Ancient Figurines and Statues

A collection of ancient figurines from different cultures, including limestone and terracotta representations of gods, votaries, and bodhisattvas, featuring intricate details and varied styles.

Figure, 9th century, 7 1/2 in. (19.05 cm), Ceramic, Mexico, 9th century

Limestone Figurine of Sebeknakht 1425 B.C.

Limestone statuette of a youthful votary wearing a pointed cap Late 6th century B.C. Cypriot Male figure with long hair, high peaked cap and shawl-like over garment.. Limestone statuette of a youthful votary wearing a pointed cap 242150

Terracotta figurine of a standing female votary holding a box 4th century B.C. Cypriot The figurine is mold-made and solid. The back is handmade, partly flattened, and pared.. Terracotta figurine of a standing female votary holding a box. Cypriot. 4th century B.C.. Terracotta; mold-made and hand-made. Cypro-Classical II. Terracottas

Bodhisattva. Culture: China. Dimensions: H. 25 3/4 in. (65.4 cm); W. 6 3/4 in. (17.1 cm); D. 4 3/4 in. (12.1 cm). Date: 9th-10th century. Museum: Metropolitan Museum of Art, New York, USA.

Plaque with a Royal Woman 1st century B.C. India. Plaque with a Royal Woman. India. 1st century B.C.. Terracotta. Shunga period. Sculpture

Figure, 9th century, 7 1/2 in. (19.05 cm), Ceramic, Mexico, 9th century

Fragment of a Double-Sided Relief with Theater Mask. Unknown

Kneeling Figure of the Priest Pa-Di-Bastet. Egypt, Late Period (711 - 332 BCE). Sculpture. Bronze

The God Vishnu as Vamana. India, Uttar Pradesh or Madhya Pradesh, circa 400. Sculpture. Terracotta

Nefertum. Dimensions: H. 14 cm (5 1/2 in.); W. 3 cm (1 3/16 in.); D. 5 cm (1 15/16 in.). Date: 664-30 B.C..The god Nefertum was born out of a lotus flower on the mound of creation; thus he was closely connected with the sun, creation, and with the lotus, but also, more broadly, sweet-smelling, pleasant things. Nefertum was the son of Ptah and of the lion-goddess Sakhmet, and is sometimes envisioned as the son of Bastet or certain other great female lion goddesses. He had a martial aspect, but also a protective one, mirroring some of the contrasting but complementary qualities of Sakhmet and Bastet. In later periods, his protective aspect expanded and he was a symbol of good fortune, which perhaps in part explains his prominent role as a subject for statuettes and amulets.In copper alloy statuettes, he is shown, almost without exception, as a beautiful man who wears a crown comprised of a lotus blossom framed by menat symbols and topped with two tall feathers; the menats derive from h

Bahia Culture (Mahia, Ecuador). 300 BC-500 AD. Female figure. 23 12 cm. From Ecuador. Private collection. Period of Regional Development. Private collection.

Ancient Greek Art. Archaic Period (700 B.C-480 B.C.). Goddesses rearing children. Terracotta. Statuette. Ny Carlsberg Glyptotek. Copenhagen. Denmark.

Terracotta statuette of a "temple boy" 3rd century B.C. Cypriot Votive "temple boy" figures are more common in limestone, and small terracotta such as this are relatively rare. Various interpretations have been put on the purpose of the figures, but it seems likely that they were placed in temples to mark a rite of passage in the boy's life and secure for him divine protection. But, whatever the meaning of the figures, it is clear that they represent a Cypriot custom that drives not form the Greek world but form that of the Near East.. Terracotta statuette of a "temple boy" 241163

CERAMICA IRANI-FIGURILLA EN BARRO ROSADO. Location: MUSEO ARQUEOLOGICO NACIONAL-COLECCION. MADRID. SPAIN.

Clay figurine used as a grave gift. Buried with the dead according to status to accompany the final journey. Clay, Nayarit Culture, Mexico, 100-900 AD

Figurka kobiety. unknown, workshop

Limestone statuette of a seated beardless male votary 2nd half of the 5th century B.C. Cypriot Seated figure wearing tunic and wreath.. Limestone statuette of a seated beardless male votary 242222

Kamadeva, the God of Love second half of the 8th century India (Jammu and Kashmir, ancient kingdom of Kashmir) Though rarely represented in Kashmiri art, Kama, the god of love, is here identified by a wondrous mythical creature (makara), who spews arrows from its jaws. The bow and arrow and a pair of lovebirds are Kamadevas principal identifiers. This subject is a rare survivor from early medieval Kashmir.. Kamadeva, the God of Love. India (Jammu and Kashmir, ancient kingdom of Kashmir). second half of the 8th century. Stone. Sculpture

Terracotta statuette of a woman ca. 1450-1200 B.C. Cypriot The statuette is handmade and hollow and has a shaved surface. The cylindrical body is elongated and slim.. Terracotta statuette of a woman 241099

Mirror support with the representation of the goddess Aphrodite; around 540 BC (-545-00-00--535-00-00);Ancient collection

The Hindu God Vishnu on His Mount Garuda. Nepal, 7th century. Sculpture. Gray-black argillite

Female figure entronizada con restos de pintura en blanco y azul 400-300 b.C., Ibiza and Formentera Archeological Museum, Patrimonio de la Humanidad «...

Limestone statuette of a male votary with Cypriot shorts and a diadem first half of the 6th century B.C. Cypriot Male figure wearing Cypriot loin-cloth with rosette.. Limestone statuette of a male votary with Cypriot shorts and a diadem 242155

Kinderherm, Niccolò Roccatagliata (workshop of), c. 1600 bronze (metal) bronze (metal)

Seated Apostle. Dated: 14th century. Dimensions: overall: 43.2 x 14.9 x 15.9 cm (17 x 5 7/8 x 6 1/4 in.). Medium: limestone. Museum: National Gallery of Art, Washington DC. Author: French 14th Century.

Kneeling bull holding a spouted vessel ca. 3100-2900 B.C. Proto-Elamite Soon after the political transformations of the Uruk period in southern Mesopotamia, similar innovationsincluding writing and cylinder seals, the mass production of standardized ceramics, and a figural art styledeveloped around the city of Susa in southwestern Iran, an area in which the predominant language was Elamite. While most of these innovations were adapted from Mesopotamian examples, they all took on distinctive Elamite characteristics in Iran.This small silver bull, clothed in a robe decorated with a stepped pattern and holding a spouted vessel, shows a curious blend of human and animal traits. The large neck meets distinctly human shoulders, which taper into arms that end in hooves. Representations of animals in human postures were common in Proto-Elamite art, possibly as symbols of natural forces but just as likely as protagonists in myths or fables. The function of this small masterpiece remains uncer

Lady of Ibiza. 3rd c. BC. Lady of Ibiza. Punic art. Sculpture. From: Puid dels Molins necropolis. Carthaginian art. Terra-cotta. SPAIN. MADRID (AUTONOMOUS COMMUNITY). Madrid. National Museum of Archaeology. Proc: SPAIN. BALEARES. IBIZA. Puig des Molins.

Statue of Isis, by Unknown artist, 2nd Century - 1st Century b.C., Pentelic marble, full relief. Italy: Campania: Naples: National Archaeological Museum: n. inv. 976. Whole artwork. Statue woman naked breast goddess Isis cloth/robe transparent

Relief of a Female Deity 3rd-2nd century B.C. India. Relief of a Female Deity 38748

Head from a Statue of a Male Figure. Unknown

Figurine plaque: bearded man playing a drum ca. 7th-6th century B.C. Babylonian. Figurine plaque: bearded man playing a drum 327507

Seated Goddess 2nd-3rd century India. Seated Goddess. India. 2nd-3rd century. Bronze. Sculpture

Reclining Eros. Culture: Cypriot. Dimensions: H. 2 7/8 in. (7.3 cm). Date: 3rd century B.C. or later.The figurine is mold-made and solid. The back is handmade and roughly finished. Eros reclines on his left side. Museum: Metropolitan Museum of Art, New York, USA.

Column with flowering branches, swans with deployed wings, dolphins, baskets of fruit, theater masks and olive branches. Roman. 1st century. From Pompeii. National Archaeological Museum. Naples. Italy.

Image of wood, fragment of the timepiece in Middelburg city housing tower. Image of timber, fragment of the timepiece in the city housing tower of Middelburg, presenting a halber animal in antique suit. On base.

Dvarapala. end 12th-beg. 13th c. Bayon style. Khmer art. Sculpture on rock. FRANCE. ëLE-DE-FRANCE. Paris. Guimet Museum. Proc: CAMBODIA. PHNOM PENH. Phnom Penh.

Bearded male head. Headgear with three rosettes. Limestone. Probably from Arsos, Cyprus. Ca. 580-540 BC. Museum of Mediterranean and Near Eastern Antiquities. Stockholm. Sweden.

Torso of a character dressed in loincloth (dhoti) from a fragment of a panel in Kucha, south west Xinjiang, China. VI-VII century.

Detail of a limestone statue of a woman, about 2500 BC, from Tello (ancient Girsu),Southern Iraq. Artist: Unknown

Shri Lakshmi Lustrated by Elephants (Gaja-Lakshmi). India, Uttar Pradesh, Kausambi (), 1st century B.C.. Sculpture. Terracotta

Adoring Attendant from a Buddhist Shrine, c. AD 300s-400s. Afghanistan, Gandhara, Kushan Period (1st century-320). Stucco; overall: 54.6 cm (21 1/2 in.).

Ceramic figure of Horus emerging from primordial Lotus. Egyptian civilization.

Padmapani, 700s-800s. Java, Pagan, Sailendra Period, 8th-9th Century. Copper; overall: 15.6 cm (6 1/8 in.).

Artemis Efesia, by Unknown artist, 2nd Century, alabaster and bronze, full relief. Italy: Campania: Naples: National Archaeological Museum. Detail. Statue Artemis Efesia divinity female fertility goddess pectoral cloth/robe decoration zodiac signs Lion Cancer Gemini Libra Sagittarius breasts bull scrota zoomorphic protomes lion

Head with Animal Helmet, c. 600-1000. Mexico, Gulf Coast, San Andrés Tuxtla(), 7th-11th Century. Earthenware, pigment; overall: 39.1 x 23.4 x 16.5 cm (15 3/8 x 9 3/16 x 6 1/2 in.).

Diana torso. Roman Sculpture. Museum: Museu d'historia de Barcelona.

Limestone statuette of a beardless male votary with a fillet 575-550 B.C. Cypriot Male figure with chiton and himation holding a bird.. Limestone statuette of a beardless male votary with a fillet 242153

Limestone head of a silen () late 6th or early 5th century B.C. Cypriot The top of the back shows that the figure was leaning forward, with shoulders hunched. The pointed beard is separated into incised strands; the mustache falls to the sides.. Limestone head of a silen () 254443 Cypriot, Limestone head of a silen (), late 6th or early 5th century B.C., Limestone, Overall: 3 1/2 x 3 1/4 x 2 1/4 in. (8.9 x 8.3 x 5.7 cm). The Metropolitan Museum of Art, New York. Anonymous Gift, 1941 (41.163)

Pair of Minerva figures 16th-17th century Italian, Venice. Pair of Minerva figures 198926

Figurine of a Pantheistic Winged Deity with Ram's Head. Egypt, Late Period - Ptolemaic Period (644 - 30 BCE). Sculpture. Bronze

The Rampin Rider or Rampin Horseman, marble sculpture from the Acropolis of Athens, detail, head

Lead figure of a woman late 7th-early 6th century B.C. Greek, Laconian Small flat votive figurines of cast lead have been found in great quantities at the ancient sanctuaries of Laconia; over one hundred thousand, dating from the seventh century B.C. to the Classical period, were dedicated to the goddess Artemis Orthia in Sparta.. Lead figure of a woman 251592 Greek, Laconian, Lead figure of a woman, late 7thearly 6th century B.C., Lead, Height: 1 5/8 in. (4.2 cm). The Metropolitan Museum of Art, New York. Gift of A. J. B. Wace, 1924 (24.195.26)

Standing female kithara player 3rd century B.C. or later Cypriot The figurine is mold-made and solid. The back is handmade and flat. The figurine is very thin, like a plaque.. Standing female kithara player 241249

Figural Plaque, 2nd-3rd century, 11 1/2 x 4 3/4 in. (29.21 x 12.07 cm), Gilt bronze, China, 2nd-3rd century

Statue of Gudea, named Gudea, the man who built the temple, may his life be long Neo-Sumerian ca. 2090 BCE The Akkadian Empire collapsed after two centuries of rule, and during the succeeding fifty years, local kings ruled independent city-states in southern Mesopotamia. The city-state of Lagash produced a remarkable number of statues of its kings as well as Sumerian literary hymns and prayers under the rule of Gudea (ca. 2150-2125 B.C.) and his son Ur-Ningirsu (ca. 2125-2100 B.C.). Unlike the art of the Akkadian period, which was characterized by dynamic naturalism, the works produced by this Neo-Sumerian culture are pervaded by a sense of pious reserve and serenity.This sculpture belongs to a series of diorite statues commissioned by Gudea, who devoted his energies to rebuilding the great temples of Lagash and installing statues of himself in them. Many inscribed with his name and divine dedications survive. Here, Gudea is depicted in the seated pose of a ruler before his subjects, h

Tokyo Japan. Honkan Japanese Gallery at Tokyo National Museum

God Shiva as a Deified King. Southern Vietnam or Cambodia. Date: 1201-1300. Dimensions: 65.8 × 21.3 × 20.3 cm (25 7/8 × 8 3/8 × 8 in.). Bronze. Origin: Vietnam. Museum: The Chicago Art Institute, Chicago, USA.

Figurka bogini Afrodyty-Izydy. unknown, author

Limestone statuette of Eros ca. 330-30 B.C. Cypriot The nude god, with large vertical wings, held an object against his abdomen, probably a wreath; he wears a segmented baldric.. Limestone statuette of Eros 242221

Bulgaria, Sofia, Natsionalen Istoritcheski Muzej, Ceramic idol from Poljanica

ASTARTE DIOSA DEL AMOR Y LA FERTILIDAD - ESCULTURA EN ALABASTRO - PROCEDE DE LA NECROPOLIS DE TUTUGI GALERA (GRANADA) - SIGLO VII AC. Location: MUSEO ARQUEOLOGICO NACIONAL-COLECCION. MADRID. SPANIEN.

The Goddess Tyche or Fortuna. Pakistan or Afghanistan, Gandhara region, 1st-2nd century. Sculpture. Copper alloy

Nude female figure ca. early 2nd millennium B.C.. Nude female figure 322913

Architectural Fragment

Amulet of the Theban Triad, Amun, Mut, and Khonsu. Egyptian. Date: 664 BC-332 BC. Dimensions: 4.4 × 2.5 × 0.3 cm (1 3/4 × 1 × 1/8 in.). Faience. Origin: Egypt. Museum: The Chicago Art Institute, Chicago, USA. Author: Ancient Egyptian.

Image (To'o) representing the deity 'Oro. Culture: Maohi (Tahitian). Dimensions: H. 18 1/8 x Diam. 2 7/8 in. (46 x 7.3 cm). Date: 18th century.Although human images in Polynesian sculpture are predominantly naturalistic, there are a number of instances in which the human form is taken almost to abstraction, for example, in images of the Tahitian war god 'Oro. Composed of a solid wooden core covered by intricately plaited layers of coconut fiber cordage, the images of 'Oro appear almost clublike, with the eyes, ears, and other facial features only lightly delineated in the outermost layer of the coconut fiber. The practice of wrapping sacred images in layers of coconut fiber cordage or barkcloth was widespread in Polynesia and was often accompanied by chanting. As the artist worked, he or she literally wove the power of the chants into the fiber wrappings, increasing the mana (supernatural power) of the image. Museum: Metropolitan Museum of Art, New York, USA.

Male Head. India, Uttar Pradesh or Bihar, circa 300. Sculpture. Terracotta

Goddess Durga Slaying the Buffalo Demon (Mahishasuramardini) 901 CE-1000 Cambodia. Sandstone .

Antefix 9th century Indonesia (Java). Antefix 37542

Ardhnarishwar 10th century AD Shaiv Cult, Kalchurian period found at tewar village, district Jabalpur, Madhya Pradesh, India Copyright: xHarixMahidhar/DinodiaxPhotox

Terracotta gorgoneion antefix (roof tile) 2nd half of the 5th century B.C. Greek, South Italian, Tarentine The style of this gorgoneion antefix is of a transitional type between the archaic, more fierce Medusa and the calm Medusa of later centuries. Traces of white slip remain on her face, and a few traces of paint from the once bright yellow hair can still be seen on her head. The irises of her eyes would have been painted blue or black.. Terracotta gorgoneion antefix (roof tile). Greek, South Italian, Tarentine. 2nd half of the 5th century B.C.. Terracotta. Classical. Terracottas

Antefix Fragment. Unknown

Mirror Handle with a Woman Playing the Lute 6th-7th century India (Jammu and Kashmir, ancient kingdom of Kashmir) This figurine belongs to a group of objects depicting ladies at leisure; here, the woman plays a stringed instrument. They likely served as mirror handles: each has a hole drilled from the top to receive the mirror fixture. Similar objects have been recorded at Khotan, in Central Asia, and are presumably the legacy of a luxury trade in suchgoods.. Mirror Handle with a Woman Playing the Lute 38424

Antefix, Gorgoneion 6th-5th century B.C. Etruscan or South Italian. Antefix, Gorgoneion. Etruscan or South Italian. 6th-5th century B.C.. Terracotta. Archaic. Terracottas

FIGURILLA DE GUERRERO IBERO (CONJUNTO EN Nº 4326). Location: MUSEO ARQUEOLOGICO NACIONAL-COLECCION. MADRID. SPAIN.

head of Heracles, V-III BC, island of Saltés, anthropomorphic terracotta figure, post colonial era, Huelva Museum, Huelva, Andalusia, Spain.

Statuette of a Warrior, Possibly Laran. Unknown about 450 B.C. A striding warrior wearing full hoplite armor moves forward in an attitude of attack. His left leg is advanced, body and head upright and facing front. In his raised right hand he once brandished a weapon. His extended index and middle fingers identify the weapon as a javelin, which was launched by hooking the fingers in a throwing strap. On his left arm, held away from his body, the warrior once supported a shield. The bearded figure is barefoot and his legs are protected by plain long greaves. Under his cuirass, which is embossed with concentric circles, he wears a chitoniskos with an incised hem. On his head he wears a helmet with a tall crest, the cheek pieces of which are turned up. The Umbrians lived in northern central Italy, and many aspects of Umbrian culture were similar to that of the neighboring Etruscans. Yet in the mid-400s B.C., at a time when most Etruscan artists were working in a naturalistic style, Umbria

Male Figure, c. 100 BC. India, Bengal, Chandraketugarh area, Shunga period (c. 187-78 BC). Molded terracotta; overall: 38.1 x 15.9 cm (15 x 6 1/4 in.).

Terracotta mask end of the 7th century B.C. Cypriot The mask is mold-made. The right ear is missing. It has a small ovoid face. The beard is exaggeratedly long and is neatly separated from the face. It is divided by vertical grooves into bands filled with parallel chevrons that terminate in large curls.. Terracotta mask 241033

Terracotta statuette of woman with bird face ca. 1450-1200 B.C. Cypriot This figurine is typical of Cypriot coroplastic art of the Late Cypriot II and III periods. The type, with the pubic triangle accentuated and the breasts clearly shown, is likely of Syrian origin, but Cypriot sculptors created their own variations. Handmade and hollow, it has a shaved surface. Her eyes are pellets surrounded by rings. In each large flat ear are two perforations, each containing an earring; the lower ones have overlapping terminals. The infant stretches out its arms and has depressed circles for its eyes.. Terracotta statuette of woman with bird face. Cypriot. ca. 1450-1200 B.C.. Terracotta; hand-made. Late Cypriot II. Terracottas

Terracotta protome of a goddess early 5th century B.C. Greek, Rhodian This large, beautiful protome consists of a veiled head and unarticulated expanse of neck and throat. The face is modeled in late Archaic style with sharply cut curls, narrow eyes, and closed lips raised at the corners in a smile. It is not possible to know which goddess is represented. Such masks were dedicated at sanctuaries and also placed in tombs. They have holes at the top to permit them to be hung up.. Terracotta protome of a goddess. Greek, Rhodian. early 5th century B.C.. Terracotta; Fabric: light brown (5 YR 6/4)Slip, paint: white slip, red paint- herringbone necklace () with three large oval pendants(); red ring at border of right earring; red strokes on stephane.Method of manufacture: moldmade, hollow.Back, venting: top is. Archaic. Terracottas

Buddha, Standing with Hand in Gesture of Reassurance (Abhaymudra). China. Date: 618 AD-907 AD. Dimensions: 11.5 × 3.3 × 3.5 cm (4 1/2 × 1 1/2 × 1 3/8 in.). Gilt copper alloy. Origin: China. Museum: The Chicago Art Institute, Chicago, USA.

Terracotta male head 5th century B.C. Cypriot The solid head has a mold-made face. The headdress and possibly the beard were added by hand. The head and neck are preserved; the wreath is chipped at the left side. The large eyes are rendered as raised, flat ovals, downturned at the outer corners.. Terracotta male head 241043

Limestone male head. Culture: Cypriot. Dimensions: Overall: 17 1/2 x 8 1/2 x 12 1/2in. (44.5 x 21.6 x 31.8cm). Date: last quarter of the 6th century B.C..This carefully executed head is of greatest interest for the headgear. The familiar helmetlike cap has on it the body of a bird. The animal's head is just above the man's forehead, the wings extend to either side, and the tail ends just before the projection at the top of the cap. In ancient Greece and Cyprus, the integration of whole animals or expressive parts into dress or armor was a frequent occurrence. Herakles with the lionskin is perhaps the foremost example. The priest, 74.51.2466, has a bull's head at the top of the cap. One wonders whether the individual depicted here was mortal or whether, conceivably, he might represent a special variant of Hermes, the messenger god whose travels were expedited by his winged shoes and cap. Museum: Metropolitan Museum of Art, New York, USA.

Amulet of the God Thoth 664 BCE-332 BCE Egypt. Faience . Ancient Egyptian

Virgin of Hope, polychrome wood carving, Mediterranean Pyrenees, alt emporda, Girona art museum, Girona, Catalonia, Spain.

Openwork furniture plaque with head of a sphinx ca. 9th-8th century B.C. Assyrian During the early first millennium B.C., ivory carving was one of the major luxury arts that flourished throughout the ancient Near East. Elephant tusks were carved into small decorative objects such as cosmetic boxes and plaques used to adorn wooden furniture. Gold foil, paint, and semiprecious stone and glass inlay embellishments enlivened these magnificent works of art. Based on certain stylistic, formal, and technical characteristics also visible in other media, scholars have distinguished several coherent style groups of ivory carving that belong to different regional traditions including Assyrian, Phoenician, North Syrian and South Syrian (the latter also known as Intermediate).Several ivories in the Metropolitan Museums collection are from the Aramaean town of Arslan Tash, ancient Hadatu, in northern Syria just east of the Euphrates River, close to the modern Turkish border. French archaeological e

Amulet of the God Shu 664 BCE-525 BCE Egypt. Faience . Ancient Egyptian

Sculpture. Standing bishamapes; The arms are missing and the left foot has been partially demolished.

BUSTO EN PLATA DORADA DE CARLOS V (PERFIL). Location: MUSEO HOSPITAL DE SANTA CRUZ, TOLEDO, SPAIN.

Egypt, Bahariya Museum, Greek style stucco mask

Female bust in terracotta, Ionian workshop, 525-500 BC, Archaeological Museum in the former Order Hospital of the Knights of St. John, 15th century, Old Town, Rhodes Town, Greece, Europe

Male character mingqi. Terracotta, traces of polychromy. Paris, Cernuschi museum. 78843-6 Beyond, belief, figurine, mingqi, funeral object, male character, model character, funeral rite, statuette

Guanyin and two characters. White porcelain with a large network of cracks ,. Provenance: China. Paris, Cernuschi museum. 78842-16 Fine ceramic, figurine, porcelain, statuette

Standing Jikokuten, Anonymous, 1300 - 1400 Standing jikokuten; Left arm and left lower leg are gone. Japan wood (plant material) Standing jikokuten; Left arm and left lower leg are gone. Japan wood (plant material)

Standing Figure with Feathered Headdress. Dimensions: H. 47 in. (119.4 cm)W. 20 1/2 in. (52.1 cm)D. 8 3/4 in. (22.2 cm) (including wall mount)Wt. 170 lbs. (77.1 kg)from the bottom of the coat to the top of the crown: 46 in. (116.8 cm). Date: 12th-early 13th century.The ornamented headdress, arms, and rich vestments of this figure suggests that figures like this one most likely represent a sovereign's personal guard, viziers or amirs. Probably meant to decorate the reception hall of a ruler's court, be it the Seljuq sultan or one of his local vassals or successors, they would parallel and enhance actual ceremonies in the very setting in which they took place. Recent analyses have proven that a traditionally-made gypsum plaster is consistently employed on these figures and on archaeological stuccoes. The figures also display integrated restoration of the first half of the twentieth century, including additions in a more refined gypsum, and modern pigments (some of the reds and synthetic

Etruscan votive offering from Rome. Artist: Unknown

Court Lady with High Chignon, c. 700-750. North China, Tang dynasty (618-907). Earthenware with polychromy; overall: 31.6 cm (12 7/16 in.).

Console with man's head, helmet and plumes, console building element sandstone stone, Console with male head helmet and mustache. On the top of the helmet an open visor and two plumes. Curls and leaf motifs curl under the head on the sides of the console. Pendant 10470 Rotterdam City triangle Oppert Oppert Binnenrotte Hoekhuis Oppert 4 Binnenrotte Rotterdam.

Head of Attendant. Culture: China. Dimensions: H. 15 3/4 in. (40 cm); W. 10 1/4 in. (26 cm); D. 11 1/8 in. (28.3 cm). Date: 11th-12th century. Museum: Metropolitan Museum of Art, New York, USA.

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