Footnotes

The antique Roman bust of Dionysus dating from the mid-1st century AD, was first discovered in 1754 within the colonnaded courtyard of a dwelling that later became known as Villa of the Papyri at Herculaneum. Originally thought to be a depiction of the philosopher Plato, it was later identified as the upper section of a herm most likely representing Dionysus. The original is now housed in the Naples Archaeological Museum.

Johann Joachim Winckelmann (1717–1768), a pioneering German art historian and one of the founders of scientific archaeology, discussed the bust in his 1762 work Critical Account of the Situation and Destruction by the First Eruptions of Mt. Vesuvius, of Herculaneum, Pompeii and Stabia. He wrote:
"The buckles formed by the hair of the head, which has a long beard, are folded only on the sides. The workmanship of this head is likewise worth our notice, as infinitely superior to that of all our modern artists. It is one of the most perfect pieces in the whole world; and I may take upon me to say that it is impossible for the art of man to produce anything, in any branch, superior to it..."

The Villa of the Papyri, located in ancient Herculaneum (now Ercolano, south of Naples), was an opulent Roman residence named for the remarkable library of papyrus scrolls discovered there in 1750. Considered one of the grandest houses in the Roman world, the villa boasted exquisite architecture and an extraordinary collection of artwork, including frescoes, bronze statues, and marble sculptures—the largest trove of Greek and Roman statuary ever found in a single location. It may have belonged to Lucius Calpurnius Piso Caesoninus, Julius Caesar's father-in-law. The eruption of Mount Vesuvius in AD 79 buried Herculaneum beneath approximately 30 meters (98 feet) of volcanic material. Excavation of the villa began between 1750 and 1765 under the direction of Karl Weber, though much of it remains underground to this day.

The De Angelis Foundry (Naples, 1840–1915)
Among the main Neapolitan foundries serving 19th and early 20th century Grand Tour travellers were Chiurazzi, De Angelis, and Sommer. Of these, the Fonderia De Angelis, established in 1840 was the oldest and arguably the most prestigious. Edward Robinson, director of the Boston Museum of Fine Arts from 1902, praised its founder Sabatino De Angelis as 'by far the best of the Neapolitan copyists', citing his exceptional talent and sensitivity to the art form.

Dionysus (or Dionysos) was the Greek god embodying the untamed and intoxicating forces of nature, drawing mortals away from their usual restraint and sobriety. Wine, as the most fitting symbol of this divine energy, became central to his cult.

In ancient art, Dionysus was portrayed in various forms - as an infant handed to nurses by Hermes, as a dreamy and androgynous youth slightly inebriated, or as in this more archaic example, as a noble and serene figure resembling an eastern monarch. In this form, his expression conveys sublime calm and gentleness wearing long, richly draped Lydian garments (bassara) with his beard soft and flowing.