The young men in Hans Marées's painting embody a timeless, ideal beauty, whose state of preservation belies the idea of the imperishable. The asphaltum which the artist used as a priming has not only darkened the surfaces of his works, but has also damaged them considerably. And so the picture, which conjures up antiquity as the site of longing and space for an ideal human existence in nature, simultaneously resonates with its loss. Most of Marées's work was produced in Italy and it was not until the early years of the twentieth century that it achieved broad recognition. Together with Anselm Feuerbach and Arnold Böcklin, he belongs to the group of Deutschrömer (Roman Germans).