William Wetmore Story | Delilah, 1877

Delilah (/dɪˈlaɪlə/; Hebrew: דלילה Dəlilah, meaning "[She who] weakened") is a character in the Hebrew bible Book of Judges, where she is the "woman in the valley of Sorek" whom Samson loved, and who was his downfall.

Her figure, one of several dangerous temptresses in the Hebrew Bible, has become emblematic: "Samson loved Delilah, she betrayed him, and, what is worse, she did it for money", Madlyn Kahr begins her study of the Delilah motif in European painting.

Luca Morelli, 1968 | Figurative Realist painter

Luca Morelli is an Italian painter, known for working in the Figurative style. Morelli was born in Rome. He graduated in 1990 from the Academy of Fine Arts in Rome. Lives and works in Rome.

William Wetmore Story | The Libyan Sibyl, 1867

"The Libyan Sibyl", which American sculptor William Wetmore Story (1819-1895) described as “my anti-slavery sermon in stone”, was inspired by events leading up to the Civil War.

Oracle in hand, the Libyan Sibyl, eldest of the legendary prophetesses of antiquity, foresees the terrible fate of the African people.

This premonition is suggested by the heroic figure’s state of brooding cogitation.

Ancient Rome / La Civiltà romana

Ancient Rome, the state centred on the city of Rome. This article discusses the period from the founding of the city and the regal period, which began in 753 bc, through the events leading to the founding of the republic in 509 bc, the establishment of the empire in 27 bc, and the final eclipse of the Empire of the West in the 5th century ad. For later events of the Empire of the East, see Byzantine Empire.

William Wetmore Story | Medea, 1865

In the ancient Greek tragedy by Euripides, Medea was the sorceress who assisted Jason in obtaining the Golden Fleece and later became his wife.

When he abandoned her, Medea murdered their two children and planned the death of his new love, Creusa.

To nineteenth-century theater audiences, Medea was a sympathetic character forced to choose between relinquishing her children and protecting them by destroying them herself. Story similarly deemphasized Medea’s revenge, leaving to the viewer’s imagination the scene of infanticide to come. | © The Metropolitan Museum of Art