• 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 According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift.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
  • 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
  • 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 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 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.
  • 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
  • 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
  • Basalt Babylonian sculpture reporting the spoils of war, 12th cent.BC. The Louvre Museum, Paris.
  • Basalt Babylonian sculpture usurped by an Elamite king. 12th cent. BC from Suse. Inv AO 30043, The Louvre Museum, Paris.
  • Coloured glazed brick panels of the facade of the  first smaller Ishtar Gate, Babylon, dating from 604-562 BC. Babylon (present day Iraq). The Ishtar Gate, Babylon, was situated in the northern wall of the city and was named after the goddess Ishtar. The gate was decorated with reprentations of bulls, the symbol of the weather god Adad, and dragons (Babylonian Mushhushu), the symbol of the city God Marduk. The mythical composite animal has the head and the body of a snake, the front legs of a lion, the hind legs of a bird and a scorpion sting in the tail. The ground plan and debris of the gate buildings were uncovered during the German excavation from 1899-1917 directed by Robert Koldewey. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • 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 brick panels depicting Lions stiding from the facade of the Throne Room dating from 604-562 BC. Babylon (present day Iraq). The throne room is situated in the third courtyard of the complex of the royal palace. Its 56 meters wide facade was decorated with coloured glazed bricks. A tentative reconstruction shows the composition of the upper part of the facade, including the stylised palms and geometric patterned registers. Two original sections are displayed on the left next to the Ishtar Gate. The lower part f the facade with representations of the striding lions was predominantly reconstructed from the original baked brick fragments. The frieze of lions was presumably arranged symmetrically so the animals faced towards the central main entrance to the Throne room. The throne room was excavated by Robert Koldewey between 1899 and 1917. It was used as an official reception room. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed brick panels depicting Lions stiding from the facade of the Throne Room dating from 604-562 BC. Babylon (present day Iraq). The throne room is situated in the third courtyard of the complex of the royal palace. Its 56 meters wide facade was decorated with coloured glazed bricks. A tentative reconstruction shows the composition of the upper part of the facade, including the stylised palms and geometric patterned registers. Two original sections are displayed on the left next to the Ishtar Gate. The lower part f the facade with representations of the striding lions was predominantly reconstructed from the original baked brick fragments. The frieze of lions was presumably arranged symmetrically so the animals faced towards the central main entrance to the Throne room. The throne room was excavated by Robert Koldewey between 1899 and 1917. It was used as an official reception room. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • 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.
  • 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
  • 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 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
  • 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.
  • 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
  • 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
  • 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 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.
  • 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
  • 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 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
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Stone Sculpture depicting  Kassite or 3rd Dynasty of Babylon King Meli-Shipak II commemorating a donation of land to his daughter-Hannubat Nannaya. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. The king dressed in a long robe with his right hand raised in a gesture of greeting. With his left hand he grasps the wrist of his daughter. The princess carries in her left hand a nine-stringed harp. Both face an enthroned goddess Nanya, a deity worshipped especially at Uruk[, who is dressed in a flounced or segmented garment and donning a feathered mitre and sits on the far side of a cultic censer on a stand. Above them are the symbols of three divinities astral: the star of Ishtar, the sun god Shamash and Sin of the crescent moon are in the sky. The rest of the stele has been entirely defaced, possibly by an Elamite king intending to have his own inscription engraved. The Louvre Museum, Paris.
  • Babylonian Hammurabi stone relief sculpture. Hammurabi was the sixth Amorite king of Babylon from 1792 BC to 1750 BC . Hammurabi (standing), depicted as receiving his royal insignia from Shamash. Hammurabi holds his hands over his mouth as a sign of prayer. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Stone Stele depicting  a ceremonial procession of Babylonian Gods. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. Under the coils of the snake that wraps around the stele are represented the principal divinities of pantheon of Babylon as symbols. Below is a procession of two musicians and animals. Crenellated walls and towers surround the area reserve for an inscription that was never engraved. A horned serpent, emblem of the god Marduk, wraps around the base. Inv Sb 25. The Louvre Museum, Paris.
  • Basalt Babylonian sculpture reporting the spoils of war, 12th cent.BC. The Louvre Museum, Paris.
  • 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
  • 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
  • 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 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
  • 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
  • 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
  • Babylonian stone relief sculpture. announcing a land deed of Adad-apla-iddina, 4th Dynasty king of Babylon from 1067 BC to 1046 BC . Copied from an original in the Pushkin Museum, Moscow. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Stone Stele depicting  a ceremonial procession of Babylonian Gods. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. Under the coils of the snake that wraps around the stele are represented the principal divinities of pantheon of Babylon as symbols. Below is a procession of two musicians and animals. Crenellated walls and towers surround the area reserve for an inscription that was never engraved. A horned serpent, emblem of the god Marduk, wraps around the base. Inv Sb 25. The Louvre Museum, Paris.
  • Basalt Babylonian sculpture reporting the spoils of war, 12th cent.BC. The Louvre Museum, Paris.
  • 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 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
  • 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
  • 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 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.
  • 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.
  • 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.
  • 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 usurped by an Elamite king. 12th cent. BC from Suse. Inv AO 30043, The Louvre Museum, Paris.
  • Stone Stele depicting  a ceremonial procession of Babylonian Gods. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. Under the coils of the snake that wraps around the stele are represented the principal divinities of pantheon of Babylon as symbols. Below is a procession of two musicians and animals. Crenellated walls and towers surround the area reserve for an inscription that was never engraved. A horned serpent, emblem of the god Marduk, wraps around the base. Inv Sb 25. The Louvre Museum, Paris.
  • Stone Stele depicting  a ceremonial procession of Babylonian Gods. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. Under the coils of the snake that wraps around the stele are represented the principal divinities of pantheon of Babylon as symbols. Below is a procession of two musicians and animals. Crenellated walls and towers surround the area reserve for an inscription that was never engraved. A horned serpent, emblem of the god Marduk, wraps around the base. Inv Sb 25. The Louvre Museum, Paris.
  • 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.
  • 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
  • Roman sculpture of the Emperor Septime Severe, excavated  from Choud El Battan sculpted circa 193-211AD. The Bardo National Museum, Tunis, Inv No: C.73.  Against a white background.
  • Roman sculpture of the Emperor Septime Severe, excavated  from Choud El Battan sculpted circa 193-211AD. The Bardo National Museum, Tunis, Inv No: C.73.   Against a grey background.
  • Roman sculpture of the Emperor Septime Severe, excavated  from Choud El Battan sculpted circa 193-211AD. The Bardo National Museum, Tunis, Inv No: C.73
  • Roman sculpture of the Emperor Septime Severe, excavated  from Choud El Battan sculpted circa 193-211AD. The Bardo National Museum, Tunis, Inv No: C.73. Against a grey art background.
  • Roman sculpture of the Emperor Septime Severe, excavated  from Choud El Battan sculpted circa 193-211AD. The Bardo National Museum, Tunis, Inv No: C.73
  • Roman sculpture of the Emperor Marcus Aurelius, excavated  from Carthage made circa 161-180 AD. The Bardo National Museum, Tunis, Inv No: C.965.  Against a white background.
  • Roman sculpture of the Emperor Marcus Aurelius, excavated  from Carthage made circa 161-180 AD. The Bardo National Museum, Tunis, Inv No: C.965.  Against a black background.
  • Roman sculpture of the Emperor Marcus Aurelius, excavated  from Carthage made circa 161-180 AD. The Bardo National Museum, Tunis, Inv No: C.965.   Against a grey background.
  • Roman sculpture of the Emperor Marcus Aurelius, excavated  from Carthage made circa 161-180 AD. The Bardo National Museum, Tunis, Inv No: C.965
  • Roman sculpture of the Emperor Marcus Aurelius, excavated  from Carthage made circa 161-180 AD. The Bardo National Museum, Tunis, Inv No: C.965. Against a grey art background.
  • Roman sculpture of the Emperor Vitellius, excavated  from Althiburos sculpted circa 20 April 69-20 Dec 69AD. The Bardo National Museum, Tunis, Inv No: C.1784.  Against a white background.
  • Roman sculpture of the Emperor Vitellius, excavated  from Althiburos sculpted circa 20 April 69-20 Dec 69AD. The Bardo National Museum, Tunis, Inv No: C.1784.  Against a black background.
  • Roman sculpture of the Emperor Vitellius, excavated  from Althiburos sculpted circa 20 April 69-20 Dec 69AD. The Bardo National Museum, Tunis, Inv No: C.1784.   Against a grey background.
  • Roman sculpture of the Emperor Vitellius, excavated  from Althiburos sculpted circa 20 April 69-20 Dec 69AD. The Bardo National Museum, Tunis, Inv No: C.1784
  • Roman sculpture of the Emperor Vitellius, excavated  from Althiburos sculpted circa 20 April 69-20 Dec 69AD. The Bardo National Museum, Tunis, Inv No: C.1784. Against a grey art background.
  • Roman sculpture of the Emperor Vespesien, excavated  from Althiburos sculpted circa  69-79AD. The Bardo National Museum, Tunis, Inv No: C.1025.  Against a white background.
  • Roman sculpture of the Emperor Vespesien, excavated  from Althiburos sculpted circa  69-79AD. The Bardo National Museum, Tunis, Inv No: C.1025.  Against a black background.
  • Roman sculpture of the Emperor Vespesien, excavated  from Althiburos sculpted circa  69-79AD. The Bardo National Museum, Tunis, Inv No: C.1025.   Against a grey background.
  • Roman sculpture of the Emperor Vespesien, excavated  from Althiburos sculpted circa  69-79AD. The Bardo National Museum, Tunis, Inv No: C.1025
  • Roman sculpture of the Emperor Vespesien, excavated  from Althiburos sculpted circa  69-79AD. The Bardo National Museum, Tunis, Inv No: C.1025. Against a grey art background.
  • Roman sculpture of the Emperor Marcus Aurelius, excavated from Bulla Regia Theatre, sculpted circa late second century. The Bardo National Museum, Tunis.  Against a white background.
  • Roman sculpture of the Emperor Marcus Aurelius, excavated from Bulla Regia Theatre, sculpted circa late second century. The Bardo National Museum, Tunis.  Against a black background.
  • Roman sculpture of the Emperor Marcus Aurelius, excavated from Bulla Regia Theatre, sculpted circa late second century. The Bardo National Museum, Tunis.   Against a grey background.
  • Roman sculpture of the Emperor Marcus Aurelius, excavated from Bulla Regia Theatre, sculpted circa late second century. The Bardo National Museum, Tunis.
  • Roman sculpture of the Emperor Marcus Aurelius, excavated from Bulla Regia Theatre, sculpted circa late second century. The Bardo National Museum, Tunis. Against a grey art background.
  • Roman sculpture of the Emperor Lucius Verus, excavated from Bulla Regia Theatre, sculpted circa 161-169 AD. The Bardo National Museum, Tunis.  Against a black background.
  • Roman sculpture of the Emperor Lucius Verus, excavated from Bulla Regia Theatre, sculpted circa 161-169 AD. The Bardo National Museum, Tunis.   Against a grey background.
  • Roman sculpture of the Emperor Lucius Verus, excavated from Bulla Regia Theatre, sculpted circa 161-169 AD. The Bardo National Museum, Tunis.
  • Roman sculpture of the Emperor Lucius Verus, excavated from Bulla Regia Theatre, sculpted circa 161-169 AD. The Bardo National Museum, Tunis. Against a grey art background.
  • Roman sculpture of the Emperor Gordian 1st, excavated from Carthage ( ruled 3 months in 238AD. The Bardo National Museum, Tunis, Inv No: C. 3212. v
  • Roman sculpture of the Emperor Gordian 1st, excavated from Carthage ( ruled 3 months in 238AD. The Bardo National Museum, Tunis, Inv No: C. 3212.  Against a black background.
  • Roman sculpture of the Emperor Gordian 1st, excavated from Carthage ( ruled 3 months in 238AD. The Bardo National Museum, Tunis, Inv No: C. 3212.   Against a grey background.
  • Roman sculpture of the Emperor Gordian 1st, excavated from Carthage ( ruled 3 months in 238AD. The Bardo National Museum, Tunis, Inv No: C. 3212
  • Roman sculpture of the Emperor Gordian 1st, excavated from Carthage ( ruled 3 months in 238AD. The Bardo National Museum, Tunis, Inv No: C. 3212. Against a grey art background.
  • Roman sculpture of the Emperor Caracalla, excavated from Thuburbo-Majus, sculpted circa 211-217AD. The Bardo National Museum, Tunis, Inv No: C. 1347.  Against a white background.
  • Roman sculpture of the Emperor Caracalla, excavated from Thuburbo-Majus, sculpted circa 211-217AD. The Bardo National Museum, Tunis, Inv No: C. 1347.  Against a black background.
  • Roman sculpture of the Emperor Caracalla, excavated from Thuburbo-Majus, sculpted circa 211-217AD. The Bardo National Museum, Tunis, Inv No: C. 1347.   Against a grey background.
  • Roman sculpture of the Emperor Caracalla, excavated from Thuburbo-Majus, sculpted circa 211-217AD. The Bardo National Museum, Tunis, Inv No: C. 1347
  • Roman sculpture of the Emperor Caracalla, excavated from Thuburbo-Majus, sculpted circa 211-217AD. The Bardo National Museum, Tunis, Inv No: C. 1347. Against a grey art background.
  • Roman sculpture of the Emperor Augustus, excavated from El-Jem, sculpted circa 27BC-14AD The Bardo National Museum, Tunis, Inv No: C. 72.  Against a white background.
  • Roman sculpture of the Emperor Augustus, excavated from El-Jem, sculpted circa 27BC-14AD The Bardo National Museum, Tunis, Inv No: C. 72.  Against a black background.
  • Roman sculpture of the Emperor Augustus, excavated from El-Jem, sculpted circa 27BC-14AD The Bardo National Museum, Tunis, Inv No: C. 72
  • Roman sculpture of the Emperor Augustus, excavated from El-Jem, sculpted circa 27BC-14AD The Bardo National Museum, Tunis, Inv No: C. 72
  • Roman sculpture of the Emperor Augustus, excavated from El-Jem, sculpted circa 27BC-14AD The Bardo National Museum, Tunis, Inv No: C. 72. Against a grey art background.
  • Detail of a second Century Roman statue of Apollo excavated from the Theatre of Carthage. The Bardo National Museum, Tunis, Tunisia. Inv No C939. Against a black background.
  • Detail of a second Century Roman statue of Apollo excavated from the Theatre of Carthage. The Bardo National Museum, Tunis, Tunisia. Inv No C939. v
  • Detail of a second Century Roman statue of Apollo excavated from the Theatre of Carthage. The Bardo National Museum, Tunis, Tunisia. Inv No C939
  • Detail of a second Century Roman statue of Apollo excavated from the Theatre of Carthage. The Bardo National Museum, Tunis, Tunisia. Inv No C939. Against a white background.
  • Detail of a second Century Roman statue of Apollo excavated from the Theatre of Carthage. The Bardo National Museum, Tunis, Tunisia. Inv No C939. Against a grey art background.
  • Second Century Roman statue of Apollo excavated from the Theatre of Carthage. The Bardo National Museum, Tunis, Tunisia. Inv No C939.  Against a white background.
  • Second Century Roman statue of Apollo excavated from the Theatre of Carthage. The Bardo National Museum, Tunis, Tunisia. Inv No C939.  Against a black background.
  • Second Century Roman statue of Apollo excavated from the Theatre of Carthage. The Bardo National Museum, Tunis, Tunisia. Inv No C939.   Against a grey background.
  • Second Century Roman statue of Apollo excavated from the Theatre of Carthage. The Bardo National Museum, Tunis, Tunisia. Inv No C939
  • Second Century Roman statue of Apollo excavated from the Theatre of Carthage. The Bardo National Museum, Tunis, Tunisia. Inv No C939. Against a grey art background.
  • Roman sculpture of the Emperor Lucius Verus, excavated from Bulla Regia Theatre, sculpted circa 161-169 AD. The Bardo National Museum, Tunis.  Against a white background.
  • Original Roman bronze statue of Emperor Marcus Aurelius on horseback. 175 AD. Marcus Aurelus was the last of the Five Good Emperors, and is also considered one of the most important Stoic philosophers. In 1979 it was discovered that the the equestrian statue of Marcus Aurelius, in the courtyard of the Capitline Museum, had suffered badly from corrosion, particularly in its legs. The staue was removed from Michael Angelo’s plinth and was transferred to the National Instution for the Restoration of works of art for preservation. On the 11th of April 1990 the restored statue was returned to the Cpitaline courtyard and covered with a glass protective casing. The glass box ruined the design of Michael Angelo’s courtyard and it was decided to make a copy to display in the courted and move the original into the Capitoiline Musuem. This is a rare example of a bronze equestrian statue as it became common practice for the Romans in the late empire to melt down bronze statues to mint coins. The Capitoline Museums, Rome
  • Original Roman bronze statue of Emperor Marcus Aurelius on horseback. 175 AD. Marcus Aurelus was the last of the Five Good Emperors, and is also considered one of the most important Stoic philosophers. In 1979 it was discovered that the the equestrian statue of Marcus Aurelius, in the courtyard of the Capitline Museum, had suffered badly from corrosion, particularly in its legs. The staue was removed from Michael Angelo’s plinth and was transferred to the National Instution for the Restoration of works of art for preservation. On the 11th of April 1990 the restored statue was returned to the Cpitaline courtyard and covered with a glass protective casing. The glass box ruined the design of Michael Angelo’s courtyard and it was decided to make a copy to display in the courted and move the original into the Capitoiline Musuem. This is a rare example of a bronze equestrian statue as it became common practice for the Romans in the late empire to melt down bronze statues to mint coins. The Capitoline Museums, Rome
  • Original Roman bronze statue of Emperor Marcus Aurelius on horseback. 175 AD. Marcus Aurelus was the last of the Five Good Emperors, and is also considered one of the most important Stoic philosophers. In 1979 it was discovered that the the equestrian statue of Marcus Aurelius, in the courtyard of the Capitline Museum, had suffered badly from corrosion, particularly in its legs. The staue was removed from Michael Angelo’s plinth and was transferred to the National Instution for the Restoration of works of art for preservation. On the 11th of April 1990 the restored statue was returned to the Cpitaline courtyard and covered with a glass protective casing. The glass box ruined the design of Michael Angelo’s courtyard and it was decided to make a copy to display in the courted and move the original into the Capitoiline Musuem. This is a rare example of a bronze equestrian statue as it became common practice for the Romans in the late empire to melt down bronze statues to mint coins. The Capitoline Museums, Rome
  • Original Roman bronze statue of Emperor Marcus Aurelius on horseback. 175 AD. Marcus Aurelus was the last of the Five Good Emperors, and is also considered one of the most important Stoic philosophers. In 1979 it was discovered that the the equestrian statue of Marcus Aurelius, in the courtyard of the Capitline Museum, had suffered badly from corrosion, particularly in its legs. The staue was removed from Michael Angelo’s plinth and was transferred to the National Instution for the Restoration of works of art for preservation. On the 11th of April 1990 the restored statue was returned to the Cpitaline courtyard and covered with a glass protective casing. The glass box ruined the design of Michael Angelo’s courtyard and it was decided to make a copy to display in the courted and move the original into the Capitoiline Musuem. This is a rare example of a bronze equestrian statue as it became common practice for the Romans in the late empire to melt down bronze statues to mint coins. The Capitoline Museums, Rome
  • Original Roman bronze statue of Emperor Marcus Aurelius on horseback. 175 AD. Marcus Aurelus was the last of the Five Good Emperors, and is also considered one of the most important Stoic philosophers. In 1979 it was discovered that the the equestrian statue of Marcus Aurelius, in the courtyard of the Capitline Museum, had suffered badly from corrosion, particularly in its legs. The staue was removed from Michael Angelo’s plinth and was transferred to the National Instution for the Restoration of works of art for preservation. On the 11th of April 1990 the restored statue was returned to the Cpitaline courtyard and covered with a glass protective casing. The glass box ruined the design of Michael Angelo’s courtyard and it was decided to make a copy to display in the courted and move the original into the Capitoiline Musuem. This is a rare example of a bronze equestrian statue as it became common practice for the Romans in the late empire to melt down bronze statues to mint coins. The Capitoline Museums, Rome
  • Gigantic Roman bronze statue hand possibly from a sculpture of Emperor Constantine, from Rome. The Capitoline Museums, Rome
  • Gigantic Roman bronze statue hand from Rome. The Capitoline Museums, Rome
  • Gigantic Roman bronze statue hand from Rome. The Capitoline Museums, Rome
  • Gigantic Roman bronze statue hand from Rome. The Capitoline Museums, Rome
  • Roman marble portrait bust of Emperor Hadrian, 117-138 AD found in the Horti Tauriani, Rome.  The bust portrays an elderly Hadrian with a well worn expression from around 130AD. An enthusiastic builder Hadrian rebuilt the Pantheon and constructed the Temple of Venus and Roma as well as building Hadrian's Wall, which marked the northern limit of Roman Britain. His villa at Tivoli also showed Hadrian passion for water and Roman baths. Hadrian was regarded by some as a humanist and was philhellene in most of his tastes. He is regarded as one of the Five Good Emperors.  MC inv 890, Capitoline Museums, Rome
  • Gigantic Roman bronze statue hand from Rome. The Capitoline Museums, Rome
  • Roman marble portrait bust of Emperor Hadrian, 117-138 AD found in the Horti Tauriani, Rome.  The bust portrays an elderly Hadrian with a well worn expression from around 130AD. An enthusiastic builder Hadrian rebuilt the Pantheon and constructed the Temple of Venus and Roma as well as building Hadrian's Wall, which marked the northern limit of Roman Britain. His villa at Tivoli also showed Hadrian passion for water and Roman baths. Hadrian was regarded by some as a humanist and was philhellene in most of his tastes. He is regarded as one of the Five Good Emperors.  MC inv 890, Capitoline Museums, Rome
  • Roman marble portrait bust of Emperor Hadrian, 117-138 AD found in the Horti Tauriani, Rome.  The bust portrays an elderly Hadrian with a well worn expression from around 130AD. An enthusiastic builder Hadrian rebuilt the Pantheon and constructed the Temple of Venus and Roma as well as building Hadrian's Wall, which marked the northern limit of Roman Britain. His villa at Tivoli also showed Hadrian passion for water and Roman baths. Hadrian was regarded by some as a humanist and was philhellene in most of his tastes. He is regarded as one of the Five Good Emperors.  MC inv 890, Capitoline Museums, Rome
  • Roman marble portrait bust of Emperor Hadrian, 117-138 AD found in the Horti Tauriani, Rome.  The bust portrays an elderly Hadrian with a well worn expression from around 130AD. An enthusiastic builder Hadrian rebuilt the Pantheon and constructed the Temple of Venus and Roma as well as building Hadrian's Wall, which marked the northern limit of Roman Britain. His villa at Tivoli also showed Hadrian passion for water and Roman baths. Hadrian was regarded by some as a humanist and was philhellene in most of his tastes. He is regarded as one of the Five Good Emperors.  MC inv 890, Capitoline Museums, Rome
  • Roman marble portrait bust of Emperor Hadrian, 117-138 AD found in the Horti Tauriani, Rome.  The bust portrays an elderly Hadrian with a well worn expression from around 130AD. An enthusiastic builder Hadrian rebuilt the Pantheon and constructed the Temple of Venus and Roma as well as building Hadrian's Wall, which marked the northern limit of Roman Britain. His villa at Tivoli also showed Hadrian passion for water and Roman baths. Hadrian was regarded by some as a humanist and was philhellene in most of his tastes. He is regarded as one of the Five Good Emperors.  MC inv 890, Capitoline Museums, Rome
  • Roman marble portrait bust of Matidia circa119 AD from Via Giolitti, Rome. Matidia was Sabina’s mother and Hadrian’s wife. The high level of idealisation of the portrait suggests that it was made after her death. Capitoline Museums, Rome
  • Roman marble portrait bust of Matidia circa119 AD from Via Giolitti, Rome. Matidia was Sabina’s mother and Hadrian’s wife. The high level of idealisation of the portrait suggests that it was made after her death. Capitoline Museums, Rome
  • Roman marble portrait bust of Matidia circa119 AD from Via Giolitti, Rome. Matidia was Sabina’s mother and Hadrian’s wife. The high level of idealisation of the portrait suggests that it was made after her death. Capitoline Museums, Rome
  • Roman marble portrait bust of Matidia circa119 AD from Via Giolitti, Rome. Matidia was Sabina’s mother and Hadrian’s wife. The high level of idealisation of the portrait suggests that it was made after her death. Capitoline Museums, Rome
  • Roman marble statue of the Esquiline Venus or Aphrodite dated to the 1st cent. It was found in 1874 in Piazza Dante on the Esquiline Hill in Rome, probably part of the site of the Horti Lamiani, one of the imperial gardens, rich archaeological sources of classical sculpture. The Esquiline Venus is an example of the Pasitelean “eclectic" style of the Neo-Attic school. It combines elements from a variety of other previous schools - a Praxitelean idea of the nude female form; a face, muscular torso, and small high breasts in the fifth-century BC severe style; and pressed-together thighs typical of Hellenistic sculptures. Capitoline Museums, Rome
  • Roman marble statue of the Esquiline Venus or Aphrodite dated to the 1st cent. It was found in 1874 in Piazza Dante on the Esquiline Hill in Rome, probably part of the site of the Horti Lamiani, one of the imperial gardens, rich archaeological sources of classical sculpture. The Esquiline Venus is an example of the Pasitelean “eclectic" style of the Neo-Attic school. It combines elements from a variety of other previous schools - a Praxitelean idea of the nude female form; a face, muscular torso, and small high breasts in the fifth-century BC severe style; and pressed-together thighs typical of Hellenistic sculptures. Capitoline Museums, Rome
  • Roman marble portrait bust of Matidia circa119 AD from Via Giolitti, Rome. Matidia was Sabina’s mother and Hadrian’s wife. The high level of idealisation of the portrait suggests that it was made after her death. Capitoline Museums, Rome
  • Roman marble statue of the Esquiline Venus or Aphrodite dated to the 1st cent. It was found in 1874 in Piazza Dante on the Esquiline Hill in Rome, probably part of the site of the Horti Lamiani, one of the imperial gardens, rich archaeological sources of classical sculpture. The Esquiline Venus is an example of the Pasitelean “eclectic" style of the Neo-Attic school. It combines elements from a variety of other previous schools - a Praxitelean idea of the nude female form; a face, muscular torso, and small high breasts in the fifth-century BC severe style; and pressed-together thighs typical of Hellenistic sculptures. Capitoline Museums, Rome
  • Roman marble statue of the Esquiline Venus or Aphrodite dated to the 1st cent. It was found in 1874 in Piazza Dante on the Esquiline Hill in Rome, probably part of the site of the Horti Lamiani, one of the imperial gardens, rich archaeological sources of classical sculpture. The Esquiline Venus is an example of the Pasitelean “eclectic" style of the Neo-Attic school. It combines elements from a variety of other previous schools - a Praxitelean idea of the nude female form; a face, muscular torso, and small high breasts in the fifth-century BC severe style; and pressed-together thighs typical of Hellenistic sculptures. Capitoline Museums, Rome
  • Roman marble statue of the Esquiline Venus or Aphrodite dated to the 1st cent. It was found in 1874 in Piazza Dante on the Esquiline Hill in Rome, probably part of the site of the Horti Lamiani, one of the imperial gardens, rich archaeological sources of classical sculpture. The Esquiline Venus is an example of the Pasitelean “eclectic" style of the Neo-Attic school. It combines elements from a variety of other previous schools - a Praxitelean idea of the nude female form; a face, muscular torso, and small high breasts in the fifth-century BC severe style; and pressed-together thighs typical of Hellenistic sculptures. Capitoline Museums, Rome
  • Roman marble statue of the Esquiline Venus or Aphrodite dated to the 1st cent. It was found in 1874 in Piazza Dante on the Esquiline Hill in Rome, probably part of the site of the Horti Lamiani, one of the imperial gardens, rich archaeological sources of classical sculpture. The Esquiline Venus is an example of the Pasitelean “eclectic" style of the Neo-Attic school. It combines elements from a variety of other previous schools - a Praxitelean idea of the nude female form; a face, muscular torso, and small high breasts in the fifth-century BC severe style; and pressed-together thighs typical of Hellenistic sculptures. Capitoline Museums, Rome
  • Roman marble statue of the Esquiline Venus or Aphrodite dated to the 1st cent. It was found in 1874 in Piazza Dante on the Esquiline Hill in Rome, probably part of the site of the Horti Lamiani, one of the imperial gardens, rich archaeological sources of classical sculpture. The Esquiline Venus is an example of the Pasitelean “eclectic" style of the Neo-Attic school. It combines elements from a variety of other previous schools - a Praxitelean idea of the nude female form; a face, muscular torso, and small high breasts in the fifth-century BC severe style; and pressed-together thighs typical of Hellenistic sculptures. Capitoline Museums, Rome
  • Roman marble statue of the Esquiline Venus or Aphrodite dated to the 1st cent. It was found in 1874 in Piazza Dante on the Esquiline Hill in Rome, probably part of the site of the Horti Lamiani, one of the imperial gardens, rich archaeological sources of classical sculpture. The Esquiline Venus is an example of the Pasitelean “eclectic" style of the Neo-Attic school. It combines elements from a variety of other previous schools - a Praxitelean idea of the nude female form; a face, muscular torso, and small high breasts in the fifth-century BC severe style; and pressed-together thighs typical of Hellenistic sculptures. Capitoline Museums, Rome
  • Roman marble statue of the Esquiline Venus or Aphrodite dated to the 1st cent. It was found in 1874 in Piazza Dante on the Esquiline Hill in Rome, probably part of the site of the Horti Lamiani, one of the imperial gardens, rich archaeological sources of classical sculpture. The Esquiline Venus is an example of the Pasitelean “eclectic" style of the Neo-Attic school. It combines elements from a variety of other previous schools - a Praxitelean idea of the nude female form; a face, muscular torso, and small high breasts in the fifth-century BC severe style; and pressed-together thighs typical of Hellenistic sculptures. Capitoline Museums, Rome
  • Roman marble statue of the Esquiline Venus or Aphrodite dated to the 1st cent. It was found in 1874 in Piazza Dante on the Esquiline Hill in Rome, probably part of the site of the Horti Lamiani, one of the imperial gardens, rich archaeological sources of classical sculpture. The Esquiline Venus is an example of the Pasitelean “eclectic" style of the Neo-Attic school. It combines elements from a variety of other previous schools - a Praxitelean idea of the nude female form; a face, muscular torso, and small high breasts in the fifth-century BC severe style; and pressed-together thighs typical of Hellenistic sculptures. Capitoline Museums, Rome
  • Roman marble bust of Commodus as Hercules. Circa191-192 AD found in an underground chamber in the Horti Lamiani area of Rome. The son of Marcus Aurelus is shown with the features of Hercules and is characterised by Greek hero’s attributes: the lion’s skin, the club, the apples of Hesperides. The character is accompanied by fantastic sea creatures in a composition symbolising his apotheosis. The work can be dated to the final period of the life of Commodus, between 191-192 AD. . MC.1120 Capitoline Museums, Rome
  • Roman marble bust of Commodus as Hercules. Circa191-192 AD found in an underground chamber in the Horti Lamiani area of Rome. The son of Marcus Aurelus is shown with the features of Hercules and is characterised by Greek hero’s attributes: the lion’s skin, the club, the apples of Hesperides. The character is accompanied by fantastic sea creatures in a composition symbolising his apotheosis. The work can be dated to the final period of the life of Commodus, between 191-192 AD. . MC.1120 Capitoline Museums, Rome
  • Roman marble bust of Commodus as Hercules. Circa191-192 AD found in an underground chamber in the Horti Lamiani area of Rome. The son of Marcus Aurelus is shown with the features of Hercules and is characterised by Greek hero’s attributes: the lion’s skin, the club, the apples of Hesperides. The character is accompanied by fantastic sea creatures in a composition symbolising his apotheosis. The work can be dated to the final period of the life of Commodus, between 191-192 AD. . MC.1120 Capitoline Museums, Rome
  • Roman marble bust of Commodus as Hercules. Circa191-192 AD found in an underground chamber in the Horti Lamiani area of Rome. The son of Marcus Aurelus is shown with the features of Hercules and is characterised by Greek hero’s attributes: the lion’s skin, the club, the apples of Hesperides. The character is accompanied by fantastic sea creatures in a composition symbolising his apotheosis. The work can be dated to the final period of the life of Commodus, between 191-192 AD. . MC.1120 Capitoline Museums, Rome
  • Roman marble bust of Commodus as Hercules. Circa191-192 AD found in an underground chamber in the Horti Lamiani area of Rome. The son of Marcus Aurelus is shown with the features of Hercules and is characterised by Greek hero’s attributes: the lion’s skin, the club, the apples of Hesperides. The character is accompanied by fantastic sea creatures in a composition symbolising his apotheosis. The work can be dated to the final period of the life of Commodus, between 191-192 AD. . MC.1120 Capitoline Museums, Rome
  • Roman gilded bronze head of Emperor Constantine dating from about 330-337 AD.. Inv 5.13, The Capitoline Museums, Rome
  • Roman gilded bronze head of Emperor Constantine dating from about 330-337 AD.. Inv 5.13, The Capitoline Museums, Rome
  • Roman gilded bronze head of Emperor Constantine dating from about 330-337 AD.. Inv 5.13, The Capitoline Museums, Rome
  • Roman gilded bronze head of Emperor Constantine dating from about 330-337 AD.. Inv 5.13, The Capitoline Museums, Rome
  • Roman gilded bronze head of Emperor Constantine dating from about 330-337 AD.. Inv 5.13, The Capitoline Museums, Rome
  • Roman gilded bronze head of Emperor Constantine dating from about 330-337 AD.. Inv 5.13, The Capitoline Museums, Rome
  • Roman gilded bronze head of Emperor Constantine dating from about 330-337 AD.. Inv 5.13, The Capitoline Museums, Rome
  • Roman gilded bronze head of Emperor Constantine dating from about 330-337 AD.. Inv 5.13, The Capitoline Museums, Rome
  • Roman gilded bronze head of Emperor Constantine dating from about 330-337 AD.. Inv 5.13, The Capitoline Museums, Rome
  • Roman gilded bronze head of Emperor Constantine dating from about 330-337 AD.. Inv 5.13, The Capitoline Museums, Rome
  • Roman sculpted head of Dionysus inspired by a Hellenistic original. Found in the Horti Lamiani near the Piazza Vittorio Emanuele, Rome. M.C. Inv 1129, The Capitoline Museums, Rome
  • Roman sculpted head of Dionysus inspired by a Hellenistic original. Found in the Horti Lamiani near the Piazza Vittorio Emanuele, Rome. M.C. Inv 1129, The Capitoline Museums, Rome
  • Roman sculpted head of Dionysus inspired by a Hellenistic original. Found in the Horti Lamiani near the Piazza Vittorio Emanuele, Rome. M.C. Inv 1129, The Capitoline Museums, Rome
  • Roman sculpted head of Dionysus inspired by a Hellenistic original. Found in the Horti Lamiani near the Piazza Vittorio Emanuele, Rome. M.C. Inv 1129, The Capitoline Museums, Rome
  • Roman sculpted head of Dionysus inspired by a Hellenistic original. Found in the Horti Lamiani near the Piazza Vittorio Emanuele, Rome. M.C. Inv 1129, The Capitoline Museums, Rome
  • Roman statue of Augustus as Pontifex Maximus, circa 17-14 BC.  This statue of Augustus was typical of the approved style that Augustus used to control his public image. As Pontifex Maximus the statue emphasises the piety of the ruler and his reverence for the gods and traditions of Rome. Augustus thus revitalised the role and function of the most ancient Roman priesthoods and exalted the myths that narrated the origins of Rome. The statue is part of the political propaganda that Augustus used to cement his position of first amongst equals to the very conservative Romans.  National Roman Museum, Rome.
  • Roman statue of Augustus as Pontifex Maximus, circa 17-14 BC.  This statue of Augustus was typical of the approved style that Augustus used to control his public image. As Pontifex Maximus the statue emphasises the piety of the ruler and his reverence for the gods and traditions of Rome. Augustus thus revitalised the role and function of the most ancient Roman priesthoods and exalted the myths that narrated the origins of Rome. The statue is part of the political propaganda that Augustus used to cement his position of first amongst equals to the very conservative Romans.  National Roman Museum, Rome.
  • Roman statue of Augustus as Pontifex Maximus, circa 17-14 BC.  This statue of Augustus was typical of the approved style that Augustus used to control his public image. As Pontifex Maximus the statue emphasises the piety of the ruler and his reverence for the gods and traditions of Rome. Augustus thus revitalised the role and function of the most ancient Roman priesthoods and exalted the myths that narrated the origins of Rome. The statue is part of the political propaganda that Augustus used to cement his position of first amongst equals to the very conservative Romans.  National Roman Museum, Rome.
  • Roman statue of Augustus as Pontifex Maximus, circa 17-14 BC.  This statue of Augustus was typical of the approved style that Augustus used to control his public image. As Pontifex Maximus the statue emphasises the piety of the ruler and his reverence for the gods and traditions of Rome. Augustus thus revitalised the role and function of the most ancient Roman priesthoods and exalted the myths that narrated the origins of Rome. The statue is part of the political propaganda that Augustus used to cement his position of first amongst equals to the very conservative Romans.  National Roman Museum, Rome.
  • Roman statue of Augustus as Pontifex Maximus, circa 17-14 BC.  This statue of Augustus was typical of the approved style that Augustus used to control his public image. As Pontifex Maximus the statue emphasises the piety of the ruler and his reverence for the gods and traditions of Rome. Augustus thus revitalised the role and function of the most ancient Roman priesthoods and exalted the myths that narrated the origins of Rome. The statue is part of the political propaganda that Augustus used to cement his position of first amongst equals to the very conservative Romans.  National Roman Museum, Rome.
  • Roman statue of Augustus as Pontifex Maximus, circa 17-14 BC.  This statue of Augustus was typical of the approved style that Augustus used to control his public image. As Pontifex Maximus the statue emphasises the piety of the ruler and his reverence for the gods and traditions of Rome. Augustus thus revitalised the role and function of the most ancient Roman priesthoods and exalted the myths that narrated the origins of Rome. The statue is part of the political propaganda that Augustus used to cement his position of first amongst equals to the very conservative Romans.  National Roman Museum, Rome.
  • Roman statue of Augustus as Pontifex Maximus, circa 17-14 BC.  This statue of Augustus was typical of the approved style that Augustus used to control his public image. As Pontifex Maximus the statue emphasises the piety of the ruler and his reverence for the gods and traditions of Rome. Augustus thus revitalised the role and function of the most ancient Roman priesthoods and exalted the myths that narrated the origins of Rome. The statue is part of the political propaganda that Augustus used to cement his position of first amongst equals to the very conservative Romans.  National Roman Museum, Rome.
  • Roman statue of Augustus as Pontifex Maximus, circa 17-14 BC.  This statue of Augustus was typical of the approved style that Augustus used to control his public image. As Pontifex Maximus the statue emphasises the piety of the ruler and his reverence for the gods and traditions of Rome. Augustus thus revitalised the role and function of the most ancient Roman priesthoods and exalted the myths that narrated the origins of Rome. The statue is part of the political propaganda that Augustus used to cement his position of first amongst equals to the very conservative Romans.  National Roman Museum, Rome.
  • Roman statue of Augustus as Pontifex Maximus, circa 17-14 BC.  This statue of Augustus was typical of the approved style that Augustus used to control his public image. As Pontifex Maximus the statue emphasises the piety of the ruler and his reverence for the gods and traditions of Rome. Augustus thus revitalised the role and function of the most ancient Roman priesthoods and exalted the myths that narrated the origins of Rome. The statue is part of the political propaganda that Augustus used to cement his position of first amongst equals to the very conservative Romans.  National Roman Museum, Rome.
  • Roman statue of Augustus as Pontifex Maximus, circa 17-14 BC.  This statue of Augustus was typical of the approved style that Augustus used to control his public image. As Pontifex Maximus the statue emphasises the piety of the ruler and his reverence for the gods and traditions of Rome. Augustus thus revitalised the role and function of the most ancient Roman priesthoods and exalted the myths that narrated the origins of Rome. The statue is part of the political propaganda that Augustus used to cement his position of first amongst equals to the very conservative Romans.  National Roman Museum, Rome.
  • Roman relief panel showing a Barbarian, circa 98-117 AD from the Palace of Montecitorio, Rome. This  relief panel is part of a larger work. It represents a battle and the figure can be identified as a barbarian by his eastern style tunic and thick beard. Judging by the quality of the execution, the relief must have belonged to an important public monument situated in the area of the Campus Martius .  Inv 39163, National Roman Museum, Rome.
  • Roman relief panel showing a Barbarian, circa 98-117 AD from the Palace of Montecitorio, Rome. This  relief panel is part of a larger work. It represents a battle and the figure can be identified as a barbarian by his eastern style tunic and thick beard. Judging by the quality of the execution, the relief must have belonged to an important public monument situated in the area of the Campus Martius .  Inv 39163, National Roman Museum, Rome.
  • Roman relief panel showing a Barbarian, circa 98-117 AD from the Palace of Montecitorio, Rome. This  relief panel is part of a larger work. It represents a battle and the figure can be identified as a barbarian by his eastern style tunic and thick beard. Judging by the quality of the execution, the relief must have belonged to an important public monument situated in the area of the Campus Martius .  Inv 39163, National Roman Museum, Rome.
  • Roman relief panel showing a Barbarian, circa 98-117 AD from the Palace of Montecitorio, Rome. This  relief panel is part of a larger work. It represents a battle and the figure can be identified as a barbarian by his eastern style tunic and thick beard. Judging by the quality of the execution, the relief must have belonged to an important public monument situated in the area of the Campus Martius .  Inv 39163, National Roman Museum, Rome.

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