Featured on PDR in the essay Who Says Michelangelo Was Right? Conflicting Visions of the Past in Early Modern Prints

When the lost classical sculpture Laocoön and His Sons — lauded as representing the very highest ideal of art — was dug up in 1506 with limbs missing, the authorities in Rome set about restoring it to how they imagined it once to look. Monique Webber explores how it was in reproductive prints that this vision was contested, offering a challenge to the mainstream interpretation of Antiquity.