The Barberini Faun, also called the Drunken Satyr or Sleeping Faun, is one of the most renowned sculptures from the classical era. Created in the 3rd century BC, it likely originated from Pergamon.
The sculpture currently housed in the Glyptothek in Munich is a high-quality Roman copy from the 1st century AD; however, many experts believe it is the original Greek work.
Standing 1.92 meters tall, it was discovered in 1624 in fragments in the moats of Castel Sant'Angelo, formerly Hadrian's Mausoleum. It became part of Cardinal Francesco Barberini's collection, giving the statue its name. The Byzantine historian Procopius noted that during the 537 AD siege of Rome, Romans threw several statues from Hadrian's Mausoleum at the Goths, leading to speculation that the Faun might have been damaged in a similar manner.
In 1814, the Barberini family sold the statue to Prince Ludwig of Bavaria due to financial difficulties, a move that outraged artists and writers, such as Antonio Canova. Today, it is regarded as the most significant piece in the Munich Glyptothek.
Little is known about its patron or creator, and its archaeological background remains unclear. Its purpose is hard to determine. The statue's heroic build and impressive size evoke awe and curiosity, while its solitary and sleepy demeanour sets it apart from the lively, energetic satyrs typically seen in classical art.

The marble sculpture depicts a drunken faun asleep on a rock, likely after consuming wine, in a deliberately awkward, asymmetrical pose, with his right arm bent behind his head for support —a natural yet complex gesture to carve in marble.
His athletic form features remarkable muscle definition.
The satyr has a small tail, an ivy crown, and wears a panther skin, linking him to Dionysus, god of wine. He spreads his legs in a natural, modest pose, revealing his genitals. Such boldness and mischief are common traits of satyrs, especially in scenes from painted vases.
The unique style of the Barberini Faun suggests that it is not a simple decorative figure, but rather a significant character in a specific story, possibly the satyr caught by King Midas.
The faun's stance indicates a state of intoxication that transcends social norms. Naked, asleep, and reclined on a rock covered with a hide, the satyr appears as a figure outside accepted behaviour, engaging in the most primitive and unstructured form of drinking. Interestingly, amidst this unconventional indulgence, the satyr strikes the pose of a symposium participant, as if anticipating familiar human social rituals. With his knees bent and legs dangling, his genitals are openly exposed, possibly indicating erotic tendencies. The Faun stands out because it depicts something wondrous—a seemingly lifelike creature asleep, exposed, and vulnerable—confusing viewers.
This figure is a unique creation of Greek mythology, representing primal nature linked to the divine, a hybrid of man and beast, and a symbol for exploring the animalistic sides of human nature.