Using geology and mineralogy, the Hermitage has uncovered more details about the “biography” of the Tauride Venus—a 2nd-century AD sculpture currently on display in the Hall of Dionysus.
The research was conducted as part of a joint project with the Karpinsky Institute, bringing together art historians, conservators, geologists, mineralogists, and isotope geochemistry specialists, according to the museum’s press service.
Research of this kind had not previously been conducted in Russia. It marked the first time an ancient marble sculpture was analyzed using microstructural, chemical, and isotopic methods.
What Scientists Already Knew About the Tauride Venus
It was already known that the sculpture was created in Rome during the mid-2nd century AD, in the Antonine era. The statue is not a mere copy but an original interpretation of the goddess of love and beauty—depicting a younger, more sensual Venus.
The Key Discovery
The most significant finding concerns the origin of the marble used for the Tauride Venus. It was quarried on the island of Paros, considered the most prestigious source in antiquity. Material from Paros was used to create the most expensive and refined sculptures for the wealthiest and most privileged patrons.
Other Research Findings
Scientists also discovered traces of abrasive powder on the sculpture’s surface—material used by ancient craftsmen to polish the marble.
Traces of iron staining were also found on the surface, confirming that the statue had stood upright for a long period and come into contact with water.
What Remains to Be Learned
The research is ongoing. Scientists plan to analyze pigments that may have been used to color the sculpture and to identify material differences between its various fragments. Additionally, specialists intend to study other artifacts from the Hermitage’s collection of antiquities. How the Tauride Venus “Settled” in the Hermitage
The Tauride Venus is one of the first ancient sculptures brought to Russia. Emperor Peter I ordered its purchase, and the statue was acquired in 1719. For a long time, it was housed in the Summer Garden and later in the Tauride Palace—from which it derives its name. In 1852, the sculpture became part of the collection at the New Hermitage.
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