Art: Exquisite Sculptures

[AndyRew]

Exquisite:
ˈɛkskwɪzɪt,ɪkˈskwɪzɪt,ɛk-

adjective
adjective: exquisite
1.
extremely beautiful and delicate. "exquisite, jewel-like portraits"
- synonyms: beautiful, lovely, elegant, graceful


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Whether or not an instance of erotic art is obscene depends on the standards of the community in which it is displayed.

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[AndyRew]

' Sleeping Hermaphroditos '
Hellenistic Art (3rd-1st centuries BC)

The ambivalence and voluptuous curves of this figure of Hermaphroditos, who lies asleep on a mattress sculpted by Bernini, are still a source of fascination today. His body merged with that of the nymph Salmacis, whose advances he had rejected, Hermaphroditos, son of Hermes and Aphrodite, is represented as a bisexed figure. The original that inspired this figure would have dated from the 2nd century BC, reflecting the late Hellenistic taste for the theatrical.

The modern history of the statue

Discovered in Rome near the Baths of Diocletian in 1608, this statue was one of the most admired masterpieces of the Borghese Collection in the 17th and 18th centuries. In 1619, Cardinal Scipione Borghese commissioned the Baroque Italian sculptor Bernini to carve the mattress on which the ancient marble now lies. In the same year, David Larique worked on the restoration of the figure of Hermaphroditos. The work came to the Louvre after it had been bought, together with the rest of the Borghese Collection, by Napoleon I from his brother-in-law, Prince Camillo Borghese. Although the figure of Hermaphroditos in the Louvre is the best known, three other versions of the ancient statue have sometimes been compared with it: that of Velletri (also in the Louvre), that in the Uffizi in Florence, and a third version in the Villa Borghese in Rome.

The story of Hermaphroditos
There is nothing improper in this work, but it still intrigues the viewer. Hermaphroditos, son of Hermes and Aphrodite, had rejected the advances of the nymph Salmacis. Unable to resign herself to this rejection, Salmacis persuaded Zeus to merge their two bodies forever, hence the strange union producing one bisexed being with male sexual organs and the voluptuous curves of a woman. Stretched out in erotic abandon on the mattress provided by Bernini, the figure sleeps. Yet Hermaphroditos has only fallen half asleep: the twisting pose of the body and the tension apparent down to the slightly raised left foot are indicative of a dream state.

An embodiment of Hellenistic taste
This work is a Roman copy that was probably inspired by a Greek original of the 2nd century BC. Pliny the Elder cites a Hermaphroditus Nobilis by Polykles (Natural History, XXXIV, 80), but since he does not describe it, one hesitates to compare it with this sleeping Hermaphroditos. The subject reflects the taste for languid nudes, surprise effects, and theatricality, all of which were prized in the late Hellenistic period. The work is designed to be viewed in two stages. First impressions are of a gracious and sensuous body that leads one to think that the figure is a female nude in the Hellenistic tradition; this effect is heightened here by the sinuousness of the pose. The other side of the statue then brings a surprise, revealing the figure's androgynous nature by means of the crudest realism. This effect of contrast and ambiguity, indeed this taste for the strange that plays with the viewer's emotions, is the result of the theatricality of some Hellenistic art. This utopian combination of two sexes is sometimes interpreted as a half-playful, half-erotic creation, designed to illustrate Platonic and more general philosophical reflections on love.

 

[AndyRew]

' Pan with a she-goat '​

Erotic Pompeii goat statue
One of Naples's most prized artworks, a statue of Pan having sex with a goat

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The statue was excavated from beneath some 100 feet of Volcanic ash that enveloped the Villa of the Papyri, the residence of Julius Caesar‘s father-in-law Lucius Calpurnius Piso Caesoninus, on the slope Mount Vesuvius.

A statue of the Roman half-goat, half-man god Pan — who was the Greeks’ god of the wild — getting wild with a female goat

The Romans would see the god goat having sex with a goat, so it wouldn’t have troubled them at all. It’s because the owners are cultured that they have the sculpture of Pan and the goat. They also have a sense of humor, because to a Roman that would have been humorous, not offensive.

Displayed at the British Museum's 'Life and Death in Pompeii and Herculaneum' exhibition​

 

[AndyRew]

Bassorilievo con scfena erotica, da pompei VII, 7, 18, 50 dc ca
Secret Cabinet in the Museo Archeologico (Naples)​

Classical "Cowgirl" position
Im afraid that's all I have on this one, very sexy I might add.......AndyRew ​

 

[AndyRew]

Egyptian sculpture of an erotic group (Brooklyn Museum)
ca 300 BCE​

The sculpture may depict Osiris, who had been murdered, making his wife Isis pregnant after his death, which later resulted in the birth of Horus. This Ancient Egyptian myth was associated with fertility and resurrection. The six smaller figures are probably priests; two of them restrain and hold an oryx, which signifies the destruction of evil and Osiris's triumph.

I love it, I want it....AndyRew
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[AndyRew]

' Castor and Pollux '
Joseph Nollekens
1767​

By the English sculptor Joseph Nollekens. It is thought to represent Castor and Pollux, the twin sons of Leda, who was seduced by the god Zeus in the guise of a swan. They illustrate the physical ideal of male beauty prized by the collectors and sculptors of antique-style statues; and they also demonstrate the kind of sexual liaisons described by ancient historians, such as Ovid in his Metamorphoses, which would have been considered both deviant and titillating by 18th century standards. Increasingly, sculpture such as this was being seen at public exhibitions, rather than being shut away from general view in grand houses. As it became visible to an audience beyond the small coterie of artists and collectors, the display of nude male sculpture became problematic. If we work on the premise that 18th century art was created largely by male artists, for male collectors, the female nude can be explained as a focus of erotic desire; and its display, while titillating, fitted into the ‘normal’ framework of male gaze and control. Where, then, does this leave the male nude? The implicit homoeroticism of men gazing upon the naked male body was what underpinned many contemporary objections to antique statues in public view. For example, in August 1788 The Times reported that the public complained about the abundance of visible male genitalia at the Royal Academy’s exhibition of that year, prompting some of the statues to be covered or removed.

The implicit homoeroticism of men gazing upon the naked male body...Mmmmmmm...AndyRew​

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[AndyRew]

' Nymph and Satyr Carousing '
Clodion, Claude Michel (French, 1738–1814)
18th century (ca. 1780–90)​

Clodion, whose career spanned the last decades of the ancien régime through the French Revolution and Napoleon's reign, embraced his era's taste for antiquity. Sometimes this preference is more apparent in his choice of theme than in his style. While often Neoclassical, his manner at times remained quite Rococo, as in the present example. Although Clodion received a number of important commissions for monumental marble sculptures, his fame and popularity rested on his skill at modeling small-scale terracotta groups for private collectors. The seeming spontaneity of this composition, a rapturous embrace, in which it appears that the senses are totally abandoned, was achieved only after much meditation. This work is one of the most minutely studied of all the Bacchic orgies that were Clodion's specialty. The front and back show deliberate adjustments of angles, openings, and masses, all checked and balanced as the model passed under his fingers on his trestle table. Clodion's work was steeped in the imagery of Greek and Roman art, but the deliciously charged rhythms seen here are entirely his own. He made such works for connoisseurs during his stay in Rome from 1762 to 1771, but this group is so highly evolved that it may date to the 1780s.

Nice little Nymph...AndyRew​

 

[AndyRew]

' Penitent Magdalene '
Treviso Antonio Canova
between 1793 and 1796

Mary Magdalene in the work is slumped on his knees on a rock, the torso is bent, his head bent to the left, with crossed eyes from tears admiring a crucifix of gilded bronze, governed by the open arms resting on his legs. A cloth tied by a rope the covers badly the body, leaving uncovered part of the sides and back, on which reduction of the long hair. The latter together with the skin are covered with a yellowish patina to mitigate the whiteness of the marble. The sculptor wanted to highlight the contrast between the charm of a body still attractive, expression of life and sensuality, and its annihilation in the knowledge of sin and the invocation of divine forgiveness.

Stunning......AndyRew
​

 

[AndyRew]

' Laocoön and His Sons '
( Gruppo del Laocoonte )
200 BC to the 70s AD​

Has been one of the most famous ancient sculptures ever since it was excavated in Rome in 1506 and placed on public display in the Vatican, where it remains. Exceptionally, it is very likely to be the same object as a statue praised in the highest terms by the main Roman writer on art, Pliny the Elder. The figures are near life-size and the group is a little over 2 m (6 ft 7 in) in height, showing the Trojan priest Laocoön and his sons Antiphantes and Thymbraeus being attacked by sea serpents.

The group has been "the prototypical icon of human agony" in Western art, and unlike the agony often depicted in Christian art showing the Passion of Jesus and martyrs, this suffering has no redemptive power or reward. The suffering is shown through the contorted expressions of the faces (Charles Darwin pointed out that Laocoön's bulging eyebrows are physiologically impossible), which are matched by the struggling bodies, especially that of Laocoön himself, with every part of his body straining.
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[AndyRew]

' Barberini Faun '
(Drunken Satyr)
Carved by an unknown Hellenistic sculptor of the Pergamene school
late third or early second century BC

The life-size marble statue known as the Barberini Faun or Drunken Satyr is located in the Glyptothek in Munich, Germany. A Faun is the Roman equivalent of a Greek Satyr. In Greek mythology, satyrs were human-like male woodland spirits with several animal features, often a goat-like tail, hooves, ears, or horns. Satyrs attended Dionysus.

The statue was found in the 1620s in the moat below the Castel Sant'Angelo, Rome, which in Antiquity had been Hadrian’s Mausoleum. Work on the fortification was undertaken by the Barberini Pope Urban VIII in 1624. The sculpture made its first documented appearance in a receipt for its restoration, 6 June 1628, when it already belonged to the Pope's nephew, Cardinal Francesco Barberini. When discovered, the statue was heavily damaged; the right leg, parts of both hands, and parts of the head were missing. The historian Procopius recorded that during the siege of Rome in 537 the defenders had hurled down upon the Goths the statues adorning Hadrian's Mausoleum, and Johann Winckelmann speculated that the place of discovery and the statue's condition suggested that it had been such a projectile.
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[AndyRew]

' Always and Never '
also known ' Death and the Maiden '
Pierre-Eugène-Emile Hébert (1804-1869)
19th Century

Hébert was a sculptor in Paris who had an unremarkable career aside from this piece in terracotta, which caught Baudelaire's eye at the 1859 Salon. It now resides in the Montreal Museum of Fine Arts.

Beautiful, I want it.....AndyRew
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[AndyRew]

' A Faun Teased by Children '
Gian Lorenzo Bernini
1616 - 1617

The action unfolds as you encircle the piece. A drunken satyr, follower of Bacchus, the wine god, lunges forward to pick grapes as naked sprites, or putti, playfully push him back, while stuffing their own mouths full of fruit. Appropriately, the figures appear precariously balanced, but through brilliant engineering, the sculpture supports its own weight. The squared marble block remains an important ingredient in disciplining the anarchic diagonal movements within the piece. Gian Lorenzo Bernini was only about eighteen when he carved this work in the Roman studio of his Florence-born father, Pietro, and he seem to be showing off all he could do.

All four figures are male and nude, but innocently so. The Faun strains upwards, climbing what seems to be a tree covered in wild grape vines. Children higher up the tree bend his head back, 'teasing' him with the grapes. It is uninhibited, a celebration of wildness and pleasure.

But the position of the fauns head and his open mouth probably reminded Italians of the day of the Catholic Sacrament of communion. The fact that there is nothing sexual going on despite the nudity, and the clear reference to wine in the form of grapes, combines to suggest that the pleasures of drink are intense but innocent, a sacrament without sin.

It tickles me.....AndyRew​

 

[AndyRew]

' The Rape of Persephone '
Gian Lorenzo Bernini
1622​

The Rape of Persephone Story / Theme
In Greek mythology, Persephone (also known as Proserpina) was the daughter of Zeus and Demeter (goddess of agriculture) and was queen of the Underworld. One day while the young maiden was picking flowers, Hades, god of the underworld, kidnapped Persephone and carried her back to the underworld to be his wife.

Demeter begged Zeus to command the release of her daughter, and Persephone was told that she would be released from the underworld, as long as she didn't consume any food while she was there. But when she thought no one was looking, Persephone went into the garden and ate six pomegranate seeds. She was thus doomed to spend six months of the year with Hades, while for the other six months she could return to Earth to see her mother. The myth holds that the months Persephone spends in the underworld leave the earth cold, dark, and wintry, but when she returns, spring and summer accompany her.

Modern readers should note that in Bernini's time the word "rape" signified "kidnapping"; thus, the sculpture thus represents the kidnapping of Persephone.

This stunning sculpture exemplifies the best of the baroque and demonstrates Bernini's ability to handle marble and produce credible figures. Like his other works, the Rape of Persephone is fraught with emotion and tension, achieving a hitherto unseen level of life-like action. Bernini's pieces can always be recognized by the minute attention to detail, grandiose theatricality, and ornate design.

Drama:
Bernini chooses to depict the most dramatic, "pregnant" moment in the story; the scene is filled with heart-rending emotion. Bernini is famous for portraying the most poignant moment in a story and for communicating that event in the most dramatic way possible, by means of exuberant movement, emotive facial expressions, and feats of technical mastery.

In The Rape of Persephone the figures twist and strain in opposing directions, testifying to a Mannerist influence; their tense struggle is imbued with an explosive dynamism.

Movement:
Not only are the figures portrayed in the midst of frenzied movement, but the viewer himself is encouraged to move 360 degrees around the sculpture in order to take it all in.

Naturalism:
These figures are hardly the gritty street walkers that populate Caravaggio's paintings, but certain details are breathtaking for the verisimilitude, especially the dimpling of Persephone's flesh as Pluto's fingers dig into her thigh and waist.

Although his figures are always somewhat idealized, like a perfected version of reality, Bernini manages to bestow them with individualized features and imbue them with human emotion, and never neglects the careful details that help to bring his sculptures to life.

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[Lacie4U]

' Always and Never '
also known ' Death and the Maiden '
Pierre-Eugène-Emile Hébert (1804-1869)
19th Century

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Hébert was a sculptor in Paris who had an unremarkable career aside from this piece in terracotta, which caught Baudelaire's eye at the 1859 Salon. It now resides in the Montreal Museum of Fine Arts.

Beautiful, I want it.....AndyRew
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Absolutely stunning ! Deaths hands look perfect , human like melting into the maidens form.

 

[AndyRew]

Absolutely stunning ! Deaths hands look perfect , human like melting into the maidens form.

You may like these also:

 

[AndyRew]

' Mercury and Psyche '
Adriaen de Vries
1539
The statue was commissioned by German king Rudolph II. Rudolph II was known as a patron of arts and made Prague, the capitol city of his kingdom, into a Mecca for artists.

Mercury and Psyche is considered to be a virtuoso work by de Vries, who studied under Giambologna in Florence. As de Vries was the official court sculptor of Rudolph II in Prague the statue has to be observed in the context of its allegorical meaning that was significant for Prague during that era. It is said that Mercury and Psyche represent 2 symbols Art and Genius. The Art lifts the Genius up to immortality.
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The story that inspired Mercury and Psyche statue is the myth of Psyche who fell in love with Cupid. Cupid’s mother Venus, furious of her son’s relationship with a mere mortal and jealous of Psyche’s beauty subjected her to a series of tests that Psyche managed to fulfill successfully. Venus finally forgives her, Jupiter grants her immortality and Psyche is lifted to Mount Olympus by Mercury, the messenger god where she is reunited with Cupid.
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Psyche is recognizable by carrying a vase that is reminiscent of one of her tests where she had to venture into the underworld and ask Persephone for some beauty potion, while Mercury has his trademark winged helmet and winged ankles.

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[AndyRew]

' Mercure ou le Commerce '
Augustin Pajou
1780

Mercury is shown with his winged cap and a merchant’s bag.

One of the beautiful-est works of art I've ever seen......AndyRew​

 

[AndyRew]

' The Veiled Vestal Virgin '
Raffaele Monti
1847

One solid block of marble, notice the veil. Masterpiece, One solid block

Sculpture of a Vestal Virgin, kneeling on a pedestal directed to right, wearing a floral wreath on her head, over a veil, covering her face and draped around her upper body, holding a flat round vessel, in which burns a fire​

 

[AndyRew]

' Ugolino and His Sons '
Jean–Baptiste Carpeaux (French, 1827–1875)
modeled ca. 1860–61, executed in marble 1865–67

But when to our somber cell was thrown
A slender ray, and each face was lit
I saw in each the aspect of my own,
For very grief both of my hands I bit,
And suddenly from the floor arising they,
Thinking my hunger was the cause of it,
Exclaimed: Father eat thou of us, and stay
Our suffering: thou didst our being dress
In this sad flesh; now strip it all away.

The subject of this intensely Romantic work is derived from canto XXXIII of Dante's Inferno, which describes how the Pisan traitor Count Ugolino della Gherardesca, his sons, and his grandsons were imprisoned in 1288 and died of starvation. Carpeaux's visionary statue, executed in 1865–67, reflects the artist's passionate reverence for Michelangelo, specifically for The Last Judgment (1536–41) in the Sistine Chapel of the Vatican, Rome, as well as his own painstaking concern with anatomical realism.

Brilliant beyond measure, Amazing..........AndyRew
​

 

[AndyRew]

' Apollo and Daphne '
Gian Lorenzo Bernini
between 1622 and 1625

' Destroy the beauty that has injured me, or change the body that destroys my life.' Before her prayer was ended, torpor seized on all her body, and a thin bark closed around her gentle bosom, and her hair became as moving leaves; her arms were changed to waving branches, and her active feet as clinging roots were fastened to the ground—her face was hidden with encircling leaves '

When Phoebus (Apollo), fated by Cupid's love-exciting arrow, sees the maiden daughter of Peneus a river god, he is filled with wonder at her beauty and consumed by desire. But Daphne has been fated by Cupid's love-repelling arrow and denies the love of men. As the Nymph flees he relentlessly chases her—boasting, pleading, and promising everything. When her strength is finally spent she prays to her father Peneus.​

Phoebus loved the graceful tree, clung to it and kissed the wood:​

But since thou canst not be my spouse surely thou shalt be my tree. Thee O laurel my hair, thee my lyres, thee my quivers shall always have ... And as my head is youthful with unshorn locks, do thou likewise wear always evergreen honours of foliage. The laurel nodded assent with its branches lately made.​

 

[Lacie4U]

' Penitent Magdalene '
Treviso Antonio Canova
between 1793 and 1796

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Mary Magdalene in the work is slumped on his knees on a rock, the torso is bent, his head bent to the left, with crossed eyes from tears admiring a crucifix of gilded bronze, governed by the open arms resting on his legs. A cloth tied by a rope the covers badly the body, leaving uncovered part of the sides and back, on which reduction of the long hair. The latter together with the skin are covered with a yellowish patina to mitigate the whiteness of the marble. The sculptor wanted to highlight the contrast between the charm of a body still attractive, expression of life and sensuality, and its annihilation in the knowledge of sin and the invocation of divine forgiveness.

Stunning......AndyRew
​

I agree STUNNING ...you become lost in your own thoughts of sin and forgiveness.

 

[Lacie4U]

' The Veiled Vestal Virgin '
Raffaele Monti
1847

One solid block of marble, notice the veil. Masterpiece, One solid block

View attachment 43405

View attachment 43407

View attachment 43408


Sculpture of a Vestal Virgin, kneeling on a pedestal directed to right, wearing a floral wreath on her head, over a veil, covering her face and draped around her upper body, holding a flat round vessel, in which burns a fire​

Exquisite ...i want to touch her veil it looks so soft...when I keep looking I see a soft breeze moving her veil, perhaps it is the rising heat...

 

[Lacie4U]

' Apollo and Daphne '
Gian Lorenzo Bernini
between 1622 and 1625

' Destroy the beauty that has injured me, or change the body that destroys my life.' Before her prayer was ended, torpor seized on all her body, and a thin bark closed around her gentle bosom, and her hair became as moving leaves; her arms were changed to waving branches, and her active feet as clinging roots were fastened to the ground—her face was hidden with encircling leaves '

View attachment 43432

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View attachment 43433

When Phoebus (Apollo), fated by Cupid's love-exciting arrow, sees the maiden daughter of Peneus a river god, he is filled with wonder at her beauty and consumed by desire. But Daphne has been fated by Cupid's love-repelling arrow and denies the love of men. As the Nymph flees he relentlessly chases her—boasting, pleading, and promising everything. When her strength is finally spent she prays to her father Peneus.​

Phoebus loved the graceful tree, clung to it and kissed the wood:​

But since thou canst not be my spouse surely thou shalt be my tree. Thee O laurel my hair, thee my lyres, thee my quivers shall always have ... And as my head is youthful with unshorn locks, do thou likewise wear always evergreen honours of foliage. The laurel nodded assent with its branches lately made.​

I get lost in this story ....such intricate sculpture

 

[Lacie4U]

' Ugolino and His Sons '
Jean–Baptiste Carpeaux (French, 1827–1875)
modeled ca. 1860–61, executed in marble 1865–67

But when to our somber cell was thrown
A slender ray, and each face was lit
I saw in each the aspect of my own,
For very grief both of my hands I bit,
And suddenly from the floor arising they,
Thinking my hunger was the cause of it,
Exclaimed: Father eat thou of us, and stay
Our suffering: thou didst our being dress
In this sad flesh; now strip it all away.

View attachment 43425

View attachment 43419

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The subject of this intensely Romantic work is derived from canto XXXIII of Dante's Inferno, which describes how the Pisan traitor Count Ugolino della Gherardesca, his sons, and his grandsons were imprisoned in 1288 and died of starvation. Carpeaux's visionary statue, executed in 1865–67, reflects the artist's passionate reverence for Michelangelo, specifically for The Last Judgment (1536–41) in the Sistine Chapel of the Vatican, Rome, as well as his own painstaking concern with anatomical realism.

Brilliant beyond measure, Amazing..........AndyRew
​

Again stunning !! Thank you Andrew

 

[AndyRew]

yes truly amazing...........

 

[Lacie4U]

You may like these also:

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Yes!!! Those hands !!! I imagine them gripping me...

 

[AndyRew]

I agree STUNNING ...you become lost in your own thoughts of sin and forgiveness.

Very emotional this one...

 

[AndyRew]

' Winged Victory of Samothrace '
also called the Nike of Samothrace
Artist - Pythokritos of Lindos
c. 200–190 BC

Is a 2nd-century BC marble sculpture of the Greek goddess Nike (Victory). Since 1884, it has been prominently displayed at the Louvre and is one of the most celebrated sculptures in the world. H.W. Janson described it as "the greatest masterpiece of Hellenistic sculpture.​

The Victory is wearing a long chiton, or tunic, of fine cloth, that falls in folds to her feet. To shorten the skirts, the cloth is gathered by a belt, hidden by the folds which hang over the hips. The chiton is held in place by a second belt beneath the breasts.

The garment’s flowing lines are portrayed with great virtuosity. The fabric over the stomach and the left thigh is shot over with wrinkles that seem to skim over the skin underneath. The light cloth is bunched in narrow folds on the figure’s sides, while the front of the left leg is carved with surface incisions to create an effect of light fabric drapery.

The handling of the chiton is in striking contrast with the thick, deeply carved draped folds of the cloak or himation, which covers part of the chiton. The sophisticated form of the folds of the cloak becomes clear when the outside and inside are highlighted in blue and red, following the folds of the cloth.

The himation, worn wrapped in a roll round the waist, has worked loose at the figure’s left hip. A large gathering of folds have slipped between the figure’s legs, leaving the left hip and leg uncovered. The right hip and leg are covered to half-way down the calf. The cloak has swept open, with a fold of cloth streaming out behind the figure, so that we see the inside of the cloth. The unfastened cloak is held against the Victory’s body by the sheer force of the wind.

 

[Lacie4U]

' Winged Victory of Samothrace '
also called the Nike of Samothrace
Artist - Pythokritos of Lindos
c. 200–190 BC

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Is a 2nd-century BC marble sculpture of the Greek goddess Nike (Victory). Since 1884, it has been prominently displayed at the Louvre and is one of the most celebrated sculptures in the world. H.W. Janson described it as "the greatest masterpiece of Hellenistic sculpture.​

The Victory is wearing a long chiton, or tunic, of fine cloth, that falls in folds to her feet. To shorten the skirts, the cloth is gathered by a belt, hidden by the folds which hang over the hips. The chiton is held in place by a second belt beneath the breasts.

The garment’s flowing lines are portrayed with great virtuosity. The fabric over the stomach and the left thigh is shot over with wrinkles that seem to skim over the skin underneath. The light cloth is bunched in narrow folds on the figure’s sides, while the front of the left leg is carved with surface incisions to create an effect of light fabric drapery.

The handling of the chiton is in striking contrast with the thick, deeply carved draped folds of the cloak or himation, which covers part of the chiton. The sophisticated form of the folds of the cloak becomes clear when the outside and inside are highlighted in blue and red, following the folds of the cloth.

The himation, worn wrapped in a roll round the waist, has worked loose at the figure’s left hip. A large gathering of folds have slipped between the figure’s legs, leaving the left hip and leg uncovered. The right hip and leg are covered to half-way down the calf. The cloak has swept open, with a fold of cloth streaming out behind the figure, so that we see the inside of the cloth. The unfastened cloak is held against the Victory’s body by the sheer force of the wind.

Quite extraordinary! great narrative .

 

[AndyRew]

Quite extraordinary! great narrative .

Indeed the world truly is a wonder....