This moving marble sculpture of the Trojan priest Laocoon and his two sons struggling to escape from the coils of their fate, forever frozen in the throes of anguish, has inspired countless artists and writers, from Michelangelo to Dickens. It is a similar story with the famous Laocoon, that tangle of thrusting limbs, lightning-quick sea serpents and agonised expressions that has haunted the Western imagination ever since it was discovered in Rome and deposited in the Belvedere courtyard of the Vatican by Pope Julius II in 1506. Several sculptures depicting this scene have survived, including a handful carved from purple-veined marble, which offers a grisly sense of the bloody flesh about to be revealed by the torturer’s knife. He is about to be flayed alive as punishment for challenging the lyre-playing god Apollo to a musical contest (inevitably, he lost). This presents the bearded satyr, Marsyas, bound to a tree. One of my favourite Roman sculptures is the Hanging Marsyas. So does a nearby marble statuette of a pot-bellied Hercules, clearly the worse for wear following a drunken banquet, about to take a pee.īut the Romans couldn’t get enough of this sort of stuff. While we can appreciate the way in which the sculptor arranged a chaotic subject into coherent forms, they still seem like strange choices for garden ornaments, by our standards. These sculptures aren’t lewd, but they are extraordinarily violent. The hounds gnash at the ears of their prey, using their claws to gouge deep into flesh. Elsewhere in the British Museum’s exhibition, we encounter two sublime marble sculptures depicting tense stags hollering with fear as they are overcome by snarling hunting dogs. The Romans preferred sexier, gutsier, more bloodthirsty subjects. Today some people decorate their gardens with gnomes. But even a cursory acquaintance with the Roman world suggests that this wasn’t necessarily the case. Perhaps he was also a provocative pervert who enjoyed scandalising his guests. The Villa of the Papyri also contained a library full of hundreds of scrolls, suggesting that the man who owned the sculpture was sophisticated and well-read. Today it is tempting to view the sculpture as a piece of vile erotica – but I’m not so sure. A discreet label forewarns visitors that the exhibition “contains sexually explicit material”. On loan from the National Archaeological Museum in Naples, where it is usually shown in the ‘Secret Cabinet’ alongside other erotic material from the ancient Roman world, the statue features in the British Museum’s major exhibition Life and Death in Pompeii and Herculaneum, currently on show in London. Now, the sculpture of Pan and the goat is setting pulses racing once again. Art that we consider shockingly erotic or violent was commonplace in the Roman world. Different cultures view the same things in different ways. Without realising, Nollekens had stressed the scene’s undertones of bestiality and rape – even though the original may have appeared much less violent to the Romans. The 18th-Century English sculptor Joseph Nollekens produced a terracotta replica from memory – though his bug-eyed animal is far more surprised by Pan’s attentions than the Roman goat, which seems almost complicit. It quickly became a fashionable sight for Englishmen gallivanting around Europe on the Grand Tour. Yet, from the moment of its discovery, the statue generated curiosity as well as horror. Unlike most of the 18th-Century finds from Herculaneum and Pompeii, the sculpture was hidden away, available to view only with the monarch’s permission. With his right hand, Pan grabs the nanny goat’s tufted beard, yanking forward her head so that he can stare deep into her eyes. Carved from a single block of Italian marble, it showed the wild god Pan making love to a goat. Imagine how the excavators must have felt when they unearthed the most infamous of these sculptures in the presence of the king of Naples and Sicily on a spring day in 1752.
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