CHICAGO – The Halsted Athena is among the most stunning representations of the goddess Athena. After nearly three centuries hidden away in private collections, this remarkable Roman statue is now on public display at Wrightwood 659 in Chicago. This exhibit allows scholars, students, and visitors to engage with a masterpiece that merges art, history, and mythology.
Athena holds a special place in both ancient and modern communities. Widely revered as the goddess of wisdom, strategy in warfare, craftsmanship, and reason, Athena embodies intellect and resourcefulness. Ancient Greek writers frequently described her as a patron of heroes such as Odysseus, Perseus, and Heracles, offering them guidance and aid during their quests. Her symbols—the owl (representing wisdom), a shield, a spear, and the aegis—are iconic.
Athena’s association with olive trees originates from her legendary gift of the first olive tree to Athens, securing her role as the city’s protector and namesake.
Today, Athena’s influence extends far beyond mythology. Many contemporary Pagans, particularly those practicing Hellenic Reconstructionism, venerate her as part of their spiritual practice. She is also admired across Pagan and non-Pagan communities as a symbol of empowerment, embodying the strength and independence of a powerful female figure.
The Halsted Athena at Wrightwood 659 in Chicago. Courtesy: Halsted A&A Foundation
The Halsted Athena vividly captures her presence. The Roman statue, carved during the first century C.E., depicts Athena with an owl perched on her hand, a gorgon-adorned cloak draped across her chest, and a warrior’s helmet crowning her hair. This extraordinary work blends ancient craftsmanship with restoration practices of later centuries.
Before arriving at Wrightwood 659, the statue spent over 250 years in the rose-colored niche of Newby Hall, a North Yorkshire country house belonging to British landowner and politician William Weddell. Weddell acquired the statue during a Grand Tour of Rome in the mid-1700s—a cultural journey popular among young British aristocrats of the time. His extensive collection of artworks, sculptures, and antiquities earned him a reputation as a passionate, if somewhat excessive, collector.
The statue’s story is a fascinating journey of piecemeal restoration and adaptation. Its head originates from a sculpture carved during the reign of the Roman Emperor Augustus (31 B.C.E. to 14 C.E.), while the body comes from a separate statue created during Emperor Claudius’s reign (41 to 54 C.E.). Like many sculptures sold in 18th-century Rome, the Halsted Athena is a composite piece, assembled from ancient and modern fragments to create a complete form.
William Weddell, portrait by Pompeo Batoni, frequented by many young Englishmen on the Grand Tour – Public Domain
“By displaying the sculpture at Wrightwood 659, the foundation invites the public to see a work which has been largely out of general public view for nearly three centuries,” says Karen Manchester, curator of the Halsted A&A Foundation. “Now, scholars, students, and visitors will be able to study the statue of Athena closely and interpret it from many perspectives, including those of art history, restoration practices, and gender studies.”
This mosaic-like restoration process reflects 18th-century tastes and practices. Manchester explains, “The figure is composed of ancient and modern fragments. The practice of piecing together sculptures was not invariably an attempt to deceive customers. Rather, many buyers preferred complete pieces, even if composed of unrelated parts. When suitable ancient fragments couldn’t be located, sculptors carved new ones.” The Halsted Athena’s largest restored components include its left arm and a section from the jawline to the chest.
Weddell’s acquisition of the statue highlights the era’s fascination with classical antiquities. A contemporary painter who encountered Weddell during his tour remarked that he had “[bought] such a quantity of pictures, marbles, etc., as will astonish the West Riding of Yorkshire.” Despite its Roman origins, the Halsted Athena distinctly depicts the Greek goddess, with her characteristic helmet and aegis—a testament to the Romans’ admiration for Greek art and mythology.
“At the time these pieces were carved, the classical style was in vogue,” Manchester notes. “Ancient Roman customers wanted sculptures that reflected the look of ancient Greek and Hellenistic Greek art.” Even in the first century C.E., when the statue took its final form, Romans were harking back to the legacy of Greece, blending their own artistic styles with the aesthetics of an older culture.
Now, the Halsted Athena’s journey continues in Chicago, adding another chapter to its rich history. From Greece to Rome, Yorkshire to Chicago, this statue has traveled through centuries and continents, bearing witness to the evolution of art and cultural values. Its installation at Wrightwood 659 coincides with the Art Institute of Chicago’s exhibition, Myth and Marble: Ancient Roman Sculpture from the Torlonia Collection. The Torlonia Collection, one of the most significant private assemblages of Roman marble sculptures, shares a similar 18th-century origin story, offering a broader context for the Halsted Athena’s legacy.
Wrightwood 659 itself is an architectural masterpiece. Nestled in Chicago’s Lincoln Park neighborhood, the gallery is housed in a building redesigned by Pritzker Prize-winning architect Tadao Ando. Known for exhibitions focusing on socially engaged art, LGBTQ+ issues, and Asian art and architecture, Wrightwood 659 provides a space where visitors can engage with pressing cultural and historical themes in an intimate and beautiful setting.
For additional information about the Halsted Athena and upcoming exhibitions, visit wrightwood659.org.
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