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Togatus Barberini is a Roman marble sculpture from around the first-century AD [1] that depicts a full-body figure, referred to as a togatus, holding the heads of deceased ancestors in either hand. [2] It is housed in the Centrale Montemartini in Rome, Italy (formerly in the Capitoline Museums). [1]
The life-size [1] ancient but much restored marble statue known as the Barberini Faun, Fauno Barberini or Drunken Satyr is now in the Glyptothek in Munich, Germany. A faun is the Roman equivalent of a Greek satyr .
Latin and some Greek authors, particularly Pliny the Elder in Book 34 of his Natural History, describe statues, and a few of these descriptions match extant works. While a great deal of Roman sculpture, especially in stone, survives more or less intact, it is often damaged or fragmentary; life-size bronze statues are much more rare as most have ...
The statue, slightly taller than a human, according to the post, was found in Varna, the ancient city Odessa, and displayed a middle-aged man with a short beard, dressed in a Roman toga and ...
Memorial to Carlo Barberini: Santa Maria in Ara Coeli, Rome 1630 Sculpture Marble 26 [32] Statue of Carlo Barberini: Palazzo dei Conservatori, Rome 1630 Sculpture Marble Life-size 27 [33] Self-Portrait as a Mature Man (Bernini) [Wikidata] Uffizi, Florence 1630–1635 Painting Oil on canvas 62 cm × 46 cm (24.4 in × 18.1 in) NA [34] Saint Longinus
Palazzo Barberini, Rome The Vestal Virgin Tuccia ( Italian : La Vestale Tuccia ) or Veiled Woman ( Italian : La Velata ) is a marble sculpture created in 1743 by Antonio Corradini , a Venetian Rococo sculptor known for his illusory depictions of female allegorical figures covered with veils that reveal the fine details of the forms beneath.
The Statue of Carlo Barberini was a large statue of the brother of Pope Urban VIII, Carlo Barberini, erected in the Palazzo dei Conservatori, Rome, following his death in 1630. The statue made use of an existing antique statue of Julius Caesar .
Bronze panel bearing an imitation of the central panel of the Barberini ivory (Byzantine and Christian Museum of Athens). The existence of these equestrian statues of Justinian at Constantinople suggests that the central theme of the Barberini ivory reprises a lost type popularised by these statues, rather than that it created a new type.