Naples National Archaeological Museum in the context of "Stabiae"

In Greek mythology, Patroclus (generally pronounced /pəˈtroʊkləs/; Ancient Greek: Πάτροκλος, romanized: Pátroklos, lit. 'glory of the father') was a Greek hero of the Trojan War and close companion to the hero Achilles. Patroclus is an important character in Homer's Iliad.

Born in Opus, Patroclus was the son of the Argonaut Menoetius. When he was a child, he was exiled from his hometown and was adopted by Peleus, king of Phthia. There, he was raised alongside Peleus's son, Achilles. When the tide of the Trojan War turned against the Achaeans, Patroclus, disguised as Achilles and defying his orders to retreat in time, led the Myrmidons in battle against the Trojans and was eventually killed by the Trojan prince, Hector. Enraged by Patroclus's death, Achilles ended his refusal to fight, resulting in significant Greek victories.

Aphrodite Pandemos (Ancient Greek: Πάνδημος, romanized: Pándēmos; "common to all the people") occurs as an epithet of the Greek goddess Aphrodite. This epithet can be interpreted in different ways. In Plato's Symposium, Pausanias of Athens describes Aphrodite Pandemos as the goddess of sensual pleasures, in opposition to Aphrodite Urania, or "the heavenly Aphrodite". At Elis, she was represented as riding on a ram by Scopas. Another interpretation is that of Aphrodite uniting all the inhabitants of a country into one social or political body. In this respect she was worshipped at Athens along with Peitho (persuasion), and her worship was said to have been instituted by Theseus at the time when he united the scattered townships into one great body of citizens. According to some authorities, it was Solon who erected the sanctuary of Aphrodite Pandemos, either because her image stood in the agora, or because the hetairai had to pay the costs of its erection. The worship of Aphrodite Pandemos also occurs at Megalopolis in Arcadia, and at Thebes. A festival in honour of her is mentioned by Athenaeus. The sacrifices offered to her consisted of white goats. Pandemos occurs also as a surname of Eros. According to Harpocration, who quotes Apollodorus, Aphrodite Pandemos has very old origins, "the title Pandemos was given to the goddess established in the neighborhood of the Old Agora because all the Demos (people) gathered there of old in their assemblies which they called agorai." To honour Aphrodite's and Peitho's role in the unification of Attica, the Aphrodisia festival was organized annually on the fourth of the month of Hekatombaion (the fourth day of each month was the sacred day of Aphrodite). The Synoikia that honoured Athena, the protectress of Theseus and main patron of Athens, also took place in the month of Hekatombaion.

Christine Downing comments that, "Pausanias's description of the love associated with Aphrodite Pandemos as dedicated only to sensual pleasure and therefore directed indifferently to women and men, and that associated with the Ouranian Aphrodite as "altogether male" and dedicated to the education of the soul of the beloved is actually an innovation—for Aphrodite Ourania was served in Corinth by prostitutes and Aphrodite Pandemos was the goddess as worshipped by the whole community."

Roman commerce was a major sector of the Roman economy during the later generations of the Republic and throughout most of the imperial period. Fashions and trends in historiography and in popular culture have tended to neglect the economic basis of the empire in favor of the lingua franca of Latin and the exploits of the Roman legions. The language and the legions were supported by trade and were part of its backbone. The Romans were businessmen, and the longevity of their empire was caused by their commercial trade.

Whereas in theory members of the Roman Senate and their sons were restricted when engaging in trade, the members of the equestrian order were involved in businesses despite their upper-class values, which laid the emphasis on military pursuits and leisure activities. Plebeians and freedmen held shop or manned stalls at markets, and vast numbers of slaves did most of the hard work. The slaves were themselves also the subject of commercial transactions. Probably because of their high proportion in society compared to that in Classical Greece, the reality of runaways, and the Servile Wars and minor uprisings, they gave a distinct flavor to Roman commerce.

Archidamus III (died 338 BC) /ˌɑːrkɪˈdeɪməs/ (Ancient Greek: Ἀρχίδαμος Archídamos) was the son of Agesilaus II and king of Sparta from 360 to 338 BC.

The Tomb of the Dancers or Tomb of the Dancing Women (Italian: Tomba delle danzatrici) is a Peucetian tomb in Ruvo di Puglia, Italy. It was discovered in the Corso Cotugno necropolis in November 1833. The date of its construction is uncertain, dates ranging from the end of the fifth century BC to the mid-fourth century BC have been proposed. In any case, the tomb's frescoes are the oldest example of figurative painting in Apulia, together with another tomb in Gravina di Puglia. The Peucetians borrowed the practice of painting tombs from the Etruscans, who had an important influence on their culture. The tomb is named after the dancing women which appear on the frescoes in the tomb. The panels with the frescoes are now exhibited in the Naples National Archaeological Museum, inv. 9353 in the "Magna Graecia Collection".

The Farnese Collection is one of the first collections of artistic items from Greco-Roman antiquity. It includes some of the most influential classical works, including the sculptures that were part of the Farnese Marbles, their collection of statuary, which includes world-famous works like the Farnese Hercules, Farnese Cup, Farnese Bull and the Farnese Atlas. These statues are now displayed in the National Archaeological Museum of Naples in Italy with some in the British Museum in London.

Roman portraiture was one of the most significant periods in the development of portrait art. The surviving portraits of individuals are almost entirely sculptures, covering a period of almost five centuries. Roman portraiture is characterised by unusual realism and the desire to convey images of nature in the high quality style often seen in ancient Roman art. Some busts even seem to show clinical signs. Several images and statues made in marble and bronze have survived in small numbers. Roman funerary art includes many portraits such as married couple funerary reliefs, which were most often made for wealthy freedmen rather than the patrician elite.

Portrait sculpture from the Republican era tends to be somewhat more modest, realistic, and natural compared to early Imperial works. A typical work might be one like the standing figure "A Roman Patrician with Busts of His Ancestors" (c. 30 B.C.).

The Doryphoros (Greek Δορυφόρος Classical Greek Greek pronunciation: [dorypʰóros], "Spear-Bearer"; Latinised as Doryphorus) of Polykleitos is one of the best known Greek sculptures of Classical antiquity, depicting a solidly built, muscular, standing warrior, originally bearing a spear balanced on his left shoulder. The lost bronze original of the work would have been cast circa 440 BC, but it is today known only from later (mainly Roman period) marble copies. The work nonetheless forms an important early example of both Classical Greek contrapposto and classical realism; as such, the iconic Doryphoros proved highly influential elsewhere in ancient art.

Nazi plunder (German: Raubkunst) was organized stealing of art and other items which occurred as a result of the organized looting of European countries during the time of the Nazi Party in Germany.

Jewish property was looted beginning in 1933 in Germany and was a key part of the Holocaust. Nazis also plundered occupied countries, sometimes with direct seizures, and sometimes under the guise of protecting art through Kunstschutz units. In addition to gold, silver, and currency, cultural items of great significance were stolen, including paintings, ceramics, books, and religious treasures.