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: 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.
Wooden chest with twelve small shallow drawers and two larger drawers. Contains collection of cast reliefs of portrait busts, religious scenes, ancient Greek/Roman scenes, military scenes, and architecture.
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.
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.
Wooden framed plaster relief portrait of a bearded man in profile with brown glaze. Bottom left corner has initials "J.R." or "R.J" and indecipherable signature above left shoulder. This item was damaged in the fire in GSA's Mackintosh Building on 23rd May 2014 and was conserved in 2018.
This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 15th June 2018. All that remains is a fragment of a hand.
Original: This statue group was found in 1506 on the Esquiline Hill in Rome and immediately identified as the Laocoon described by Pliny the Elder as a masterpiece of the sculptors of Rhodes: Agesander, Athenodoros and Polydorus around 40-30 BC. It shows the Trojan priest Laocoon and his sons Antiphantes and Thymbraeus being strangled by sea serpents. In 1587 Giovanni Battista Armenini's treatise on painting and recommended all students to draw from the casts of the finest statues in Rome- 'the Laocoon, the Hercules, the Apollo, the Great Torso....' of the Belvedere. Listed in first catalogue as Greco-Roman and that the original is located in the Vatican. Original currently in the collection of the Vatican Museums, Rome, Italy.
This item was damaged in the fire in the Mackintosh Building on 23rd May 2014. It underwent conservation and consolidation work in 2016.
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: 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.
This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 15th June 2018.
Original: Michelangelo, originally for the tomb of Pope Julius II in 1505, began to carve the Slaves in 1513, as part of a modified project. On the Pope's death, the project changed once again, for financial reasons. Michelangelo donated the Slaves to Roberto Strozzi, who brought them to France. Original currently in the collection of the Louvre, Paris, France.
Original: Discovered in 1781 on Esquiline Hill. Considered to be a copy of an earlier Greek original. The popularity of the sculpture in antiquity was no doubt due to its representation of the athletic ideal. Discus-throwing was the first element in the pentathlon, and while pentathletes were in some ways considered inferior to those athletes who excelled at a particular sport, their physical appearance was much admired. This was because no one particular set of muscles was over-developed, with the result that their proportions were harmonious. Listed in the first catalogue of casts as Greek, located in Vatican and bought from Brucciani. Original currently in the collection of the Louvre, Paris, France. Photographed in GSA 1915.
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.
Hollow sarcophagus cast with relief pattern of animals and figures. Dark yellow glaze over exterior. White, unglazed interior. '14-103' handwritten in black on bottom right corner.
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: Designed by Pheidias, 447-432BC. A section of the south frieze showing men leading sacrificial animals. 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.
This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 15th June 2018.
Original: The Apollo is thought to be a Roman copy of Hadrianic date (120 - 140 BC) of a lost bronze original made between 350 and 325 BC by the Greek sculptor Leochares. Statue depicts the Greek god Apollo, who has just overtaken the serpent Python, the cthonic serpent of Delphi. Apollo has been variously recognized as a god of light and the sun; truth and prophecy; archery; medicine, healing and plague; music, poetry, and the arts; and more. Apollo is the son of Zeus and Leto, and has a twin sister, the chaste huntress Artemis. Listed in first catalogue of casts as Greco-Roman and from the Vatican Museum, and purchased from D. Brucciani. Original currently in the collection of the Vatican Museum, Rome, italy.
This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 15th June 2018.
Original: The Discobolus of Myron is a famous lost Greek bronze original that was completed towards the end of the Severe period, c460-450 BC. It is known through numerous Roman copies, both full-scale ones in marble, such as the first to be recovered, the Palombara Discobolus, or smaller scaled versions in bronze. Bought from Brucciani. Original currently in the collection of the British Museum, London, UK.
Collection of brown stained round plaster cast reliefs. Mostly depicting portrait busts. Kept in eight shallow wooden drawers. Themes include: religious figures, military figures, ancient Greek and Roman figures, royalty, various historical figures, and commemorative scenes. Some include stamped titles on front, some scratched on back, some without any identification. Also includes paper timeline of ancient Roman rulers.
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: Composite capital form the Temple of Vesta at Tivoli, of the Greco Romano style. Temple of Vesta is a ruined temple in Tivoli, Italy from the 1st century BC.
Original: Designed by Pheidias, 447-432BC. Horsemen. 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: 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.