Laocoön and His Sons

400:....in the case of several works of very great excellence, the number of artists that have been engaged upon them has proved a considerable obstacle to the fame of each, no individual being able to engross the whole of the credit, and it being impossible to award it in due proportion to the names of the several artists combined. Such is the case with the Laocoön, for example, in the palace of the Emperor Titus, a work that may be looked upon as preferable to any other production of the art of painting or of statuary. It is sculptured from a single block, both the main figure as well as the children, and the serpents with their marvellous folds. This group was made in concert by three most eminent artists, Agesander, Polydorus, and Athenodorus, natives of Rhodes. 560: 579:, discovered a fragment of a marble arm in a builder's yard in Rome, close to where the group was found. Noting a stylistic similarity to the Laocoön group he presented it to the Vatican Museums: it remained in their storerooms for half a century. In 1957 the museum decided that this arm – bent, as Michelangelo had suggested – had originally belonged to this Laocoön, and replaced it. According to Paolo Liverani: "Remarkably, despite the lack of a critical section, the join between the torso and the arm was guaranteed by a drill hole on one piece which aligned perfectly with a corresponding hole on the other." 931:

hold, it seizes therefore always where it can hold best, by the extremities, or throat, it seizes once and forever, and that before it coils, following up the seizure with the twist of its body round the victim, as invisibly swift as the twist of a whip lash round any hard object it may strike, and then it holds fast, never moving the jaws or the body, if its prey has any power of struggling left, it throws round another coil, without quitting the hold with the jaws; if Laocoön had had to do with real serpents, instead of pieces of tape with heads to them, he would have been held still, and not allowed to throw his arms or legs about.

1343:, Book 36, Ch 4, but usually cited as 36:37, e.g. by Spivey, 26. Latin text: "...nec deinde multo plurium fama est, quorundam claritati in operibus eximiis obstante numero artificum, quoniam nec unus occupat gloriam nec plures pariter nuncupari possunt, sicut in laocoonte, qui est in titi imperatoris domo, opus omnibus et picturae et statuariae artis praeferendum. ex uno lapide eum ac liberos draconumque mirabiles nexus de consilii sententia fecere summi artifices Hagesander et Polydorus et Athenodorus rhodii." Naturalis Historia. Pliny the Elder. Karl Friedrich Theodor Mayhoff. Lipsiae. Teubner. 1906, as 36:11, at 285:, who should have been celibate but had married. The serpents killed only the two sons, leaving Laocoön himself alive to suffer. In other versions he was killed for having had sex with his wife in the temple of Poseidon, or simply making a sacrifice in the temple with his wife present. In this second group of versions, the snakes were sent by Poseidon and in the first by Poseidon and Athena, or Apollo, and the deaths were interpreted by the Trojans as proof that the horse was a sacred object. The two versions have rather different morals: Laocoön was either punished for doing wrong, or for being right. 854:, surrounds the image with graffiti-like commentary in several languages, written in multiple directions. Blake presents the sculpture as a mediocre copy of a lost Israelite original, describing it as "Jehovah & his two Sons Satan & Adam as they were copied from the Cherubim Of Solomons Temple by three Rhodians & applied to Natural Fact or History of Ilium". This reflects Blake's theory that the imitation of ancient Greek and Roman art was destructive to the creative imagination, and that Classical sculpture represented a banal naturalism in contrast to Judeo-Christian spiritual art. 587:"a more cohesive, baroque-looking and diagonally-set pyramidal composition", by turning the older son as much as 90°, with his back to the side of the altar, and looking towards the frontal viewer rather than at his father. The findings Seymour Howard documented do not change his belief about the organization of the original. But dating the reworked coil ends by measuring the depth of the surface crust and comparing the metal dowels in the original and reworked portions allows one to determine the provenance of the parts and the sequence of the repairs. Other suggestions have been made. 482:

Michelangelo Buonarroti was always to be found at our house, my father having summoned him and having assigned him the commission of the pope's tomb, my father wanted him to come along, too. I joined up with my father and off we went. I climbed down to where the statues were when immediately my father said, "That is the Laocoön, which Pliny mentions". Then they dug the hole wider so that they could pull the statue out. As soon as it was visible everyone started to draw (or "started to have lunch"), all the while discoursing on ancient things, chatting as well about the ones in Florence.

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survives as a substantial building of three storeys, as of 2014 in the courtyard of a convent. The area remained mainly agricultural until the 19th century, but is now entirely built up. It is speculated that De Fredis began building the house soon after his purchase, and as the group was reported to have been found some four metres below ground, at a depth unlikely to be reached by normal vineyard-digging operations, it seems likely that it was discovered when digging the foundations for the house, or possibly a well for it.

89: 40: 346: 976: 608: 221: 2343: 458: 6698: 755:, probably after a drawing by Titian, parodied the sculpture by portraying three apes instead of humans. It has often been interpreted as a satire on the clumsiness of Bandinelli's copy, or as a commentary on debates of the time around the similarities between human and ape anatomy. It has also been suggested that this woodcut was one of a number of Renaissance images that were made to reflect contemporary doubts as to the authenticity of the 2483: 800: 213: 2505: 517: 229: 583:

a more compact, three-dimensional pyramidal grouping of the three figures had been used or at least contemplated. According to Seymour Howard, both the Vatican group and the Sperlonga sculptures "show a similar taste for open and flexible pictorial organization that called for pyrotechnic piercing and lent itself to changes at the site, and in new situations".

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The execution of the Laocoön is extremely fine throughout, and the composition very carefully calculated, even though it appears that the group underwent adjustments in ancient times. The two sons are rather small in scale compared to their father, but this adds to the impact of the central figure.

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on 14 November 1504, exactly 14 months before the finding of the statue. The second document, from 1527, makes it clear that there is now a house on the property, and clarifies the location; by then De Fredis was dead and his widow rented out the house. The house appears on a map of 1748, and still

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In the 1980s the statue was dismantled and reassembled, again with the Pollak arm incorporated. The restored portions of the sons' arms and hands were removed. In the course of disassembly, it was possible to observe breaks, cuttings, metal tenons, and dowel holes which suggested that in antiquity,

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See Beard, 210, who is highly sceptical of the identification, noting that ‘the new arm does not directly join with the father's broken shoulder (a wedge of plaster has had to be inserted); it appears to be on a smaller scale and in a slightly differently coloured marble’. On the wedge, Barkan, 11

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for 2011 Jerome Lectures, University of Chicago, “Unswept Floor: Food Culture and High Culture, Antiquity and Renaissance”, Lecture 1, start: "It’s a piece of sixteenth-century spelling, and I (along with many other commentators – if I was wrong, I wasn’t wrong alone) – understood it

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The more open, planographic composition along a plane, used in the restoration of the Laocoön group, has been interpreted as "apparently the result of serial reworkings by Roman Imperial as well as Renaissance and modern craftsmen". A different reconstruction was proposed by Seymour Howard, to give

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records the burial of De Fredis and his son there, covering his finding of the group but giving no occupation. Research published in 2010 has recovered two documents in the municipal archives (badly indexed, and so missed by earlier researchers), which have established a much more precise location

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For whatever knowledge of the human frame there may be in the Laocoön, there is certainly none of the habits of serpents. The fixing of the snake's head in the side of the principal figure is as false to nature, as it is poor in composition of line. A large serpent never wants to bite, it wants to

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baroque" and certainly in the Greek tradition. However, its origin is uncertain, as it is not known if it is an original work or a copy of an earlier bronze sculpture. Some believe it to be a copy of a work from the early Imperial period, while others think it to be an original work from the later

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uncertain. Artists and connoisseurs debated how the missing parts should be interpreted. Michelangelo suggested that the missing right arms were originally bent back over the shoulder. Others, however, believed it was more appropriate to show the right arms extended outwards in a heroic gesture.

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in Rhodes dated Agesander and Athenodoros, recorded as priests, to a period after 42 BC, making the years 42 to 20 BC the most likely date for the Laocoön group's creation. However the Sperlonga inscription, which also gives the fathers of the artists, makes it clear that at least Agesander is a

833:, examines the differences between visual and literary art by comparing the sculpture with Virgil's verse. He argues that the artists could not realistically depict the physical suffering of the victims, as this would be too painful. Instead, they had to express suffering while retaining beauty. 524:

When the statue was discovered, Laocoön's right arm was missing, along with part of the hand of one son and the right arm of the other, and various sections of the snake. The older son, on the right, was detached from the other two figures. The age of the altar used as a seat by Laocoön remains

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group was already in the location of the later findspot by the time Pliny saw it, it might have arrived there under Maecenas or any of the emperors. The extent of the grounds of Nero's Domus Aurea is now unclear, but they do not appear to have extended so far north or east, though the newly

843:"A true work of art, like a work of nature, never ceases to open boundlessly before the mind. We examine, – we are impressed with it, – it produces its effect; but it can never be all comprehended, still less can its essence, its value, be expressed in words. 481:

The first time I was in Rome when I was very young, the pope was told about the discovery of some very beautiful statues in a vineyard near Santa Maria Maggiore. The pope ordered one of his officers to run and tell Giuliano da Sangallo to go and see them. So he set off immediately. Since

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of promising young sculptors). Altogether eight "signatures" (or labels) of an Athenodoros are found on sculptures or bases for them, five of these from Italy. Some, including that from Sperlonga, record his father as Agesander. The whole question remains the subject of academic debate.

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at the Vatican, now part of the Vatican Museums, which regard this as the start of their history. As yet it had no base, which was not added until 1511, and from various prints and drawings from the time the older son appears to have been completely detached from the rest of the group.

436:(though they may predate his ownership), but it seems likely that not all the three masters were the same individuals. Though broadly similar in style, many aspects of the execution of the two groups are drastically different, with the Laocoon group of much higher quality and finish. 413:, and it is possible that it remained in the same place until 1506 (see "Findspot" section below). He also asserts that it was carved from a single piece of marble, though the Vatican work comprises at least seven interlocking pieces. The phrase translated above as "in concert" ( 128:, the main Roman writer on art, who attributed it to Greek sculptors but did not say when it was created. The figures in the statue are nearly life-sized, with the entire group measuring just over 2 m (6 ft 7 in) in height. The sculpture depicts the 995:), as noted in the document recording the sale of the group to the Pope. But over time, knowledge of the site's precise location was lost, beyond "vague" statements such as Sangallo's "near Santa Maria Maggiore" (see above) or it being "near the site of the 296:...the two serpents, in attacking the three figures, produce the most striking semblances of fear, suffering and death. The youth embraced in the coils is fearful; the old man struck by the fangs is in torment; the child who has received the poison, dies. 444:

different individual from the priest of the same name recorded at Lindos, though very possibly related. The names may have recurred across generations, a Rhodian habit, within the context of a family workshop (which might well have included the

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Despite being in mostly excellent condition for an excavated sculpture, the group is missing several parts and underwent several ancient modifications, as well as restorations since its excavation. The statue is currently on display in the

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In July 1798 the statue was taken to France in the wake of the French conquest of Italy, though the replacement parts were left in Rome. It was on display when the new Musée Central des Arts, later the Musée Napoléon, opened at the

759:, the 'aping' of the statue referring to the incorrect pose of the Trojan priest who was depicted in ancient art in the traditional sacrificial pose, with his leg raised to subdue the bull. Over 15 drawings of the group made by 486:

Julius acquired the group on March 23, giving De Fredis a job as a scribe as well as the customs revenues from one of the gates of Rome. By August the group was placed for public viewing in a niche in the wall of the brand new

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from Pergamon, created around 200 BC. It is noteworthy that Pliny does not address this issue explicitly, in a way that suggests "he regards it as an original". Pliny states that it was located in the palace of the emperor

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Howard 417–418 and figure 1 has the fullest account used of the complicated situation here; with the damages and after the various restorations he lists 14 parts (417, note 4) when the group was last dismantled. See also

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style of some two centuries earlier. Regardless, it was probably commissioned for a wealthy Roman's home, possibly from the Imperial family. The dates suggested for the statue range from 200 BC to the 70s AD, with a

155:, the suffering shown in this statue offers no redemptive power or reward. The agony is conveyed through the contorted expressions on the faces, particularly Laocoön's bulging eyebrows, which were noted by 469:, an enthusiastic classicist, sent for his court artists. Michelangelo was called to the site of the unearthing of the statue immediately after its discovery, along with the Florentine architect 2385: 3566: 2450:

Laocoonte: variazioni sul mito, con una Galleria delle fonti letterarie e iconografiche su Laocoonte, a cura del Centro studi classicA, "La Rivista di Engramma" n. 50, luglio/settembre 2006

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as "a work to be preferred to all that the arts of painting and sculpture have produced" has led to a tradition which debates this claim that the sculpture is the greatest of all artworks.

926:. Furthermore, he attacked the composition on naturalistic grounds, contrasting the carefully studied human anatomy of the restored figures with the unconvincing portrayal of the snakes: 1941: 270:), but this dates from between 29 and 19 BC, which is possibly later than the sculpture. However, some scholars see the group as a depiction of the scene as described by Virgil. 5801: 2414: 1351:

used by Pliny means bronze statues as opposed to stone, as pointed out by Bernard Andreae (e.g. Andreae 1991 and, in more detail, Andreae 1988) and others. See Isager, 171.

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is shown in a pose and situation (including serpents) which is very similar to those of Laocoön, though the style is "looser and wilder in its principles" than the altar.

918:. He invited contrast between the "meagre lines and contemptible tortures of the Laocoon" and the "awfulness and quietness" of Michelangelo, saying "the slaughter of the 421:'s translation: " at the behest of council designed a group...", which Spivey takes to mean that the commission was by Titus, possibly even advised by Pliny among other 1539: 2458:

Nota sul ciclo di Sperlonga e sulle relazioni con il Laoocoonte Vaticano, a cura del Centro studi classicA, "La Rivista di Engramma" n. 50. luglio/settembre 2006

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It is generally accepted that this is the same work as is now in the Vatican. It is now very often thought that the three Rhodians were copyists, perhaps of a

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Nota sulle interpretazioni del passo di Plinio, Nat. Hist. XXXVI, 37, a cura del Centro studi classicA, "La Rivista di Engramma" n. 50. luglio/settembre 2006

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and was mentioned by other Greek writers, though the events around the attack by the serpents vary considerably. The most famous account of these is now in

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as physiologically impossible. These expressions are mirrored in the struggling bodies, especially Laocoön's, with every part of his body shown straining.

3461: 723: 548:, a pupil of Michelangelo, added his even more straight version of Laocoön's outstretched arm, which remained in place until modern times. In 1725–1727 1372:

Stewart, Andrew W. (1996), "Hagesander, Athanodorus and Polydorus", in Hornblower, Simon, Oxford Classical Dictionary, Oxford: Oxford University Press.

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appears to have had access to a good cast or reproduction from about 1520, and echoes of the figures begin to appear in his works, two of them in the

825:(1717–1768) wrote about the paradox of admiring beauty while seeing a scene of death and failure. The most influential contribution to the debate, 3124: 556:

tidied up the group after their return from Paris, without being convinced by the correctness of the additions but wishing to avoid a controversy.

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208 cm × 163 cm × 112 cm (6 ft 10 in × 5 ft 4 in × 3 ft 8 in)

2040: 544:. The winner, in the outstretched position, was used in copies but not attached to the original group, which remained as it was until 1532, when 5751: 765: 1075:, but the location of Titus's residence remains unknown; the imperial estate of the Gardens of Maecenas may be a plausible candidate. If the 500:

in November 1800. A competition was announced for new parts to complete the composition, but there were no entries. Some plaster sections by

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in 1815 most (but certainly not all) of the artworks plundered by the French were returned, and the Laocoön reached Rome in January 1816.

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In at least one Greek telling of the story the older son is able to escape, and the composition seems to allow for that possibility.

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in which he argued that abstract art now provided an ideal for artists to measure their work against. A 2007 exhibition at the

120:), has been one of the most famous ancient sculptures since it was excavated in Rome in 1506 and put on public display in the 2474:

Scheda cronologica dei restauri del Laocoonte, a cura di Marco Gazzola, "La Rivista di Engramma" n. 50, luglio/settembre 2006

2261: 2234: 2187: 2056: 2027: 1555: – in other words, to eat lunch." Farinelli, 16, has "And having seen it we went back to dinner, talking ..." 862: 232:

The group as it was between c. 1540 and 1957, with Laocoön's extended arm; the sons' restored arms were removed in the 1980s.

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The location where the buried statue was found in 1506 was always known to be "in the vineyard of Felice De Fredis" on the

5666: 5437: 5411: 3453: 1892: 178:, and Polydorus, but he did not mention the date or patron. In style it is considered "one of the finest examples of the 1536: 6727: 5756: 4709: 4142: 3582: 6674: 5974: 5706: 5576: 4794: 4147: 3912: 3668: 2257: 2205: 2183: 2110: 2076: 2052: 2023: 2009: 1995: 1706: 536:, the Pope's architect, held an informal contest among sculptors to make replacement right arms, which was judged by 5771: 5716: 5691: 5346: 4934: 4117: 2537: 1957:, as his father died (25 August 79) at Pompeii only two months after Vespasian died (23 June 79) and Titus became 17: 6732: 5776: 5676: 5331: 5105: 5090: 4859: 3652: 3304: 1641:

notes that in the restoration of c. 1540 "the original shoulder was severely sliced back" to fit the new section.

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in Rome have survived, and the influence of the figures can be seen in many of his major works, including his

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The snakes are depicted as both biting and constricting, and are probably intended as venomous, as in Virgil.

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was until recently thought to be the same statue praised by Pliny, but modern tests suggest it is medieval.

124:, where it remains today. The statue is very likely the same one that was praised in the highest terms by 5853: 5731: 5701: 5407: 5271: 4854: 4849: 4824: 4814: 4799: 4779: 4749: 4616: 4586: 3629: 3477: 2298:, translation by Bernard Frischer of Volpe, Rita and Parisi, Antonella, "Laocoonte. L'ultimo engima," in 1420: 781: 545: 711: 5994: 5080: 4829: 4784: 4754: 4122: 3645: 3496: 3288: 3280: 3264: 1043:), though no longer the city boundary, as building had spread well beyond it. The spot was within the 822: 559: 197: 5786: 5391: 5366: 5351: 5341: 5336: 5311: 5215: 5145: 5115: 4919: 4914: 4729: 4513: 4293: 4137: 4127: 3954: 3747: 2665: 2036: 465:

The group was unearthed in February 1506 in the vineyard of Felice De Fredis; informed of the fact,

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This map shows the findspot of the sculpture – near the R in "SERVIUS", east of the

826: 734:. Many still show the arm in the outstretched position, but the copy in Rhodes has been corrected. 2295: 1735:

Barkan, 13–16; H. W. Janson, "Titian's Laocoon Caricature and the Vesalian-Galenist Controversy",

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The fine white marble used is often thought to be Greek, but has not been identified by analysis.

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Clark, 219–221 was an early proponent of this view; see also Barkan, caption opp. p 1, Janson etc

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is still native to Greece. But the danger to Ancient Greeks from venomous snakes was far greater

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Boardman, 199 says "about 200 BC"; Spivey, 26, 36, feels it may have been commissioned by Titus.

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in turn copied this title while exhibiting work by modern artists influenced by the sculpture.

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is known to have been particularly impressed by the massive scale of the work and its sensuous

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Stewart, A., "To Entertain an Emperor: Sperlonga, Laokoon and Tiberius at the Dinner-Table",

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Barkan, 1–4, with English text; Chronology has the Italian, at 1567, the date of the letter.

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disliked the sculpture and compared its "disgusting convulsions" unfavourably with work by

702:. Bandinelli's version, which was often copied and distributed in small bronzes, is in the 623:

made a great impression on Italian artists and continued to influence Italian art into the

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Laocoon's Body and the Aesthetics of Pain: Winckelmann, Lessing, Herder, Moritz and Goethe

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Unearthing the Past: Archaeology and Aesthetics in the Making of Renaissance Culture

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As Beard, 210, a sceptic, complains; see "Chronology" at January 1506 for dissidents

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lived there after he returned to Rome as heir to Augustus in 2 AD. Pliny said the

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for an essay on contemporary culture at the beginning of the 20th century. In 1940

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Spivey, 26; see also Isager, 173, who translates it "by decision of the council".

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by striking it with a spear. In Sophocles, on the other hand, he was a priest of

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aesthetic, particularly its depiction of the male figures. The influence of the

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after his conquest of Italy in 1799, and installed in a place of honour in the

656: 576: 553: 504:, over 150 years old, were used instead. After Napoleon's final defeat at the 466: 432:, and Polydorus), with the names of their fathers, are inscribed on one of the 362: 322: 289: 2371: 1226:

Howard, throughout; "Chronology", and several discussions in the other sources

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An Ancient Masterpiece Or a Master's Forgery?, New York Times, April 18, 2005

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who was killed with both his sons after attempting to expose the ruse of the

144: 140: 2430: 2415:"Outscreaming the Laocoön: Sensation, Special Affects, and the Moving Image" 1748:

Jelbert, Rebecca: "Aping the Masters?: Michelangelo and the Laocoön Group."

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Ambiguous due to a quirk of Tuscan Italian, "everyone started to eat lunch"

1055:

and patron of the arts. He bequeathed the gardens to Augustus in 8 BC, and

1020:

for the successive imperial baths at the base of the hill by the Colosseum.

139:

The Laocoön Group has been called "the prototypical icon of human agony" in

6438: 6230: 6068: 6009: 5989: 5955: 5942: 5917: 5606: 5417: 5245: 5240: 5190: 5120: 4989: 4678: 4665: 4382: 4011: 3856: 3821: 3811: 3806: 3769: 3697: 3595: 2912: 2876: 2871: 2362: 2352: 2239: 2141: 1495: 1288: 1036: 899: 628: 418: 278: 220: 79: 2176:

Pliny on Art and Society: The Elder Pliny's Chapters On The History Of Art

1494:

In 2005 Lynn Catterson argued that the sculpture was a forgery created by

1023:

The first document records De Fredis' purchase of a vineyard of about 1.5

722:. There are many copies of the statue, including a well-known one in the 457: 6612: 5447: 5286: 5075: 4437: 4323: 4217: 4032: 4025: 3965: 3520: 3312: 3189: 3042: 2594: 996: 988: 895: 715: 651: 632: 428:

The same three artists' names, though in a different order (Athenodoros,

390:

In Pliny's survey of Greek and Roman stone sculpture in his encyclopedic

241: 2220: 1650:

See figures in Howard for photos and diagram of the dis-assembled pieces

136:

and his sons Antiphantes and Thymbraeus being attacked by sea serpents.

27:

Ancient sculpture excavated in Rome in 1506 and displayed in the Vatican

6460: 6413: 6342: 6134: 5566: 5476: 4344: 4018: 3983: 2680: 2675: 2155: 2095:, orig. 1949, various editions, page refs from Pelican edition of 1960. 1799: 1013: 980: 699: 643:, is evidenced in many of Michelangelo's later sculptures, such as the 318: 237: 2770: 2322: 2289: 2169: 1418:

Rose, Herbert Jennings (1996), "Laocoön", in Hornblower, Simon (ed.),

706:

Gallery, Florence, the Pope having decided it was too good to send to

267: 133: 6470: 6423: 6393: 6367: 6307: 6110: 5816: 5591: 5561: 4376: 4111: 3717: 3037: 2972: 2937: 2845: 2835: 2800: 2785: 2760: 2730: 2710: 2700: 2081:"Chronology": Frischer, Bernard, Digital Sculpture Project: Laocoon, 1944:, the house shown with a zig-zag plan to the top left of the section. 1456: 1286:

The Greeks were familiar with constricting snakes, and the small boa

1072: 1004: 429: 375: 321:

around 200 BC, and whose best known undoubtedly original work is the

249: 3637: 1094: 1092: 910:, also involves figures struggling with snakes – the 6403: 6164: 6154: 5999: 5291: 4316: 4191: 3412: 3027: 2992: 2977: 2957: 2886: 2850: 2810: 2805: 2765: 2740: 2685: 2670: 2579: 2314: 1056: 1052: 799: 777: 691: 564: 533: 445: 314: 274: 184: 2482: 1510:, described Catterson's claims as "noncredible on any count". See 212: 6408: 6322: 6312: 5276: 3556: 3087: 3032: 3017: 3007: 3002: 2962: 2907: 2866: 2830: 2795: 2780: 2755: 2705: 2650: 2150:, Vol. 56, No. 2, Medieval Issue (Jun., 1974), pp. 275–277, 1662:

Howard, 422 and 417 quoted in turn. See also "Chronology" at 1959

1406:

My Laocoön – Alternative Claims in the Interpretation of Artworks

1089: 1024: 1017: 752: 710:

as originally intended. A bronze casting, made for François I at

624: 537: 477:, later a sculptor, who wrote an account over sixty years later: 439:

Some scholars used to think that honorific inscriptions found at

2131:

Taste and the Antique: The Lure of Classical Sculpture 1500–1900

2045:

Confronting the Classics: Traditions, Adventures and Innovations

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draw on the figures. Raphael used the face of Laocoön for his

661: 529: 497: 440: 350: 313:

The style of the work is agreed to be that of the Hellenistic "

282: 258: 253: 228: 167: 152: 57: 1012:

for the find: slightly to the east of the southern end of the

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from a mold taken from the original under the supervision of

674: 410: 245: 163: 6079: 1080:

rediscovered findspot-location is not very far beyond them.

567:

rendering, Urbino, c. 1530–1545; note the absent plinth seat

6536: 6352: 6337: 6327: 6297: 6266: 2881: 2750: 2002:

Laokoon und die Kunst von Pergamon. Die Hybris der Giganten

1000: 741:

as well as small models, and became known all over Europe.

236:

The story of Laocoön, a Trojan priest, came from the Greek

129: 1368: 1366: 1239:

by Roland Hampe; but see Smith, 109 for the opposite view.

552:

added a section to the younger son's arm, and after 1816

2294:"Volpe and Parisi": Digital Sculpture Project: Laocoon. 1953:

Volpe and Parisi; the text probably reflects tidying by

2083:"An Annotated Chronology of the 'Laocoon' Statue Group" 1363: 875:(1837–1850), which stood before the east façade of the 1257:

Stewart, 85, this last in the commentary on Virgil of

953:

The New Laokoon: An Essay on the Confusion of the Arts

831:

Laocoon: An Essay on the Limits of Painting and Poetry

192:

date (27 BC to 68 AD) now being the preferred option.

2365:

3D models, bibliography, annotated chronology of the

2133:(Yale University Press), cat. no. 52, pp. 243–47 1974:

Warden, 275, approximate map of the grounds is fig. 3

1319:

Boardman, 164–166, 197–199; Clark, 216–219; Cook, 153

1275:

Dictionary of Greek and Roman Biography and Mythology

248:. It had been the subject of a tragedy, now lost, by 2545: 2305:

Warden, P. Gregory, "The Domus Aurea Reconsidered",

2196:

Muth, Susanne, "Laokoon", in: Giuliani, Luca (ed.),

1919: 1917: 1915: 1909:

Volpe and Parisi; Beard, 211 complains of vagueness

2363:University of Virginia's Digital Sculpture Project 2307:Journal of the Society of Architectural Historians 1882:. Vol. 3. New York: J. Wiley. pp. 68–69. 1498:, in Catterson, Lynn, "Michelangelo's 'Laocoön?'" 1157:. New York: D. Appleton & Company. p. 183 2309:, Vol. 40, No. 4 (Dec., 1981), pp. 271–278, 2164:, Vol. 93, No. 3 (Jul., 1989), pp. 417–422, 1154:The Expression of the Emotions in Man and Animals 162:Pliny attributed the work, then in the palace of 6719: 1912: 1007:. An inscribed plaque of 1529 in the church of 575:, archaeologist, art dealer and director of the 1183: 1181: 959:adapted the concept for his own essay entitled 1836:, translated by Sameul Gray Ward (1862) p. 26 1408:, University of California Press, 2000, p. 29. 1213: 1211: 1035:The findspot was inside and very close to the 776:The original was seized and taken to Paris by 698:was commissioned to make a copy by the Medici 166:, to three Greek sculptors from the island of 6095: 3653: 2531: 846:The most unusual intervention in the debate, 791: 1794:, Vol. 58, No. 4 (Nov., 1993), pp. 145–147, 1627:Liverani, Paolo, Digital Sculpture Project, 1327: 1325: 1178: 5752:Museo Storico Nazionale dell'Arte Sanitaria 2245:Enduring Creation: Art, Pain, and Fortitude 1208: 434:sculptures at Tiberius's villa at Sperlonga 6102: 6088: 5903: 5637:Boncompagni Ludovisi Decorative Art Museum 3660: 3646: 2538: 2524: 2213:The Annual of the British School at Athens 1684:, 197–201; Spivey, 121–123; Clark, 236–237 2211:Rice, E. E., "Prosopographika Rhodiaka", 2047:, 2013 EBL ebooks online, Profile Books, 1773:2001.08.34, review of Richard Brilliant, 1752:, issue 22 (Fall/ Winter 2019), pp. 3–16. 1322: 687:, expressing blindness rather than pain. 5802:Santa Cecilia Musical Instruments Museum 4720:Basilica of Saint Paul Outside the Walls 1506:2005: 29. Richard Brilliant, author of 974: 798: 606: 594: 558: 515: 456: 344: 292:thought so, praising the group in 1537: 227: 219: 211: 2160:Howard, Seymour, "Laocoon Rerestored", 1832:Upon The Laocoon By Johann Goethe from 14: 6720: 5737:Museo nazionale del Palazzo di Venezia 4725:Basilica of Saint Peter in the Vatican 2396:, a collection of art inspired by the 1875: 1150: 143:. Unlike the agony often portrayed in 48:Click on the map for a fullscreen view 6083: 5005:Sacro Cuore di Gesù a Castro Pretorio 3667: 3641: 2519: 2215:, Vol. 81, (1986), pp. 209–250, 1871: 1869: 1867: 1658: 1656: 1144: 361:, detail of the Gigantomachy frieze, 6513:Equestrian Statue of Marcus Aurelius 5412:Tomb of the Unknown Soldier of Italy 4760:S. Antonio da Padova in Via Merulana 3462:Ascanius Shooting the Stag of Sylvia 1811:"Laocoon and the expression of pain" 1417: 861:served as loose inspiration for the 6768:Archaeological discoveries in Italy 5428:Column of the Immaculate Conception 5357:in Piazza Santa Maria in Trastevere 2412: 2394:FlickR group "Responses To Laocoön" 2284:, Vol. 67, (1977), pp. 76–90, 2105:, Penguin, 1986 (reprint of 1972), 2069:The Oxford History of Classical Art 1411: 273:In Virgil, Laocoön was a priest of 24: 6773:Hellenistic-style Roman sculptures 5757:Museum of Contemporary Art of Rome 4710:Archbasilica of Saint John Lateran 1864: 1653: 1101:, "Catalogue Entry: Laocoon Group" 1099:Digital Sculpture Project: Laocoön 922:priest" was "entirely wanting" in 737:The group was rapidly depicted in 461:Head of the older son, Antiphantes 25: 6794: 6758:Sculptures in the Vatican Museums 5707:Museo Barracco di Scultura Antica 5672:Galleria Nazionale d'Arte Moderna 4148:Temple of Jupiter Optimus Maximus 2328: 2302:299, January 2010, pp. 26–39 2268:Hellenistic Sculpture, a handbook 2071:, 1993, Oxford University Press, 1277:, Taylor and Walton, 1846, p. 776 1063:was in his time at the palace of 839:said the following in his essay, 6753:Roman copies of Greek sculptures 6743:Antiquities acquired by Napoleon 6697: 6696: 5772:Museum of the Liberation of Rome 5717:Museo delle anime del Purgatorio 5667:Galleria Nazionale d'Arte Antica 5657:Galleria Comunale d'Arte Moderna 4118:Temple of Antoninus and Faustina 2503: 2481: 2341: 1069:qui est in Titi imperatoris domo 308: 244:, though it is not mentioned by 86: 38: 6738:1506 archaeological discoveries 6539:, Easter Islands (1250–1500 CE) 5777:National Museum of Oriental Art 5677:Giorgio de Chirico House Museum 5106:Palazzo Barberini ai Giubbonari 5091:Domus Internationalis Paulus VI 2162:American Journal of Archaeology 2093:The Nude, A Study in Ideal Form 2018:, 1999, Yale University Press, 1968: 1947: 1926: 1903: 1886: 1850: 1839: 1826: 1804: 1780: 1764: 1755: 1742: 1729: 1720: 1711: 1687: 1674: 1665: 1644: 1634: 1621: 1612: 1603: 1594: 1585: 1576: 1567: 1558: 1525: 1516: 1488: 1479: 1470: 1461: 1449: 1440: 1431: 1393: 1384: 1375: 1354: 1334: 1313: 1304: 1295: 1280: 1267: 1251: 1242: 1229: 1220: 1199: 511: 87: 6675:Genghis Khan Equestrian Statue 6588:Liberty Enlightening the World 5797:Porta San Paolo Railway Museum 4592:Columbarium of Pomponius Hylas 3446:Aeneas, Anchises, and Ascanius 2198:Meisterwerke der antiken Kunst 2117:Vatican Museums, Classical Art 1775:My Laocoön: Alternative Claims 1190: 1169: 1135: 1126: 1113: 1104: 906:on a corner pendentive of the 452: 317:baroque" which arose in Greek 157:Guillaume Duchenne de Boulogne 13: 1: 6109: 3420:Timeo Danaos et dona ferentes 3171: 3148: 2270:, Thames & Hudson, 1991, 2229:, 2 vols., Stroemfeld, 2018, 2227:Laokoon in der Frühen Neuzeit 1988:Laokoon und die Gründung Roms 1980: 1932:Volpe and Parisi; the map is 1381:Boardman, 199; Smith, 109–110 808: 332:–160 BC, and now in Berlin. 326: 6484:Winged Victory of Samothrace 5762:Museum of Roman Civilization 5692:Keats–Shelley Memorial House 5171:Palazzo Massimo alle Colonne 4715:Basilica of Saint Mary Major 3583:Political commentary of the 2498:, with the texts transcribed 2282:The Journal of Roman Studies 1990:, 1988, Philipp von Zabern, 1446:Rice, 239, with photo on 238 1175:Spivey, 25 (Darwin), 121–122 1003:); in modern terms near the 590: 520:The arm after refixing, 2010 473:and his eleven-year-old son 95:3D model (click to interact) 7: 6763:Tourist attractions in Rome 5854:Ludovisi Battle sarcophagus 5732:Museo di Roma in Trastevere 5702:Museo Archeologico Ostiense 5438:Hospital of the Holy Spirit 5010:S. Sebastiano fuori le mura 4617:Tomb of Eurysaces the Baker 4587:Catacombs of San Sebastiano 3630:Ludovisi Battle sarcophagus 3567:Parallels between Virgil's 2136:Herrmann, Ariel, review of 2004:, 1991, Frankfurt am Main, 1421:Oxford Classical Dictionary 1071:), then heir to his father 970: 546:Giovanni Antonio Montorsoli 10: 6799: 5995:Castello Orsini-Odescalchi 5081:Casa dei Cavalieri di Rodi 4855:S. Giovanni dei Fiorentini 4850:S. Giovanni a Porta Latina 4123:Temple of Apollo Palatinus 3497:And Then There Was Silence 3260:(1724 libretto Metastasio) 2296:"Laocoon: The Last Enigma" 1771:Bryn Mawr Classical Review 1726:Barkan, 11–18; Spivey, 125 1680:Barkan, 13–16, and on the 991:(the southern spur of the 823:Johann Joachim Winckelmann 655:, created for the tomb of 337: 303: 207: 6728:1st-century BC sculptures 6692: 6447: 6376: 6290: 6259: 6213: 6117: 6061: 6033: 5973: 5951: 5896: 5815: 5787:Palazzo delle Esposizioni 5625: 5575: 5461: 5400: 5254: 5216:Palazzo Vidoni-Caffarelli 5116:Palazzo della Cancelleria 5068: 5048: 4698: 4657: 4562: 4539: 4514:Column of Marcus Aurelius 4501: 4419: 4354: 4294:Basilica of Junius Bassus 4272: 4210: 4138:Temple of Hercules Victor 4128:Temple of Apollo Sosianus 4103: 4067: 4042: 3975: 3955:Arch of Septimius Severus 3922: 3911: 3877: 3675: 3544: 3513: 3488: 3429: 3359: 3323: 3216: 3135: 3100: 2900: 2859: 2638: 2567: 2560: 2408:etext on books.google.com 2340: 2335: 2037:Times Literary Supplement 85: 71: 63: 53: 46: 37: 32: 5985:Appian Way Regional Park 5792:Pigorini National Museum 5712:Museo Civico di Zoologia 5347:della Piazza dei Quiriti 5059:List of churches in Rome 5000:Sacro Cuore di Cristo Re 4825:S. Croce in Via Flaminia 4800:S. Cecilia in Trastevere 4785:Ss. Bonifacio ed Alessio 4765:S. Apollinare alle Terme 4745:S. Anastasia al Palatino 4730:S. Lorenzo fuori le mura 4509:Column of Antoninus Pius 4186:Largo di Torre Argentina 4158:Temple of Minerva Medica 4153:Temple of Jupiter Tonans 3388:Fortune favours the bold 2250:University of California 1618:Chronology; Barkan, 9–11 1537:Barkan lecture notes PDF 1259:Maurus Servius Honoratus 1151:Darwin, Charles (1872). 1083: 942:, 1856, vol. 3, ch. VII. 827:Gotthold Ephraim Lessing 385: 335:Giant in Greek mythology 6160:Environmental sculpture 6125:Architectural sculpture 5873:Portonaccio sarcophagus 5860:Ecstasy of Saint Teresa 5837:Colossus of Constantine 5832:Augustus of Prima Porta 5807:Venanzo Crocetti Museum 5767:Museum of the Ara Pacis 5742:Museo Nazionale Etrusco 5662:Galleria Doria Pamphilj 5552:Via della Conciliazione 5512:Piazza della Repubblica 5141:Palazzo Fusconi-Pighini 5096:Palazzo Aragona Gonzaga 4935:S. Maria della Vittoria 4830:S. Croce in Gerusalemme 4780:S. Bartolomeo all'Isola 4735:S. Agnese fuori le mura 4202:Porta Maggiore Basilica 3903:Obelisk of Montecitorio 3406:Obscuris vera involvens 3305:Dido, Queen of Carthage 3167:Dido, Queen of Carthage 1671:"Chronology" at 1968–70 1551:, that is, to draw ... 1426:Oxford University Press 1027:from a convent for 135 1009:Santa Maria in Aracoeli 961:Towards a Newer Laocoön 817:Pliny's description of 599:Titian's parody of the 266:quotation at the entry 200:, which is part of the 183:period, continuing the 6733:1st-century sculptures 6043:Festa della Repubblica 5883:Sistine Chapel ceiling 5747:Museo Nazionale Romano 5617:Parco degli Acquedotti 5597:Villa Borghese gardens 5557:Via dei Fori Imperiali 5131:Palazzo della Consulta 5015:S. Silvestro in Capite 4920:S. Maria in Trastevere 4915:S. Maria sopra Minerva 4890:S. Maria in Montesanto 4750:S. Andrea delle Fratte 4622:Tomb of Hilarus Fuscus 4607:Mausoleum of Maxentius 4577:Catacombs of Domitilla 4485:Villa of the Quintilii 3470:Dido building Carthage 3336:Papyrus Oxyrhynchus 31 2413:Loh, Maria H. (2011). 2225:Schmälzle, Christoph, 1533:ci tornammo a desinare 984: 945: 857:The central figure of 814: 766:Descent from the Cross 671:Sistine Chapel ceiling 616: 604: 568: 521: 484: 462: 402: 396:(XXXVI, 37), he says: 370: 298: 233: 225: 224:The other oblique view 217: 117: 6748:Hellenistic sculpture 6567:Kamagaya Great Buddha 6291:Traditional materials 6260:Elements in sculpture 6035:Events and traditions 5842:La Bocca della Verità 5687:Jewish Museum of Rome 5181:Palazzo del Quirinale 5025:S. Sofia a Via Boccea 4885:S. Maria degli Angeli 4875:S. Maria Ausiliatrice 4755:S. Andrea della Valle 4597:Mausoleum of Augustus 4531:Five-Columns Monument 4479:Insula dell'Ara Coeli 4331:Portico Dii Consentes 4299:Basilica of Maxentius 3623:Laocoön and His Sons 3591:Sulpicius Apollinaris 3236:(1687 Lully/Collasse) 2486:Texts on Wikisource: 2431:10.1093/oxartj/kcr039 2115:Farinella, Vincenzo, 2041:subscription required 1899:Henry Moore Institute 1894:Towards a New Laocoon 1876:Ruskin, John (1872). 1820:, William Schupbach, 1792:South Atlantic Review 1701:, p. 74, Yale, 1983, 1573:Chronology, 1798–1816 1564:Chronology, 1504–1510 1341:English text at Tufts 999:" (the palace of the 978: 965:Henry Moore Institute 928: 877:United States Capitol 802: 619:The discovery of the 610: 598: 562: 519: 479: 475:Francesco da Sangallo 460: 415:de consilii sententia 398: 348: 340:Alcyoneus (mythology) 294: 231: 223: 215: 6783:Sculptures of snakes 6652:The Motherland Calls 6501:(c. 200 BCE – 70 CE) 6498:Laocoön and His Sons 6487:(c. 2nd century BCE) 6455:Great Sphinx of Giza 5888:Velletri Sarcophagus 5848:Laocoön and His Sons 5602:Villa Doria Pamphili 5507:Piazza della Minerva 5332:di Piazza d'Aracoeli 5221:Palazzo del Viminale 5166:Palazzo di Giustizia 4995:Sacro Cuore di Maria 4980:Ss. Quattro Coronati 4965:S. Pietro in Vincoli 4950:S. Nicola in Carcere 4945:Ss. Nereo e Achilleo 4930:S. Maria in Via Lata 4905:S. Maria in Aracoeli 4895:S. Maria in Cosmedin 4870:S. Lorenzo in Lucina 4865:S. Lorenzo in Damaso 4860:Ss. Giovanni e Paolo 4805:Ss. Celso e Giuliano 4790:S. Camillo de Lellis 4406:Theatre of Marcellus 4178:House of the Vestals 3438:Laocoön and His Sons 2512:at Wikimedia Commons 2381:Laocoon and his Sons 2348:Laocoön and his Sons 2200:, 2005, C. H. Beck, 2138:Sperlonga und Vergil 1965:, his title as heir. 1938:Nuova Pianta di Roma 1750:Journal of Art Crime 1591:Howard, 418–419, 422 1500:Artibus et historiae 1263:Euphorion of Chalcis 1237:Sperlonga und Vergil 1235:Boardman, 199, also 879:for over 100 years. 708:François I of France 550:Agostino Cornacchini 471:Giuliano da Sangallo 338:For other uses, see 198:Museo Pio-Clementino 118:Gruppo del Laocoonte 105:Laocoön and His Sons 33:Laocoön and His Sons 6644:Christ the Redeemer 6636:Shrine of Democracy 6590:, Statue of Liberty 6214:Styles of sculpture 5408:Altare della Patria 5069:Castles and palaces 4940:S. Martino ai Monti 4910:S. Maria del Popolo 4900:S. Maria in Domnica 4845:S. Francesca Romana 4815:Ss. Cosma e Damiano 4637:Tombs of Via Latina 4632:Tomb of the Scipios 4627:Tomb of the Haterii 4602:Mausoleum of Helena 4401:Stadium of Domitian 4391:Gardens of Maecenas 4367:Circus of Maxentius 4304:Basilica of Neptune 4281:Basilica Argentaria 4085:Baths of Diocletian 4058:Cloaca Circi Maximi 3930:Arch of Constantine 3898:Obelisk of Minerveo 3454:The Dream of Aeneas 3351:Vergilius Vaticanus 3341:Vergilius Augusteus 3233:Achille et Polyxène 3154:history of Britain) 2178:, 2013, Routledge, 1045:Gardens of Maecenas 947:In 1910 the critic 904:The Brazen Serpent, 850:'s annotated print 748:Averoldi Altarpiece 728:Knights of St. John 374:Here the figure of 6620:Jules Verne's tomb 6519:Buddhas of Bamiyan 6477:Colossus of Rhodes 6461:Abu Simbel temples 6457:(c. 2558–2532 BCE) 6448:Notable sculptures 6118:Types of sculpture 6053:Rome Film Festival 6015:Villa Aldobrandini 5642:Capitoline Museums 5487:Clivus Capitolinus 5146:Palazzo Giustinani 5086:Castel Sant'Angelo 5030:S. Stefano Rotondo 4612:Pyramid of Cestius 4461:Palace of Domitian 4396:Gardens of Sallust 4243:Forum of Vespasian 4163:Temple of Portunus 4080:Baths of Caracalla 3614:Bocca della Verità 3536:Sortes Vergilianae 3526:Dactylic hexameter 3289:Didone abbandonata 3281:Didone abbandonata 3273:Didone abbandonata 3265:Didone abbandonata 3257:Didone abbandonata 3144:Historia Brittonum 2988:Evander of Pallene 2419:Oxford Art Journal 2000:Andreae, Bernard, 1986:Andreae, Bernard, 1942:section image here 1934:Giambattista Nolli 1816:2013-10-05 at the 1790:by Simon Richter, 1786:Gustafson, Susan, 1631:; Chronology, 1957 1542:2012-04-18 at the 985: 902:, whose fresco of 815: 795:as an ideal of art 778:Napoleon Bonaparte 665:and the figure of 659:. Several of the 617: 605: 603:as a group of apes 569: 522: 506:Battle of Waterloo 463: 371: 234: 226: 218: 108:, also called the 6715: 6714: 6605:The Golden Virgin 6597:The Gates of Hell 6531:Konark Sun Temple 6527:(c. 1194–1250 CE) 6525:Chartes Cathedral 6175:Kinetic sculpture 6077: 6076: 6048:Rome Quadriennale 5975:Metropolitan City 5969: 5968: 5652:Galleria Borghese 5527:Piazza San Pietro 5502:Piazza del Popolo 5497:Piazza d'Aracoeli 5470:and public spaces 5352:di Piazza Nicosia 5342:di Piazza Farnese 5337:di Piazza Colonna 5211:Palazzo Valentini 5101:Palazzo Barberini 4795:S. Carlo al Corso 4694: 4693: 4685:Ponte Sant'Angelo 4642:Tomb of Priscilla 4582:Catacombs of Rome 4456:House of Augustus 4445:Domus Transitoria 4411:Theatre of Pompey 4338:Porticus Octaviae 4228:Forum of Augustus 4133:Temple of Hadrian 3945:Arch of Gallienus 3935:Arch of Dolabella 3893:Flaminian Obelisk 3669:Landmarks of Rome 3636: 3635: 3626:Succeeded by 3620:Landmarks of Rome 3604: 3603: 3531:Hysteron proteron 3346:Vergilius Romanus 3331:Book of Ballymote 3096: 3095: 2892:Pygmalion of Tyre 2508:Media related to 2359: 2358: 2262:978-0-520-23022-4 2235:978-3-86600-254-8 2208:, pp. 72–93. 2188:978-1-135-08580-3 2057:978-1-84765-888-3 2028:978-0-300-08911-0 2014:Barkan, Leonard, 1955:Pliny the Younger 1402:Richard Brilliant 957:Clement Greenberg 889:A Christmas Carol 867:Horatio Greenough 771:Antwerp Cathedral 751:of 1520–1522. A 696:Baccio Bandinelli 639:, as well as the 502:François Girardon 100: 99: 16:(Redirected from 6790: 6700: 6699: 6660:Fallen Astronaut 6377:Modern materials 6241:Modern sculpture 6170:Installation art 6104: 6097: 6090: 6081: 6080: 5901: 5900: 5826:Apollo Belvedere 5722:Museo delle Mura 5542:Via dei Coronari 5532:Piazza di Spagna 5226:Palazzo Wedekind 5186:Palazzo Pamphilj 5111:Palazzo Borghese 5020:S. Sisto Vecchio 4548:Porticus Aemilia 4520:Column of Phocas 4502:Column monuments 4263:Forum Holitorium 4168:Temple of Saturn 4075:Baths of Agrippa 3991:Aqua Alexandrina 3923:Triumphal arches 3920: 3919: 3792:Castra Praetoria 3662: 3655: 3648: 3639: 3638: 3610:Preceded by 3607: 3606: 3562:The Golden Bough 3478:The Golden Bough 3400:Mind over matter 3252:(1693 Desmarets) 3201:(1798 mock epic) 3176: 3173: 3153: 3150: 2565: 2564: 2540: 2533: 2526: 2517: 2516: 2507: 2485: 2478: 2470: 2462: 2454: 2446: 2444: 2442: 2433:. Archived from 2345: 2344: 2333: 2332: 2147:The Art Bulletin 2123:Haskell, Francis 1975: 1972: 1966: 1951: 1945: 1930: 1924: 1923:Volpe and Parisi 1921: 1910: 1907: 1901: 1890: 1884: 1883: 1873: 1862: 1854: 1848: 1846:Blake's comments 1843: 1837: 1830: 1824: 1808: 1802: 1784: 1778: 1768: 1762: 1759: 1753: 1746: 1740: 1737:The Art Bulletin 1733: 1727: 1724: 1718: 1715: 1709: 1693:Roger Jones and 1691: 1685: 1678: 1672: 1669: 1663: 1660: 1651: 1648: 1642: 1638: 1632: 1625: 1619: 1616: 1610: 1607: 1601: 1598: 1592: 1589: 1583: 1580: 1574: 1571: 1565: 1562: 1556: 1529: 1523: 1520: 1514: 1492: 1486: 1483: 1477: 1474: 1468: 1465: 1459: 1453: 1447: 1444: 1438: 1435: 1429: 1428: 1415: 1409: 1397: 1391: 1388: 1382: 1379: 1373: 1370: 1361: 1358: 1352: 1338: 1332: 1329: 1320: 1317: 1311: 1308: 1302: 1299: 1293: 1284: 1278: 1271: 1265: 1255: 1249: 1246: 1240: 1233: 1227: 1224: 1218: 1215: 1206: 1203: 1197: 1194: 1188: 1185: 1176: 1173: 1167: 1166: 1164: 1162: 1148: 1142: 1139: 1133: 1130: 1124: 1117: 1111: 1108: 1102: 1096: 943: 886:' 1843 novella, 882:Near the end of 841:Upon the Laocoon 813: 810: 646:Rebellious Slave 542:Jacopo Sansovino 532:, in about 1510 489:Belvedere Garden 406:bronze sculpture 331: 328: 149:Passion of Jesus 96: 92: 91: 42: 30: 29: 21: 6798: 6797: 6793: 6792: 6791: 6789: 6788: 6787: 6778:Nude sculptures 6718: 6717: 6716: 6711: 6688: 6682:Statue of Unity 6634:Mount Rushmore 6627:Abraham Lincoln 6580:Lion of Belfort 6573:Nelson's Column 6491:Terracotta Army 6443: 6372: 6286: 6255: 6209: 6113: 6108: 6078: 6073: 6057: 6029: 6005:Hadrian's Villa 5977:of Rome Capital 5976: 5965: 5961:Monte Testaccio 5947: 5892: 5811: 5782:Palazzo Colonna 5628: 5621: 5579: 5571: 5482:Campo de' Fiori 5469: 5457: 5401:Other landmarks 5396: 5372:Quattro Fontane 5250: 5236:Villa Farnesina 5231:Palazzo Zuccari 5201:Palazzo Ruspoli 5136:Palazzo Farnese 5126:Palazzo Colonna 5064: 5044: 4925:S. Maria in Via 4701: 4690: 4653: 4648:Vigna Randanini 4558: 4554:Trajan's Market 4535: 4526:Trajan's Column 4497: 4431:Domus Augustana 4415: 4350: 4268: 4233:Forum of Caesar 4206: 4173:Temple of Vesta 4143:Temple of Janus 4099: 4095:Baths of Trajan 4063: 4038: 4005:Aqua Anio Novus 3998:Aqua Anio Vetus 3971: 3914: 3907: 3888:Lateran Obelisk 3873: 3676:Walls and gates 3671: 3666: 3627: 3622: 3611: 3605: 3600: 3540: 3509: 3484: 3425: 3355: 3319: 3300:(1783 Piccinni) 3276:(1724 Albinoni) 3241:Dido and Aeneas 3212: 3174: 3151: 3131: 3092: 2923:Ajax the Lesser 2896: 2855: 2634: 2556: 2544: 2476: 2468: 2460: 2452: 2440: 2438: 2342: 2336:External videos 2331: 2266:Smith, R.R.R., 2174:Isager, Jacob, 2127:Penny, Nicholas 2043:, reprinted in 1983: 1978: 1973: 1969: 1952: 1948: 1931: 1927: 1922: 1913: 1908: 1904: 1891: 1887: 1879:Modern Painters 1874: 1865: 1855: 1851: 1844: 1840: 1831: 1827: 1818:Wayback Machine 1809: 1805: 1785: 1781: 1769: 1765: 1761:Spivey, 125–127 1760: 1756: 1747: 1743: 1734: 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Steps 5451: 5449: 5446: 5444: 5443:Milizie Tower 5441: 5439: 5436: 5434: 5431: 5429: 5426: 5424: 5423:Capocci Tower 5421: 5419: 5416: 5413: 5409: 5406: 5405: 5403: 5399: 5393: 5390: 5388: 5385: 5383: 5380: 5378: 5375: 5373: 5370: 5368: 5367:Quattro Fiumi 5365: 5363: 5360: 5358: 5355: 5353: 5350: 5348: 5345: 5343: 5340: 5338: 5335: 5333: 5330: 5328: 5325: 5323: 5320: 5318: 5315: 5313: 5310: 5308: 5305: 5303: 5300: 5298: 5295: 5293: 5290: 5288: 5285: 5283: 5280: 5278: 5275: 5273: 5270: 5268: 5265: 5263: 5260: 5259: 5257: 5253: 5247: 5244: 5242: 5239: 5237: 5234: 5232: 5229: 5227: 5224: 5222: 5219: 5217: 5214: 5212: 5209: 5207: 5206:Palazzo Spada 5204: 5202: 5199: 5197: 5194: 5192: 5189: 5187: 5184: 5182: 5179: 5177: 5174: 5172: 5169: 5167: 5164: 5162: 5161:Palazzo Malta 5159: 5157: 5154: 5152: 5149: 5147: 5144: 5142: 5139: 5137: 5134: 5132: 5129: 5127: 5124: 5122: 5121:Palazzo Chigi 5119: 5117: 5114: 5112: 5109: 5107: 5104: 5102: 5099: 5097: 5094: 5092: 5089: 5087: 5084: 5082: 5079: 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Pudenziana 4973: 4971: 4968: 4966: 4963: 4961: 4958: 4956: 4953: 4951: 4948: 4946: 4943: 4941: 4938: 4936: 4933: 4931: 4928: 4926: 4923: 4921: 4918: 4916: 4913: 4911: 4908: 4906: 4903: 4901: 4898: 4896: 4893: 4891: 4888: 4886: 4883: 4881: 4878: 4876: 4873: 4871: 4868: 4866: 4863: 4861: 4858: 4856: 4853: 4851: 4848: 4846: 4843: 4841: 4838: 4836: 4833: 4831: 4828: 4826: 4823: 4821: 4818: 4816: 4813: 4811: 4808: 4806: 4803: 4801: 4798: 4796: 4793: 4791: 4788: 4786: 4783: 4781: 4778: 4776: 4773: 4771: 4768: 4766: 4763: 4761: 4758: 4756: 4753: 4751: 4748: 4746: 4743: 4741: 4738: 4736: 4733: 4731: 4728: 4726: 4723: 4721: 4718: 4716: 4713: 4711: 4708: 4707: 4705: 4703: 4697: 4687: 4686: 4682: 4680: 4677: 4675: 4674: 4670: 4668: 4667: 4663: 4662: 4660: 4656: 4650: 4649: 4645: 4643: 4640: 4638: 4635: 4633: 4630: 4628: 4625: 4623: 4620: 4618: 4615: 4613: 4610: 4608: 4605: 4603: 4600: 4598: 4595: 4593: 4590: 4588: 4585: 4583: 4580: 4578: 4575: 4573: 4572: 4571:Casal Rotondo 4568: 4567: 4565: 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3778: 3776: 3773: 3772: 3771: 3768: 3764: 3761: 3759: 3756: 3754: 3751: 3749: 3746: 3744: 3741: 3739: 3738:San Pancrazio 3736: 3734: 3731: 3729: 3726: 3724: 3721: 3719: 3716: 3714: 3711: 3709: 3706: 3704: 3701: 3699: 3696: 3694: 3691: 3689: 3686: 3685: 3684: 3681: 3680: 3678: 3674: 3670: 3663: 3658: 3656: 3651: 3649: 3644: 3643: 3640: 3632: 3631: 3625: 3621: 3618: 3616: 3615: 3609: 3608: 3597: 3594: 3592: 3589: 3587: 3586: 3581: 3579: 3578: 3574: 3570: 3565: 3563: 3560: 3558: 3555: 3553: 3550: 3549: 3547: 3543: 3537: 3534: 3532: 3529: 3527: 3524: 3522: 3519: 3518: 3516: 3512: 3506: 3505: 3504:Gates of Fire 3501: 3498: 3494: 3493: 3491: 3487: 3480: 3479: 3475: 3472: 3471: 3467: 3464: 3463: 3459: 3456: 3455: 3451: 3448: 3447: 3443: 3440: 3439: 3435: 3434: 3432: 3428: 3422: 3421: 3417: 3415: 3414: 3410: 3408: 3407: 3403: 3401: 3398: 3396: 3395: 3391: 3389: 3386: 3384: 3383: 3382:Experto crede 3379: 3377: 3376: 3375:Annuit cœptis 3372: 3370: 3369: 3365: 3364: 3362: 3358: 3352: 3349: 3347: 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2 May 2015 2436: 2432: 2428: 2424: 2420: 2416: 2411: 2409: 2407: 2402: 2399: 2395: 2392: 2389: 2388: 2383: 2382: 2378: 2376: 2374: 2370: 2368: 2364: 2361: 2360: 2354: 2350: 2349: 2339: 2334: 2324: 2320: 2316: 2312: 2308: 2304: 2301: 2297: 2293: 2291: 2287: 2283: 2279: 2277: 2273: 2269: 2265: 2263: 2259: 2258:0-520-23022-1 2255: 2251: 2247: 2246: 2241: 2240:Spivey, Nigel 2238: 2236: 2232: 2228: 2224: 2222: 2218: 2214: 2210: 2207: 2206:3-406-53094-X 2203: 2199: 2195: 2193: 2189: 2185: 2184:1-135-08580-3 2181: 2177: 2173: 2171: 2167: 2163: 2159: 2157: 2153: 2149: 2148: 2143: 2139: 2135: 2132: 2128: 2124: 2121: 2119:, 1985, Scala 2118: 2114: 2112: 2111:0-14-021866-1 2108: 2104: 2100: 2097: 2094: 2090: 2087: 2084: 2080: 2078: 2077:0-19-814386-9 2074: 2070: 2066: 2063: 2061: 2058: 2054: 2053:1-84765-888-1 2050: 2046: 2042: 2038: 2034: 2031: 2029: 2025: 2024:0-300-08911-2 2021: 2017: 2013: 2011: 2010:3-596-10743-1 2007: 2003: 1999: 1997: 1996:3-8053-0989-9 1993: 1989: 1985: 1984: 1971: 1964: 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1081: 1078: 1074: 1070: 1066: 1062: 1058: 1054: 1050: 1047:, founded by 1046: 1042: 1038: 1033: 1030: 1026: 1021: 1019: 1016:, the ruined 1015: 1010: 1006: 1002: 998: 994: 990: 982: 977: 968: 966: 962: 958: 954: 950: 941: 940: 936:John Ruskin, 932: 927: 925: 921: 917: 913: 909: 905: 901: 897: 893: 891: 890: 885: 880: 878: 874: 873: 868: 864: 860: 855: 853: 849: 848:William Blake 844: 842: 838: 837:Johann Goethe 834: 832: 828: 824: 820: 806: 801: 794: 789: 787: 783: 779: 774: 772: 768: 767: 762: 758: 757:Laocoön Group 754: 750: 749: 744: 740: 735: 733: 729: 725: 721: 717: 713: 712:Fontainebleau 709: 705: 701: 697: 693: 688: 686: 685:Raphael Rooms 682: 681: 676: 672: 668: 664: 663: 658: 654: 653: 648: 647: 642: 638: 634: 630: 626: 622: 614: 611:A replica in 609: 602: 597: 588: 584: 580: 578: 574: 573:Ludwig Pollak 566: 561: 557: 555: 551: 547: 543: 540:, and won by 539: 535: 531: 528:According to 526: 518: 509: 507: 503: 499: 493: 490: 483: 478: 476: 472: 468: 459: 450: 447: 442: 437: 435: 431: 426: 424: 420: 416: 412: 407: 401: 397: 395: 394: 383: 379: 377: 368: 364: 360: 356: 352: 347: 341: 333: 324: 320: 316: 309:Ancient times 301: 297: 293: 291: 286: 284: 280: 276: 271: 269: 265: 261: 260: 255: 251: 247: 243: 239: 230: 222: 214: 205: 203: 199: 193: 191: 186: 181: 177: 173: 169: 165: 164:Emperor Titus 160: 158: 154: 150: 146: 145:Christian art 142: 137: 135: 131: 127: 123: 119: 115: 111: 110:Laocoön Group 107: 106: 90: 84: 81: 77: 74: 70: 66: 62: 59: 56: 52: 45: 41: 36: 31: 19: 18:Laocoön Group 6680: 6666: 6658: 6650: 6642: 6635: 6625: 6611: 6603: 6595: 6587: 6578: 6558: 6550: 6542: 6521:(507–554 CE) 6504: 6497: 6496: 6482: 6479:(c. 292 BCE) 6439:Found object 6231:Detonography 6069:Vatican City 6020:Villa d'Este 6010:Ostia Antica 5990:Capo di Bove 5956:Tiber Island 5865: 5858: 5847: 5846: 5824: 5607:Villa Medici 5448:Sisto Bridge 5418:Campo Verano 5322:del Pantheon 5267:Acqua Felice 5246:Villa Madama 5241:Villa Giulia 5191:Palazzo Poli 5057: 4955:S. Pancrazio 4840:S. Eustachio 4820:S. Crisogono 4770:Ss. Apostoli 4683: 4679:Ponte Milvio 4671: 4666:Pons Cestius 4664: 4646: 4569: 4546: 4491: 4477: 4465: 4443: 4436: 4429: 4421: 4420:Palaces and 4383:Ludus Magnus 4381: 4343: 4336: 4329: 4322: 4315: 4308: 4286: 4279: 4261: 4254: 4184: 4110: 4068:Public baths 4056: 4049: 4031: 4024: 4017: 4012:Aqua Claudia 4010: 4003: 3996: 3989: 3982: 3964: 3817:Caelimontana 3812:Servian Wall 3802:Terreus Wall 3775:Cavalleggeri 3770:Leonine Wall 3748:San Giovanni 3628: 3619: 3612: 3596:Trojan Horse 3584: 3576: 3572: 3571:and Homer's 3568: 3502: 3476: 3468: 3460: 3452: 3444: 3437: 3436: 3418: 3411: 3404: 3392: 3380: 3373: 3366: 3311: 3303: 3295: 3292:(1762 Sarti) 3287: 3284:(1726 Vinci) 3279: 3271: 3268:(1724 Sarro) 3263: 3255: 3247: 3239: 3231: 3223: 3209:(2008 novel) 3204: 3196: 3188: 3185:(1751 novel) 3180: 3165: 3157: 3142: 3123: 3115: 3107: 2913:Achaemenides 2872:Anna Perenna 2550: 2489: 2477:(in Italian) 2469:(in Italian) 2461:(in Italian) 2453:(in Italian) 2439:. Retrieved 2435:the original 2422: 2418: 2405: 2397: 2386: 2380: 2372: 2366: 2353:Smarthistory 2347: 2306: 2299: 2281: 2267: 2244: 2226: 2212: 2197: 2192:Google Books 2175: 2161: 2145: 2142:Roland Hampe 2137: 2130: 2116: 2102: 2092: 2068: 2060:Google Books 2044: 2015: 2001: 1987: 1970: 1962: 1961:rather than 1958: 1949: 1937: 1928: 1905: 1893: 1888: 1878: 1860:by Greenough 1857: 1852: 1841: 1833: 1828: 1806: 1791: 1787: 1782: 1774: 1770: 1766: 1757: 1749: 1744: 1736: 1731: 1722: 1713: 1698: 1689: 1681: 1676: 1667: 1646: 1636: 1623: 1614: 1609:Barkan, 7–10 1605: 1600:Barkan, 7–11 1596: 1587: 1578: 1569: 1560: 1552: 1548: 1532: 1527: 1518: 1507: 1503: 1499: 1496:Michelangelo 1490: 1481: 1472: 1463: 1455:See Rice or 1451: 1442: 1433: 1419: 1413: 1405: 1395: 1386: 1377: 1356: 1348: 1336: 1315: 1306: 1297: 1289:Eryx jaculus 1287: 1282: 1274: 1269: 1253: 1244: 1236: 1231: 1222: 1201: 1192: 1171: 1159:. Retrieved 1153: 1146: 1137: 1128: 1115: 1106: 1076: 1068: 1060: 1051:the ally of 1037:Servian Wall 1034: 1022: 1001:Emperor Nero 986: 960: 952: 946: 937: 929: 903: 900:Michelangelo 894: 887: 881: 870: 858: 856: 851: 845: 840: 835: 830: 818: 816: 804: 792: 775: 764: 756: 746: 736: 724:Grand Palace 718:, is at the 689: 678: 660: 650: 644: 636: 629:Michelangelo 620: 618: 600: 585: 581: 570: 527: 523: 512:Restorations 494: 485: 480: 464: 438: 427: 422: 419:Nigel Spivey 414: 403: 399: 391: 389: 380: 372: 312: 299: 295: 287: 279:Trojan Horse 272: 263: 257: 235: 216:Oblique view 194: 161: 138: 109: 104: 103: 101: 80:Vatican City 6647:(1927–1931) 6639:(1927–1941) 6613:The Thinker 6600:(1890–1917) 6555:(1501–1504) 6547:(1498–1499) 6251:Renaissance 5905:Seven Hills 5627:Museums and 5433:Conti Tower 5287:Il Facchino 5272:Acqua Paola 4970:S. Prassede 4810:S. Clemente 4740:S. Agostino 4492:sette bassi 4438:Domus Aurea 4324:Curia Julia 4218:Roman Forum 4033:Aqua Tepula 4026:Aqua Marcia 3966:Arcus Novus 3807:Romuli Wall 3521:Aposiopesis 3324:Manuscripts 3313:Les Troyens 3193:(1729 poem) 3190:The Dunciad 3175: 1593 3162:(1160 poem) 3109:The Avenger 3101:Film and TV 3043:Neoptolemus 2860:Phoenicians 2033:Beard, Mary 1629:"Catalogue" 1390:Isager, 173 1347:. The word 1310:Stewart, 78 1217:Howard, 422 1161:25 December 997:Domus Aurea 989:Oppian Hill 896:John Ruskin 812: 1820 716:Primaticcio 652:Dying Slave 633:Hellenistic 453:Renaissance 242:Trojan Wars 180:Hellenistic 176:Athenodoros 141:Western art 6722:Categories 6414:Fiberglass 6343:Terracotta 6190:Pedimental 6185:Monumental 6135:Bas relief 6130:Assemblage 5923:Capitoline 5567:Via Veneto 5477:Appian Way 5377:Tartarughe 4835:S. Eugenio 4775:S. Balbina 4345:Tabularium 4019:Aqua Julia 3984:Aqua Appia 3842:Fontinalis 3758:Settimiana 3152: 828 3136:Literature 2681:Antiphates 2676:Andromache 2561:Characters 2441:6 December 2404:Lessing's 2276:0500202494 2099:Cook, R.M. 1981:References 1858:The Rescue 1717:Barkan, 10 1508:My Laocoön 1424:, Oxford: 1349:statuariae 1248:Smith, 109 1132:Spivey, 25 1110:Beard, 209 1014:Sette Sale 981:Sette Sale 872:The Rescue 700:Pope Leo X 692:Florentine 330: 180 319:Asia Minor 238:Epic Cycle 64:Dimensions 6533:(1250 CE) 6473:(438 BCE) 6471:Parthenon 6469:from the 6424:Aluminium 6394:Jesmonite 6368:Soapstone 6308:Limestone 6226:Classical 6155:Earth art 6111:Sculpture 5928:Esquiline 5897:Landscape 5592:Villa Ada 5562:Via Sacra 5307:Navicella 5282:Barcaccia 5255:Fountains 5040:S. Vitale 5035:S. Teresa 4990:S. Sabina 4702:basilicas 4377:Colosseum 4112:Ara Pacis 4104:Religious 3976:Aqueducts 3915:landmarks 3867:Trigemina 3847:Gallienus 3837:Esquilina 3832:Dolabella 3763:Tiburtina 3743:San Paolo 3713:Nomentana 3688:Ardeatina 3457:(1660–65) 3038:Mezentius 2973:Cydonians 2943:Aventinus 2938:Automedon 2933:Androgeus 2846:Thymoetes 2836:Sergestus 2801:Palinurus 2786:Mnestheus 2761:Hippocoon 2731:Deiphobus 2711:Corynaeus 2701:Cassandra 2625:Tiberinus 2103:Greek Art 1959:Imperator 1553:digiunare 1549:disegnare 1457:Agesander 1331:Cook, 153 1261:, citing 1073:Vespasian 1005:Colosseum 924:sublimity 829:'s essay 694:sculptor 680:Parnassus 591:Influence 430:Agesander 376:Alcyoneus 369:, Berlin. 315:Pergamene 262:(see the 250:Sophocles 185:Pergamene 172:Agesander 6702:Category 6515:(175 CE) 6404:Concrete 6318:Porphyry 6165:Figurine 6000:Frascati 5938:Quirinal 5933:Palatine 5913:Aventine 5587:Bioparco 5580:and zoos 5292:Marforio 4960:Pantheon 4880:S. Marco 4540:Commerce 4317:Comitium 4197:Pantheon 4192:Lupercal 3880:obelisks 3878:Ancient 3852:Viminale 3723:Pinciana 3708:Metronia 3703:Maggiore 3693:Asinaria 3413:Quos ego 3368:Ad astra 3120:(1971–2) 3028:Messapus 2993:Halaesus 2978:Diomedes 2958:Catillus 2887:Mattan I 2851:Ucalegon 2811:Panthous 2806:Pandarus 2766:Ilioneus 2746:Euryalus 2741:Entellus 2721:Dardanus 2686:Ascanius 2671:Anchises 2580:Crinisus 2390:database 2242:(2001), 2221:30102899 2129:, 1981. 1814:Archived 1540:Archived 1057:Tiberius 1053:Augustus 1041:aqueduct 1025:hectares 971:Findspot 934:— 803:Blake's 649:and the 627:period. 615:, Brazil 571:In 1906 565:maiolica 534:Bramante 446:adoption 325:, dated 275:Poseidon 72:Location 6707:Outline 6409:Plastic 6399:Acrylic 6323:Diorite 6313:Granite 6221:Baroque 6062:Enclave 5943:Viminal 5918:Caelian 5467:streets 5463:Squares 5392:Tritone 5387:Tritons 5317:Nettuno 5312:Neptune 5277:Babuino 4985:S. Saba 4658:Bridges 3827:Collina 3780:Pertusa 3733:Portese 3577:Odyssey 3557:Eneados 3545:Related 3441:(25 BC) 3360:Phrases 3206:Lavinia 3125:Eneyida 3088:Venulus 3033:Metabus 3018:Lavinia 3008:Latinus 3003:Juturna 2963:Clytius 2953:Camilla 2908:Acestes 2867:Acerbas 2831:Ripheus 2821:Polites 2796:Ornytus 2781:Misenus 2771:Laocoön 2756:Helenus 2706:Clonius 2651:Aeneads 2646:Achates 2639:Trojans 2615:Mercury 2605:Jupiter 2568:Deities 2555:(19 BC) 2491:Laocoön 2406:Laocoon 2398:Laocoön 2384:in the 2373:Laocoon 2367:Laocoon 2252:Press, 2156:3049235 2085:, 2009. 2067:(ed.), 1800:3201020 1699:Raphael 1077:Laocoön 1061:Laocoön 1018:cistern 914:of the 859:Laocoön 852:Laocoön 819:Laocoön 807:print, 805:Laocoön 793:Laocoön 784:at the 753:woodcut 726:of the 683:in the 677:in his 669:in the 637:Laocoön 625:Baroque 621:Laocoön 601:Laocoön 538:Raphael 423:savants 304:History 268:Laocoön 240:on the 208:Subject 153:martyrs 134:Laocoön 132:priest 114:Italian 6685:(2018) 6677:(2008) 6671:(1981) 6663:(1971) 6655:(1967) 6630:(1920) 6622:(1907) 6616:(1904) 6608:(1897) 6592:(1886) 6583:(1880) 6575:(1843) 6569:(1776) 6563:(1753) 6429:Fabric 6363:Butter 6358:Silver 6348:Bronze 6303:Marble 6282:Volume 6246:Relief 6200:Statue 6180:Mobile 6145:Effigy 5327:Pianto 5302:Nasone 4422:villae 4043:Sewers 3857:Naevia 3822:Capena 3728:Popolo 3698:Latina 3585:Aeneid 3569:Aeneid 3481:(1834) 3473:(1815) 3465:(1689) 3449:(1619) 3225:Didone 3198:Eneida 3182:Amelia 3128:(1991) 3117:Eneide 3112:(1962) 3073:Turnus 3063:Salius 3058:Rutuli 3048:Pallas 3013:Lausus 2998:Iarbas 2983:Erulus 2901:Others 2841:Theano 2736:Elymus 2716:Creusa 2691:Caieta 2666:Aletes 2661:Aeolus 2656:Aeneas 2620:Saturn 2590:Hecate 2575:Alecto 2552:Aeneid 2547:Virgil 2387:Census 2375:photos 2323:989644 2321: 2300:Archeo 2290:299920 2288: 2274: 2256: 2233: 2219: 2204: 2182: 2170:505589 2168: 2154: 2125:, and 2109: 2075: 2051: 2022: 2008: 1994: 1963:Caesar 1798: 1705: 1535:– see 1029:ducats 920:Dardan 863:Indian 786:Louvre 761:Rubens 743:Titian 739:prints 732:Rhodes 704:Uffizi 662:ignudi 530:Vasari 498:Louvre 441:Lindos 357:, and 351:Athena 283:Apollo 264:Aeneid 259:Aeneid 254:Virgil 168:Rhodes 130:Trojan 58:Marble 54:Medium 6552:David 6544:Pietà 6434:Paper 6419:Glass 6384:Steel 6333:Ivory 6277:Space 6205:Stele 5867:Pietà 5697:MAXXI 4563:Tombs 4273:Civic 3573:Iliad 3514:Study 3489:Music 3297:Didon 3249:Didon 3217:Opera 3177:play) 3083:Umbro 3078:Ufens 3068:Sinon 3053:Picus 3023:Macar 2968:Cydon 2948:Butes 2928:Amata 2918:Actor 2877:Belus 2826:Priam 2816:Paris 2791:Nisus 2776:Mimas 2696:Capys 2630:Venus 2595:Hymen 2585:Cupid 2400:group 2319:JSTOR 2286:JSTOR 2217:JSTOR 2166:JSTOR 2152:JSTOR 1796:JSTOR 1682:Torso 1345:Tufts 1084:Notes 1065:Titus 675:Homer 667:Haman 411:Titus 386:Pliny 246:Homer 6537:Moai 6353:Gold 6338:Clay 6328:Jade 6298:Wood 6267:Mass 6140:Bust 5297:Moro 4211:Fora 3575:and 2882:Dido 2751:Gyas 2610:Mars 2600:Juno 2443:2015 2272:ISBN 2254:ISBN 2231:ISBN 2202:ISBN 2180:ISBN 2107:ISBN 2073:ISBN 2049:ISBN 2020:ISBN 2006:ISBN 1992:ISBN 1703:ISBN 1163:2016 1119:The 690:The 359:Nike 355:Gaia 151:and 6389:Ice 5817:Art 5262:Api 5076:Arx 3718:Pia 3430:Art 2549:'s 2494:by 2427:doi 2351:at 2311:doi 2140:by 1936:'s 1547:as 869:'s 865:in 769:in 730:in 256:'s 6724:: 5465:, 3172:c. 3149:c. 2423:34 2421:. 2417:. 2317:, 2260:, 2248:, 2190:, 2186:, 2144:, 2101:, 2091:, 2055:, 2035:, 2026:, 1940:, 1914:^ 1897:, 1866:^ 1697:, 1655:^ 1504:52 1502:. 1404:, 1365:^ 1324:^ 1210:^ 1180:^ 1091:^ 809:c. 773:. 563:A 425:. 365:, 353:, 327:c. 204:. 174:, 170:: 116:: 78:, 6103:e 6096:t 6089:v 5414:) 5410:( 4522:" 4518:" 3661:e 3654:t 3647:v 3499:" 3495:" 3170:( 3147:( 2539:e 2532:t 2525:v 2445:. 2429:: 2355:. 2313:: 1777:. 1165:. 1067:( 983:. 342:. 112:( 20:)

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Knowledge

Laocoön and His Sons

Index