Ancient Celtic bust of Marcus Aurelius, dates to about 180 AD, from Avenches, Switzerland.
Through his portraits, the emperor is constantly in attendance over his vast empire. The hair is combed back from the forehead, representing a typical Celtic hairstyle and reveals the Gallo-Roman origin of the artist. Hammered from a single sheet of gold, the bust is a masterpiece of craftsmanship.
Source: Flickr / rosemania
The Ancient Greek Temple of Apollo at Corinth.
The temple had a double cella, each with two rows of columns (there were once 38, only 7 remain), and a pronaos. At the time of discovery it was one of the oldest temples in Greece, dates to around 540 BC, and was built to replace an earlier temple from the 7th C BC.
Photos courtesy & taken by Jeanhousen
This is one of many detailed scenes adorning the mummy case of Padimut, a priest and engraver who lived in ancient Thebes in the 22nd Dynasty (945-712 B.C.E.). Coffin paintings such as this are often self-referential in nature, describing the ideal journey of the deceased through the underworld, the land of Duat; sometimes they even include instructions, much like the mummy texts.
This scene shows Osiris sitting in judgment of Padimut’s heart, which is being weighed against the Feather of Truth. The assumption is that if Padimut’s heart is not at least as light as the Feather, he will be unable to proceed safely to paradise. In fact, his soul might actually be devoured by one of the strange beasts populating the underworld. Anxiety about these consequences fueled what we might now think of as a religious-industrial complex, which played a major role in the social structure and economic landscape of ancient Egypt.
This image was painted over layers of cartonnage, a composite of plaster, linen, and papyrus. You can visit Padimut’s mummy case at the Semitic Museum in our “Egypt: Magic and the Afterlife” exhibit.
Celtiberian fibula representing a rider. Under the horse’s head, there is a cut human head, maybe from a defeated enemy. This kind of fibulae are considered to be an emblem of elite warriors.
3th century or 2th century BC, made of bronze.
A centaur tries to carry off Hippodameia (here called Laodameia) while Perithoos and Theseus resist. Detail from an Apulian red-figure calyx-krater, ca. 350-340 BC. From Anzi. Laodameia Painter (name piece).
Mayan Warrior Figurine, AD 550-850 (Late Classic), made of earthenware, post-fire paint.
Among the most renowned of the myriad figurine traditions of Mesoamerica is that of Jaina Island, a residential and funerary settlement adjacent to the coast of west-central Campeche. Jaina Island’s extensive burial grounds have been known since the nineteenth century, but only in the 1940s were they first scientifically excavated. Archaeologists found figurines in the arms of the deceased who had been dressed in their finest clothes and wrapped in cotton burial shrouds and palm-fiber mats.
The renowned Mexico archaeologist Román Piña Chan, the director of excavations at Jaina, has speculated that the figurines served to ensure the deceased’s lifeways and social position in the afterlife. This figurine is notable because it portrays an elderly warrior rather than the robust young combatant so typical of Classic Maya figurines. His identity is confirmed by the flexible, rectangular shield held in his right hand and the quilted armor tunic, both being requisite garb for Maya warriors. He likely represents a captured warrior, defiant yet stately in demeanor, his defeat indicated by the thick rope binding his neck and upper arms. The form of the head suggests that the figure originally was adorned with a removable headdress which has been lost.
Courtesy & currently located at the Walters Art Museum, USA.
Relief of the Persian king Xerxes (485-465 BC) in the doorway of his palace at Persepolis, modern-day Iran. The bearers of the parasol and the towel-and flywhisk symbolize the royalty and power of the monarch.
Photo courtesy and taken by Jona Lendering, via the Wiki Commons
Helmeted Minerva (Athena) holding a tiny owl. Marble and golden onyxmarble, 2nd century AD and 18th century restorations. The onyx body is a Roman copy of the Hera Borghese type; the statue was restored as Minerva by adding marble head and arms.
A pectoral with three scarab beetles clasped to a necklace (partly shown) which was discovered from the intact KV62 tomb of Tutankhamun. This jewellry depicts Scrab Beetles or Khepri, pushing the sun. It is one of the treasures found from Tutankhamun’s tomb who ruled during the 18th dynasty of Egypt’s New Kingdom.