In 1802, passing through Florence and at the height of his notoriety, Antonio Canova was commissioned by the King of Etruria, Ludovico di Borbone, to make a copy of the Venus de' Medici, the 1st century BC marble sculpture that had already been exhibited in the centre of the Uffizi’s Tribune, but had been requisitioned by the French authorities on 11 September of the same year for the Louvre. At first reluctant to the idea of a replica, the Venetian sculptor eventually accepted, enticed both by the proposal to replace such a masterpiece and by the strong patriotic connotation that the undertaking had immediately assumed.
...the Canova divinity deviated from the illustrious model, being depicted at the moment when she demurely dries herself after coming out of the bath, with the vase of perfumed ointments at her feet. The new sculpture, whose modernity was immediately highlighted in comparison to the ancient prototype, was an enormous success, which made it the subject of extensive critical literature and the protagonist of numerous sonnets, including one by Giovanni Rosini, who baptised it with the title “Italica”. Ugo Foscolo, contrasting her with the Medici Venus, described her as “a beautiful woman, capable of making people fall in love, while the ancient one is an impassive, albeit beautiful, goddess”. In Canova’s work, in fact, the natural grace is accentuated in comparison to the conventionality of the ideal beauty expressed in the Hellenistic exemplar, thanks to the more dynamic pose and slightly larger dimensions, which make her as tall as a real woman.
The Medici Venus is one of the most-copied antiquities, says Wikipedia...See Wikipedia's entry on the 1st Century BC Venus de Medici:
