Ancient Terracotta Reliefs

A collection of ancient terracotta molds and stele featuring intricate designs, including mythical creatures and human figures, showcasing historical craftsmanship.

Assyrian Stele From Tell Asmar Ancient Near East Aleppo Museum, Aleppo, Syria

Terracotta mold for a relief. Culture: Greek, South Italian. Dimensions: H.: 4 1/8 x 4 3/4 in. (10.5 x 12.1 cm). Date: ca. 4th century B.C..The mold would have been used to produce a relief plaque that was decorated with a griffin seizing a goat. It represents an early version of the scene that found popularity on terracotta appliqués used in tombs, examples of which are displayed here. Museum: Metropolitan Museum of Art, New York, USA.

Hearing stone with a fight from a rider (Sint Joris) With a dragon, c. 1400 - c. 1950 Hearing stone, on which a fight by a rider with a dragon in a landscape. In square decorative frame. From fine baked earth. Saint Joris(). Southern Netherlands earthenware Hearing stone, on which a fight by a rider with a dragon in a landscape. In square decorative frame. From fine baked earth. Saint Joris(). Southern Netherlands earthenware

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

Fair stone, a fight of a rider with a dragon. Hair stone on which a fight of a rider with a dragon in a landscape. In square decorative frame. Of fine baked earth.

Assyrian Stele From Tell Asmar Ancient Near East Aleppo Museum, Aleppo, Syria

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

Ancient Near East. Unfinished kudurru. A horned serpent, symbol of the god Marduk, is coiled round the base. White limestone. Kassite period, 12th century BC. Found in Susa, Iran. Louvre Museum. Paris. France.

Hearing stone with image of a mermaid, anonymous, c. 1400 - c. 1950 Highstone. "A mermaid". Southern Netherlands earthenware Highstone. "A mermaid". Southern Netherlands earthenware

Ancient Babylonian carvings depicting a Babylonian soldier and a collection of weapons

Fireplace with a men's and women's head. Fireplace with a representation of a men's and women's bust faced each other.

Trophy relief fragment Roman 1st-2nd century In Roman cities across the empire, relief panels depicting weapons and armor were set into large-scale monuments to commemorate military victories. Symbolic of Imperial power, they served as enduring records of success in battle. This relief preserves a cuirass (breastplate) modeled to mimic male ideal musculature set against weaponry, including a set of three spears and a shield, with a clump of fabric pulled through the left arm hole and neck. View more. Trophy relief fragment. Roman. 1st-2nd century. Marble. Stone Sculpture

Hittite Warrior Artist Unknown Terra Cotta Yazilikaya, Turkey

Fireplace with image. Fireplace. "The crooked to be stoned".

The Warrior King. Fragment of a victory stela known as the Stela of Mardin. Basalt. H. 49 cm. W. 55 cm. Old Babylonian Period. Early 18th century BC. Attributed to the region of Sinjar (Mardin, Iraq). Victorious king stops his enemy with his spear and raises his ax to break his skull. The inscription depicts the victory of a king, whose name has been erased, over the city of Arrapha and the continuation of his victorious campaigns in the land of Qabra in northern Mesopotamia. This ruler was identified as Samsi-Addu, founder of a powerful kingdom in Assyria. Louvre Museum. Paris, France.

Grave Relief for Tation and Tatianos. Unknown

Marble piece in Capital Corinthian style. Unknown origin. Barcelona, Spain 2013

Part of a model chariot, with an impression of the sun god Shamash rising over the mountains ca. 2000-1600 B.C. Babylonian. Part of a model chariot, with an impression of the sun god Shamash rising over the mountains. Babylonian. ca. 2000-1600 B.C.. Ceramic. Old Babylonian. Southern Mesopotamia

Fireplace Vorsting of the Dutch Virgin and the weapons of the seventeen provinces., Anonymous, 1611 Semi -round stone. Central a woman with the head to the left used and lifted right arm. A fence around her with a fence in the middle. Outside of that, a standing lion with a saber in the claw. M.B. Four coats of arms, M.O. Three coats of arms. Along the lower edge 10 coats of arms. Netherlands earthenware Low Countries

Limestone tombstone for Maximilla Bassi. Tunisia, Punic, 2nd-3rd century AD from Carthage. This finely carved monument was set up in memory of a woman called maximilla Bassi. The Latin inscription says 'Maximilla Bassi, pious daughter, lived nineteen years. Here she is placed.' After the Roman annexation of Carthage in 146BC it became more fashionable to use Latin for inscriptions although Phoenician remained the everyday language used. The shallow niche is carved with an image of a female figure wearing a pleated tunic and mantle, presumably Maximilla.

Votive Stela with Three Hathor Cows. Dimensions: H. 12 cm (4 3/4 in); w. 12 cm (6 11/16 in); th. 3 cm (3/16 in). Dynasty: Dynasty 18. Reign: Joint reign of Hatshepsut and Thutmose III. Date: ca. 1479-1458 B.C.. Museum: Metropolitan Museum of Art, New York, USA.

Relief: bearded figure holding staff; hieroglyphic inscription ca. early 1st millennium B.C. Hittite This stele depicts a bearded male figure facing left, surrounded by a shallowly incised inscription divided into seven lines. The figure is shown with attributes characteristic of ruling elites, including the long, fringed garment, the staff he holds in his right hand, his rounded headdress, and his hairstyle, in which the hair is gathered at the nape of the neck in a bunch. The surface of the stele is worn and details are no longer visible in many areas, including the face. The feet are damaged, but the upturned toes of the figures shoes can still be seen. The text is written in Luwian, a form of hieroglyphic writing that dates to the early first millennium B.C. and was used by the Neo-Hittite kings. Their kingdoms were located in southeastern Turkey and northern Syria, regions that had been ruled by the powerful Hittite and Mitanni empires from about 1600-1200 B.C. After the collapse

Hearing stone with a performance of climbing lion, c. 1575 - c. 1625 Hearing stone with a show of climbing lion to the left (heraldic), 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 a show of climbing lion to the left (heraldic), 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

relief representing an Iberian family, sanctuary of the Atalayuelas of Fuerte del Rey, 2nd century BC, Iberian Museum of Jaén, Andalusia, Spain.

A fragment of the Sacrifice; XVIII-PO. XVII century BC ; 13 dynasty (-1800-00-00--1650-00-00);Collection of ancient Egypt, sacrificial formula

Stela depicting Anubis and a mummy on a bed for for Pachom-alal, son of Peteharsomtous A.D. 1st century Roman Period. Stela depicting Anubis and a mummy on a bed for for Pachom-alal, son of Peteharsomtous. A.D. 1st century. Sandstone. Roman Period. From Egypt, Northern Upper Egypt, Dendera

Furniture plaque carved in relief with papyrus buds and flowers 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

FRAGMENTO EN MARMOL-S XI-PROC DE TOLEDO-ESCRITURA ARABE-REINO TAIFAS. Location: MUSEO HOSPITAL DE SANTA CRUZ. Toledo. SPAIN.

Finial of a marble stele (grave marker) ca. 525 B.C. Greek, Attic The pair of volutes on this finial is carved with extraordinary sensitivity. The crowning element, which is missing, may have been a palmette or a sphinx. The latter is less likely, given the limited size of the volute block. The reported discovery of this piece near the beautiful fragment with the head of a youth raises the possibility that both originally belonged to the same stele.. Finial of a marble stele (grave marker) 254511 Greek, Attic, Finial of a marble stele (grave marker), ca. 525 B.C., Marble, Parian, H. 12 3/8 in. (31.5 cm). The Metropolitan Museum of Art, New York. Rogers Fund, 1944 (44.11.5)

Mayan sculpture of a Jaguar, in stone. Chichen Itza, Yucatan, Mexico 900-1250 AD

Baked fireplace, with a grotesque horse and rider in a square frame, and with a coat of arms and St. Andrieskruis, Anonymous, Anonymous, c. 1525 - c. 1575 Baked fireplace, with a grotesque horse and rider in a square frame, and with a coat of arms and St. Andrieskruis. Liège earthenware Baked fireplace, with a grotesque horse and rider in a square frame, and with a coat of arms and St. Andrieskruis. Liège earthenware

Zeegebecht, Anonymous, 1500 - 1600 Rectangular fireplace with sea fight; On the left two sloops and three warriors, on the right three sloops and four warriors; Rand on the right crumbled, bottom and back fault line, cement remains. Southern Netherlands earthenware battle (+ naval force)

Wall panel. Relief. Protective spirit in relief. Neo-Assyrian. North West Palace, Nimrud, Iraq. 900-700BC.

Cylinder seal and modern impression: battle of the gods ca. 2350-2150 B.C. Akkadian 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 no longer extant in any oth

Fragment of sitle. Bronze. Cernuschi Museum, Asia Museum of Asia in the city of Paris.

Slab with aStupa

Relief depicting the interior of an archive or library. From Buzenol, Belgium. Limestone. 2nd-3rd century AD. Brussele. Royal Museum of Art and History. Cinquantenaire Museum.

Panel fragment. Culture: Iran. Dimensions: 0.63 x 2.13 in. (1.6 x 5.41 cm). Date: ca. 8th-7th century B.C.. Museum: Metropolitan Museum of Art, New York, USA.

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

Seafight. Rectangular fireplace with sea fight; Links two sloops and three warriors, right three sloops and four warriors; edge Right flushed off, bottom and back break line, cement remains.

Offering table of Pabasa 664-610 B.C. Late Period, Saite The Tomb of Pabasa was cut into the limestone floor north of the Asasif valley in western Thebes. It consisted of a series of underground rooms at either end of a large sunken courtyard that was open to the sky. This great slab, found in debris outside the tomb, probably stood in the center of the courtyard.The inscriptions give Pabasa's name and his titles Chancellor of the Divine Adoratress and Governor of Thebes.The Divine Adoratress in question is Nitocris who is mentioned elsewhere in his tomb, and the pharaoh at the time was Psamtik I. Surrounding the upper edges is a prayer derived from the Pyramid Texts, given under translation; it is difficult to read as the inscriptions were subsequently rubbed away. The offerings depicted are, at bottom, loaves of bread and two jars for water and beer, surmounted by cuts of meat, cucumbers, fowl and grapes. The projecting end of the table is grooved to allow the runoff of libations pou

Fragment from Sarcophagus of Ptolemy II

Roman relief, a woman draws wine from a cask at a Tavern, Merida, Spain, c2nd-3rd century. Artist: Unknown.

Wall Fragment from a Tomb Depicting Offering Bearers. Egyptian, Saqqara, tomb of Hetepmeret. Date: 2055 BC-1733 BC. Dimensions: 95.9 × 35.6 × 7.6 cm (37 3/4 × 14 × 3 in.). Limestone. Origin: Egypt. Museum: The Chicago Art Institute, Chicago, USA. Author: Ancient Egyptian.

Relief Depicting a Calf-Bearer 304 BCE-30 BCE Egypt. Glazed stone . Ancient Egyptian

Corine with the coat of arms of Dantzig, hanging on a mascaron. Corine from oak. On the consoliduous front piece is embossed, hanging on a mascaron, the coat of arms of Dantzig, two andries with two lions. Coming from the demolished house Warmoesstraat 145 in Amsterdam.

LAPIDA O EPITAFIO SEPULCRAL-S XI. Location: MUSEO HOSPITAL DE SANTA CRUZ. Toledo. SPAIN.

Fragment figurki kobiety na łożu. unknown, author

Stele with Pure Land Imagery. Culture: China. Dimensions: H. 33 in. (83.8 cm); W. 16 1/2 in. (41.9 cm). Date: dated 758. Museum: Metropolitan Museum of Art, New York, USA.

Relief depicting Cupids pressing grapes in wooden vat with decorations in form of lion head

Terracotta plaque 27 B.C.-A.D. 68 Roman Relief with a satyr and a maenad. Terracotta plaque. Roman. 27 B.C.-A.D. 68. Terracotta. Augustan or Julio-Claudian. Terracottas

Jean Goujon (around 1510 - around 1568). Sign of cancer of the Carnavalet hotel. Pierre, 1548-1558. Paris, Carnavalet museum. 78020-8 Archeology Medievale, Cancer, Hotel Carnavalet, Iieme Millennaire, Middle Ages, Pierre, Sign, XVIth century

Relief fragment ca. early 1st millennium B.C. Hittite This fragment of a relief depicts a scene with three human figures. The relief is broken vertically, and much of the left side is missing, leaving only the legs and feet of the largest figure, who is shown seated and wearing a long robe and shoes. A smaller figure is shown on the right, facing the larger seated figure and offering a goblet in his right hand while holding a palm frond or feather in the left. The smaller figure is beardless and can be identified as male by the garments he wears, which have short sleeves, a decorated belt, and a short skirt allowing for freedom of movement, worn with ankle-high boots. He wears his curled, shoulder-length hair held back by a plain headband. A cross-legged table between the two figures holds several stacked objects that may be dishes, atop which is a duck with its head turned back across its body. The scene may represent offerings being made to a seated deity, represented by the large se

Black basalt reliefs depicting an archer, archer with lion, knight, figure with a sickle, bird, knight in armor, dogs running, palm, leopard, fishing, gathering the harvest, gryphon, slinger and battle with the enemy. They are part of the 187 reliefs of the base of the south wall of the Palace of King Kapara. 10th century BC. From Tell Halaf, ancient Guzana. British Museum. London. United Kingdom.

Phoenician youth and lotus ivory. Nimrud. LEBANON.

Relief Block ca. 1353-1323 B.C. New Kingdom, Amarna Period. Relief Block. ca. 1353-1323 B.C.. Limestone. New Kingdom, Amarna Period. From Egypt. Dynasty 18

Fragment of a Relief of a Seated Woman, from a Funerary Building. Unknown

Pyramidion from the tomb of Raa-bye. Limestone. Egypt. The State Hermitage Museum. Saint Petersburg. Russia.

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

Fragment of Roman architecture, 2nd century, from Roman villa of Can Llauder. Museum: MUSEO DE MATARÓ.

Relief with a Bird 10th-11th century Italian This relief, cut down from a larger composition, shows an imaginary bird, a cock with a griffin-like head, set within foliage. It is from Salerno, where it was said to have been built into the masonry of a church. It was reused at a later date, and cut into its present form. While its original function is unknown, it may have been part of a chancel screen, a low wall in front of the sanctuary of a church. The exotic and orientalizing bird reflects the rich interchange of design motifs between the Islamic, Sasanian, Byzantine, and south Italian cultures in the century around 1000.. Relief with a Bird 479784

Inscribed limestone plinth with the feet of a statue of Zeus 2nd or 3rd century A.D. Roman, Cypriot With two feet; dedication to Zeus Labranios, by Oliasos.. Inscribed limestone plinth with the feet of a statue of Zeus 241956

Plaster relief fragment with a male figure on a throne. Culture: Roman. Dimensions: H.: 3 7/8 in. (9.8 cm). Date: 1st century A.D..Cast from a Greek metal relief of the 4th century B.C.The plaster reliefs displayed in this case were cast from Late Classical and Hellenistic metal reliefs. They probably date to the Early Imperial period, when similar examples are known from Egypt, Rome, the Black Sea region, and Afghanistan. The widespread existence of these reliefs across the Roman Empire and along its trade routes reflects the interest that Roman collectors had for earlier Greek works. Museum: Metropolitan Museum of Art, New York, USA.

Hundred sacrificial; Meroic period (0-00-00-0-00-00);cartouches

Stele of the protective goddess Lama ca. 1307-1282 B.C. Kassite This stele is carved with a goddess, identifiable by her horned headdress, facing to her left with arms upraised. She wears her hair pulled back with a lock over her shoulder, and her five-tiered skirt is decorated with 17 lines of cuneiform writing.The "interceding goddess" with arms raised in a gesture of prayer is well-known in earlier Mesopotamian art. where she is shown as an intermediary between a human (usually the king) and a high-ranking god or goddess. Here, she is identified by the inscription as the protective goddess Lama. The stele was dedicated to the goddess Inanna "for the life of" the Kassite king Nazi-Maruttash. Written in Sumerian, an ancient language which had ceased to be spoken centuries earlier, the inscription also places a curse on anyone who would tamper with the stele or remove it from view.This stele was one of a pair that are thought to have been erected in the sacred precinct called Eanna, "H

Fragment of an architectural molding 1301-1400 Morocco. Wood with relief carving .

Funerary monument, shaped as a stone altar, and respective socle, of Caius Servilius Claranus. 2nd century AD. Inscription: "Dedicated to Gods Manes. Caius Servilius Claranus, of 18 years, is buried here. May the earth be light on you!". From the Roman ruins of Troia. Grndola, Setúbal district, Portugal. National Archaeology Museum. Lisbon, Portugal.

Amorous Couple (Mithuna) Seated in a Chair 100 BCE-1 BCE Uttar Pradesh. Molded terracotta with red slip .

Excavations, Phoenician island of Mozia, outpost for merchants and sailors, 12th century BC, Sicily, Moiza, Sicily, Italy, Europe

Relief, FuneralBanquet

Aztec sacrificial stone, City of Mexico, Jackson, William Henry, 1843-1942, Sculpture, Aztecs, Indians of Mexico, Spiritual life, Mexico, Mexico City, 1884

Engaged Capital with Lions, 1145-1164. Northern Spain (Navarre ) or Southwest France (Pyrénées or Roussillon ), mid-12th century. Marble; overall: 34.3 x 40.7 x 27.4 cm (13 1/2 x 16 x 10 13/16 in.).

estela funeraria dedicada a Bodeio Carubilo, La Cerrada, Borobia, siglos II - III d.C, museo Numantino de Soria, Soria, Comunidad Autónoma de Castilla, Spain, Europe.

Roman stele from the Maranon cemetery, Museum of Navarra, Pamplona, Navarra,Spain.

Relief. Syria, Hittite, 1400-900 B.C.. Sculpture. Stone

Pottery Fragment with Figure. Culture: Coptic. Dimensions: Overall: 4 1/2 x 3 1/4 x 3/8 in. (11.4 x 8.3 x 1 cm). Date: 4th-7th century. Museum: Metropolitan Museum of Art, New York, USA.

Foreign groom in a tributary procession ca. 721-705 B.C. Assyrian Soon after taking the throne, the Assyrian king Sargon II (r. 721-705 B.C.) founded a new capital city, Dur-Sharrukin (literally "fortress of Sargon"), at a site known today as Khorsabad. Sargon took the throne in a coup against his brother, Shalmaneser V (r. 726-722 B.C.), and it is possible that by moving to a new capital he hoped to consolidate his regime. Sargon, meaning "true king," was a throne name, and referred to a very ancient king, Sargon of Akkad, who by the Neo-Assyrian period was remembered as a legendary hero. Building work at Dur-Sharrukin continued throughout Sargons reign, with not only a main palace but also a constellation of other palaces and temples, as well as the infrastructure of the city itself. However, the immense project was abandoned in 705 B.C. with the kings death. His son Sennacherib would move the capital once again, to Nineveh, and there embark on a new monumental building program.Thi

Capital 12th century Spanish. Capital 466425

Fragmentary Ivory box decorated with a cupid and other companions of the wine-god Bacchus. Roman, 3rd century AD

Plaque with falcon-headed Re wearing crown of Upper and Lower Egypt ca. 8th-7th century B.C. Assyrian This curved, trapezoidal ivory 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 figure with the head of a falcon kneeling with elbows bent and palms held outwards, facing a stylized tree to the right. The figure wears a type of Egyptian headdress called a lappet wig, topped by a version of the Egyptian double crown which has a curled element added at the front. He is dressed in a belted garment with short skirt and loose, short sleeves, decorated with a beaded border, and is barefoot. The stylized tree is made up of a vertical trunk topped by a palmette and a curving branch rising from the root, topped by a bud; presumably the other half of the tree would have been symmetrical, and was depicted on the adjoining plaque to the right when this plaq

Stone tablet relief image of Mercury and Rosmerta (The Celtic goddess). Shown here as the great provider. Found in the Roman Baths in Somerset, England. Circa 1st-4th century AD.

Funerary stele with Greek inscription, cross with Alpha and Omega symbols

Hearing stone with a performance of climbing lion, c. 1575 - c. 1625 Hearing stone with a show of climbing lion to the left (heraldic), 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 a show of climbing lion to the left (heraldic), 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

BanquetScene

Capital with the Adoration of the Magi 1110-1150 Spain. Limestone .

Back pillar of Torso with Aten cartouches ca. 1353-1336 B.C. New Kingdom, Amarna Period. Back pillar of Torso with Aten cartouches 549762

Limestone funerary stele with two recumbent sphinxes 2nd half of the 6th century B.C. Cypriot Sphinxes back to back, crescent and disk symbol below.. Limestone funerary stele with two recumbent sphinxes 242427

estela de arenisca estela de arenisca, I a.C., Baldatika, Forua, Arkeologi Museoa, museo aqueologico, Bilbao, Bizkaia, Pais Vasco, Spain Copyright: xZoonar.com/Tolox 21652181

Daunian Stele. Unknown

Tłok pieczętny. unknown, sculptor

Eagle Relief 10th-13th century Toltec This exquisitely carved stone panel, one of a pair given to the museum by the Hudson River School painter Frederic Church in 1893, depicts an eagle biting into a cactus fruit, a symbolic representation of the sun devouring a human heart. The two panels are nearly identical in size and imagery and may originally have formed part of a larger composition on the façade of a temple or other sacred building (see MMA 93.27.1). The Eagle Panels are among the finest examples of Mesoamerican stone relief sculpture, highly sophisticated in both composition and technique. In each, the curve of the birds back, from its head through its tail feathers, forms an arc that determines the entire composition and nearly fills the frame. The artist has placed glyph-like scrolls, shells, pierced circles (chalchihuitl), and what appears to be a bundle of reeds or a stylized ear of maize in the remaining spaces. The panel has suffered some damage. A large section on the t

Torso of king with hand of queen offering behind ca. 1352-1336 B.C. New Kingdom, Amarna Period. Torso of king with hand of queen offering behind. ca. 1352-1336 B.C.. Pink quartzite. New Kingdom, Amarna Period. From Egypt, Middle Egypt, Amarna (Akhetaten), Petrie/Carter excavations, 1891-92. Dynasty 18

stele of San Vicente de Toranzo stele of San Vicente de Toranzo, around the 1st century AD., Museum of prehistory and archeology MUPAC, Santander, Cantabria, Spain Copyright: xZoonar.com/BartomeuxBalaguerxRotgerx 21880760

ESTELA FUNERARIA DE SENTIA AMARANIS LA"ESPOSA DEL TABERNO"- RELIEVE ROMANO - SIGLO I DC - RESTAURADA. Location: MUSEO NACIONAL DE ARTE ROMANO. MERIDA. Badajoz. SPAIN.

Nimrud is the later Arab name for an ancient Assyrian city located 30 kilometres (20 mi) south of the city of Mosul in the Nineveh plains in northern Mesopotamia. It was a major Assyrian city between approximately 1250 BCE and 610 BCE.

Fragmentary Mosaic of a Griffin with Spoked Wheel (Nemesis). Unknown

Roman civilization, Relief portraying feast

Orthostat relief: lion-hunt scene 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. Workmanship was often strong if crude. The figures were carved with little descriptive detail engraved on the surface, but it is nevertheless possible to detect, in some of the reliefs, the influence of Assyrian art in the choice of scene, the types of chariots and horse gear, and the galloping posture of the horses. Listen to experts illuminate

Body Fragment of a Relief Pithos. Unknown

Early Christian art. Roman period. Fragments of sarcophagus lids and fronts. 4th c. AD. Nativity. Unknow provenance. Vaticans Museum. City of the Vatican.

Ivory depicting figure wearing the crown of Egypt

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