• 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.
  • 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
  • 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 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  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 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 mace bearers from Hadatu ( Aslantas ) around 800 B.C. Istanbul Archaeological museum Inv No. 14-10
  • 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 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 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 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.  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. 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
  • 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
  • Sculpted Assyrian relief panels of Royal Chariot & Guards  from Hadatu ( Aslantas ) around 800 B.C. Istanbul Archaeological museum Inv No. 1946
  • 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.
  • 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 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
  • Late Hittite (Aramaean)  Basalt relief sculptures  from 9th Cent B.C, excavated from the west side of the citadel gate of Sam'al (Hittite: Yadiya) located at Zincirli Höyük in the Anti-Taurus Mountains of modern Turkey's Gaziantep Province. Left Deer Buck, Inv no 7712, Middle Winged Lion inv no. 7706, Left Male with Axe Inv No. 7727. Istanbul Archaeological Museum.
  • 9th Cent BC Neo- Hittite basalt slabs with Hieroglyphic Inscriptions about the activities of King Urhilina & his son. from Hama, Syria. Istanbul Archaeological Museum.
  • Late Hittite (Aramaean)  Basalt Double Sphinx  sculpture from 9th Cent B.C, excavated from the entrance of Palace III Sam'al (Hittite: Yadiya) located at Zincirli Höyük in the Anti-Taurus Mountains of modern Turkey's Gaziantep Province. Istanbul Archaeological Museum Inv. No 7731.
  • Late Hittite Basalt Portal Lion sculpture from 9th Cent B.C, excavated from Palace Building P Sam'al (Hittite: Yadiya) located at Zincirli Höyük in the Anti-Taurus Mountains of modern Turkey's Gaziantep Province. Istanbul Archaeological Museum inv. No 7777.
  • Late Hittite Basalt Portal Lion sculpture from 9th Cent B.C, excavated from Palace Building P Sam'al (Hittite: Yadiya) located at Zincirli Höyük in the Anti-Taurus Mountains of modern Turkey's Gaziantep Province. Istanbul Archaeological Museum inv. No 7777.
  • Sculpted Assyrian relief panels of mace bearers from Hadatu ( Aslantas ) around 800 B.C. Istanbul Archaeological museum Inv No. 14-10
  • Sculpted Assyrian relief panels of Royal Chariot & Guards  from Hadatu ( Aslantas ) around 800 B.C. Istanbul Archaeological museum Inv No. 1946
  • Late Hittite (Aramaean)  Basalt relief sculpture of a Bull from 9th Cent B.C, excavated from the west side of the citadel gate of Sam'al (Hittite: Yadiya) located at Zincirli Höyük in the Anti-Taurus Mountains of modern Turkey's Gaziantep Province. Istanbul Archaeological Museum Inv. No 7709.
  • Moulding of 8th Cent. BC late Hittite rock relief . Warpalas, King of Tyana land, praying in front of a plant & storm god Tarhunza. From Ivriz (Konya, Ergeli) Turkey. Istanbul Archaeological Museum Inv. No 7869.
  • Late Hittite (Aramaean)  Basalt relief sculpture of an Aslan Lion from 9th Cent B.C, excavated from the west side of the citadel gate of Sam'al (Hittite: Yadiya) located at Zincirli Höyük in the Anti-Taurus Mountains of modern Turkey's Gaziantep Province. Istanbul Archaeological Museum Inv. No 7727.
  • Late Hittite (Aramaean) Basalt funereal Steel with a relief sculpture of a man from 9 - 8th Cent B.C, excavated from Um-Shershuh, Syria.  Istanbul Archaeological Museum Inv. No 7786.
  • Late Hittite Basalt funereal Steel with a relief sculpture of a warrior from 9 - 8th Cent B.C, excavated from Arslan Tash (Turkish; Arslan Lion, Taş Stone), ancient Hadātu, is an archaeological site in northern Syria 30km east of the Euphrates River and nearby the town of Ain al-Arab. Istanbul Archaeological Museum Inv. No 1981.
  • Medieval Gothic reliquary of Saint Martin probably made in Avignon in the second quarter of the 14th century. From the church of Soudeilles, Correze, France.  inv 6459, The Louvre Museum, Paris.
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • Medieval Christian relief Icon depicting scenes from the Nativity, A central ivory panel surrounded by beaten silver border. From Constantinople, 11th or 12th century. Inv. OA 11399, The Louvre Museum, Paris.
  • Painted wooden relief sculptured altarpiece of two Popes, a  Cardinal, a Bishop a cannon and 7 priests praying made in 1505 by Daniel Mauch from Ulm. Inv RF 2805,  The Louvre Museum, Paris.
  • Medieval ivory figure of Christ at the pillar made in Paris around 1300-1320.  inv 12380, The Louvre Museum, Paris.
  • Medieval elephant ivory plaque with traces of paint made in Italy in the 13th or start of the 14th century.  The crucifixion is a rare example of a Gothic piece being inspired by 11th century Romanesque works.  inv 7268, The Louvre Museum, Paris.
  • Medieval ivory Triptych relief panel depicting the Ascension, end of 11th cent. AD. Inv OA 6340, The Louvre Museum, Paris.
  • Medieval Bouquetin goats horn ivory crosier with traces of paint, circa 12th century from the south of Italy. Inv OA 11150, The Louvre Museum, Paris.
  • Medieval ivory comb with a central relief panel depicting David defeating a Lion. Third quarter of the 9th cent. AD from Metz. Inv. OA 354, The Louvre Museum, Paris.
  • Medieval Christian ivory diptych depicting the Nativity, the crucifixion and the Profits. Thirteenth century probably from Byzantine Roman Constantinople, present day Istanbul. Inv. OA 12442, The Louvre Museum, Paris.
  • Painted walnut sculpture of the decent from the Cross, circa 1470-1490 possibly from Antwerp or the Brabant region of Belgium.  Inv RF 4696,  The Louvre Museum, Paris.
  • Painted Gothic gilded wooden statue altarpiece of Saint Catherine, circa 1520-1525 by Niklaus Weckmann from Ulm, Germany. The young Christian martyr is represented with his usual attributes, crown, book, wheel, sword, which make reference to her legendary life and her martyrdom. The bas-relief of Saint Catherine was originally part of an altarpiece. The treatment  and refined painted facial highlights executed the prettiness of the saint. The style is typical of  Niklaus Weckmann, one great masters of late Gothic Swabian art . Inv RF 2207.6,  The Louvre Museum, Paris.
  • Medieval elephant ivory relief panel depicting the Crucifixtion. From southern Germany or north of Italy, end of 10th or 11th cent. AD. Inv. OA 12231, The Louvre Museum, Paris.
  • Medieval ivory relief panel depicting the arrest of Christ.  From the workshop of Charles-le-Chauve circa 870 AD.. Inv. OA 9526, The Louvre Museum, Paris.
  • Medieval ivory relief panel from a diptych depicting a triumphant Byzantine Roman Emperor, probably Justinian. From Constantinople, 6th century. Inv. OA 9063, The Louvre Museum, Paris.
  • Painted oak relief of three soldiers and two men in a rocky landscape below the walls of Jerusalem, from Antwerp circa 1510-1515. This is a panel from the Passion.  Inv RF  297,  The Louvre Museum, Paris.
  • Medieval ivory plaque depicting the Crucifixion and the saints at the tomb, end of 11th cent from Salerne or Amalfi. AD. Inv OA 4085, The Louvre Museum, Paris.
  • Bronze statuette of a Lion from the First Persian or Achaemenid Empire 6th to 5th cent. BC excavated from the Acropolis Susa, present day Iran.. The Louvre Museum, Paris.
  • Coloured glazed terracotta brick panels from the staircase walls excavated from the Palace of Daius 1st Susa, present day Iran. From the reign of Darius 1st and the First Persian or Achaemenid Empire around 510 BC. Inv AOD 490-491, The Louvre Museum, Paris.
  • Coloured glazed terracotta tiled panels depicting mythical Griffins. 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.. Inv AS 332607, The Louvre Museum, Paris.
  • Coloured glazed terracotta tiled panels depicting mythical Griffins. 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.. Inv AS 332607, The Louvre Museum, Paris.
  • Coloured glazed terracotta tiled panels depicting mythical Griffins. 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.. Inv AS 332607, The Louvre Museum, Paris.
  • Coloured glazed terracotta tiled panels depicting mythical Griffins. 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.. Inv AS 332607, 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 tiled panels depicting mythical Griffins. 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.. Inv AS 332607, 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 from the staircase walls excavated from the Palace of Daius 1st Susa, present day Iran. From the reign of Darius 1st and the First Persian or Achaemenid Empire around 510 BC. Inv AOD 490-491, The Louvre Museum, Paris.
  • Coloured glazed terracotta brick panels from the staircase walls excavated from the Palace of Daius 1st Susa, present day Iran. From the reign of Darius 1st and the First Persian or Achaemenid Empire around 510 BC. Inv AOD 490-491, The Louvre Museum, Paris.
  • Coloured glazed terracotta tiled panels depicting mythical Griffins. 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.. Inv AS 332607, The Louvre Museum, Paris.
  • Coloured glazed terracotta tiled panels depicting mythical Griffins. 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.. Inv AS 332607, The Louvre Museum, Paris.
  • Coloured glazed terracotta tiled panels depicting mythical Griffins. 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.. Inv AS 332607, The Louvre Museum, Paris.
  • Coloured glazed terracotta tiled panels depicting mythical Griffins. 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.. Inv AS 332607, The Louvre Museum, Paris.
  • Coloured glazed terracotta tiled panels depicting mythical Griffins. 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.. Inv AS 332607, The Louvre Museum, Paris.
  • Coloured glazed terracotta tiled panels depicting mythical Griffins. 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.. Inv AS 332607, The Louvre Museum, Paris.
  • Coloured glazed terracotta tiled panels depicting mythical Griffins. 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.. Inv AS 332607, The Louvre Museum, Paris.
  • Coloured glazed terracotta tiled panels depicting mythical Griffins. 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.. Inv AS 332607, The Louvre Museum, Paris.
  • Coloured glazed terracotta tiled panels depicting mythical Griffins. 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.. Inv AS 332607, 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.
  • Bronze statuette of a Lion from the First Persian or Achaemenid Empire 6th to 5th cent. BC excavated from the Acropolis Susa, present day Iran.. The Louvre Museum, Paris.
  • Bronze statuette of a Lion from the First Persian or Achaemenid Empire 6th to 5th cent. BC excavated from the Acropolis Susa, present day Iran.. The Louvre Museum, Paris.
  • Bronze statuette of a Lion from the First Persian or Achaemenid Empire 6th to 5th cent. BC excavated from the Acropolis Susa, present day Iran.. The Louvre Museum, Paris.
  • Coloured glazed terracotta tiled panels depicting mythical Griffins. 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.. Inv AS 332607, The Louvre Museum, Paris.
  • Coloured glazed terracotta tiled panels depicting mythical Griffins. 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.. Inv AS 332607, 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.
  • 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
  • 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
  • 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
  • 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 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.
  • 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.
  • 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 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
  • 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
  • Basalt Babylonian sculpture usurped by an Elamite king. 12th cent. BC from Suse. Inv AO 30043, The Louvre Museum, Paris.
  • 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
  • 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
  • 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
  • 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
  • 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
  • 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 usurped by an Elamite king. 12th cent. BC from Suse. Inv AO 30043, The Louvre Museum, Paris.
  • Basalt Babylonian sculpture reporting the spoils of war, 12th cent.BC. 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
  • 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
  • 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 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.
  • 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 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
  • 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
  • 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
  • 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
  • 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
  • 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.
  • 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
  • Basalt Babylonian sculpture usurped by an Elamite king. 12th cent. BC from Suse. Inv AO 30043, 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
  • 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 reporting the spoils of war, 12th cent.BC. 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 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 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 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 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 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.
  • 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 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 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 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
  • Basalt Babylonian sculpture reporting the spoils of war, 12th cent.BC. 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
  • 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 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
  • 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.
  • 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.
  • 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
  • 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.
  • 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 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
  • Basalt Babylonian sculpture reporting the spoils of war, 12th cent.BC. 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 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.
  • 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.
  • 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.
  • 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 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 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.
  • 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
  • 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.
  • 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
  • Roman mosaics - Metiochus and Parthenope Mosaic.  2nd century AD . Zeugma Mosaic Museum, Gaziantep, Turkey.  Against a white background.<br />
<br />
Metiochus and Parthenope, famous with their legendary love for eat: torn apart and then unified after years, they seem to represent the According to the myth, Parthenope is the sister of Polycrat e Ki taken an oath of virginity upon the Heraion which symbolizes the Metiochus is invited to the royal court and meets Parthenope Burin fails in love with Metiochus but in order to keep the oath she has taken, she and chooses to go exile. In this mosaic, we see the two figures sfttngsitting upon an In compliance with the story, the face of Metiochus is directed towards Part e whom he fell in love and the eyes of Parthenope stares at an indeterminate area due to the love she feels yet sees impossible. The mosaic is surrounded by triangular, double mesh ttke, and pyramidal borders. The piece was discovered during the rescue excavation conducted. in 1993. When exposed, it was understood that the main figures used to be at the middle of the mosaic were stolen the tomb-robbers. <br />
<br />
The mosaic was brought to Gaziantep Museum with a question mark labeled on it saying "Who knows where? In which country?" and began to be displayed temporarily after restoration. From the photographs sent by the Canadian Archaeologist Sheila Campbell, it was found out that the stolen parts were in the Merin collection in Houston USA and with the initiatives of the Ministry of Culture, the missing parts were brought In 2000 and the mosaic was put on display following the restoration. Those two eternal lovers, who were torn apart by traffickers of historical artefacts and kidnapped separately, have been unified after years.
  • Roman mosaics - Metiochus and Parthenope Mosaic.  2nd century AD . Zeugma Mosaic Museum, Gaziantep, Turkey.   Against an art background.<br />
<br />
Metiochus and Parthenope, famous with their legendary love for eat: torn apart and then unified after years, they seem to represent the According to the myth, Parthenope is the sister of Polycrat e Ki taken an oath of virginity upon the Heraion which symbolizes the Metiochus is invited to the royal court and meets Parthenope Burin fails in love with Metiochus but in order to keep the oath she has taken, she and chooses to go exile. In this mosaic, we see the two figures sfttngsitting upon an In compliance with the story, the face of Metiochus is directed towards Part e whom he fell in love and the eyes of Parthenope stares at an indeterminate area due to the love she feels yet sees impossible. The mosaic is surrounded by triangular, double mesh ttke, and pyramidal borders. The piece was discovered during the rescue excavation conducted. in 1993. When exposed, it was understood that the main figures used to be at the middle of the mosaic were stolen the tomb-robbers. <br />
<br />
The mosaic was brought to Gaziantep Museum with a question mark labeled on it saying "Who knows where? In which country?" and began to be displayed temporarily after restoration. From the photographs sent by the Canadian Archaeologist Sheila Campbell, it was found out that the stolen parts were in the Merin collection in Houston USA and with the initiatives of the Ministry of Culture, the missing parts were brought In 2000 and the mosaic was put on display following the restoration. Those two eternal lovers, who were torn apart by traffickers of historical artefacts and kidnapped separately, have been unified after years.
  • Roman mosaics - Metiochus and Parthenope Mosaic.  2nd century AD . Zeugma Mosaic Museum, Gaziantep, Turkey.<br />
<br />
Metiochus and Parthenope, famous with their legendary love for eat: torn apart and then unified after years, they seem to represent the According to the myth, Parthenope is the sister of Polycrat e Ki taken an oath of virginity upon the Heraion which symbolizes the Metiochus is invited to the royal court and meets Parthenope Burin fails in love with Metiochus but in order to keep the oath she has taken, she and chooses to go exile. In this mosaic, we see the two figures sfttngsitting upon an In compliance with the story, the face of Metiochus is directed towards Part e whom he fell in love and the eyes of Parthenope stares at an indeterminate area due to the love she feels yet sees impossible. The mosaic is surrounded by triangular, double mesh ttke, and pyramidal borders. The piece was discovered during the rescue excavation conducted. in 1993. When exposed, it was understood that the main figures used to be at the middle of the mosaic were stolen the tomb-robbers. <br />
<br />
The mosaic was brought to Gaziantep Museum with a question mark labeled on it saying "Who knows where? In which country?" and began to be displayed temporarily after restoration. From the photographs sent by the Canadian Archaeologist Sheila Campbell, it was found out that the stolen parts were in the Merin collection in Houston USA and with the initiatives of the Ministry of Culture, the missing parts were brought In 2000 and the mosaic was put on display following the restoration. Those two eternal lovers, who were torn apart by traffickers of historical artefacts and kidnapped separately, have been unified after years.
  • Roman mosaics - Metiochus and Parthenope Mosaic.  2nd century AD . Zeugma Mosaic Museum, Gaziantep, Turkey.  Against a grey background.<br />
<br />
Metiochus and Parthenope, famous with their legendary love for eat: torn apart and then unified after years, they seem to represent the According to the myth, Parthenope is the sister of Polycrat e Ki taken an oath of virginity upon the Heraion which symbolizes the Metiochus is invited to the royal court and meets Parthenope Burin fails in love with Metiochus but in order to keep the oath she has taken, she and chooses to go exile. In this mosaic, we see the two figures sfttngsitting upon an In compliance with the story, the face of Metiochus is directed towards Part e whom he fell in love and the eyes of Parthenope stares at an indeterminate area due to the love she feels yet sees impossible. The mosaic is surrounded by triangular, double mesh ttke, and pyramidal borders. The piece was discovered during the rescue excavation conducted. in 1993. When exposed, it was understood that the main figures used to be at the middle of the mosaic were stolen the tomb-robbers. <br />
<br />
The mosaic was brought to Gaziantep Museum with a question mark labeled on it saying "Who knows where? In which country?" and began to be displayed temporarily after restoration. From the photographs sent by the Canadian Archaeologist Sheila Campbell, it was found out that the stolen parts were in the Merin collection in Houston USA and with the initiatives of the Ministry of Culture, the missing parts were brought In 2000 and the mosaic was put on display following the restoration. Those two eternal lovers, who were torn apart by traffickers of historical artefacts and kidnapped separately, have been unified after years.
  • Roman mosaics - Metiochus and Parthenope Mosaic.  2nd century AD . Zeugma Mosaic Museum, Gaziantep, Turkey.   Against a black background.<br />
<br />
Metiochus and Parthenope, famous with their legendary love for eat: torn apart and then unified after years, they seem to represent the According to the myth, Parthenope is the sister of Polycrat e Ki taken an oath of virginity upon the Heraion which symbolizes the Metiochus is invited to the royal court and meets Parthenope Burin fails in love with Metiochus but in order to keep the oath she has taken, she and chooses to go exile. In this mosaic, we see the two figures sfttngsitting upon an In compliance with the story, the face of Metiochus is directed towards Part e whom he fell in love and the eyes of Parthenope stares at an indeterminate area due to the love she feels yet sees impossible. The mosaic is surrounded by triangular, double mesh ttke, and pyramidal borders. The piece was discovered during the rescue excavation conducted. in 1993. When exposed, it was understood that the main figures used to be at the middle of the mosaic were stolen the tomb-robbers. <br />
<br />
The mosaic was brought to Gaziantep Museum with a question mark labeled on it saying "Who knows where? In which country?" and began to be displayed temporarily after restoration. From the photographs sent by the Canadian Archaeologist Sheila Campbell, it was found out that the stolen parts were in the Merin collection in Houston USA and with the initiatives of the Ministry of Culture, the missing parts were brought In 2000 and the mosaic was put on display following the restoration. Those two eternal lovers, who were torn apart by traffickers of historical artefacts and kidnapped separately, have been unified after years.
  • Roman mosaics - The Wedding of Dionysus mosaic. Dionysus Villa Ancient Zeugama, 2nd  century AD . Zeugma Mosaic Museum, Gaziantep, Turkey.<br />
<br />
<br />
The Wedding of Dionysus and Ariadne Mosaic, which belongs to the House of Dionysus, is one of the most special mosaics around the world. In the scene, Dionysus and Ariadne are sitting on a sofa. There are three maenads, musician, the wedding god and two sirens around them. <br />
<br />
The mosaic gives the impression of a painting due to the rich variety of colors and luminous/shadow effects used. The fact that there are many figures within the mosaic and their high pictorial quality, on the other hand, makes the mosaic much more special. <br />
<br />
The House of Dionysus is the villa where a rescue excavation was conducted in 1992 upon the received intelligence telling that traffickers had been digging the area. After the excavations, the mosaic now you behold was unearthed along with some geometric mosaics. In terms of the exactness in the anatomy of the figures, the perspective, and the rich variety of colors it is among the most precious and important mosaic around the world. <br />
<br />
<br />
The Museum had conducted activities in order to display the mosaic where it belongs and in a natural manner. However, such a big portion of the mosaic as two thirds was stolen by the historical artefact traffickers in 1998 from the place of display. The parts of the mosaic are not found yet. After the robbery, the remaining parts were transported to Gaziantep Museum and displayed after restoration. The stolen part of the mosaic was left blank. The searches continue in order to find the missing parts through the Interpol.
  • Roman mosaics - Close up of The Wedding of Dionysus mosaic. Dionysus Villa Ancient Zeugama, 2nd  century AD . Zeugma Mosaic Museum, Gaziantep, Turkey.<br />
<br />
<br />
The Wedding of Dionysus and Ariadne Mosaic, which belongs to the House of Dionysus, is one of the most special mosaics around the world. In the scene, Dionysus and Ariadne are sitting on a sofa. There are three maenads, musician, the wedding god and two sirens around them. <br />
<br />
The mosaic gives the impression of a painting due to the rich variety of colors and luminous/shadow effects used. The fact that there are many figures within the mosaic and their high pictorial quality, on the other hand, makes the mosaic much more special. <br />
<br />
The House of Dionysus is the villa where a rescue excavation was conducted in 1992 upon the received intelligence telling that traffickers had been digging the area. After the excavations, the mosaic now you behold was unearthed along with some geometric mosaics. In terms of the exactness in the anatomy of the figures, the perspective, and the rich variety of colors it is among the most precious and important mosaic around the world. <br />
<br />
<br />
The Museum had conducted activities in order to display the mosaic where it belongs and in a natural manner. However, such a big portion of the mosaic as two thirds was stolen by the historical artefact traffickers in 1998 from the place of display. The parts of the mosaic are not found yet. After the robbery, the remaining parts were transported to Gaziantep Museum and displayed after restoration. The stolen part of the mosaic was left blank. The searches continue in order to find the missing parts through the Interpol.
  • 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 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.
  • Gold Death Mask Known from Grave IV, Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC. Cat No 253 Athens Archaeological Museum.
  • Gold Death Mask  from Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC.  Athens Archaeological Museum.
  • Gold Death Mask Known as the "mask of Agamemnon"  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold & shows a man with a beard. 16th century BC. Cat No 624 Athens Archaeological Museum.
  • Gold Death Mask Known as the "mask of Agamemnon"  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold & shows a man with a beard. 16th century BC. Cat No 624 Athens Archaeological Museum.
  • Gold Death Mask  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold and is the only mask from grave circle A with eyes open. 16th century BC. Cat No 259 Athens Archaeological Museum.
  • Photo of a Three handles "Palace Style" amphora with three large octopuses within a marines cape of rocks and seaweed. A mycenaean copy of a Minoan Marine Style.   Mycenae tomb 2, Greece. 15th century BC,  cat no: 6725, National Archaeological Museum, Athens.
  • Three handled Mycenaean  Palace Style amphora with three large octopuses within a marinescape of rocks and seaweed. A Mycenaean imitation of Minoan Marine Style. From the Mycenaean cemetery of Argive Prosymna, tomb 2, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Gold Death Mask Known from Grave IV, Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC. Cat No 253 Athens Archaeological Museum.
  • Gold Death Mask  from Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC.  Athens Archaeological Museum.
  • Gold Death Mask Known as the "mask of Agamemnon"  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold & shows a man with a beard. 16th century BC. Cat No 624 Athens Archaeological Museum.
  • Boar's tusk helmet with cheek guards and double bone hook on top. Tomb 515 Mycenae, Greece. 14th-15th century BC. National Archaeological Museum, Athens.. The Boar's tusk helmet was described in the Iliad as follows "Meriones gave Odysseus a bow, a quiver and a sword, and put a cleverly made leather helmet on his head. On the inside there was a strong lining on interwoven straps, onto which a felt cap had been sewn in. The outside was cleverly adorned all around with rows of white tusks from a shiny-toothed boar, the tusks running in alternate directions in each row.<br />
—Homer, Iliad 10.260–5"
  • Three handled Mycenaean  Palace Style amphora with large palm trees symmetrically placed on the sides and smaller palm trees with floral motifs in between. This Mycenaean  vase is distinguished by the high quality of clay and paint, and by the naturalistic rendering of the decoration. From the Mycenaean cemetery at Argive Deiras, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Three handled Mycenaean  Palace Style amphora with three large octopuses within a marinescape of rocks and seaweed. A Mycenaean imitation of Minoan Marine Style. From the Mycenaean cemetery of Argive Prosymna, tomb 2, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Neolithic Marble Female Figurine grave offering of the early Cycladic II period from the Chalandriani, from Syros. 2800-2300BC. Athens Archaeological Museum Ref No 6169.

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