Metropolitan Museum of Art

Dahl visited Vesuvius just before Christmas 1820 to witness its eruptions at close-hand. He immediately made an oil sketch (Statens Museum for Kunst, Copenhagen) that served as the basis for the present work, completed four years later for Prince Christian Frederik, later King Christian VIII of Denmark. Vesuvius had attracted artists and Grand Tourists alike since the rediscovery of Pompeii in the mid-eighteenth century, offering a vision of the Sublime that served as a counterpoint to the austerity of Neoclassicism. (Metropolitan Museum of Art),

He stands with his weight resting on the right leg, with the left foot drawn back.

Metadata from the Met website:

Title: Bronze statuette of Mercury

Period: Early Imperial

Date: 1st century CE

Culture: Roman

Medium: Bronze

Dimensions: Overall: 6 3/16 x 2 3/4 x 1 7/8 in. (15.7 x 6.9 x 4.8 cm)

Classification: Bronzes

Credit Line: Rogers Fund, 1906

Object Number: 06.1057

Title: Poetry, a woman with a laurel crown

Artist: Raphael Morghen (Italian, Naples 1758–1833 Florence)

Artist: Intermediary draftsman Pietro Ermini (Italian, Arezzo 1774–1850 Arezzo)

Artist: After Carlo Dolci (Italian, Florence 1616–1687 Florence)

Printer: Luigi Bardi (Italian, active Florence, 1814–43)

Date: 1827

Medium: Engraving; fourth state of five

Dimensions: Plate: 12 11/16 × 8 15/16 in. (32.3 × 22.7 cm)
Sheet: 21 11/16 × 15 5/16 in. (55.1 × 38.9 cm)

Classification: Prints

Credit Line: Gift of Harry Shaw Newman, 1941

Accession Number: 41.97.81

The satyr stands upright and majestically strides forward. His powerfully muscled torso closely resembles Riccio’s heroic nudes, like the beggar in the Saint Martin relief in this gallery. He is most probably Pan, the satyr deity who reigns over the material world. Designed to stand on a scholar’s desk, he carried the attributes of a flaming conch-shell lamp and an ink-filled vase, perhaps symbolizing Pan’s dominion over the elements. Such pairings of figure and function are rare in Riccio’s work, but the extraordinary balance of the topheavy figure on just two small hooves is typical of Riccio’s technical mastery.

This engraving is from a set of six oval-shaped prints that depict Pastoral Gods. It was published by Hieronymus Cock (ca. 1510–1570) whose name is inscribed on the rock at the right. Cock began publishing in Antwerp in 1548, and his firm became the most important one outside Italy. He made a few of the plates himself, but most were commissioned from designers and engravers. The author of this composition, Frans Floris, designed many prints for Cock. Cort may also have been an apprentice within Cock’s establishment. The series of Pastoral Gods were made in Antwerp in 1565, the year Cort left for Italy. (Metropolitan Museum)

Two satyrs and a faun seated to right watching two child satyrs and another satyr with an child on his shoulders dance to left, a round composition, from 'Six animal subjects' (Six sujets d'animaux). 

Stefano della Bella (Italian, Florence 1610–1664 Florence)

Etching

Roman ivory hairpin (1st century AD). H.: 6 1/8 in. (15.6 cm). New York, Metropolitan Museum of Art, inv. 17.194.1333.

Terracotta column-krater (bowl for mixing wine and water)ca. 470–460 B.C.

https://www.metmuseum.org/art/collection/search/253427

"The complex motion of this dancer is conveyed exclusively through the interaction of the body with several layers of dress. Over an undergarment that falls in deep folds and trails heavily, the figure wears a lightweight mantle, drawn tautly over her head and body by the pressure applied to it by her right arm, left hand, and right leg. Its substance is conveyed by the alternation of the tubular folds pushing through from below and the freely curling softness of the fringe. The woman's face is covered by the sheerest of veils, discernible at its edge below her hairline and at the cutouts for the eyes," says the description on the Metropolitan Museum website but it does seem similar to have points of similarity with Apollonius' description of Medea's escape.