We cannot say the same thing if we analyze the statue of Ulysses. The emperor Claudius admired his intelligence, astuteness, genius and, as it was thanks to his astuteness that he managed to save his life pretending to be innocuous, probably Claudius identified himself with the Greek hero maybe assuming also his aspect.

The massive figure of the hero is wrapped in a chiton (usual dress of sailors and craftsmen) knotted on his left shoulder. The head and the shoulders have been devoured by the date mussels, like part of the draping of the mantle which Ulysses used to wear folded on both sides and thrown backwards.

The draping of Hellenistic style and the richness of the details, manufactured by a sculptor of the Claudius age, induce us to believe that the sculptures of the Nymphaeum of Baia derive from originals of Hellenistic and Classic age.

The statue of Ulysses is, without head, 1.75 metres tall and originally it should have reached seven foot of tallness (about 2.10 metres). The hero is represented in faithful adhesion to the story of the Homeric epopee: carrying the cup full of the wine of Marone, he approached to Polyphemus. The chosen moment is the one in which the monster asks for drinking and wants to know Ulysses' name.

The bust is erect and moves forward with steady step, stretching the arms which hold the cup. The disposition of the legs and the strained musculature show that the king of Ithaca is ready to spring backwards at the first movement of the Cyclops. His attitude expresses the temerity of his coming near danger with a brave and wise prudence.