{"id":5546,"date":"2020-04-09T13:46:44","date_gmt":"2020-04-09T11:46:44","guid":{"rendered":"https:\/\/www.gipsoteca.sma.unipi.it\/gipsotecasmart\/"},"modified":"2021-05-13T20:57:16","modified_gmt":"2021-05-13T18:57:16","slug":"gipsotecasmart","status":"publish","type":"page","link":"https:\/\/www.gipsoteca.sma.unipi.it\/en\/gipsotecasmart\/","title":{"rendered":"#GipsotecaSMArt"},"content":{"rendered":"<p>Because of Covid-19 emergency, the <span lang=\"en-GB\"><strong>Collection of Plaster Casts and Antiquities<\/strong><\/span>, together with the other museums of Sistema Museale di Ateneo, joins to the Ministry\u2019s appeal and the campaign #iorestoacasa and #museichiusimuseiaperti, opening a virtual window to the collections and activities.<br \/>\nIn this section you can find videos, images and downloading contents connected to the project <strong>GipsotecaSMArt<\/strong>, that will keep you company during the coming weeks. Follow our project on our site and Facebook with the official hashtag <strong>#GipsotecaSMArt<\/strong>.<\/p>\n<p>The project is designed and supervised by Chiara Tarantino (Department of Civilisations and Forms of Knowledge) e Francesca Lemmi, jointly with di Stefano Landucci (Sistema Museale di Ateneo).<\/p>\n<h2><strong>Our section<\/strong><\/h2>\n<p>Starting from <strong>4th April 2020<\/strong>, the Plaster Cast Collection of Antiquity s keeps its followers company with four new <strong>sections<\/strong>:<br \/>\n1. <strong>In a few words<\/strong>: it provides videos dedicated to sculptures, inspired by quotes from classical authors.<br \/>\n2. <strong>Originals and copies<\/strong>: it includes short articles and posts on the relationship between the plaster casts and the statues from which they have inspired.<br \/>\n3. <strong>What the statues don&#8217;t say<\/strong>: it shows posts for the youngest with memes and comics.<br \/>\n4. <strong>Find the statue<\/strong>: a social family game that encourage to observe, create and informally learn.<\/p>\n<h3><strong>Originals and copies<\/strong><\/h3>\n<p><strong>The Laoco\u00f6n&#8217;s arm <\/strong>(by Chiara Tarantino)<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-5356\" src=\"https:\/\/www.gipsoteca.sma.unipi.it\/wp-content\/uploads\/2020\/04\/or-copie-laocoonte-400x400.png\" alt=\"\" width=\"235\" height=\"235\" data-attachment-id=\"5356\" data-permalink=\"https:\/\/www.gipsoteca.sma.unipi.it\/progetti-e-collaborazioni\/or-copie-laocoonte\/\" data-orig-file=\"https:\/\/www.gipsoteca.sma.unipi.it\/wp-content\/uploads\/2020\/04\/or-copie-laocoonte.png\" data-orig-size=\"940,788\" data-comments-opened=\"0\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"or-copie-laocoonte\" data-image-description=\"\" data-medium-file=\"https:\/\/www.gipsoteca.sma.unipi.it\/wp-content\/uploads\/2020\/04\/or-copie-laocoonte-700x587.png\" data-large-file=\"https:\/\/www.gipsoteca.sma.unipi.it\/wp-content\/uploads\/2020\/04\/or-copie-laocoonte.png\" \/><\/p>\n<p>When the statue of\u00a0Laoco\u00f6n, a Trojan\u00a0priest, constricted by the hug of two sea serpents together with his sons, was unearthed in Rome in 1506\u00a0it was not intact: Laoco\u00f6n&#8217;s right arm, along with the children arms, and various sections of snake were missing.<br \/>\nPope Julius II acquired\u00a0the statue and the most famous artists of the time suggested his realist reconstruction.<br \/>\nOver the centuries, the original statue was reconstrued in various ways with different formal solutions, in particular Laoco\u00f6n&#8217;s right arm and the serpents.<br \/>\nIn 1906 Ludwig Pollak, academic and merchant, discovered the arm compatible with the arm of the group in the shop of a Roman stonemason; it took decades of studies and evaluations to guarantee that the fragment was original.<br \/>\nAt the end of 1950s the \u201cPollak\u201d arm was replaced to the reconstructed arm and the other addictions were dismantled: so, today the statue appears in the Vatican Museums as it is.<br \/>\nThe Collection\u2019s cast comes from the Vatican\u2019s group before the addictions were dismantled, but in the following phase the copy of the right arm is inserted.<\/p>\n<p class=\"western\"><strong><span style=\"color: #000000;\">For more information<\/span>:<\/strong><\/p>\n<ul>\n<li>B. Andreae, <em>Laocoonte e la fondazione di Roma<\/em>, Milano 1989<\/li>\n<li>G. Bejor (a cura di), <em>Il Laocoonte dei Musei vaticani: 500 anni dalla scoperta<\/em>, Milano 2007<\/li>\n<li>F. Buranelli, P. Liverani, A. Nesselrath (a cura di), <em>Laocoonte: alle origini dei Musei Vaticani<\/em>, Roma 2006<\/li>\n<li>F. Donati, <em>La Gipsoteca di arte antica<\/em>, Pisa 1999, pagg. 202-211 S. Settis, Laocoonte. Fama e stile, Roma 1999<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<div>\n<p class=\"v1MsoNormal\"><strong>Marsyas, a surprised satyr<\/strong> (by Chiara Tarantino)<\/p>\n<p class=\"v1MsoNormal\"><img loading=\"lazy\" decoding=\"async\" class=\" wp-image-5395 alignleft\" src=\"https:\/\/www.gipsoteca.sma.unipi.it\/wp-content\/uploads\/2020\/04\/or-copie-marsia-700x587.png\" sizes=\"auto, (max-width: 260px) 100vw, 260px\" srcset=\"https:\/\/www.gipsoteca.sma.unipi.it\/wp-content\/uploads\/2020\/04\/or-copie-marsia-700x587.png 700w, https:\/\/www.gipsoteca.sma.unipi.it\/wp-content\/uploads\/2020\/04\/or-copie-marsia-768x644.png 768w, https:\/\/www.gipsoteca.sma.unipi.it\/wp-content\/uploads\/2020\/04\/or-copie-marsia.png 940w\" alt=\"\" width=\"260\" height=\"218\" data-attachment-id=\"5395\" data-permalink=\"https:\/\/www.gipsoteca.sma.unipi.it\/gipsotecasmart\/or-copie-marsia\/\" data-orig-file=\"https:\/\/www.gipsoteca.sma.unipi.it\/wp-content\/uploads\/2020\/04\/or-copie-marsia.png\" data-orig-size=\"940,788\" data-comments-opened=\"0\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"or-copie-marsia\" data-image-description=\"\" data-medium-file=\"https:\/\/www.gipsoteca.sma.unipi.it\/wp-content\/uploads\/2020\/04\/or-copie-marsia-700x587.png\" data-large-file=\"https:\/\/www.gipsoteca.sma.unipi.it\/wp-content\/uploads\/2020\/04\/or-copie-marsia.png\" \/>During 5th century B.C., the famous\u00a0sculptor\u00a0Myron mould the bronze into the statue of the satyr Marsyas, depicted while he was admiring the instrument that Athena firstly had been dreamt up and then threw it away, in the grip of rage. The instrument was a double flute similar to the recorder (aulos), due to which the goddess was mocked widely. While she was playing it,\u00a0her cheeks bulged due to the effort and, on her first exhibition, the gods could not hold back the laughter.<br \/>\nThe original sculpture did not pass down to us, but we can have an idea of it thanks to the several marble copies that dates back to the 1st century B.C.<br \/>\nThe best copy of these was found on the Esquiline Hill in 19th century, but it wasn\u2019t linked immediately to the work of Myron, that at the time he was famous only for a notice of the Roman author Pliny the Elder. In the beginning, the pose of satyr, whose upper limbs were not preserved, was interpreted as a dancer and the statue was completed with arms and hands, playing castanets.<br \/>\nThis version of the statue from Esquiline Hill is still admirable on the cast of the Collection of Plaster Casts, while the addictions were removed by the original, exhibited in the Vatican Museums.<\/p>\n<p class=\"western\"><span style=\"color: #000000;\">For more information<\/span>:<\/p>\n<p class=\"v1MsoNormal\">G. Daltrop,\u00a0<i>Il gruppo mironiano di Atena e Marsia nei Musei Vaticani<\/i>, Citt\u00e0 del Vaticano 1980<\/p>\n<p class=\"v1MsoNormal\">F. Donati,\u00a0<i>La Gipsoteca di arte antica<\/i>, Pisa 1999, pagg. 161-163<\/p>\n<p class=\"v1MsoNormal\">C. Tarantino,\u00a0<i>Sacred. Ripensare l\u2019arte antica<\/i>, Pisa 2019, pagg. 14-17<\/p>\n<p class=\"v1MsoNormal\">C. Tarantino,\u00a0<i>Plinio, Pausania e un modello di Marsia. Riflessioni da una kylix del Museo Archeologico NazionaleTarquiniese<\/i>\u00a0in Agoge. Atti della Scuola di specializzazione in Beni archeologici dell\u2019Universit\u00e0 di Pisa, XIV-XV (2017-2018), Pisa 2020, in fase di stampa<\/p>\n<p class=\"v1MsoNormal\">A. Weis,\u00a0<i>Marsyas I<\/i>\u00a0in LIMC \u2013 LexiconIconographicumMythologiaeClassicae, Verlag, Zurigo-Monaco 1992, pagg. 366-378<\/p>\n<p>&nbsp;<\/p>\n<\/div>\n<div>\n<p class=\"v1MsoNormal\"><strong>Harmodius and Aristogeiton killed the tyrant<\/strong> (by Chiara Tarantino)<\/p>\n<p class=\"v1MsoNormal\">The statues of the Athenians Harmodius and Aristogeiton exhibit in the Collection of Plaster Casts, are plaster casts of a sculptural group of the so-called Tyrannicides, coming from The National Archeological Museum of Naples.<br \/>\nThese statues of Naples derive from a bronze sculpture made by Kritios and Nesiotes and dedicate in 477 B. C. from the Athenians to the heroes that some years before (in 514 B. C.) have killed Hipparchus.<br \/>\n<img loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-5432 \" src=\"https:\/\/www.gipsoteca.sma.unipi.it\/wp-content\/uploads\/2020\/04\/or-copie-tirannicidi-400x400.png\" alt=\"\" width=\"238\" height=\"238\" data-attachment-id=\"5432\" data-permalink=\"https:\/\/www.gipsoteca.sma.unipi.it\/gipsotecasmart\/or-copie-tirannicidi\/\" data-orig-file=\"https:\/\/www.gipsoteca.sma.unipi.it\/wp-content\/uploads\/2020\/04\/or-copie-tirannicidi.png\" data-orig-size=\"940,788\" data-comments-opened=\"0\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"or-copie-tirannicidi\" data-image-description=\"\" data-medium-file=\"https:\/\/www.gipsoteca.sma.unipi.it\/wp-content\/uploads\/2020\/04\/or-copie-tirannicidi-700x587.png\" data-large-file=\"https:\/\/www.gipsoteca.sma.unipi.it\/wp-content\/uploads\/2020\/04\/or-copie-tirannicidi.png\" \/>We can only imagine the original sculptural group, lost today, thanks to the pictorial representations on the pottery or to the Roman copies.<br \/>\nUnfortunately, no copies are completed and the copy from Naples is the best and widely integrated with the reconstruction of the arms and part of the legs.<br \/>\nFortunately, a part of the inscription, that was engraved into the base of the monument erected in the Agora, have been founded. The inscription said: \u201ca big light rose up for the Athenians when Harmodius and Aristogeiton killed Hipparchus, freeing the homeland from tyranny\u201d. The inscription is conserved in Athens in the Museum of the Ancient Agora.<\/p>\n<p class=\"v1MsoNormal\">For more information:<\/p>\n<p class=\"v1MsoNormal\">V. Azoulay,\u00a0<i>The tyrant-slayers of ancientAthens: a tale of twostatues<\/i>, New York 2017<\/p>\n<p class=\"v1MsoNormal\">S. Brunns\u00e4ker,\u00a0<i>The Tyrant-Slayers of Krition and Nesiotes<\/i>, s.l.s.ed. 1955<\/p>\n<p class=\"v1MsoNormal\">F. Donati,\u00a0<i>La Gipsoteca di arte antica<\/i>, Pisa 1999, pagg. 153-156<\/p>\n<p class=\"v1MsoNormal\">M. W. Taylor,\u00a0<i>The TyrantSlayers: the heroic image in fifthcentury B.C. Athenian art and politics<\/i>, Salem 1991<\/p>\n<p class=\"v1MsoNormal\">C. Tarantino,\u00a0<i>Sacred. Ripensare l\u2019arte antica<\/i>, Pisa 2019, pagg. 24-27<\/p>\n<p>&nbsp;<\/p>\n<div><\/div>\n<div>\n<p class=\"v1MsoNormal\">How was <strong>the real Discobolus<\/strong>? (by Chiara Tarantino)<\/p>\n<p class=\"v1MsoNormal\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-5447 \" src=\"https:\/\/www.gipsoteca.sma.unipi.it\/wp-content\/uploads\/2020\/04\/or-copie-discobolo-400x400.png\" alt=\"\" width=\"238\" height=\"238\" data-attachment-id=\"5447\" data-permalink=\"https:\/\/www.gipsoteca.sma.unipi.it\/gipsotecasmart\/or-copie-discobolo\/\" data-orig-file=\"https:\/\/www.gipsoteca.sma.unipi.it\/wp-content\/uploads\/2020\/04\/or-copie-discobolo.png\" data-orig-size=\"940,788\" data-comments-opened=\"0\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"or-copie-discobolo\" data-image-description=\"\" data-medium-file=\"https:\/\/www.gipsoteca.sma.unipi.it\/wp-content\/uploads\/2020\/04\/or-copie-discobolo-700x587.png\" data-large-file=\"https:\/\/www.gipsoteca.sma.unipi.it\/wp-content\/uploads\/2020\/04\/or-copie-discobolo.png\" \/><\/p>\n<p>The\u00a0Discobolus\u00a0is one of the most famous ancient sculpture, do we really know it?<br \/>\nWe have in mind the sculpture\u2019s pose, but we don\u2019t know more about the statue chiselled by Myron of Eleutherae\u00a0during the 5th century B.C. The original was in fact lost.<\/p>\n<p>The Roman copies were identified thanks to description made by the Roman Autor Lucian (2th century A.D.): \u201cthe Discobolus\u00a0is represented while he is about to throw the discus; his head is turned back to the hand that holds the discus, and tilted so as to snap back up\u201d.<\/p>\n<p>There are numerous and well-preserved copies, but they all are different: the body\u2019s pose is similar but the position of the head, the face, the hairstyle and the muscles change.<br \/>\nThe differences are accentuated if you observe them close up and one next to the other, such us in the National Roman Museum in Palazzo Massimo, where two of the best copies are conserved side by side.<\/p>\n<p>The Collection of Plaster Casts\u2019 version is an experiment, made up of parts of plaster casts coming from different copies.<\/p>\n<p>&nbsp;<\/p>\n<p class=\"v1MsoNormal\">For more information:<\/p>\n<p class=\"v1MsoNormal\">A. Anguissola, Fama, tema, forma: momenti della fortuna antica e moderna del \u201cDiscobolo\u201d di Mirone in Prospettiva, 128 (2007), pagg. 26-42<\/p>\n<p class=\"v1MsoNormal\">A. Anguissola \u2013S. Settis (a cura di)<span lang=\"DE\">,\u00a0<i>Serial\/Portable Classic<\/i>, Milano 2015<\/span><\/p>\n<p class=\"v1MsoNormal\">J. Boardman,\u00a0<i>GreekSculptures. The ClassicalPeriod<\/i>, London 1991, pag. 80<\/p>\n<p class=\"v1MsoNormal\">F. Donati,\u00a0<i>La Gipsoteca di arte antica<\/i>, Pisa 1999, pagg. 333-335<\/p>\n<\/div>\n<\/div>\n<p>&nbsp;<\/p>\n<h4 class=\"western\" align=\"justify\"><span style=\"color: #222222;\"><span lang=\"en-GB\"><b>What the statues don&#8217;t say<\/b><\/span><\/span><\/h4>\n<p class=\"western\" align=\"justify\"><span style=\"color: #222222;\"><span lang=\"en-GB\"><b>Find the statue<\/b><\/span><\/span><\/p>\n<ul>\n<li>\n<p class=\"western\" align=\"justify\"><span style=\"color: #000000;\"><span lang=\"en-GB\"><b>Laoco<\/b><\/span><\/span><span style=\"color: #222222;\"><span lang=\"en-GB\"><b>\u00f6n <\/b><\/span><\/span><a href=\"https:\/\/www.gipsoteca.sma.unipi.it\/wp-content\/uploads\/2020\/04\/laocoonte-ombra.pdf\"><span style=\"color: #337ab7;\"><u><b>Laocoonte ombra<\/b><\/u><\/span><\/a><span style=\"color: #333333;\"><b>\u00a0<\/b><\/span><a href=\"https:\/\/www.gipsoteca.sma.unipi.it\/wp-content\/uploads\/2020\/04\/laocoonte-a-colori.pdf\"><span style=\"color: #337ab7;\"><u><b>Laocoonte a colori<\/b><\/u><\/span><\/a><span style=\"color: #333333;\"><b>\u00a0<\/b><\/span><a href=\"https:\/\/www.gipsoteca.sma.unipi.it\/wp-content\/uploads\/2020\/04\/laocoonte-da-colorare.pdf\"><span style=\"color: #337ab7;\"><u><b>Laocoonte da colorare<\/b><\/u><\/span><\/a><\/p>\n<\/li>\n<li>\n<p class=\"western\" align=\"justify\"><span style=\"color: #222222;\"><span lang=\"en-GB\"><b>Venus de Milo <\/b><\/span><\/span><a href=\"https:\/\/www.gipsoteca.sma.unipi.it\/wp-content\/uploads\/2020\/04\/venere-milo-ombra-1.png\"><span style=\"color: #337ab7;\"><u><b>Venere Milo ombra<\/b><\/u><\/span><\/a><span style=\"color: #333333;\"><b>\u00a0<\/b><\/span><a href=\"https:\/\/www.gipsoteca.sma.unipi.it\/wp-content\/uploads\/2020\/04\/venere-milo-a-colori.png\"><span style=\"color: #337ab7;\"><u><b>Venere di Milo a colori<\/b><\/u><\/span><\/a><span style=\"color: #333333;\"><b>\u00a0<\/b><\/span><a href=\"https:\/\/www.gipsoteca.sma.unipi.it\/wp-content\/uploads\/2020\/04\/venere-milo-da-colorare.png\"><span style=\"color: #337ab7;\"><u><b>Venere Milo da colorare<\/b><\/u><\/span><\/a><\/p>\n<\/li>\n<\/ul>\n<ul>\n<li>\n<p align=\"justify\"><span style=\"color: #222222;\"><span lang=\"en-GB\"><b>Apollo <\/b><\/span><\/span><a href=\"https:\/\/www.gipsoteca.sma.unipi.it\/wp-content\/uploads\/2020\/04\/apollo-ombra.png\"><span style=\"color: #337ab7;\"><u><b>Apollo ombra<\/b><\/u><\/span><span style=\"color: #337ab7;\"><b>\u00a0<\/b><\/span><\/a><a href=\"https:\/\/www.gipsoteca.sma.unipi.it\/wp-content\/uploads\/2020\/04\/apollo-a-colori.png\"><span style=\"color: #337ab7;\"><u><b>Apollo a colori<\/b><\/u><\/span><\/a><span style=\"color: #333333;\"><b>\u00a0<\/b><\/span><a href=\"https:\/\/www.gipsoteca.sma.unipi.it\/wp-content\/uploads\/2020\/04\/apollo-da-colorare.png\"><span style=\"color: #337ab7;\"><u><b>Apollo da colorare<\/b><\/u><\/span><\/a><\/p>\n<\/li>\n<li><b>Discobolus <\/b><a href=\"https:\/\/www.gipsoteca.sma.unipi.it\/wp-content\/uploads\/2020\/04\/discobolo-ombra.pdf\"><b>Discobolo ombra<\/b><\/a><b> <\/b><a href=\"https:\/\/www.gipsoteca.sma.unipi.it\/wp-content\/uploads\/2020\/04\/discobolo-da-colorare.pdf\"><b>Discobolo a colori<\/b><\/a><b> <\/b><a href=\"https:\/\/www.gipsoteca.sma.unipi.it\/wp-content\/uploads\/2020\/04\/discobolo-da-colorare.pdf\"><b>Discobolo da colorare<\/b><\/a><\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>Because of Covid-19 emergency, the Collection of Plaster Casts and Antiquities, together with the other museums of Sistema Museale di Ateneo, joins to the Ministry\u2019s appeal and the campaign #iorestoacasa and #museichiusimuseiaperti, opening a virtual window to the collections and activities. In this section you can find videos, images and downloading contents connected to the<a class=\"btn btn-blue\" href=\"https:\/\/www.gipsoteca.sma.unipi.it\/en\/gipsotecasmart\/\">Read more &gt;<\/a><\/p>\n","protected":false},"author":11,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-5546","page","type-page","status-publish","hentry"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.8 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>#GipsotecaSMArt - Gipsoteca di Arte Antica<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.gipsoteca.sma.unipi.it\/en\/gipsotecasmart\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"#GipsotecaSMArt - Gipsoteca di Arte Antica\" \/>\n<meta property=\"og:description\" content=\"Because of Covid-19 emergency, the Collection of Plaster Casts and Antiquities, together with the other museums of Sistema Museale di Ateneo, joins to the Ministry\u2019s appeal and the campaign #iorestoacasa and #museichiusimuseiaperti, opening a virtual window to the collections and activities. 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