Laocoön and His Sons

389:....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. 549: 568:, 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." 920:

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.

1332:, 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 274:, 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. 843:, 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. 576:"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. 471:

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.

78: 29: 335: 965: 597: 210: 2332: 447: 6687: 744:, 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 2472: 789: 202: 2494: 506: 218: 572:

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

822:, 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. 513:

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

832:"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. 470:

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.

425:(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. 402:, 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" ( 117:, 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 984:), 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 285:...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. 433:

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

748:, 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 475:

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

144:, 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 458:, 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 2374: 3555: 2439:

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.

915:. 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: 1930: 259:), 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. 5790: 2403: 1340:

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.

907:. 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 410:'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 1528: 2447:

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.

3450: 712: 537:, 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 1361:

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

814:(1717–1768) wrote about the paradox of admiring beauty while seeing a scene of death and failure. The most influential contribution to the debate, 3113: 545:

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)

2029: 533:. 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 5740: 754: 1064:, but the location of Titus's residence remains unknown; the imperial estate of the Gardens of Maecenas may be a plausible candidate. If the 489:

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

109:), has been one of the most famous ancient sculptures since it was excavated in Rome in 1506 and put on public display in the 2463:

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

2250: 2223: 2176: 2045: 2016: 1544: – in other words, to eat lunch." Farinelli, 16, has "And having seen it we went back to dinner, talking ..." 851: 221:

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

5655: 5426: 5400: 3442: 1881: 167:, and Polydorus, but he did not mention the date or patron. In style it is considered "one of the finest examples of the 1525: 6716: 5745: 4698: 4131: 3571: 6663: 5963: 5695: 5565: 4783: 4136: 3901: 3657: 2246: 2194: 2172: 2099: 2065: 2041: 2012: 1998: 1984: 1695: 525:, the Pope's architect, held an informal contest among sculptors to make replacement right arms, which was judged by 5760: 5705: 5680: 5335: 4923: 4106: 2526: 1946:, as his father died (25 August 79) at Pompeii only two months after Vespasian died (23 June 79) and Titus became 6721: 5765: 5665: 5320: 5094: 5079: 4848: 3641: 3293: 1630:

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.

113:, where it remains today. The statue is very likely the same one that was praised in the highest terms by 5842: 5720: 5690: 5396: 5260: 4843: 4838: 4813: 4803: 4788: 4768: 4738: 4605: 4575: 3618: 3466: 2287:, translation by Bernard Frischer of Volpe, Rita and Parisi, Antonella, "Laocoonte. L'ultimo engima," in 1409: 770: 534: 700: 5983: 5069: 4818: 4773: 4743: 4111: 3634: 3485: 3277: 3269: 3253: 1032:), though no longer the city boundary, as building had spread well beyond it. The spot was within the 811: 548: 186: 5775: 5380: 5355: 5340: 5330: 5325: 5300: 5204: 5134: 5104: 4908: 4903: 4718: 4502: 4282: 4126: 4116: 3943: 3736: 2654: 2025: 454:

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

815: 723:. Many still show the arm in the outstretched position, but the copy in Rhodes has been corrected. 2284: 1724:

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

691:. Bandinelli's version, which was often copied and distributed in small bronzes, is in the 612:

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

645: 565: 542: 493:, over 150 years old, were used instead. After Napoleon's final defeat at the 455: 421:, and Polydorus), with the names of their fathers, are inscribed on one of the 351: 311: 278: 2360: 1215:

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

1028:, which was still maintained in the 1st century AD (possibly converted to an 836: 825: 673: 668: 655: 561: 266:

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

133: 129: 2419: 2404:"Outscreaming the Laocoön: Sensation, Special Affects, and the Moving Image" 1737:

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"

1044:

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

1009:

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

128:

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

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

1483:

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

1012:

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

711:. There are many copies of the statue, including a well-known one in the 446: 6601: 5436: 5275: 5064: 4426: 4312: 4206: 4021: 4014: 3954: 3509: 3301: 3178: 3031: 2583: 985: 977: 884: 704: 640: 621: 417:

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

379:

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

230: 2209: 1639:

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

125:

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

16:

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

6449: 6402: 6331: 6123: 5555: 5465: 4333: 4007: 3972: 2669: 2664: 2144: 2084:, orig. 1949, various editions, page refs from Pelican edition of 1960. 1788: 1002: 969: 688: 632:, is evidenced in many of Michelangelo's later sculptures, such as the 307: 226: 2759: 2311: 2278: 2158: 1407:

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

695:

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

256: 122: 6459: 6412: 6382: 6356: 6296: 6099: 5805: 5580: 5550: 4365: 4100: 3706: 3026: 2961: 2926: 2834: 2824: 2789: 2774: 2749: 2719: 2699: 2689: 2070:"Chronology": Frischer, Bernard, Digital Sculpture Project: Laocoon, 1933:, the house shown with a zig-zag plan to the top left of the section. 1445: 1275:

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

1061: 993: 418: 364: 310:

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

238: 3626: 1083: 1081: 899:, also involves figures struggling with snakes – the 6392: 6153: 6143: 5988: 5280: 4305: 4180: 3401: 3016: 2981: 2966: 2946: 2875: 2839: 2799: 2794: 2754: 2729: 2674: 2659: 2568: 2303: 1045: 1041: 788: 766: 680: 553: 522: 434: 303: 263: 173: 2471: 1499:, described Catterson's claims as "noncredible on any count". See 201: 6397: 6311: 6301: 5265: 3545: 3076: 3021: 3006: 2996: 2991: 2951: 2896: 2855: 2819: 2784: 2769: 2744: 2694: 2639: 2139:, Vol. 56, No. 2, Medieval Issue (Jun., 1974), pp. 275–277, 1651:

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

1395:

My Laocoön – Alternative Claims in the Interpretation of Artworks

1078: 1013: 1006: 741: 699:

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

613: 526: 466:, later a sculptor, who wrote an account over sixty years later: 428:

Some scholars used to think that honorific inscriptions found at

2120:

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

2034:

Confronting the Classics: Traditions, Adventures and Innovations

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

650: 518: 486: 429: 339: 302:

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

271: 247: 242: 217: 156: 141: 46: 1001:

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

505: 6422: 6407: 6372: 6321: 6265: 6193: 5685: 3066: 3056: 3041: 3011: 2956: 2936: 2916: 2814: 2684: 2573: 1053: 1017: 703:

from a mold taken from the original under the supervision of

663: 399: 234: 152: 6068: 1069:

rediscovered findspot-location is not very far beyond them.

556:

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

6525: 6341: 6326: 6316: 6286: 6255: 2870: 2739: 1991:

Laokoon und die Kunst von Pergamon. Die Hybris der Giganten

989: 730:

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

225:

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

118: 1357: 1355: 1228:

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

541:

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

2283:"Volpe and Parisi": Digital Sculpture Project: Laocoon. 1942:

Volpe and Parisi; the text probably reflects tidying by

2072:"An Annotated Chronology of the 'Laocoon' Statue Group" 1352: 864:(1837–1850), which stood before the east façade of the 1246:

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

942:

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

820:

Laocoon: An Essay on the Limits of Painting and Poetry

181:

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

2354:

3D models, bibliography, annotated chronology of the

2122:(Yale University Press), cat. no. 52, pp. 243–47 1963:

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

1308:

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

1264:

Dictionary of Greek and Roman Biography and Mythology

237:. It had been the subject of a tragedy, now lost, by 2534: 2294:

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

2185:

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

1908: 1906: 1904: 1898:

Volpe and Parisi; Beard, 211 complains of vagueness

2352:University of Virginia's Digital Sculpture Project 2296:Journal of the Society of Architectural Historians 1871:. Vol. 3. New York: J. Wiley. pp. 68–69. 1487:, in Catterson, Lynn, "Michelangelo's 'Laocoön?'" 1146:. New York: D. Appleton & Company. p. 183 2298:, Vol. 40, No. 4 (Dec., 1981), pp. 271–278, 2153:, Vol. 93, No. 3 (Jul., 1989), pp. 417–422, 1143:The Expression of the Emotions in Man and Animals 151:Pliny attributed the work, then in the palace of 6708: 1901: 996:. An inscribed plaque of 1529 in the church of 564:, archaeologist, art dealer and director of the 1172: 1170: 948:adapted the concept for his own essay entitled 1825:, translated by Sameul Gray Ward (1862) p. 26 1397:, University of California Press, 2000, p. 29. 1202: 1200: 1024:The findspot was inside and very close to the 765:The original was seized and taken to Paris by 687:was commissioned to make a copy by the Medici 155:, to three Greek sculptors from the island of 6084: 3642: 2520: 835:The most unusual intervention in the debate, 780: 1783:, Vol. 58, No. 4 (Nov., 1993), pp. 145–147, 1616:Liverani, Paolo, Digital Sculpture Project, 1316: 1314: 1167: 5741:Museo Storico Nazionale dell'Arte Sanitaria 2234:Enduring Creation: Art, Pain, and Fortitude 1197: 423:sculptures at Tiberius's villa at Sperlonga 6091: 6077: 5892: 5626:Boncompagni Ludovisi Decorative Art Museum 3649: 3635: 2527: 2513: 2202:The Annual of the British School at Athens 1673:, 197–201; Spivey, 121–123; Clark, 236–237 2200:Rice, E. E., "Prosopographika Rhodiaka", 2036:, 2013 EBL ebooks online, Profile Books, 1762:2001.08.34, review of Richard Brilliant, 1741:, issue 22 (Fall/ Winter 2019), pp. 3–16. 1311: 676:, expressing blindness rather than pain. 5791:Santa Cecilia Musical Instruments Museum 4709:Basilica of Saint Paul Outside the Walls 1495:2005: 29. Richard Brilliant, author of 963: 787: 595: 583: 547: 504: 445: 333: 281:thought so, praising the group in 1537: 216: 208: 200: 2149:Howard, Seymour, "Laocoon Rerestored", 1821:Upon The Laocoon By Johann Goethe from 6709: 5726:Museo nazionale del Palazzo di Venezia 4714:Basilica of Saint Peter in the Vatican 2385:, a collection of art inspired by the 1864: 1139: 132:. Unlike the agony often portrayed in 37:Click on the map for a fullscreen view 6072: 4994:Sacro Cuore di Gesù a Castro Pretorio 3656: 3630: 2508: 2204:, Vol. 81, (1986), pp. 209–250, 1860: 1858: 1856: 1647: 1645: 1133: 350:, detail of the Gigantomachy frieze, 6502:Equestrian Statue of Marcus Aurelius 5401:Tomb of the Unknown Soldier of Italy 4749:S. Antonio da Padova in Via Merulana 3451:Ascanius Shooting the Stag of Sylvia 1800:"Laocoon and the expression of pain" 1406: 850:served as loose inspiration for the 6757:Archaeological discoveries in Italy 5417:Column of the Immaculate Conception 5346:in Piazza Santa Maria in Trastevere 2401: 2383:FlickR group "Responses To Laocoön" 2273:, Vol. 67, (1977), pp. 76–90, 2094:, Penguin, 1986 (reprint of 1972), 2058:The Oxford History of Classical Art 1400: 262:In Virgil, Laocoön was a priest of 13: 6762:Hellenistic-style Roman sculptures 5746:Museum of Contemporary Art of Rome 4699:Archbasilica of Saint John Lateran 1853: 1642: 1090:, "Catalogue Entry: Laocoon Group" 1088:Digital Sculpture Project: Laocoön 911:priest" was "entirely wanting" in 726:The group was rapidly depicted in 450:Head of the older son, Antiphantes 14: 6783: 6747:Sculptures in the Vatican Museums 5696:Museo Barracco di Scultura Antica 5661:Galleria Nazionale d'Arte Moderna 4137:Temple of Jupiter Optimus Maximus 2317: 2291:299, January 2010, pp. 26–39 2257:Hellenistic Sculpture, a handbook 2060:, 1993, Oxford University Press, 1266:, Taylor and Walton, 1846, p. 776 1052:was in his time at the palace of 828:said the following in his essay, 6742:Roman copies of Greek sculptures 6732:Antiquities acquired by Napoleon 6686: 6685: 5761:Museum of the Liberation of Rome 5706:Museo delle anime del Purgatorio 5656:Galleria Nazionale d'Arte Antica 5646:Galleria Comunale d'Arte Moderna 4107:Temple of Antoninus and Faustina 2492: 2470: 2330: 1058:qui est in Titi imperatoris domo 297: 233:, though it is not mentioned by 75: 27: 6727:1506 archaeological discoveries 6528:, Easter Islands (1250–1500 CE) 5766:National Museum of Oriental Art 5666:Giorgio de Chirico House Museum 5095:Palazzo Barberini ai Giubbonari 5080:Domus Internationalis Paulus VI 2151:American Journal of Archaeology 2082:The Nude, A Study in Ideal Form 2007:, 1999, Yale University Press, 1957: 1936: 1915: 1892: 1875: 1839: 1828: 1815: 1793: 1769: 1753: 1744: 1731: 1718: 1709: 1700: 1676: 1663: 1654: 1633: 1623: 1610: 1601: 1592: 1583: 1574: 1565: 1556: 1547: 1514: 1505: 1477: 1468: 1459: 1450: 1438: 1429: 1420: 1382: 1373: 1364: 1343: 1323: 1302: 1293: 1284: 1269: 1256: 1240: 1231: 1218: 1209: 1188: 500: 76: 6664:Genghis Khan Equestrian Statue 6577:Liberty Enlightening the World 5786:Porta San Paolo Railway Museum 4581:Columbarium of Pomponius Hylas 3435:Aeneas, Anchises, and Ascanius 2187:Meisterwerke der antiken Kunst 2106:Vatican Museums, Classical Art 1764:My Laocoön: Alternative Claims 1179: 1158: 1124: 1115: 1102: 1093: 895:on a corner pendentive of the 441: 306:baroque" which arose in Greek 146:Guillaume Duchenne de Boulogne 1: 6098: 3409:Timeo Danaos et dona ferentes 3160: 3137: 2259:, Thames & Hudson, 1991, 2218:, 2 vols., Stroemfeld, 2018, 2216:Laokoon in der Frühen Neuzeit 1977:Laokoon und die Gründung Roms 1969: 1921:Volpe and Parisi; the map is 1370:Boardman, 199; Smith, 109–110 797: 321:–160 BC, and now in Berlin. 315: 6473:Winged Victory of Samothrace 5751:Museum of Roman Civilization 5681:Keats–Shelley Memorial House 5160:Palazzo Massimo alle Colonne 4704:Basilica of Saint Mary Major 3572:Political commentary of the 2487:, with the texts transcribed 2271:The Journal of Roman Studies 1979:, 1988, Philipp von Zabern, 1435:Rice, 239, with photo on 238 1164:Spivey, 25 (Darwin), 121–122 992:); in modern terms near the 579: 509:The arm after refixing, 2010 462:and his eleven-year-old son 84:3D model (click to interact) 7: 6752:Tourist attractions in Rome 5843:Ludovisi Battle sarcophagus 5721:Museo di Roma in Trastevere 5691:Museo Archeologico Ostiense 5427:Hospital of the Holy Spirit 4999:S. Sebastiano fuori le mura 4606:Tomb of Eurysaces the Baker 4576:Catacombs of San Sebastiano 3619:Ludovisi Battle sarcophagus 3556:Parallels between Virgil's 2125:Herrmann, Ariel, review of 1993:, 1991, Frankfurt am Main, 1410:Oxford Classical Dictionary 1060:), then heir to his father 959: 535:Giovanni Antonio Montorsoli 10: 6788: 5984:Castello Orsini-Odescalchi 5070:Casa dei Cavalieri di Rodi 4844:S. Giovanni dei Fiorentini 4839:S. Giovanni a Porta Latina 4112:Temple of Apollo Palatinus 3486:And Then There Was Silence 3249:(1724 libretto Metastasio) 2285:"Laocoon: The Last Enigma" 1760:Bryn Mawr Classical Review 1715:Barkan, 11–18; Spivey, 125 1669:Barkan, 13–16, and on the 980:(the southern spur of the 812:Johann Joachim Winckelmann 644:, created for the tomb of 326: 292: 196: 6717:1st-century BC sculptures 6681: 6436: 6365: 6279: 6248: 6202: 6106: 6050: 6022: 5962: 5940: 5885: 5804: 5776:Palazzo delle Esposizioni 5614: 5564: 5450: 5389: 5243: 5205:Palazzo Vidoni-Caffarelli 5105:Palazzo della Cancelleria 5057: 5037: 4687: 4646: 4551: 4528: 4503:Column of Marcus Aurelius 4490: 4408: 4343: 4283:Basilica of Junius Bassus 4261: 4199: 4127:Temple of Hercules Victor 4117:Temple of Apollo Sosianus 4092: 4056: 4031: 3964: 3944:Arch of Septimius Severus 3911: 3900: 3866: 3664: 3533: 3502: 3477: 3418: 3348: 3312: 3205: 3124: 3089: 2889: 2848: 2627: 2556: 2549: 2397:etext on books.google.com 2329: 2324: 2026:Times Literary Supplement 74: 60: 52: 42: 35: 26: 21: 5974:Appian Way Regional Park 5781:Pigorini National Museum 5701:Museo Civico di Zoologia 5336:della Piazza dei Quiriti 5048:List of churches in Rome 4989:Sacro Cuore di Cristo Re 4814:S. Croce in Via Flaminia 4789:S. Cecilia in Trastevere 4774:Ss. Bonifacio ed Alessio 4754:S. Apollinare alle Terme 4734:S. Anastasia al Palatino 4719:S. Lorenzo fuori le mura 4498:Column of Antoninus Pius 4175:Largo di Torre Argentina 4147:Temple of Minerva Medica 4142:Temple of Jupiter Tonans 3377:Fortune favours the bold 2239:University of California 1607:Chronology; Barkan, 9–11 1526:Barkan lecture notes PDF 1248:Maurus Servius Honoratus 1140:Darwin, Charles (1872). 1072: 931:, 1856, vol. 3, ch. VII. 816:Gotthold Ephraim Lessing 374: 324:Giant in Greek mythology 6149:Environmental sculpture 6114:Architectural sculpture 5862:Portonaccio sarcophagus 5849:Ecstasy of Saint Teresa 5826:Colossus of Constantine 5821:Augustus of Prima Porta 5796:Venanzo Crocetti Museum 5756:Museum of the Ara Pacis 5731:Museo Nazionale Etrusco 5651:Galleria Doria Pamphilj 5541:Via della Conciliazione 5501:Piazza della Repubblica 5130:Palazzo Fusconi-Pighini 5085:Palazzo Aragona Gonzaga 4924:S. Maria della Vittoria 4819:S. Croce in Gerusalemme 4769:S. Bartolomeo all'Isola 4724:S. Agnese fuori le mura 4191:Porta Maggiore Basilica 3892:Obelisk of Montecitorio 3395:Obscuris vera involvens 3294:Dido, Queen of Carthage 3156:Dido, Queen of Carthage 1660:"Chronology" at 1968–70 1540:, that is, to draw ... 1415:Oxford University Press 1016:from a convent for 135 998:Santa Maria in Aracoeli 950:Towards a Newer Laocoön 806:Pliny's description of 588:Titian's parody of the 255:quotation at the entry 189:, which is part of the 172:period, continuing the 6722:1st-century sculptures 6032:Festa della Repubblica 5872:Sistine Chapel ceiling 5736:Museo Nazionale Romano 5606:Parco degli Acquedotti 5586:Villa Borghese gardens 5546:Via dei Fori Imperiali 5120:Palazzo della Consulta 5004:S. Silvestro in Capite 4909:S. Maria in Trastevere 4904:S. Maria sopra Minerva 4879:S. Maria in Montesanto 4739:S. Andrea delle Fratte 4611:Tomb of Hilarus Fuscus 4596:Mausoleum of Maxentius 4566:Catacombs of Domitilla 4474:Villa of the Quintilii 3459:Dido building Carthage 3325:Papyrus Oxyrhynchus 31 2402:Loh, Maria H. (2011). 2214:Schmälzle, Christoph, 1522:ci tornammo a desinare 973: 934: 846:The central figure of 803: 755:Descent from the Cross 660:Sistine Chapel ceiling 605: 593: 557: 510: 473: 451: 391: 385:(XXXVI, 37), he says: 359: 287: 222: 214: 213:The other oblique view 206: 106: 6737:Hellenistic sculpture 6556:Kamagaya Great Buddha 6280:Traditional materials 6249:Elements in sculpture 6024:Events and traditions 5831:La Bocca della Verità 5676:Jewish Museum of Rome 5170:Palazzo del Quirinale 5014:S. Sofia a Via Boccea 4874:S. Maria degli Angeli 4864:S. Maria Ausiliatrice 4744:S. Andrea della Valle 4586:Mausoleum of Augustus 4520:Five-Columns Monument 4468:Insula dell'Ara Coeli 4320:Portico Dii Consentes 4288:Basilica of Maxentius 3612:Laocoön and His Sons 3580:Sulpicius Apollinaris 3225:(1687 Lully/Collasse) 2475:Texts on Wikisource: 2420:10.1093/oxartj/kcr039 2104:Farinella, Vincenzo, 2030:subscription required 1888:Henry Moore Institute 1883:Towards a New Laocoon 1865:Ruskin, John (1872). 1809:, William Schupbach, 1781:South Atlantic Review 1690:, p. 74, Yale, 1983, 1562:Chronology, 1798–1816 1553:Chronology, 1504–1510 1330:English text at Tufts 988:" (the palace of the 967: 954:Henry Moore Institute 917: 866:United States Capitol 791: 608:The discovery of the 599: 587: 551: 508: 468: 464:Francesco da Sangallo 449: 404:de consilii sententia 387: 337: 329:Alcyoneus (mythology) 283: 220: 212: 204: 6772:Sculptures of snakes 6641:The Motherland Calls 6490:(c. 200 BCE – 70 CE) 6487:Laocoön and His Sons 6476:(c. 2nd century BCE) 6444:Great Sphinx of Giza 5877:Velletri Sarcophagus 5837:Laocoön and His Sons 5591:Villa Doria Pamphili 5496:Piazza della Minerva 5321:di Piazza d'Aracoeli 5210:Palazzo del Viminale 5155:Palazzo di Giustizia 4984:Sacro Cuore di Maria 4969:Ss. Quattro Coronati 4954:S. Pietro in Vincoli 4939:S. Nicola in Carcere 4934:Ss. Nereo e Achilleo 4919:S. Maria in Via Lata 4894:S. Maria in Aracoeli 4884:S. Maria in Cosmedin 4859:S. Lorenzo in Lucina 4854:S. Lorenzo in Damaso 4849:Ss. Giovanni e Paolo 4794:Ss. Celso e Giuliano 4779:S. Camillo de Lellis 4395:Theatre of Marcellus 4167:House of the Vestals 3427:Laocoön and His Sons 2501:at Wikimedia Commons 2370:Laocoon and his Sons 2337:Laocoön and his Sons 2189:, 2005, C. H. Beck, 2127:Sperlonga und Vergil 1954:, his title as heir. 1927:Nuova Pianta di Roma 1739:Journal of Art Crime 1580:Howard, 418–419, 422 1489:Artibus et historiae 1252:Euphorion of Chalcis 1226:Sperlonga und Vergil 1224:Boardman, 199, also 868:for over 100 years. 697:François I of France 539:Agostino Cornacchini 460:Giuliano da Sangallo 327:For other uses, see 187:Museo Pio-Clementino 107:Gruppo del Laocoonte 94:Laocoön and His Sons 22:Laocoön and His Sons 6633:Christ the Redeemer 6625:Shrine of Democracy 6579:, Statue of Liberty 6203:Styles of sculpture 5397:Altare della Patria 5058:Castles and palaces 4929:S. Martino ai Monti 4899:S. Maria del Popolo 4889:S. Maria in Domnica 4834:S. Francesca Romana 4804:Ss. Cosma e Damiano 4626:Tombs of Via Latina 4621:Tomb of the Scipios 4616:Tomb of the Haterii 4591:Mausoleum of Helena 4390:Stadium of Domitian 4380:Gardens of Maecenas 4356:Circus of Maxentius 4293:Basilica of Neptune 4270:Basilica Argentaria 4074:Baths of Diocletian 4047:Cloaca Circi Maximi 3919:Arch of Constantine 3887:Obelisk of Minerveo 3443:The Dream of Aeneas 3340:Vergilius Vaticanus 3330:Vergilius Augusteus 3222:Achille et Polyxène 3143:history of Britain) 2167:, 2013, Routledge, 1034:Gardens of Maecenas 936:In 1910 the critic 893:The Brazen Serpent, 839:'s annotated print 737:Averoldi Altarpiece 717:Knights of St. John 363:Here the figure of 6609:Jules Verne's tomb 6508:Buddhas of Bamiyan 6466:Colossus of Rhodes 6450:Abu Simbel temples 6446:(c. 2558–2532 BCE) 6437:Notable sculptures 6107:Types of sculpture 6042:Rome Film Festival 6004:Villa Aldobrandini 5631:Capitoline Museums 5476:Clivus Capitolinus 5135:Palazzo Giustinani 5075:Castel Sant'Angelo 5019:S. Stefano Rotondo 4601:Pyramid of Cestius 4450:Palace of Domitian 4385:Gardens of Sallust 4232:Forum of Vespasian 4152:Temple of Portunus 4069:Baths of Caracalla 3603:Bocca della Verità 3525:Sortes Vergilianae 3515:Dactylic hexameter 3278:Didone abbandonata 3270:Didone abbandonata 3262:Didone abbandonata 3254:Didone abbandonata 3246:Didone abbandonata 3133:Historia Brittonum 2977:Evander of Pallene 2408:Oxford Art Journal 1989:Andreae, Bernard, 1975:Andreae, Bernard, 1931:section image here 1923:Giambattista Nolli 1805:2013-10-05 at the 1779:by Simon Richter, 1775:Gustafson, Susan, 1620:; Chronology, 1957 1531:2012-04-18 at the 974: 891:, whose fresco of 804: 784:as an ideal of art 767:Napoleon Bonaparte 654:and the figure of 648:. Several of the 606: 594: 592:as a group of apes 558: 511: 495:Battle of Waterloo 452: 360: 223: 215: 207: 97:, also called the 6704: 6703: 6594:The Golden Virgin 6586:The Gates of Hell 6520:Konark Sun Temple 6516:(c. 1194–1250 CE) 6514:Chartes Cathedral 6164:Kinetic sculpture 6066: 6065: 6037:Rome Quadriennale 5964:Metropolitan City 5958: 5957: 5641:Galleria Borghese 5516:Piazza San Pietro 5491:Piazza del Popolo 5486:Piazza d'Aracoeli 5459:and public spaces 5341:di Piazza Nicosia 5331:di Piazza Farnese 5326:di Piazza Colonna 5200:Palazzo Valentini 5090:Palazzo Barberini 4784:S. Carlo al Corso 4683: 4682: 4674:Ponte Sant'Angelo 4631:Tomb of Priscilla 4571:Catacombs of Rome 4445:House of Augustus 4434:Domus Transitoria 4400:Theatre of Pompey 4327:Porticus Octaviae 4217:Forum of Augustus 4122:Temple of Hadrian 3934:Arch of Gallienus 3924:Arch of Dolabella 3882:Flaminian Obelisk 3658:Landmarks of Rome 3625: 3624: 3615:Succeeded by 3609:Landmarks of Rome 3593: 3592: 3520:Hysteron proteron 3335:Vergilius Romanus 3320:Book of Ballymote 3085: 3084: 2881:Pygmalion of Tyre 2497:Media related to 2348: 2347: 2251:978-0-520-23022-4 2224:978-3-86600-254-8 2197:, pp. 72–93. 2177:978-1-135-08580-3 2046:978-1-84765-888-3 2017:978-0-300-08911-0 2003:Barkan, Leonard, 1944:Pliny the Younger 1391:Richard Brilliant 946:Clement Greenberg 878:A Christmas Carol 856:Horatio Greenough 760:Antwerp Cathedral 740:of 1520–1522. A 685:Baccio Bandinelli 628:, as well as the 491:François Girardon 89: 88: 6779: 6689: 6688: 6649:Fallen Astronaut 6366:Modern materials 6230:Modern sculpture 6159:Installation art 6093: 6086: 6079: 6070: 6069: 5890: 5889: 5815:Apollo Belvedere 5711:Museo delle Mura 5531:Via dei Coronari 5521:Piazza di Spagna 5215:Palazzo Wedekind 5175:Palazzo Pamphilj 5100:Palazzo Borghese 5009:S. Sisto Vecchio 4537:Porticus Aemilia 4509:Column of Phocas 4491:Column monuments 4252:Forum Holitorium 4157:Temple of Saturn 4064:Baths of Agrippa 3980:Aqua Alexandrina 3912:Triumphal arches 3909: 3908: 3781:Castra Praetoria 3651: 3644: 3637: 3628: 3627: 3599:Preceded by 3596: 3595: 3551:The Golden Bough 3467:The Golden Bough 3389:Mind over matter 3241:(1693 Desmarets) 3190:(1798 mock epic) 3165: 3162: 3142: 3139: 2554: 2553: 2529: 2522: 2515: 2506: 2505: 2496: 2474: 2467: 2459: 2451: 2443: 2435: 2433: 2431: 2422:. Archived from 2334: 2333: 2322: 2321: 2136:The Art Bulletin 2112:Haskell, Francis 1964: 1961: 1955: 1940: 1934: 1919: 1913: 1912:Volpe and Parisi 1910: 1899: 1896: 1890: 1879: 1873: 1872: 1862: 1851: 1843: 1837: 1835:Blake's comments 1832: 1826: 1819: 1813: 1797: 1791: 1773: 1767: 1757: 1751: 1748: 1742: 1735: 1729: 1726:The Art Bulletin 1722: 1716: 1713: 1707: 1704: 1698: 1682:Roger Jones and 1680: 1674: 1667: 1661: 1658: 1652: 1649: 1640: 1637: 1631: 1627: 1621: 1614: 1608: 1605: 1599: 1596: 1590: 1587: 1581: 1578: 1572: 1569: 1563: 1560: 1554: 1551: 1545: 1518: 1512: 1509: 1503: 1481: 1475: 1472: 1466: 1463: 1457: 1454: 1448: 1442: 1436: 1433: 1427: 1424: 1418: 1417: 1404: 1398: 1386: 1380: 1377: 1371: 1368: 1362: 1359: 1350: 1347: 1341: 1327: 1321: 1318: 1309: 1306: 1300: 1297: 1291: 1288: 1282: 1273: 1267: 1260: 1254: 1244: 1238: 1235: 1229: 1222: 1216: 1213: 1207: 1204: 1195: 1192: 1186: 1183: 1177: 1174: 1165: 1162: 1156: 1155: 1153: 1151: 1137: 1131: 1128: 1122: 1119: 1113: 1106: 1100: 1097: 1091: 1085: 932: 875:' 1843 novella, 871:Near the end of 830:Upon the Laocoon 802: 799: 635:Rebellious Slave 531:Jacopo Sansovino 521:, in about 1510 478:Belvedere Garden 395:bronze sculpture 320: 317: 138:Passion of Jesus 85: 81: 80: 31: 19: 18: 6787: 6786: 6782: 6781: 6780: 6778: 6777: 6776: 6767:Nude sculptures 6707: 6706: 6705: 6700: 6677: 6671:Statue of Unity 6623:Mount Rushmore 6616:Abraham Lincoln 6569:Lion of Belfort 6562:Nelson's Column 6480:Terracotta Army 6432: 6361: 6275: 6244: 6198: 6102: 6097: 6067: 6062: 6046: 6018: 5994:Hadrian's Villa 5966:of Rome Capital 5965: 5954: 5950:Monte Testaccio 5936: 5881: 5800: 5771:Palazzo Colonna 5617: 5610: 5568: 5560: 5471:Campo de' Fiori 5458: 5446: 5390:Other landmarks 5385: 5361:Quattro Fontane 5239: 5225:Villa Farnesina 5220:Palazzo Zuccari 5190:Palazzo Ruspoli 5125:Palazzo Farnese 5115:Palazzo Colonna 5053: 5033: 4914:S. Maria in Via 4690: 4679: 4642: 4637:Vigna Randanini 4547: 4543:Trajan's Market 4524: 4515:Trajan's Column 4486: 4420:Domus Augustana 4404: 4339: 4257: 4222:Forum of Caesar 4195: 4162:Temple of Vesta 4132:Temple of Janus 4088: 4084:Baths of Trajan 4052: 4027: 3994:Aqua Anio Novus 3987:Aqua Anio Vetus 3960: 3903: 3896: 3877:Lateran Obelisk 3862: 3665:Walls and gates 3660: 3655: 3616: 3611: 3600: 3594: 3589: 3529: 3498: 3473: 3414: 3344: 3308: 3289:(1783 Piccinni) 3265:(1724 Albinoni) 3230:Dido and Aeneas 3201: 3163: 3140: 3120: 3081: 2912:Ajax the Lesser 2885: 2844: 2623: 2545: 2533: 2465: 2457: 2449: 2441: 2429: 2427: 2331: 2325:External videos 2320: 2255:Smith, R.R.R., 2163:Isager, Jacob, 2116:Penny, Nicholas 2032:, reprinted in 1972: 1967: 1962: 1958: 1941: 1937: 1920: 1916: 1911: 1902: 1897: 1893: 1880: 1876: 1868:Modern Painters 1863: 1854: 1844: 1840: 1833: 1829: 1820: 1816: 1807:Wayback Machine 1798: 1794: 1774: 1770: 1758: 1754: 1750:Spivey, 125–127 1749: 1745: 1736: 1732: 1723: 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318: 300: 295: 199: 191:Vatican Museums 115:Pliny the Elder 111:Vatican Museums 83: 82: 65:Vatican Museums 38: 17: 12: 11: 5: 6785: 6775: 6774: 6769: 6764: 6759: 6754: 6749: 6744: 6739: 6734: 6729: 6724: 6719: 6702: 6701: 6699: 6698: 6693: 6682: 6679: 6678: 6676: 6675: 6667: 6661: 6657:Mother Ukraine 6653: 6645: 6637: 6629: 6620: 6612: 6606: 6598: 6590: 6582: 6573: 6565: 6559: 6553: 6545: 6537: 6529: 6523: 6517: 6511: 6505: 6499: 6491: 6483: 6477: 6469: 6463: 6453: 6447: 6440: 6438: 6434: 6433: 6431: 6430: 6425: 6420: 6415: 6410: 6405: 6400: 6395: 6390: 6385: 6380: 6375: 6369: 6367: 6363: 6362: 6360: 6359: 6354: 6349: 6344: 6339: 6334: 6329: 6324: 6319: 6314: 6309: 6304: 6299: 6294: 6289: 6283: 6281: 6277: 6276: 6274: 6273: 6268: 6263: 6261:Negative space 6258: 6252: 6250: 6246: 6245: 6243: 6242: 6237: 6232: 6227: 6225:Jain sculpture 6222: 6217: 6212: 6206: 6204: 6200: 6199: 6197: 6196: 6191: 6186: 6184:Soft sculpture 6181: 6176: 6171: 6166: 6161: 6156: 6151: 6146: 6141: 6136: 6131: 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5493: 5488: 5483: 5481:Piazza Colonna 5478: 5473: 5468: 5462: 5460: 5448: 5447: 5445: 5444: 5439: 5434: 5429: 5424: 5419: 5414: 5409: 5404: 5393: 5391: 5387: 5386: 5384: 5383: 5378: 5373: 5371:Trevi Fountain 5368: 5363: 5358: 5353: 5351:di Ponte Sisto 5348: 5343: 5338: 5333: 5328: 5323: 5318: 5313: 5308: 5303: 5298: 5293: 5288: 5283: 5278: 5273: 5268: 5263: 5258: 5253: 5247: 5245: 5241: 5240: 5238: 5237: 5232: 5227: 5222: 5217: 5212: 5207: 5202: 5197: 5192: 5187: 5185:Palazzo Riario 5182: 5177: 5172: 5167: 5165:Palazzo Mattei 5162: 5157: 5152: 5147: 5145:Palazzo Madama 5142: 5140:Lateran Palace 5137: 5132: 5127: 5122: 5117: 5112: 5107: 5102: 5097: 5092: 5087: 5082: 5077: 5072: 5067: 5061: 5059: 5055: 5054: 5052: 5051: 5043: 5041: 5039:Other churches 5035: 5034: 5032: 5031: 5026: 5021: 5016: 5011: 5006: 5001: 4996: 4991: 4986: 4981: 4976: 4971: 4966: 4961: 4956: 4951: 4946: 4941: 4936: 4931: 4926: 4921: 4916: 4911: 4906: 4901: 4896: 4891: 4886: 4881: 4876: 4871: 4866: 4861: 4856: 4851: 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4239: 4237:Trajan's Forum 4234: 4229: 4227:Forum of Nerva 4224: 4219: 4209: 4203: 4201: 4197: 4196: 4194: 4193: 4188: 4183: 4178: 4171: 4170: 4169: 4159: 4154: 4149: 4144: 4139: 4134: 4129: 4124: 4119: 4114: 4109: 4104: 4096: 4094: 4090: 4089: 4087: 4086: 4081: 4076: 4071: 4066: 4060: 4058: 4054: 4053: 4051: 4050: 4043: 4035: 4033: 4029: 4028: 4026: 4025: 4018: 4011: 4004: 3997: 3990: 3983: 3976: 3968: 3966: 3962: 3961: 3959: 3958: 3951: 3946: 3941: 3936: 3931: 3929:Arch of Drusus 3926: 3921: 3915: 3913: 3906: 3898: 3897: 3895: 3894: 3889: 3884: 3879: 3873: 3871: 3864: 3863: 3861: 3860: 3859: 3858: 3853: 3848: 3843: 3838: 3833: 3828: 3823: 3818: 3813: 3808: 3798: 3793: 3788: 3786:Janiculum Wall 3783: 3778: 3777: 3776: 3771: 3766: 3756: 3755: 3754: 3749: 3744: 3742:San Sebastiano 3739: 3734: 3729: 3724: 3719: 3714: 3709: 3704: 3699: 3694: 3689: 3684: 3679: 3672:Aurelian Walls 3668: 3666: 3662: 3661: 3654: 3653: 3646: 3639: 3631: 3623: 3622: 3613: 3606: 3591: 3590: 3588: 3587: 3582: 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Pudenziana 4962: 4960: 4957: 4955: 4952: 4950: 4947: 4945: 4942: 4940: 4937: 4935: 4932: 4930: 4927: 4925: 4922: 4920: 4917: 4915: 4912: 4910: 4907: 4905: 4902: 4900: 4897: 4895: 4892: 4890: 4887: 4885: 4882: 4880: 4877: 4875: 4872: 4870: 4867: 4865: 4862: 4860: 4857: 4855: 4852: 4850: 4847: 4845: 4842: 4840: 4837: 4835: 4832: 4830: 4827: 4825: 4822: 4820: 4817: 4815: 4812: 4810: 4807: 4805: 4802: 4800: 4797: 4795: 4792: 4790: 4787: 4785: 4782: 4780: 4777: 4775: 4772: 4770: 4767: 4765: 4762: 4760: 4757: 4755: 4752: 4750: 4747: 4745: 4742: 4740: 4737: 4735: 4732: 4730: 4727: 4725: 4722: 4720: 4717: 4715: 4712: 4710: 4707: 4705: 4702: 4700: 4697: 4696: 4694: 4692: 4686: 4676: 4675: 4671: 4669: 4666: 4664: 4663: 4659: 4657: 4656: 4652: 4651: 4649: 4645: 4639: 4638: 4634: 4632: 4629: 4627: 4624: 4622: 4619: 4617: 4614: 4612: 4609: 4607: 4604: 4602: 4599: 4597: 4594: 4592: 4589: 4587: 4584: 4582: 4579: 4577: 4574: 4572: 4569: 4567: 4564: 4562: 4561: 4560:Casal Rotondo 4557: 4556: 4554: 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3767: 3765: 3762: 3761: 3760: 3757: 3753: 3750: 3748: 3745: 3743: 3740: 3738: 3735: 3733: 3730: 3728: 3727:San Pancrazio 3725: 3723: 3720: 3718: 3715: 3713: 3710: 3708: 3705: 3703: 3700: 3698: 3695: 3693: 3690: 3688: 3685: 3683: 3680: 3678: 3675: 3674: 3673: 3670: 3669: 3667: 3663: 3659: 3652: 3647: 3645: 3640: 3638: 3633: 3632: 3629: 3621: 3620: 3614: 3610: 3607: 3605: 3604: 3598: 3597: 3586: 3583: 3581: 3578: 3576: 3575: 3570: 3568: 3567: 3563: 3559: 3554: 3552: 3549: 3547: 3544: 3542: 3539: 3538: 3536: 3532: 3526: 3523: 3521: 3518: 3516: 3513: 3511: 3508: 3507: 3505: 3501: 3495: 3494: 3493:Gates of Fire 3490: 3487: 3483: 3482: 3480: 3476: 3469: 3468: 3464: 3461: 3460: 3456: 3453: 3452: 3448: 3445: 3444: 3440: 3437: 3436: 3432: 3429: 3428: 3424: 3423: 3421: 3417: 3411: 3410: 3406: 3404: 3403: 3399: 3397: 3396: 3392: 3390: 3387: 3385: 3384: 3380: 3378: 3375: 3373: 3372: 3371:Experto crede 3368: 3366: 3365: 3364:Annuit cœptis 3361: 3359: 3358: 3354: 3353: 3351: 3347: 3341: 3338: 3336: 3333: 3331: 3328: 3326: 3323: 3321: 3318: 3317: 3315: 3311: 3304: 3303: 3299: 3296: 3295: 3291: 3288: 3287: 3283: 3280: 3279: 3275: 3272: 3271: 3267: 3264: 3263: 3259: 3256: 3255: 3251: 3248: 3247: 3243: 3240: 3239: 3235: 3232: 3231: 3227: 3224: 3223: 3219: 3216: 3215: 3211: 3210: 3208: 3204: 3197: 3196: 3192: 3189: 3188: 3184: 3181: 3180: 3176: 3173: 3172: 3168: 3158: 3157: 3153: 3150: 3149: 3148:Roman d'Enéas 3145: 3135: 3134: 3130: 3129: 3127: 3123: 3116: 3115: 3111: 3108: 3107: 3103: 3100: 3099: 3095: 3094: 3092: 3088: 3078: 3075: 3073: 3070: 3068: 3065: 3063: 3060: 3058: 3055: 3053: 3050: 3048: 3045: 3043: 3040: 3038: 3035: 3033: 3030: 3028: 3025: 3023: 3020: 3018: 3015: 3013: 3010: 3008: 3005: 3003: 3000: 2998: 2995: 2993: 2990: 2988: 2985: 2983: 2980: 2978: 2975: 2973: 2970: 2968: 2965: 2963: 2960: 2958: 2955: 2953: 2950: 2948: 2945: 2943: 2940: 2938: 2935: 2933: 2930: 2928: 2925: 2923: 2920: 2918: 2915: 2913: 2910: 2908: 2905: 2903: 2900: 2898: 2895: 2894: 2892: 2888: 2882: 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2 May 2015 2425: 2421: 2417: 2413: 2409: 2405: 2400: 2398: 2396: 2391: 2388: 2384: 2381: 2378: 2377: 2372: 2371: 2367: 2365: 2363: 2359: 2357: 2353: 2350: 2349: 2343: 2339: 2338: 2328: 2323: 2313: 2309: 2305: 2301: 2297: 2293: 2290: 2286: 2282: 2280: 2276: 2272: 2268: 2266: 2262: 2258: 2254: 2252: 2248: 2247:0-520-23022-1 2244: 2240: 2236: 2235: 2230: 2229:Spivey, Nigel 2227: 2225: 2221: 2217: 2213: 2211: 2207: 2203: 2199: 2196: 2195:3-406-53094-X 2192: 2188: 2184: 2182: 2178: 2174: 2173:1-135-08580-3 2170: 2166: 2162: 2160: 2156: 2152: 2148: 2146: 2142: 2138: 2137: 2132: 2128: 2124: 2121: 2117: 2113: 2110: 2108:, 1985, Scala 2107: 2103: 2101: 2100:0-14-021866-1 2097: 2093: 2089: 2086: 2083: 2079: 2076: 2073: 2069: 2067: 2066:0-19-814386-9 2063: 2059: 2055: 2052: 2050: 2047: 2043: 2042:1-84765-888-1 2039: 2035: 2031: 2027: 2023: 2020: 2018: 2014: 2013:0-300-08911-2 2010: 2006: 2002: 2000: 1999:3-596-10743-1 1996: 1992: 1988: 1986: 1985:3-8053-0989-9 1982: 1978: 1974: 1973: 1960: 1953: 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1070: 1067: 1063: 1059: 1055: 1051: 1047: 1043: 1039: 1036:, founded by 1035: 1031: 1027: 1022: 1019: 1015: 1010: 1008: 1005:, the ruined 1004: 999: 995: 991: 987: 983: 979: 971: 966: 957: 955: 951: 947: 943: 939: 930: 929: 925:John Ruskin, 921: 916: 914: 910: 906: 902: 898: 894: 890: 886: 882: 880: 879: 874: 869: 867: 863: 862: 857: 853: 849: 844: 842: 838: 837:William Blake 833: 831: 827: 826:Johann Goethe 823: 821: 817: 813: 809: 795: 790: 783: 778: 776: 772: 768: 763: 761: 757: 756: 751: 747: 746:Laocoön Group 743: 739: 738: 733: 729: 724: 722: 718: 714: 710: 706: 702: 701:Fontainebleau 698: 694: 690: 686: 682: 677: 675: 674:Raphael Rooms 671: 670: 665: 661: 657: 653: 652: 647: 643: 642: 637: 636: 631: 627: 623: 619: 615: 611: 603: 600:A replica in 598: 591: 586: 577: 573: 569: 567: 563: 562:Ludwig Pollak 555: 550: 546: 544: 540: 536: 532: 529:, and won by 528: 524: 520: 517:According to 515: 507: 498: 496: 492: 488: 482: 479: 472: 467: 465: 461: 457: 448: 439: 436: 431: 426: 424: 420: 415: 413: 409: 405: 401: 396: 390: 386: 384: 383: 372: 368: 366: 357: 353: 349: 345: 341: 336: 330: 322: 313: 309: 305: 298:Ancient times 290: 286: 282: 280: 275: 273: 269: 265: 260: 258: 254: 250: 249: 244: 240: 236: 232: 228: 219: 211: 203: 194: 192: 188: 182: 180: 175: 170: 166: 162: 158: 154: 153:Emperor Titus 149: 147: 143: 139: 135: 134:Christian art 131: 126: 124: 120: 116: 112: 108: 104: 100: 99:Laocoön Group 96: 95: 79: 73: 70: 66: 63: 59: 55: 51: 48: 45: 41: 34: 30: 25: 20: 6669: 6655: 6647: 6639: 6631: 6624: 6614: 6600: 6592: 6584: 6576: 6567: 6547: 6539: 6531: 6510:(507–554 CE) 6493: 6486: 6485: 6471: 6468:(c. 292 BCE) 6428:Found object 6220:Detonography 6058:Vatican City 6009:Villa d'Este 5999:Ostia Antica 5979:Capo di Bove 5945:Tiber Island 5854: 5847: 5836: 5835: 5813: 5596:Villa Medici 5437:Sisto Bridge 5407:Campo Verano 5311:del Pantheon 5256:Acqua Felice 5235:Villa Madama 5230:Villa Giulia 5180:Palazzo Poli 5046: 4944:S. Pancrazio 4829:S. Eustachio 4809:S. Crisogono 4759:Ss. Apostoli 4672: 4668:Ponte Milvio 4660: 4655:Pons Cestius 4653: 4635: 4558: 4535: 4480: 4466: 4454: 4432: 4425: 4418: 4410: 4409:Palaces and 4372:Ludus Magnus 4370: 4332: 4325: 4318: 4311: 4304: 4297: 4275: 4268: 4250: 4243: 4173: 4099: 4057:Public baths 4045: 4038: 4020: 4013: 4006: 4001:Aqua Claudia 3999: 3992: 3985: 3978: 3971: 3953: 3806:Caelimontana 3801:Servian Wall 3791:Terreus Wall 3764:Cavalleggeri 3759:Leonine Wall 3737:San Giovanni 3617: 3608: 3601: 3585:Trojan Horse 3573: 3565: 3561: 3560:and Homer's 3557: 3491: 3465: 3457: 3449: 3441: 3433: 3426: 3425: 3407: 3400: 3393: 3381: 3369: 3362: 3355: 3300: 3292: 3284: 3281:(1762 Sarti) 3276: 3273:(1726 Vinci) 3268: 3260: 3257:(1724 Sarro) 3252: 3244: 3236: 3228: 3220: 3212: 3198:(2008 novel) 3193: 3185: 3177: 3174:(1751 novel) 3169: 3154: 3146: 3131: 3112: 3104: 3096: 2902:Achaemenides 2861:Anna Perenna 2539: 2478: 2466:(in Italian) 2458:(in Italian) 2450:(in Italian) 2442:(in Italian) 2428:. 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Retrieved 1142: 1135: 1126: 1117: 1104: 1095: 1065: 1057: 1049: 1040:the ally of 1026:Servian Wall 1023: 1011: 990:Emperor Nero 975: 949: 941: 935: 926: 918: 892: 889:Michelangelo 883: 876: 870: 859: 847: 845: 840: 834: 829: 824: 819: 807: 805: 793: 781: 764: 753: 745: 735: 725: 713:Grand Palace 707:, is at the 678: 667: 649: 639: 633: 625: 618:Michelangelo 609: 607: 589: 574: 570: 559: 516: 512: 501:Restorations 483: 474: 469: 453: 427: 416: 411: 408:Nigel Spivey 403: 392: 388: 380: 378: 369: 361: 301: 288: 284: 276: 268:Trojan Horse 261: 252: 246: 224: 205:Oblique view 183: 150: 127: 98: 93: 92: 90: 69:Vatican City 6636:(1927–1931) 6628:(1927–1941) 6602:The Thinker 6589:(1890–1917) 6544:(1501–1504) 6536:(1498–1499) 6240:Renaissance 5894:Seven Hills 5616:Museums and 5422:Conti Tower 5276:Il Facchino 5261:Acqua Paola 4959:S. Prassede 4799:S. Clemente 4729:S. Agostino 4481:sette bassi 4427:Domus Aurea 4313:Curia Julia 4207:Roman Forum 4022:Aqua Tepula 4015:Aqua Marcia 3955:Arcus Novus 3796:Romuli Wall 3510:Aposiopesis 3313:Manuscripts 3302:Les Troyens 3182:(1729 poem) 3179:The Dunciad 3164: 1593 3151:(1160 poem) 3098:The Avenger 3090:Film and TV 3032:Neoptolemus 2849:Phoenicians 2022:Beard, Mary 1618:"Catalogue" 1379:Isager, 173 1336:. The word 1299:Stewart, 78 1206:Howard, 422 1150:25 December 986:Domus Aurea 978:Oppian Hill 885:John Ruskin 801: 1820 705:Primaticcio 641:Dying Slave 622:Hellenistic 442:Renaissance 231:Trojan Wars 169:Hellenistic 165:Athenodoros 130:Western art 6711:Categories 6403:Fiberglass 6332:Terracotta 6179:Pedimental 6174:Monumental 6124:Bas relief 6119:Assemblage 5912:Capitoline 5556:Via Veneto 5466:Appian Way 5366:Tartarughe 4824:S. Eugenio 4764:S. Balbina 4334:Tabularium 4008:Aqua Julia 3973:Aqua Appia 3831:Fontinalis 3747:Settimiana 3141: 828 3125:Literature 2670:Antiphates 2665:Andromache 2550:Characters 2430:6 December 2393:Lessing's 2265:0500202494 2088:Cook, R.M. 1970:References 1847:The Rescue 1706:Barkan, 10 1497:My Laocoön 1413:, Oxford: 1338:statuariae 1237:Smith, 109 1121:Spivey, 25 1099:Beard, 209 1003:Sette Sale 970:Sette Sale 861:The Rescue 689:Pope Leo X 681:Florentine 319: 180 308:Asia Minor 227:Epic Cycle 53:Dimensions 6522:(1250 CE) 6462:(438 BCE) 6460:Parthenon 6458:from the 6413:Aluminium 6383:Jesmonite 6357:Soapstone 6297:Limestone 6215:Classical 6144:Earth art 6100:Sculpture 5917:Esquiline 5886:Landscape 5581:Villa Ada 5551:Via Sacra 5296:Navicella 5271:Barcaccia 5244:Fountains 5029:S. Vitale 5024:S. Teresa 4979:S. Sabina 4691:basilicas 4366:Colosseum 4101:Ara Pacis 4093:Religious 3965:Aqueducts 3904:landmarks 3856:Trigemina 3836:Gallienus 3826:Esquilina 3821:Dolabella 3752:Tiburtina 3732:San Paolo 3702:Nomentana 3677:Ardeatina 3446:(1660–65) 3027:Mezentius 2962:Cydonians 2932:Aventinus 2927:Automedon 2922:Androgeus 2835:Thymoetes 2825:Sergestus 2790:Palinurus 2775:Mnestheus 2750:Hippocoon 2720:Deiphobus 2700:Corynaeus 2690:Cassandra 2614:Tiberinus 2092:Greek Art 1948:Imperator 1542:digiunare 1538:disegnare 1446:Agesander 1320:Cook, 153 1250:, citing 1062:Vespasian 994:Colosseum 913:sublimity 818:'s essay 683:sculptor 669:Parnassus 580:Influence 419:Agesander 365:Alcyoneus 358:, Berlin. 304:Pergamene 251:(see the 239:Sophocles 174:Pergamene 161:Agesander 6691:Category 6504:(175 CE) 6393:Concrete 6307:Porphyry 6154:Figurine 5989:Frascati 5927:Quirinal 5922:Palatine 5902:Aventine 5576:Bioparco 5569:and zoos 5281:Marforio 4949:Pantheon 4869:S. Marco 4529:Commerce 4306:Comitium 4186:Pantheon 4181:Lupercal 3869:obelisks 3867:Ancient 3841:Viminale 3712:Pinciana 3697:Metronia 3692:Maggiore 3682:Asinaria 3402:Quos ego 3357:Ad astra 3109:(1971–2) 3017:Messapus 2982:Halaesus 2967:Diomedes 2947:Catillus 2876:Mattan I 2840:Ucalegon 2800:Panthous 2795:Pandarus 2755:Ilioneus 2735:Euryalus 2730:Entellus 2710:Dardanus 2675:Ascanius 2660:Anchises 2569:Crinisus 2379:database 2231:(2001), 2210:30102899 2118:, 1981. 1803:Archived 1529:Archived 1046:Tiberius 1042:Augustus 1030:aqueduct 1014:hectares 960:Findspot 923:— 792:Blake's 638:and the 616:period. 604:, Brazil 560:In 1906 554:maiolica 523:Bramante 435:adoption 314:, dated 264:Poseidon 61:Location 6696:Outline 6398:Plastic 6388:Acrylic 6312:Diorite 6302:Granite 6210:Baroque 6051:Enclave 5932:Viminal 5907:Caelian 5456:streets 5452:Squares 5381:Tritone 5376:Tritons 5306:Nettuno 5301:Neptune 5266:Babuino 4974:S. Saba 4647:Bridges 3816:Collina 3769:Pertusa 3722:Portese 3566:Odyssey 3546:Eneados 3534:Related 3430:(25 BC) 3349:Phrases 3195:Lavinia 3114:Eneyida 3077:Venulus 3022:Metabus 3007:Lavinia 2997:Latinus 2992:Juturna 2952:Clytius 2942:Camilla 2897:Acestes 2856:Acerbas 2820:Ripheus 2810:Polites 2785:Ornytus 2770:Misenus 2760:Laocoön 2745:Helenus 2695:Clonius 2640:Aeneads 2635:Achates 2628:Trojans 2604:Mercury 2594:Jupiter 2557:Deities 2544:(19 BC) 2480:Laocoön 2395:Laocoon 2387:Laocoön 2373:in the 2362:Laocoon 2356:Laocoon 2241:Press, 2145:3049235 2074:, 2009. 2056:(ed.), 1789:3201020 1688:Raphael 1066:Laocoön 1050:Laocoön 1007:cistern 903:of the 848:Laocoön 841:Laocoön 808:Laocoön 796:print, 794:Laocoön 782:Laocoön 773:at the 742:woodcut 715:of the 672:in the 666:in his 658:in the 626:Laocoön 614:Baroque 610:Laocoön 590:Laocoön 527:Raphael 412:savants 293:History 257:Laocoön 229:on the 197:Subject 142:martyrs 123:Laocoön 121:priest 103:Italian 6674:(2018) 6666:(2008) 6660:(1981) 6652:(1971) 6644:(1967) 6619:(1920) 6611:(1907) 6605:(1904) 6597:(1897) 6581:(1886) 6572:(1880) 6564:(1843) 6558:(1776) 6552:(1753) 6418:Fabric 6352:Butter 6347:Silver 6337:Bronze 6292:Marble 6271:Volume 6235:Relief 6189:Statue 6169:Mobile 6134:Effigy 5316:Pianto 5291:Nasone 4411:villae 4032:Sewers 3846:Naevia 3811:Capena 3717:Popolo 3687:Latina 3574:Aeneid 3558:Aeneid 3470:(1834) 3462:(1815) 3454:(1689) 3438:(1619) 3214:Didone 3187:Eneida 3171:Amelia 3117:(1991) 3106:Eneide 3101:(1962) 3062:Turnus 3052:Salius 3047:Rutuli 3037:Pallas 3002:Lausus 2987:Iarbas 2972:Erulus 2890:Others 2830:Theano 2725:Elymus 2705:Creusa 2680:Caieta 2655:Aletes 2650:Aeolus 2645:Aeneas 2609:Saturn 2579:Hecate 2564:Alecto 2541:Aeneid 2536:Virgil 2376:Census 2364:photos 2312:989644 2310: 2289:Archeo 2279:299920 2277: 2263: 2245: 2222: 2208: 2193: 2171: 2159:505589 2157: 2143: 2114:, and 2098: 2064: 2040: 2011: 1997: 1983: 1952:Caesar 1787: 1694: 1524:– see 1018:ducats 909:Dardan 852:Indian 775:Louvre 750:Rubens 732:Titian 728:prints 721:Rhodes 693:Uffizi 651:ignudi 519:Vasari 487:Louvre 430:Lindos 346:, and 340:Athena 272:Apollo 253:Aeneid 248:Aeneid 243:Virgil 157:Rhodes 119:Trojan 47:Marble 43:Medium 6541:David 6533:Pietà 6423:Paper 6408:Glass 6373:Steel 6322:Ivory 6266:Space 6194:Stele 5856:Pietà 5686:MAXXI 4552:Tombs 4262:Civic 3562:Iliad 3503:Study 3478:Music 3286:Didon 3238:Didon 3206:Opera 3166:play) 3072:Umbro 3067:Ufens 3057:Sinon 3042:Picus 3012:Macar 2957:Cydon 2937:Butes 2917:Amata 2907:Actor 2866:Belus 2815:Priam 2805:Paris 2780:Nisus 2765:Mimas 2685:Capys 2619:Venus 2584:Hymen 2574:Cupid 2389:group 2308:JSTOR 2275:JSTOR 2206:JSTOR 2155:JSTOR 2141:JSTOR 1785:JSTOR 1671:Torso 1334:Tufts 1073:Notes 1054:Titus 664:Homer 656:Haman 400:Titus 375:Pliny 235:Homer 6526:Moai 6342:Gold 6327:Clay 6317:Jade 6287:Wood 6256:Mass 6129:Bust 5286:Moro 4200:Fora 3564:and 2871:Dido 2740:Gyas 2599:Mars 2589:Juno 2432:2015 2261:ISBN 2243:ISBN 2220:ISBN 2191:ISBN 2169:ISBN 2096:ISBN 2062:ISBN 2038:ISBN 2009:ISBN 1995:ISBN 1981:ISBN 1692:ISBN 1152:2016 1108:The 679:The 348:Nike 344:Gaia 140:and 6378:Ice 5806:Art 5251:Api 5065:Arx 3707:Pia 3419:Art 2538:'s 2483:by 2416:doi 2340:at 2300:doi 2129:by 1925:'s 1536:as 858:'s 854:in 758:in 719:in 245:'s 6713:: 5454:, 3161:c. 3138:c. 2412:34 2410:. 2406:. 2306:, 2249:, 2237:, 2179:, 2175:, 2133:, 2090:, 2080:, 2044:, 2024:, 2015:, 1929:, 1903:^ 1886:, 1855:^ 1686:, 1644:^ 1493:52 1491:. 1393:, 1354:^ 1313:^ 1199:^ 1169:^ 1080:^ 798:c. 762:. 552:A 414:. 354:, 342:, 316:c. 193:. 163:, 159:: 105:: 67:, 6092:e 6085:t 6078:v 5403:) 5399:( 4511:" 4507:" 3650:e 3643:t 3636:v 3488:" 3484:" 3159:( 3136:( 2528:e 2521:t 2514:v 2434:. 2418:: 2344:. 2302:: 1766:. 1154:. 1056:( 972:. 331:. 101:(

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Knowledge

Laocoön and His Sons

Index