 Visually, we find monuments and other sculptural tributes to a less overtly political Socrates in cities and small towns across the globe in public spaces devoted to learning and contemplation. A stand-out for its unusual focus is Antonio Canova’s 1797 bas-relief, “Socrates rescues Alcibiades in the battle of Potidaea,” in which Socrates strikes a powerful pose as a hoplite. An 1875 piece by Russian imperial sculptor Mark Antokolski foregrounds the personal cost of Socrates’s commitment to philosophy, portraying him alone, a drained cup of hemlock at his side, slumped over dead. Reproductions of, and drawings based on, ancient copies of what are thought to be a fourth-century B.C.E. statue of Socrates by the Athenian Lysippus (e.g., the British Museum’s Statuette of Socrates) are also in wide circulation. A particularly interesting one can be found in graphic artist Ralph Steadman’s Paranoids, a 1986 book of Polaroid caricatures of famous people. But the most influential image of the philosopher today is the riveting, widely reproduced, 1787 painting, “The Death of Socrates,” by Jacques Louis David, now in the Metropolitan Museum of Art in New York. It captures the philosopher’s own claim to be reverent, his courageous decision to take the cup of hemlock in his own hand, and the grief his unjust fate stirred in others. 