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during the construction of the
National Theatre. The two statues were however not part of an ensemble, being of different dates. There are significant debates on who is the person pictured, the original attribution to a Hellenistic prince being now rejected in favour of a Roman general—possibly
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Indeed, scholars now mostly think the man is actually a Roman general, portrayed by a Greek artist working in Rome. Opinions on the character pictured widely differ: Lehman thinks it is
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131:
686:
521:
270:
410:
Les portraits sculptés de
Romains en Grèce et en Italie de Cynoscéphales à Actium (197-31 av. J.C.). Essai sur les perspectives idéologiques de l’art du portrait
676:
691:
180:
486:
451:
514:
188:
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Stefan
Lehmann, "Der Thermenherrscher und die FuĂźspuren der Attaliden. Zur olympischen Statuenbasis des Q. Caec. Metellus Macedonicus",
176:), but this attribution has been rejected. Since there is no consensus on the character's identity, the original name still stands.
681:
507:
348:
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Die sogenannten
Quirinalsbronzen und der Faustkampf von Amykos mit dem Argonauten Polydeukes. Ein archäologisches Experiment.
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573:
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115:
184:
61:
252:
696:
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173:
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A reconstruction project executed by the
Frankfurt Liebieghaus Polychromy Research Project and headed by
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97:
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373:
Exhibition catalogue
Liebieghaus Skulpturensammlung, Frankfurt 2018. Hirmer, Munich 2018, p. 80-97.
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447:
386:
362:
203:
196:
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398:
327:
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144:
578:
548:
401:, "La doppia tradizione sulla morte di Romolo e gli auguracula dell'Arx e del Quirinale",
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165:
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Griechische und römische
Kolossalporträts bis zum späten ersten Jahrhundert nach Christus
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111:
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96:, 204 centimetres high, made in the 2nd century BC, now in the collections of the
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Gli
Etruschi e Roma: atti dell'incontro di studio in onore di Massimo Pallottino
154:
with a light beard, reclining on a spear in an heroic pose, which is taken from
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615:
211:
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164:. The first studies of the statue described it as an Hellenistic prince,
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464:
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199:, because the statue was found near the place where he had his villa.
387:
La statue de bronze de T. Quinctius
Flamininus ad Apollinis in circo
306:, The Quirinal Bronzes reconstruction project (Making of) on YouTube
331:
428:, "Jahrbuch des Deutschen Archäologischen Instituts", XCI, 1976 (
101:
65:
503:
418:
Les Scipions. Famille et pouvoir à Rome à l’époque républicaine
147:. The eyes were put in their sockets later, but are now lost.
206:
follows the interpretation of Phyllis L. Williams (1945) and
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Bullettino della Commissione Archeologica Comunale di Roma
294:, pp. 278-282, with a detailed historiograhical summary.
135:
Experimental reconstruction of Boxer and Terme Ruler by
538:
57:
47:
39:
18:
371:Medeas Liebe und die Jagd nach dem Goldenen Vlies.
210:(1945) and identifies the statue as one of the
437:Herrscher und Athlet. Die Bronzen vom Quirinal
123:, although there have been other suggestions.
515:
465:Il Principe delle Terme, "Grieche oder Römer?
139:Polychromy Research Project, Liebieghaus 2021
8:
522:
508:
500:
104:. It was found in 1885, together with the
31:
15:
479:Einführung in die klassische Archäologie
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687:Collection of the National Roman Museum
304:https://youtube.com/watch?v=jHvemlFGMkA
283:
221:
181:Quintus Caecilius Metellus Macedonicus
392:Mélanges de l'École française de Rome
7:
421:, Bordeaux, Ausonius Éditions, 2012.
326:Vol. 49, Nr. 3, 1945, pp. 330–347,
458:Nürnberger Blätter zur Archäologie
353:Vol. 49, Nr. 3, 1945, pp. 353–357.
14:
471:, Vol. 103 (2002), pp. 9–42.
395:, n°90-2, 1978, pp. 669–686.
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344:The Identity of the Terme Ruler.
269:
260:
251:
242:
233:
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677:2nd-century BC Greek sculptures
460:, XIII, 1997, pp. 107–130.
405:, Rome, 1981, pp. 173–188.
349:American Journal of Archaeology
322:American Journal of Archaeology
1:
692:Hellenistic and Roman bronzes
369:In: Vinzenz Brinkmann (ed.):
143:The statue was cast using a
631:House of the Vestals Hoards
574:Ludovisi Battle sarcophagus
183:; Balty and Croz recognise
713:
317:Amykos and the Dioskouroi.
185:Titus Quinctius Flamininus
98:Palazzo Massimo alle Terme
62:Palazzo Massimo alle Terme
596:
585:
365:, Ulrike Koch-Brinkmann:
30:
23:
601:Aphrodite of Menophantos
682:Ancient Greek metalwork
636:Portonaccio sarcophagus
532:Museo Nazionale Romano
530:Major exhibits at the
481:, Beck, Munich, 2000,
463:Massimiliano Papini, "
150:It represents a naked
140:
19:The Hellenistic Prince
651:Via Labicana Augustus
611:Dionysus Sardanapalus
435:Nikolaus Himmelmann,
315:Phyllis L. Williams:
134:
492:Ulrich-Walter Gans,
408:Jean-François Croz,
189:Gnaeus Manlius Vulso
116:Baths of Constantine
114:, probably near the
489:, pp. 134–139.
442:Detlev Kreikenbom,
195:and Etcheto favour
94:Greek bronze statue
25:The Seleucid Prince
621:Hellenistic Prince
496:, Wiesbaden, 2006.
187:; Papini suggests
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77:Hellenistic Prince
664:
663:
564:Ludovisi Dionysus
540:Ludovico Ludovisi
487:978-3-406-45401-1
452:978-3-11-013253-3
426:Bärtige Herrscher
424:Andreas Linfert,
385:Jean Ch. Balty, "
363:Vinzenz Brinkmann
204:Vinzenz Brinkmann
197:Scipio Aemilianus
121:Scipio Aemilianus
72:
71:
704:
591:
524:
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510:
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446:, Berlin, 1992.
430:sur Google Books
399:Filippo Coarelli
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342:Rhys Carpenter,
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145:lost wax process
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697:Nude sculptures
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579:Ludovisi Throne
549:Hermes Ludovisi
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415:Henri Etcheto,
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83:Seleucid Prince
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646:Tiber Dionysus
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332:10.2307/499627
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208:Rhys Carpenter
172:(specifically
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43:2nd century BC
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626:Hera Borghese
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606:Boxer at Rest
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569:Ludovisi Gaul
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559:Ludovisi Ares
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554:Juno Ludovisi
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112:Quirinal Hill
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107:Boxer at Rest
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641:Tiber Apollo
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380:Bibliography
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292:Les Scipions
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24:
475:Ulrich Sinn
191:; finally,
137:Liebieghaus
127:Description
89:Terme Ruler
671:Categories
616:Discobolus
542:Collection
279:References
174:Attalus II
290:Etcheto,
212:Dioscures
152:young man
110:, on the
193:Coarelli
166:Seleucid
161:Heracles
156:Lysippos
58:Location
218:Gallery
170:Attalid
68:, Italy
485:
450:
48:Medium
92:is a
86:, or
483:ISBN
448:ISBN
346:In:
319:In:
102:Rome
74:The
66:Rome
40:Year
467:",
389:",
328:doi
168:or
100:in
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477:,
432:).
214:.
158:'
80:,
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516:t
509:v
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
