Ancient Reliefs and Seals

Artifacts from ancient cultures including detailed reliefs, stone stelae, and decorated seals showcasing historical scenes and figures.

Rhinoceros in a Pakistani steatite seal, 25th century BC. Artist: Unknown

Assyrian Empire. Mesopotamia. Near East. War in the marshes. Detail from a large battle scene. Relief from the palace of Sennacherib at Nineveh (Kuyunkik, Iraq). Limestone. Early. 7th century B.C. The State Hermitage Museum. Saint Petersburg. Russia.

Sandstone Stela showing the Deceased Presented to Osiris by Anubis 305 B.C.

Fireplace with image. Fireplace with windows, representing a fountain, a seated shepherd and shepherd's side. In the shine sheep.

Fragment of a fireplace with image. Fragment of a fireplace with an image of a man and woman at an altar.

Rhinoceros in a Pakistani steatite seal, 25th century BC. Artist: Unknown

ESTELA FUNERARIA DE CARMONA- EDAD DE LOS METALES- II MILENARIO MUESTRA LAS ARMAS DEL GUERRERO. Location: MUSEO ARQUEOLOGICO-COLECCION, SEVILLA, SEVILLE, SPAIN.

Stamp-cylinder seal (with loop handle) with cultic scene ca. 8th-7th century B.C. Urartian. Stamp-cylinder seal (with loop handle) with cultic scene 327290

Molded Faience Rectangular Plaque with Title or Royal Name (). Egypt, New Kingdom - Late Period (1569 - 333 BCE). Sculpture; plaques. Faience

Achaemenids. Fragment of a relief depicting a Royal bodyguard. Early 5th century BC. From Persepolis.

Men Bearing Tomb Equipment, 667-647 BC. Egypt, Thebes, Late Period, Late Dynasty 25 to Early Dynasty 26. Limestone; overall: 47 x 57.9 cm (18 1/2 x 22 13/16 in.).

Round-topped Stela of Wenenkhu New Kingdom, Ramesside ca. 1275-1237 B.C. Wenenkhu and his son Penpakhenty worship the god Re-Harakhty as he crosses the sky in his barque. A similar stela in the British Museum depicts the father and the son adoring a similar image of the god, who is represented as a falcon headed deity. According to the inscriptions, both stelae were made by Wenenkhu.The name Wenenkhu is rare among the villagers, and its attestations suggest that he worked there between year 2 and 40 of the reign of Ramesses II. View more. Round-topped Stela of Wenenkhu. ca. 1275-1237 B.C.. Limestone. New Kingdom, Ramesside. From Egypt; Probably from Upper Egypt, Thebes, Deir el-Medina. Dynasty 19

Hittite clay envelope to hold a letter on a clay tablet, 18th century. Artist: Unknown

Leendert Bolle, Half of mold with an embossed circle with two bag carriers , mold embossed plaster, signed LB Rotterdam bag carrier

Hearing stone with a representation of two climbing lions, Anonymous, 1608 Hearing stone with a representation of two climbing lions, placed in two oval laurel wreaths that are connected by a rosette. In addition to the lion heads the year 1608 Southern Netherlands earthenware Hearing stone with a representation of two climbing lions, placed in two oval laurel wreaths that are connected by a rosette. In addition to the lion heads the year 1608 Southern Netherlands earthenware

Warrior with round shield - Caldevigo, by Unknown, 5th Century, bronze. Italy, Veneto, Este, National Museum. Whole artwork. Lamina votive bronze warrior soldier lance: spear shield helmet cuirass jamb embossing.

Fragment of a frieze with birds. warsztat nubijski, workshop

Cylinder seal and modern impression ca. 1720-1650 B.C.. Cylinder seal and modern impression 327199

Hearing stone with a sea battle, anonymous, c. 1525 - c. 1575 Hearing stone with a sea battle. Southern Netherlands earthenware Hearing stone with a sea battle. Southern Netherlands earthenware

Marble plaque with kufic scripture. 10th-11th centuries. Detail. Fatimid Period, Egypt. Pergamon Museum. Berlin. Germany.

Susa: Boundary-stone of Nazi-maruttash. Fourteenth century B.C.

Balustrade fragment with the cartouches of the Aten and Akhenaten. Dimensions: H. 23.2 × W. 12.5 × D. 6.6 cm (9 1/8 × 4 15/16 × 2 5/8 in.). Dynasty: Dynasty 18. Reign: reign of Akhenaten. Date: ca. 1352-1336 B.C.. Museum: Metropolitan Museum of Art, New York, USA.

Fireplace with a representation of Adam and Eva. Fireplace with a representation of Adam and Eva.

Fireplace with image. Fireplace. "Samson with the chinnips".

Relief from a Pulpit with the Symbol of Saint Luke. Artist: Master Christophanus or Stephanus (Italian, active late 12th century) , and his Workshop. Culture: Italian. Dimensions: Overall: 45 1/4 x 22 1/16 x 8 1/4in. (115 x 56 x 21cm). Date: ca. 1180.This relief depicts an ox, the symbol of Saint Luke, holding a book with an inscription from the opening of his Gospel. A second inscription refers to the master sculptor Stephanus and his associates. Nothing more is known of the sculptor, but the hallmarks of his style, with its crispness and richness of decorative forms contrasting with plain surfaces, are characteristic of sculpture in Abruzzi during the late twelfth century. Because of changes in the liturgy promulgated at the Council of Trent (1544-68), medieval pulpits were frequently dismantled and their parts scattered. Museum: Metropolitan Museum of Art, New York, USA.

Odyssean tablet. unknown, author

Ballplayer Panel 700 CE-800 CE Usumacinta. In Central America, the best-known sculptors are the Maya, who decorated their temples and sacred precincts with finely carved stone reliefs representing powerful dynastic rulers involved in various secular and religious activities. This fragmentary ball-court panel from the late eighth century shows two men, dressed in elaborate costumes, engaged in a ritual ball game. Surrounding the figures, and clearly set off from them, are fragments of hieroglyphs by which the Maya identified the players and the date on which the game occurred.. Limestone . Maya

Marble stele depicting a sacrifice being made for to the Goddess of Cybele. Dated 1st Century B.C.

Samson's capital. 12th c. Samson breaking the jaws of a lion. Romanesque art. Relief on rock. SPAIN. CATALONIA. Barcelona. Frederic Mares Museum. Proc: SPAIN. CASTILE AND LEON. PALENCIA. Villaherreros.

Graffiti Sketch of Man (possibly armed withsword)

Relief fragment, tomb of Meketre ca. 1981-1975 B.C. Middle Kingdom. Relief fragment, tomb of Meketre 562122

Relief Fragment with Male figure, possibly Apollo, andChild

Cuneiform tablet impressed with cylinder seal: record concerning laborers needed for irrigation work ca. 2042 B.C. Neo-Sumerian. Cuneiform tablet impressed with cylinder seal: record concerning laborers needed for irrigation work. Neo-Sumerian. ca. 2042 B.C.. Clay. Ur III. Mesopotamia, Umma (modern Jokha)

Furniture plaque carved in relief with a "woman at the window". Culture: Assyrian. Dimensions: H. 2 1/2 x W. 1 3/4 x Th. 1/2 in. (6.4 x 4.5 x 1.2 cm). Date: ca. 9th-8th century B.C..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 Museum's collection are from the Aramaean town of Arslan Tash, ancient Hadatu, in northe

Frieze from a wall at Palace in Persepolis, a Royal Achaemenid city in the Persian Empire. The palace was built between 6th Century BC-5th Century BC

MANIL DE ANTEALTAR VISIGODO REALIZADO EN MARMOL PROCEDENTE DE PUEBLA DE LA REINA (BADAJOZ) - SIGLO VII. Location: MUSEO ARQUEOLOGICO NACIONAL-COLECCION. MADRID. SPAIN.

LAPIDA DE MARMOL QUE CONMEMORA LA MUERTE DE UNA DE LAS CONCUBINAS DE MUHAMMAD I - ESCRITURA CUFICA ARABE - SIGLO IX. Location: MUSEO ARQUEOLOGICO-COLECCION. CORDOBA. SPAIN.

Stele of Ushumgal and Shara-igizi-Abzu 2900-2700 B.C. Sumerian Among the earliest written documents from Mesopotamia are records of land sales or grants, often carved in stone with associated images, perhaps for public display. The Sumerian inscription on this stele records a transaction involving three fields, three houses, and some livestock. Ushumgal, a priest of the god Shara, and his daughter are the central figures of the transaction, but because of the archaic script, it is not clear whether Ushumgal is buying, selling, or granting these properties. The smaller figures along the sides very likely represent witnesses to the transaction.In addition to their importance to understanding the development of writing, these early land documents provide evidence that land could be privately owned in early Mesopotamia, although a significant proportion was still owned by the gods and managed by their temples. While this development is not surprising from a modern point of view, in antiqui

Hearing stone with men's head and the letters V i in Lauwerkrans, c. 1575 - c. 1625 Hearing stone with men's head and the letters V i in Lauwerkrans, placed in profiled window. A double -headed eagle in the half windows on the sides. The half windows on the top and bottom are filled with half medallions with star motif. Southern Netherlands earthenware Hearing stone with men's head and the letters V i in Lauwerkrans, placed in profiled window. A double -headed eagle in the half windows on the sides. The half windows on the top and bottom are filled with half medallions with star motif. Southern Netherlands earthenware

Stone block with confronting eagle and jaguar and glyph. Dated 14th Century

Campania Caserta Capua Museo Campano0. Hutzel, Max 1960-1990 Medieval: Byzantine architectural fragments; parchment fragments with miniatures (12th century) from Montecassino; painted wooden crucifix (13th century); Carolingian crucifixes; Bishop's miter (11th century) of gold and silver damask; fresco (13th century). Post-medieval: Architecture (15th century). Formerly the Palazzo Antignano. Unusual Catalan/Moorish-style portal; Paintings on panel and canvas (15th-18th centuries); marble intarsia (16th century); marble sculpture: busts of Christ and Mary (17th century); sculpture of saints in marble and in wood (15th century); painted and gilded sculpture in wood; marble grave sculpture (16th century); sarcophagus with allegorical carvings; gold reliquary "Rosa d'Oro"; crucifix made of elephant tusk Specific Location: Pianterreno Antiquities: Italic sculpture (seated women holding babies); inscription. Photo campaign #1: 533 photos. Roman relief and sculpture; cinerary urns; Greek and

nicho de marmol, siglo XII, iglesia de San Andres, Museo de los Concilios y la Cultura Visigoda, Iglesia de San Román,Toledo, Castilla-La Mancha, Spain.

Funerary stele of ""Suarius"" or keeper of pigs

Mayan stone relief from an architectural feature. Dzibanche, Quintana Roo, Mexico 250-600 AD

Pillar Fragment with Dancing Apsaras late 12th-early 13th century Cambodia These two dancers, on lotus flowers within an arch, are celestial goddesses (apsaras). Their high tiaras, enigmatic smiles, and outward-turned sampots (wrap-around skirts) are indicative of the Bayon style.. Pillar Fragment with Dancing Apsaras 38303

Fragment of a limestone relief with standing figure 4th-3rd century B.C. Greek, South Italian, Tarentine A figure, possibly Orpheus, standing with right foot resting on a short pedastal.The scene comprised of three fragments may symbolize the journey of the deceased to the Underworld. To the left, 1996.151.1, are Hades and Persephone enthroned; at center, 1996.151.2, the standing figure may be Orpheus, and to the right, 1996.305, Hermes, who conducted the souls of the dead to Hades, takes the hand of a woman dressed in a chiton, with her himation (cloak) pulled over her head and around her waist. She stands in front of a cave-like opening that represents the entrance to the Underworld. Such reliefs are known to have been popular on funerary monuments at Tarentum.. Fragment of a limestone relief with standing figure 256253

Boddhisattva, anonymous, c. 500 - c. 600 Votive image with bodhisattva. China earthenware Votive image with bodhisattva. China earthenware

Stone relief depicting a prisoner. Classical Mayan 600-900AD; Tonina, Chiapas, Mexico

Babylonian terracotta plaque of Gilgamesh. Artist: Unknown

Detail of the left jamb of a monumental door decorated with acanthus leaves, a squirrel and a snake. Limestone and marble. Roman-Germanic Museum. Cologne. Germany.

Fireplace with presentation of Sint Joris on horseback, who kills the dragon. Fireplace with presentation of Sint Joris on horseback, who kills the dragon, with the princess on the right.

Mexico - Maya Civilization 6th century A.D. - Architrave N.47 with an inscription of 32 Mayan hieroglyphics (534 A.D.) from the building 12 of Yaxchilan

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

Diptych depicting a chariot race. 5th c. Paleo-christian art. Sculpture on ivory. ITALY. LOMBARDY. Brescia. Christian Civic Museum. Proc: TUNISIA.

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 21714807

North frieze of Parthenon, Acropolis of Athens. Blocks N XXXIV, figures 89-91. 5th century BC. Master of works, Phidias. Replica. Acropolis Museum. Athens. Greece.

Limestone inscribed relief fragment. Culture: Cypriot. Dimensions: Overall: 4 1/4 x 5 5/8 x 2 1/4 in. (10.8 x 14.3 x 5.7 cm).Grave releif fragment with palmette and inscription. Museum: Metropolitan Museum of Art, New York, USA.

Ancient Greece. Upper part of the grave stele of Aristoteles, son of Aristomenes from the deme of Pergases in Attica. Two young men dancing are represented beneath the volutes of the loutrophoros (funeral urn), 330-320 BC. Archaeological Museum of Piraeus. Greece.

Mother Goddess Astarte (Asherah), relief on ivory of a goddess between two mountain goats, Ugarit, Syria. Ugaritic Civilisation, 14th century BC.

Furniture plaque carved in relief with stylized tree. Culture: Assyrian. Dimensions: 2.99 x 2.44 x 0.43 in. (7.59 x 6.2 x 1.09 cm). Date: ca. 8th-7th century B.C..This plaque 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. It depicts a stylized tree that combines fan-like papyrus flowers and stylized rounded blossoms that may represent pomegranates. A delicate network of eleven branches radiates out from a central trunk, bound together at the midpoint by a horizontal element; above, a pair of curled leaf-like forms called volutes springs from the single vertical branch. Five branches end in papyrus flowers, and six end in rounded blossoms. The tree combines features of two different types of plants to depict a symbol of abundance and fruitfulness connected with the agricultural cycle. A plain border extends at the upper and lower edges of the plaque. Carved ivory

Relief fragment with two young dogs. Dimensions: H. 20 cm (7 7/8 in.); W. 18 cm (7 1/16 in.). Dynasty: Dynasty 5. Reign: reign of Niuserre-Unis. Date: ca. 2400-2323 B.C..Two puppies stand side by side with slightly lowered heads, as if hesitating to approach some problem or adversary they cannot yet handle. They must have belonged to a subregister of a larger composition-perhaps a hunt in the desert. The impression of overlap is achieved by the use of incised lines that slope up into the surface of the relief rather than by actual variations in height. This technique, used from the time of Niuserre onwards, allowed much easier execution of intricate groupings. Museum: Metropolitan Museum of Art, New York, USA.

Visigothic tombstone, 5th-6th centuries. Spain. Geometric and vegetal decoration. Sandstone. Unknown origin. Archaeological Museum, Barcelona, Catalonia, Spain.

Tomb Chapel of Raemkai: West Wall ca. 2446-2389 B.C. Old Kingdom THE WEST WALLIn ancient Egyptian mythology the west was the realm of the dead. Therefore, in all Old Kingdom tombs, west walls incorporate a symbolic doorway (called a False Door by Egyptologists) as a focal point for prayers and offerings. Along with the False Door (08.201.1e), west walls usually present scenes that are closely related to the offering rituals. On this west wall, to the right of the large False Door, rows of attendants bring tables on which offerings are heaped. In the uppermost preserved register the tomb owner, seated on a lion-legged chair, receives the gifts. The butchering scene in the second register from the bottom is also appropriately placed on this wall, as meat was among the most important life-affirming offerings.Butchering and Meat PreparationThe representation in the second register from the bottom is structured symmetrically. At right and left, groups of men work on butchered cattle, while

Reconstructed Nubian temples of Buhen and Semna, saved from land flooded by Lake Nasser, National Museum, Khartoum, Sudan, Africa

Roman Egypt. Funerary stele. Abydos, Egypt. 3rd-1st century. Deceased with Osiris and Isis. Greco-Romans elements.

Death of the Buddha (Parinirvana) 2nd-3rd century Pakistan (ancient region of Gandhara). Death of the Buddha (Parinirvana) 38209

Chistian Bricks that decorated the ceiling and walls of Christian building. Vegetal and geometric motifs with Chi-Rho. IV-VII centuries. From Baetica, Hispania, Spain.

Offering stele for the god Ptah and his wife Sakhmet. Limestone. 19th Dynasty. New Kingdom. 1305-1196 BC. Temple of Ptah. Memphis, Egypt. Ny Carlsberg Glyptotek Museum. Copenhagen. Denmark.

Lazio Roma Artena Palazzo Borghese5. Hutzel, Max 1960-1990 Post-medieval: Architecture, architectural sculpture, sculpture. This structure was built by Cardinal Scipione Borghese in the 17th century, and the palazzo's portal has been attributed to the artist Martino Longhi. 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.

Portrayal of the folding curule seat, symbol of power of magistrates endowed with imperium, curules magistrates. In the frieze, relief of city's foundation. Rome. 2nd century. National Roman Museum (Baths of Diocletian). Rome. Italy.

Emilia-Romagna Bologna Bologna Museo Civico Archeologico Sale III, IV, V00. Hutzel, Max 1960-1990 Specific Location: Sale III, IV, V (Egyptian antiquities) Owner: Museo Civico Archeologico Antiquities: III: basalt sculptural fragments; reliefs from the tomb of Horemheb; funerary stele; dynasties XVIII, XIX, XX, Ptolomeic dynasty reliefs, generally in limestone. IV: XVIII, XIX dynasty sculptures in granite, limestone, sarcophagi, statuette in basalt, statuette in wood, statuettes in bronze, statuette faience, mummy mask: V: basalt sculptures of Horus, Sekhmet, limestone stele (Antiq. count: 202); Republican portrait sculpture, Republican cippi with portrait bust, cippus with portraits (single and group), cippi with inscriptions from all periods, architectural fragments, basin with inscription, torso fragment of cuirassed figure of the 1st century AD (Nero) (Antiq. count: 185); disk lamps from the late republic to 6th century, with erotes, animals, erotica, mythological scenes, menorah,

Fireplace with image. Fireplace. "The cores stemed".

stele of San Vicente de Toranzo, around the 1st century AD., Museum of prehistory and archeology (MUPAC), Santander, Cantabria, Spain.

Funerary stele with inscription in Phoenician signs "Tomb of Gerashtart, son of Baalpilles". 5th century BC. Sandstone. Necropolis of Villaricos, Cuevas de Almanzora (province of Almeria, Andalusia). National Archaeological Museum. Madrid. Spain.

Relief portraying Germany imprisoned, from Mainz, Germany

Hearing stone with the representation of the two elders from the history of Suzanna, who are stoned by two soldiers, c. 1550 - c. 1600 Hearing stone with the representation of the two elders from the history of Suzanna, who are stoned by two soldiers. In the background a basket with stones and a tree. Southern Netherlands earthenware Hearing stone with the representation of the two elders from the history of Suzanna, who are stoned by two soldiers. In the background a basket with stones and a tree. Southern Netherlands earthenware

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

Architectural fragment depicting winged genius driving chariot on circus track

Cylinder seal and modern impression: bird, inscription ca. 2350-2150 B.C. Akkadian. Cylinder seal and modern impression: bird, inscription. Akkadian. ca. 2350-2150 B.C.. Lapis lazuli. Akkadian. Mesopotamia

Iberian frieze relief depicting a woman or auletris dressed with tunic tied at the waist playing a flute named aulos. In the hair, double braid around the head. From Osuna (Sevilla province, Andalusia). 3rd century - 2nd century BC. National Archaeological Museum. Madrid. Spain.

Magical Figure. Dimensions: H. 6.5 cm (2 9/16 in.); W. 3 cm (1 3/16 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 i

Grave stele, Whitaker Museum, Phoenician island of Mozia, outpost for merchants and seafarers, 12th century BC, Sicily, Moiza, Sicily, Italy, Europe

Relief architektoniczny "Campana". warsztat rzymski, workshop

Roman stele of Lerga Roman stele of Lerga, hermitage of Santa Barbara, Museum of Navarra, Pamplona, Navarra,Spain Copyright: xZoonar.com/Tolox 21889663

Marble relief fragment 1st-2nd century A.D. Roman The relief shows part of a scene of a venatio (a series of games in the theater or circus comprising fights between men and animals or between different types of animals). At the bottom is what remains of a Greek inscription, indicating that the scene represents the third day of the games. The relief may have decorated a monument set up to honor the magistrate or other leading citizen who paid for the games. The slab was found during the American excavations at Sardis in 1912, near the Temple of Artemis, where it had been reused in a Byzantine tomb.. Marble relief fragment 252633 Roman, Marble relief fragment, 1st2nd century A.D., Marble, H.: 21 x 21 5/8 in. (53.3 x 54.9 cm). The Metropolitan Museum of Art, New York. Gift of The American Society for the Excavation of Sardis, 1926 (26.199.63)

Marble fragment of a votive relief with Athena ca. 405-390 B.C. Greek, Attic Athena, the patron goddess of Athens, wears an Attic helmet, a belted peplos, and over her chest the aegis, a protective goatskin given to her by her father Zeus. The remainder of this relief, which is preserved in Athens, shows that Athena was represented standing before an altar and a votive relief in her own sanctuary. The relief was probably dedicated to her to fulfill a vow made by the donor in return for Athena's assurance of success in some venture. Such exchanges of favors were essential to the relationship between the ancient Greeks and their gods.. Marble fragment of a votive relief with Athena 255936

Byzantine art. Tree of life between two lions. Relief. 12th century. Byzantine Museum. Athens. Greece.

Magical Figure. Dimensions: H. 6 cm (2 3/8 in.); W. 3.3 cm (1 5/16 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 in

Cast of Stela H from The Great Plaza, Copan, Honduras. Dated 400 AD

Relief of two birds on the romanesque Duomo Santi Pietro e Paolo, Sovana, Province Grosseto, Tuscany, Italy, Europe

ARTE HEBREO. ESPAÑA. CAPITEL HEBREO-ARABE datado entre los siglos XII y III. Museo Sefardí. Toledo. Castilla-La Mancha.

Ikona: Objawienie Pańskie. Nieznany warsztat ruski, author

Cloisonne furniture plaques with the child Horus and vultures ca. 8th-7th century B.C. Assyrian 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. It depicts a seated child, probably the young god Horus, between two vultures. All three figures hold a ceremonial flail, a tool used to thresh grain, which was an attribute of the god Osiris and of the Egyptian king. The vultures wear atef crowns, a type of headdress worn by Osiris, while the young god is crowned by a sun disk, now fragmentary, and wears a heavy necklace called a broad collar. He wears his hair shaved with a single lock at the side, a style worn by Egyptian children. Carved ivory pieces such as this were widely used in the production of elite furniture during the early first millennium B.C. They were often inlaid into a wooden frame using joinery techniques and glue, and could be overlaid

Grabstele Grabstele Copyright: xZoonar.com/TOLOxBALAGUERx 22568811

Carved Panel with Harpies, Fish, and Trees. Dimensions: H. 10 5/8 (27 cm)W. 34 7/8 in. (88.6 cm)D. 2 1/2 in. (6.4 cm)Wt. 43 lbs. (19.5 kg). Date: 11th-12th century. Museum: Metropolitan Museum of Art, New York, USA.

Benin Bronze metal plaque that decorated the royal palace of the Benin Kingdom in modern-day Nigeria. the plaques form the best known examples of Benin art, created by the Edo people from the thirteenth century

Wood Bes 4th-7th century Coptic. Wood Bes 478760

Egypt. Necropolis of Saqqara. Hieroglyphic writing. Cartridge. Relief. Old Kingdom.

Capital. Culture: French. Dimensions: Overall: 10 5/8 x 16 1/2 x 13 3/8 in. (27 x 41.9 x 34 cm). Date: 12th century. Museum: Metropolitan Museum of Art, New York, USA.

Cippus of Horus (magical stela) 332-30 B.C. Ptolemaic Period This small stela is representative of the genre of Egyptian art known as the cippus (plural, cippi) or magical stela. An image of the infant Horus on the front beneath a Bes-image is shown subduing dangerous animals. The Metternich Stela (acc. 50.85) is the largest and most elaborate example of the genre.Texts on such stelae often include a reference to transforming water poured over the stela into a curative libation.. Cippus of Horus (magical stela) 570248

of 4