• Coloured glazed terracotta brick panel depicting striding lions from Babylon (Iraq). Neo-Babylonian Period, reign of Nebuchadnezzar II 604-562 BC. This panel belonged to the tiled decorated walls either side of the Processional Way in Babylon which was 3280 ft (1km) long. It led from the temple of Marduk, through the Ishtar Gate to the temple of Akitu. The lion is the is associated with the Babylonian goddess Ishtar. T processional Way played a key role in the  New Year festival which was held in the spring equinox. Babylonian Gods were believed to leave their temples on this day and visit the god Marduk in his temple in Babylon. Kings like Nebuchanezzar would have played an important role in this procession and they aside their regal regalia for the procession and recited “negative confessions” as they preceded down the Processional way. Inv Ao 21118, The Louvre Museum, Paris.
  • Coloured glazed terracotta brick panel depicting striding lions from Babylon (Iraq). Neo-Babylonian Period, reign of Nebuchadnezzar II 604-562 BC. This panel belonged to the tiled decorated walls either side of the Processional Way in Babylon which was 3280 ft (1km) long. It led from the temple of Marduk, through the Ishtar Gate to the temple of Akitu. The lion is the is associated with the Babylonian goddess Ishtar. T processional Way played a key role in the  New Year festival which was held in the spring equinox. Babylonian Gods were believed to leave their temples on this day and visit the god Marduk in his temple in Babylon. Kings like Nebuchanezzar would have played an important role in this procession and they aside their regal regalia for the procession and recited “negative confessions” as they preceded down the Processional way. Inv Ao 21118, The Louvre Museum, Paris.
  • Coloured glazed terracotta brick panel depicting striding lions from Babylon (Iraq). Neo-Babylonian Period, reign of Nebuchadnezzar II 604-562 BC. This panel belonged to the tiled decorated walls either side of the Processional Way in Babylon which was 3280 ft (1km) long. It led from the temple of Marduk, through the Ishtar Gate to the temple of Akitu. The lion is the is associated with the Babylonian goddess Ishtar. T processional Way played a key role in the  New Year festival which was held in the spring equinox. Babylonian Gods were believed to leave their temples on this day and visit the god Marduk in his temple in Babylon. Kings like Nebuchanezzar would have played an important role in this procession and they aside their regal regalia for the procession and recited “negative confessions” as they preceded down the Processional way. Inv Ao 21118, The Louvre Museum, Paris.
  • Coloured glazed terracotta brick panel depicting striding lions from Babylon (Iraq). Neo-Babylonian Period, reign of Nebuchadnezzar II 604-562 BC. This panel belonged to the tiled decorated walls either side of the Processional Way in Babylon which was 3280 ft (1km) long. It led from the temple of Marduk, through the Ishtar Gate to the temple of Akitu. The lion is the is associated with the Babylonian goddess Ishtar. T processional Way played a key role in the  New Year festival which was held in the spring equinox. Babylonian Gods were believed to leave their temples on this day and visit the god Marduk in his temple in Babylon. Kings like Nebuchanezzar would have played an important role in this procession and they aside their regal regalia for the procession and recited “negative confessions” as they preceded down the Processional way. Inv Ao 21118, The Louvre Museum, Paris.
  • Coloured glazed terracotta brick panel depicting striding lions from Babylon (Iraq). Neo-Babylonian Period, reign of Nebuchadnezzar II 604-562 BC. This panel belonged to the tiled decorated walls either side of the Processional Way in Babylon which was 3280 ft (1km) long. It led from the temple of Marduk, through the Ishtar Gate to the temple of Akitu. The lion is the is associated with the Babylonian goddess Ishtar. T processional Way played a key role in the  New Year festival which was held in the spring equinox. Babylonian Gods were believed to leave their temples on this day and visit the god Marduk in his temple in Babylon. Kings like Nebuchanezzar would have played an important role in this procession and they aside their regal regalia for the procession and recited “negative confessions” as they preceded down the Processional way. Inv Ao 21118, The Louvre Museum, Paris.
  • Babylonian Hammurabi stone relief sculpture. Hammurabi was the sixth Amorite king of Babylon from 1792 BC to 1750 BC . Hammurabi (standing), depicted as receiving his royal insignia from Shamash. Hammurabi holds his hands over his mouth as a sign of prayer. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Stone Stele depicting  a ceremonial procession of Babylonian Gods. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. Under the coils of the snake that wraps around the stele are represented the principal divinities of pantheon of Babylon as symbols. Below is a procession of two musicians and animals. Crenellated walls and towers surround the area reserve for an inscription that was never engraved. A horned serpent, emblem of the god Marduk, wraps around the base. Inv Sb 25. The Louvre Museum, Paris.
  • Basalt Babylonian sculpture usurped by an Elamite king. 12th cent. BC from Suse. Inv AO 30043, The Louvre Museum, Paris.
  • Coloured glazed brick panels of the facade of the  first smaller Ishtar Gate, Babylon, dating from 604-562 BC. Babylon (present day Iraq). The Ishtar Gate, Babylon, was situated in the northern wall of the city and was named after the goddess Ishtar. The gate was decorated with reprentations of bulls, the symbol of the weather god Adad, and dragons (Babylonian Mushhushu), the symbol of the city God Marduk. The mythical composite animal has the head and the body of a snake, the front legs of a lion, the hind legs of a bird and a scorpion sting in the tail. The ground plan and debris of the gate buildings were uncovered during the German excavation from 1899-1917 directed by Robert Koldewey. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Stone Stele depicting  a ceremonial procession of Babylonian Gods. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. Under the coils of the snake that wraps around the stele are represented the principal divinities of pantheon of Babylon as symbols. Below is a procession of two musicians and animals. Crenellated walls and towers surround the area reserve for an inscription that was never engraved. A horned serpent, emblem of the god Marduk, wraps around the base. Inv Sb 25. The Louvre Museum, Paris.
  • Stone Stele depicting  a ceremonial procession of Babylonian Gods. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. Under the coils of the snake that wraps around the stele are represented the principal divinities of pantheon of Babylon as symbols. Below is a procession of two musicians and animals. Crenellated walls and towers surround the area reserve for an inscription that was never engraved. A horned serpent, emblem of the god Marduk, wraps around the base. Inv Sb 25. The Louvre Museum, Paris.
  • Stone Stele depicting  a ceremonial procession of Babylonian Gods. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. Under the coils of the snake that wraps around the stele are represented the principal divinities of pantheon of Babylon as symbols. Below is a procession of two musicians and animals. Crenellated walls and towers surround the area reserve for an inscription that was never engraved. A horned serpent, emblem of the god Marduk, wraps around the base. Inv Sb 25. The Louvre Museum, Paris.
  • Basalt Babylonian sculpture reporting the spoils of war, 12th cent.BC. The Louvre Museum, Paris.
  • Babylonian stone relief sculpture. announcing a land deed of Adad-apla-iddina, 4th Dynasty king of Babylon from 1067 BC to 1046 BC . Copied from an original in the Pushkin Museum, Moscow. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Stone Stele depicting  a ceremonial procession of Babylonian Gods. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. Under the coils of the snake that wraps around the stele are represented the principal divinities of pantheon of Babylon as symbols. Below is a procession of two musicians and animals. Crenellated walls and towers surround the area reserve for an inscription that was never engraved. A horned serpent, emblem of the god Marduk, wraps around the base. Inv Sb 25. The Louvre Museum, Paris.
  • Stone Stele depicting  a ceremonial procession of Babylonian Gods. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. Under the coils of the snake that wraps around the stele are represented the principal divinities of pantheon of Babylon as symbols. Below is a procession of two musicians and animals. Crenellated walls and towers surround the area reserve for an inscription that was never engraved. A horned serpent, emblem of the god Marduk, wraps around the base. Inv Sb 25. The Louvre Museum, Paris.
  • Babylonian stone relief sculpture. announcing a land deed of Adad-apla-iddina, 4th Dynasty king of Babylon from 1067 BC to 1046 BC . Copied from an original in the Pushkin Museum, Moscow. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Babylonian Hammurabi stone relief sculpture. Hammurabi was the sixth Amorite king of Babylon from 1792 BC to 1750 BC . Hammurabi (standing), depicted as receiving his royal insignia from Shamash. Hammurabi holds his hands over his mouth as a sign of prayer. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Stone Stele depicting  a ceremonial procession of Babylonian Gods. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. Under the coils of the snake that wraps around the stele are represented the principal divinities of pantheon of Babylon as symbols. Below is a procession of two musicians and animals. Crenellated walls and towers surround the area reserve for an inscription that was never engraved. A horned serpent, emblem of the god Marduk, wraps around the base. Inv Sb 25. The Louvre Museum, Paris.
  • Basalt Babylonian sculpture reporting the spoils of war, 12th cent.BC. The Louvre Museum, Paris.
  • Stone Stele depicting  a ceremonial procession of Babylonian Gods. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. Under the coils of the snake that wraps around the stele are represented the principal divinities of pantheon of Babylon as symbols. Below is a procession of two musicians and animals. Crenellated walls and towers surround the area reserve for an inscription that was never engraved. A horned serpent, emblem of the god Marduk, wraps around the base. Inv Sb 25. The Louvre Museum, Paris.
  • Coloured glazed brick panels of the facade of the  first smaller Ishtar Gate, Babylon, dating from 604-562 BC. Babylon (present day Iraq). The Ishtar Gate, Babylon, was situated in the northern wall of the city and was named after the goddess Ishtar. The gate was decorated with reprentations of bulls, the symbol of the weather god Adad, and dragons (Babylonian Mushhushu), the symbol of the city God Marduk. The mythical composite animal has the head and the body of a snake, the front legs of a lion, the hind legs of a bird and a scorpion sting in the tail. The ground plan and debris of the gate buildings were uncovered during the German excavation from 1899-1917 directed by Robert Koldewey. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Basalt Babylonian sculpture reporting the spoils of war, 12th cent.BC. The Louvre Museum, Paris.
  • Coloured glazed brick panels of the facade of the  first smaller Ishtar Gate, Babylon, dating from 604-562 BC. Babylon (present day Iraq). The Ishtar Gate, Babylon, was situated in the northern wall of the city and was named after the goddess Ishtar. The gate was decorated with reprentations of bulls, the symbol of the weather god Adad, and dragons (Babylonian Mushhushu), the symbol of the city God Marduk. The mythical composite animal has the head and the body of a snake, the front legs of a lion, the hind legs of a bird and a scorpion sting in the tail. The ground plan and debris of the gate buildings were uncovered during the German excavation from 1899-1917 directed by Robert Koldewey. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Stone Stele depicting  a ceremonial procession of Babylonian Gods. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. Under the coils of the snake that wraps around the stele are represented the principal divinities of pantheon of Babylon as symbols. Below is a procession of two musicians and animals. Crenellated walls and towers surround the area reserve for an inscription that was never engraved. A horned serpent, emblem of the god Marduk, wraps around the base. Inv Sb 25. The Louvre Museum, Paris.
  • Basalt Babylonian sculpture usurped by an Elamite king. 12th cent. BC from Suse. Inv AO 30043, The Louvre Museum, Paris.
  • Stone Stele depicting  a ceremonial procession of Babylonian Gods. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. Under the coils of the snake that wraps around the stele are represented the principal divinities of pantheon of Babylon as symbols. Below is a procession of two musicians and animals. Crenellated walls and towers surround the area reserve for an inscription that was never engraved. A horned serpent, emblem of the god Marduk, wraps around the base. Inv Sb 25. The Louvre Museum, Paris.
  • Stone Stele depicting  a ceremonial procession of Babylonian Gods. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. Under the coils of the snake that wraps around the stele are represented the principal divinities of pantheon of Babylon as symbols. Below is a procession of two musicians and animals. Crenellated walls and towers surround the area reserve for an inscription that was never engraved. A horned serpent, emblem of the god Marduk, wraps around the base. Inv Sb 25. The Louvre Museum, Paris.
  • Babylonian Hammurabi stone relief sculpture. Hammurabi was the sixth Amorite king of Babylon from 1792 BC to 1750 BC . Hammurabi (standing), depicted as receiving his royal insignia from Shamash. Hammurabi holds his hands over his mouth as a sign of prayer. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Babylonian stone relief sculpture. announcing a land deed of Adad-apla-iddina, 4th Dynasty king of Babylon from 1067 BC to 1046 BC . Copied from an original in the Pushkin Museum, Moscow. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Stone Stele depicting  a ceremonial procession of Babylonian Gods. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. Under the coils of the snake that wraps around the stele are represented the principal divinities of pantheon of Babylon as symbols. Below is a procession of two musicians and animals. Crenellated walls and towers surround the area reserve for an inscription that was never engraved. A horned serpent, emblem of the god Marduk, wraps around the base. Inv Sb 25. The Louvre Museum, Paris.
  • Basalt Babylonian sculpture reporting the spoils of war, 12th cent.BC. The Louvre Museum, Paris.
  • Stone Stele depicting  a ceremonial procession of Babylonian Gods. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. Under the coils of the snake that wraps around the stele are represented the principal divinities of pantheon of Babylon as symbols. Below is a procession of two musicians and animals. Crenellated walls and towers surround the area reserve for an inscription that was never engraved. A horned serpent, emblem of the god Marduk, wraps around the base. Inv Sb 25. The Louvre Museum, Paris.
  • Stone Stele depicting  a ceremonial procession of Babylonian Gods. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. Under the coils of the snake that wraps around the stele are represented the principal divinities of pantheon of Babylon as symbols. Below is a procession of two musicians and animals. Crenellated walls and towers surround the area reserve for an inscription that was never engraved. A horned serpent, emblem of the god Marduk, wraps around the base. Inv Sb 25. The Louvre Museum, Paris.
  • Babylonian stone relief sculpture. announcing a land deed of Adad-apla-iddina, 4th Dynasty king of Babylon from 1067 BC to 1046 BC . Copied from an original in the Pushkin Museum, Moscow. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Stone Stele depicting  a ceremonial procession of Babylonian Gods. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. Under the coils of the snake that wraps around the stele are represented the principal divinities of pantheon of Babylon as symbols. Below is a procession of two musicians and animals. Crenellated walls and towers surround the area reserve for an inscription that was never engraved. A horned serpent, emblem of the god Marduk, wraps around the base. Inv Sb 25. The Louvre Museum, Paris.
  • Babylonian Hammurabi stone relief sculpture. Hammurabi was the sixth Amorite king of Babylon from 1792 BC to 1750 BC . Hammurabi (standing), depicted as receiving his royal insignia from Shamash. Hammurabi holds his hands over his mouth as a sign of prayer. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Stone Stele depicting  a ceremonial procession of Babylonian Gods. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. Under the coils of the snake that wraps around the stele are represented the principal divinities of pantheon of Babylon as symbols. Below is a procession of two musicians and animals. Crenellated walls and towers surround the area reserve for an inscription that was never engraved. A horned serpent, emblem of the god Marduk, wraps around the base. Inv Sb 25. The Louvre Museum, Paris.
  • Basalt Babylonian sculpture usurped by an Elamite king. 12th cent. BC from Suse. Inv AO 30043, The Louvre Museum, Paris.
  • Stone Stele depicting  a ceremonial procession of Babylonian Gods. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. Under the coils of the snake that wraps around the stele are represented the principal divinities of pantheon of Babylon as symbols. Below is a procession of two musicians and animals. Crenellated walls and towers surround the area reserve for an inscription that was never engraved. A horned serpent, emblem of the god Marduk, wraps around the base. Inv Sb 25. The Louvre Museum, Paris.
  • Coloured glazed brick panels of the facade of the  first smaller Ishtar Gate, Babylon, dating from 604-562 BC. Babylon (present day Iraq). The Ishtar Gate, Babylon, was situated in the northern wall of the city and was named after the goddess Ishtar. The gate was decorated with reprentations of bulls, the symbol of the weather god Adad, and dragons (Babylonian Mushhushu), the symbol of the city God Marduk. The mythical composite animal has the head and the body of a snake, the front legs of a lion, the hind legs of a bird and a scorpion sting in the tail. The ground plan and debris of the gate buildings were uncovered during the German excavation from 1899-1917 directed by Robert Koldewey. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed brick panels of the facade of the  first smaller Ishtar Gate, Babylon, dating from 604-562 BC. Babylon (present day Iraq). The Ishtar Gate, Babylon, was situated in the northern wall of the city and was named after the goddess Ishtar. The gate was decorated with reprentations of bulls, the symbol of the weather god Adad, and dragons (Babylonian Mushhushu), the symbol of the city God Marduk. The mythical composite animal has the head and the body of a snake, the front legs of a lion, the hind legs of a bird and a scorpion sting in the tail. The ground plan and debris of the gate buildings were uncovered during the German excavation from 1899-1917 directed by Robert Koldewey. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed brick panels of the facade of the  first smaller Ishtar Gate, Babylon, dating from 604-562 BC. Babylon (present day Iraq). The Ishtar Gate, Babylon, was situated in the northern wall of the city and was named after the goddess Ishtar. The gate was decorated with reprentations of bulls, the symbol of the weather god Adad, and dragons (Babylonian Mushhushu), the symbol of the city God Marduk. The mythical composite animal has the head and the body of a snake, the front legs of a lion, the hind legs of a bird and a scorpion sting in the tail. The ground plan and debris of the gate buildings were uncovered during the German excavation from 1899-1917 directed by Robert Koldewey. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Basalt Babylonian sculpture reporting the spoils of war, 12th cent.BC. The Louvre Museum, Paris.
  • Coloured glazed brick panels of the facade of the  first smaller Ishtar Gate, Babylon, dating from 604-562 BC. Babylon (present day Iraq). The Ishtar Gate, Babylon, was situated in the northern wall of the city and was named after the goddess Ishtar. The gate was decorated with reprentations of bulls, the symbol of the weather god Adad, and dragons (Babylonian Mushhushu), the symbol of the city God Marduk. The mythical composite animal has the head and the body of a snake, the front legs of a lion, the hind legs of a bird and a scorpion sting in the tail. The ground plan and debris of the gate buildings were uncovered during the German excavation from 1899-1917 directed by Robert Koldewey. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed brick panels of the facade of the  first smaller Ishtar Gate, Babylon, dating from 604-562 BC. Babylon (present day Iraq). The Ishtar Gate, Babylon, was situated in the northern wall of the city and was named after the goddess Ishtar. The gate was decorated with reprentations of bulls, the symbol of the weather god Adad, and dragons (Babylonian Mushhushu), the symbol of the city God Marduk. The mythical composite animal has the head and the body of a snake, the front legs of a lion, the hind legs of a bird and a scorpion sting in the tail. The ground plan and debris of the gate buildings were uncovered during the German excavation from 1899-1917 directed by Robert Koldewey. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed brick panels of the facade of the  first smaller Ishtar Gate, Babylon, dating from 604-562 BC. Babylon (present day Iraq). The Ishtar Gate, Babylon, was situated in the northern wall of the city and was named after the goddess Ishtar. The gate was decorated with reprentations of bulls, the symbol of the weather god Adad, and dragons (Babylonian Mushhushu), the symbol of the city God Marduk. The mythical composite animal has the head and the body of a snake, the front legs of a lion, the hind legs of a bird and a scorpion sting in the tail. The ground plan and debris of the gate buildings were uncovered during the German excavation from 1899-1917 directed by Robert Koldewey. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed brick panels of the facade of the  first smaller Ishtar Gate, Babylon, dating from 604-562 BC. Babylon (present day Iraq). The Ishtar Gate, Babylon, was situated in the northern wall of the city and was named after the goddess Ishtar. The gate was decorated with reprentations of bulls, the symbol of the weather god Adad, and dragons (Babylonian Mushhushu), the symbol of the city God Marduk. The mythical composite animal has the head and the body of a snake, the front legs of a lion, the hind legs of a bird and a scorpion sting in the tail. The ground plan and debris of the gate buildings were uncovered during the German excavation from 1899-1917 directed by Robert Koldewey. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Basalt Babylonian sculpture usurped by an Elamite king. 12th cent. BC from Suse. Inv AO 30043, The Louvre Museum, Paris.
  • Stone Stele depicting  a ceremonial procession of Babylonian Gods. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. Under the coils of the snake that wraps around the stele are represented the principal divinities of pantheon of Babylon as symbols. Below is a procession of two musicians and animals. Crenellated walls and towers surround the area reserve for an inscription that was never engraved. A horned serpent, emblem of the god Marduk, wraps around the base. Inv Sb 25. The Louvre Museum, Paris.
  • Babylonian Hammurabi stone relief sculpture. Hammurabi was the sixth Amorite king of Babylon from 1792 BC to 1750 BC . Hammurabi (standing), depicted as receiving his royal insignia from Shamash. Hammurabi holds his hands over his mouth as a sign of prayer. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Stone Stele depicting  a ceremonial procession of Babylonian Gods. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. Under the coils of the snake that wraps around the stele are represented the principal divinities of pantheon of Babylon as symbols. Below is a procession of two musicians and animals. Crenellated walls and towers surround the area reserve for an inscription that was never engraved. A horned serpent, emblem of the god Marduk, wraps around the base. Inv Sb 25. The Louvre Museum, Paris.
  • Basalt Babylonian sculpture usurped by an Elamite king. 12th cent. BC from Suse. Inv AO 30043, The Louvre Museum, Paris.
  • Stone Stele depicting  a ceremonial procession of Babylonian Gods. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. Under the coils of the snake that wraps around the stele are represented the principal divinities of pantheon of Babylon as symbols. Below is a procession of two musicians and animals. Crenellated walls and towers surround the area reserve for an inscription that was never engraved. A horned serpent, emblem of the god Marduk, wraps around the base. Inv Sb 25. The Louvre Museum, Paris.
  • Coloured glazed brick panels of the facade of the  first smaller Ishtar Gate, Babylon, dating from 604-562 BC. Babylon (present day Iraq). The Ishtar Gate, Babylon, was situated in the northern wall of the city and was named after the goddess Ishtar. The gate was decorated with reprentations of bulls, the symbol of the weather god Adad, and dragons (Babylonian Mushhushu), the symbol of the city God Marduk. The mythical composite animal has the head and the body of a snake, the front legs of a lion, the hind legs of a bird and a scorpion sting in the tail. The ground plan and debris of the gate buildings were uncovered during the German excavation from 1899-1917 directed by Robert Koldewey. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed brick panels of the facade of the  first smaller Ishtar Gate, Babylon, dating from 604-562 BC. Babylon (present day Iraq). The Ishtar Gate, Babylon, was situated in the northern wall of the city and was named after the goddess Ishtar. The gate was decorated with reprentations of bulls, the symbol of the weather god Adad, and dragons (Babylonian Mushhushu), the symbol of the city God Marduk. The mythical composite animal has the head and the body of a snake, the front legs of a lion, the hind legs of a bird and a scorpion sting in the tail. The ground plan and debris of the gate buildings were uncovered during the German excavation from 1899-1917 directed by Robert Koldewey. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Babylonian stone relief sculpture. announcing a land deed of Adad-apla-iddina, 4th Dynasty king of Babylon from 1067 BC to 1046 BC . Copied from an original in the Pushkin Museum, Moscow. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed brick panels depicting Lions stiding from the facade of the Throne Room dating from 604-562 BC. Babylon (present day Iraq). The throne room is situated in the third courtyard of the complex of the royal palace. Its 56 meters wide facade was decorated with coloured glazed bricks. A tentative reconstruction shows the composition of the upper part of the facade, including the stylised palms and geometric patterned registers. Two original sections are displayed on the left next to the Ishtar Gate. The lower part f the facade with representations of the striding lions was predominantly reconstructed from the original baked brick fragments. The frieze of lions was presumably arranged symmetrically so the animals faced towards the central main entrance to the Throne room. The throne room was excavated by Robert Koldewey between 1899 and 1917. It was used as an official reception room. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed brick panels depicting the mythical composite animal has the head and the body of a snake, the front legs of a lion, the hind legs of a bird and a scorpion sting in the tail the symbol of the city God Marduk. From the facade of the  first smaller Ishtar Gate, Babylon, dating from 604-562 BC. Babylon (present day Iraq). The Ishtar Gate, Babylon, was situated in the northern wall of the city and was named after the goddess Ishtar. The ground plan and debris of the gate buildings were uncovered during the German excavation from 1899-1917 directed by Robert Koldewey. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed brick panels depicting the mythical composite animal has the head and the body of a snake, the front legs of a lion, the hind legs of a bird and a scorpion sting in the tail the symbol of the city God Marduk. From the facade of the  first smaller Ishtar Gate, Babylon, dating from 604-562 BC. Babylon (present day Iraq). The Ishtar Gate, Babylon, was situated in the northern wall of the city and was named after the goddess Ishtar. The ground plan and debris of the gate buildings were uncovered during the German excavation from 1899-1917 directed by Robert Koldewey. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed brick panels depicting the mythical composite animal has the head and the body of a snake, the front legs of a lion, the hind legs of a bird and a scorpion sting in the tail the symbol of the city God Marduk. From the facade of the  first smaller Ishtar Gate, Babylon, dating from 604-562 BC. Babylon (present day Iraq). The Ishtar Gate, Babylon, was situated in the northern wall of the city and was named after the goddess Ishtar. The ground plan and debris of the gate buildings were uncovered during the German excavation from 1899-1917 directed by Robert Koldewey. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed brick panels depicting bulls, the symbol of the weather god Adad, from the facade of the  first smaller Ishtar Gate, Babylon, dating from 604-562 BC. Babylon (present day Iraq). The Ishtar Gate, Babylon, was situated in the northern wall of the city and was named after the goddess Ishtar. The ground plan and debris of the gate buildings were uncovered during the German excavation from 1899-1917 directed by Robert Koldewey. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed brick panels depicting Lions stiding from the facade of the Throne Room dating from 604-562 BC. Babylon (present day Iraq). The throne room is situated in the third courtyard of the complex of the royal palace. Its 56 meters wide facade was decorated with coloured glazed bricks. A tentative reconstruction shows the composition of the upper part of the facade, including the stylised palms and geometric patterned registers. Two original sections are displayed on the left next to the Ishtar Gate. The lower part f the facade with representations of the striding lions was predominantly reconstructed from the original baked brick fragments. The frieze of lions was presumably arranged symmetrically so the animals faced towards the central main entrance to the Throne room. The throne room was excavated by Robert Koldewey between 1899 and 1917. It was used as an official reception room. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed brick panels depicting Lions stiding from the facade of the Throne Room dating from 604-562 BC. Babylon (present day Iraq). The throne room is situated in the third courtyard of the complex of the royal palace. Its 56 meters wide facade was decorated with coloured glazed bricks. A tentative reconstruction shows the composition of the upper part of the facade, including the stylised palms and geometric patterned registers. Two original sections are displayed on the left next to the Ishtar Gate. The lower part f the facade with representations of the striding lions was predominantly reconstructed from the original baked brick fragments. The frieze of lions was presumably arranged symmetrically so the animals faced towards the central main entrance to the Throne room. The throne room was excavated by Robert Koldewey between 1899 and 1917. It was used as an official reception room. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Stone Sculpture depicting  Kassite or 3rd Dynasty of Babylon King Meli-Shipak II commemorating a donation of land to his daughter-Hannubat Nannaya. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. The king dressed in a long robe with his right hand raised in a gesture of greeting. With his left hand he grasps the wrist of his daughter. The princess carries in her left hand a nine-stringed harp. Both face an enthroned goddess Nanya, a deity worshipped especially at Uruk[, who is dressed in a flounced or segmented garment and donning a feathered mitre and sits on the far side of a cultic censer on a stand. Above them are the symbols of three divinities astral: the star of Ishtar, the sun god Shamash and Sin of the crescent moon are in the sky. The rest of the stele has been entirely defaced, possibly by an Elamite king intending to have his own inscription engraved. The Louvre Museum, Paris.
  • Coloured glazed brick panels depicting bulls, the symbol of the weather god Adad, from the facade of the  first smaller Ishtar Gate, Babylon, dating from 604-562 BC. Babylon (present day Iraq). The Ishtar Gate, Babylon, was situated in the northern wall of the city and was named after the goddess Ishtar. The ground plan and debris of the gate buildings were uncovered during the German excavation from 1899-1917 directed by Robert Koldewey. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed brick panels depicting the mythical composite animal has the head and the body of a snake, the front legs of a lion, the hind legs of a bird and a scorpion sting in the tail the symbol of the city God Marduk. From the facade of the  first smaller Ishtar Gate, Babylon, dating from 604-562 BC. Babylon (present day Iraq). The Ishtar Gate, Babylon, was situated in the northern wall of the city and was named after the goddess Ishtar. The ground plan and debris of the gate buildings were uncovered during the German excavation from 1899-1917 directed by Robert Koldewey. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed brick panels depicting Lions stiding from the facade of the Throne Room dating from 604-562 BC. Babylon (present day Iraq). The throne room is situated in the third courtyard of the complex of the royal palace. Its 56 meters wide facade was decorated with coloured glazed bricks. A tentative reconstruction shows the composition of the upper part of the facade, including the stylised palms and geometric patterned registers. Two original sections are displayed on the left next to the Ishtar Gate. The lower part f the facade with representations of the striding lions was predominantly reconstructed from the original baked brick fragments. The frieze of lions was presumably arranged symmetrically so the animals faced towards the central main entrance to the Throne room. The throne room was excavated by Robert Koldewey between 1899 and 1917. It was used as an official reception room. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Stone Sculpture depicting  Kassite or 3rd Dynasty of Babylon King Meli-Shipak II commemorating a donation of land to his daughter-Hannubat Nannaya. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. The king dressed in a long robe with his right hand raised in a gesture of greeting. With his left hand he grasps the wrist of his daughter. The princess carries in her left hand a nine-stringed harp. Both face an enthroned goddess Nanya, a deity worshipped especially at Uruk[, who is dressed in a flounced or segmented garment and donning a feathered mitre and sits on the far side of a cultic censer on a stand. Above them are the symbols of three divinities astral: the star of Ishtar, the sun god Shamash and Sin of the crescent moon are in the sky. The rest of the stele has been entirely defaced, possibly by an Elamite king intending to have his own inscription engraved. The Louvre Museum, Paris.
  • Coloured glazed brick panels depicting Lions stiding from the facade of the Throne Room dating from 604-562 BC. Babylon (present day Iraq). The throne room is situated in the third courtyard of the complex of the royal palace. Its 56 meters wide facade was decorated with coloured glazed bricks. A tentative reconstruction shows the composition of the upper part of the facade, including the stylised palms and geometric patterned registers. Two original sections are displayed on the left next to the Ishtar Gate. The lower part f the facade with representations of the striding lions was predominantly reconstructed from the original baked brick fragments. The frieze of lions was presumably arranged symmetrically so the animals faced towards the central main entrance to the Throne room. The throne room was excavated by Robert Koldewey between 1899 and 1917. It was used as an official reception room. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Stone Sculpture depicting  Kassite or 3rd Dynasty of Babylon King Meli-Shipak II commemorating a donation of land to his daughter-Hannubat Nannaya. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. The king dressed in a long robe with his right hand raised in a gesture of greeting. With his left hand he grasps the wrist of his daughter. The princess carries in her left hand a nine-stringed harp. Both face an enthroned goddess Nanya, a deity worshipped especially at Uruk[, who is dressed in a flounced or segmented garment and donning a feathered mitre and sits on the far side of a cultic censer on a stand. Above them are the symbols of three divinities astral: the star of Ishtar, the sun god Shamash and Sin of the crescent moon are in the sky. The rest of the stele has been entirely defaced, possibly by an Elamite king intending to have his own inscription engraved. The Louvre Museum, Paris.
  • Coloured glazed brick panels depicting bulls, the symbol of the weather god Adad, from the facade of the  first smaller Ishtar Gate, Babylon, dating from 604-562 BC. Babylon (present day Iraq). The Ishtar Gate, Babylon, was situated in the northern wall of the city and was named after the goddess Ishtar. The ground plan and debris of the gate buildings were uncovered during the German excavation from 1899-1917 directed by Robert Koldewey. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed brick panels depicting the mythical composite animal has the head and the body of a snake, the front legs of a lion, the hind legs of a bird and a scorpion sting in the tail the symbol of the city God Marduk. From the facade of the  first smaller Ishtar Gate, Babylon, dating from 604-562 BC. Babylon (present day Iraq). The Ishtar Gate, Babylon, was situated in the northern wall of the city and was named after the goddess Ishtar. The ground plan and debris of the gate buildings were uncovered during the German excavation from 1899-1917 directed by Robert Koldewey. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Stone Sculpture depicting  Kassite or 3rd Dynasty of Babylon King Meli-Shipak II commemorating a donation of land to his daughter-Hannubat Nannaya. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. The king dressed in a long robe with his right hand raised in a gesture of greeting. With his left hand he grasps the wrist of his daughter. The princess carries in her left hand a nine-stringed harp. Both face an enthroned goddess Nanya, a deity worshipped especially at Uruk[, who is dressed in a flounced or segmented garment and donning a feathered mitre and sits on the far side of a cultic censer on a stand. Above them are the symbols of three divinities astral: the star of Ishtar, the sun god Shamash and Sin of the crescent moon are in the sky. The rest of the stele has been entirely defaced, possibly by an Elamite king intending to have his own inscription engraved. The Louvre Museum, Paris.
  • Coloured glazed brick panels depicting Lions stiding from the facade of the Throne Room dating from 604-562 BC. Babylon (present day Iraq). The throne room is situated in the third courtyard of the complex of the royal palace. Its 56 meters wide facade was decorated with coloured glazed bricks. A tentative reconstruction shows the composition of the upper part of the facade, including the stylised palms and geometric patterned registers. Two original sections are displayed on the left next to the Ishtar Gate. The lower part f the facade with representations of the striding lions was predominantly reconstructed from the original baked brick fragments. The frieze of lions was presumably arranged symmetrically so the animals faced towards the central main entrance to the Throne room. The throne room was excavated by Robert Koldewey between 1899 and 1917. It was used as an official reception room. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Stone Sculpture depicting  Kassite or 3rd Dynasty of Babylon King Meli-Shipak II commemorating a donation of land to his daughter-Hannubat Nannaya. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. The king dressed in a long robe with his right hand raised in a gesture of greeting. With his left hand he grasps the wrist of his daughter. The princess carries in her left hand a nine-stringed harp. Both face an enthroned goddess Nanya, a deity worshipped especially at Uruk[, who is dressed in a flounced or segmented garment and donning a feathered mitre and sits on the far side of a cultic censer on a stand. Above them are the symbols of three divinities astral: the star of Ishtar, the sun god Shamash and Sin of the crescent moon are in the sky. The rest of the stele has been entirely defaced, possibly by an Elamite king intending to have his own inscription engraved. The Louvre Museum, Paris.
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed brick panels depicting Lions stiding from the facade of the Throne Room dating from 604-562 BC. Babylon (present day Iraq). The throne room is situated in the third courtyard of the complex of the royal palace. Its 56 meters wide facade was decorated with coloured glazed bricks. A tentative reconstruction shows the composition of the upper part of the facade, including the stylised palms and geometric patterned registers. Two original sections are displayed on the left next to the Ishtar Gate. The lower part f the facade with representations of the striding lions was predominantly reconstructed from the original baked brick fragments. The frieze of lions was presumably arranged symmetrically so the animals faced towards the central main entrance to the Throne room. The throne room was excavated by Robert Koldewey between 1899 and 1917. It was used as an official reception room. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed brick panels depicting Lions stiding from the facade of the Throne Room dating from 604-562 BC. Babylon (present day Iraq). The throne room is situated in the third courtyard of the complex of the royal palace. Its 56 meters wide facade was decorated with coloured glazed bricks. A tentative reconstruction shows the composition of the upper part of the facade, including the stylised palms and geometric patterned registers. Two original sections are displayed on the left next to the Ishtar Gate. The lower part f the facade with representations of the striding lions was predominantly reconstructed from the original baked brick fragments. The frieze of lions was presumably arranged symmetrically so the animals faced towards the central main entrance to the Throne room. The throne room was excavated by Robert Koldewey between 1899 and 1917. It was used as an official reception room. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed brick panels depicting bulls, the symbol of the weather god Adad, from the facade of the  first smaller Ishtar Gate, Babylon, dating from 604-562 BC. Babylon (present day Iraq). The Ishtar Gate, Babylon, was situated in the northern wall of the city and was named after the goddess Ishtar. The ground plan and debris of the gate buildings were uncovered during the German excavation from 1899-1917 directed by Robert Koldewey. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed brick panels depicting bulls, the symbol of the weather god Adad, from the facade of the  first smaller Ishtar Gate, Babylon, dating from 604-562 BC. Babylon (present day Iraq). The Ishtar Gate, Babylon, was situated in the northern wall of the city and was named after the goddess Ishtar. The ground plan and debris of the gate buildings were uncovered during the German excavation from 1899-1917 directed by Robert Koldewey. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Stone Sculpture depicting  Kassite or 3rd Dynasty of Babylon King Meli-Shipak II commemorating a donation of land to his daughter-Hannubat Nannaya. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. The king dressed in a long robe with his right hand raised in a gesture of greeting. With his left hand he grasps the wrist of his daughter. The princess carries in her left hand a nine-stringed harp. Both face an enthroned goddess Nanya, a deity worshipped especially at Uruk[, who is dressed in a flounced or segmented garment and donning a feathered mitre and sits on the far side of a cultic censer on a stand. Above them are the symbols of three divinities astral: the star of Ishtar, the sun god Shamash and Sin of the crescent moon are in the sky. The rest of the stele has been entirely defaced, possibly by an Elamite king intending to have his own inscription engraved. The Louvre Museum, Paris.
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed terracotta brick panels depicting Achaemenid Persian royal bodyguards or archers. From the reign of Darius 1st and the First Persian or Achaemenid Empire around 510 BC excavated from the Palace of Daius 1st. Susa was one of the residential cities of the Achaemenid Kings. The Palaces are noteworthy for their elaborate decorations which can be considered exemplary of art at a royal court. The walls of Darius’s palace at Susa were embellished with colourful reliefs made from glazed bricks on the Babylonian model. It is not certain which rooms of the palace was decorated with representations of a procession of royal bodyguards or archers, dressed in richly decorative costumes.  The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed terracotta brick panels depicting Achaemenid Persian royal bodyguards or archers. From the reign of Darius 1st and the First Persian or Achaemenid Empire around 510 BC excavated from the Palace of Daius 1st. Susa was one of the residential cities of the Achaemenid Kings. The Palaces are noteworthy for their elaborate decorations which can be considered exemplary of art at a royal court. The walls of Darius’s palace at Susa were embellished with colourful reliefs made from glazed bricks on the Babylonian model. It is not certain which rooms of the palace was decorated with representations of a procession of royal bodyguards or archers, dressed in richly decorative costumes.  The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed terracotta brick panels depicting Achaemenid Persian royal bodyguards or archers. From the reign of Darius 1st and the First Persian or Achaemenid Empire around 510 BC excavated from the Palace of Daius 1st. Susa was one of the residential cities of the Achaemenid Kings. The Palaces are noteworthy for their elaborate decorations which can be considered exemplary of art at a royal court. The walls of Darius’s palace at Susa were embellished with colourful reliefs made from glazed bricks on the Babylonian model. It is not certain which rooms of the palace was decorated with representations of a procession of royal bodyguards or archers, dressed in richly decorative costumes.  The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed terracotta brick panels depicting Achaemenid Persian royal bodyguards or archers. From the reign of Darius 1st and the First Persian or Achaemenid Empire around 510 BC excavated from the Palace of Daius 1st. Susa was one of the residential cities of the Achaemenid Kings. The Palaces are noteworthy for their elaborate decorations which can be considered exemplary of art at a royal court. The walls of Darius’s palace at Susa were embellished with colourful reliefs made from glazed bricks on the Babylonian model. It is not certain which rooms of the palace was decorated with representations of a procession of royal bodyguards or archers, dressed in richly decorative costumes.  The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed terracotta brick panels depicting Achaemenid Persian royal bodyguards or archers. From the reign of Darius 1st and the First Persian or Achaemenid Empire around 510 BC excavated from the Palace of Daius 1st. Susa was one of the residential cities of the Achaemenid Kings. The Palaces are noteworthy for their elaborate decorations which can be considered exemplary of art at a royal court. The walls of Darius’s palace at Susa were embellished with colourful reliefs made from glazed bricks on the Babylonian model. It is not certain which rooms of the palace was decorated with representations of a procession of royal bodyguards or archers, dressed in richly decorative costumes.  The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed terracotta brick panels depicting Achaemenid Persian royal bodyguards or archers. From the reign of Darius 1st and the First Persian or Achaemenid Empire around 510 BC excavated from the Palace of Daius 1st Susa, present day Iran. Susa was one of the residential cityes of the Achaemenid Kings. The Palaces are noteworthy for their elaborate decorations which can be considered exemplary of art at a royal court. The walls of Darius’s palace at Susa were embellished with colourful reliefs made from glazed bricks on the Babylonian model. It is not certain which rooms of the palace was decorated with representations of a procession of royal bodyguards or archers, dressed in richly decorative costumes. Inv Ab3312-21, The Louvre Museum, Paris.
  • Coloured glazed terracotta brick panels depicting Achaemenid Persian royal bodyguards or archers. From the reign of Darius 1st and the First Persian or Achaemenid Empire around 510 BC excavated from the Palace of Daius 1st Susa, present day Iran. Susa was one of the residential cityes of the Achaemenid Kings. The Palaces are noteworthy for their elaborate decorations which can be considered exemplary of art at a royal court. The walls of Darius’s palace at Susa were embellished with colourful reliefs made from glazed bricks on the Babylonian model. It is not certain which rooms of the palace was decorated with representations of a procession of royal bodyguards or archers, dressed in richly decorative costumes. Inv Ab3312-21, The Louvre Museum, Paris.
  • Coloured glazed terracotta brick panels depicting Achaemenid Persian royal bodyguards or archers. From the reign of Darius 1st and the First Persian or Achaemenid Empire around 510 BC excavated from the Palace of Daius 1st Susa, present day Iran. Susa was one of the residential cityes of the Achaemenid Kings. The Palaces are noteworthy for their elaborate decorations which can be considered exemplary of art at a royal court. The walls of Darius’s palace at Susa were embellished with colourful reliefs made from glazed bricks on the Babylonian model. It is not certain which rooms of the palace was decorated with representations of a procession of royal bodyguards or archers, dressed in richly decorative costumes. Inv Ab3312-21, The Louvre Museum, Paris.
  • Coloured glazed terracotta brick panels depicting Achaemenid Persian royal bodyguards or archers. From the reign of Darius 1st and the First Persian or Achaemenid Empire around 510 BC excavated from the Palace of Daius 1st. Susa was one of the residential cities of the Achaemenid Kings. The Palaces are noteworthy for their elaborate decorations which can be considered exemplary of art at a royal court. The walls of Darius’s palace at Susa were embellished with colourful reliefs made from glazed bricks on the Babylonian model. It is not certain which rooms of the palace was decorated with representations of a procession of royal bodyguards or archers, dressed in richly decorative costumes.  The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed terracotta brick panels depicting Achaemenid Persian royal bodyguards or archers. From the reign of Darius 1st and the First Persian or Achaemenid Empire around 510 BC excavated from the Palace of Daius 1st. Susa was one of the residential cities of the Achaemenid Kings. The Palaces are noteworthy for their elaborate decorations which can be considered exemplary of art at a royal court. The walls of Darius’s palace at Susa were embellished with colourful reliefs made from glazed bricks on the Babylonian model. It is not certain which rooms of the palace was decorated with representations of a procession of royal bodyguards or archers, dressed in richly decorative costumes.  The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed terracotta brick panels depicting Achaemenid Persian royal bodyguards or archers. From the reign of Darius 1st and the First Persian or Achaemenid Empire around 510 BC excavated from the Palace of Daius 1st. Susa was one of the residential cities of the Achaemenid Kings. The Palaces are noteworthy for their elaborate decorations which can be considered exemplary of art at a royal court. The walls of Darius’s palace at Susa were embellished with colourful reliefs made from glazed bricks on the Babylonian model. It is not certain which rooms of the palace was decorated with representations of a procession of royal bodyguards or archers, dressed in richly decorative costumes.  The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed terracotta brick panels depicting Achaemenid Persian royal bodyguards or archers. From the reign of Darius 1st and the First Persian or Achaemenid Empire around 510 BC excavated from the Palace of Daius 1st. Susa was one of the residential cities of the Achaemenid Kings. The Palaces are noteworthy for their elaborate decorations which can be considered exemplary of art at a royal court. The walls of Darius’s palace at Susa were embellished with colourful reliefs made from glazed bricks on the Babylonian model. It is not certain which rooms of the palace was decorated with representations of a procession of royal bodyguards or archers, dressed in richly decorative costumes.  The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed terracotta brick panels depicting Achaemenid Persian royal bodyguards or archers. From the reign of Darius 1st and the First Persian or Achaemenid Empire around 510 BC excavated from the Palace of Daius 1st. Susa was one of the residential cities of the Achaemenid Kings. The Palaces are noteworthy for their elaborate decorations which can be considered exemplary of art at a royal court. The walls of Darius’s palace at Susa were embellished with colourful reliefs made from glazed bricks on the Babylonian model. It is not certain which rooms of the palace was decorated with representations of a procession of royal bodyguards or archers, dressed in richly decorative costumes.  The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed terracotta brick panels depicting Achaemenid Persian royal bodyguards or archers. From the reign of Darius 1st and the First Persian or Achaemenid Empire around 510 BC excavated from the Palace of Daius 1st. Susa was one of the residential cities of the Achaemenid Kings. The Palaces are noteworthy for their elaborate decorations which can be considered exemplary of art at a royal court. The walls of Darius’s palace at Susa were embellished with colourful reliefs made from glazed bricks on the Babylonian model. It is not certain which rooms of the palace was decorated with representations of a procession of royal bodyguards or archers, dressed in richly decorative costumes.  The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed terracotta brick panels depicting Achaemenid Persian royal bodyguards or archers. From the reign of Darius 1st and the First Persian or Achaemenid Empire around 510 BC excavated from the Palace of Daius 1st. Susa was one of the residential cities of the Achaemenid Kings. The Palaces are noteworthy for their elaborate decorations which can be considered exemplary of art at a royal court. The walls of Darius’s palace at Susa were embellished with colourful reliefs made from glazed bricks on the Babylonian model. It is not certain which rooms of the palace was decorated with representations of a procession of royal bodyguards or archers, dressed in richly decorative costumes.  The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed terracotta brick panels depicting Achaemenid Persian royal bodyguards or archers. From the reign of Darius 1st and the First Persian or Achaemenid Empire around 510 BC excavated from the Palace of Daius 1st. Susa was one of the residential cities of the Achaemenid Kings. The Palaces are noteworthy for their elaborate decorations which can be considered exemplary of art at a royal court. The walls of Darius’s palace at Susa were embellished with colourful reliefs made from glazed bricks on the Babylonian model. It is not certain which rooms of the palace was decorated with representations of a procession of royal bodyguards or archers, dressed in richly decorative costumes.  The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed terracotta brick panels depicting Achaemenid Persian royal bodyguards or archers. From the reign of Darius 1st and the First Persian or Achaemenid Empire around 510 BC excavated from the Palace of Daius 1st. Susa was one of the residential cities of the Achaemenid Kings. The Palaces are noteworthy for their elaborate decorations which can be considered exemplary of art at a royal court. The walls of Darius’s palace at Susa were embellished with colourful reliefs made from glazed bricks on the Babylonian model. It is not certain which rooms of the palace was decorated with representations of a procession of royal bodyguards or archers, dressed in richly decorative costumes.  The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed terracotta brick panels depicting Achaemenid Persian royal bodyguards or archers. From the reign of Darius 1st and the First Persian or Achaemenid Empire around 510 BC excavated from the Palace of Daius 1st. Susa was one of the residential cities of the Achaemenid Kings. The Palaces are noteworthy for their elaborate decorations which can be considered exemplary of art at a royal court. The walls of Darius’s palace at Susa were embellished with colourful reliefs made from glazed bricks on the Babylonian model. It is not certain which rooms of the palace was decorated with representations of a procession of royal bodyguards or archers, dressed in richly decorative costumes.  The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed terracotta brick panels depicting Achaemenid Persian royal bodyguards or archers. From the reign of Darius 1st and the First Persian or Achaemenid Empire around 510 BC excavated from the Palace of Daius 1st. Susa was one of the residential cities of the Achaemenid Kings. The Palaces are noteworthy for their elaborate decorations which can be considered exemplary of art at a royal court. The walls of Darius’s palace at Susa were embellished with colourful reliefs made from glazed bricks on the Babylonian model. It is not certain which rooms of the palace was decorated with representations of a procession of royal bodyguards or archers, dressed in richly decorative costumes.  The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed terracotta brick panels depicting Achaemenid Persian royal bodyguards or archers. From the reign of Darius 1st and the First Persian or Achaemenid Empire around 510 BC excavated from the Palace of Daius 1st. Susa was one of the residential cities of the Achaemenid Kings. The Palaces are noteworthy for their elaborate decorations which can be considered exemplary of art at a royal court. The walls of Darius’s palace at Susa were embellished with colourful reliefs made from glazed bricks on the Babylonian model. It is not certain which rooms of the palace was decorated with representations of a procession of royal bodyguards or archers, dressed in richly decorative costumes.  The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed terracotta brick panels depicting Achaemenid Persian royal bodyguards or archers. From the reign of Darius 1st and the First Persian or Achaemenid Empire around 510 BC excavated from the Palace of Daius 1st. Susa was one of the residential cities of the Achaemenid Kings. The Palaces are noteworthy for their elaborate decorations which can be considered exemplary of art at a royal court. The walls of Darius’s palace at Susa were embellished with colourful reliefs made from glazed bricks on the Babylonian model. It is not certain which rooms of the palace was decorated with representations of a procession of royal bodyguards or archers, dressed in richly decorative costumes.  The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed terracotta brick panels depicting Achaemenid Persian royal bodyguards or archers. From the reign of Darius 1st and the First Persian or Achaemenid Empire around 510 BC excavated from the Palace of Daius 1st Susa, present day Iran. Susa was one of the residential cityes of the Achaemenid Kings. The Palaces are noteworthy for their elaborate decorations which can be considered exemplary of art at a royal court. The walls of Darius’s palace at Susa were embellished with colourful reliefs made from glazed bricks on the Babylonian model. It is not certain which rooms of the palace was decorated with representations of a procession of royal bodyguards or archers, dressed in richly decorative costumes. Inv Ab3312-21, The Louvre Museum, Paris.
  • Coloured glazed terracotta brick panels depicting Achaemenid Persian royal bodyguards or archers. From the reign of Darius 1st and the First Persian or Achaemenid Empire around 510 BC excavated from the Palace of Daius 1st Susa, present day Iran. Susa was one of the residential cityes of the Achaemenid Kings. The Palaces are noteworthy for their elaborate decorations which can be considered exemplary of art at a royal court. The walls of Darius’s palace at Susa were embellished with colourful reliefs made from glazed bricks on the Babylonian model. It is not certain which rooms of the palace was decorated with representations of a procession of royal bodyguards or archers, dressed in richly decorative costumes. Inv Ab3312-21, The Louvre Museum, Paris.
  • Coloured glazed terracotta brick panels depicting Achaemenid Persian royal bodyguards or archers. From the reign of Darius 1st and the First Persian or Achaemenid Empire around 510 BC excavated from the Palace of Daius 1st Susa, present day Iran. Susa was one of the residential cityes of the Achaemenid Kings. The Palaces are noteworthy for their elaborate decorations which can be considered exemplary of art at a royal court. The walls of Darius’s palace at Susa were embellished with colourful reliefs made from glazed bricks on the Babylonian model. It is not certain which rooms of the palace was decorated with representations of a procession of royal bodyguards or archers, dressed in richly decorative costumes. Inv Ab3312-21, The Louvre Museum, Paris.
  • Coloured glazed terracotta brick panels depicting Achaemenid Persian royal bodyguards or archers. From the reign of Darius 1st and the First Persian or Achaemenid Empire around 510 BC excavated from the Palace of Daius 1st Susa, present day Iran. Susa was one of the residential cityes of the Achaemenid Kings. The Palaces are noteworthy for their elaborate decorations which can be considered exemplary of art at a royal court. The walls of Darius’s palace at Susa were embellished with colourful reliefs made from glazed bricks on the Babylonian model. It is not certain which rooms of the palace was decorated with representations of a procession of royal bodyguards or archers, dressed in richly decorative costumes. Inv Ab3312-21, The Louvre Museum, Paris.
  • Coloured glazed terracotta brick panels depicting Achaemenid Persian royal bodyguards or archers. From the reign of Darius 1st and the First Persian or Achaemenid Empire around 510 BC excavated from the Palace of Daius 1st Susa, present day Iran. Susa was one of the residential cityes of the Achaemenid Kings. The Palaces are noteworthy for their elaborate decorations which can be considered exemplary of art at a royal court. The walls of Darius’s palace at Susa were embellished with colourful reliefs made from glazed bricks on the Babylonian model. It is not certain which rooms of the palace was decorated with representations of a procession of royal bodyguards or archers, dressed in richly decorative costumes. Inv Ab3312-21, The Louvre Museum, Paris.
  • Coloured glazed terracotta brick panels depicting Achaemenid Persian royal bodyguards or archers. From the reign of Darius 1st and the First Persian or Achaemenid Empire around 510 BC excavated from the Palace of Daius 1st Susa, present day Iran. Susa was one of the residential cityes of the Achaemenid Kings. The Palaces are noteworthy for their elaborate decorations which can be considered exemplary of art at a royal court. The walls of Darius’s palace at Susa were embellished with colourful reliefs made from glazed bricks on the Babylonian model. It is not certain which rooms of the palace was decorated with representations of a procession of royal bodyguards or archers, dressed in richly decorative costumes. Inv Ab3312-21, The Louvre Museum, Paris.
  • Coloured glazed terracotta brick panels depicting Achaemenid Persian royal bodyguards or archers. From the reign of Darius 1st and the First Persian or Achaemenid Empire around 510 BC excavated from the Palace of Daius 1st Susa, present day Iran. Susa was one of the residential cityes of the Achaemenid Kings. The Palaces are noteworthy for their elaborate decorations which can be considered exemplary of art at a royal court. The walls of Darius’s palace at Susa were embellished with colourful reliefs made from glazed bricks on the Babylonian model. It is not certain which rooms of the palace was decorated with representations of a procession of royal bodyguards or archers, dressed in richly decorative costumes. Inv Ab3312-21, The Louvre Museum, Paris.
  • Coloured glazed terracotta brick panels depicting Achaemenid Persian royal bodyguards or archers. From the reign of Darius 1st and the First Persian or Achaemenid Empire around 510 BC excavated from the Palace of Daius 1st Susa, present day Iran. Susa was one of the residential cityes of the Achaemenid Kings. The Palaces are noteworthy for their elaborate decorations which can be considered exemplary of art at a royal court. The walls of Darius’s palace at Susa were embellished with colourful reliefs made from glazed bricks on the Babylonian model. It is not certain which rooms of the palace was decorated with representations of a procession of royal bodyguards or archers, dressed in richly decorative costumes. Inv Ab3312-21, The Louvre Museum, Paris.
  • Coloured glazed terracotta brick panels depicting Achaemenid Persian royal bodyguards or archers. From the reign of Darius 1st and the First Persian or Achaemenid Empire around 510 BC excavated from the Palace of Daius 1st Susa, present day Iran. Susa was one of the residential cityes of the Achaemenid Kings. The Palaces are noteworthy for their elaborate decorations which can be considered exemplary of art at a royal court. The walls of Darius’s palace at Susa were embellished with colourful reliefs made from glazed bricks on the Babylonian model. It is not certain which rooms of the palace was decorated with representations of a procession of royal bodyguards or archers, dressed in richly decorative costumes. Inv Ab3312-21, The Louvre Museum, Paris.
  • Coloured glazed terracotta brick panels depicting Achaemenid Persian royal bodyguards or archers. From the reign of Darius 1st and the First Persian or Achaemenid Empire around 510 BC excavated from the Palace of Daius 1st Susa, present day Iran. Susa was one of the residential cityes of the Achaemenid Kings. The Palaces are noteworthy for their elaborate decorations which can be considered exemplary of art at a royal court. The walls of Darius’s palace at Susa were embellished with colourful reliefs made from glazed bricks on the Babylonian model. It is not certain which rooms of the palace was decorated with representations of a procession of royal bodyguards or archers, dressed in richly decorative costumes. Inv Ab3312-21, The Louvre Museum, Paris.

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