• Chaldean Assyrian relief sculpture slab from the northwest palace of King Ashurnasirpal II of a Genie standing. 881-859 B.C form Nimrud or Nimrut ( Kalhu or Kalah). Istanbul Archaeological exhibit Inv. No. 5.
  • Assyrian relief sculpture panel  of a female protective spirit  from Nimrud, Iraq.  865-860 B.C North West Palace, Room I.  British Museum Assyrian  Archaeological exhibit  ref WA 124581
  • Assyrian relief sculpture panel of a protective spirit with an eagles Head from Nimrud, Iraq.  The spirit is holding a symbolic fir cone and is sprinkling holy water from the bucket it is holding. The rosette bracelet worn around the wrist symbolises divine power. 865-860 B.C North West Palace, Room G, panelled d1. ref: British Museum Assyrian  Archaeological exhibit WA 124576
  • Assyrian relief sculpture panel of a protective spirit with an eagles Head from Nimrud, Iraq.  The spirit is holding a symbolic fir cone and is sprinkling holy water from the bucket it is holding. The rosette bracelet worn around the wrist symbolises divine power. 865-860 B.C North West Palace, Room I. ref: British Museum Assyrian  Archaeological exhibit WA 118921
  • Assyrian relief sculpture panel of a protective spirit with an eagles Head from Nimrud, Iraq.  The spirit is holding a symbolic fir cone and is sprinkling holy water from the bucket it is holding. The rosette bracelet worn around the wrist symbolises divine power. 865-860 B.C North West Palace, Room I. ref: British Museum Assyrian  Archaeological exhibit WA 118921
  • Assyrian relief sculpture panel of a protective spirit with an eagles Head from Nimrud, Iraq.  The spirit is holding a symbolic fir cone and is sprinkling holy water from the bucket it is holding. The rosette bracelet worn around the wrist symbolises divine power. 865-860 B.C North West Palace, Room I. ref: British Museum Assyrian  Archaeological exhibit WA 118921
  • Sculpted Assyrian relief panels of Royal Chariot & Guards  from Hadatu ( Aslantas ) around 800 B.C. Istanbul Archaeological museum Inv No. 1946
  • Limestone Sculpted relief Stele with inscription to King Sennacherib. The relief shows Assyrian King Sennacherib  praying in front of divine symbols. 705 - 681 B.C Nineveh ( Kuyunjik ) . The inscription tells of King Sennacherib's great feats of war and the building works in Nineveh. It starts " Sennacheribs, the great king, mighty king, king of the universe, king of the Assyria, king of the four regions of the wold, favourite of the great gods". It continues " I led my armies from one end of the earth to the other and brought in submission at my feet all princes, dwelling in palaces, of the four quarters of the world". of his great worked " I enlarged the site of Nineveh, my royal city, I made its market streets wider". further " The wall and outer wall I caused skilfully constructed and raised them mountain high. I widened them to 100 cubits ( 50m )". Istanbul Archaeological Exhibit no. 1.
  • Chaldean Assyrian relief sculpture slab from the northwest palace of King Ashurnasirpal II of a Genie standing. 881-859 B.C form Nimrud or Nimrut ( Kalhu or Kalah). Istanbul Archaeological exhibit Inv. No. 5.
  • Chaldean Assyrian relief sculpture slab from the northwest palace of King Ashurnasirpal II of a Genie standing. 881-859 B.C form Nimrud or Nimrut ( Kalhu or Kalah). Istanbul Archaeological exhibit Inv. No. 5.
  • Chaldean Assyrian relief sculpture slab from the northwest palace of King Ashurnasirpal II of a Genie standing in front of the tree of life. 881-859 B.C form Nimrud or Nimrut ( Kalhu or Kalah). Istanbul Archaeological exhibit Inv. No. 4.
  • Chaldean Assyrian relief sculpture slab from the northwest palace of King Ashurnasirpal II of a Genie standing. 881-859 B.C form Nimrud or Nimrut ( Kalhu or Kalah). Istanbul Archaeological exhibit Inv. No. 6.
  • Assyrian relief sculpture panel  of an eagle headed protective spirit  from Nimrud, Iraq.  The spirit is holding a symbolic fir cone and is sprinkling holy water. 865-860 B.C North West Palace, Room F, panel 3.  British Museum Assyrian  Archaeological exhibit  ref WA 124584-5
  • Assyrian relief sculpture panel  of a female protective spirit  from Nimrud, Iraq.  865-860 B.C North West Palace, Room I.  British Museum Assyrian  Archaeological exhibit  ref WA 124581
  • Assyrian relief sculpture panel of a protective spirit holdingpomegrantes from Nimrud, Iraq.  865-860 B.C North West Palace, Room Z.  ref: British Museum Assyrian  Archaeological exhibit WA 118874
  • Assyrian relief sculpture panel of a protective spirit with an eagles Head from Nimrud, Iraq. The spirit is holding a symbolic fir cone and is sprinkling holy water from the bucket it is holding.  865-860 B.C North West Palace, Room G, panelled d1. ref: British Museum Assyrian  Archaeological exhibit WA 124576
  • Assyrian relief sculpture panel  from Nimrud, Iraq.  865-860 B.C North West Palace.  British Museum Assyrian  Archaeological exhibit.
  • Assyrian relief sculpture panel of a protective spirit with an eagles Head from Nimrud, Iraq. The spirit is holding a symbolic fir cone and is sprinkling holy water from the bucket it is holding.  865-860 B.C North West Palace, Room G, panelled d1. ref: British Museum Assyrian  Archaeological exhibit WA 124576
  • Assyrian relief sculpture panel of a protective spirit with an eagles Head from Nimrud, Iraq.  The spirit is holding a symbolic fir cone and is sprinkling holy water from the bucket it is holding. The rosette bracelet worn around the wrist symbolises divine power. 865-860 B.C North West Palace, Room I. ref: British Museum Assyrian  Archaeological exhibit WA 118921
  • Assyrian relief sculpture panel of a protective spirit with an eagles Head from Nimrud, Iraq.  The spirit is holding a symbolic fir cone and is sprinkling holy water from the bucket it is holding. The rosette bracelet worn around the wrist symbolises divine power. 865-860 B.C North West Palace, Room G, panelled d1. ref: British Museum Assyrian  Archaeological exhibit WA 124576
  • Assyrian relief sculpture panel of a protective spirit with an eagles Head from Nimrud, Iraq.  The spirit is holding a symbolic fir cone and is sprinkling holy water from the bucket it is holding. The rosette bracelet worn around the wrist symbolises divine power. 865-860 B.C North West Palace, Room G, panelled d1. ref: British Museum Assyrian  Archaeological exhibit WA 124576
  • Sculpted Assyrian relief panels of mace bearers from Hadatu ( Aslantas ) around 800 B.C. Istanbul Archaeological museum Inv No. 14-10
  • 810-783 B.C Neo-Assyrian Stele with relief sculpture & inscription to King Adad-Nirari III (son of Samsi-Adad V, King of Assyria) praying to the gods. The inscription reports King Adad-Nirari III's campaign against Palestine in which he marched on Damascus and caused such terror that King Mari I surrendered the Royal city of Damascus paying a tribute of 100 talents of gold.  Istanbul Archaeological Museum Inv. No 2828.
  • Chaldean Assyrian relief sculpture slab from the northwest palace of King Ashurnasirpal II of a Genie standing. 881-859 B.C form Nimrud or Nimrut ( Kalhu or Kalah). Istanbul Archaeological exhibit Inv. No. 5.
  • Chaldean Assyrian relief sculpture slab from the northwest palace of King Ashurnasirpal II of a Genie standing. 881-859 B.C form Nimrud or Nimrut ( Kalhu or Kalah). Istanbul Archaeological exhibit Inv. No. 5.
  • Assyrian relief sculpture panel of a protective spirit from Nimrud, Iraq.  865-860 B.C North West Palace, Room Z.  ref: British Museum Assyrian  Archaeological exhibit WA 118874
  • Assyrian relief sculpture panel  from Nimrud, Iraq.  865-860 B.C North West Palace.  British Museum Assyrian  Archaeological exhibit.
  • Assyrian relief sculpture panel of a protective spirit with an eagles Head from Nimrud, Iraq.  The spirit is holding a symbolic fir cone and is sprinkling holy water from the bucket it is holding. The rosette bracelet worn around the wrist symbolises divine power. 865-860 B.C North West Palace, Room G, panelled d1. ref: British Museum Assyrian  Archaeological exhibit WA 124576
  • Neo-Assyrian basalt statue of King Shalmaneser III (858-824 B.C) . Inscription reads "Shalmaneser, the great king, the mighty king, king of all four region, the powerful and the mighty rival of the princes of the whole earth the great ones, the kings, son of Assur-Nasirapli, King of the universe, King of Assyria, grandson of ~Tukultiu-Ninurta, King of the Universe, King of Assyria". The inscription continues with his campaigns &b deeds in Uratu, Syria, Que & Tabal ending " At the time I rebuilt the walls of my city Ashur from their foundations to their summits. I made an image of my royal self and set it up in the metal gate". From Assur ( Qala't Sharqat) Iraq. Istanbul Archaeological Museum, Inv no. 4650.
  • Assyrian Trader Colony Bronze Age terracotta sandal shaped ritual vessed. This cult pot is boat shaped with an animal head at the front. Inside the vessel is god. The deities associated with the ritual vessel were associated with trade and transportation in Ancient Mesopotamia and Summerian literature. The vessel signifies a religious river trip.  - 19th  century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey. Against a white background.
  • Assyrian Trader Colony Bronze Age terracotta sandal shaped ritual vessed. This cult pot is boat shaped with an animal head at the front. Inside the vessel is god. The deities associated with the ritual vessel were associated with trade and transportation in Ancient Mesopotamia and Summerian literature. The vessel signifies a religious river trip.  - 19th  century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.  Against a black background.
  • Assyrian Trader Colony Bronze Age terracotta sandal shaped ritual vessed. This cult pot is boat shaped with an animal head at the front. Inside the vessel is god. The deities associated with the ritual vessel were associated with trade and transportation in Ancient Mesopotamia and Summerian literature. The vessel signifies a religious river trip.  - 19th  century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.. Against a white background.
  • Assyrian Trader Colony Bronze Age terracotta sandal shaped ritual vessed. This cult pot is boat shaped with an animal head at the front. Inside the vessel is a model of a temple and goddess. The deities associated with the ritual vessel were associated with trade and transportation in Ancient Mesopotamia and Summerian literature. The vessel signifies a religious river trip.  - 19th  century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey. Against a white background.
  • Assyrian Trader Colony Bronze Age terracotta sandal shaped ritual vessed. This cult pot is boat shaped with an animal head at the front. Inside the vessel is a model of a temple and goddess. The deities associated with the ritual vessel were associated with trade and transportation in Ancient Mesopotamia and Summerian literature. The vessel signifies a religious river trip.  - 19th  century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.  Against a warn art background.
  • Assyrian Trader Colony Bronze Age terracotta sandal shaped ritual vessed. This cult pot is boat shaped with an animal head at the front. Inside the vessel is god. The deities associated with the ritual vessel were associated with trade and transportation in Ancient Mesopotamia and Summerian literature. The vessel signifies a religious river trip.  - 19th  century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.  Against a grey background.
  • Assyrian Trader Colony Bronze Age terracotta sandal shaped ritual vessed. This cult pot is boat shaped with an animal head at the front. Inside the vessel is god. The deities associated with the ritual vessel were associated with trade and transportation in Ancient Mesopotamia and Summerian literature. The vessel signifies a religious river trip.  - 19th  century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.  Against a warn art background.
  • Assyrian Trader Colony Bronze Age terracotta sandal shaped ritual vessed. This cult pot is boat shaped with an animal head at the front. Inside the vessel is god. The deities associated with the ritual vessel were associated with trade and transportation in Ancient Mesopotamia and Summerian literature. The vessel signifies a religious river trip.  - 19th  century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.
  • Assyrian Trader Colony Bronze Age terracotta sandal shaped ritual vessed. This cult pot is boat shaped with an animal head at the front. Inside the vessel is god. The deities associated with the ritual vessel were associated with trade and transportation in Ancient Mesopotamia and Summerian literature. The vessel signifies a religious river trip.  - 19th  century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey. Against a grey background.
  • Assyrian Trader Colony Bronze Age terracotta sandal shaped ritual vessed. This cult pot is boat shaped with an animal head at the front. Inside the vessel is god. The deities associated with the ritual vessel were associated with trade and transportation in Ancient Mesopotamia and Summerian literature. The vessel signifies a religious river trip.  - 19th  century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.  Against a black background.
  • Assyrian Trader Colony Bronze Age terracotta sandal shaped ritual vessed. This cult pot is boat shaped with an animal head at the front. Inside the vessel is god. The deities associated with the ritual vessel were associated with trade and transportation in Ancient Mesopotamia and Summerian literature. The vessel signifies a religious river trip.  - 19th  century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.  Against a warn art background.
  • Assyrian Trader Colony Bronze Age terracotta sandal shaped ritual vessed. This cult pot is boat shaped with an animal head at the front. Inside the vessel is god. The deities associated with the ritual vessel were associated with trade and transportation in Ancient Mesopotamia and Summerian literature. The vessel signifies a religious river trip.  - 19th  century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.
  • Assyrian Trader Colony Bronze Age terracotta sandal shaped ritual vessed. This cult pot is boat shaped with an animal head at the front. Inside the vessel is a model of a temple and goddess. The deities associated with the ritual vessel were associated with trade and transportation in Ancient Mesopotamia and Summerian literature. The vessel signifies a religious river trip.  - 19th  century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.  Against a black background.
  • Assyrian Trader Colony Bronze Age terracotta sandal shaped ritual vessed. This cult pot is boat shaped with an animal head at the front. Inside the vessel is a model of a temple and goddess. The deities associated with the ritual vessel were associated with trade and transportation in Ancient Mesopotamia and Summerian literature. The vessel signifies a religious river trip.  - 19th  century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey. Against a grey background.
  • Assyrian Trader Colony Bronze Age terracotta sandal shaped ritual vessed. This cult pot is boat shaped with an animal head at the front. Inside the vessel is a model of a temple and goddess. The deities associated with the ritual vessel were associated with trade and transportation in Ancient Mesopotamia and Summerian literature. The vessel signifies a religious river trip.  - 19th  century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.
  • Ancient Egyptian house altar relief sculpture of Akhenaten, Nefrertiti and their three daughters. 18th Dynasty 1345 BC . Neues Museum Berlin AM 14145.
  • Ancient Egyptian statue head of Queen Hatshepsut or King Thutmose III. Ancient Egypt 18th Dynaty, 1460-1450 BC. Neues Museum Berlin Cat No: AM 34431.
  • Ancient Egyptian statue head of Queen Hatshepsut or King Thutmose III. Ancient Egypt 18th Dynaty, 1460-1450 BC. Neues Museum Berlin Cat No: AM 34431.
  • Ancient Egyptian bronze statue of Meres-Amun. Ancient Egypt 22nd Dynaty, 850 BC. Neues Museum Berlin Cat No: AM 32321.
  • Ancient Egyptian bronze statue of Meres-Amun. Ancient Egypt 22nd Dynaty, 850 BC. Neues Museum Berlin Cat No: AM 32321.
  • Ancient Egyptian bronze statue of Meres-Amun. Ancient Egypt 22nd Dynaty, 850 BC. Neues Museum Berlin Cat No: AM 32321.
  • Ancient Egyptian voitive stele of Takasu for the Gods Harmakhis and Atun from Thebes. Ancient Egypt 25/26 Dynaty, 630 BC. Neues Museum Berlin Cat No: AM 935.
  • Ancient Egyptian voitive stele of Takasu for the Gods Harmakhis and Atun from Thebes. Ancient Egypt 25/26 Dynaty, 630 BC. Neues Museum Berlin Cat No: AM 935.
  • Ancient Egyptian voitive stele of Takasu for the Gods Harmakhis and Atun from Thebes. Ancient Egypt 25/26 Dynaty, 630 BC. Neues Museum Berlin Cat No: AM 935.
  • Ancient Egyptian voitive stele of Takasu for the Gods Harmakhis and Atun from Thebes. Ancient Egypt 25/26 Dynaty, 630 BC. Neues Museum Berlin Cat No: AM 935.
  • Ancient Egyptian limestone funerary stele showing Akhenaten and Nefertiti in front of an offering table. Ancient Egypt 18th Dynasty, 1345 BC. Neues Museum Berlin Cat No: AM 17813.
  • Ancient Egyptian limestone funerary stele showing Akhenaten and Nefertiti in front of an offering table. Ancient Egypt 18th Dynasty, 1345 BC. Neues Museum Berlin Cat No: AM 17813.
  • Ancient Egyptian limestone funerary stele showing Akhenaten and Nefertiti in front of an offering table. Ancient Egypt 18th Dynasty, 1345 BC. Neues Museum Berlin Cat No: AM 17813.
  • Quartz ancient Egyptian relief sculpture of Queen Tiy from the funerary temple of Amenohis III, West Thebes. 18th Dynasty Ancient Egypt, 1375 BC . Neues Museum Berlin Cat No: AM 23270.
  • Quartz ancient Egyptian relief sculpture of Queen Tiy from the funerary temple of Amenohis III, West Thebes. 18th Dynasty Ancient Egypt, 1375 BC . Neues Museum Berlin Cat No: AM 23270.
  • Ancient Egyptian quartz statue head of princess from Amarna. 18th Dynasty Ancient Egypt, 1345 BC . Neues Museum Berlin Cat No: AM 21223.
  • Ancient Egyptian quartz statue head of prince Khaemwase, son of Pharaoh  Rameses II. 19th Dynasty Ancient Egypt, 1260 BC . Neues Museum Berlin Cat No: AM 13460.
  • Ancient Egyptian quartz statue head of prince Khaemwase, son of Pharaoh  Rameses II. 19th Dynasty Ancient Egypt, 1260 BC . Neues Museum Berlin Cat No: AM 13460.
  • Ancient Egyptian granite sculpture of Pharaoh Sobekhotep V kneeling with an ointment vessel. 13-14 Dynasty Ancient Egypt, 1750-1700 BC . Neues Museum Berlin Cat No: AM 10645.
  • Ancient Egyptian granite sculpture of Pharaoh Sobekhotep V kneeling with an ointment vessel. 13-14 Dynasty Ancient Egypt, 1750-1700 BC . Neues Museum Berlin Cat No: AM 10645.
  • Ancient Egyptian statue head of Queen Hatshepsut or King Thutmose III. Ancient Egypt 18th Dynaty, 1460-1450 BC. Neues Museum Berlin Cat No: AM 34431.
  • Ancient Egyptian statue head of Queen Hatshepsut or King Thutmose III. Ancient Egypt 18th Dynaty, 1460-1450 BC. Neues Museum Berlin Cat No: AM 34431.
  • Ancient Egyptian bronze statue of Meres-Amun. Ancient Egypt 22nd Dynaty, 850 BC. Neues Museum Berlin Cat No: AM 32321.
  • Ancient Egyptian limestone funerary stele showing Akhenaten and Nefertiti in front of an offering table. Ancient Egypt 18th Dynasty, 1345 BC. Neues Museum Berlin Cat No: AM 17813.
  • Quartz ancient Egyptian relief sculpture of Queen Tiy from the funerary temple of Amenohis III, West Thebes. 18th Dynasty Ancient Egypt, 1375 BC . Neues Museum Berlin Cat No: AM 23270.
  • Quartz ancient Egyptian relief sculpture of Queen Tiy from the funerary temple of Amenohis III, West Thebes. 18th Dynasty Ancient Egypt, 1375 BC . Neues Museum Berlin Cat No: AM 23270.
  • Ancient Egyptian quartz statue head of princess from Amarna. 18th Dynasty Ancient Egypt, 1345 BC . Neues Museum Berlin Cat No: AM 21223.
  • Ancient Egyptian quartz statue head of princess from Amarna. 18th Dynasty Ancient Egypt, 1345 BC . Neues Museum Berlin Cat No: AM 21223.
  • Ancient Egyptian quartz statue head of princess from Amarna. 18th Dynasty Ancient Egypt, 1345 BC . Neues Museum Berlin Cat No: AM 21223.
  • Ancient Egyptian quartz statue head of princess from Amarna. 18th Dynasty Ancient Egypt, 1345 BC . Neues Museum Berlin Cat No: AM 21223.
  • Ancient Egyptian quartz statue head of princess from Amarna. 18th Dynasty Ancient Egypt, 1345 BC . Neues Museum Berlin Cat No: AM 21223.
  • Ancient Egyptian quartz statue head of princess from Amarna. 18th Dynasty Ancient Egypt, 1345 BC . Neues Museum Berlin Cat No: AM 21223.
  • Ancient Egyptian quartz statue head of prince Khaemwase, son of Pharaoh  Rameses II. 19th Dynasty Ancient Egypt, 1260 BC . Neues Museum Berlin Cat No: AM 13460.
  • Ancient Egyptian granite sculpture of Pharaoh Sobekhotep V kneeling with an ointment vessel. 13-14 Dynasty Ancient Egypt, 1750-1700 BC . Neues Museum Berlin Cat No: AM 10645.
  • Ancient Egyptian granite sculpture of Pharaoh Sobekhotep V kneeling with an ointment vessel. 13-14 Dynasty Ancient Egypt, 1750-1700 BC . Neues Museum Berlin Cat No: AM 10645.
  • Quartz ancient Egyptian relief sculpture of Queen Tiy from the funerary temple of Amenohis III, West Thebes. 18th Dynasty Ancient Egypt, 1375 BC . Neues Museum Berlin Cat No: AM 23270.
  • Ancient Egyptian tomb relief sculpture depicting the scribe and judge Ankhirptah. Middle Kingdom Egypt, 2170 BC. Neues Museum Berlin Cat No: AM 7337..
  • Ancient Egyptian tomb relief sculpture depicting the scribe and judge Ankhirptah. Middle Kingdom Egypt, 2170 BC. Neues Museum Berlin Cat No: AM 7337..
  • Ancient Egyptian tomb relief sculpture depicting the scribe and judge Ankhirptah. Middle Kingdom Egypt, 2170 BC. Neues Museum Berlin Cat No: AM 7337..
  • Ancient Egyptian limestone funerary stele of Ipepi with his wife, mother and sister in front of Osiris. Middle Kingdom, 11th Dynasty, 2120-1980 BC. Neues Museum Berlin Cat No: AM 24031.
  • Ancient Egyptian limestone funerary stele of Ipepi with his wife, mother and sister in front of Osiris. Middle Kingdom, 11th Dynasty, 2120-1980 BC. Neues Museum Berlin Cat No: AM 24031.
  • Ancient Egyptian limestone funerary stele of Ipepi with his wife, mother and sister in front of Osiris. Middle Kingdom, 11th Dynasty, 2120-1980 BC. Neues Museum Berlin Cat No: AM 24031.
  • Ancient Egyptian tomb relief sculpture depicting the scribe and judge Ankhirptah. Middle Kingdom Egypt, 2170 BC. Neues Museum Berlin Cat No: AM 7337..
  • Ancient Egyptian limestone funerary stele of Ipepi with his wife, mother and sister in front of Osiris. Middle Kingdom, 11th Dynasty, 2120-1980 BC. Neues Museum Berlin Cat No: AM 24031.
  • Gypsum, schist, shells and lapis lazuli statue of Ebih-Il, early Dynastic; Shakkanakku (military governor) of the ancient city-state of Mari in present day eastern Syria, dating from circa 2340 BC or from the Akkadian period of rule Circa 2250 BC.. The statue carries a cuneiform inscription in Akkadian. Excavated from; the temple of Ishtar at Mari by André Parrot in 1934-1935 the statue measures; 52.5 cm (20.7 in) high; 20.6 cm (8.1 in) wide and 30 cm (11.8 in) deep. Department of Oriental Antiquities; Richelieu; ground floor; room 1b; inv AO 17551; Louvre Museum; Paris
  • Gypsum, schist, shells and lapis lazuli statue of Ebih-Il, early Dynastic; Shakkanakku (military governor) of the ancient city-state of Mari in present day eastern Syria, dating from circa 2340 BC or from the Akkadian period of rule Circa 2250 BC.. The statue carries a cuneiform inscription in Akkadian. Excavated from; the temple of Ishtar at Mari by André Parrot in 1934-1935 the statue measures; 52.5 cm (20.7 in) high; 20.6 cm (8.1 in) wide and 30 cm (11.8 in) deep. Department of Oriental Antiquities; Richelieu; ground floor; room 1b; inv AO 17551; Louvre Museum; Paris
  • Gypsum, schist, shells and lapis lazuli statue of Ebih-Il, early Dynastic; Shakkanakku (military governor) of the ancient city-state of Mari in present day eastern Syria, dating from circa 2340 BC or from the Akkadian period of rule Circa 2250 BC.. The statue carries a cuneiform inscription in Akkadian. Excavated from; the temple of Ishtar at Mari by André Parrot in 1934-1935 the statue measures; 52.5 cm (20.7 in) high; 20.6 cm (8.1 in) wide and 30 cm (11.8 in) deep. Department of Oriental Antiquities; Richelieu; ground floor; room 1b; inv AO 17551; Louvre Museum; Paris
  • Gypsum, schist, shells and lapis lazuli statue of Ebih-Il, early Dynastic; Shakkanakku (military governor) of the ancient city-state of Mari in present day eastern Syria, dating from circa 2340 BC or from the Akkadian period of rule Circa 2250 BC.. The statue carries a cuneiform inscription in Akkadian. Excavated from; the temple of Ishtar at Mari by André Parrot in 1934-1935 the statue measures; 52.5 cm (20.7 in) high; 20.6 cm (8.1 in) wide and 30 cm (11.8 in) deep. Department of Oriental Antiquities; Richelieu; ground floor; room 1b; inv AO 17551; Louvre Museum; Paris
  • Gypsum, schist, shells and lapis lazuli statue of Ebih-Il, early Dynastic; Shakkanakku (military governor) of the ancient city-state of Mari in present day eastern Syria, dating from circa 2340 BC or from the Akkadian period of rule Circa 2250 BC.. The statue carries a cuneiform inscription in Akkadian. Excavated from; the temple of Ishtar at Mari by André Parrot in 1934-1935 the statue measures; 52.5 cm (20.7 in) high; 20.6 cm (8.1 in) wide and 30 cm (11.8 in) deep. Department of Oriental Antiquities; Richelieu; ground floor; room 1b; inv AO 17551; Louvre Museum; Paris
  • Gypsum, schist, shells and lapis lazuli statue of Ebih-Il, early Dynastic; Shakkanakku (military governor) of the ancient city-state of Mari in present day eastern Syria, dating from circa 2340 BC or from the Akkadian period of rule Circa 2250 BC.. The statue carries a cuneiform inscription in Akkadian. Excavated from; the temple of Ishtar at Mari by André Parrot in 1934-1935 the statue measures; 52.5 cm (20.7 in) high; 20.6 cm (8.1 in) wide and 30 cm (11.8 in) deep. Department of Oriental Antiquities; Richelieu; ground floor; room 1b; inv AO 17551; Louvre Museum; Paris
  • Gypsum, schist, shells and lapis lazuli statue of Ebih-Il, early Dynastic; Shakkanakku (military governor) of the ancient city-state of Mari in present day eastern Syria, dating from circa 2340 BC or from the Akkadian period of rule Circa 2250 BC.. The statue carries a cuneiform inscription in Akkadian. Excavated from; the temple of Ishtar at Mari by André Parrot in 1934-1935 the statue measures; 52.5 cm (20.7 in) high; 20.6 cm (8.1 in) wide and 30 cm (11.8 in) deep. Department of Oriental Antiquities; Richelieu; ground floor; room 1b; inv AO 17551; Louvre Museum; Paris
  • Gypsum, schist, shells and lapis lazuli statue of Ebih-Il, early Dynastic; Shakkanakku (military governor) of the ancient city-state of Mari in present day eastern Syria, dating from circa 2340 BC or from the Akkadian period of rule Circa 2250 BC.. The statue carries a cuneiform inscription in Akkadian. Excavated from; the temple of Ishtar at Mari by André Parrot in 1934-1935 the statue measures; 52.5 cm (20.7 in) high; 20.6 cm (8.1 in) wide and 30 cm (11.8 in) deep. Department of Oriental Antiquities; Richelieu; ground floor; room 1b; inv AO 17551; Louvre Museum; Paris
  • Gypsum, schist, shells and lapis lazuli statue of Ebih-Il, early Dynastic; Shakkanakku (military governor) of the ancient city-state of Mari in present day eastern Syria, dating from circa 2340 BC or from the Akkadian period of rule Circa 2250 BC.. The statue carries a cuneiform inscription in Akkadian. Excavated from; the temple of Ishtar at Mari by André Parrot in 1934-1935 the statue measures; 52.5 cm (20.7 in) high; 20.6 cm (8.1 in) wide and 30 cm (11.8 in) deep. Department of Oriental Antiquities; Richelieu; ground floor; room 1b; inv AO 17551; Louvre Museum; Paris
  • Gypsum, schist, shells and lapis lazuli statue of Ebih-Il, early Dynastic; Shakkanakku (military governor) of the ancient city-state of Mari in present day eastern Syria, dating from circa 2340 BC or from the Akkadian period of rule Circa 2250 BC.. The statue carries a cuneiform inscription in Akkadian. Excavated from; the temple of Ishtar at Mari by André Parrot in 1934-1935 the statue measures; 52.5 cm (20.7 in) high; 20.6 cm (8.1 in) wide and 30 cm (11.8 in) deep. Department of Oriental Antiquities; Richelieu; ground floor; room 1b; inv AO 17551; Louvre Museum; Paris
  • Gypsum, schist, shells and lapis lazuli statue of Ebih-Il, early Dynastic; Shakkanakku (military governor) of the ancient city-state of Mari in present day eastern Syria, dating from circa 2340 BC or from the Akkadian period of rule Circa 2250 BC.. The statue carries a cuneiform inscription in Akkadian. Excavated from; the temple of Ishtar at Mari by André Parrot in 1934-1935 the statue measures; 52.5 cm (20.7 in) high; 20.6 cm (8.1 in) wide and 30 cm (11.8 in) deep. Department of Oriental Antiquities; Richelieu; ground floor; room 1b; inv AO 17551; Louvre Museum; Paris
  • Gypsum, schist, shells and lapis lazuli statue of Ebih-Il, early Dynastic; Shakkanakku (military governor) of the ancient city-state of Mari in present day eastern Syria, dating from circa 2340 BC or from the Akkadian period of rule Circa 2250 BC.. The statue carries a cuneiform inscription in Akkadian. Excavated from; the temple of Ishtar at Mari by André Parrot in 1934-1935 the statue measures; 52.5 cm (20.7 in) high; 20.6 cm (8.1 in) wide and 30 cm (11.8 in) deep. Department of Oriental Antiquities; Richelieu; ground floor; room 1b; inv AO 17551; Louvre Museum; Paris
  • Gypsum, schist, shells and lapis lazuli statue of Ebih-Il, early Dynastic; Shakkanakku (military governor) of the ancient city-state of Mari in present day eastern Syria, dating from circa 2340 BC or from the Akkadian period of rule Circa 2250 BC.. The statue carries a cuneiform inscription in Akkadian. Excavated from; the temple of Ishtar at Mari by André Parrot in 1934-1935 the statue measures; 52.5 cm (20.7 in) high; 20.6 cm (8.1 in) wide and 30 cm (11.8 in) deep. Department of Oriental Antiquities; Richelieu; ground floor; room 1b; inv AO 17551; Louvre Museum; Paris
  • Gypsum, schist, shells and lapis lazuli statue of Ebih-Il, early Dynastic; Shakkanakku (military governor) of the ancient city-state of Mari in present day eastern Syria, dating from circa 2340 BC or from the Akkadian period of rule Circa 2250 BC.. The statue carries a cuneiform inscription in Akkadian. Excavated from; the temple of Ishtar at Mari by André Parrot in 1934-1935 the statue measures; 52.5 cm (20.7 in) high; 20.6 cm (8.1 in) wide and 30 cm (11.8 in) deep. Department of Oriental Antiquities; Richelieu; ground floor; room 1b; inv AO 17551; Louvre Museum; Paris
  • . Room 4 - Ancient Meopotania 713-706 BC, Assyria, Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad.  Louvre Museum, Paris
  • . Room 4 - Ancient Meopotania 713-706 BC, Assyria, Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad.  Louvre Museum, Paris
  • . Room 4 - Ancient Meopotania 713-706 BC, Assyria, Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad.  Louvre Museum, Paris
  • . Room 4 - Ancient Meopotania 713-706 BC, Assyria, Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad.  Louvre Museum, Paris
  • . Room 4 - Ancient Meopotania 713-706 BC, Assyria, Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad.  Louvre Museum, Paris
  • . Room 4 - Ancient Meopotania 713-706 BC, Assyria, Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad.  Louvre Museum, Paris
  • Roman Statue of Venus (Aphrodite), a 2nd - 3rd century AD marble statue from Italy.  This Roman statue of Aphrodite is the result of a fit between the bottom of an ancient body, a torso of the XVI century and an ancient face and top of head. The statue follows the style of a modest Aphrodite, known by other Roman replicas are copies of 3rd century BC Hellanistic Greek statues now lost.<br />
Borghese collection, Inv No. MR. 279 (Usual No Ma 369), Louvre Museum, Paris.
  • Sleeping Hermaphroditus, The Borghese Hermaphrodite.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Statue of Narcissus known as The Marazin Hermaphrodite or The Genie at Eternal Rest - a 3rd century AD Roman marble statue. The restoration combines an ancient  funeral head with another ancient Roman statue. The Mazarin Collection Inv No. MR 207 or Ma 435, Louvre Museum, Paris.
  • Statue of Narcissus known as The Marazin Hermaphrodite or The Genie at Eternal Rest - a 3rd century AD Roman marble statue. The restoration combines an ancient  funeral head with another ancient Roman statue. The Mazarin Collection Inv No. MR 207 or Ma 435, Louvre Museum, Paris.
  • Roman Statue of Venus (Aphrodite), a 2nd - 3rd century AD marble statue from Italy.  This Roman statue of Aphrodite is the result of a fit between the bottom of an ancient body, a torso of the XVI century and an ancient face and top of head. The statue follows the style of a modest Aphrodite, known by other Roman replicas are copies of 3rd century BC Hellanistic Greek statues now lost.<br />
Borghese collection, Inv No. MR. 279 (Usual No Ma 369), Louvre Museum, Paris.
  • Roman Statue of Venus (Aphrodite), a 2nd - 3rd century AD marble statue from Italy.  This Roman statue of Aphrodite is the result of a fit between the bottom of an ancient body, a torso of the XVI century and an ancient face and top of head. The statue follows the style of a modest Aphrodite, known by other Roman replicas are copies of 3rd century BC Hellanistic Greek statues now lost.<br />
Borghese collection, Inv No. MR. 279 (Usual No Ma 369), Louvre Museum, Paris.
  • Sleeping Hermaphroditus, The Borghese Hermaphrodite.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus, The Borghese Hermaphrodite.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Statue of Narcissus known as The Marazin Hermaphrodite or The Genie at Eternal Rest - a 3rd century AD Roman marble statue. The restoration combines an ancient  funeral head with another ancient Roman statue. The Mazarin Collection Inv No. MR 207 or Ma 435, Louvre Museum, Paris.
  • Roman Statue of Venus (Aphrodite), a 2nd - 3rd century AD marble statue from Italy.  This Roman statue of Aphrodite is the result of a fit between the bottom of an ancient body, a torso of the XVI century and an ancient face and top of head. The statue follows the style of a modest Aphrodite, known by other Roman replicas are copies of 3rd century BC Hellanistic Greek statues now lost.<br />
Borghese collection, Inv No. MR. 279 (Usual No Ma 369), Louvre Museum, Paris.
  • Roman Statue of Venus (Aphrodite), a 2nd - 3rd century AD marble statue from Italy.  This Roman statue of Aphrodite is the result of a fit between the bottom of an ancient body, a torso of the XVI century and an ancient face and top of head. The statue follows the style of a modest Aphrodite, known by other Roman replicas are copies of 3rd century BC Hellanistic Greek statues now lost.<br />
Borghese collection, Inv No. MR. 279 (Usual No Ma 369), Louvre Museum, Paris.
  • Sleeping Hermaphroditus, The Borghese Hermaphrodite.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Statue of Thetsis - a 2nd century AD Roman statue found in the city of Lavinia, Italy. Thetis (/ˈθɛtɪs/; Ancient Greek: Θέτις, [tʰétis]), is encountered in Greek mythology mostly as a sea nymph or known as the goddess of water, one of the fifty Nereids, daughters of the ancient sea god Nereus. he statue belonged to a set of ten divinities formerly presented in the portico hemicycle of the city. The Albani Collection Inv No. LL 19 (Usual No Ma 2244), Louvre Museum, Paris.
  • Roman Statue of Venus (Aphrodite), a 2nd - 3rd century AD marble statue from Italy.  This Roman statue of Aphrodite is the result of a fit between the bottom of an ancient body, a torso of the XVI century and an ancient face and top of head. The statue follows the style of a modest Aphrodite, known by other Roman replicas are copies of 3rd century BC Hellanistic Greek statues now lost.<br />
Borghese collection, Inv No. MR. 279 (Usual No Ma 369), Louvre Museum, Paris.
  • Statue of Narcissus known as The Marazin Hermaphrodite or The Genie at Eternal Rest - a 3rd century AD Roman marble statue. The restoration combines an ancient  funeral head with another ancient Roman statue. The Mazarin Collection Inv No. MR 207 or Ma 435, Louvre Museum, Paris.
  • Statue of Thetsis - a 2nd century AD Roman statue found in the city of Lavinia, Italy. Thetis (/ˈθɛtɪs/; Ancient Greek: Θέτις, [tʰétis]), is encountered in Greek mythology mostly as a sea nymph or known as the goddess of water, one of the fifty Nereids, daughters of the ancient sea god Nereus. he statue belonged to a set of ten divinities formerly presented in the portico hemicycle of the city. The Albani Collection Inv No. LL 19 (Usual No Ma 2244), Louvre Museum, Paris.
  • Roman Statue of Venus (Aphrodite), a 2nd - 3rd century AD marble statue from Italy.  This Roman statue of Aphrodite is the result of a fit between the bottom of an ancient body, a torso of the XVI century and an ancient face and top of head. The statue follows the style of a modest Aphrodite, known by other Roman replicas are copies of 3rd century BC Hellanistic Greek statues now lost.<br />
Borghese collection, Inv No. MR. 279 (Usual No Ma 369), Louvre Museum, Paris.
  • Roman Statue of Venus (Aphrodite), a 2nd - 3rd century AD marble statue from Italy.  This Roman statue of Aphrodite is the result of a fit between the bottom of an ancient body, a torso of the XVI century and an ancient face and top of head. The statue follows the style of a modest Aphrodite, known by other Roman replicas are copies of 3rd century BC Hellanistic Greek statues now lost.<br />
Borghese collection, Inv No. MR. 279 (Usual No Ma 369), Louvre Museum, Paris.
  • Roman statue of Augustus as Pontifex Maximus, circa 17-14 BC.  This statue of Augustus was typical of the approved style that Augustus used to control his public image. As Pontifex Maximus the statue emphasises the piety of the ruler and his reverence for the gods and traditions of Rome. Augustus thus revitalised the role and function of the most ancient Roman priesthoods and exalted the myths that narrated the origins of Rome. The statue is part of the political propaganda that Augustus used to cement his position of first amongst equals to the very conservative Romans.  National Roman Museum, Rome.
  • Roman statue of Augustus as Pontifex Maximus, circa 17-14 BC.  This statue of Augustus was typical of the approved style that Augustus used to control his public image. As Pontifex Maximus the statue emphasises the piety of the ruler and his reverence for the gods and traditions of Rome. Augustus thus revitalised the role and function of the most ancient Roman priesthoods and exalted the myths that narrated the origins of Rome. The statue is part of the political propaganda that Augustus used to cement his position of first amongst equals to the very conservative Romans.  National Roman Museum, Rome.
  • Roman statue of Augustus as Pontifex Maximus, circa 17-14 BC.  This statue of Augustus was typical of the approved style that Augustus used to control his public image. As Pontifex Maximus the statue emphasises the piety of the ruler and his reverence for the gods and traditions of Rome. Augustus thus revitalised the role and function of the most ancient Roman priesthoods and exalted the myths that narrated the origins of Rome. The statue is part of the political propaganda that Augustus used to cement his position of first amongst equals to the very conservative Romans.  National Roman Museum, Rome.
  • Diomedes - A 2nd or 3rd century AD Roman copy of a Greek classical sculpture from about 430-370 BC. This Roman statue represent Diomede, one of the Greek hero of the Trojan War. This statue belongs to a series of ancient replicas (Naples, Munich), which copy the original Greek statue from the school of Polykleitos, attributed to the sculptor Naucydes or Cresilas who worked in Athens to 440-430 BC. From the Cardinal Richelieu Collection  Inv MR 265   (or Ma 890), The Louvre Mueum, Paris.
  • This 2nd to 3rd century Italian marble statue of Venus (Aphrodite) is the result of a fit between the bottom of an ancient body, a torso of the XVI century and an ancient face and top of head. The statue follows the style of a modest Aphrodite, known by other Roman replicas are copies of 3rd century BC Hellanistic Greek statues now lost.<br />
Borghese collection, Louvre Museum, Paris. Inv No. MR. 279 (Usual No Ma 369)
  • Statue of Juno known as La Providence, a 2nd century AD Roman sculpture from Rome, Italy. Juno is an ancient Roman goddess, the protector and special counselor of the state. As the patron goddess of Rome and the Roman Empire, Juno was called Regina ("Queen") and, together with Jupiter and Minerva, was worshipped as a triad on the Capitol (Juno Capitolina) in Rome. The Royal Collection Inv No. MR 333 or Ma 485, Louvre Museum, Paris.
  • “ Silenus Drunk “ - A 2nd century AD Roman sculpture made from marble from Paros. Silenus was described as the oldest, wisest and most drunken of the followers of Dionysus, the god of wine. When intoxicated, Silenus was said to possess special knowledge and the power of prophecy. From the Ancient Royal Collection of France inv MR 343 (or MA 291) previously held at Versailles. Louvre Museum Paris.
  • This 2nd to 3rd century Italian marble statue of Venus (Aphrodite) is the result of a fit between the bottom of an ancient body, a torso of the XVI century and an ancient face and top of head. The statue follows the style of a modest Aphrodite, known by other Roman replicas are copies of 3rd century BC Hellanistic Greek statues now lost.<br />
Borghese collection, Louvre Museum, Paris. Inv No. MR. 279 (Usual No Ma 369)
  • Roman statue of Augustus as Pontifex Maximus, circa 17-14 BC.  This statue of Augustus was typical of the approved style that Augustus used to control his public image. As Pontifex Maximus the statue emphasises the piety of the ruler and his reverence for the gods and traditions of Rome. Augustus thus revitalised the role and function of the most ancient Roman priesthoods and exalted the myths that narrated the origins of Rome. The statue is part of the political propaganda that Augustus used to cement his position of first amongst equals to the very conservative Romans.  National Roman Museum, Rome.
  • Roman statue of Augustus as Pontifex Maximus, circa 17-14 BC.  This statue of Augustus was typical of the approved style that Augustus used to control his public image. As Pontifex Maximus the statue emphasises the piety of the ruler and his reverence for the gods and traditions of Rome. Augustus thus revitalised the role and function of the most ancient Roman priesthoods and exalted the myths that narrated the origins of Rome. The statue is part of the political propaganda that Augustus used to cement his position of first amongst equals to the very conservative Romans.  National Roman Museum, Rome.
  • Roman statue of Augustus as Pontifex Maximus, circa 17-14 BC.  This statue of Augustus was typical of the approved style that Augustus used to control his public image. As Pontifex Maximus the statue emphasises the piety of the ruler and his reverence for the gods and traditions of Rome. Augustus thus revitalised the role and function of the most ancient Roman priesthoods and exalted the myths that narrated the origins of Rome. The statue is part of the political propaganda that Augustus used to cement his position of first amongst equals to the very conservative Romans.  National Roman Museum, Rome.
  • Roman statue of Augustus as Pontifex Maximus, circa 17-14 BC.  This statue of Augustus was typical of the approved style that Augustus used to control his public image. As Pontifex Maximus the statue emphasises the piety of the ruler and his reverence for the gods and traditions of Rome. Augustus thus revitalised the role and function of the most ancient Roman priesthoods and exalted the myths that narrated the origins of Rome. The statue is part of the political propaganda that Augustus used to cement his position of first amongst equals to the very conservative Romans.  National Roman Museum, Rome.
  • Roman statue of Augustus as Pontifex Maximus, circa 17-14 BC.  This statue of Augustus was typical of the approved style that Augustus used to control his public image. As Pontifex Maximus the statue emphasises the piety of the ruler and his reverence for the gods and traditions of Rome. Augustus thus revitalised the role and function of the most ancient Roman priesthoods and exalted the myths that narrated the origins of Rome. The statue is part of the political propaganda that Augustus used to cement his position of first amongst equals to the very conservative Romans.  National Roman Museum, Rome.
  • Roman Portrait bust of Roman Emperor Commodus, circa 180 AD excavated from the ancient market, Rome. Roman Emperor from 180 to 192 AD. Commodus also ruled as co-emperor with his father Marcus Aurelius from 177 until his father's death in 180 AD.. The National Roman Museum, Rome, Italy
  • Roman Portrait bust of Roman Emperor Commodus, circa 180 AD excavated from the ancient market, Rome. Roman Emperor from 180 to 192 AD. Commodus also ruled as co-emperor with his father Marcus Aurelius from 177 until his father's death in 180 AD.. The National Roman Museum, Rome, Italy
  • Roman Portrait bust of Roman Emperor Commodus, circa 180 AD excavated from the ancient market, Rome. Roman Emperor from 180 to 192 AD. Commodus also ruled as co-emperor with his father Marcus Aurelius from 177 until his father's death in 180 AD.. The National Roman Museum, Rome, Italy
  • Roman Portrait bust of Roman Emperor Commodus, circa 180 AD excavated from the ancient market, Rome. Roman Emperor from 180 to 192 AD. Commodus also ruled as co-emperor with his father Marcus Aurelius from 177 until his father's death in 180 AD.. The National Roman Museum, Rome, Italy
  • Statue of Juno known as La Providence, a 2nd century AD Roman sculpture from Rome, Italy. Juno is an ancient Roman goddess, the protector and special counselor of the state. As the patron goddess of Rome and the Roman Empire, Juno was called Regina ("Queen") and, together with Jupiter and Minerva, was worshipped as a triad on the Capitol (Juno Capitolina) in Rome. The Royal Collection Inv No. MR 333 or Ma 485, Louvre Museum, Paris.
  • Statue known as Antonius as Aristaeus. Antinous was the young Bithynian favoured by the emperor Hadrian who was deified after drowning under mysterious circumstances in the waters of the Nile circa 130AD. Thanks to the promotion of the cult Antinous portraits can be found throughout the Empire in the places most frequented by Hadrian. This statue was part of the collection of ancient sculptors bought in Rome by Cardinal Richelieu (1585-1642) for his chateau in Poitou. The favourite of the Emperor Hadrian (117-138 AD) Antonius  is depicted here as Aristaeus, a minor Greek God of fruit trees and bee keeping. The Richelieu Collection, Inv No. MR 73 or Ma 5781, Louvre Museum, Paris.
  • Statue known as Antonius as Aristaeus. Antinous was the young Bithynian favoured by the emperor Hadrian who was deified after drowning under mysterious circumstances in the waters of the Nile circa 130AD. Thanks to the promotion of the cult Antinous portraits can be found throughout the Empire in the places most frequented by Hadrian. This statue was part of the collection of ancient sculptors bought in Rome by Cardinal Richelieu (1585-1642) for his chateau in Poitou. The favourite of the Emperor Hadrian (117-138 AD) Antonius  is depicted here as Aristaeus, a minor Greek God of fruit trees and bee keeping. The Richelieu Collection, Inv No. MR 73 or Ma 5781, Louvre Museum, Paris.
  • Statue known as Antonius as Aristaeus. Antinous was the young Bithynian favoured by the emperor Hadrian who was deified after drowning under mysterious circumstances in the waters of the Nile circa 130AD. Thanks to the promotion of the cult Antinous portraits can be found throughout the Empire in the places most frequented by Hadrian. This statue was part of the collection of ancient sculptors bought in Rome by Cardinal Richelieu (1585-1642) for his chateau in Poitou. The favourite of the Emperor Hadrian (117-138 AD) Antonius  is depicted here as Aristaeus, a minor Greek God of fruit trees and bee keeping. The Richelieu Collection, Inv No. MR 73 or Ma 5781, Louvre Museum, Paris.
  • Statue known as Antonius as Aristaeus. Antinous was the young Bithynian favoured by the emperor Hadrian who was deified after drowning under mysterious circumstances in the waters of the Nile circa 130AD. Thanks to the promotion of the cult Antinous portraits can be found throughout the Empire in the places most frequented by Hadrian. This statue was part of the collection of ancient sculptors bought in Rome by Cardinal Richelieu (1585-1642) for his chateau in Poitou. The favourite of the Emperor Hadrian (117-138 AD) Antonius  is depicted here as Aristaeus, a minor Greek God of fruit trees and bee keeping. The Richelieu Collection, Inv No. MR 73 or Ma 5781, Louvre Museum, Paris.
  • Statue known as Antonius as Aristaeus. Antinous was the young Bithynian favoured by the emperor Hadrian who was deified after drowning under mysterious circumstances in the waters of the Nile circa 130AD. Thanks to the promotion of the cult Antinous portraits can be found throughout the Empire in the places most frequented by Hadrian. This statue was part of the collection of ancient sculptors bought in Rome by Cardinal Richelieu (1585-1642) for his chateau in Poitou. The favourite of the Emperor Hadrian (117-138 AD) Antonius  is depicted here as Aristaeus, a minor Greek God of fruit trees and bee keeping. The Richelieu Collection, Inv No. MR 73 or Ma 5781, Louvre Museum, Paris.
  • Artemis and a deer, known as "Diana of Versailles”, a 1st - 2nd century Roman statue in marble probably from Italy.  Artemis, Diana to the Romans, is goddess of the hunt, is accompanied by a deer.  The Diana of Versailles, similar to other Roman replicas was found in Libya or Turkey and was copied from a lost Greek bronze original attributed to Leochares, c. 325 BC .  First the statue was at Fontainbleau then the Louvre ancient hall and finally it went to Versailles. From the collection of Louis XIV, Pope Paul IV and Henry II (1556) . Inv MR 152 ( or Ma 589), Louvre Museum Paris
  • “ Silenus Drunk “ - A 2nd century AD Roman sculpture made from marble from Paros. Silenus was described as the oldest, wisest and most drunken of the followers of Dionysus, the god of wine. When intoxicated, Silenus was said to possess special knowledge and the power of prophecy. From the Ancient Royal Collection of France inv MR 343 (or MA 291) previously held at Versailles. Louvre Museum Paris.
  • “ Silenus Drunk “ - A 2nd century AD Roman sculpture made from marble from Paros. Silenus was described as the oldest, wisest and most drunken of the followers of Dionysus, the god of wine. When intoxicated, Silenus was said to possess special knowledge and the power of prophecy. From the Ancient Royal Collection of France inv MR 343 (or MA 291) previously held at Versailles. Louvre Museum Paris.
  • This 2nd to 3rd century Italian marble statue of Venus (Aphrodite) is the result of a fit between the bottom of an ancient body, a torso of the XVI century and an ancient face and top of head. The statue follows the style of a modest Aphrodite, known by other Roman replicas are copies of 3rd century BC Hellanistic Greek statues now lost.<br />
Borghese collection, Louvre Museum, Paris. Inv No. MR. 279 (Usual No Ma 369)
  • Sleeping Hermaphroditus.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Statue known as Antonius as Aristaeus. Antinous was the young Bithynian favoured by the emperor Hadrian who was deified after drowning under mysterious circumstances in the waters of the Nile circa 130AD. Thanks to the promotion of the cult Antinous portraits can be found throughout the Empire in the places most frequented by Hadrian. This statue was part of the collection of ancient sculptors bought in Rome by Cardinal Richelieu (1585-1642) for his chateau in Poitou. The favourite of the Emperor Hadrian (117-138 AD) Antonius  is depicted here as Aristaeus, a minor Greek God of fruit trees and bee keeping. The Richelieu Collection, Inv No. MR 73 or Ma 5781, Louvre Museum, Paris.
  • Diomedes - A 2nd or 3rd century AD Roman copy of a Greek classical sculpture from about 430-370 BC. This Roman statue represent Diomede, one of the Greek hero of the Trojan War. This statue belongs to a series of ancient replicas (Naples, Munich), which copy the original Greek statue from the school of Polykleitos, attributed to the sculptor Naucydes or Cresilas who worked in Athens to 440-430 BC. From the Cardinal Richelieu Collection  Inv MR 265   (or Ma 890), The Louvre Mueum, Paris.
  • Artemis and a deer, known as "Diana of Versailles”, a 1st - 2nd century Roman statue in marble probably from Italy.  Artemis, Diana to the Romans, is goddess of the hunt, is accompanied by a deer.  The Diana of Versailles, similar to other Roman replicas was found in Libya or Turkey and was copied from a lost Greek bronze original attributed to Leochares, c. 325 BC .  First the statue was at Fontainbleau then the Louvre ancient hall and finally it went to Versailles. From the collection of Louis XIV, Pope Paul IV and Henry II (1556) . Inv MR 152 ( or Ma 589), Louvre Museum Paris
  • “ Silenus Drunk “ - A 2nd century AD Roman sculpture made from marble from Paros. Silenus was described as the oldest, wisest and most drunken of the followers of Dionysus, the god of wine. When intoxicated, Silenus was said to possess special knowledge and the power of prophecy. From the Ancient Royal Collection of France inv MR 343 (or MA 291) previously held at Versailles. Louvre Museum Paris.
  • This 2nd to 3rd century Italian marble statue of Venus (Aphrodite) is the result of a fit between the bottom of an ancient body, a torso of the XVI century and an ancient face and top of head. The statue follows the style of a modest Aphrodite, known by other Roman replicas are copies of 3rd century BC Hellanistic Greek statues now lost.<br />
Borghese collection, Louvre Museum, Paris. Inv No. MR. 279 (Usual No Ma 369)
  • Sleeping Hermaphroditus.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Ancient Egyptian quartz statue head of princess from Amarna. 18th Dynasty Ancient Egypt, 1345 BC . Neues Museum Berlin Cat No: AM 21223.
  • Ancient Egyptian quartz statue head of prince Khaemwase, son of Pharaoh  Rameses II. 19th Dynasty Ancient Egypt, 1260 BC . Neues Museum Berlin Cat No: AM 13460.
  • Venus de Milo ( Aphrodite of Milos ) A 203 cm (6 ft 8 in)  marble statue from the Greek Island of Milos sculpted in 130 and 100 BC thought to be the work of Alexandros of Antioch;. Louvre Museum, Paris. <br />
The Aphrodite of Milos was discovered on 8 April 1820 by a peasant named Yorgos Kentrotas, inside a buried niche within the ancient city ruins of Milos, the current village of Tripiti, on the island of Milos  in the Aegean, which was then a part of the Ottoman Empire. The statue was purchase by the French ambassador to Turkey and it was shipped to France. Legend has it that the statues arms were broken off during transport but this story however proved to be a fabrication – Voutier's drawings of the statue when it was first discovered show that its arms were already missing.<br />
<br />
In 1815, France had returned the Medici Venus,  to the Italians after it had been looted from Italy by Napoleon Bonaparte. The Medici Venus, regarded as one of the finest Classical sculptures in existence, caused the French to promote the Venus de Milo as a greater treasure than that which they recently had lost. The de Milo statue was praised dutifully by many artists and critics as the epitome of graceful female beauty. However, Pierre-Auguste Renoir was among its detractors, labeling it a "big gendarme".
  • Aphrodite of Fréjus in the style known as "Venus Genetrix". A 1.64m high Roman statue, dating from the end of the 1st century BC to the start of the 1st century AD, in Parian marble, was discovered at Fréjus (Forum Julii) in 1650. It is considered as the best Roman copy of the lost Greek work. Louvre Museum, Paris<br />
<br />
The Venus Genetrix style of statue depicts Aphrodite (Venus to the Romans) as Genetrix ( Latin for Mother). This sculptural type was adopted by the Julia-Claudian dynasty after Julius Caesar claimed that he was defended from Venus herself.  The original lost Greek statue is attributed to Greek sculpture Callimachus who created a Bronze Aphrodite in 420-410. According to Pliny's Natural History showing her dressed in a light but clinging chiton or peplos, which was lowered on the left shoulder to reveal her left breast and hung down in a sheer face and decoratively carved so as not to hide the outlines of the woman's body. Venus was depicted holding the apple won in the Judgement of Paris in her left hand, whilst her right hand moved to cover her head. From the lost bronze original are derived all surviving copies. The composition was frontal, the body's form monumental, and in the surviving Roman replicas its proportions are close to the Polyclitean, an ancient Greek sculptor in bronze of the fifth century BC.
  • Ancient Egyptian relief study of a foot. 18th Dynasty 1345 BC . Neues Museum Berlin AM 20672.
  • Ancient Egyptian relief portrait fragment of King Akhenaten from Amarna. 18th Dynasty 1345 BC . Neues Museum Berlin 1985.328.3: Gift from New York Metropolitan Museum, Norbert Schimmel.
  • Ancient Egyptian Ptolemaic sacrophagus of the prophet Ahmose. 332-30 BC. Neues Museum Berlin AM 38.
  • Ancient Egyptian mummy mask of Pasyg. 1st century BC. Neues Museum Berlin AM 34436.
  • Ancient Egyptian granite block statue of the steward Haruafrom Thebes. 26th Dynasty 500 BC. Neues Museum Berlin AM 8163.
  • Ancient Egyptian granite block statue of the steward Senenmut and the princess Nefrure from Thebes. 18th Dynasty 1475 BC. Neues Museum Berlin AM 2296.
  • Ancient Egyptian tomb relief sculpture of King Amenhotep III from the grave of Chaemhat, Thebes West. 18th Dynasty 1360 BC. Neues Museum Berlin AM 14503.
  • Ancient Egyptian relief portrait of King Akhenaten from Amarna. 18th Dynasty 1340 BC . Neues Museum Berlin Cat No: AM 21683.
  • Granite ancient Egyptian statue head of a man with a beard. 1st Century BC . Neues Reich Museum Berlin Cat No: AM 10660.
  • Ancient Ptolemaic Egyptian basalt statue of Ptolemy III, 220 BC . Neues Museum Berlin. Cat No: 14764
  • Ancient Ptolemaic Egyptian basalt statue of Ptolemy III, 220 BC . Neues Museum Berlin. Cat No: 14764
  • Ancient Egyptian granite statue of Sobekhotep V kneeling with ointment vessels. Egypt 13-14 Dynastie (1750-1700 BC) Berlin Neues Museum Cat No: AM 10645
  • Ancient Egyptian head of a statue  of king Amenhotep III. / Kopf eider statue des Königs Amenophis III. / Egypt 18. Dynasty  (1360BC) Berlin Neues Museum Cat No: VAGM 1997/118.
  • Ancient Egyptian head of a statue  of king Amenhotep III. / Kopf eider statue des Königs Amenophis III. / Egypt 18. Dynasty  (1360BC) Berlin Neues Museum Cat No: VAGM 1997/118.
  • Ancient Egyptian granite statue of Sobekhotep V kneeling with ointment vessels. Egypt 13-14 Dynastie (1750-1700 BC) Berlin Neues Museum Cat No: AM 10645
  • Diorite statue of Guidea who ruled Lagash from around 2150 BC. The statue called the "gushing vase" dedicated to the goddess Geshtinanna. From the ancient Sumarian city of Lagash.
  • Diorite statue of Guidea who ruled Lagash from around 2150 BC. The statue called the "gushing vase" dedicated to the goddess Geshtinanna. From the ancient Sumarian city of Lagash.
  • Diorite statue of Guidea who ruled Lagash from around 2150 BC. The statue called the "gushing vase" dedicated to the goddess Geshtinanna. From the ancient Sumarian city of Lagash.
  • Diorite statue of Guidea who ruled Lagash from around 2150 BC. The statue called the "gushing vase" dedicated to the goddess Geshtinanna. From the ancient Sumarian city of Lagash.
  • Black diorite statue of Guidea who ruled Lagash from around 2150 BC. The statue called the is dedicated to the god Ningishzida. From the ancient Sumarian city of Lagash. Louvre Museum Paris
  • Diorite statue of Guidea who ruled Lagash from around 2150 BC. The statue called the "gushing vase" dedicated to the goddess Geshtinanna. From the ancient Sumarian city of Lagash.
  • Black diorite statue of Guidea who ruled Lagash from around 2150 BC. The statue called the is dedicated to the god Ningishzida. From the ancient Sumarian city of Lagash. Louvre Museum Paris
  • Black diorite statue of Guidea who ruled Lagash from around 2150 BC. The statue called the is dedicated to the god Ningishzida. From the ancient Sumarian city of Lagash. Louvre Museum Paris
  • Black diorite statue of Guidea who ruled Lagash from around 2150 BC. The statue called the is dedicated to the god Ningishzida. From the ancient Sumarian city of Lagash. Louvre Museum Paris
  • Black diorite statue of Guidea who ruled Lagash from around 2150 BC. The statue called the is dedicated to the god Ningishzida. From the ancient Sumarian city of Lagash. Louvre Museum Paris
  • Aphrodite of Fréjus in the style known as "Venus Genetrix". A 1.64m high Roman statue, dating from the end of the 1st century BC to the start of the 1st century AD, in Parian marble, was discovered at Fréjus (Forum Julii) in 1650. It is considered as the best Roman copy of the lost Greek work. Louvre Museum, Paris<br />
<br />
The Venus Genetrix style of statue depicts Aphrodite (Venus to the Romans) as Genetrix ( Latin for Mother). This sculptural type was adopted by the Julia-Claudian dynasty after Julius Caesar claimed that he was defended from Venus herself.  The original lost Greek statue is attributed to Greek sculpture Callimachus who created a Bronze Aphrodite in 420-410. According to Pliny's Natural History showing her dressed in a light but clinging chiton or peplos, which was lowered on the left shoulder to reveal her left breast and hung down in a sheer face and decoratively carved so as not to hide the outlines of the woman's body. Venus was depicted holding the apple won in the Judgement of Paris in her left hand, whilst her right hand moved to cover her head. From the lost bronze original are derived all surviving copies. The composition was frontal, the body's form monumental, and in the surviving Roman replicas its proportions are close to the Polyclitean, an ancient Greek sculptor in bronze of the fifth century BC.
  • Artemis and a deer, known as "Diana of Versailles”, a 1st - 2nd century Roman statue in marble probably from Italy.  Artemis, Diana to the Romans, is goddess of the hunt, is accompanied by a deer.  The Diana of Versailles, similar to other Roman replicas was found in Libya or Turkey and was copied from a lost Greek bronze original attributed to Leochares, c. 325 BC .  First the statue was at Fontainbleau then the Louvre ancient hall and finally it went to Versailles. From the collection of Louis XIV, Pope Paul IV and Henry II (1556) . Inv MR 152 ( or Ma 589), Louvre Museum Paris
  • Diorite statue of Guidea who ruled Lagash from around 2150 BC. The statue called the "gushing vase" dedicated to the goddess Geshtinanna. From the ancient Sumarian city of Lagash.
  • Black diorite statue of Guidea who ruled Lagash from around 2150 BC. The statue called the is dedicated to the god Ningishzida. From the ancient Sumarian city of Lagash. Louvre Museum Paris
  • Venus de Milo ( Aphrodite of Milos ) A 203 cm (6 ft 8 in)  marble statue from the Greek Island of Milos sculpted in 130 and 100 BC thought to be the work of Alexandros of Antioch;. Louvre Museum, Paris. <br />
The Aphrodite of Milos was discovered on 8 April 1820 by a peasant named Yorgos Kentrotas, inside a buried niche within the ancient city ruins of Milos, the current village of Tripiti, on the island of Milos  in the Aegean, which was then a part of the Ottoman Empire. The statue was purchase by the French ambassador to Turkey and it was shipped to France. Legend has it that the statues arms were broken off during transport but this story however proved to be a fabrication – Voutier's drawings of the statue when it was first discovered show that its arms were already missing.<br />
<br />
In 1815, France had returned the Medici Venus,  to the Italians after it had been looted from Italy by Napoleon Bonaparte. The Medici Venus, regarded as one of the finest Classical sculptures in existence, caused the French to promote the Venus de Milo as a greater treasure than that which they recently had lost. The de Milo statue was praised dutifully by many artists and critics as the epitome of graceful female beauty. However, Pierre-Auguste Renoir was among its detractors, labeling it a "big gendarme".
  • Venus de Milo ( Aphrodite of Milos ) A 203 cm (6 ft 8 in)  marble statue from the Greek Island of Milos sculpted in 130 and 100 BC thought to be the work of Alexandros of Antioch;. Louvre Museum, Paris. <br />
The Aphrodite of Milos was discovered on 8 April 1820 by a peasant named Yorgos Kentrotas, inside a buried niche within the ancient city ruins of Milos, the current village of Tripiti, on the island of Milos  in the Aegean, which was then a part of the Ottoman Empire. The statue was purchase by the French ambassador to Turkey and it was shipped to France. Legend has it that the statues arms were broken off during transport but this story however proved to be a fabrication – Voutier's drawings of the statue when it was first discovered show that its arms were already missing.<br />
<br />
In 1815, France had returned the Medici Venus,  to the Italians after it had been looted from Italy by Napoleon Bonaparte. The Medici Venus, regarded as one of the finest Classical sculptures in existence, caused the French to promote the Venus de Milo as a greater treasure than that which they recently had lost. The de Milo statue was praised dutifully by many artists and critics as the epitome of graceful female beauty. However, Pierre-Auguste Renoir was among its detractors, labeling it a "big gendarme".
  • Ancient Egyptian house altar relief sculpture of Akhenaten, Nefrertiti and their three daughters. 18th Dynasty 1345 BC . Neues Museum Berlin AM 14145.
  • Ancient Egyptian house altar relief sculpture of Akhenaten, Nefrertiti and their three daughters. 18th Dynasty 1345 BC . Neues Museum Berlin AM 14145.
  • Ancient Egyptian house altar relief sculpture of Akhenaten, Nefrertiti and their three daughters. 18th Dynasty 1345 BC . Neues Museum Berlin AM 14145.
  • Ancient Egyptian relief study of a foot. 18th Dynasty 1345 BC . Neues Museum Berlin AM 20672.
  • Ancient Egyptian relief study of a foot. 18th Dynasty 1345 BC . Neues Museum Berlin AM 20672.
  • Ancient Egyptian relief portrait fragment of King Akhenaten from Amarna. 18th Dynasty 1345 BC . Neues Museum Berlin 1985.328.3: Gift from New York Metropolitan Museum, Norbert Schimmel.
  • Ancient Egyptian relief portrait fragment of King Akhenaten from Amarna. 18th Dynasty 1345 BC . Neues Museum Berlin 1985.328.3: Gift from New York Metropolitan Museum, Norbert Schimmel.
  • Ancient Egyptian Ptolemaic sacrophagus of the prophet Ahmose. 332-30 BC. Neues Museum Berlin AM 38.
  • Ancient Egyptian case of the inner coffin of Nespamai depicting the goddess Nut. 500BC BC. Neues Museum Berlin AM 31213/2.
  • Ancient Egyptian case of the inner coffin of Nespamai depicting the goddess Nut. 500BC BC. Neues Museum Berlin AM 31213/2.
  • Ancient Egyptian mummy mask of Pasyg. 1st century BC. Neues Museum Berlin VAGM 1989/111.
  • Ancient Egyptian mummy mask of Pasyg. 1st century BC. Neues Museum Berlin VAGM 1989/111.
  • Ancient Egyptian mummy mask of Pasyg. 1st century BC. Neues Museum Berlin VAGM 1989/111.
  • Ancient Egyptian mummy mask of Pasyg. 1st century BC. Neues Museum Berlin AM 34436.
  • Ancient Egyptian granite block statue of the steward Haruafrom Thebes. 26th Dynasty 500 BC. Neues Museum Berlin AM 8163.
  • Ancient Egyptian granite block statue of the steward Senenmut and the princess Nefrure from Thebes. 18th Dynasty 1475 BC. Neues Museum Berlin AM 2296.
  • Ancient Egyptian tomb relief sculpture of King Amenhotep III with a blue crown from the grave of Chaemhat, Thebes West. 18th Dynasty 1360 BC. Neues Museum Berlin AM 14442.
  • Ancient Egyptian tomb relief sculpture of King Amenhotep III from the grave of Chaemhat, Thebes West. 18th Dynasty 1360 BC. Neues Museum Berlin AM 14503.
  • Ancient Egyptian tomb relief sculpture of King Amenhotep III from the grave of Chaemhat, Thebes West. 18th Dynasty 1360 BC. Neues Museum Berlin AM 14503.
  • Ancient Egyptian tomb relief sculpture of King Amenhotep III from the grave of Chaemhat, Thebes West. 18th Dynasty 1360 BC. Neues Museum Berlin AM 14503.
  • Ancient Egyptian relief portrait of King Akhenaten from Amarna. 18th Dynasty 1340 BC . Neues Museum Berlin Cat No: AM 14512.
  • Ancient Egyptian relief portrait of King Akhenaten from Amarna. 18th Dynasty 1340 BC . Neues Museum Berlin Cat No: AM 14512.
  • Ancient Egyptian relief portrait of King Akhenaten from Amarna. 18th Dynasty 1340 BC . Neues Museum Berlin Cat No: AM 21683.
  • Ancient Egyptian relief portrait of King Akhenaten from Amarna. 18th Dynasty 1340 BC . Neues Museum Berlin Cat No: AM 21683.
  • Ancient Egyptian Greywacke statue head . 27 th Dynasty 500 BC . Neues Museum Berlin Cat No: AM 31196.
  • Ancient Egyptian Greywacke statue head . 27 th Dynasty 500 BC . Neues Museum Berlin Cat No: AM 31196.
  • Ancient Egyptian Greywacke statue head . 27 th Dynasty 500 BC . Neues Museum Berlin Cat No: AM 31196.
  • Granite ancient Egyptian statue head of a man with a beard. 1st Century BC . Neues Reich Museum Berlin Cat No: AM 10660.
  • Granite ancient Egyptian statue head of a man with a beard. 1st Century BC . Neues Reich Museum Berlin Cat No: AM 10660.
  • Granite ancient Egyptian statue head of a man from Thebes. 2000 BC . Neues Reich Museum Berlin Cat No: AM 1254.
  • Granite ancient Egyptian statue head of a man from Thebes. 2000 BC . Neues Reich Museum Berlin Cat No: AM 1254.
  • Granite ancient Egyptian statue head of a man from Thebes. 2000 BC . Neues Reich Museum Berlin Cat No: AM 1254.
  • Seated figure of Sebeknihotep - Ancient Egypt - 1640-1600BC -INV AM12546
  • Seated Ancient Egyptian figure of Sebeknihotep. 1640-100 BC . Neues Reich Museum Berlin Cat No: AM 12546.
  • Seated Ancient Egyptian figure of Sebeknihotep. 1640-100 BC . Neues Reich Museum Berlin Cat No: AM 12546.
  • Quartz Ancient Egyptian Statue head of King Amenhotep II from Wad Ban Naga, Sudan . 18 th Dynasty 1425 BC . Neues Reich Museum Berlin Cat No: AM 2057.
  • Quartz Ancient Egyptian Statue head of King Amenhotep II from Wad Ban Naga, Sudan . 18 th Dynasty 1425 BC . Neues Reich Museum Berlin Cat No: AM 2057.
  • Ancient Ptolemaic Egyptian basalt statue of Ptolemy III, 220 BC . Neues Museum Berlin. Cat No: 14764
  • Ancient Egyptian head of a statue  of king Amenhotep III. / Kopf eider statue des Königs Amenophis III. / Egypt 18. Dynasty  (1360BC) Berlin Neues Museum Cat No: VAGM 1997/118.
  • Ancient Egyptian Statue the " Berlin Green Man ". / Berliner Grüner Kopf. / Egypt 30.  Dynasty  (350 BC) Berlin Neues Museum Cat No: AM 12500.
  • Ancient Egyptian head of a statue  of king Amenhotep III. / Kopf eider statue des Königs Amenophis III. / Egypt 18. Dynasty  (1360BC) Berlin Neues Museum Cat No: VAGM 1997/118.
  • Ancient Egyptian Statue the " Berlin Green Man ". / Berliner Grüner Kopf. / Egypt 30.  Dynasty  (350 BC) Berlin Neues Museum Cat No: AM 12500.
  • Ancient Egyptian Statue the " Berlin Green Man ". / Berliner Grüner Kopf. / Egypt 30.  Dynasty  (350 BC) Berlin Neues Museum Cat No: AM 12500.
  • Ancient Egyptian Statue the " Berlin Green Man ". / Berliner Grüner Kopf. / Egypt 30.  Dynasty  (350 BC) Berlin Neues Museum Cat No: AM 12500.
  • Ancient Egyptian granite statue of Sobekhotep V kneeling with ointment vessels. Egypt 13-14 Dynastie (1750-1700 BC) Berlin Neues Museum Cat No: AM 10645
  • Ancient Egyptian granite statue of Sobekhotep V kneeling with ointment vessels. Egypt 13-14 Dynastie (1750-1700 BC) Berlin Neues Museum Cat No: AM 10645
  • Ancient Egyptian granite statue of Sobekhotep V kneeling with ointment vessels. Egypt 13-14 Dynastie (1750-1700 BC) Berlin Neues Museum Cat No: AM 10645
  • Ancient Egyptian Statue the " Berlin Green Man ". / Berliner Grüner Kopf. / Egypt 30.  Dynasty  (350 BC) Berlin Neues Museum Cat No: AM 12500.
  • Ancient Egyptian Statue the " Berlin Green Man ". / Berliner Grüner Kopf. / Egypt 30.  Dynasty  (350 BC) Berlin Neues Museum Cat No: AM 12500.
  • Ancient Egyptian Statue the " Berlin Green Man ". / Berliner Grüner Kopf. / Egypt 30.  Dynasty  (350 BC) Berlin Neues Museum Cat No: AM 12500.
  • Ancient Egyptian granite statue of Sobekhotep V kneeling with ointment vessels. Egypt 13-14 Dynastie (1750-1700 BC) Berlin Neues Museum Cat No: AM 10645
  • Ancient Egyptian granite statue of Sobekhotep V kneeling with ointment vessels. Egypt 13-14 Dynastie (1750-1700 BC) Berlin Neues Museum Cat No: AM 10645
  • Ancient Egyptian granite statue of Sobekhotep V kneeling with ointment vessels. Egypt 13-14 Dynastie (1750-1700 BC) Berlin Neues Museum Cat No: AM 10645
  • Venus de Milo ( Aphrodite of Milos ) A 203 cm (6 ft 8 in)  marble statue from the Greek Island of Milos sculpted in 130 and 100 BC thought to be the work of Alexandros of Antioch;. Louvre Museum, Paris. <br />
The Aphrodite of Milos was discovered on 8 April 1820 by a peasant named Yorgos Kentrotas, inside a buried niche within the ancient city ruins of Milos, the current village of Tripiti, on the island of Milos  in the Aegean, which was then a part of the Ottoman Empire. The statue was purchase by the French ambassador to Turkey and it was shipped to France. Legend has it that the statues arms were broken off during transport but this story however proved to be a fabrication – Voutier's drawings of the statue when it was first discovered show that its arms were already missing.<br />
<br />
In 1815, France had returned the Medici Venus,  to the Italians after it had been looted from Italy by Napoleon Bonaparte. The Medici Venus, regarded as one of the finest Classical sculptures in existence, caused the French to promote the Venus de Milo as a greater treasure than that which they recently had lost. The de Milo statue was praised dutifully by many artists and critics as the epitome of graceful female beauty. However, Pierre-Auguste Renoir was among its detractors, labeling it a "big gendarme".

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