MORRISON HECKSCHER: This is Cleopatra, the last Pharaoh of ancient Egypt. Like many neoclassical sculptors, William Wetmore Story drew his ideal subject from ancient history. But here he has added his signature touch. He stated, as quoted by curator Thayer Tolles:

THAYER TOLLES: "What is left undone is as necessary to a true work of art as what is done." So he didn't feel that it was important to depict necessarily the most climactic moment, but for the viewer to get a sense of impending action or past deeds.

MORRISON HECKSCHER: So here Cleopatra is seated, contemplating her suicide. Curled around her left forearm is the asp that will kill her. When Story began Cleopatra in 1858, he was living in Rome, a mecca for American expatriate sculptors. The carving here is virtuoso, revealing the neoclassical delight in pushing marble to its limit to resemble skin, or fabric, or floor tile. Story also paid close attention to archaeological accuracy. So the brooding queen wears a nemes, which is the headcloth worn by royalty. And on top of it is the uraeus, or cobra headdress. On the other hand, her jewelry, including her scarab bracelet, reflects more the Victorian style of Story’s era.