Original: Designed by Pheidias, 447-432BC. It is generally agreed that the frieze depicts (in narrative form) the Greater Panathenaic procession from the Leokoreion by the Dipylon gate to the Acropolis, was mooted by Stuart and Revett in the second volume of their Antiquities of Athens, 1787.
Original: Lorenzo Ghiberti, 1452. Bronze. Gates of Paradise, Baptistry di San Giovanni, Florence, Italy. Currently in the collection of the Museo dell'Opera del Duomo, Florence, Italy. In 2019, this item was conserved and now includes a central fragment, which was originally catalogued as a separate cast (PC/187).
Chimera in relief, architectural fragment, probably part of larger scene or collection of panels due to lack of formal border. Annotated ""Chimere", "Hove" (or similar), and "PH-1"(in red).
Original: Designed by Pheidias, 447-432BC. It is generally agreed that the frieze depicts (in narrative form) the Greater Panathenaic procession from the Leokoreion by the Dipylon gate to the Acropolis, was mooted by Stuart and Revett in the second volume of their Antiquities of Athens, 1787.
Original: Designed by Pheidias, 447-432BC. It is generally agreed that the frieze depicts (in narrative form) the Greater Panathenaic procession from the Leokoreion by the Dipylon gate to the Acropolis, was mooted by Stuart and Revett in the second volume of their Antiquities of Athens, 1787.
Original: Designed by Pheidias, 447-432BC. It is generally agreed that the frieze depicts (in narrative form) the Greater Panathenaic procession from the Leokoreion by the Dipylon gate to the Acropolis, was mooted by Stuart and Revett in the second volume of their Antiquities of Athens, 1787.
Original: Lucca della Robbia (1400-1482). Part of the two 'Cantorie' made for Florence Cathedral. Original currently in the collection of the Museo dell'Opera del Duomo, Florence, Italy.
This item was damaged in the fire in the Mackintosh Building on 23rd May 2014. It underwent conservation and consolidation work in 2016.
Original: Possibly a cast of a copy after John Hennings miniature carvings of the frieze using the Parthenon Marbles and sketches made prior to the acropolis explosion.
Base of columns with human mask. Of French Gothic style. Bears illegible maker's stamp (possibly that of "Commission Royale Belge Atelier du Moulage, Bruxelles").
Original: Statue of a young nude male found at Hadrian's Villa, Tivoli c1730. Antinous (November 29, 111-October 30, 130) was a member of the entourage of the Roman Emperor Hadrian, to whom he was beloved. Original currently in the collection of The Capitoline, Rome, Italy.
This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 15th June 2018.
Original: This cast is of a 1st - 2nd century AD Roman marble copy of the Praxiteles original (Bronze, attributed by Pliny). It shows a nude adolescent male about to catch a lizard climbing up a tree. The left arm, the right hand and the lizard's head are modern restorations. It could indirectly refer to Apollo's fight against the serpent Python or, if the lizard is an attribute of the god, it could show Apollo in his purifying function, as a destroyer of plagues. Original currently in the collection of the Louvre, Paris, France.
This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 15th June 2018.
Original: The original scaled Roman statue of c50BC by the sculptor Kleomenes. The Nude male statue, erroneously identified as Germanicus, a member of the family of the Emperor Augustus, probably should be considered a portrait of a member of a wealthy family of the late Republic. Original currently in the collection of the Louvre, Paris, France.
Original: Designed by Pheidias, 447-432BC. Figures bearing water jugs. It is generally agreed that the frieze depicts (in narrative form) the Greater Panathenaic procession from the Leokoreion by the Dipylon gate to the Acropolis, was mooted by Stuart and Revett in the second volume of their Antiquities of Athens, 1787. Original currently in the collection of the Acropolis Museum, Athens, Greece.
This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 15th June 2018.
Original: Figures from the east pediment of the Parthenon depicting the birth of Athena. The Acropolis, Athens, Greece, about 438-432 BC. The two figures are thought to be Dione cradling her daughter Aphrodite; they are remarkable for their naturalistic rendering of anatomy blended with a harmonious representation of complex draperies. However, another suggestion is that the two figures on the right are the personification of the Sea (Thalassa) in the lap of the Earth (Gaia). Original currently in the collection of the British Museum, London, UK.
Original: Also known as: Venere nel bagno, Venere nella conchiglia. Likely to be a Roman adaptation of Doidalses' Crouching Aphrodite (a lost Greek original from the 3rd century BC). Original currently in the collection of the Louvre, Paris, France.
Original: Also known as: Discobolus, Fighting Gladiator, Hector, Heros Combattant, Borghese Gladiator. Particularly admired for its truthful rendering of anatomy. A Hellenistic sculpture actually portraying a swordsman, created at Ephesus about 100 BCE. Listed in first catalogue of casts as Greek, in the Louvre and was bought from Brucciani. Original currently in the collection of the Louvre, Paris, France. Photographed in GSA in 1915.
This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 15th June 2018.
Original: Also known as: Antique Boxers, Grecian Boxers, La Lotta, Lottatori. Roman Wrestlers Roman marble sculpture after a lost Greek original of the third century BCE, discovered near Porta S. Giovanni, Rome. Head and right arm of uppermost figure are 16th century restorations. The two young men are engaged in the sport called Pankration. Original currently in the collection of the Uffizi, Florence, Italy.
This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 15th June 2018.
Original: Also known as the Porte Royale, the West Portal was carved by 1150. The sculptures and reliefs were modelled on those in the triple west portal at St. Denis and at Chartres Cathedral.