
Cybele Statue (c.60 BCE)
This marble statue of Cybele presents the goddess as an enthroned and highly formal divine presence. Seated frontally, wrapped in heavy drapery, and crowned with a tall turreted headdress..


This marble statue of Cybele presents the goddess as an enthroned and highly formal divine presence. Seated frontally, wrapped in heavy drapery, and crowned with a tall turreted headdress..

This marble head belonged to a sphinx that crowned the roof of the Temple of Aphaia on Aegina, probably at one of the temple’s corners, and is usually dated to about 500–490 BCE.

This over-life-size wounded Amazon captures a figure at the edge of collapse without surrendering her dignity. Wounded beneath the right breast, deprived of her weapons, and leaning lightly against a now missing support.

This Attic red-figure kylix, attributed to Douris and dated to about 470 BCE, turns a drinking vessel into a carefully staged image of human encounter.

Rather than relying on a single image or a painted scene, this large Canosa askos builds its meaning through a combination of vessel form, colour, and applied figures.

Made in Apulia around 340–320 BCE, this bull’s head rhyton shows how inventive South Italian pottery could be in the late Classical period. The vessel combines an animal-shaped form with red-figure decoration and added paint.

Carved in Pentelic marble around AD 160–170, this powerful life-size bull once formed part of the great nymphaeum dedicated by Appia Annia Regilla in the sanctuary of Zeus at Olympia.

Carved in marble and still preserving its inscription in full, this small inscribed colonette records a personal act of thanks in the Roman city of Tomis. The text tells us that a man from Sidon, dedicated the object to the Syrian Goddess.

Few grave monuments from classical Athens are as quietly affecting as the Grave Stele of Mnesarete. Carved in Attica around 380 BCE, the relief shows a young woman seated in composed sorrow.