, Jupiter has no precedent in antique iconography and is apparently the original product of Préault's deeply Romantic imagination. Museum: Metropolitan Museum of Art, New York, USA.

Hiawatha 1871-72, carved 1874 Augustus Saint-Gaudens American Saint-Gaudenss three years of study in Paris came to an abrupt end with the outbreak of the Franco-Prussian War. He left for Rome in late 1870 and soon began Hiawatha, his first full-length statue, inspired by Henry Wadsworth Longfellows epic poem "The Song of Hiawatha" (1855). Seated on a rock in a contemplative pose, with his quiver of arrows and bow nearby, the fictional Ojibwe chief is "pondering, musing in the forest /On the welfare of his people," as an excerpt from Longfellows poem inscribed on the base declares. Saint-Gaudens was one of many artists who drew thematic inspiration from "The Song of Hiawatha," reinforcing the stereotype of the "vanishing" Native American.Read a Native Perspective on this work. Listen to experts illuminate this artwork's story Listen Play or pause #4510. Hiawatha Play or pause #9777. Kids: Hiawatha Supported by Bloomberg Philanthropies We're sorry, the transcript for this audio track

Image of English Hardy Pottery; Virtue victorious about the vice. Image of hard-baked pottery. The image represents a kneeling, floured man (the vice). Next to the man is a woman (virtue). The woman is on her left leg, her right leg lies on the kneeling man.

Frenzy. This curious, life-size sandstone sculpture portrays a woman pulling out her hair in a fit of madness, the personification of Frenzy. The statue originally stood in the garden of the Dolhuys (madhouse), the municipal institution for the mentally ill. A lunatic is peering out from his or her cell on all four sides of the pedestal.

Eve after the Fall. Auguste Rodin; French, 1840-1917. Date: 1886. Dimensions: 76.2 × 27.4 × 21 cm (30 × 11 × 8 1/4 in.). Marble. Origin: France. Museum: The Chicago Art Institute, USA.

Naked Girl and Drape; Jeune Fille Nue au Drape. Aristide Maillol (1861-1944). Marble. Executed in 1936. 106cm high.

Hercules and Déjanire "in terracotta (view of 3/4 right on a gray background). Paris, Cognacq-Jay museum. Antiquity, wife, woman, Greek mythological character, terracotta, mythology

Reclining Bacchante. Circle of Jean Pierre Antoine Tassaert (Flanders, Antwerp, 1727-1788). France, 18th century. Sculpture. Marble

Jutrzenka II. Kuna, Henryk (1879-1945), sculptor

Terracotta statuette of a veiled woman. Culture: Greek, South Italian. Dimensions: H. 18 3/8 in. (46.7 cm). Date: 2nd century B.C..The modern head has been detached and is displayed next to the body of the piece. Museum: Metropolitan Museum of Art, New York, USA.

Bather Etienne Maurice Falconet (1716-1791/French) Musee du Louvre, Paris

Venus Instructing Cupid 1780-85 French. Venus Instructing Cupid 192712

The Rythm. Kuna, Henryk (1879-1945), sculptor

Winged Putto Personifying Autumn (Bacchus), Ignatius van Logteren, 1717 Amsterdam marble (rock) Amsterdam marble (rock)

Statue of Capitoline Venus. warsztat rzymski, workshop

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Terracotta statuette of a boy and a rooster 2nd century B.C. Greek, Asia Minor, Pontus Roosters were a favored pet of young boys in ancient Greece.. Terracotta statuette of a boy and a rooster. Greek, Asia Minor, Pontus. 2nd century B.C.. Terracotta. Hellenistic. Terracottas

The GreekSlave. Artist: Hiram Powers, American, 1805-1873

Statue of a Seated Eros. Unknown

Statuette of Venus. Unknown

. This sculpture is a copy of a famous work by Adriaen de Vries now in the Louvre. De Vries worked at Giambolognas studio in Italy and for Emperor Rudolf II in Prague. As a result he enjoyed considerable fame abroad, while remaining relatively obscure in the Netherlands. This copy was commissioned in 1890 for the Rijksmuseum garden.

Allegory of Spring. Weesper porseleinfabriekmodel attributed to Christian Gottlob Berger (1730-after 1776), c. 1760-1761Weesp, c. 1764-1768hard-paste porcelain

Adriaen de Vries, Empire Triumphant over Avarice, 1610 Adriaen de Vries (Netherlandish, c. 1556 - 1626), Empire Triumphant over Avarice, 1610, bronze, Widener Collection 1942.9.148

'Thetis'. Italy, Late 1520s. Dimensions: height: 18,8 cm. Museum: State Hermitage, St. Petersburg.

Hercules and the Nemean Lion early 17th century possibly French The late Mannerist composition, derived only generically from the Hercules groups of Giovanni Bologna, displays networks of interlocking triangular shapes, resulting from Hercules legs being stretched crosswise behind the lion. The base, a segmental arc, is especially curious. The chasing is closely controlled, almost like medallic engraving. The head seems to reflect the features of the Farnese Hercules and those of Henri IV, but a French facture is offered here only provisionally. Another cast cited by Bode as belonging to the Victoria and Albert Museum is not, in fact, there.[1[James D. Draper, 1984Footnotes:[1 W. von Bode, The Italian Bronze Statuettes of the Renaissance, London, III (1912), pl. CXCVIII, 2.. Hercules and the Nemean Lion. possibly French. early 17th century. Bronze, with etched golden-brown surface, oxidized dark brown where rubbed. Sculpture-Bronze

Albert-Ernest Carrier-Belleuse, The Messiah, c. 1867, terracotta.

Venere Italica - Italian Venus - by Antonio Canova, 1811. Beautiful goddess statue in museum. Possagno, Italy - June 2022: Venere Italica - Italian Venus - by Antonio Canova, 1811. Beautiful goddess statue in museum Copyright: xZoonar.com/PaoloxGallox 21361388

Pygmalion and Galatea modeled 1889, carved ca. 1908-9 Auguste Rodin French According to classical mythology, the sculptor Pygmalion so desired a marble woman he had carved that Venus, the goddess of love, granted her life. Rodin depicts the statue of Galatea quickening at the sculptors touch, her glowing body emerging from unfinished stone. Yet this Pygmalion is not the handsome youth of tradition, but rather a stocky, bearded man resembling Rodin, whose name is prominently inscribed next to the mythical sculptors on the side of the base. In his quest to endow his figures with living force, Rodin regarded himself as a modern Pygmalion.Pygmalion and Galatea is one of six Rodin marbles that came to The Met in 1910 through Thomas Fortune Ryan.. Pygmalion and Galatea. Auguste Rodin (French, Paris 1840-1917 Meudon). French. modeled 1889, carved ca. 1908-9. Marble. Sculpture

Polyphemus, c. 1700, French, 1620 - 1694, 32 in. (81.28 cm), Terracotta, France, 17th-18th century

Tony-Noël, Paul (Edme-Anthony-Paul Noël, dit) (n.1845-01-27-D.1909-10-03), Algerian Nude standing (main title), 1875. Plaster. Petit Palais, Museum of Fine Arts of the City of Paris.

Paris ca. 1795 Jacques-Edmé Dumont French The composition, in particular the crossed ankles, derives from ancient Lansdowne Paris type statue, known from Roman copies after mid-fourth-century Greek original, which Dumont would have seen in Rome and Naples during 1788-93. The pose of Dumont's version, however, is much more supple than that of its antique prototype. It was possibly intended as a sketch model for a silversmith.. Paris. Jacques-Edmé Dumont (Paris 1761-1844). French. ca. 1795. Terracotta, marble base. Sculpture

Etienne Maurice Falconet (1716-1791). French sculptor. Statue of Cupid, 1750s. Marble. The State Hermitage Museum. Saint Petersburg. Russia.

Hope Nourishes Love. Jean-Jacques Caffieri (French, 1725 - 1792)

Pygmalion and Galatea by Etienne Maurice Falconet, Marble, 1763, 1716-1791, Usa, Baltimore, Walters Art Museum, H 58,4

Scene from the flood. On a soil is a bare young man on the toes of the right foot and with the aligned left leg on a rock. With the left arm he holds against a bare woman kneeling on the rock kneeling back on the rock and supports her hanging head with his right hand. She has her left hand against the back of the young, who looks down to the left on her head, the right arm hangs down slope. A drapery falls from her shot to the bottom. The cloak of the young man is stopped on the back by a belt, leaving from the right shoulder under the left arm.

Venus and the Sphinx. Artist: Auguste Préault (French, 1809-1879). Culture: French, Paris. Dimensions: Overall (confirmed): 42 1/2 × 45 × 23 3/4 in. (108 × 114.3 × 60.3 cm). Date: 1868.Like much of the sculpture of the Romantic movement in French art, Préault's work was rejected from the Paris Salons throughout the 1830s and 1840s. Official recognition came after the Revolution of 1848. This plaster group is the working model for the commission of 1867 for the imperial palace at Fontainbleau. Museum: Metropolitan Museum of Art, New York, USA.

Aurora by Puech Denys, (1854-1942), France, Paris, Musee D, Orsay

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Naples Campania Italy. The Certosa di San Martino (Charterhouse of St. Martin) is a former monastery complex, now a museum, in Naples

Meleager 1735 Antonio Gai Italian The Venetian Antonio Gai had an international clientele. According to a contemporary chronicle, statues by Gai of the mythological lovers Atalanta and Meleager, as well as a number of busts, were shipped to England by Joseph Smith, the noted collector and British consul in Venice.. Meleager. Antonio Gai (Italian, Venice 1686-1769 Venice). Italian, Venice. 1735. Marble. Sculpture

ESCULTURA DE LOS PLUTEOS DE LA BIBLIOTECA-S XVIII-. Location: UNIVERSIDAD BIBLIOTECA. SALAMANCA. SPAIN.

Achilles i Tetyda Mi Nia (Meissen)

Anonymous. "Young woman sitting on a diphros". Molded terracotta, pale pink earth, remains of slip and polychromy. IVth quarter of the 4th century BC .. Museum of Fine Arts of the City of Paris, Petit Palais. 99938-29 Antiquity, 4th quarter of the 4th 4th 4th 4th century before Av. JC, terracotta, ancient

Marble statuette of a woman seated on a rock. Dated 100 BC

Aimé-Jules Dalou (1838-1902). "Batundant wiping her foot". Patinated plaster. Museum of Fine Arts of the City of Paris, Petit Palais. Sitting, swimmer, wiping, naked woman, face, pattero patina, three-quarter view

Samson Fighting Two Philistines, anonymous, c. 1750 The group of pyramidal, placed on an uneven ground, is formed by Simson, who stands through a kneeling legs spread and in the knees over a kneeling men's figure, which in turn is located above a man lying in the earth. Simson, of whom the right -handed arm with club or kinnebak is missing, grabs with the left hand behind his back in the direction of the left arm of the kneeling figure, which Simson's right thigh comprises. He has placed his right knee on the man lying under him, who is lying on his own left hand with his legs raised and from whom the head is pushed away with the right foot of Simson, whose left foot stands on a tree stump. Germany walnut (hardwood) The group of pyramidal, placed on an uneven ground, is formed by Simson, who stands through a kneeling legs spread and in the knees over a kneeling men's figure, which in turn is located above a man lying in the earth. Simson, of whom the right -handed arm with club or kinn

Capitoline-type Aphrodite. 2nd century AD copy of a Greek original of the 3rd-2nd century BC. National Archaeological Museum, Naples. Italy.

King Edward I (1239-1307) and Queen Eleanor (1241-1290) 1790 Charles Rossi, R.A. The future king Edwards young bride Eleanor tenderly embraces his outstretched arm, sucking poison from his bicep in an act of selfless devotion after a Muslim assassin feebly stabbed the prince with a poisoned dagger during the Ninth Crusade in 1272. The subject of Eleanors heroism, taken from English legend, is apocryphal (Edwards life was in fact saved by an English doctor) and yet it remained an irresistible episode of historical melodrama for late Rococo artists in the final decades of the eighteenth-century. In this deftly modeled terracotta sketch, Charles Rossi has transported the medieval legend to ancient Greece. Edward cuts a handsome figure as a youthful classical prince. At ease in the care of his female companion, Edwards rippling flesh - exposed entirely but for his genitals, covered by drapery - invites the viewers gaze from the contours of his well-defined pectorals to the graceful ex

2000s SOUVENIR STATUE OF VENUS DI MILO ANCIENT GREEK SCUPTURE BY ALEXANDROS OF ANTIOCH

Statue of God Eros child reclining and asleep on a rocky surface. 2nd century AD. Marble. From Villa de Algoros (Elche, Alicante province, Valencian Community, Spain). National Archaeological Museum. Madrid. Spain.

ANNA SELBDRITT O SANTA ANA CON LA VIRGEN MARIA Y EL NIÑO JESUS - 1750 - ROCOCO. Author: JOSEPH ANTON FEUCHTMAYER (1696-1770). Location: MUSEO UBERLINGEN. Constanza. Switzerland.

Joan Llimona i Bruguera / El desconsuelo, 1907. Museu de Maricel de Sitges.

'Marsyas'. Italy. Rome, Middle of the 18th century. Dimensions: height: 78,0 cm. Museum: State Hermitage, St. Petersburg.

Antonio Solá / 'Roman Charity'. 1851. Carrara marble. Museum: Museo del Prado, Madrid, España.

Figurka Hermesa Krioforosa. unknown, author

Pasiphaë Adorning the Bull with Flowers 1891-1907 César-Isidore-Henry Cros French Pte-de-verre was a material made from variously colored powdered glass placed in a clay mold and then fired in a kiln. Cros developed the technique in 1893.. Pasiphaë Adorning the Bull with Flowers 195144

'Woman Bathing'. France, Early 1880s. Dimensions: h. 21 cm. Museum: State Hermitage, St. Petersburg.

Aimé-Jules Dalou (1838-1902). "Centaur removing a woman". Patinated plaster. Museum of Fine Arts of the City of Paris, Petit Palais. Mythological animal, centaur, kidnapping, removing, woman, patina patina, mythology

Aimé-Jules Dalou (1838-1902). "Seaming woman". Terracotta, around 1870. Museum of Fine Arts of the city of Paris, Petit Palais. Seat, sewing, sewing, woman, terracotta

David. David is about to sling a stone at the giant Goliath. The sculpture is a political statement, for the biblical figure of David symbolizes the Italian general and patriot Giuseppe Garibaldi, who freed the city of Milan from the might of the Habsburg Empire (Goliath’). The innovative, realistic style of this David won Pietro Magni the prestigious Canonica prize. He proudly recorded this on the tree trunk.

Dionís Renart / Jarrón con figura femenina, 1900, yeso policromado, 78 x 40,5 x 41,5 cm., 071413-000. Museu Nacional d'Art de Catalunya.

Group of Aphrodite, Pan and Eros. Paian marble. Found in the 'House of the Poseidoniastai of Beryttos' (Beirut), Delos. Traces of colour can be made out in many places. The nude goddess Aphrodite attempts to fend off the goat-footed god Pan. She holds her sandal threateningly in her right hand, while the winged god Eros comes to her aid. About 100 BC.

Young Satyr Running with an Owl, 1770s. Clodion (French, 1738-1814). Terracotta; overall: 32 x 15.2 x 16.4 cm (12 5/8 x 6 x 6 7/16 in.); with base: 45.1 cm (17 3/4 in.).

Marble statue of Herakles seated on a rock. Culture: Roman. Dimensions: total H. 49 3/4 in. (126.4 cm)H. of figure 23 3/4 in. (60.3 cm)H. of seat 26 in. (66 cm). Date: 1st or 2nd century A.D..Adaptation of a Greek statue of the late 4th or early 3rd century B.C.The great hero was shown resting on a rock with his legs stretched out in front of him, his club braced under his left armpit. The exceptionally fine and realistic rendering of the lean, muscled body and the powerful curve of the back bring to mind the works of Lysippos, a famous sculptor of the late fourth century B.C. Museum: Metropolitan Museum of Art, New York, USA.

Desbois, Jules (n.1851-12-20-D.1935-10-02), Phryné (main title), 1907. Patinated plaster. Petit Palais, Museum of Fine Arts of the City of Paris.

French school. Detail of The Kiss. Le Baiser. Marble. Paris, musée Rodin. Author: Auguste Rodin (1840-1917). Location: MUSEE RODIN. France.

Marble Sculpture of Atlas, by Michelangelo, Accademia Gallery, Florence, Tuscany, Italy, Europe

Antonio Canovas statue Psyche Revived by Cupids Kiss, first commissioned in 1787, exemplifies the Neoclassical devotion to love and emotion

Chastity, c. 1900. Théodore Rivière (French, 1857-1912). Marble; overall: 35 cm (13 3/4 in.); base: 14 cm (5 1/2 in.).

England,London,Victoria and Albert Museum,The Sleeping Nymph Statue by Canova

Parian marble statue of Hermes holding infant Dionysus in his arms, by Praxiteles, from Temple of Hera at Olympia, Greece, 4th Century B.C.

La Baigneuse 1758-66 Sèvres Manufactory French Étienne-Maurice Falconet executed the model in 1758 after his marble sculpture, exhibited at the Salon of 1757.. La Baigneuse. French, Sèvres. 1758-66. Soft-paste biscuit porcelain, gilt bronze. Ceramics-Porcelain

BAURSCHEIT, Jan Pieter (known as the old) (n.1669-12-08-D.1728-05-08), Summer (dummy title), 1700. Terracotta. Carnavalet museum, history of Paris. The summer. Allegory, child, naked, drapery, plant crown, ears of wheat. Season.

Sculpture of woman and child in the Vatican Museum, Rome, Italy.

Roussel, Paul (n.1867-10-28-D.1928-01-01), Phryné (main title), 1887. Terracotta. Petit Palais, Museum of Fine Arts of the City of Paris.

Crouching Venus -The Venus Lely-, Roman about AD 1-200, British museum, London, England, Great Britain

Italy, Tuscany, Pisa, An Illuminated Statue In The Piazza Del Duomo Of Cherubs Holding A Shield Bearing The Cross Of Pisa With A Half Moon Shining In The Night Sky Beyond

Jean-Antoine (dit Antonin) Injalbert (1845-1933). "Victor Hugo". Plaster. Paris, house of Victor Hugo. 102063-20 Platre, statue

German or Flemish anonymous. "Venus and love". Marble sculpture, 1700-1799. Paris, Cognacq-Jay museum. 77947-19 Assisi, cross, Roman divinity, Dore, gilding, child, naked woman, statuary group, leg, marble, female naked, nudite, foot, base, statue, hold, 18th 18th 18th 18th 18th 18th 18 century, drapery

Athens Greece. The National Archaeological Museum

Statuette of Aphrodite Leaning on a Pillar. Unknown

Figure of a woman carrying lumber, Porseleinfabriek Ludwigsburg, c. 1763 - c. 1765 Image of porcelain, painted on the glaze in email colors and gold. The image represents a lumberjack woman who carries a stack of wood. Behind her is another pile of minced wood. Marked on the bottom with the crowned double C. Ludwigsburg porcelain. glaze. gold (metal) painting / gilding / vitrification Image of porcelain, painted on the glaze in email colors and gold. The image represents a lumberjack woman who carries a stack of wood. Behind her is another pile of minced wood. Marked on the bottom with the crowned double C. Ludwigsburg porcelain. glaze. gold (metal) painting / gilding / vitrification

River God, Jan Baptist Xavery, Jan Baptist Xavery, 1720 Rome terracotta (clay material) Rome terracotta (clay material)

Pilaster of Angels Sounding Trumpets from the Parapet of a Pulpit 1302-10 Workshop of Giovanni Pisano Italian The trumpet-blowing angels, heralding the Last Judgment once flanked a relief of Christ as Judge (now in Berlin) in the center. The central pilaster is composed of a compact group with symbols of the evangelists: the angel of Matthew at center, the ox of Luke at his left, and the lion of Mark on the right. The pilaster supported an eagle lectern, similar to the adjacent one, for the reading of the Gospels. The eagle of John thus completed a representation known as a tetramorph. Probably executed by assistants after designs by the sculptor Giovanni Pisano, the pulpit was finished in 1310. It was dismantled in 1603, then reconstructed in the cathedral in 1926.. Pilaster of Angels Sounding Trumpets from the Parapet of a Pulpit. Workshop of Giovanni Pisano (Italian, Pisa ca. 1240-before 1320 Siena). Central Italian. 1302-10. Marble (Lunense from Carrara), traces of paint. Made in P

'Venus and Cupid ( )'. Italy, Early 18th century ( ). Dimensions: height: 38,0 cm. Museum: State Hermitage, St. Petersburg.

Jacques Bousseau, Soldier Drawing His Bow, model 1715, cast mid 19th century Soldier Drawing His Bow

Italy - Campania - Naples - erotic Cabinet(Office) of the archaeological museum - satyr's statuette with one goat

Aeneas en Anchises, 1525 - 1550 sculpture North-Italy marble (rock)

Statuettes Adam and Eva after the expulsion from paradise. Pure fear speaks here from the faces of the first people, who were in breach of the paradise according to Christian view. The couple is united in suffering, as it becomes aware at the moment of the knowledge of his humanity, nudity and blame for the fall. Property of the foundation for the Hamburg art collections. Acquired with the support of the Cultural Foundation of the Countries and the Foundation for Hamburg Art Collections and Campe's Historical Art Foundation

Farnese Hercules ca. 1576 Pietro da Barga Italian Copied after the famous ancient marble colossus now in the Museo Archeologico in Naples, this statuette is gilt only on the front, suggesting that it was intended for a niche where its back would not be seen.. Farnese Hercules. Pietro da Barga (Italian, Florence, active 1574-88). Italian, Florence. ca. 1576. Bronze. Sculpture-Bronze

The Theft of the Rose 1789 Louis Simon Boizot French This is a sketch model for a group produced in biscuit porcelain by the Sèvres Manufactory where Boizot was director of sculptural works from 1773 to 1809.. The Theft of the Rose. French, Sèvres. 1789. Pale buff terracotta with traces of original coat of grayish-white pigment. Sculpture

Aphrodite (Venus of Taurida). Greek work of the 2nd century BC (). Marble. Found in Rome. The State Hermitage Museum. Saint Petersburg. Russia.

Study for a Hovering Putto, Jan Baptist Xavery (rejected attribution), c. 1735 - c. 1750 Southern Netherlands terracotta (clay material) Southern Netherlands terracotta (clay material)

Alpheus and Arethusa 1568-70 Battista di Domenico Lorenzi Italian Battista Lorenzi was a Florentine sculptor who apprenticed with Baccio Bandinelli (see acc. no. 1987.280) and collaborated in Rome with Vincenzo de Rossi on a monumental statue of Pope Paul IV (destroyed by a mob in 1559). After his return to his native city (by 1563), he found success with wealthy clients, producing statues and fountains for their estates in and around Florence. Early works of this nature include a cycle of statues of the four seasons for Giovambattista Guadagni (sent to that abbots French residence and now lost); a Triton with Dolphins for Cosimo I de Medici (Galleria Regionale, Palermo); and an attributed figure of Ganymede (Boboli Gardens, Florence).[1 We know from Raffaello Borghinis famed account of art in Florence, Il Riposo (1584), that this marble group, which he describes as one of the most accomplished of Lorenzis garden sculptures, was commissioned by Alamanno Bandini for a grotto in th

'Sleeping Cupid'. Italy, Second half of the 17th century. Dimensions: height 40,0; length 64,0 cm. Museum: State Hermitage, St. Petersburg.

Aimé-Jules Dalou (1838-1902). "The triumph of Silene". Patinated plaster, 1884. Museum of Fine Arts of the city of Paris, Petit Palais. Greek mythology, Greek mythological character, Patina Patre, Triumph, Triumph

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