The cast represents a sleeping satyr, lying on animal skin lying on a rock, the head, crowned with ivy, facing the rock and resting on the left shoulder, the characteristic pointed ears. The muscular body is anatomically detailed, the right arm carried behind the head, while the left is dropped, the legs spread apart with the right foot resting on the rock and the left on the ground. The original, from which the cast derives, is placed in the Gipsoteca di Monaco, dated to the second half of the third century. BC Found around 1624 in the ditches of the Castel Sant'Angelo in Rome, it became part of the Barberini collection in 1628, where it remained for a long time, despite the numerous purchase offers it was the subject of. Extremely appreciated and admired work, it was purchased by the Crown Prince Ludwig of Bavaria in 1818.

The cast depicts the goddess Venus in the moment immediately preceding her bath; entirely naked, she is slightly inclined forward, in the act of protecting her chest and pubis with both arms. The right leg is bent and advanced, the left is in support. The head is slightly bent to the left and has complex hair with a high "bow" knot and locks falling over the shoulders. The clothes are placed on an amphora, placed near the left leg. The original sculpture, slightly larger than life size, was found in Rome, near the basilica of San Vitale around 1666-1670 and was purchased and donated to the Capitoline collections by Pope Benedict XIV in 1752. The Venus of the Capitoline Museum he defined the so-called “Capitoline type”, of which numerous replicas are known. The statue is considered one of the earliest and most faithful replicas of the famous statue of Aphrodite Cnidia, made by Praxiteles around 360 BC for the sanctuary of the goddess in Cnidus.

The cast depicts the goddess Aphrodite in the bath, crouching on her bent legs, probably at the moment of receiving water on her neck. The sculpture is headless and has no arms. The left leg directs the knee upwards, while the right presents the thigh parallel to the base plane; the weight of the body rests on the left foot with the sole adhering to the ground and on the tips of the fingers of the right one. A rock-shaped support is welded to the left buttock for static reasons. The torso, bent forward, is slightly rotated to the right; the right forearm, with opposite movement, intersects the breast, compressing it. The original statue, from which the cast derives, is dated to the 2nd century AD and derives from a Greek bronze model of the first half of the 3rd century BC, attributed to the sculptor Doidalsas of Bithynia. The sculpture was found in Sainte Colombe, near Vienne, from the excavations of the baths known as “Palais du Miroir” and is now preserved in the Louvre museum. There is a round stamp on the base. Atelier Musée Nationaux du Louvre, moulage, factory stamp.

The subject of the cast is an old drunk woman, holding a wineskin in her arms, lying on the ground, with her legs curled up, with her torso raised and her head thrown back. The wrinkled face, desperate and almost grotesque, is characterized by the open mouth and the gaze lost in the void. The body shows the excavation of the bones, the sagging and limp skin. Without the right arm and both feet. The original, from which the cast derives, is located in the Glyptothek in Munich. The original sculpture is in marble, an early 1st century AD copy of an original from the late 3rd century. BC Found in 1620 during the restoration works of the church of S. Agnese fuori le mura, on the Nomentana.

The cast represents a female figure lying on a rock and asleep. Dressed in a chiton that leaves her left breast uncovered. The head, covered by the cloak, is leaning slightly backwards and resting on the back of the left hand, a snake-shaped bracelet is rolled around the left arm, the right arm is dropped loosely above the head, the legs are crossed. The original, from which the cast derives, is placed in the Vatican Museums, Museo Pio - Clementino, in the Gallery of Statues. The sculpture, identified with the sleeping Ariadne at the end of the 1700s by Ennio Quirino Visconti, previously believed to be a Cleopatra due to the snake-shaped bracelet that adorns her arm, copy of an original from the first half of the second century. BC in Parian marble. It has some restoration elements: the nose, the lips, the right hand, part of the left, part of the drapery.

The cast depicts a naked boxer, sitting and resting, with the part of the body moved forward, the legs apart, the feet resting on the ground only with the heel and with the outer edge of the sole, the arms rigidly resting on the thighs, the head raised and turned to the right. Especially in the latter, with beard and hair in thick twisted locks, the traces of the character's activity are evident: the upper teeth fallen or displaced, the right eye swollen, the ears swollen from blows and covered with wounds. To the head corresponds the stocky and heavy body. Each of the hands is protected by a glove, which leaves the fingers uncovered at their ends and is armed with the caestus typical of boxers, formed by a complex structure of bands and leather that surround the attachment of the hand and part of the forearm. The original bronze work, from which the cast derives, is now kept in the National Roman Museum, found in Rome in 1885 in via IV Novembre. The statue is believed to be a late Hellenistic Greek original from the first half of the 1st century. BC, the work of an eclectic sculptor.

The cast depicts a fragmentary naked male torso, of which part of the legs is also preserved. The character is seated on a rock, on which a panther skin rests and is characterized by the accurate anatomical rendering and strong muscular tension. The most accredited hypotheses today propose to identify in the statue the figure of the suffering Philoctetes, or of Ajax Telamon, who is meditating on suicide. The original work, from which the cast derives, is now preserved in the Pio Clementino Museum, found in Rome. The oldest mention of the sculpture dates back to 1400 and remembers it in the palace of Cardinal Prospero Colonna on the Quirinale; in 1530-1536 it passed to the Vatican. The statue is believed to be a copy of 30 BC, deriving from a rhodium original from the first half of the 2nd century BC

The cast reproduces a standing winged female figure, identified with the Nike, while it is in the act of taking flight. The figure is leaning forward, with the torso slightly rotated to the right with respect to the central axis, with the drapery that adheres tightly to the body and creates a chiaroscuro game of folds, with the right leg forward, on which the whole body rests. , while the left leg is brought back. The sculpture is headless, devoid of arms, hands and feet. The original, from which the cast derives, is in the Louvre Museum, in Parian marble and dated to 190 BC; the sculpture was found in 1863 in Samothrace.

The cast depicts Artemis, in the act of walking rapidly to the right, advancing the left foot and barely placing the tip of the right; the right arm is extended along the side and the left arm is bent at the elbow and moved away from the body. The goddess wears a chiton, a cloak and wears sandals on her feet; the face is regular, characterized by slightly pronounced cheekbones and chin. In his right hand he presumably carried a bow and on his shoulders hangs the marble quiver. The hairstyle is made up of curled locks, which frame the face, surmounted by a diadem of rosettes, while on the back and shoulders there are long and thin braids. The original work, from which the cast derives, is kept in the Archaeological Museum of Naples and comes from Pompeii. The statuette is dated to the Augustan age, but is deliberately rendered according to conventions typical of archaic art, attributed to an Athenian workshop.

The cast reproduces the statue of the cd. Prince of the Baths represented by a young man with a beard, whose face is framed by wavy locks of hair. The furrowed forehead, the arched eyebrows, the small hollow eyes, with the prominent cheekbones well highlighted and the fleshy half-open mouth, the pronounced chin. In a naked position, in a heroic pose, with well-defined muscles, the left arm is up, leaning on the rod, while the right is carried behind the back; the left leg is brought back, resting only with the fingers, while the right is forward. The original, from which the cast derives, is in the National Roman Museum; it is in bronze and is original from the beginning of the 2nd century BC. Found in 1885, in a building belonging to the Baths of Constantine on the occasion of the excavation for the construction of the National Dramatic Theater.

The cast depicts a young woman dressed in a Doric peplos, with her left arm slightly outstretched, probably in the act of holding a situla, or another vase for water, while with her right hand raised she removes the labrum, which must have been on the head. The hair, wavy and gathered behind the nape, is divided by a central parting and tightened by a tapeworm. Already considered a dancer, one of the Danaids is identified in the statue. The original work, from which the cast derives, in bronze and with eyes in glass paste, is now preserved in the Archaeological Museum of Naples; found in Herculaneum, it belonged to the decoration of the Villa dei Papiri and, together with other similar statues, was placed in the small peristyle at the edges of the euripus. The statue is dated to about 50 BC and refers to classical models of the fifth century. B.C

The cast reproduces a larger than natural statue, depicting the god Poseidon, standing, with the weight unloaded on the right leg and the right leg at rest, discarded laterally and set back. The god's head is turned to the left and looks at a distant point. The musculature is strongly modeled; dressed only in the himation which, resting on the left shoulder, covers the lower part of the body. The god holds a flap of the cloak with his left hand, while with his right he had to hold a high trident. Without the nose and part of the beard and hair. Near the right leg there is a dolphin used as a support. The original work, from which the cast derives, is dated to the last quarter of the 2nd century BC, today preserved in the National Museum of Athens, it was found in Melos in 1877, reassembled and restored.

The cast depicts the Trojan priest Laocoon and his sons, who are about to be killed by two sea monsters sent by Athena, who wants to take revenge for the attempt to obstruct the entry of the Greeks to Troy. Laocoon, in the center of the composition, is represented in a pose of emphatic twisting, with the muscles of the belly contracting due to convulsions, underlining the effort and tension of the protagonist, caught in an attempt to extricate himself from the grip of the snake, which forms with his body a knot, so as to make Laocoon fall back on the altar. The other snake, coming from the left, grabs the right wrist of the priest, who raises his arms to shake it off. The same excited rhythm is transmitted to the figures of the two sons, at its sides and of smaller dimensions, also wrapped in the coils of the two sea monsters, coming from the right and from the left. The original work, from which the cast derives, is now preserved in the Pio Clementino Museum; found in 1506 in the vineyard of Felice de Frediis sull'Esquilino, in the Colle Oppio area formerly occupied by the Domus Aurea, Pope Julius II placed it in the Belvedere. In 1906 the original right arm was found, the so-called Pollak arm, reunited with the statue in 1950. The cast of the Museum of Classical Art was made by Ernesto Vergara Caffarelli, based on his reconstructive hypothesis and, later, was further modified.

The cast depicts a goddess Venus, without both arms, which had to be raised, in the act of encircling her head with a bandage. Standing on the right leg, flex the left by slightly tilting the torso and head. The goddess is completely naked, wearing only sandals with laces; the hair, held by a bandage, is gathered at the nape, with curls on the forehead. The support consists of a vase, on which the right leg rests, decorated with Egyptianizing elements such as the bundles of papyrus and the coils of the snake. The vase is placed on a box full of flowers and a cloth is placed on top, elements that indicate how the goddess prepares for her bath. The original work, from which the cast derives, is now preserved in the Capitoline Museums, it was found in Rome on the Esquiline. The statue is dated to the first half of the 1st century. B.C

The cast represents a completely naked young boy, sitting on a rocky spur, bending forward in the act of removing a thorn from the sole of his left foot, resting on his right thigh. The head, inspired by models of Greek art of the fifth century. BC, has severe features, in particular in the rigid rendering of the hair, long and wavy, but compact around the head. The subject depicted is generally interpreted as a shepherd boy. The original bronze work, from which the cast derives, is kept in the Capitoline Museums and has been known since the 12th century; in 1471 Pope Sixtus IV donated it to the city of Rome, when the bronze was transferred from the Lateran to the Campidoglio. The statuette is considered an eclectic work, a copy of the second half of the 1st century. B.C