ITEM: Herm of Hermes MATERIAL: Marble CULTURE: Roman PERIOD: 1st - 2nd Century A.D DIMENSIONS: 210 mm x 110 mm x 90 mm CONDITION: Good condition PROVENANCE: Ex J. Bagot Ancient Art (2018), Ex French private collection, Seine-et-Marne (1977) Comes with Certificate of Authenticity, European Union export license and J. Bagot Ancient Art Certificate of Authenticity If you bid outside European Union and win the item, we must request a new export license to your country and the shipment will delay between 3 - 5 weeks Due to the value of the piece, shipments will be made only to the European Union or bordering countries accessible by road and with a private transport service (door-to-door). Although this is a Roman production, this type of sculpture originates from ancient Greece. For the Hellenes, a herma was a square or rectangular pillar made of stone, although there are examples in terracotta and bronze, on which a bust was placed, usually of the god Hermes—hence the name. However, the term may also derive from the Greek word for "blocks of stone." Hermes is depicted with a beard, as it symbolizes physical strength, and the base of the pillar was adorned with an erect phallus, a symbol of masculinity and readiness for war, that is, defense. Herms were used to mark and delineate roads, borders, and property limits. In addition to indicating certain information about these locations, they also had an apotropaic function, meaning they were believed to ward off evil, whether spirits, misfortune, or enemies. In Athens, they were placed outside houses to attract good luck. Each neighborhood had its own herma, and some vases depict sacrifices being performed in front of them. Through artistic evolution, many statues of other deities were created in the same form as the herms, originating in the same way and bearing the same general name, even when they did not feature Hermes' bust. Pausanias described several such images: one of Poseidon in Tricoloni (Arcadia), another of Zeus Teleios in Tegea, and one of Aphrodite Urania in Athens. Many of these evolved into more refined forms, with the head and bust of the god while the lower portion remained a pillar. While the herms of Hermes generally, though not always, retained their ancient style, this was due to the religious significance of the pillar as a boundary marker. Where this symbolism was not important, Hermes himself was depicted in full human form, rendered with the artistic perfection of Greek sculpture, as seen in the statues found in gymnasiums. A third type of these works featured a bust that did not represent a deity but simply the portrait of a man. In these cases, the pillar lost its symbolic meaning and became a mere pedestal. Another special type is the so-called double herma, in which two heads are placed opposite each other, joined at the nape. The Roman god Janus was often represented in this form. Sometimes, famous poets were also depicted in this way. As with many Greek sculptures, the Romans created copies of herms following the original models purely for the ornamentation of their homes and villas. Wealthy Romans highly sought after these sculptures for decorative railings in gardens, often adorned with the busts of philosophers and other prominent figures. Some herms had square holes in the shoulders to insert railings, though such holes also appeared in ancient Greek herms, where they likely held garlands. The Romans also included heroes like Hercules and indigenous gods in their herms. During the Imperial period, their function became more architectural than religious—they were used to hold curtains inside homes, and in the Circus Maximus, they served as supports for barriers. In this particular herma, the upper section features the face of Hermes. He was an Olympian god, a messenger, and the patron of shepherds, travelers, orators, ingenuity, and commerce in general. He was also associated with the cunning of thieves and liars. He is depicted with a beard, symbolizing physical strength, and with a mature facial expression. Hermes was a significant deity in Roman religion, adopted from the Greek god of the same name. He was known as Mercury in the Roman pantheon, serving as the messenger of the gods and the protector of travelers, merchants, and thieves. Like his Greek counterpart, he was associated with speed, eloquence, and cunning. Depictions of Hermes in Roman art often featured his characteristic winged sandals, a caduceus (a staff entwined with snakes), and a petasos (a winged hat), symbolizing his role as a swift and intelligent divine intermediary. In Roman sculpture, Hermes was frequently represented in herms—square or rectangular pillars with his bust on top, a form inherited from Greek tradition. While originally used to mark roads and boundaries, Roman herms evolved into decorative elements found in homes, gardens, and public spaces. The Romans expanded the variety of figures depicted in herms, including philosophers, emperors, and mythological heroes, blending religious significance with artistic and architectural utility. Hermes’ role in Roman mythology remained vital, especially in commerce and communication, reflecting the expanding trade networks of the empire. He was also linked to financial prosperity and was venerated by merchants seeking his favor. Despite the shifts in religious practices over time, Hermes retained his prominence in Roman culture, and his image continued to be reproduced in sculptures, reliefs, and coins, cementing his legacy as one of the most enduring deities of antiquity.