Chimera of Arezzo made its home at the National Archaeological Museum in Florence. As the sculpture made its way through the Florence museums, it increasingly attracted the attention of both artists and historians. Typical iconography of the Chimera myth depicts the warrior Bellerophon as he confronts the Chimera, or rides atop or alongside it. This iconography began to appear upon Greek vessels in 600 BCE. The Chimera of Arezzo presents a very detailed and complex composition that most likely was meant for display and viewing in the round. The Chimera is clearly expressing pain throughout its body. Its form is contorted, its face
Chimera (mythology) in "Inferno" xvii.7–17, 25–27, hybrid monsters, more akin to the Manticore of Pliny's Natural History (viii.90), provided iconic representations of hypocrisy and fraud well into the seventeenth century, through an emblematic representation in Cesare Ripa's "Iconologia". The myths of the Chimera may be found in the "Bibliotheca" of Pseudo-Apollodorus (book 1), the "Iliad" (book 16) by Homer, the "Fabulae" 57 and 151 by Hyginus, the "Metamorphoses" (book VI 339 by Ovid; IX 648), and the "Theogony" 319ff by Hesiod. Virgil, in the "Aeneid" (book 5) employs "Chimaera" for the name of gigantic ship of Gyas in the ship-race, with possible