A Victorian painted plaster bust of Clytie, third quarter 19th century, modelled after the Antique, the nymph portrayed with head declined to dexter, her loosely draped decolletage above a calyx of leaves, on a circular section waisted socle and octagonal base, 73cm high, 46cm wide Note: The Roman original in marble is held at the British Museum and is thought to date to about 40-50 AD. It was acquired from the family of the Principe Laurenzano in Naples by the renowned British collector Charles Townley (1737-1805) during his extended second Grand Tour of Italy (1771-74). It was to remain one of Townley's favourite sculptures The identity of the subject, a woman emerging from a calyx of leaves, was much discussed among the antiquaries in Townley's circle. At first referred to as Agrippina, the bust is still known as Clytie, a nymph who had fallen in love with the god Helios and was turned into a sunflower. Townley himself later believed her to represent Isis in the flower of Lotus
A Victorian painted plaster bust of Clytie, third quarter 19th century, modelled after the Antique, the nymph portrayed with head declined to dexter, her loosely draped decolletage above a calyx of leaves, on a circular section waisted socle and octagonal base, 73cm high, 46cm wide Note: The Roman original in marble is held at the British Museum and is thought to date to about 40-50 AD. It was acquired from the family of the Principe Laurenzano in Naples by the renowned British collector Charles Townley (1737-1805) during his extended second Grand Tour of Italy (1771-74). It was to remain one of Townley's favourite sculptures The identity of the subject, a woman emerging from a calyx of leaves, was much discussed among the antiquaries in Townley's circle. At first referred to as Agrippina, the bust is still known as Clytie, a nymph who had fallen in love with the god Helios and was turned into a sunflower. Townley himself later believed her to represent Isis in the flower of Lotus
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