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Reino : Animalia

Filo : Arthropoda

Classe : Insecta

Ordem : Lepidoptera

Superfamília : Bombycoidea

Família : Saturniidae

Subfamília : Ceratocampinae

Gênero : Citheronia laocoon (Cramer, 1777)

Ciclo a partir de : 25 dias

Planta hospedeira : Goiabeira, mamona, assa-peixe, roseira, etc.

Local : Pedro Leopoldo, MG.

The Trojan Horse is a crafty contraption that allowed the Greeks to put an end to the 10-year-old Trojan War. The wily Greek hero Odysseus conceived the project and design for the Trojan Horse; Epeus, is credited with the actual building of the Trojan Horse.

The Greeks left a giant wooden object made to look like a horse at the Trojan city gates. Some of the Greeks pretended to sail away, but actually sailed just out of sight. The other Greeks stood waiting, inside the belly of the wooden beast.

When the Trojans saw the giant wooden horse and the departing Greek troops, they thought the wooden horse was a parting gift for the gods, so most of them wanted to wheel it into their city. The decision to move the Trojan Horse into the city was opposed by Cassandra, the prophetess whose fate was never to be believed, and Laocoon, who was destroyed, along with his two sons, by sea serpents after pleading with his fellow Trojans to leave the Trojan Horse outside their city walls. The Trojans took this as a sign that the gods were displeased with Laocoon's message. Besides, the Trojans preferred to believe that since the Greeks were gone, the long war was over. The city opened the gates, let the horse in, and celebrated riotously. When the Trojans passed out or fell asleep, the Greeks climbed down from the belly of the Trojan Horse, opened the city gates and ushered the rest of the troops into the city. The Greeks then sacked, destroyed, and burned Troy.


I Found it! what a relief.. just a few more to go. solid


Laocoon and her two sons

Pressured storm, tried to move

No other more, emotion bound

Martyred, misconstrued


REM lyric

The Nike of Samothrace, discovered in 1863, is estimated to have been created around 190 BC. It was created to not only honor the goddess, Nike, but to honor a sea battle. It conveys a sense of action and triumph as well as portraying artful flowing drapery through its features which the Greeks considered ideal beauty.

Modern excavations suggest that the Victory occupied a niche in an open-air theater and also suggest it accompanied an altar that was within view of the ship monument of Demetrius I Poliorcetes (337-283 BC). Rendered in white Parian marble, the figure originally formed part of the Samothrace temple complex dedicated to the Great Gods, Megaloi Theoi. It stood on a rostral pedestal of gray marble from Lartos representing the prow of a ship (most likely a trihemiolia), and represents the goddess as she descends from the skies to the triumphant fleet. Before she lost her arms, which have never been recovered, Nike's right arm was raised, cupped round her mouth to deliver the shout of Victory. The work is notable for its convincing rendering of a pose where violent motion and sudden stillness meet, for its graceful balance and for the rendering of the figure's draped garments, compellingly depicted as if rippling in a strong sea breeze. Similar traits can be seen in the Laocoön group which is a reworked copy of a lost original that was likely close both in time and place of origin to Nike, but while Laocoon, vastly admired by Renaissance and classicist artists, has come to be seen[by whom?] as a more self-conscious and contrived work, Nike of Samothrace is seen as an iconic depiction of triumphant spirit and of the divine momentarily coming face to face with man. It is possible, however, that the power of the work is enhanced by the very fact that the head and arms are missing.

The statue’s outstretched right wing is a symmetric plaster version of the original left one. As with the arms, the figure's head has never been found, but various other fragments have since been found: in 1950, a team led by Karl Lehmann unearthed the missing right hand of the Louvre's Winged Victory. The fingerless hand had slid out of sight under a large rock, near where the statue had originally stood; on the return trip home, Dr Phyllis Williams Lehmann identified the tip of the Goddess's ring finger and her thumb in a storage drawer at the Kunsthistorisches Museum, Vienna, where the second Winged Victory is displayed; the fragments have been reunited with the hand, which is now in a glass case in the Louvre next to the podium on which the statue stands.


Vatican Museum

"This statue group was found in 1506 on the Esquiline Hill in Rome and immediately identified as the Laocoön described by Pliny the Elder as a masterpiece of the sculptors of Rhodes. The story is that during the Trojan War, Laocoön, a priest of Apollo in the city of Troy, warned his fellow Trojans against taking in the wooden horse left by the Greeks outside the city gates. Athena and Poseidon, who were favouring the Greeks, sent two great sea-serpents which have wrapped their coils around Laocoön and his two sons and are killing them. From the Roman point of view, the death of these innocents was crucial to the decision of Aeneas, who heeded Laocoön's warning, to flee Troy, and this led to the eventual founding of Rome. Such an important sculpture could not escape the notice of Pope Julius II (1503-1513) who bought it immediately and had it displayed in the Statues Courtyard (Cortile delle Statue), making it the centrepiece of the collection. There has been much debate over the date of the statue, which would seem to have been made around 40-30 B.C." (museum description).

Canon EF 50mm f/1.4 USM

©2012 Patrick J Bayens

Reino : Animalia

Filo : Arthropoda

Classe : Insecta

Ordem : Lepidoptera

Superfamília : Bombycoidea

Família : Saturniidae

Subfamília : ceratocampinae

Gênero : Citheronia laocoon (Cramer, 1777)

Ciclo a partir de :

Planta hospedeira : Goiabeira, mamona, assa-peixe, roseira, etc.

Reino : Animalia

Filo : Arthropoda

Classe : Insecta

Ordem : Lepidoptera

Superfamília : Bombycoidea

Família : Saturniidae

Subfamília : ceratocampinae

Gênero : Citheronia laocoon (Cramer, 1777)

Ciclo a partir de :

Planta hospedeira : Goiabeira, mamona, assa-peixe, roseira, etc.

Laocoön and His Sons.

Vatican City.

Title: Roma vetus ac recens, vtriusque aedificiis ad eruditam cognitionem expositis

Identifier: romavetusacrecen00dona_0

Year: 1665 (1660s)

Authors: Donati, Alessandro, 1584-1640 Honervogt, Jacques, active 1654-1656 Lelli, Giovanni Antonio, ca. 1580-1640 Alamannus, Ant


Publisher: Romae : Ex officina Philippi Rubej


View Book Page: Book Viewer

About This Book: Catalog Entry

View All Images: All Images From Book


Click here to view book online to see this illustration in context in a browseable online version of this book.


Text Appearing Before Image:

fciundus crat; tam Do-miis ab hoc vertice diftabat, quam illi diftant a veritare. Veteris item fa(9;i monimentum prope Vicum Cypriumerat,fororiumiigillum;lignum nempe tranfuerfum,& v\x imminens,po(itum olim in ex-piationemHoratij, eius,qui occifis Curiatijsreuerfus vidor fororem-»Dion.H.3: quoquenecauit. Dionyfius: Efiauiem/ angiportu, quidCariant.Rom. nisducit adVicum Cyprium, via nune fecundum Amphitheatrum, & Ef-quilias, vbi^ Ara manent tuncpofit^y Ugnumfuper eas tranfuerfum,infiocum duobus inter fe aduerfis parietibus, quodcapiti e^euntium immi^li y; lib.t. net. Liuius: tranfmijfoper viam tigillo, capite adoperto velutfub iugum* * mtfit iuuenem^ Idbodiepublici quoque femper refeBum manet; SororiumSigillum vocant» Ad eumdem Cyprium Vicum locus ad Bufta Gallica,quod Romarecuperatay Gallorum ofiay quipofiederunt Vrbem, ibicoacer^uataaccondita;wi ait Varro.Aiuntibi nunc pofitam ^dem S.Andreseco-gnometo in Portogallo, corrupta neppe appcllacione ad Bufta Gallica. Aedi-


Text Appearing After Image:

VE5TIGIA THERMARVM DE VRBE ROMA JEdiBch Efquiliarum . Cap. X. Plin.I.j^. ONTRA Amphitheatrum THERMAE TITI fiint, cap. S m vt fupra dicebam in ipfo colle fitse, quarum fuperfunt reliquia?, vltrTiti ^^^^^ ^ Templo 6.Fetri ad Vincula. Succonias : Ampbi- cap.y/ * tbeatro dtdicato, Thermifqu^ iuxta celeriter extruBiistnunusStatui-j edidit apparatijfimum. In vineis loci ftatuam Laocoontis laudatam a Pli-Laocoon. nio conferuatamque in hortis Vaticani Pontificijs inuentam viderunt te-tis vbiin- ppra vix inchoata prioris feculi. Plfniuseamftatuit in Titilmperatoris4rmse t^^^^ Itaque praeter Thermas hsec quoque hancpartem Efquiliarum in-Traiani. federat. PofthsBC Titi Balnea, TR A I A NI TH ER xM A S ftatuit P.Vidor, tamquam non longe diftantes a Ticianis. Sitas volunt prope^Templum S.Martinicognomentoin Montibus: & illi mulro viciniores,quam Templo S.Petri ad Vincula,vbi fuerat Domus Seruij TuIIij Regis.De his etiam infra: quarum veftigia, cum pro nouis fabricis repurgarc*tur locus fuperio


Note About Images

Please note that these images are extracted from scanned page images that may have been digitally enhanced for readability - coloration and appearance of these illustrations may not perfectly resemble the original work.

Saint Petersburg, Russia. State Hermitage Museum



Reino : Animalia

Filo : Arthropoda

Classe : Insecta

Ordem : Lepidoptera

Superfamília : Bombycoidea

Família : Saturnidae

Subfamília :

Gênero : Citeronia

Espécie : Laocoon

Citação :

Laocoon group (copy). Museo de Reproducciones, Bilbao, Spain

Regal moth caterpillar / lagarta

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. The story is that during the Trojan War, Laocoon, a priest of Apollo in the city of Troy, warned his fellow Trojans against taking in the wooden horse left by the Greeks, outside the city gates. Athena and Poseidon, who were favoruing the Greeks, sent two great sea-serpents which have wrapped their coils around Laocoon and his two sons and are killing them. From the Roman point of view, the death of these innocents was crucial to the decision of Aeneas, who heeded Laocoon's warning, to flee Troy, and this led to the eventual founding of Rome. Such an important sculpture could not escape the notice of Pope Julius II (1503-1513) who bought it immediately and had it displayed in the Statues Courtyard (Cortile delle Statue), making it the centrepiece of the collection. There has been much debate over the date of the statue, which would seem to have been made around 40-30 B.C.


Seen here in the Vatican Museum.

Picture taken in Rome - Musei Vaticani - Vatican's Museums

(Ordem Lepidoptera) da família Sartuniidae. Registro São Carlos-SP

“Barberini Faun”.

Ancient Greek.

From Asia Minor.



OK, some more information about this unique work of art


We see here a satyr reposing on a rock, called the “Barberini Faun”.

The frequently used baroque description “faun” (a Roman deer god) is a misunderstanding as it actually is a satyr.

Satyrs are mythological companions of the god of wine, Dionysos. Male creatures with beastly features. They have pointed ears (that are largely hidden because of the luxuriant hair) and a small horsetail (here visible behind the left thighbone).

All these features however are secondary here. The sculpture is completely dominated by its physique. A powerful young man in such a provocative erotic pose can be only a satyr, who

after a dancing party and excessive drinking exhaustedly settles on a rock. His clothes ( a panther skin) are taken off already.


The sculpture was discovered around 1625 in Rome, near the tomb of Roman Emperor Hadrian, the Castel SantÁngelo.

During the discovery Urban VIII (a member of the Barberini family) was elected pope.

He decided to claim the sculpture as his family property. This explains the name of the sculpture.

It’s a marble Greek original from Asian Minor, from where it was transported to Rome.

After the discovery in the twenties of the 17th century the sculpture was exhibited in the Palazzo Barberini during 150 years, where it was revered as one of the highlights of the collection of antiquities.

Inheritance quarrels made the Barberini family decide in 1799 to sell the sculpture. And this is how it could happen that the Roman sculptor and art dealer Vincenzo Pacetti became the new owner. He paid 4.000 scudi for it and replaced the during the discovery already missing limbs ( the right leg and the left arm), hoping that a restored piece of antiquity would make him a rich man.

Indeed the British made him an offer of 13.000 scudi, but the French authorities prevented the deal. Later on the British offered the sum of 20.000 scudi, but then the pope refused the agree with an export of this art treasure. In the meantime Pacetti was already 11 years the rightful owner of the faun statue. But then the Barberini family suddenly wanted their once owned sculpture back. Two sons, heirs of the Barberini fortune, used their mighty names to press the police to remove the sculpture and bring it to the Baberini palace, where it was exhibited again. Of course Pacetti went to Court against the Barberini family. A legal battle between a local sculptor and a family - that had a pope and many cardinals among their ancestors - ended as bad as could be expected. In the end the judge granted the eldest Barberini son the ownership of the faun sculpture. This Barberini descendant did not hesitate to sell “his” faun for the sum of 8.000 scudi to the crown prince of Bavaria, Ludwig who was to become King Ludwig I of Bavaria.

This transaction was surrounded by secrecy: Bavaria was during this deal in war with Napoleon, and it was important to prevent public amazement about this purchase. So the faun was transported on a low profile basis to the studio of the sculptor Thorvaldsen.

In the meantime Pacetti felt deeply deceived by the Barberini family and the local police.

He succeeded to find influential personalities – like the famous sculptor Canova – who shared his anger and were pleased to give him moral support. Only moments before the faun was to be send to Bavaria, the statue was seized and transported to the Vatican.

Ludwig of Bavaria was told that pope Urban VIII had decreed some 200 years earlier that the faun sculpture never was to be sold.

Al kind of compromises were sought to keep friendly relations with Ludwig. He was invited to chose some other statues in the Vatican collections as compensation, but Ludwig refused.

In the meantime Napoleon had fled from Elba and the pope had to find another city for personal safety. Bavaria found it self in war again with France.

After the capture of Paris by the superpowers the art treasures, stolen by Napoleon, were returned to Rome and the Vatican received its famous “Apollo of Belvedere” and the “Laocoon Group” back. In vain Ludwig argued that this return was partly thanks to him.

His argument was nevertheless correct, and this is why, after some time, the Barberini Faun

was brought to Ludwig’s apartments in Rome. It needed 64 men and I suppose a lot of sweat.

This memorable event happened August 10, 1816. Again there was a set back. It was stipulated that this sculpture was never to leave the city of Rome.

Eventually a sister of Ludwig has brought the solution. She happened to be the empress of Austria. During a visit to Rome she decided to visit the pope. So far so good. During her audience she asked frankly for an export licence for the Barberini faun of her brother.

The pope promised his kind attention to the matter. Some time later indeed the export permission was granted, such as we may assume with great reluctance.

It was November 6, 1819 now. During the Twelfth night festivities of 1820 the Barberini Faun was given a warm welcome in Munich, where it embellishes the stupendous art collections of the Glyptothek ever since.

(With thanks to C.H. Beck- Glyptothek München - Meisterwerke Griechischer und Römischer Skulptur)


(Information in Dutch: )


De Barbarini Faun.


We zien hier een satyr afgebeeld. De barokke aanduiding “faun” (een Romeinse hertengod) wordt weliswaar stelselmatig voor dit beeld gebruikt, maar berust eigenlijk op een misverstand. Satyrs, mythologische begeleiders van de wijngod Dionysos, zijn mannelijke wezens met licht dierlijke trekjes. Ze hebben spitse oren (die bij dit beeld goeddeels verborgen gaan onder de weelderige haardos) en een kleine paardenstaart (bij dit beeld zichtbaar achter het linker dijbeen).

Al deze kenmerken zijn echter bij dit beeld ondergeschikt. Het beeld wordt geheel beheerst door de lichaamshouding. Een krachtige jongeman in zo’n bijna provocerend erotische houding kan eigenlijk alleen maar een satyr zijn, die - na zich te hebben uitgeleefd in dans en uitgebreide offerandes aan Bacchus - afgemat op een rots is neergestreken. Tevoren heeft hij zijn kleding (een panterhuid) uitgetrokken.


Het beeld werd rond 1625 in Rome gevonden, niet ver van het graf van de Romeinse keizer Hadrianus, de Engelenburcht.

In die tijd van de ontdekking was Urbanus VIII, uit het huis Barberini, paus.

Hij verklaarde het beeld tot zijn eigen familiebezit. Vandaar de naam van het beeld.

Het beeld is een Grieks origineel. Uit Klein Azië is het marmer afkomstig.

Van daaruit werd het beeld naar Rome versleept.

Na de ontdekking in de twintiger jaren van de 17e eeuw heeft het beeld ruim 150 jaar tentoongesteld gestaan in het Palazzo Barberini in Rome, waar het alom werd bewonderd.

In 1799 waren er erfenistwisten rond de Barberini boedel, en zo kon het gebeuren dat het beeld nog datzelfde jaar voor 4.000 scudi werd verkocht. Koper was de beeldhouwer en kunsthandelaar Vincenzo Pacetti.

Hij verving de ten tijde van de ontdekking al ontbrekende lichaamsdelen (rechter been en linker arm). Pacetti deed dit zonder twijfel om het beeld voor meer geld te kunnen doorverkopen. Dit leek ook te gaan lukken toen de Engelsen korte tijd later 13.000 scudi voor het inmiddels gerestaureerde beeld boden. De Franse overheid verhinderde echter deze deal. Later boden de Engelsen zelfs 20.000 scudi, maar toen verbood de paus de uitvoer.

Ook Lucien Bonaparte, die in Napels resideerde, toonde belangstelling voor de satyr.

Inmiddels was Pacetti 11 jaar de rechtmatige eigenaar van het beeld. Maar toen was er weer eens geruzie over de Barbarini bezittingen. Twee Barberini zonen bevochten het vermogen, en wisten onder valse voorwendsels en met gebruikmaking van hun machtige naam de politie zo ver te krijgen het beeld (zonder enige schadeloosstelling) bij de eigenaar weg te halen en weer in het Palazzo Barberini onder te brengen. Pacetti stapte naar de rechter, maar wat moest een kleine beeldhouwer tegen de Barberini familie, die een paus en talloze kardinalen had voortgebracht? Na een in 3 instanties gevoerde civiele procedure werd het beeld toegewezen aan de oudste Barberini telg. Deze verkocht het beeld kort daarna voor 8.000 scudi aan kroonprins Ludwig von Bayern, de latere Koning Ludwig I.

Deze transactie geschiedde onder strikte geheimhouding en met haast. Ondertussen verkeerde namelijk ook Beieren op voet van oorlog met Napoleon. De aankoop mocht in Rome dan ook geen opzien baren. Het beeld werd zo geruisloos mogelijk naar het atelier van Thorvaldsen overgebracht. Maar toen dreigde het mis te gaan. De met recht verbitterde Pacetti, die zich door de Barberini familie en de politie bedrogen voelde, wist invloedrijke persoonlijkheden

-waaronder de beeldhouwer Canova- voor zijn zaak te winnen, en ook de plaatselijke politie nu aan zijn kant te krijgen. Het beeld, dat al ingepakt klaar stond om naar Beieren te worden verzonden, werd in beslag genomen en naar het Vaticaan overgebracht. Als argument werd aangevoerd dat Paus Urbanus VIII tweehonderd jaar eerder had vastgelegd dat het beeld nooit verkocht mocht worden.

Er werden talloze compromissen gezocht. Zo mocht Ludwig in plaats van de satyr een paar andere beelden uit de kunstcollectie van het Vaticaan uitzoeken. Ludwig weigerde.

Intussen was Napoleon uit Elba gevlucht en de paus moest opnieuw Rome ontvluchten.

Beieren was weer in oorlog met Frankrijk. Na de inname van Parijs door de grootmachten keerden door Napoleon geroofde kunstschatten terug naar Rome, en het Vaticaan kreeg zijn Apollo van Belvedere en de Laocoongroep terug. Tevergeefs wees Ludwig op zijn inzet daarvoor. Hij bereikte er wel mee dat de satyr op 10 augustus 1816 door 64 dragers in zijn Romeinse verblijf werd binnengedragen. Maar het beeld mocht de stad Rome niet verlaten.

Uiteindelijk heeft een zus van Ludwig voor een oplossing gezorgd. Zij was keizerin van Oostenrijk, en heeft gedurende een bezoek aan Rome tijdens een audiëntie bij de paus een uitvoervergunning voor het beeld bepleit. Een welwillend onderzoek werd hierop toegezegd.

Tandenknarsend heeft de pauselijke regering uiteindelijk toegegeven en zo kon het beeld op 6 november 1819 de lange reis naar Beieren aanvaarden om tijdens het Driekoningenfeest van 1820 in München zijn feestelijke intrede te doen.

(tekst ontleend aan C.H. Beck- Glyptothek München - Meisterwerke Griechischer und Römischer Skulptur)


Rome, Vatican Museums. Laocoon's Group.


"Aut haec in nostros fabricata est machina muros

Inspectura domos venturaque desuper urbi,

Aut aliquis latet error: equo ne credite, Teucri.

Quidquid id est, timeo Danaos et dona ferentes. "


"Questa è macchina contro le nostre mura innalzata,

e spierà le case, e sulla città graverà:

un inganno v'è certo. Non vi fidate, Troiani.

Sia ciò che vuole, temo i Dànai, e piú quand'offrono doni."


"This machine is built against our walls, it will spy the houses,

and the city will bear: there is certainly a hoax. Do not trust, Trojans.

Whether what he wants, I fear the Danaans, and more when they offer gifts."


Virgilio, Eneide II, 46-49 (Comment by Laocoon in front of the Trojans)


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Copyright © 2012 Katia Celestini. Tutti i diritti riservati.


When discovered the upraised arm of Laocoon was missing.This cast of the statue shows the Raphael approved restoration. Michelangelo thought the arm should be bent back. In 1906 the missing arm was discovered and agrees with Michelangelos concept. The original in the Vatican Museum has had the original arm restored.

The statue is attributed by the Roman author Pliny the Elder to three sculptors from the island of Rhodes: Agesander, Athenodoros and Polydorus. It shows the Trojan priest Laocoön and his sons Antiphantes and Thymbraeus being strangled by sea serpents.


Cast study in charcoal Laocoon

Museo Pio-Clementino

Vatican Museum

Sculpture unearthed in Rome in 1506

Sculptor - Unknown


Laocoon was a Trojan priest of Poseidon (Neptune) who attempted to warn his countrymen about The Trojan Horse, whose hollow body concealed Greek soldiers. At some point Laocoon offended the gods and he was punished by them when they sent two sea serpents to kill him and his two sons.


L’Apollon du Belvédère est une copie romaine en marbre de l'époque antonine d'après un original grec en bronze habituellement attribué à Léocharès, sculpteur de la deuxième moitié du ive siècle av. J.-C. Elle représente le dieu Apollon en marche, tenant à la main ce qui était probablement un arc. Elle est exposée au musée Pio-Clementino (musées du Vatican) sous le numéro 1015.


La première mention de la statue est un dessin dans le Codex Escurialensis, recueil de croquis datant d'avant 1509, qui montre l'œuvre dans les jardins du cardinal Giuliano della Rovere, futur pape Jules II1. La date et le lieu de découverte de la statue ne sont pas connus avec certitude, même si l'érudit italien Pirro Ligorio suggère le site d'Anzio1. L'Antico est le premier artiste à en faire une copie (aujourd'hui à la Ca' d'Oro à Venise) ; il semble avoir travaillé en 1498.


Jules II fait installer l’Apollon dans son palais du Belvédère, dans la cour de l'Octogone où il se trouve toujours. Le transfert prend place avant 1511. Immédiatement, la statue devient très populaire, et sa représentation se diffuse dans toute l'Europe grâce à des moulages, des copies en marbre, des tirages en bronze et surtout à des gravures1. En 1532, il est restauré par Giovanni Angelo Montorsoli, qui restitue les mains du dieu — mains qui seront ôtées en 19242. En 1763, Diderot cite la statue, avec le groupe du Laocoon ou encore le torse du Belvédère, comme les « apôtres du bon goût chez toutes les nations » et incite les amateurs à remplacer leurs Raphaël et leurs Guido Reni par des copies de ces œuvres anciennes3. Quand le pape Clément XIV crée le musée connu par la suite sous le nom de « Pio-Clementino », l’Apollon est une pièce maîtresse des collections.


C'est surtout l'érudit allemand Winckelmann qui assure la célébrité de l'œuvre, par l'analyse enthousiaste qu'il en livre, notamment dans son œuvre-phare, l’Histoire de l'Art chez les Anciens (1776). Dans ses Pensées sur l'imitation des œuvres grecques en peinture et en sculpture (1755), il écrivait déjà :


« Notre esprit ne peut (…) se faire une idée des rapports surhumains qui font la beauté de l’Apollon du Vatican. Ce que la nature, l'art et l'esprit conjugués surent produire de plus excellent, on le voit incarné sous nos yeux dans l’Apollon du Belvédère4. »


En 1797, l’Apollon est cédé par Pie VI aux Français, selon les termes du traité de Tolentino1. Il est exposé au Musée central des arts de Paris jusqu'en 1815, date à laquelle il est restitué au pape1. Il est replacé dans la cour du Belvédère en 18161.


Regal moth caterpillar / lagarta

Fotografada em Atibaaia, SP, Jasneiro, 2015, PH. Citheronia laocoon

Detail of small copy of the original. Saint Petersburg, Russia: State Hermitage Museum

The Laocoon group. Marble. 1st century A.D.


Sculpture of Laocon and his two sons caught in the coils of serpents (c.50 BC), Pio-Clementine Museum, Vatican Museums. According to Virgil's Aeneid, Laocon was a Trojan priest of Apollo who warned against admitting the Greeks' wooden horse into Troy. This angered Apollo, who sent serpents to kill him and his young sons. Described with admiration by Pliny, this magnificent work of Hellenistic art was discovered on the Esquiline Hill in 1506 and purchased by Pope Julius II.

This reproduction of an original marble carving is a representation of a story in Greek Mythology, related to The Trojan War. It depicts Laocoon, a Trojan Priest of Poseidon, and his two sons, Antiphantes and Thymbraeus. They are being attacked by sea serpents, set upon them by Poseidon (Neptune). In Mythology, there are two versions of how Laocoon managed to anger Poseidon.


The original marble sculpture was excavated in Rome in 1506 and is on display at the Vatican Museum.

Regal moth caterpillar / lagarta

Au 11ème s.,c'est à Jérusalem que se crée l'ordre des Hospitaliers, dont la vocation est d'aider et de soigner les pélerins. Cet ordre se poursuit à Chypres puis à Rhodes, qu'il quitte au terme d'un siège de plusieurs mois. On le retrouve à Malte....puis à Rome(1834).

Le Palais des Grands Maîtres, à Rhodes, est une véritable forteresse.

Voici quelques photos de ce palais:

-"Pyli Agias Aikaterinis"; avec ses deux tours, elle constitue l'accès principal de la vieille ville lorsqu'on arrive par le port.

-L'imposante porte Ampouàz.

-La Porte principale: entrée imposante du Palais, est flanquée de deux tours crénelées.

-A l'intérieur du Palais: une mosaïque de l'époque hellénique, "La Gorgone mythologique à la chevelure de serpents".

-A l'intérieur du Palais: une réplique de la sculpture représentant la mort du Troyen Laocoon et ses fils.

-La cour de l'hôpital des Chevaliers abrite le Musée archéologique.

-La rue des Chevaliers, célèbre rue médiévale, s'étend entre le port et le Palais. Elle est bordée par les "auberges" de langues, ou nationalités, de l'Ordre de Saint-Jean. Chaque "auberge" est ornée d'écussons, d'armoiries propres à son pays ou à sa région.

Ce ne sont que quelques photos, Maurice Albray vous guidera bien mieux que moi !


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