 In the Tribuna of the Uffizi it was a high point of the Grand Tour and was universally esteemed as one of the half-dozen finest antique statues to have survived, until a reaction in taste began to set in during the 19th century, in the form of a few dissenting voices (Haskell and Penny p. 325).Luca Giordano made hundreds of drawings of it, Samuel Rogers made daily appointments with it, Zoffany included it in his 1778 "Tribuna of the Uffizi", and Lord Byron devoted five stanzas of "Childe Harold" to describing it.It was one of the precious works of art shipped to Palermo in 1800 to escape the French, to no avail