🏛️ Museum Musings 🏛️ I'm at the Metropolitan Museum of Art today.
Just laid eyes on the fascinating 2nd-century bust of ‘Zeus Ammon’ and I can’t help but marvel at the blend of cultures captured in stone. As expected, you’ll find the grandeur and aesthetic of Classical Greece, but what truly captivates is the god’s syncretic figuration as the Egyptian god Ammon—notice the distinctive ram’s horns!
With the great temple of Zeus at Olympia lost to time, pieces like this offer a glimpse into how the supreme ruler of the Olympians was once revered. It’s an extraordinary testament to the interconnectedness of ancient civilizations.
Discover a teacher's unique Louvre encounters, from Greek beauty to Egyptian relics. Explore beyond Mona Lisa to uncover the Louvre's heart.
(2) Apollon Sauroctone
(1) Éphèbe
You can't expect to tour the Louvre and see it all. I've visited the museum three times; most recently this past February as a high school English teacher on a London and Paris school trip. My previous visits were in 2000 and 2001 as a college student. During the first of those trips, I explored the Denon wing, which houses the Louvre's iconic treasures — the Mona Lisa, the Winged Victory of Samothrace, the Coronation of Napoleon, and all those wonderful works of art. I was in awe, though I do recall the Mona Lisa looking more like a postcard (she still does, but we adore you, La Joconde!).
On this third visit, I began in the basement of the Sully wing and worked my way up, which proved to be immensely rewarding. And I did not even catch nary a glimpse of Leonardo's lady nor did I see the Nike (they live in my heart). Where the Éphèbe (1) and Apollo Sauroctone (2) reside is a vast collection of Greco-Roman sculpture, including the Venus de Milo. I was struck by the youthful Narcissus, whom I initially mistook for an athlete — he epitomizes Greek beauty and the stylized classical loveliness associated with the young and svelte. Similarly, there is the Apollo — it seems the gods enjoyed odd, vain acts like slaying lizards — apparently, this depicts Apollo as a protector. I had some knowledge of this piece prior to my visit, so seeing it in person was a delight.
Deep in the Sully wing lie the remnants of the Louvre's past life as a fortress before it became a royal palace and now a museum. The dungeon, curiously, serves as the storage for artifacts related to French history and the story of the Louvre complex. Here, I encountered a majestic sculpture representing the river (3) — there are actually two, but here we speak of one: the Seine. And I must say, I was captivated by him.
The Louvre's Egyptian wing is dizzying, with fifteen thousand objects from their massive half-a-million-piece collection. Even after seeing Egyptian art in numerous museums, the Louvre's assemblage feels personal and well-organized. The procession of sphinxes (4) in Room 327 was a charming touch — I half-expected one to spring to life and pose the classic riddle about the creature that walks on four legs in the morning, two in the afternoon, and three in the evening.
A three-thousand-year-old Egyptian statue (5), likely once part of a fierce work, is displayed, and it caught my attention, especially because of its eyes. It reminded me of how Percy Bysshe Shelley envisions the sculptor of Rameses II (now in the British Museum), meticulously carving the pharaoh's visage, well aware of the emperor's demands for precision.
And finally, I returned to that room that first captured my heart — Room 344 — where a statue of Zeus, or technically Jupiter (6) (since it's a Roman piece), stands from the second century. And, goodness, what a figure he cuts!
(3) Un fleuve
(4) Statue of a Sphinx
(5) Statue
(6) Jupiter
Citations:
(1) Louvre Museum. Narcisse (Type, Original en Bronze) - Éphèbe (Boucle, Court, Nu, Appuyé, Sur Pilier, Bas). 2nd century A.D., Basse Égypte. Louvre, Department of Greek, Etruscan, and Roman Antiquities, Sully wing, ground floor, room 344, item Ma 457. https://collections.louvre.fr/ark:/53355/cl010278134.
(2) Louvre Museum. Apollon Sauroctone. 2nd quarter 1st century A.D., Italy. Louvre, Department of Greek, Etruscan, and Roman Antiquities, Sully wing, ground floor, room 344, item Ma 441. https://collections.louvre.fr/ark:/53355/cl010278000.
(3) Barye, Antoine Louis. Un fleuve. 19th century, France. Musée du Louvre, Department of Sculptures of the Middle Ages, Renaissance, and Modern Times, inventory number RF 1560 & RF 1561. Louvre Museum, Sully, [HIST LOUVRE] Salle 134 - Salle de la maquette, Vitrine 08 https://collections.louvre.fr/en/ark:/53355/cl010093894.
(4) Musée du Louvre. Statue of a Sphinx. Circa 380-362 B.C. [?], Serapeum of Memphis, Saqqara. Musée du Louvre, Department of Egyptian Antiquities, Room 327, Sully, inventory number N 391 D. Louvre Museum, https://collections.louvre.fr/en/ark:/53355/cl010009175.
(5) Musée du Louvre. Statue. Third Intermediate Period, circa 1069-664 B.C. [?]. Musée du Louvre, Department of Egyptian Antiquities, inventory numbers E 2410; N 1579; Clot bey C 25 no. 5. Louvre Museum, https://collections.louvre.fr/en/ark:/53355/cl010013953.
Dive into the fascinating world of Greek and Roman mythology with a detailed comparison between Ares and Mars. Discover their myths, lovers, and roles in ancient tales.
Hey, y’all. I’m in the Louvre Museum. Here stands Mars (or Ares to the Greeks), the deity of war, embodying cries, battles, bloodshed, and military conquest. It feels like the Romans admired him significantly, and although the Greeks certainly gave him a place of honor on Olympus, he wasn’t as much worshipped in temples as he was respected and feared. His lover was famously Aphrodite — the goddess of love. Also, in the spirit of exploring the less discussed side of history, we get to see his representation from behind. Additionally, if you’ve ever seen Ridley Scott’s ‘Prometheus’ — the prequel to the Alien movies — does the god’s face remind you of the giant humanoids from the film? And, if you’re a Percy Jackson fan, Ares plays a supporting role in the plot of the first book.
Discover the astonishing story of Saint Nicholas, the inspiration behind Santa Claus, and his miraculous rescue of three boys. This Christmas, explore the rich tapestry of legends that shape our festive traditions.
During my thousandth visit to the Metropolitan Museum of Art in 2023, I had a memorable encounter with Saint Nicholas. His feast day, celebrated in early December, reminds us of a tradition where children leave a shoe out on December 6th for him to fill with sweets.
Saint Nicholas, known for saving three children from a butcher's sinister plot, exemplifies generosity and wonder. In the 4th century, Saint Nicholas, the kind bishop of Myra, now Demre, Turkey, became a beacon of hope and inspiration. A grisly tale connects him with three unfortunate boys. A malicious butcher, intending to sell them as ham, met his match in Nicholas, who, upon discovering the crime, miraculously resurrected the boys. This story, while gruesome, highlights the enduring kindness and miraculous power of Saint Nicholas, a figure who continues to captivate our imaginations and hearts during the Christmas season. His miraculous intervention not only saved these children but also redeemed the butcher who repented of his evil deeds and turned to Christ. How un-pickly of him!
Today, children look forward to delightful surprises, a far cry from the perils of the past. As we revel in the festive season, let's remember the rich stories that weave through our traditions. What's your favorite Christmas legend?
Embark on a historical journey with a visit to the Metropolitan Museum of Art, home to a striking 13th-century French limestone sculpture of St. Firmin, the fourth-century multitasker. Explore the mesmerizing world of medieval art and uncover the enigmatic saint's intriguing tale of unwavering faith, becoming a bishop, and his peculiar post-decapitation joy.
I am at the Metropolitan Museum of Art today, and I embark on a captivating journey through time as we explore the mesmerizing world of medieval art at the Metropolitan Museum of Art. Our focus lies on an intriguing 13th-century French limestone sculpture of none other than St. Firmin, a high-achieving multitasker hailing from the fourth-century (i.e., a Roman Catholic Saint with a penchant for carrying his decapitated head).
Encountering St. Firmin, the ultimate multitasker from the 4th century, at the #MetropolitanMuseumOfArt today. 🎨🏛️ Staring at this 13th-century French wooden sculpture, it's clear this #Saint wasn't your average holy man! 😇🙏 Quickly ascending the celestial corporate ladder, he claimed the coveted position of Bishop at #Amiens.
But here's the quirky part — he's joyfully holding his head! Yes, you read that right. A case of post-decapitation bliss, perhaps? 😂🤔 Nevertheless, he seems quite content. Go, hun!
A day well spent appreciating #ArtHistory and uncovering some divine oddities. Truly, there's nothing like a #SaintStory to keep things interesting! 💫📖
As we stand before this masterful creation, we can't help but wonder about the life and accomplishments of this enigmatic saint. St. Firmn's journey was one of immense determination and unwavering faith. Climbing the celestial corporate ladder, he eventually earned the esteemed position of bishop at Amiens, France – a feat that undoubtedly demanded great dedication and virtue.
Yet, what truly captivates us is the portrayal of St. Firmin holding his head in his hands, an expression of joy illuminating his features. His happiness and contentment in this sculpture are palpable, leaving us with the question: What was the source of his boundless joy?
Saint Firmin
Indeed Saint Firmin is a real person and is said to have been beheaded in Amiens, France; his feast day is celebrated on September 25th. However, historical records do not confirm the exact year of his death. It's believed to have occurred during the early 4th century, possibly around 303 C.E. Miracles attributed to the discovery and translation of his relics during the time of Bishop Savin are part of the saint's hagiography.
Steeped in history, medieval art provides a rich tapestry of stories that often speak to the human experience. St. Firmn's sculpture is no exception. The depiction of a saint holding his head symbolizes his unwavering devotion to the church, even amidst the trials and challenges he faced. Also, Saint Firmin is a martyr, which means he gave up his life for his belief and devotion to Christ. In this way, martyrs are often depicted in the same way they were killed — in this example, by cutting off the poor saint's head. To illustrate that for the Christian — death is not the end, but a beginning — he carries his head as a defiance against the ravages of sin and death. And how are you doing?
Seeing such a treasure trove of medieval pieces at the Metropolitan Museum of Art is also cool. The museum serves as a befitting venue for our encounter with St. Firmn. Its halls house an extensive collection of art that transcends time, mimicking the architecture of a Gothic cathedral, allowing us to connect with our past and embrace the beauty of diverse cultures and histories.
So, next time you find yourself at the Met, take a moment to visit this 13th-century French limestone sculpture and meet the remarkable St. Firmn. Witness his joy and dedication, and let it be a reminder that happiness lies in pursuing our passions and fulfilling our purpose in life. Keep your head on properly.
In conclusion, a visit to the Metropolitan Museum of Art can be more than just an exploration of history – it can also be an introspective journey, connecting us with the triumphs and struggles of those who came before us. Let St. Firmn's story inspire us as we continue our paths, aiming to find joy and fulfillment in our endeavors, just as he did in the fourth century.
Explore 'Three Grecian Heads', a historic 1814 illustration showcasing ancient costumes, featuring the swift-footed warrior, Achilles.
"Three Grecian Heads"
Three Grecian heads. The figure in the middle is "Swift-footed Achilles," the famed Achaean warrior told about in the stories of Homer.
Source note: — An illustration of the Egyptian, Grecian, and Roman costume: in forty outlines with descriptions. London. 1814. Baxter, Thomas, 1782-1821 (Engraver). This image is in the public domain. Retrieved from The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Art & Architecture Collection, The New York Public Library. New York Public Library Digital Collections. Uploaded by Stones of Erasmus.
Join me on a journey through time, appreciating a 16th-century Italian sculpture of the Christian martyr, Catherine of Alexandria, on display at the Metropolitan Museum of Art.
In the heart of New York City lies a treasure trove of artistic marvels — the Metropolitan Museum of Art. Today, my admiration was captured by an exquisite 16th-century Italian sculpture depicting Catherine of Alexandria, a revered Christian martyr from the third century.
Saint Catherine of Alexandria, Cristoforo Solari, Italian, ca. 1514-24
The saint stands regal, and she has on her side the instrument of her martyrdom — a wheel in which she was tied to and tortured. But — wait, look at her feet — it is the head of the emperor. So — even in death, Christianity wins — for she has defeated paganism. What?!
The detailed portrayal of Saint Catherine evokes her timeless courage and spiritual strength. Originally from Egypt, Catherine's legacy extends beyond geographical and temporal boundaries, continuing to inspire individuals across centuries.
Each stroke, each detailed carving in this Italian masterpiece, resonates with the passion of an artist, reverently capturing the essence of the saint. It is a tangible connection to a time gone by, a bridge between the present and the past.
As I stood there, taking in the silent beauty of this sculpture, I couldn't help but wonder about the varied art forms that touch our hearts. What is your favorite work of art? In its many manifestations, art connects us, narrates past stories, and provokes introspection. Let's continue this journey of art appreciation together, exploring and rediscovering the relics of history.
Explore a captivating 15th-century marble relief by Antonio Rizzo at the Metropolitan Museum of Art, bridging modern life with Renaissance grandeur.
Today, I found myself immersed in the magnificence of 15th-century Italian art at the Metropolitan Museum of Art in New York City. A marble relief of a youthful angel holding a shield, crafted by the masterful hands of Antonio Rizzo in 1470, caught my attention.
Angel Holding a Shield, Antonio Rizzo, Italian, 1470
Antonio Rizzo, a Venetian, renowned for his exquisite artistry during the Italian Renaissance, has intricately carved this ethereal figure in such a way that every detail unfolds a story. One could imagine it initially adorned an ornate doorway or entranceway, in Venice, greeting onlookers with its divine elegance.
The angel's face, in particular, is the highlight of the sculpture. The superior skill evident in the relief's intricate facial detailing is mesmerizing. The artistry so profoundly etched in marble seems to transcend the realm of humans, creating a space that teeters between our world and the celestial one.
Accompanied by my granny, a mutual connoisseur of 15th-century relief sculptures, we spent a meaningful moment admiring this masterpiece. The experience brought alive the extravagance of the period, a feeling often captured by the “granny” voice that I use for social media narration.
In a world so connected yet often detached, the angel by Antonio Rizzo at the Metropolitan Museum of Art bridges the gap between our modern lives and the artistic grandeur of the Renaissance. As it did in the 15th century, it inspires and evokes wonder, reminding us that art can sometimes evoke wonder and reverence.
A Byzantine Tale of Civilization and Fate at The Metropolitan Museum of Art. Where history meets artistry.
I am standing amidst the breathtaking expanse of the Metropolitan Museum of Art in New York City. Amid the myriad of artifacts and art pieces, I find myself drawn to an artifact of particular intrigue. At first glance, it may not command your immediate attention, but I assure you, its narrative is as grand as any. It's a captivating statuette hailing from the Byzantine era, bearing the likeness of a Roman goddess: Fortuna, also known as Tyche.
Fortuna (Tyche), Late Roman or Byzantine ca. 300-500 C.E.
Upon closer inspection, you begin to notice the details etched into this statuette that elevate it from a simple representation of a goddess to a profound symbol of historical narrative. A distinguishing feature of Fortuna is her sculptural headdress, ingeniously designed to mimic a city-like fortress, replete with a gate, and walls to fortify it. The statuette portrays her with this sculptural motif of a city perched atop her head — a poignant indication of the goddess's authority and influence.
But, the statuette holds more in its petite form. Cradled in Fortuna's hand is a cornucopia - a classic emblem of abundance and prosperity. This combination, a city upon her head and a symbol of prosperity in her hand, is powerful. It's a juxtaposition that beautifully ties together the themes of urban society and fortune.
The statuette isn't merely an exquisite work of art; it's a vessel, carrying layers of symbolism and a profound narrative within it. Fortuna, adorned in her cityscape headdress, seated on a throne, paints a picture of the intricate relationship between chance or fortune and the development of civilization. It's a compelling reminder of how the evolution of societies has always been tied to the capricious hands of fate.
So, it isn't just a 'cool little statuette' - it's a piece of history, a symbol of societal evolution, and a testament to the intricate craftsmanship of the Byzantine era. It's the embodiment of the idea that every artifact carries a tale, waiting to be discovered, waiting to be told. Take a moment to admire this extraordinary piece of history and let Fortuna's tale unfold.
I’m standing here at the entrance to Grand Central Station on 42nd Street and Park Avenue, admiring the statue of the god Hermes, also known as Mercury, that stands on top of the pediment.
I met a friend at Grand Central station today and decided to do a quick, impromptu art history lesson.
As I navigate the bustling streets of Manhattan, New York, I find myself standing amidst a cacophony of the city's rhythm. There, at the intersection of 42nd Street and Park Avenue, in front of the iconic Grand Central Station, I pause and raise my eyes to the architectural marvel that is the terminus building. Perched atop this historic landmark is an impressive, grand sculpture that seizes my attention — the radiant figure of the Greek god Hermes, or as the Romans would say, Mercury.
Located within the world-renowned Metropolitan Museum of Art stands an exceptional sculpture that exemplifies the brilliance of the Venetian artist, Tullio Lombardo. His interpretation of Adam, a pivotal figure from the Genesis story, is a masterpiece that testifies to the artist's unique sculpting style and uncanny understanding of the human form.
Tucked into a portion of the east side of Central Park in New York City, nestled among a myriad of remarkable artifacts at the Metropolitan Museum of Art, stands a profound example of late 15th-century Venetian art. This remarkable piece is a marble sculpture of a young warrior by Tullio Lombardo, a master of the Italian Renaissance from Venice. The immersive experience of admiring this piece face-to-face truly transcends the ordinary museum visit.
I've taken to re-visiting some of my favorite works of art. Here's a fantastic piece from Rome — created around the second century C.E.
Exploring the Metropolitan Museum of Art in New York City today. I’m admiring a second-century C.E. bust of a Roman youth. This isn’t just any youth - it’s a youthful portrait of Marcus Aurelius, the philosopher and Roman emperor.
I’m at the Metropolitan Museum of Art and admiring a 16th-century copy of a bronze sculpture from an ancient work now held at the Capitoline Museum in Rome. It’s called the Spinario and it depicts a youth pulling a thorn out of his foot.
Exploring art's timelessness at the Metropolitan Museum of Art, captivated by the Spinario—a 16th-century replica of a poignant ancient masterpiece, depicting a youth's tender act of self-care.
A portrait of an adolescent boy looking askance at the camera, discussing the beauty of wonder and being against the backdrop of dasein.
Source: Created by Stones of Erasmus, claymation (with digital elements added by open-source artificial intelligence). This image is created and made with love by Stones of Erasmus (stonesoferasmus.com).
New York City neighborhoods are rich in history, and Jackson Heights is no exception. Situated in a rectangular swath of Queens, with Northern Boulevard, the expressway, Roosevelt Avenue, and Junction Boulevard as its perimeter borders, this neighborhood boasts a charming collection of beautiful pre-war residential buildings, many of which feature intriguing architectural adornments, including the presence of mythological creatures like Griffins.
Griffins, fascinating creatures that are half-lion and half-eagle amalgams, grace the façades of numerous buildings in Jackson Heights. These majestic beings typically possess bird-of-prey talons for feet and lion-like tails. Although occasionally depicted without wings, or even as wingless eagle-headed lions, these figures bear a striking resemblance to Griffins. Interestingly, even the neighborhood's local school, Garden School, an independent nursery through twelfth grade, has adopted the Griffin as its mascot.
While some of the statues in Jackson Heights may resemble guarding lions more than take-flight griffins, there is undoubtedly a family resemblance. However, I must confess that I am not a pedant when it comes to classifying mythological creatures, and their presence in the neighborhood adds to their unique character and charm.
The abundance of griffins in Jackson Heights has a historical significance that traces back to the neighborhood's early days. When the Inter-Borough Rapid Transit company constructed the 7 elevated line that runs over Roosevelt Avenue, Jackson Heights and much of Queens were mostly undeveloped farmland, with only a few notable features such as the waterfront natural harbors in Flushing and Long Island City. However, the arrival of the elevated subway sparked a wave of housing development. The Queensborough corporation, whose remnants can still be seen, particularly at the corner of 79th Street and 37th Avenue, decided to build "garden apartments," forever altering the area's landscape. The apartment buildings were billed as convenient upper-middle class residences for the white, non-Jewish, non-Catholic, white-collar set. One brochure for one of the apartment buildings, The Towers, reads, "The people you find at Jackson Heights are only those people you want to associate with." Anyway, after the Second World War — with the advent of white flight in the 1960s and 1970s, the demographics of the neighborhood shifted — but the garden apartments remain — in their unsullied glory. And the griffins. Talons out!
If you take a stroll through Jackson Heights, you can spot various griffins and griffin-like statues in specific locations. Here are some approximate locations where you can find these captivating figures:
72nd Street and 35th Avenue - Griffin
75th Street and 35th Avenue - Griffin
81st Street and 37th Avenue - Griffin
81st Street between Northern Boulevard and 34th Avenue
34-48 81st Street (between 35th and 34th Avenues) - Stone carving of two Griffins above the doorway
80th Street between 37th and 35th Avenue
If you happen to discover any additional griffins or statues not listed here, please let me know in the comments. Jackson Heights continues to be a treasure trove of fascinating historical and architectural delights, and the presence of these mythical creatures only adds to its allure.
Works Cited
Antos, Jason D., and Theodosiou, Constantine E. Jackson Heights. United States,
The school-aged girl with glasses and braces is studious and determined yet often self-conscious despite her intelligence and kind-hearted nature.
Source: Created by Stones of Erasmus, coloring page (with digital elements added by open-source artificial intelligence). This image is created and made with love by Stones of Erasmus (stonesoferasmus.com).
Caught in amazement — digital art of a surprised teen boy: looks directly at the viewer.
Image source: Created by Stones of Erasmus (with digital elements added by open-source artificial intelligence). This image is created and made with love by Stones of Erasmus (stonesoferasmus.com).
Endymion (some say it's Adonis) wears a hat, a Roman tunic, and sandals and naps on Mount Latmos. The original marble Roman sculpture dates from the 2nd Century C.E., where the drawing is based and is located in the British Museum in London.
Source: The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Picture Collection, The New York Public Library. "Ancient styles of hats" The New York Public Library Digital Collections. 1845. This image is in the public domain.
This public domain image depicts the mythological creature the griffin — part lion and part eagle. A griffin is a legendary creature with the head and wings of an eagle and the body of a lion. It is said to be a powerful and majestic beast, capable of flying great distances and possessing great strength. In many myths and legends, griffins are depicted as guardians of treasure or protectors of sacred places.
This particular image is in the public domain, which means it can be used for any purpose, including commercial use, without restriction. This is because the image's copyright has either expired or was never copyrighted in the first place.
![Barye, Antoine Louis. Un fleuve. 19th century, France. Musée du Louvre, Department of Sculptures of the Middle Ages, Renaissance, and Modern Times, inventory number RF 1560 & RF 1561. Louvre Museum, Sully, [HIST LOUVRE] Salle 134 - Salle de la maquette, Vitrine 08](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRE9YnlXlK6KfP-A0z_dJZYnBT7_1M5T9D3tZk_gXozKs9gMd9nO9UXlkT5TkHi9T0KkSBwjL6qcfr74jTaMOtO6h47D1jJt4P6LadIo9MGzu3yL8o9KabJ2TLnGC05aMOJLGXy08A5kn4PeMuqb1xi3BchLe5z6tW_ddtYaAY0Te_gBcwPo7btQ/s2293/A65BC7E3-435F-4BF6-9AEE-992B60DCA921.jpg "Un fleuve")
![Musée du Louvre. Statue of a Sphinx. Circa 380-362 B.C. [?], Serapeum of Memphis, Saqqara. Musée du Louvre, Department of Egyptian Antiquities, Room 327, Sully, inventory number N 391 D. Louvre Museum](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgUwtk13qrP7vP1aawA_H8HLkuH_Om2fdXDUYZS5rp9gzDUj93w2JqthNzZp3HNWS8AsQqXaXeJC5UwcvtUI0RDp8NLgjTSiUTlm3d7iOqPGBZHf7o5BGbsuMqcyb0dXuT7bz1agggYfGBhFF45As03mepTGdzalqV6E6H9gy3r1oIJpCqEAcp_A/s1800/2B604D01-4603-465D-9A7E-BE621258F15E.jpg "Statue of a Sphinx")
![Musée du Louvre. Statue. Third Intermediate Period, circa 1069-664 B.C. [?]. Musée du Louvre, Department of Egyptian Antiquities, inventory numbers E 2410; N 1579; Clot bey C 25 no. 5. Louvre Museum](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgbctrJI65LJI1iyrVOfQhyphenhyphene1Tc7QGTT4wcBmC08D_-9ItrigFHgGkqlDv2rPXfIA1CmP6V8ZIqsfUQ7CGr0K2fEwD4wjU7gBYdxKLbgTQEFFjb50Ge3hY9aGWehNd6EDdhxp35uN-0HYHIBL-vXWIXJD-NcecFiFCi6zVnQWKKJnMVmExZpZKfQ/s1800/75DFE6FB-8092-4AAD-8E84-5475A684CEDD.jpg "Statue")
![Musée du Louvre. Jupiter. 2nd century A.D. [?], Italy. Musée du Louvre, Department of Greek, Etruscan, and Roman Antiquities, Room 344.](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9FIeOZBWXHqm5AryH2Cb0EdwkG_C2QX7rHPa3IQTeF_q7JBsmrEfeSbekVmJaSLsg_k0Zb9dCdUctsB_i8rQA2dVqXkSQoBwP9IxfPLOA-5B4ufz0bVSvIVbKjqkpQeJ2U2Gl6C53r3ylcqsay29L5YfAPJNU4zaHvj3boIWM6pv3BF-rpLhZqA/s1800/72D6CC7E-0683-4B1E-AA7E-FA3A9611BA85.jpg "Jupiter")
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