In 1904, the largest ever display of over 500 original Irish treasures was transported to St. Louis, Missouri, to represent “the art, history and social life of Ireland” over a period of 4000 years at the Louisiana Purchase Exposition. Set amongst symbolic replicas of Blarney Castle, Cormac’s Chapel, the Houses of Parliament, a rustic cottage, a Celtic high cross, a Norman gateway and a Hiberno-Romanesque revival Industrial Hall, its unprecedented success was seen as heralding the new, independent Ireland, ripe for industrial development, keenly looking to the future, secure in its past. In retrospect, it may be seen as anticipating the advent of Ireland’s latest symbol, the Celtic tiger, a hundred years hence.
The sculpture was one of a dozen selected by Primaticcio to be molded for plaster copies and then cast in bronze for Francis I at the château de Fontainebleau . In the process, the pose was slightly adjusted, and the sleeping nymph 's limbs were gently lengthened, to accord better with French Mannerist canons of female beauty. From the bronze at Fontainebleau numerous copies and reductions were made.  In Rome Nicolas Poussin made a small wax copy of the papal sculpture to keep by him, which has come to be preserved in the Louvre Museum . Copies in marble were commissioned by Louis XIV . Pierre Julien sculpted a marble copy during his sojourn at the French Academy in Rome , 1768 to 1773, and shipped it to France to demonstrate the progress he was making, as was the expected gesture of the king's pensionnaires .  In Henry Hoare's picturesque garden at Stourhead , a lakeside temple contained John Cheere 's whited-lead copy (1766) of the Vatican Ariadne with the suitably Antique-sounding verses beginning HUIUS NYMPHA LOCI... In America, not very much later, Thomas Jefferson acquired a small marble copy of the Cleopatra , as he first knew it, for the sculpture gallery he planned at Monticello but which was never realised.  It was a gift from James Bowdoin , in 1805, and remains in Jefferson's hallway.