At the turn of the sixteenth century, the widespread use of printmaking enabled artists to familiarise themselves with the relics of classical antiquity. In addition to prints, many small copies and replicas of the best-known ancient statues were made. Whereas in Northern Italy and north of the Alps ancient sculptures became known to the sculptors and painters from prints and bronze figurines, sculptors in Florence and Rome came to know first hand the sculpture of classical antiquity. Vincenzo de’ Rossi, who worked for many years in Rome, not only saw the ancient relics through his own eyes; he also received a commission for a large marble copy of the Laocoön group. From the early sixteenth century onwards, sculptors commonly incorporated elements and compositional details of Greco-Roman statues in their works. The Dying Adonis was inspired as much by the Sleeping Ariadne as by the Barberini Faun, another ancient artwork. The Boar statue exhibited here was the model for the Porcellino by Pietro Tacca (1577—1640), a bronze fountain of a boar at the Mercato Nuovo in Florence.