Ancient Ceramics and Reliefs

Various ancient artifacts including molded plaques and relief fragments, highlighting cultural themes from Babylonian to Greek and Maya civilizations.

Paestum, Suicide of Ajax. Greek period temple relief.

Hearthstone, from Antwerp Belgium, without frame, with lions with year, hearthstone fireplace component ceramics brick glaze, baked Hearth stone of the Antwerp type without frame showing two climbing lions placed in two panes with laurel leaf motif and accompanied by the year 1617 above the lions placed the half and quarter panes at the top and bottom are filled with star motif. date 1617 heating the building history

Fragment of frieze. Marble. 1st century A.D. Decorated with garlands, ribbons and umilicata patera. Forum of Tarragona. National Archaeological Museum. Tarragona. Catalonia, Spain.

PIEZAS DE LA EXPOSICION "ARTE SIN ARTISTAS": PLAQUETA CON ROSTRO HUMANO, DE LA CUEVA DE LA MARCHE, LUSSAC-LES-CHTEAUX, VIENNE (FRANCIA). GRABADO EN PIEDRA CALIZA GRIS. MAGDALENIENSE.

Funerary stela of Porcius Felix, 70 years od, Cara city. Roman period. 2nd century. Navarra Museum. Pamplona. Spain.

TURIN, ITALY - CIRCA FEBRUARY 2019: Ancient font at Museo Civico d’Arte Antica (Civic Museum of Ancient Art) at Palazzo Madama Royal palace in Piazza Castello in black and white. Museum of Ancient Art at Palazzo Madama in Turin in black and white

Terracotta antefix with lion's head late 6th century B.C. East Greek A lion's head mask flanked by the animal's front paws with a guilloche border running along the lower border. Traces of polychromy.. Terracotta antefix with lion's head 256130

Fragment from Red-Figure Cup: Woman, c. 470-460 BC. Near the Telephos Painter (Greek, Attic, active 480-460 BC). Ceramic; overall: 0.4 cm (3/16 in.). A bit of preserved lip shows that this fragment comes from a kylix, or drinking cup. A finely dressed woman, with earring and headband, reaches out with her right hand, now lost but once holding a wreath in added red paint. Relief lines standing above the surface outline the face, neck, arm, and other details.

Plaque fragment ca. 9th-8th century B.C. Assyrian This strip of ivory depicts a combat scene between animals, in which a griffin and a lion attack a bull. The bulls body entirely fills the space between the top and bottom border, but his head is not preserved. At the top right corner of the plaque, a lions paw can be seen mauling the bulls neck. A griffin, an eagle-headed fantastic creature with the body of a lion, attacks the bulls hindquarters, and its lower beak is shown piercing the bulls flesh. Carved ivory pieces such as this were widely used in the production of elite furniture during the early first millennium B.C., and were often inlaid into a wooden frame using joinery techniques and glue. This fragment was clearly part of a larger carved strip, perhaps part of a chair or bed. The scene of energetic combat between real and fantastic animals is a common motif on ivories attributed to North Syrian workshops.Built by the Assyrian king Ashurnasirpal II, the palaces and store

Fragment of a pass. A man dressed as hunter comes to visit a queen. Her attitude expresses sadness. It may be an illustration of a scene from the Saddantajataka, a Buddhist story. In it, teeth of a killed elephant offered the Queen of Benares who was a wife of the elephant in her previous life. However, because this is a small fragment, an interpretation remains difficult.

Campania Napoli Naples S. Lorenzo Maggiore84. Hutzel, Max 1960-1990 Medieval: Sculpture, architecture, architectural sculpture (including Roman spolia) 13-14th century Chapter house; sarcophagi, gravestones; wall painting. Fragment of mosaic; sculptural fragments in the Sala Capitolare. Post-medieval: Architecture, architectural sculpture, ceiling painting fresco cycle; prints depicting Venice c. 1845 (4), sculpture; life-size creche figures dressed in original Neapolitan costume Church restored in 1882, 1926, 1944; excavations under the transept undertaken between 1958-1962, and in the cloister in 1976, have revealed remains of a Roman macellum (market), street, and the paleochristian basilica of the 6th c. AD. Antiquities: Pottery: black-glazed, archaic banded, domestic wares, bucchero; architectural terracottas, statuettes, lamps, sculpture fragments Object Notes: 3 color negatives with no prints at the end. General Notes: Most objects/paintings/frescoes unidentified. Three batches

Roman stele from the Maranon cemetery, Museum of Navarra, Pamplona, Navarra,Spain.

Brass plaque from Benin, Nigeria, West Africa. the British Museum London. Edo peoples, 16th century AD From Benin, Nigeria. There are over nine hundred plaques of this type in various museums in England, Europe and America. Many of the plaques now in The British Museum were collected during the British Punitive Expedition in 1897. They are thought to have been made in matching pairs and fixed to pillars in the Oba's palace in Benin City.

BYZANTINE ART. GREECE. Marble slab with a relief decorated about floral and geometric motifs intertwined. The central part represents an eagle circumscribed in a circle. Dated from the end of the tenth century and early eleventh century. Byzantine Museum. Athens.

Tinned-Copper Plaque with a Personification 350-400 Byzantine Charming curly-haired youths, possibly personifying the months and the seasons, decorate these plaques that were once attached to a larger object, perhaps a casket.. Tinned-Copper Plaque with a Personification 466168

Ivory carving from Nimrud

Sandstone headstone, 150-200 AD., Ibiza and Formentera Archeological Museum, Patrimonio de la Humanidad «Ibiza, biodiversidad y cultura», Ibiza, Balea...

Tombstone, 900s. Iran, Nishapur, 10th century. Limestone; overall: 40 x 19.1 cm (15 3/4 x 7 1/2 in.).

Funerary stele of Menelaos, sculpture with encaustic painting of a funerary banquet, from Demetrias, near Volos, Greece. Hellenistic civilization, 3rd century BC.

seal of the customs house in Krakow. komora celna, signatory

Raised relief fragment 664-610 B.C. Late Period, Saite see 23.3.468. Raised relief fragment. 664-610 B.C.. Limestone, varnish. Late Period, Saite. From Egypt, Upper Egypt, Thebes, Deir el-Bahri, Tomb of Nespekashuty (TT 312, MMA 509), 1st chamber W. wall; top register, MMA excavations, 1922-23. Dynasty 26

Golan Archaeological Museum in Katzrin

Aimé-Jules Dalou (1838-1902). "Coquelicot flowers". Terracotta, 1897. Museum of Fine Arts of the City of Paris, Petit Palais. Bas-relief, poppy, flower, petal, terracotta

Zola, 1898. Alexandre-Louis-Marie Charpentier (French, 1856-1909). Bronze; overall: 17.5 x 13.5 x 8 cm (6 7/8 x 5 5/16 x 3 1/8 in.).

Facing brick with woman's head and text in 1668, facing stone sculpture sculpture building component sandstone stone, sculpted Rectangular facing brick with an excellent head in the middle that seems to have been used separately. Also text in high relief Top: ANNO; bottom: 1668 Rotterdam City Triangle Kipstraat Originating from house on Kipstraat Rotterdam.

Basement with lion head, basement ornament building component sandstone stone, sculpted Basement with top and bottom rectangular frames in the middle inverted balustrade. On the side leaf motifs on the front lion's head.

Fragment of facing brick with tons and bunches of grapes, façade stone fragment sculpture sculpture material part stone, sculpted Rectangular bas-relief of bunches of grapes in the middle one ton. Hard stone distillery wine barrel

Sandstone stela, I B.C., Larraganena, Gorliz, Arkeologi Museoa, museo aqueologico, Bilbao, Bizkaia, Pais Vasco, Spain.

Scarab Inscribed for the God's Wife Hatshepsut. Dimensions: L. 1.7 cm (11/16 in.); W. 1.2 cm (1/2 in.); H. 0.7 cm (1/4 in.). Dynasty: Dynasty 18, early. Reign: Joint reign of Hatshepsut and Thutmose III. Date: ca. 1479-1458 B.C..This scarab was found in a foundation deposit associated with Hatshepsut's funerary temple at Deir el-Bahri. The base is inscribed with her personal name, Hatshepsut ("foremost of noblewomen") linked with the title God's Wife. Hatshepsut inherited the title while she served as principal queen of her half-brother, Thutmose II. Later in her life, after taking on the titles of King, Hatshepsut passed the title to her daughter, Neferure (see scarab 27.3.326). Museum: Metropolitan Museum of Art, New York, USA.

Stucco relief (Roman) depicting Eros. 1st Century AD

South Italian Red-Figure Skyphos Fragment. Lecce Painter (Greek (Apulian))

Emilia-Romagna Ferrara Pomposa Abbazia di Pomposa, Museo22. Hutzel, Max 1960-1990 Medieval: Fragments: capitals (Byzantine, 6th century), also capitals carved with human faces; marble friezes (10th century, later inscriptions); cornices, (with spolia) 11-12th centuries; ciborium; frescos. Post-medieval: Terracotta statuary, "neo-classical" (Hutzel); frescos: Bolognese, 14th century Antiquities: Amphora; grave monuments German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

relief fragment, painted limestone, 11th dynasty, Mentuhotep II temple, Deir el-Bahari, Thebes, Egypt, collection of the British Museum.

Lazio Roma Rome S. Paolo16. Hutzel, Max 1960-1990 Medieval: Architecture, architectural sculpture fragments, tomb sculpture fragments, sculptural fragments, inscribed tomb markers, sculpture, fresco painting, mosaics Specific Location: Basilica Antiquities: Architectural sculpture fragments, tomb sculpture fragments, sculpture fragments General Notes: the "tomb markers" need to be sorted and catalogued German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Mesopotamian Art Babylon. Terracotta tiles decorated in floral motifs. Dated between 600-500 BC. They come from the Temple of Nabu in Borsippa. British Museum. London. England. United Kingdom.

Carving on pillar in jhansi museum, Sironkhurd, Lalitpur, Jhansi, Uttar Pradesh, India Copyright: xShivjixJoshi/DinodiaxPhotox

Vignette, putti on tanks

Pool Lighted Studio late 19th-early 20th century Workshop of Jian Guzhai Chinese This ink tablet is from a sixty-four-tablet set (30.76.216-.279) commissioned by the Jiaqing emperor from the Studio for Appreciating the Antique (Jiangu Zhai) manufactory of the Wang Jinsheng family in Huizhou, Anhui Province. Each ink tablet commemorates a hall or pavilion in one of the imperial gardens. Each sites name is written in gilt characters on one side; a view of the site is presented on the other. Such inks were purely decorative and not intended for use.. Pool Lighted Studio 41827

Vase (Detail) Warka, Mesopotamia Near Eastern Art Iraq National Museum, Baghdad, Iraq

Attic Black-Figure Amphora Fragment. Unknown

Sepulcharal stele of Porcius Felix. Roman era. 1st century. From cara (Santacara). Museum of Navarre. Pamplona. Spain.

Amuletic Inlay of the God Bes Dancing Made 1336 BCE-1293 BCE Egypt. Faience . Ancient Egyptian

Terracotta omphalos, from second palace of Murlo, Tuscany region, Italy

altar gate, early medieval, Sant Feliu de Diana, neighborhood of Sant Jordi Desvalls, Girona art museum, Girona, Catalonia, Spain.

Pillar with Capital 9th century South Italian Each of the four faces of this pillar shows a different scrolled vine-and-leaf pattern. The exact use of the pillar is unclear. Along with an identical one now in Berlin, it may have been part of a pulpit or a canopy over an altar or a choir screen.. Pillar with Capital 465935

Amulet - eye thigh, amulet - eye thigh, with legs and wing soko, amulet - quadruple eye thigh; around 945-656 BC ; 3rd transition period, 22-25 dynasty (0-00-00-0-00-00), approx. 747-656 BC ; 3rd passage period, 25 dynasty (-752-00-00--656-00-00);Scenes.gal.eg., eyes

Foundation deposit of Pharaoh Rameses II, sandstone, 19th dynasty reigning Rameses II, Memphis, Egypt, collection of the British Museum.

Sketch of the Biaron with the king in the proportion net, the Biaryski model with the most; 332-30 BC ; Ptolemean period (-332-00-00--30-00-00);Deposit of the University of Warsaw from 1937-1939, scenes.gal.g., king (iconogr.), Models of reliefs, sketches, Polish-French excavations in Edfu (Egypt)

Panel with the god Zeus/Serapis/Ohrmazd and worshiper ca. 3rd century A.D. Kushan This rare Central Asian votive panel depicts a deity (with nimbus) being approached by a male worshiper, probably nonroyal but portrayed as of equal stature to the god. Compositionally, they follow scenes of homage and investiture from the post-Hellenistic West and from Iran in which a king and a god appear side by side. A majestic figure with a full beard and long wavy hair, who has been identified as the supreme deity Zeus/Serapis/Ohrmazd, receives a suppliant in the characteristic Iranian short tunic and leggings, hands clasped in adoration. Here, the rich intercultural style that developed in the Kushan realm is clearly displayed: Indian divine iconography; the Iranian type of two-figured composition; and Greco-Roman naturalism in the drapery and pose, as well as in the use of light and shadow to suggest modeling. The panel has holes at the corners and was probably set up, together with three others a

Tile (damaged) with white glaze, on which a drawing in blue of a person with flag, c. 1500 - c. 1899 fragment. tile earthenware. glaze

Column capital, Crypt San Casto, Cathedral of Trivento, Trivento, Molise, Italy, Europe

De Zot, Peter Flötner, c. 1525 - c. 1550 Rectangular, lead, plaque with beveled edges. An old man, the head with vines, sits next to a barrel with grapes. He keeps both hands behind fingers. A slip, with a fool's bell bound, blows up behind his head. A city in the landscape; Bergen in the background. Nuremberg lead (metal) Rectangular, lead, plaque with beveled edges. An old man, the head with vines, sits next to a barrel with grapes. He keeps both hands behind fingers. A slip, with a fool's bell bound, blows up behind his head. A city in the landscape; Bergen in the background. Nuremberg lead (metal)

Stele of Khetyuah. False door and anepigraphic offering table. 2100-1940 BC. Limestone. Necropolis of the First Intermediate Period-early Middle Kingdom. Herakleopolis Magna (Ihnasya el-Medina), Upper Egypt. National Archaeological Museum. Madrid. Spain.

Ostrakon. Culture: Coptic. Dimensions: 5 1/8 x 7 11/16 in. (13 x 19.5 cm). Date: 7th century. Museum: Metropolitan Museum of Art, New York, USA.

Tile wall facing, Tin-glazed earthenware, underglaze, Horizontal rectangle. Thirty tiles wide and twenty-three tiles high with opening for fireplace eleven tiles wide and ten high. Foliage arabesques disposed about three vertical axes from which are emphazised by urns at center and right, and at left by the figure of a standing woman carrying an infant on her arm and accompanied by two children., Possibly Rotterdam, Holland, Possibly Delft, Netherlands, ca. 1725, tiles, Decorative Arts, Tile wall facing

ARQUETA HISPANO ARABE PROCEDENTE DE LEYRE - CONJUNTO AÑO 1005 - PERIODO CALIFAL. Author: FARAY Y SUS DISCIPULOS (S. XI). Location: MUSEO DE NAVARRA. Pamplona. NAVARRA. SPAIN.

Architectural Panel with Deer. Indonesia; Eastern Java. Date: 1301-1500. Dimensions: 23.5 × 39.4 × 7.3 cm (9 1/4 × 15 1/2 × 2 7/8 in.). Terracotta. Origin: Eastern Java. Museum: The Chicago Art Institute, Chicago, USA.

Emile Decoeur (1876-1953). Netuphar plate. Enamelled sandstones. Museum of Fine Arts of the City of Paris, Petit Palais. Nenuphar plate Gres emaille, nenuphar, plate

Assyrian merchants. 1920-1740 BC. Tablet Clay. Anatolian style. Written in cuneiform. British Museum. London. GRB.

Mould Showing a Man on an Elephant and a Woman on a Makara (reverse), anonymous, c. 1300 - c. 1400 Form shape with a performance of a woman on a Makara on one side, and a man on an elephant on the other. East Java tuff Form shape with a performance of a woman on a Makara on one side, and a man on an elephant on the other. East Java tuff

Hispano-Visigothic altarpiece, marble, 7th century, Santa María de Wamba, Visigoth - early medieval, Valladolid Museum , Castile and Leon, Spain.

West side of the base of the Moone cross, 7th century. Artist: Unknown

TURIN, ITALY - CIRCA FEBRUARY 2019: Museo Civico d’Arte Antica (Civic Museum of Ancient Art) at Palazzo Madama Royal palace in Piazza Castello in black and white. Museum of Ancient Art at Palazzo Madama in Turin in black and white

Bliżej Kultury

Scarab Inscribed for the King of Upper and Lower Egypt, Maatkare (Hatshepsut) ca. 1479-1458 B.C. New Kingdom. Scarab Inscribed for the King of Upper and Lower Egypt, Maatkare (Hatshepsut). ca. 1479-1458 B.C.. Steatite (glazed). New Kingdom. From Egypt, Upper Egypt, Thebes, Deir el-Bahri, Temple of Hatshepsut, Foundation Deposit 7 (G), MMA excavations, 1926-27. Dynasty 18, early

Relief plaque with a swallow 400-30 B.C. Late Period-Ptolemaic Period Small Late Period and Ptolemaic reliefs or sculptures that depict a subject in a partial or unfinished way but are themselves finished objects constitute a special class of object. Guidelines like those for artists are often prominently exhibited as part of the object, although, in fact, many instances can be noted where the object simply could not serve as a suitable model for a traditional formal Egyptian representation. Personifications of kingship, figures that may represent the now emerging demigods Imhotep and Amenhotep Son of Hapu, and popular gods like Harpokrates or Isis, are heavily represented within the corpus. Taken together, the figures represented and the other features indicate the reliefs and sculptures of this class, sometimes called by Egyptologists "sculptors models / votives," were the material of a donation practice, perhaps connected with the prolific temple building of these centuries. Unfort

Emilia-Romagna Ferrara Ferrara Museo Civico di Schifanoia2. Hutzel, Max 1960-1990 General Notes: INCOMPLETE RECORD--NEGATIVES PROCESSED, PRINTS FILED German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Basement with fruits and leaves, part fireplace, basement pilaster ornament building component sandstone stone, sculpted Rectangular sides smooth in front of fruit (passion fruit) With leaves in high relief In original arrangement under caryatid 10339 or 10340. Pendant of 10363 Rotterdam City Center Cool Eendrachtsweg building Antwerp Vlissingen Avignon pope Spapé Spapen s'Pape Building Eendrachtsweg 17 of 18 Rotterdam.

Former Steinert House, built in 1929 by Hans Poelzig, fantasy bird by Ewald Mataré (1934)

Monumento funerario de Cal Posastre, Sant Martí Sarroca, siglo II a.C. Museu del Castell.

Cylinder seal ca. 2900-2700 B.C.. Cylinder seal 327387

Woman at the window. Phoenician style. Ivory plaque from Nimrud, Iraq. 900-700BC. British Museum. London. GRB.

first Lombera stele, giant disc-shaped Cantabrian stele, 1st century BC. C., Corrales de Buelna, Lombera, Museum of prehistory and archeology (MUPAC), Santander, Cantabria, Spain.

Arqueta, siglo XV. Fundación Juan March.

Zurita stele, 1st century BC. C., giant discoid Cantabrian stele, Zurita, municipality of Piélagos, Museum of prehistory and archeology (MUPAC), Santander, Cantabria, Spain.

Paris, Imprimerie Eudes, Dujardin, P., Babylon, Dieulafoy, Jane, L'Art Antique de la Perse, Chasse au Lion (du Palais d'Assourbanipal), Relief of a lion hunt at the palace of Assurbanipal in Babylon, recto - printed, This print is part of a cover with twenty prints on seventeen leaves and fifteen text sheets., photomechanical print, photographs, photographically illustrated books, PL. XIV, Imprimeries réunies_Editeurs. Imp. Eudes, à Paris_3., height 106 mm, width 266 mm, French, 1851-06-29 - 1916-05-25, photographer, 1880 - 1885, paper, papier, heliogravure, clichémaker, printer, drukker

Stela from the Great Mongol State (13th - 14th century) on display at the Kharkhorin Museum, Kharkhorin (Karakorum), Övörkhangai Province, Mongolia

Lazio Roma Rome S. Agnese fuori le Mura5. Hutzel, Max 1960-1990 Medieval: Architecture, architectural fragments, sculptural fragments, sculpture. Post-medieval: Architectural sculpture, fresco painting Object Notes: Erected in 342 by Costanza, daughter or niece of Constantine on the site of the catacombs holding the remains of S. Agnese. Marble staircase dates from 1590. German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

The Museum of History and Culture of The People of The North, Yakutsk, Sakha Republic, Russia, Europe

Haleplibahce Mosaic Museum housing Roman-era mosaics, Sanliurfa, Turkey. (Editorial Use Only)

Sardonyx cameo with scene of wild boar hunting

Tile in the form of a rekhyt bird surmounting a neb sign New Kingdom, Ramesside ca. 1295-1070 B.C. View more. Tile in the form of a rekhyt bird surmounting a neb sign. ca. 1295-1070 B.C.. Faience. New Kingdom, Ramesside. From Egypt; Probably from Eastern Delta, Tell el-Yahudiya. Dynasty 19-20

MOLDES DE HACHAS DE BRONCE - EDAD DEL BRONCE- 1800 A 1600 a JC - CULTURA DEL ARGAR. Location: MUSEO PROVINCIAL. LUGO. SPAIN.

Wall Facing (Holland); tin-glazed earthenware, underglaze

Openwork plaque with a sphinx striding through a floral landscape ca. 9th-8th century B.C. Assyrian A sphinx, a fantastic creature drawn from Egyptian art that combines the head of a human with the body of a winged lion, strides through a landscape of voluted palmette flowers, buds, and tendrils in this rectangular openwork plaque. This piece was found in a storeroom at Fort Shalmaneser, a royal building at Nimrud that was probably used to store tribute and booty collected by the Assyrians while on military campaign. The slender proportions of this composite creatures leonine body and curling tail are frequently found on Phoenician ivories, as are several elements drawn from Egyptian art including the pschent crown (the double crown of Upper and Lower Egypt), the chevron-patterned apron hanging from its chest, the nemes cloth (a royal, pleated headdress), and the uraeus (a mythical, fire-spitting serpent) that projects from its apron. However, the facial features, including the large

Engraved schist plaque. Chalcolithic, First half of the 3rd. millenium BCE. Unknown origin, Portugal.

Aimé-Jules Dalou (1838-1902). "The brewer's brewer". Terracotta, 1894. Museum of Fine Arts of the City of Paris, Petit Palais. Pebble breaker, date, base base, registration, terracotta, title

Figure tile, blue with skating man, nobleman, nicely dressed with big hat, corner pattern ox-head, wall tile tile footage earth discovery ceramics earthenware glaze, baked 2x glazed painted archeology Rotterdam City triangle Newport skating winter Soil discovery Nieuwe Haven Rotterdam.

RELIEVE DE ELEFANTE(ANIMAL PROTECTOR)ESTILO GANGA-S XIII. Location: ARCHAEOLOGICAL MUSEUM. SARNATH. India.

Bastien-Lepage, Jules (n.1848-11-01-D.1884-12-10), portrait of my father, Claude Bastien-Lepage (main title), 1877. Patinated plaster. Petit Palais, Museum of Fine Arts of the City of Paris.

ARTE CELTA. EDAD DEL HIERRO. ESPAÑA. PUEBLOS CANTABROS. ESTELAS GIGANTES utilizadas para el CULTO SOLAR. Museo Regional de Prehistoria y Arqueología. Santander. Cantabria.

Funerary slab of Maxima, a maidservant of Christ, died at 25 and on the 23 rd June. Latin cross and the palm are depicted. Rome. 525 AD. National Roman Museum. Baths of Diocletian. Rome. Italy.

Funerary stele. 3rd c. AD. Earliest Christians inscriptions. Abbreviation D.M, at the top refers to the Di manes, the traditional spirits of the dead. The FIsh (Christ) and anchor (hope). Plaster copy. Vatican Museums.

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