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Walter at OTT WrestleRama 3 || The Barberini Faun

#walter #i hardly #OTT WrestleRama 3 #Barberini Faun #ott

Does anyone have the fic where this was Shane's gay awakening?

#heated rivalry #shane hollander #ilya rozanov #hollanov #barberini faun

#Barberini Faun

Bedside Manner

-a Dramione one shot

Hermione's supposed to be at a party.

Instead she's got Draco Malfoy on her examination table. Shirt off, trousers low, and the only thing worse than how good he looks is how long she's been staring.

Or: Draco Malfoy takes his shirt off and Hermione Granger forgets she has a medical degree.

M-one shot

I love the Barberini Faun. There, I said it. When I was an MA student, I wrote an essay on him; really, I suppose, it was a love letter. I had fallen for the attractions of ancient art as an undergraduate, but the Faun looks like no other piece of ancient sculpture. Certainly, you could wander around our gallery for hours and fail to find his match. In his laid-back pose with his limbs cast asunder, the Faun embodies an animality which is hard to ignore. His sleep is filled with promise; sometimes, I wager, his base is so high so that we might not be tempted to get a little too close and sit on his lap. You have to look quite hard to recognise that he's a satyr, though, half human, half beast - walk a circuit around him and maybe you'll notice his tail, or the horns hidden in the wreath on his head. He draws you in, makes you work for your viewing. Hellenistic satyrs usually look chubby cheeked and ineffectual, but the faun's face is chiseled and his bent leg - I know it's a restoration, his foot should probably really rest in the notch further down on his craggy bed - makes him look coiled to leap up at any moment. That rock he's lying on can't be comfortable; that arm bent behind his head makes him look fitful. What's he dreaming of? And what might he do if you were to wake him? And yet, I don't ask my visitors these questions when I do a tour. I don't draw any attention to him, and I walk my group straight past. He's too risky, too risqué to risk a bad reaction - which is odd, because the stories I am willing to tell about the Aphrodite of Knidos draw their own blushes. So maybe, really, I just like to keep him to myself.

— Dr. Susanne Turner, The Barberini Faun

#barberini faun #fauno barberini #gian lorenzo bernini #greek mythology #dionysus #q.#m.#mordlust.

Barberini's Phaune

History The statue comes from Rome, where it was found in the moats of Castel Sant'Angelo around 1624. In 1628 it was already in the collection of Cardinal Francesco Barberini. It became immediately one of the most admired statues in Rome, compared in beauty to the mutilated Belvedere Torso. Preserved in Palazzo Barberini, where it was admired and described for two centuries, it became the object of attempts to purchase already in the second half of the eighteenth century, like countless works of art from the Roman princely collections during the Grand Tour. The Faun was restored several times, the first two times in 1628 and 1635 by Arcangelo Gonnelli, who gave it a reclining position. In 1679 a new restoration by Giuseppe Giorgetti and Lorenzo Ottoni changed the pose of the sculpture, from reclining to sitting on a rock. The two restorers were strongly influenced in their choice of pose by the River Nile in Gian Lorenzo Bernini's Fountain of the Rivers. The additions of the legs and left arm were in stucco. More than a century later, in 1799, the Faun was sold directly by the Barberinis, who were in serious financial crisis, to the Roman sculptor and restorer Vincenzo Pacetti, who restored it again by replacing the stucco pieces with marble additions. Pacetti hoped to sell the sculpture to a wealthy foreign buyer. In 1804, following a lawsuit, the Barberinis managed to regain possession of the Faun. It was Crown Prince Ludwig of Bavaria, who was setting up the Munich Glyptothek at the time, who purchased it in 1814. Cardinal Bartolomeo Pacca had an export ban placed, also at the request of Antonio Canova, so that this masterpiece would remain in Rome; but after several years of diplomatic pressure, the ban was revoked and the sculpture left Rome at the end of 1819. On 6 January 1820 it arrived in Munich, where it was placed in a semi-circle that had long been specially designated for it in the Glyptothek. Further restoration work was carried out in 1972, removing the right leg inserted by Pacetti, which was reintegrated more adequately in 1986. It is considered a masterpiece of Hellenistic sculptural art.