it. During this period sculpture became more naturalistic, and also expressive; there is an interest in depicting extremes of emotion. On top of anatomical realism, the Hellenistic artist seeks to represent the character of his subject, including themes such as suffering, sleep or old age. Genre subjects of common people, women, children, animals and domestic scenes became acceptable subjects for sculpture, which was commissioned by wealthy families for the adornment of their homes and gardens; the Boy with Thorn is an example. Realistic portraits of men and women of all ages were produced, and sculptors no longer felt obliged to depict people as ideals of beauty or physical perfection. The world of Dionysus, a pastoral idyll populated by satyrs, maenads, nymphs and sileni, had been often depicted in earlier vase painting and figurines, but rarely in full-size sculpture. The Old Drunkard at Munich portrays without reservation an old woman, thin, haggard, clutching against herself her jar of wine. Portraiture The period is therefore notable for its portraits: One such is the Barberini Faun of Munich, which represents a sleeping satyr with relaxed posture and anxious face, perhaps the prey of nightmares. The Belvedere Torso, the Resting Satyr, the Furietti Centaurs and Sleeping Hermaphroditus reflect similar ideas. Another famous Hellenistic portrait is that of Demosthenes by Polyeuktos, featuring a well-done face and clasped hands. Privatization Another phenomenon of the Hellenistic age appears in its sculpture: privatization, seen in the recapture of older public patterns in decorative sculpture. Portraiture is tinged with naturalism, under the influence of Roman art. New Hellenistic cities were springing up all over Egypt, Syria, and Anatolia, which required statues depicting the gods and heroes of Greece for their temples and public places. This made sculpture, like pottery, an industry, with the consequent standardization and some lowering of quality. For these reasons many more Hellenistic statues have survived than is the case with the Classical period. Second classicism Hellenistic sculpture repeats the innovations of the so-called "second classicism": nude sculpture-in-the-round, allowing the statue to be admired from all angles; study of draping and effects of transparency of clothing, and the suppleness of poses. Thus, Venus de Milo, even while echoing a classic model, is distinguished by the twist of her hips. "Baroque" The multi-figure group of statues was a Hellenistic innovation, probably of the 3rd century, taking the epic battles of earlier temple pediment reliefs off their walls,