The Flickr Acrolith Image Generatr

Remains of three colossal acrolithic statues of the Capitoline Triad: Jupiter, Juno, and Minerva. They were worshipped at the main temple of Cumae, based on the model established on the Capitoline Hill in Rome, with a triple cella, one for each god.

The statue of Jupiter would have been seated on a throne holding a scepter and a thunderbolt, conforming to that of Jupiter Optimus Maximus, the cult statue of the temple on the Capoline Hill. The head of Minerva wore a tight-fitting helmet from which her hair emerged underneath, as seen here (without the long-lost bronze helmet - possibly mixed with other metals like gold, silver, or copper). The iconography of this Minerva draws on the statue of Athena made by the Athenian sculptor Eubulides (2nd century BCE).

As these were acroliths, only the head and the limbs were made of marble; the remaining parts of the body were made of painted wood, or were covered in clothing.

Cumae, Capitolium, 1st century CE.

Museo Archaeologico Nazionale di Napoli

The Colossus of Constantine (in Italian, Statua Colossale di Constantino I), was a many times life-size acrolithic sculpture, dating from the early 4th century CE, which depicted the Roman emperor Constantine the Great. It was commissioned by Constantine himself and it was placed in the west apse of the Basilica of Maxentius on the Via Sacra at the entry to the Roman forum. Several pieces of the marble portions of this acrolith survive and have been placed in the courtyard of the Palazzo dei Conservatori, part of the Musei Capitolini (Capitoline Museums), on the Capitoline Hill in Rome.

As an acrolithic statue, only the gigantic head, arms, and legs of the colossus were carved from marble, with the remainder of the body made of a brick core and wooden framework, probably covered in gilded bronze. The figure was sitting on a throne, and would have been about 12 meters (40 feet) tall.

This head is about 2.5 meters tall and is carved in the Constantinian style, with enormous abstract eyes, in a more realistic face. The eyes were perhaps meant to indicate transcendence, gazing towards a Christian eternity.

Constantine's colossus is basically a variation of the enthroned Jupiter Optimus Maximus, a style of sculpture the ancient Romans would have been familiar and comfortable with. The emperor Augustus had himself depicted in exactly the same way.

Dating the statue is difficult, with a date of 312-315 CE likely, given political considerations. There was a reworking of the features, including a new right hand - both hands survive - perhaps holding a Christian symbol, whereas previously it held a scepter. The statue was pillaged in Late Antiquity, probably for its gilded bronze sheathing. It was rediscovered in 1486, and Michelangelo himself had the pieces placed in the courtyard of the Palazzo dei Conservatori.

A reconstruction of the colossus was created in 2024, although they didn't paint the marble portions of the statue, which would have been done in antiquity (I took photos of this reconstruction and will subsequently post them).

The foot comes from a small acrolith statue with flesh parts of ivory and with drapery in another material, perhaps metal or semiprecious stone. The tongue of the sandal is decorated with a personification of the Nile, suggesting that the statue depicted was either an Egyptian deity or the Emperor Augustus, who annexed Egypt after the defeat of Antony and Cleopatra at the Battle of Actium in 31 BCE.

Roman, ca. 31 BCE-14 CE.

Met Museum, New York (25.78.43)

Roman Imperial period, probably reign of Hadrian, 117-138 CE
Found at Sagalassos (see on Pleiades), Great Baths (2007 excavation)

(The museum display continuously projects light onto the portrait's eyes, attempting to animate them.)

Photographed on display in the Istanbul Airport Museum
In the collection of the Burdur Museum

Roman Imperial period, probably reign of Hadrian, 117-138 CE
Found at Sagalassos (see on Pleiades), Great Baths (2007 excavation)

(The museum display continuously projects light onto the portrait's eyes, attempting to animate them.)

Photographed on display in the Istanbul Airport Museum
In the collection of the Burdur Museum

The Colossus of Constantine was a many times life-size acrolithic early-4th-century statue depicting the Roman emperor Constantine the Great (c. 280–337), commissioned by himself, which originally occupied the west apse of the Basilica of Maxentius on the Via Sacra, near the Forum Romanum in Rome. Surviving portions of the Colossus now reside in the courtyard of the Palazzo dei Conservatori, now part of the Capitoline Museums, on the Capitoline Hill, above the west end of the Forum.

The remains of the colossus were discovered during the papacy of Innocent VIII (1484-1492). Its physiognomy, unmistakable, is that of Emperor Constantine the Great (306-337 A.D.). He can be recognised by his square face, aquiline nose and wide-open eyes with his gaze fixed forward. Another distinctive element is the hairstyle with the fringe of hair forming an almond shape on the forehead, typical of the portrait type known as the quinquennalia. This is the official image, also reproduced on the Arch of Constantine, created in 311 A.D. to celebrate the five years since his designation as Augustus. It was found in the 15th century in the western apse of the so-called Basilica of Maxentius, a building modified and finished by Constantine.

The various fragments were moved to the Capitoline Hill and placed in the courtyard of the Palazzo dei Conservatori during the 16th and 17th centuries. The head, in particular, was first used to decorate the fountain built around the statue of Marforio, and later moved to the courtyard.

Some marks of reworking on the head indicate that the authors of this gigantic work made up the features of Constantine using an earlier work, although it is not excluded it may have represented Maxentius, an enemy of Constantine.

Only the body parts of the statue that were uncovered were made of marble, of which the remaining fragments are displayed here; the rest were made in less precious materials (stucco elements on top of a wooden framework that served as a core, and fabric). This kind of technique is called acrolith.

The Emperor shows the features of the most important divinity of ancient Rome, Jupiter Optimus Maximus. In fact, there are many depictions of the god with the bust partially covered by a robe in a nearly identical posture.

The latest reconstructive theory shows the figure of the seated Emperor with the upper part of his body bare, the cloak laying on his shoulder. His right arm holds the staff sceptre and his left holds a globe.

A colossal marble head of a deified Antonia Minor, daughter of Mark Antony and mother to the emperor Claudius. Made of Parian marble, it was once part of an acrolithic cult statue - which would have had a head, hands and feet of sculpted stone, but a body of wood or limestone, covered with garments of cloth or gilded bronze.

Some historians feel that may instead represent the empress Livia, wife of emperor Augustus.

It was probably discovered in Rome, and was known to be in the Ludovisi collection by the 1530s.

1st century CE.

Palazzo Altemps, Rome

Parian marble (Lakkou quarries)
Greek, Early Classical period, ca. 470-460 BCE
Archaeological provenience unknown, possibly Magna Graecia
In the Vatican from 1826

In the collection of, and photographed on display at, the Museo Gregoriano Profano, Vatican Museums, Rome
Inv. 905

Parian marble (Lakkou quarries)
Greek, Early Classical period, ca. 470-460 BCE
Archaeological provenience unknown, possibly Magna Graecia
In the Vatican from 1826

The head would have formed part of a cult-statue composed of different materials, using marble for the exposed flesh (acroliths). The goddess partially preserves her inlaid eyes.

In the collection of, and photographed on display at, the Museo Gregoriano Profano, Vatican Museums, Rome
Inv. 905

Parian marble (Lakkou quarries)
Greek, Early Classical period, ca. 470-460 BCE
Archaeological provenience unknown, possibly Magna Graecia
In the Vatican from 1826

In the collection of, and photographed on display at, the Museo Gregoriano Profano, Vatican Museums, Rome
Inv. 905

The Ludovisi Acrolith dates from 480-470 BC and was probably the head of a metal-plated sculpture of a goddess seated on a throne. She is generally identified as either Aphrodite or Persephone.

The Palazzo Altemps in Rome is part of the Museo Nazionale Romano (National Roman Museums) and is used to display around 150 quality sculptures from antiquity. Highlights of the museum include the Altemps, Boncompagni Ludivisi, and Mattei collections such as the Ludovisi Gaul, the Ludovisi Throne, a seated Ares, exceptional sarcophagi, colossal heads, and magnificent further sculptures from antiquity that were restored to various degrees, especially in the baroque period. The museum is absolutely worth visiting and included in combination tickets with the Palazzo Massimo in Rome.

The Ludovisi Acrolith dates from 480-470 BC and was probably the head of a metal-plated sculpture of a goddess seated on a throne. She is generally identified as either Aphrodite or Persephone.

The Palazzo Altemps in Rome is part of the Museo Nazionale Romano (National Roman Museums) and is used to display around 150 quality sculptures from antiquity. Highlights of the museum include the Altemps, Boncompagni Ludivisi, and Mattei collections such as the Ludovisi Gaul, the Ludovisi Throne, a seated Ares, exceptional sarcophagi, colossal heads, and magnificent further sculptures from antiquity that were restored to various degrees, especially in the baroque period. The museum is absolutely worth visiting and included in combination tickets with the Palazzo Massimo in Rome.

Fragment of the colossal statue of Constantine (306-337 A.D.).

Fragment of the Colossus statue of Constantine (306-337 A.D.).

Fragment of the colossal statue of Constantine (306-337 A.D.).

Palazzo Altemps, Rome