Ancient Relief Sculptures

Stone artifacts featuring intricate carvings depicting historical and mythological figures from ancient cultures, including Egyptian and Assyrian influences.

Hittite artefact- deity Kubaba with mirror, Carchemish, 9th cent. BC. TURKEY.

SARCOFAGO DE NIÑO O PILETA TRILINGÜE CON INSCRICIONES EN JUDIO HEBREO Y MUSULMANA DATA DEL S. V PROCEDENTE DE TARRAGONA REALIZADA EN MARMOL. Location: MUSEO SEFARDI. Toledo. SPAIN.

The universal ruler Chakravatin, (possibly Ashoka the great) 1st century BCE/CE. Preserved at Musee Guimet. Amaravati School marmoreal limestone sculpture from Andhra Pradesh, India. The first references to a cakravala cakravartin appear in monuments of the Maurya period (322185 BCE), dedicated to Ashoka the Great

Orthostat relief: lion attacking a deer ca. 10th9th century B.C. Hittite The powerful Neo-Assyrian Empire influenced the surrounding region culturally as well as politically. In the west a number of small but powerful Aramaean city-states acted as a barrier between Assyria and the Mediterranean coast. These have been called Neo-Hittite city-states because of their dynastic continuity and relation to the preceding Hittites of Anatolia. These rival states were gradually brought under the control of the Neo-Assyrian Empire by military conquest.Stone slabs carved in low relief had traditionally decorated the walls of the Neo-Hittite palaces and temples. This slab depicts a lion attacking a deer. It is one of many excavated at Tell Halaf, the ancient Aramaean site of Guzana, bearing images of fantastic creatures, hunting scenes, and ceremonial banquets. Carved in the late tenth or ninth century B.C., before the Assyrian conquests of the region, the reliefs appear to have embellished an ear

Relief Fragment Depicting Imenet, Ptah and Amenhotep I. Egypt, New Kingdom (1569 - 1081 BCE). Sculpture. Limestone

Cylinder seal with cultic scene 9th - early 8th century B.C. Assyrian. Cylinder seal with cultic scene 327683

Hittite artefact- deity Kubaba with mirror, Carchemish, 9th cent. BC. TURKEY.

Cylinder seal and modern impression: cultic banquet scene Elamite late 2nd millennium or 10th-9th century BCE Although engraved stones had been used as early as the seventh millennium B.C. to stamp impressions in clay, the invention in the fourth millennium B.C. of carved cylinders that could be rolled over clay allowed the development of more complex seal designs. These cylinder seals, first used in Mesopotamia, served as a mark of ownership or identification. Seals were either impressed on lumps of clay that were used to close jars, doors, and baskets, or they were rolled onto clay tablets that recorded information about commercial or legal transactions. The seals were often made of precious stones. Protective properties may have been ascribed to both the material itself and the carved designs. Seals are important to the study of ancient Near Eastern art because many examples survive from every period and can, therefore, help to define chronological phases. Often preserving imagery n

Fragment of Tomb Relief of Three Officials: Werenkhnum, Djay, and Ameny. Egypt, possibly Memphis-Dashur-Fayum region, late 12th Dynasty-13th Dynasty, circa 1691-1640 B.C.. Architecture; Architectural Elements. Limestone

Hittite art. Orthostat. 8th century BC. Relief: Man carrying a gazelle. Found in old city of Sma'al /Zincirli (Turkey). 775 BC. Pergamon Museum. Museum Island. Berlin. Germany.

Fireplace with image. Fireplace with a representation of a warrior lying on the ground that is pierced by another.

SPAIN. Cordoba. Solar quadrant of the Andalusi astronomer Ahmad ibn a.s-.Saffr (10th-11th c.). Made in white marble. SPAIN. ANDALUSIA. Cordoba. Archaeological Museum of Cordoba.

Estampaż. unknown, author

Byzantine Art. Greece. Marble relief with mythological representation. Dated from the latest 11th century and early 12th century. It comes from Athens. Byzantine Museum. Athens.

Magical Figure. Dimensions: H. 6.7 cm (2 5/8 in.); W. 3.2 cm (1 1/4 in.). Dynasty: Dynasty 13-SIP. Date: ca. 1802-1550 B.C..These tablets of unfired clay with attached crude faces were found as a group by the Museum's excavators at Lisht South in loose surface sand west of the mastaba of Senwosretankh, a high official and possibly the architect of the pyramid complex of Senwosret I (ca. 1961-1917 B. C.), east of which he erected his own very elaborate mastaba tomb (see acc. nos. 33.1.2 and other pieces). The mud figures and little coffin (acc. no. 33.1.66) that had contained some of them must have been buried, however, considerably later than the early twelfth dynasty tomb close to which they were found. In fact, during the thirteenth and following dynasties people deposited a number of objects in the by then sacred area around a legendary ruler's pyramid and its dependant monuments, believing conceivably that potent magical powers could thus be released. These flat mud figures, for i

Relief with foreign musicians ca. 1353-1336 B.C. New Kingdom, Amarna Period. Relief with foreign musicians. ca. 1353-1336 B.C.. Limestone, paint (mostly modern). New Kingdom, Amarna Period. From Egypt; Probably from Middle Egypt, Hermopolis (Ashmunein; Khemenu); Probably originally from Amarna (Akhetaten). Dynasty 18

Magical Figure. Dimensions: H. 6.7 cm (2 5/8 in.); W. 3.5 cm (1 3/8 in.). Dynasty: Dynasty 13-SIP. Date: ca. 1802-1550 B.C..These tablets of unfired clay with attached crude faces were found as a group by the Museum's excavators at Lisht South in loose surface sand west of the mastaba of Senwosretankh, a high official and possibly the architect of the pyramid complex of Senwosret I (ca. 1961-1917 B. C.), east of which he erected his own very elaborate mastaba tomb (see acc. nos. 33.1.2 and other pieces). The mud figures and little coffin (acc. no. 33.1.66) that had contained some of them must have been buried, however, considerably later than the early twelfth dynasty tomb close to which they were found. In fact, during the thirteenth and following dynasties people deposited a number of objects in the by then sacred area around a legendary ruler's pyramid and its dependant monuments, believing conceivably that potent magical powers could thus be released. These flat mud figures, for i

Sunk relief fragment 664-610 B.C. Late Period, Saite see 23.3.468. Sunk relief fragment. 664-610 B.C.. Limestone, varnish. Late Period, Saite. From Egypt, Upper Egypt, Thebes, Deir el-Bahri, Tomb of Nespekashuty (TT 312, MMA 509), Lunette, 2nd chamber, MMA excavations, 1922-23. Dynasty 26

Reliefs from interior of funerary chapel of Meroitic Queen, 2nd cent. BC.Nubian. SUDAN.

Women working. Draping garlands. 2nd cent. BC Ancient Greek relief.

Relief representing surgical instruments, from Asklepeion at Athens, 2nd Century B.C.

Marble fragment of a stele (grave marker) of a youth mid-4th century B.C. Greek Inscribed at the top of the slab, son of Erasinos. Marble fragment of a stele (grave marker) of a youth 250771 Greek, Marble fragment of a stele (grave marker) of a youth, mid-4th century B.C., Marble, Pentelic ?, Overall: 41 9/16 x 13 1/4 x 2 3/4in. (105.5 x 33.7 x 7cm). The Metropolitan Museum of Art, New York. Rogers Fund, 1919 (19.192.39)

Egypt. Philae Temple, dedicated to the goddess Isis. Erected during the Ptolemaic and Roman periods. Detail of a relief with depiction of a lion. Agilkia Island. Aswan.

Estampaż. unknown, author

Carvings of Luna and Sol taken from pediments that were found in the temple courtyard in aquae Sulis, in the Roman city of Bath, England. They are the Moon Goddess and the Sun God, respectively, and would have originally faced each other in the layout of the courtyard. Circa 1st-3rd century AD.

Tomb panels with coats of arms of Moscoso family. 1426-1475. Compostela Workshop. Carved granite with remains of polychromy. Museum of Pilgrimage and Santiago. Santiago de Compostela, Galicia, Spain.

Drum columns with relief decoration (Hatoric emblems and dancing characters); 1st half 1st century BC 1st century (-100-00-00-100-00-00);

Clay brick with the face of the Sun God from Tabasco, Mexico. Dated 250-900 AD.

Ivory depicting figures wearing the crown of Egypt

Cylinder seal ca. 1820-1730 B.C.. Cylinder seal. ca. 1820-1730 B.C.. Hematite. Old Syrian. Syria

Egypt, Luxor, Ancient Egypt Museum, black granite votive statue, New Kingdom

Relief fragment, tomb of Meketre ca. 1981-1975 B.C. Middle Kingdom. Relief fragment, tomb of Meketre 562094

Inscribed Stone from Hatshepsut's Valley Temple ca. 1479-1458 B.C. New Kingdom. Inscribed Stone from Hatshepsut's Valley Temple. ca. 1479-1458 B.C.. Quartzite, ink. New Kingdom. From Egypt, Upper Egypt, Thebes, Asasif, Birabi, Foot of Hatshepsut's causeway, Ptolemaic radim, MMA excavations, 1915-16. Dynasty 18

Terracotta relief with enthroned deity, from Tell Yelkhi

La Casa Grande La Casa Grande, the big house 16th century, Ortigosa de Cameros, La Rioja, Spain Copyright: xZoonar.com/Tolox 22945840

Anonymous (France). Sarcophagus foot panel, small Greek cross -bloody cross. Plaster, Merovingian. Paris, Carnavalet museum. 58447-1 Greek cross, Merovingian, globule, Merovingian, panel, plaster, sarcophagus, archeological vestige

Calcareous stone urn with Chimera. Etruscan culture (3rd-2nd cent. BC) Stone. Catalan coast. Archaeology Museum of Catalonia, Barcelona.

Relief plaque ca. late 8th-7th century B.C. Assyrian. Relief plaque 324161

Monumento funerario de Malla, Ajuntament de Malla.

Hearing stone with a mascaron between two fruiting sines, anonymous, c. 1575 - c. 1600 Hearing stone with a mascaron between two fruiting sines, the whole surrounded by a fruit festival. Antwerp (possibly) earthenware Hearing stone with a mascaron between two fruiting sines, the whole surrounded by a fruit festival. Antwerp (possibly) earthenware

Mesopotamia. Summer. Archaic Dynasty III. Plaque. From Ur (Iraq). 2500BC. British Museum. London. England. United Kingdom.

Relief fragment: Assyrian soldier conducting captives across the water ca. 668-627 B.C. Assyrian This relief fragment comes from a palace at the Assyrian capital of Nineveh in northern Iraq, and dates to the later years of the Assyrian empire, specifically the reign of Ashurbanipal (r. 668-627 B.C.). Originally part of a much larger scene, it shows one of the many small vignettes that characterized Assyrian depictions of military campaigns.The relief shows a long, narrow reed boat, at the stern of which stands an Assyrian soldier. This bearded figure wears a conical helmet with cheek-guards, as well as greaves to protect his legs, but not body armor such as a cuirass; instead he wears the tunic and wrap commonly worn by most Assyrian men. On his back he carries a quiver for arrows, and though here no bow is visible, other reliefs show that this was also worn on the back. In his left hand he holds a long spear, which the sculptor has depicted as unnaturally passing behind his right arm

Magical Figure. Dimensions: H. 7.2 cm (2 13/16 in.); W. 4 cm (1 9/16 in.). Dynasty: Dynasty 13-SIP. Date: ca. 1802-1550 B.C..These tablets of unfired clay with attached crude faces were found as a group by the Museum's excavators at Lisht South in loose surface sand west of the mastaba of Senwosretankh, a high official and possibly the architect of the pyramid complex of Senwosret I (ca. 1961-1917 B. C.), east of which he erected his own very elaborate mastaba tomb (see acc. nos. 33.1.2 and other pieces). The mud figures and little coffin (acc. no. 33.1.66) that had contained some of them must have been buried, however, considerably later than the early twelfth dynasty tomb close to which they were found. In fact, during the thirteenth and following dynasties people deposited a number of objects in the by then sacred area around a legendary ruler's pyramid and its dependant monuments, believing conceivably that potent magical powers could thus be released. These flat mud figures, for

Tombstone 10th century. Tombstone 456991

Mesopotamia. Halaf culture. (ca 6000-5300 BC). Neolithic. Syria. Colossal statue of bird. Temple-Sanctuary of Tell Hall. Basalt. 9th century BC. Pergamon Museum. Museum Island. Berlin. Germany.

Relief panel ca. 883-859 B.C. Assyrian This panel from the Northwest Palace at Nimrud (ancient Kalhu) depicts a winged supernatural figure. Such figures appear throughout the palace, sometimes flanking either the figure of the Assyrian king or a stylized "sacred tree." The reliefs were painted, but today almost none of the original pigment survives. However, the reliefs themselves retain incredible detail, including intricate incised designs on many of the figures clothing.In most rooms of Nimruds Northwest Palace, the reliefs showing magical figures had a single, overlifesize pictorial register, with the "Standard Inscription" in the center cutting across the imagery. The relief shown here, however, is at half-height because it comes from a room in which two registers of imagery were separated by a central band containing the inscription. It is not clear why the design is different in these rooms, although their position in the palace suggests they had special ritual significance. O

Relief depicting the royal lion hunt. Assyrian, about 645-635 BC From Nineveh, North Palace,

Pyxis fragment ca. 8th-7th century B.C. Iran. Pyxis fragment 324192

Reliefs from Tell Halaf. The cuneiform inscription seen on the reliefs records, 'Palace of Kapara, son of Hadianu'.

Battle scene, Relief from Royal Palaces of Nineveh, circa 645 B.C.

Prehistory, Spain, Bronze Age. Granite idol known as the Stele of the Granja de Toninuelo. Height cm. 135. From Jerez de los Caballeros, Badajoz.

Lazio Viterbo Viterbo Museo Civico46. Hutzel, Max 1960-1990 Views of paintings (Middle Ages through 18th c.), frescoes, a tabernacle, coffin, sculpture reliefs, portal fragments, busts, sculpture, tapestry found in the Pinacoteca, Second floor gallery and Second floor cloister sequences. Antiquities: Many views of Etruscan and Roman fragments, sculpture, sarcophagi, pottery, masks, jewelry and other objects found in the Storeroom sequence (inventory numbers on back of prints), and the Cloister, Second floor Cloister, Valle Giulia, Sala Romana and Sala Etrusca sequences. General Notes: There are eight separate numerical sequences for this location. The cloister as an architectural structure, rather than museum site, is documented in the record and file for S. Maria della Verita, Cloister, all views of which are stored in Medieval core collection. Five views from the Museo Civico Second floor cloister sequence are stored in Medieval. German-born photographer and scholar Max Hutzel (1911-

Egypt, Luxor, East Bank, Luxor Temple. Typical hieroglyphic covered wall, detail.

Panel fragment. Culture: Iran. Dimensions: 0.98 x 2.17 in. (2.49 x 5.51 cm). Date: ca. 8th-7th century B.C.. Museum: Metropolitan Museum of Art, New York, USA.

Box of the Warriors Box of the Warriors, archaeological piece from the Iberian period, 1st century BC. C., Piquía necropolis, Arjona, Iberian Museum of Jaén, Andalusia, Spain Copyright: xZoonar.com/BartomeuxBalaguerxRotgerx 21714922

Cylinder seal ca. 19th-18th century B.C. Elamite. Cylinder seal 327282

Hittite art. Orthostat or stele of King Bar-Rakib (Barrakit 744-727 BC) sitting on the throne .750 BC. Zone of Sma'al /Zincirli (Turkey) to South of Turkey. Detail. Pergamon Museum. Museum Island. Berlin. Germany.

Fireplace with Adam and Eva presentation. Fireplace with Adam and Eva presentation.

Marches Urbino Palazzo Ducale, Galleria Nazionale delle Marche93. Hutzel, Max 1960-1990 Post-medieval: First floor: Polyptychs, triptychs, crucifixes, panel paintings, sculpture, frescoes now housed in Museo; stucco decoration in private chapels Object Notes: See also Urbino, Museo Albani. With both sites the negs arrived separately from the prints, yet all negs were labelled as Urbino, Palazzo Ducale, making it difficult to match some negatives to their prints. German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

ARTE IBERICO. ESPAÑA. ESFINGE IBERICA con cuerpo de león. Procedente de Haches Bogarra (Albacete). Museo de Albacete. Castilla-La Mancha.

Fireplace with image. Fireplace, representing the Dutch virgin in the garden, with which two virgins with blazing, on which a lion and with olive branches in the hand.

Funerary limestone stele depicting Anubis embalming deceased who resuscitates as Osirisin, Greek style, from Alexandria

Relief depicting gladiator, Samnites, Italic civilizations

Hearing stone with representation of Adam and Eva, c. 1499 - c. 1699 Highstone with representation of Adam and Eva. Southern Netherlands earthenware Highstone with representation of Adam and Eva. Southern Netherlands earthenware

Cylinder seal and modern impression: nude male, griffins, monkey, lion, goat ca. 15th-14th century B.C. Mitanni. Cylinder seal and modern impression: nude male, griffins, monkey, lion, goat 327229

Limestone fragment of an altar with a relief early 5th century B.C. Cypriot A bearded figure, wearing a conical cap beneath which appear locks of hair, reclines on a couch, his left elbow resting on a cushion. A dog is attached to the upright of the couch and in front of him, facing left, stands a small, beardless figure. A syllabic inscription is inscribed above the banqueter.. Limestone fragment of an altar with a relief 241872

Horseman depicted in part of the Parthenon friezes at the Parthenon/Acropolis museum, Athens

Cylinder seal and modern impression: seated figure holding the tail of a griffin ca. 14th century B.C. Cypriot Although engraved stones had been used as early as the seventh millennium B.C. to stamp impressions in clay, the invention in the fourth millennium B.C. of carved cylinders that could be rolled over clay allowed the development of more complex seal designs. These cylinder seals, first used in Mesopotamia, served as a mark of ownership or identification. Seals were either impressed on lumps of clay that were used to close jars, doors, and baskets, or they were rolled onto clay tablets that recorded information about commercial or legal transactions. The seals were often made of precious stones. Protective properties may have been ascribed to both the material itself and the carved designs. Seals are important to the study of ancient Near Eastern art because many examples survive from every period and can, therefore, help to define chronological phases. Often preserving imagery

Archer on Horse, AD 300s. India, Kashmir, Harwan, 4th century. Terracotta; overall: 33 x 36.9 x 6.4 cm (13 x 14 1/2 x 2 1/2 in.).

Metternich Stele, or Magical Stele 360-343 B.C. 3oth Dynasty, reign of Nectanebo II; late Dynastic period, Egyptian made from Greywacke; The top half of this stele was skilfully carved in a hard dark stone. On the part below the central figure panel, rows of hieroglyphs record thirteen magic spells to protect against poisonous bites and wounds and to cure the illnesses caused by them. In this detail of the stele

Cylinder seal ca. 2500 B.C.. Cylinder seal 327281

Relief depicting the temple-treasurer Setju. Limestone. From the tomb of Setju, Sakkara (Egypt). 4th-5th Dynasties. Old Kingdom. C. 2500-2350 BC. Ny Carlsberg Glyptotek. Copenhagen. Denmark.

Reliefs. Museum of Monte Albán.Oaxaca .Mexico.

Furniture plaque carved in relief with standing woman. Culture: Assyrian. Dimensions: 9.96 x 3.74 in. (25.3 x 9.5 cm). Date: ca. 9th-8th century B.C..This ivory panel was found in a storage room in Fort Shalmaneser, a royal building at Nimrud that was used to store booty and tribute collected by the Assyrians while on military campaign. Like many other panels from the same storage room, it was part of a chair or couch back or the headboard of a bed. Twenty pieces of furniture were discovered stacked in orderly rows in this room, where they had been stored before the destruction of the Assyrian palaces in 612 B.C. Shown here is a finely carved winged female figure, dressed in a long garment belted at the waist, made of a material with an overall design of delicate wavy lines. The panel is broken on the right side, so much of the figure's left side is missing, although one bare foot remains with heavy anklets visible below the hem of the dress. She wears her hair in long locks, with smal

Viking Smiss picture stone from Gotland, XIth century showing warriors fighting. Museum: Historisk Museet, ESTOCOLMO, SWEDEN.

Fireplace with a presentation of a mascaron between two fruit festivoes. Fireplace with a mascaron between two fruit festons, the whole surrounded by a fruitfeston.

Greek art. Archaic period. Votive relief. About 560 BC. Three dancing women - Charites (Graces), goddesses of beauty and joyfulness. Glyptothek. Munich. Germany.

Estampaż. unknown, author

Maya Lintel from Yaxchilan in Mexico 600-900AD, British Museum, London, England

Funerary altar with relief decoration showing two maenads performing orgiastic dance

Cylinder seal ca. early 2nd millennium B.C. Babylonian. Cylinder seal. Babylonian. ca. early 2nd millennium B.C.. Lapis lazuli. Old Babylonian. Mesopotamia

Sarcófago de plomo, sala del Tinellet, Museu de Terrasa.

Marble votive tablet depicting the Danube horsemen. 2nd-3rd centuries AD. From Lom (ancient Roman city of Almus), Montana region, Bulgaria. National Archaeological Museum. Sofia. Bulgaria.

Vestibule, red granite armorial pillar, Karnak Temple, Luxor, Thebes, Egypt, Luxor, Thebes, Egypt, Africa

Carved funerary stone, depicting the dead heroes' entry into Valhalla. Gotland, 8th C. Statens Historiska Museet, Stockholm.

Two bowing courtiers behind Nefertiti ca. 1353-1336 B.C. New Kingdom, Amarna Period This block depicts the large hip and buttocks of a female, identifiable by her garment and the curve of her thigh against her stomach. The relative size of the figure indicates the queen is represented.Two men kiss the ground in her presence while clutching the handles of their insignia, followed by a row of three ladies-in-waiting.. Two bowing courtiers behind Nefertiti 544059

Cylinder seal ca. early 2nd millennium B.C. Babylonian. Cylinder seal. Babylonian. ca. early 2nd millennium B.C.. Hematite. Old Babylonian. Mesopotamia

Fragment of a marble replica of the shield of Athena Parthenos. From Athens, 3rd century AD. The Parthenon housed a colossal gold and ivory statue by Phidias of Athena Parthenos. We know that the exterior of Athena's shield showed the battle between Greeks and Amazons, and the interior, the battle between Gods and Giants. On this small- scale replica shelf the battle with the Amazons is carved in Relief.

Plaque depicting a richly dressed goddess lying on a wedding bed. From Babylonia, from the 2nd millennium BC.

Architectural detail. Carved limestone. The Golden Horde, Crimea (Solkhat), 14th century. Excavated outside the Solkhat madrasa. The State Hermitage Museum. Saint Petersburg. Russia.

Cylinder seal ca. 2289-2255 B.C. Egyptian. Cylinder seal 327204

Campania Caserta Teano Cathedral81. Hutzel, Max 1960-1990 Medieval: Built 1116, remodelled by Andrea Vaccaro in 1630, restored in years following damage in second world war. Includes re-used Roman capitals. Architecture, architectural sculpture; sculpture including painted wooded crucifix (c.1330-31) and pulpit (13th century) with mosaic and relief. The Cripta di S. Paride acts as a small museum containing roman, medieval, and modern marble. Post-medieval: Choir stall (MCMLVII); paintings by Francesco de Mura in the Cappella di S. Paride; marble fragments from the Cripta di S. Paride Antiquities: spolia Object Notes: Originally dedicated to S. Terenziano, now dedicated to S. Clemente German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Et

Fireplace with a grenade flower, anonymous, c. 1500 - c. 1600 Cast iron fireplace, decorated with two more or less symmetrical tendrils with grenade flowers. The scene is framed with a decorative band with leaf vines on the sides and top. The letter I can just read. The whole is framed by a wide, unpleasant edge. The right half has been lost. Germany iron (metal) casting Cast iron fireplace, decorated with two more or less symmetrical tendrils with grenade flowers. The scene is framed with a decorative band with leaf vines on the sides and top. The letter I can just read. The whole is framed by a wide, unpleasant edge. The right half has been lost. Germany iron (metal) casting

Magical Figure ca. 1802-1550 B.C. Late Middle Kingdom-Second Intermediate Period These tablets of unfired clay with attached crude faces were found as a group by the Museum's excavators at Lisht South in loose surface sand west of the mastaba of Senwosretankh, a high official and possibly the architect of the pyramid complex of Senwosret I (ca. 1961-1917 B. C.), east of which he erected his own very elaborate mastaba tomb (see acc. nos. 33.1.2 and other pieces). The mud figures and little coffin (acc. no. 33.1.66) that had contained some of them must have been buried, however, considerably later than the early twelfth dynasty tomb close to which they were found. In fact, during the thirteenth and following dynasties people deposited a number of objects in the by then sacred area around a legendary ruler's pyramid and its dependant monuments, believing conceivably that potent magical powers could thus be released. These flat mud figures, for instance, are inscribed in now much-faded red

Study of a Scene of Martyrdom (recto); Study of Three Figures (verso). Artist: Anonymous, Italian, 16th century (Italian, active Central Italy, ca. 1550-1580). Dimensions: 4-1/16 x 7-3/16 in. (10.3 x 18.3 cm). Date: 16th century. Museum: Metropolitan Museum of Art, New York, USA.

Hearing stone with a representation of the evangelist Marcus, Anonymous, Anonymous, c. 1525 - c. 1575 Hearing stone with a representation of the evangelist Marcus with a writing marker and a writrol. A lion at his feet. In the background a landscape with a few trees. A horizontal line runs through the show. Antwerp earthenware Hearing stone with a representation of the evangelist Marcus with a writing marker and a writrol. A lion at his feet. In the background a landscape with a few trees. A horizontal line runs through the show. Antwerp earthenware

Hearing stone with image, anonymous, c. 1400 - c. 1950 Highstone. "Man on horseback". Southern Netherlands earthenware Highstone. "Man on horseback". Southern Netherlands earthenware

Cylinder seal ca. 15th-14th century B.C. Mitanni. Cylinder seal 322381

Relief fragment, Intef inscription ca. 2100-2090 B.C. Old Kingdom-First Intermediate Period. Relief fragment, Intef inscription. ca. 2100-2090 B.C.. Limestone. Old Kingdom-First Intermediate Period. From Egypt, Northern Upper Egypt, Dendera. Dynasty 7-10 ()

Italy, Tuscany, Chiusi, Detail of Funerary cippus representing games and dances, stone

Tile China. Tile 51962

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