The following is Part 1 (Prehistoric Era – 399 CE) of my attempt to trace the history of human artistic endeavors by finding the best, most significant, and most highly-regarded works of visual art (primarily painting and sculpture) from all times and places and presenting them in chronological order. The seven Art History 101 meta-lists contain every work of art that was on at least three of the more than 34 ‘Best Works of Art’ lists that I collected from the Internet and books. Although most of the resources available to me focused almost exclusively on the art of Western Civilization, the list does identify some of the most significant artworks produced by the artists of Asia, Africa and South America. Because I believe visuals are essential for discussing the visual arts, I have included images of the art works. (I have tried to use public domain images where possible. In other cases, I believe this is a fair non-commercial use for educational purposes. If there are copyright concerns, please let me know.) Each entry includes the date of the work, the artist’s name, the name (or names) of the work, the style or culture associated with the work, and the location where the work was produced. In addition, I have included a brief essay with description (including measurements), artistic materials used, background and interpretation. To see the rest of the Art History 101 series, click on the links below:
Part 2 (400-1399 CE)
Part 3 (1400-1499)
Part 4 (1500-1599)
Part 5 (1600-1799)
Part 6 (1800-1899)
Part 7 (1900-Present)
For a list of the greatest works of visual art organized by rank, that is, with the artworks on the most lists at the top, go here.
38,000 BCE – 1000 BCE
1. The Lion Man/Woman of Hohlenstein-Stadel
Artist: Unknown
Date: c. 38,000 BCE
Period/Style: Aurignacian culture; Upper Paleolithic, Germany
Medium: Ivory from mammoth tusk
Dimensions: 11.7 inches tall, 2.2 inches wide and 2.3 inches deep
Current location: Ulmer Museum, Ulm, Germany
In 1939, Dr. Robert Wetzel was excavating caves in the German Alps where people of the Aurignacian culture lived 45,000-35,000 years ago during the Upper Paleolithic Era when he noticed something unusual. In the Stadel-Höhle Cave in Hohlenstein, Wetzel and Otto Völzing found approximately 200 fragments of ivory from a mammoth tusk that showed signs of carving, but due to the outbreak of World War II they had little time to study their find. No further study occurred for 30 years when, in 1969, Dr. Joachim Hahn was able to reassemble the ivory fragments into a standing figure with the characteristics of both a human and an animal (specifically, a cave lion). Hahn believed it was a male figure. Carbon dating of nearby organic material placed the approximate date of the figurine at 30,000 BCE. After more fragments were found in the previously-excavated material, archaeologist Elisabeth Schmid conducted additional reconstruction in 1989. Schmid believed the figure was female. Then, in 2010, scientists returned to the original cave and found 1000 additional fragments. Scientists removed the glue and filler from the 1989 reconstruction and put the figurine together again with the new fragments included. The development of more sophisticated dating techniques has led scientists to revise the date of the figure to about 38,000 BCE, which would make the Lion Man not only the oldest zoomorphic sculpture ever found, but one of the oldest known figurative sculptures of any kind. The Lion Man, which was carved using a flint stone knife, is one of the largest figurines from this era. As for the purpose of the figurine, scholars have put forth various theories: some say it represents a man-lion god; others say it is a charm for hunting or avoiding predation; others believe it represents a shaman wearing a lion mask; but there is no consensus..
2. Cave Paintings, Chauvet Cave
Artists: Unknown
Date: c. 30,000-28,000 BCE
Period/Style: Aurignacian culture; Paleolithic, France
Medium: Paintings and drawings on rock cave walls
Dimensions: 750 square feet Current location: Ardèche, France
3. Venus of Willendorf
Artist: Unknown
Date: c. 28,000-25,000 BCE
Period/Style: Gravettian culture; Paleolithic, Austria
Medium: Carved limestone figurine
Dimensions: 4.25 inches tall
Current location: Naturhistorisches Museum, Vienna, Austria
4. Cave Paintings, Pech-Merle
Artist: Unknown
Date: The cave art was created in three different periods: Gravettian (25,000-20,000 BCE); Solutrean (20,000-15,000 BCE); and Magdalenian (15,000-10,000 BCE)
Period/Style: Paleolithic; Gravettian, Soultrean and Magdalenian cultures
Medium: Paintings and drawings on cave walls
Dimensions: Each painting of a spotted horse is just over 5 feet wide.
Current location: Caberets, France
5. Venus of Brassempouy
Artist: Unknown
Date: c. 24,000-22,000 BCE
Period/Style: Upper Paleolithic; Gravettian culture; France
Medium: Figurine sculpted from mammoth ivory
Dimensions:1.44 in. tall, 0.87 in. deep and 0.75 in. wide
Current Location: Musée d’Archéologie Nationale, Saint-Germain-en-Laye, France
The Venus of Brassempouy is a partial figurine carved from mammoth ivory that was discovered in a cave near French village of Brassempouy in 1894, along with a number of other fragments of statuettes. The figurine consists of a head and neck and contains one of the very earliest representations of a human face, although the face lacks a mouth. The pattern of carvings on the top, side and back of the head appears to represent hair or a decorated hood. The figurine is considered a Venus figurine, despite the absence of evidence about the body characteristics.
6. Venus of Laussel
Artist: Unknown
Date: c. 23,000 BCE
Period/Style: Upper Paleolithic; Gravettian culture, France
Medium: relief carved in limestone
Dimensions: 17.5 in. high
Current location: Musée d’Aquitaine, Bordeaux, France
In 1911, French physician J.G. Lalanne was exploring a natural shelter created by a rock overhang in the Dordogne Valley near Marquay in southwestern France, when he discovered a series of human figures carved onto the limestone wall. He also found a block of limestone on the cave floor that appeared to have detached from the wall, that contained a bas relief carving of a female figure once decorated with red ochre paint. Now known as the Venus of Laussel, the carving on the limestone block measures and depicts a nude female with some typical Venus figurine characteristics: exaggerated breasts, hips, buttocks and genitalia, no facial features, and no feet. One hand is pressed on her lower abdomen. The other, in a departure from Venus iconography, holds a device with 13 lines carved on it. Scholars have had lively debates about the meaning of the object and the 13 lines. Many believe the figure holds a hollowed-out bison horn which some interpret as a cornucopia and others as a musical instrument. A few experts believe the object is a crescent moon. As for the number 13, some have identified it as the number of days of the waxing moon; others note that it may stand for the 13 months, or menstrual cycles of the lunar year. As with many other Venus images, the carving has been dated to the Gravettian culture of the Upper Paleolithic.
7. Venus of Kostenki
Artist: Unknown
Date: c. 23,000-21,000 BCE
Period/Style: Upper Paleolithic; Gravettian culture; Ukraine
Medium: Figurine carved from limestone
Dimensions: 4 in. tall
Current location: State Hermitage Museum, St. Petersburg, Russia
8. Bison Licking Insect Bite (Bison with Turned Head)
Artist: Unknown
Date: c. 18,000-10,000 BCE
Period/Style: Magdalenian culture; Upper Paleolithic, France
Medium: Carved reindeer antler made into spear thrower
Dimensions: 4.1 inches long
Current location: Musée des Antiquités Nationales, St. Germain-en-Laye, France.
9. Cave Paintings, Lascaux Caves
Artists: Unknown
Date: c. 15,000-13,000 BCE
Period/Style: Magdalenian culture; Upper Paleolithic, France
Medium: Paintings and drawings on cave walls
Current Location: Montignac, France
10. Tuc d’Audoubert Bison
Artist: Unknown
Date: c. 15,000-10,000 BCE
Period/Style: Upper Paleolithic; Magdalenian culture; France
Medium: A pair of bison sculpted from unfired clay
Dimensions: Each figure is 18 in. tall by 24 in. long
Current location: Tuc d’Audoubert Cave, near Ariège, France
11. Cave Paintings, Altamira Cave
Artists: Unknown
Date: c. 13,000-11,000 BCE
Period/Style: Lower Magdalenian culture; Paleolithic, Spain
Medium: Paintings and drawings on cave walls
Current location: Santillana del Mar, Cantabria, Spain
12. Ritual Scene, Addaura Cave
Artist: Unknown
Date: c. 11,000 BCE
Period/Style: Upper Paleolithic/Mesolithic; Epigravettian/Magdalenian culture; Italy
Medium: Engravings on cave wall
Dimensions: The entire frieze (including human and animal figures) runs diagonally about 8.2 feet. The standing human figures in the engraving are 7-10 inches tall
Current location: Monte Pelligrino, Sicily, Italy
Engravings on the wall of Addaura Cave on Sicily’s Mt. Pellegrino tell a bizarre story, the meaning of which is disputed by archaeologists. (For a numbered diagram of the entire frieze of engravings, credited to Leighton (1998), see image below.) An outer circle shows various animal figures, which surround a group of more than a dozen human figures. At the center of the group are two humans in awkward, probably painful horizontal positions – their heads are covered and they may be bound. Two of the standing humans appear to be wearing masks and are raising their arms. Theories abound. Some say the engravings show a religious ritual- the two central figures are being tortured or sacrificed and the two masked standing figures are shamans. But some find homoerotic connotations or even an acrobatics display. Note: Due to dangerous conditions, the caves have been closed to the public since 1997.
13. Plastered Human Skulls, Jericho
Artist: Unknown
Date: c. 9000-6000 BCE
Period/Style: Pre-Pottery Neolithic B period; Jordan
Medium: Plaster (sometimes painted) and shell covering bone
Dimensions: The skulls range in size from 6.5-8.5 inches tall to 5-7 inches wide
Current location: Various collections
14. Seated Woman of Çatal Hüyük
Artist: Unknown
Date: c. 6000 BCE
Period/Style: Çatalhöyük settlement; Neolithic; Turkey
Medium: Baked clay (head and right arm rest are restorations)
Dimensions: 6.5 inches tall
Current location: Museum of Anatolian Civilizations, Ankara, Turkey
The figurine known as the Seated Woman of Çatal Hüyük is made of baked clay and was sculpted in a large Neolithic settlement in southwestern Turkey. Archaeologist James Mellaart discovered the sculpture in 1961 while excavating Çatal Hüyük (also spelled Çatalhöyük), which was occupied from 7500-5700 BCE. Most scholars agree that the sculpture depicts a fertile Earth Mother goddess in the act of giving birth, as she sits on a throne with arm rests in the shape of leopards or panthers. The head and right arm rest were missing from the original, and have been replaced with restorations. The Çatal Hüyük figure bears a striking resemblance to images of the Earth Mother goddess Cybele, a focus of worship in the 1st Millennium BCE (see 4th Century BCE statue of Cybele from Turkey in image below). There is no consensus among scholars about whether there is a direct link between Cybele and the Çatal Hüyük figure.
15. The Thinker of Cernavoda (Ganditorul)
Artist: Unknown
Date: c. 5000 BCE
Period/Style: Hamangia culture; Late Neolithic; Romania/Bulgaria
Medium: Terracotta (unglazed clay ceramic)
Dimensions: 4.5 inches tall
Current location: National Museum of Romania, Bucharest, Romania
The Thinker of Cernavoda (also known as the Thinker of Hamangia and Ganditorul) is a sculpture of a sitting human figure resting his head on his hands in what appears to be a contemplative gesture. This and a companion figurine of a sitting woman (see image below) were made by one or more artists of the late Neolithic Hamangia culture, which occupied much of what is now Romania and Bulgaria between 5250 and 4500 BCE. The Hamangian settlement at Cernavoda, where the figurines were found in 1956, contained a large necropolis, or cemetery. The Thinker is made of terracotta, a ceramic made of clay, and is unglazed. Unlike many sculptures from the same period, the Thinker and the Sitting Woman contain no ornamentation or engravings; instead, their surfaces are smooth. They are also among the few prehistoric art objects that do not appear to relate to either fertility or hunting.
16. Beaker with Ibex Motifs
Artist: Unknown
Date: c. 4200-3500 BCE
Period/Style: Susa I Period; Ancient Susa (now Iran); decorative art
Medium: Painted terra-cotta drinking vessel (called a beaker or a bushel)
Dimensions: 11.4 inches tall by 6.4 inches wide
Current location: Musée du Louvre, Paris, France
17. Cycladic Figurines
Artists: Unknown
Date: c. 3300-2300 BCE
Period/Style: Early Cycladic I & II, Cyclades Islands/Aegean (Greece)
Medium: Marble figurines
Dimensions: c. 12-24 inches tall
Current location: Various collections
The people living in the Cyclades Islands in the Aegean Sea began sculpting human figures out of marble some time after the year 5000 BCE and they continued to make the objects for the next 3000 years. Different styles and subjects evolved, but the most typical Cycladic figurine is a female with her arms folded in front of her and an etched pubic triangle. Some of the figures are naturalistic but many of them are stylized and schematic. Experts debate the meaning and use of the figures. All were found buried in tombs. Some link them to the older Venus figurines and call them idols, but most dispute that characterization. Four examples are shown:
1. (top left) Marble figurine from Naxos, Louros type (3200–2800 BCE); Ashmolean Museum, Oxford, England, UK;
2. (top right) Marble figurine from Crete, Koumasa variety (2800–2200 BCE); Archaeological Museum of Chania, Crete, Greece
3. (bottom left) Marble figurine, attributed to the Bastis Master, Spedos type (c. 2600-2400 BCE), measuring 24 3/4 inches tall; Metropolitan Museum of Art, New York.
4. (bottom right) Marble figurine from Syros, Greece (2600-2300 BCE); 18 inches tall; National Archaeological Museum, Athens, Greece.
18. Palette of Narmer (Great Hierakonpolis Palette)
Artist: Unknown
Date: c. 3100-3000 BCE
Period/Style: Ancient Egyptian: Pre-Dynastic Period
Medium: Carved siltstone
Dimensions: 2.1 ft. tall
Current location: Museum of Egyptian Antiquities, Cairo, Egypt
19. Fire-Flame Vessels (Flame-Style Vessels)
Artists: Unknown
Date: c. 3000-1500 BCE
Period/Style: Jomon culture; Japan
Medium: Ceramic vessels
Dimensions: 24 inches tall
Current location: Various collections
From about 12,000 BCE to 300 BCE, a hunter-gatherer culture known as the Jomon inhabited the islands of Japan. The Jomon people produced some of the world’s first pottery, much of it decorated with cord-marks from rope, which gives the Jomon their name (Jomon means ‘cord-markings’ in Japanese). By the time of the Middle Period (3000-1500 BCE), Jomon potters had begun crafting elaborate fire-flame vessels, so-called because of the tongues-of-fire decorations around the rims. Many of the pots have been found in the area that is now modern Niigata prefecture in central Honshu. Some of the pots have carbonized food remains, indicating that they were used in cooking food. The trumpet shape, with the rim flaring wider than the base, may have helped prevent the contents from boiling over when used on an open fire. The image above shows a flame-style vessel, dating to c. 2500 BCE and measuring 24 in. tall by 22 in. wide, in the collection of the Cleveland Museum of Art. The vessel below left is in the British Museum. The vessel below right is in the Tokyo National Museum,Umataka Jomon Museum in Nagaoka, Japan.
20. Tell Asmar Hoard (Votive Statues)
Artist: Unknown
Date: c. 2900-2550 BCE
Period/Style: Sumerian; Iraq
Medium: Statuettes carved from gypsum, limestone and alabaster; adorned with seashells and stones
Dimensions: The statuettes range from 8 to 23 inches tall
Current location: Various collections, including the National Museum of Iraq in Baghdad (7 statuettes), Oriental Institute, Chicago, Illinois; and the Metropolitan Museum of Art, New York.
21. Seated Scribe
Artist: Unknown
Date: Dates from the 4th Dynasty (2620-2500 BCE), 5th Dynasty (c. 2450-2325 BCE) and 6th Dynasty (c. 2345 BCE–c. 2181 BCE) have been suggested, with most sources favoring the 4th or 5th Dynasty.
Period/Style: Ancient Egypt; Old Kingdom, 4th or 5th Dynasty; portrait statue
Medium: Painted limestone, eyes inlaid with rock crystal in white magnesite with copper and arsenic; nipples made from wooden dowels,
Dimensions: 21.1 inches tall, 17.3 inches wide, and 13.8 inches deep
Current location: Musée du Louvre, Paris, France
22. Stonehenge
Artists: Unknown
Date: 3100-2600 BCE (earthworks and timber works); 2600-2400 BCE (major stone work); 2400-1600 BCE (later phases of stone work)
Period/Style: Neolithic, England Medium: dressed and carved bluestone and limestone
Dimensions: 108 ft diameter stone circle; each standing stone is 13 ft. tall, almost 7 ft. wide, 3.5 ft. thick and weighs 25 tons; the lintels are 10 ft. long, 3.2 ft. wide and 2.6 ft. thick; the bluestones are 6.6 ft tall, 3-5 ft wide, and 2.6 ft thick.
Current location: Salisbury Plain, England, UK
23. Ram in a Thicket
Artist: Unknown
Date: c. 2600-2400 BCE
Period/Style: Sumerian; Iraq
Medium: Each statuette originally had a wooden core (now rotted) which was adorned with gold leaf, silver leaf, seashell, copper, and lapis lazuli. Each figure stands on a small pedestal decorated by a mosaic made from shell, red limestone and lapis lazuli.
Dimensions: Each statuette is 16.5 inches tall.
Current location: One of the figures is in the University of Pennsylvania Museum of Archaeology and Anthropology in Philadelphia; the other is in the British Museum in London.
24. Standard of Ur
Artist: Unknown
Date: c. 2600-2400 BCE
Period/Style: Sumerian, Iraq
Medium: Wooden box covered with mosaics made from shell, limestone and lapis lazuli
Dimensions: 19.5 in. long by 8.5 in. deep at the base
Current location: British Museum, London, England, UK
25. Mohenjo-Daro Seals
Artists: Unknown
Date: c. 2600-1900 BCE
Period/Style: Bronze Age; Indus Valley Civilization
Medium: Carved squares, mostly made of baked steatite
Dimensions: The seals range in size from 0.75 to 1.75 in. square.
Current locations: Various collections, including the National Museum, New Delhi, India
26. Khafre Enthroned (Statue of King Chephren)
Artist: Unknown
Date: c. 2570-2550 BCE
Period/Style: Ancient Egyptian: Fourth Dynasty of the Old Kingdom
Medium: Life-sized statue carved in the round from diorite gneiss
Dimensions: 5.5 ft tall, 3.1 ft deep and 1.9 ft wide
Current location: Museum of Egyptian Antiquities, Cairo, Egypt
The fourth Egyptian Pharaoh of the Old Kingdom’s Fourth Dynasty, who built the second pyramid at Giza, is known by many names, including Khafra, Khafre, Khefren and Chephren. Little is known about him except that Egypt was peaceful, prosperous and united during his reign. Some believe the face on the Great Sphinx belongs to Khafre. The life-size diorite gneiss Khafre Enthroned was designed as a vessel for the pharaoh’s ka (soul) after death. The statue, which is carved in the round, is not a portrait but a timeless ideal of an ageless, perfect, man-turned-god. Protecting Khafre’s head from behind is Horus the hawk-god (see detail in image below). Khafre wears the nemes headdress and the uraeus (symbol of the cobra-god) on his forehead. His throne is made of two stylized lions and engraved on it are the symbols of a united Egypt: lotus plants (for Upper Egypt) and papyrus plants (for Lower Egypt). The dark stone used to carve the statue came from quarries 400 miles away – proof of Khafre’s power, influence and ability to coordinate the work of hundreds.
27. Great Sphinx of Giza
Artist: Unknown
Date: Most scholars date the statue to the reign of King Khafre (c. 2558-2532 BCE) although some believe it was made by Khafre’s father Khufu (2589–2566 BC) or Khafre’s brother Djedefre (2566-2558 BCE).
Period/Style: Ancient Egypt; Old Kingdom
Medium: Monumental sculpture made from nummulitic limestone.
Dimensions: 240 ft long from paw to tail; 66.3 ft high from the base to the top of the head; and 62 ft wide at its rear haunches
Current location: Giza, Egypt
28. Lyre with Bull’s Head
Artist: Unknown
Date: c. 2550-2450 BCE
Period/Style: Sumerian; Early Dynastic III period; Iraq
Medium: The original lyre (which was not preserved) was made of wood. The bull’s head, face and horns are wrapped in gold foil; its hair, beard, and eyes are made of lapis lazuli. Below the head is a front panel made of shell inlay set into bitumen.
Dimensions: The bull’s head and panel beneath it measure 15.7 in. tall by 4.3 in. wide by 7.5 in. deep.
Current location: University of Pennsylvania Museum of Archaeology and Anthropology, Philadelphia, Pennsylvania
Leonard Woolley discovered three Sumerian lyres with ornamental facings – in this case, a bull’s head – among the bodies of ten women in the Royal cemetery at Ur in 1929. The bull’s eyes are wide open and his ears are alert, as if he is listening to the music from the lyre. The shape of the lyre (which has been reconstructed) is meant to resemble the bull’s body. The panel below the bull’s head depicts four scenes. The top and bottom scenes in the panel – showing a naked man wrestling two bearded bulls (obscured by the bull’s beard) and a scorpion-man attended by a goat with drinking cups – represent episodes from the Epic of Gilgamesh. The source of the other two scenes, which include animals acting as humans – eating, drinking and playing music- is unknown. The bull head – which is often associated with royalty in Sumerian iconography – may represent the sun god Utu/Shamash, who was thought to be able to descend into the underworld.
29. Head of an Akkadian Ruler (Sargon, King of Akkad)
Artist: Unknown
Date: c. 2400-2200 BCE
Period/Style: Akkadian empire; Iraq
Medium: bronze sculpted head (possibly once attached to full-body statue)
Dimensions: 12 inches tall
Current location: Iraqi Museum, Baghdad, Iraq
30. Victory Stele of Naram-Sin
Artist: Unknown
Date: c. 2350-2200 BCE
Period/Style: Akkadian empire; Iraq
Medium: Relief sculpture carved into pink sandstone
Dimensions: 6.6 ft. tall
Current location: Musée du Louvre, Paris, France
The grandson of Sargon of Akkad, Naram-Sin led the mighty Akkadian Empire in Mesopotamia at its height, c. 2254-2218 BCE. The Victory Stele of Naram-Sin commemorates Naram-Sin’s defeat of the Lullibi, a tribe in the Zagros Mountains. Naram-Sin towers over his enemies (including one who is attempting to remove a spear from his neck) and his own troops and wears the horned helmet of a deity. The story is told in successive diagonal narrative lines, an innovation over the boxed stories that were then standard. During a raid in the 12th Century BCE, the Elamites stole the stele from Mesopotamia, breaking off a portion in the process, and brought it to their capital city of Susa, in what is now Iran, where it was discovered in 1898.
31. Kamares Ware Jug
Artist: Unknown
Date: c. 2000-1900 BCE
Period/Style: Minoan (Palace of Phaistos); zoomorphic; decorative art
Medium: Painted ceramic vessel Dimensions: 10.6 inches tall
Current location: Archaeological Museum of Heraklion, Crete, Greece
32. Stele of Hammurabi
Artist: Unknown
Date: c. 1792-1750 BCE
Period/Style: Old Babylonian Empire; Iraq
Medium: Diorite stele containing inscribed text and carved relief sculpture
Dimensions: 7.3 ft. tall
Current location: Musée du Louvre, Paris
The Stele of Hammurabi is a large stone slab, shaped like a giant index finger, that contains the law code of Hammurabi, a king who ruled over what is called the Old Babylonian Empire in the 18th Century BCE. The top of the stele includes a relief sculpture of Hammurabi (shown standing) receiving the code from Shamash, the ancient Mesopotamian sun god and god of justice, morality, and truth (see detail in image above). The scene shows Hammurabi’s power by depicting the king as equal in size to the god and communicating with him without an intermediary. The stele was discovered in 1901 in the ruins of Susa, in modern Iran, where it had been taken as loot from Mesopotamia. The law code, which is based on the principle of retribution (“an eye for an eye; a tooth for a tooth”), is written in the Akkadian language using cuneiform script and contains 282 laws.
33. Frescoes, Akrotiri, Thera
Artists: Unknown
Date: Dating the frescoes is controversial due to expert disagreement about the date of the cataclysmic volcanic eruption that destroyed much of Thera. Most sources date them to the period of 1700-1500 BCE.
Period/Style: Bronze Age; Minoan culture; Greece
Medium: Frescoes painted on residential walls Dimensions: Numerous floor-to-ceiling paintings on residential walls
Current location: Heraklion Archaeological Museum, Crete and National Archaeological Museum, Athens
34. Snake Goddess
Artist: Unknown
Date: c. 1650-1600 BCE
Period/Style: Bronze Age; Minoan culture; Crete
Medium: Ceramic (faience) statuette
Dimensions: 13.5 inches tall
Current location: Heraklion Archaeological Museum, Crete
Archaeologists working in the ruins of the Minoan palace at Knossos in 1903 discovered several figurines made out of a glazed ceramic known as faience. Three of the statuettes have been described as snake goddesses, including the one shown above, which depicts a female with exposed breasts holding a snake in each hand. Snakes may have been household protectors or symbols of reincarnation (based on the shedding of their skins) and this may be a snake goddess or snake-God priestess. The idea of snake goddess or snake-wrangling figure, which is not common in Minoan culture, may indicate thei influence of religious beliefs from Syria or some other outside source. Some experts believe the exposed-breasts and ornate dress depict actual contemporary Minoan fashion, or perhaps indicate that the figure is in mourning. The significance of the feline head ornament is not known; it may be a later addition. Random Trivia: The drama and sensuality of the figure, which was widely publicized after its discovery, led to the creation of a number of fake snake goddesses, some of which found their way into museum collections.
35. The Vaphio Cups
Artist: Unknown
Date: The date of the cups is uncertain. While pottery found at the same site has been dated to c. 1500-1400 BCE, some experts believe that the gold cups may be as much as a century older (c. 1600-1500 BCE).
Period/Style: Bronze Age; Minoan or Mycenaen culture
Medium: Each cup is made from two sheets of gold; the outer sheet is decorated with relief sculptures.
Dimensions: Each cup is 3.5 inches tall.
Current location: National Archaeological Museum, Athens, Greece
36. Mask of Agamemnon
Artist: Unknown
Date: c. 1550-1500 BCE
Period/Style: Bronze Age; Mycenaen culture; Greece
Medium: The mask consists of a thick sheet of gold that was heated and then hammered against a piece of wood, then carved with a sharp tool.
Dimensions: 12 inches tall
Current location: National Archaeological Museum, Athens, Greece
37. Harvester Vase
Artist: Unknown
Date: c. 1550-1450 BCE
Period/Style: Minoan; Neopalatial style; Crete, Greece
Medium: Ritual vessel carved from black steatite containing carved relief sculptures
Dimensions: 18 in tall and 4.5 inches in diameter
Current location: Heraklion Archaeological Museum, Crete, Greece
The Harvester Vase is not a vase; it is a ritual vessel that was most likely used in Minoan religious ceremonies. Originally covered in gold leaf, the vessel it was found at the Agia Triada palace site on the island of Crete. The low relief sculpture depicts a procession of 27 men, most of whom appear to be young farm workers who carry harvesting tools. An older, robed man with long hair and a stick leads the parade (see image above). In the middle of the group behind him is a man shaking a sistrum (a musical instrument used in religious rituals), who is shouting or singing (see detail in image below). He is followed by four men with open mouths wearing cloaks. The Harvester Vase is considered a masterpiece of the Neopalatial style. Dr. Senta German notes the “masculine, communal, and celebratory nature of the activity depicted.”
38. The Toreador Fresco (Bull Leaping Fresco)
Artist: Unknown
Date: c. 1500-1450 BCE
Period/Style: Minoan; Crete, Greece
Medium: Fresco painted on raised stucco wall
Dimensions: 30.8 inches tall by 41.1 inches wide
Current location: Heraklion Archaeological Museum, Crete, Greece
39. Olmec Colossal Heads
Artists: Unknown
Date: c. 1500-1000 BCE
Period/Style: Olmec culture; Mexico
Medium: Carved basalt boulders
Dimensions: 5-11 feet tall; weight: 6 to 50 tons
Current locations: Museo de Antropología de Xalapa in Xalapa (7 heads); Museo Nacional de Antropología in Mexico City (2 heads); Museo Comunitario de San Lorenzo Tenochtitlán in Texistepec (1 head); Villahermosa (4 heads); Santiago Tuxtla (2 heads), and Tres Zapotes (1 head).
40. Lion Gate, Hattusa
Artist: Unknown
Date: c. 1400-1300 BCE
Period/Style: HIttite Empire; Turkey
Medium: Carved stone sculptures
Dimensions: The lions appear to be life-size
Current location: Boğazkale, Turkey
41. Nebamun Hunting Fowl in the Marshes (Fowling in the Marshes)
Artist: Unknown
Date: c. 1390-1350 BCE
Period/Style: Ancient Egyptian: 18th Dynasty of the New Kingdom (Classical style)
Medium: Paint on dry plaster wall (a secco)
Dimensions: 2.7 ft. tall by 3.2 ft. wide (removed from a tomb wall)
Current location: British Museum, London, England, UK
42. Akhenaten and His Family (Akhenaten, Nefertiti and their Children)
Artist: Unknown
Date: c. 1353-1334 BCE
Period/Style: Ancient Egypt; New Kingdom; 18th Dynasty; royal portrait
Medium: Sunken relief sculpture in limestone
Dimensions: 12.2 in. high by 15.3 in. wide
Current location: Egyptian Museum, Berlin
43. Bust of Queen Nefertiti
Artist: Attributed to Thutmose
Date: c. 1345 BCE
Period/Style: Ancient Egyptian: 18th Dynasty of the New Kingdom (mix of Classical and Amarna styles)
Medium: Painted stucco over a core of limestone
Dimensions: 19 inches tall; weighs 44 pounds
Current location: Egyptian Museum, Berlin, Germany
44. Funerary Mask of Tutankhamun
Artist: Unknown
Date: 1333-1323 BCE
Period/Style: Ancient Egyptian: 18th Dynasty of the New Kingdom
Medium: Solid gold mask inlaid with colored glass and semiprecious stones (including obsidian, quartz, and lapis lazuli)
Dimensions: 21 in. tall by 15.5 in. wide
Current location: Museum of Egyptian Antiquities, Cairo, Egypt
45. Lion Gate, Mycenae
Artist: Unknown
Date: c. 1300-1200 BCE
Period/Style: Mycenaean; Greece
Medium: Triangular sandstone block with a relief sculpture
Dimensions: The lion/pillar sculpture is 3 feet tall
Current location: Archaeological Site of Mycenae, near Fichti, Greece
46. Papyrus of Ani (Egyptian Book of the Dead)
Artist: Unknown
Date: c. 1250 CE
Period/Style: Ancient Egypt; New Kingdom; 19th Dynasty; religious
Medium: Painted papyrus scroll
Dimensions: The section shown in the first image is 16.5 inches tall by 26.3 inches wide
Current location: British Museum, London, England, UK
47. You Vessel in the Shape of a Feline (La Tigresse)
Artist: Unknown
Date: c. 1150-1050 BCE
Period/Style: Shang Dynasty, China
Medium: Dark green bronze
Dimensions: 12.7 in. tall, 9.3 in. long, and 9.2 in. wide
Current location: Cernuschi Museum of Asian Arts, Paris, France
During the Shang (c. 1600-1046 BCE) and Zhou (c. 1046-256 BCE) Dynasties, Chinese artists created many yu (or you) vessels, which had knobbed lids and swinging handles, and were used to hold alcoholic beverages and possibly other liquids, possibly for offering sacrifices. Some yus were zoomorphic, including the late Shang Dynasty You Vessel in the Shape of a Feline, also known as La Tigresse). The open-mouthed feline stands on its two back paws and embraces a tiny human figure with its front paws. Against a background of square spirals, a common design feature of late Shang Dynasty carving, there are a number of dragons. Standing on the yu’s lid is a goat with large ears and horns, while the back of the handle contains depictions of unusual animals with pointed ears and curving bodies. While the you dates to the time of the Shang Dynasty, several anomalies have led archaeologists to conclude that it came from Hunan, which was not part of the Shang Kingdom farther north.
999 BCE-1 BCE
48. Lioness Devouring a Boy
Artist: Unknown
Date: c. 900-700 BCE
Period/Style: Phoenicia; Lebanon
Medium: Carved ivory panels with gold leaf and inlaid carnelian lapis lazuli.
Dimensions: Each panel is 4 in. high by 4 in. wide.
Current locations: One panel is at the National Museum of Iraq in Baghdad; the other is in the British Museum in London.
49. Raimondi Stele
Artist: Unknown
Date: c. 900-200 BCE
Period/Style: Chavín culture; Peru
Medium: Polished granite monument with relief sculptures and incised designs
Dimensions: 7 ft. tall
Current location: Museo Nacional de Arqueología Antropología e Historia del Perú, Lima, Peru
50. Lamassu (Human-headed Winged Bulls and Lions)
Artist: Unknown
Date: c. 883-859 BCE (Ashunasirpal II’s palace); c. 710-705 BCE (Sargon II’s palace)
Period/Style: Neo-Assyrian Empire; Iraq
Medium: Carved gypsum alabaster Dimensions: A pair lamassu from Ashunasirpal’s palace are 10.3 ft. tall by 10.1 ft. long. The lamassu from Sargon’s palace range from 13.8 ft. tall by 14.3 ft. long to 16 ft. tall by 16 ft. long.
Current locations: The Musée du Louvre in Paris has a pair of forward-facing lamassu and a sideways-facing lamassu from Sargon II’s palace; the Oriental Institute of the University of Chicago has a sideways-facing lamassu from Sargon II’s palace. The Metropolitan Museum of Art has a pair of lamassu (one bull and one lion) from Ashurnasirpal II’s palace at Nimrud.
51. Ashurbanipal Hunting Lions (Lion Hunt Frieze)
Artist: Unknown
Date: c. 645-635 BCE
Period/Style: Neo-Assyrian Empire; Iraq; Ashurbanipal’s palace at Nineveh
Medium: Bas relief sculptures on slabs of gypsum alabaster
Dimensions: I couldn’t find specific measurements but the slabs appear from photos and videos to be 4-5 feet tall and extend over three sides of a large museum gallery.
Current location: British Museum, London, England, UK
52. New York Kouros (Metropolitan Kouros)
Artist: Unknown
Date: c. 600-580 BCE
Period/Style: Ancient Greece; Early Archaic period
Medium: Marble statue
Dimensions: 6.3 feet tall
Current location: Metropolitan Museum of Art, New York, NY
During the Archaic Period, beginning in the late 7th Century BCE, Greek sculpture took a giant leap forward with the creation of the first large, free-standing statues, the kouros (Greek for ‘male youth’). The earliest examples of these life-size (or larger) marble sculptures of nude boys or young men owed much to Egyptian art, including their striding stance, arms held straight at the sides and somewhat idealized bodies, some of which used the grid pattern of the Egyptians to maintain symmetry. On the other hand, uniquely Greek features also appeared: the figures were usually nude and more attention was paid to realism, such as the way the figure’s weight was balanced on its feet. These statues were found in temples and sanctuaries and may have been offerings to the gods in the likenesses of actual individuals. The kouros in the Metropolitan Museum of Art in New York (see images above), which has long beaded hair, marked the grave of a young Athenian aristocrat. It dates to the Early Archaic Period, when the Egyptian influence on Greek sculpture was still strong.
53. Ishtar Gate and Processional Way
Artists: Unknown
Date: c. 575 BCE
Period/Style: Babylonian Empire (Iraq); reign of King Nebuchadnezzar II
Medium: Double gate and walls constructed of glazed bricks (mostly blue), with animals and deities in low relief; the original gate had huge cedar doors.
Dimensions: The reconstructed front gate is 46 ft. tall and 100 ft. wide. The back gate (which has not been reconstructed) was even larger. The processional way may have been as much as half a mile long.
Current location: The reconstructed Ishtar Gate (front gate only, using the original bricks) is located at the Pergamon Museum in Berlin, Germany. Sections of the processional way are located in various collections.
54. Kore from the Cheramyes group (Hera of Samos)
Artist: Unknown
Date: c. 570-560 BCE
Period/Style: Ancient Greece; Archaic period
Medium: Marble statue
Dimensions: 6.3 ft tall
Current location: Musée du Louvre, Paris
In 1875, archaeologists discovered a life-size marble statue of a female figure not far from the ruins of the temple to Hera on the island of Samos in Greece. A carved inscription states that the statue was a gift to the temple from Cheramyes, an Ionian aristocrat. At first, experts believed that the statue was intended to depict Hera herself, but in the 20th Century, at least three other similar statues (all missing their heads) have been found with the same inscription, indicating that the figures were intended to represent female servants of the temple. The figure is shown wearing three garments: a thin pleated linen tunic known as a chiton; a thicker garment made of wool known as a himation, and a veil that presumably draped over the head. The sculptor has rendered the garments in skillful detail so as to show the contours of the body underneath.
55. Peplos Kore
Artist: Unknown
Date: c. 530 BCE
Period/Style: Ancient Greece; Archaic period
Medium: Statue carved from white Parian marble
Dimensions: 3.8 ft. tall
Current location: Acropolis Museum, Athens, Greece
The Peplos Kore (kore = girl, young woman; peplos = the woolen garment worn by the figure over her chiton) was probably a votive offering to one of the gods in the temples on the Acropolis in Athens, where it was found in the late 19th Century. The figure’s expression is known as the “Archaic smile” common to statues of this period, which may have been meant to suggest that the subject was alive and infused with a sense of well-being. Unlike statues depicting males, which are usually nude, the Peplos Kore and other statues of females from this period are shown wearing clothing. The left arm, which was a separate piece of stone, has been lost. There are holes on the head and shoulders, indicating the presence of additional ornamentation. Like most ancient statuary, the figure was originally painted in bright colors and adorned with jewelry. Traces of the paint remain on the marble, which has inspired some museums to experiment with casts of the original statue to recreate what it may have looked like. The re-creation shown below left, which restores the figure’s left arm and gives her a protective head covering called a meniskos, is from the Museum of Classical Archaeology at the University of Cambridge, England, UK. The painted version below right is from the Stiftung Archäologie in Munich, Germany.
56. Sarcophagus of the Spouses
Artist: Unknown
Date: c. 530-500 BCE
Period/Style: Etruscan; Italy
Medium: Painted terracotta sarcophagus
Dimensions: 3.7 feet tall by 6.2 feet long
Current location: National Etruscan Museum (Villa Giulia), Rome
57. Relief Sculptures, Persepolis
Artists: Unknown
Date: c. 518-465 BCE
Period/Style: Achaemenid Empire, Persia (now Iran)
Medium: Bas reliefs carved in gray limestone
Dimensions: Hundreds of feet of carvings
Current location: Many of the reliefs are located at the original site of the city of Persepolis near Shiraz in Fars Province, Iran. Fragments are located in various collections.
58. Euphronios Krater (Sarpedon Krater)
Artists: Euphronios (painter) and Euxitheos (potter)
Date: c. 515 BCE
Period/Style: Ancient Greece: late Archaic period; Pioneer Group style
Medium: Painted terra cotta krater (a krater is a bowl used to mix wine with water)
Dimensions: 18 in. tall and 21.7 in. in diameter
Current location: National Etruscan Museum, Rome, Italy
59. Seated Figures, Nok Culture
Artists: Unknown
Date: c. 500 BCE-200 CE
Period/Style: Nok culture; Nigeria
Medium: Statues made from baked clay (terracotta)
Dimensions: The statues range in size from 1 to 3 feet tall
Current location: Various collections
(1) Seated Dignitary, measuring 36.25 in. high, 11 in. wide, 14 in. deep, at the Minneapolis Institute of Arts in Minnesota (top left);
(2) Seated Figure, measuring 14.75 in. tall, located in the Musée du Quai Branly in Paris (top right);
(3) Seated Figure, measuring 23.4 in. tall, 12 in. wide, 11 in. deep, formerly located in the Muzeion in Dallas, Texas, but now in a private collection (below left); and
(4) Seated Dignitary, measuring 2.1 ft. tall, formerly located in the Barakat Gallery, Beverly Hills, California; whereabouts unknown (below right).
60. Fallen Warrior (Dying Warrior), Temple of Aphaia
Artist: Unknown
Date: c. 490-480 BCE
Period/Style: Ancient Greece; early Classical period
Medium: Marble sculpture from temple pediment
Dimensions: 5.8 feet long
Current location: Glyptothek, Munich, Germany
61. Kritios Boy
Artist: Unknown
Date: c. 480 BCE
Period/Style: Ancient Greece: Early Classical/Severe Period
Medium: Marble sculpture
Dimensions: 3.8 ft. tall
Current location: Acropolis Museum, Athens, Greece
The free-standing marble nude known as Kritios Boy (for its resemblance to the work of Greek sculptor Kritios) marks the end of the Archaic Period in Ancient Greek art and the beginning of the Classical Period. Kritios Boy embodies a significant development from the Archaic kouros statues of a century before, with their stiff stances, idealized symmetry, direct gazes and impersonal smiles (see image below of a kouros, dated 590-580 BCE, from Metropolitan Museum of Art in New York). Kritios Boy is the first statue known to stand in a naturalistic contrapposto pose, with the weight on one leg, the other free to bend, and all the anatomically accurate shifts of muscle and bone that accompany such a stance. The non-smiling figure does not meet the viewer’s eye, but seems lost in thought, perhaps about to move. According to art historian Thomas Sakoulas, “With the Kritios Boy the Greek artist has mastered a complete understanding of how the different parts of the body act as a system.” Some art historians have connected the rise of lifelike sculpture celebrating the perfectability of the human form at about this time with political developments in which the city-state of Athens has developed democratic government and, in 490 BCE, united the other Greek polities to defeat the Persians.
62. Wall Paintings, Tomb of the Leopards
Artist: Unknown
Date: c. 480-450 BCE
Period/Style: Etruscan; Italy
Medium: Frescoes painted on tomb walls
Dimensions: The tomb interior measures 9.8 feet by 13.1 feet by 8.2 feet
Current location: Necropolis of Monterozzi, Tarquinia, Lazio, Italy
63. Charioteer of Delphi (Heniokhos)
Artist: Unknown
Date: c. 478 or 474 BCE
Period/Style: Ancient Greece; Early Classical “Severe” style
Medium: Bronze sculpture
Dimensions: 5.9 feet tall
Current location: Archaeological Museum of Delphi, Greece
One of the rare extant bronze sculptures from the Classical Period of Greek art, the Charioteer of Delphi was originally part of a multi-piece sculptural group including horses and other figures, fragments of which remain (see the Delphi museum exhibit with fragments and imagined reconstruction in image below left). The relatively calm stance of the Charioteer indicate that the race is over; the sculpture may depict the group during a victory lap. The group is donated to the Temple of Apollo at Delphi by Polyzalus of Gela, Sicily to thank the gods for the victory of his chariot in the Pythian Games of either 478 or 474 BCE. Because the statue was buried after a rockslide in the 4th Century BCE, the bronze was not melted down for reuse. The statue of the young man (his side curls indicate young age) is remarkably intact and includes the inlaid glass/onyx eyes and silver eyelashes, as well as portions of the reins. The statue, which was sculpted in the Severe style of early classical Greek art, shows important developments in naturalistic depiction of human figures. The statue is more naturalistic than the sculpted figures of the Archaic period, but the pose is still very rigid when compared with works of the High Classical period of a few decades later. The Charioteer wears a xystis, a garment normally worn during chariot races; the high belt and straps prevent the garment from filling with wind during the race and billowing up to obscure the driver’s face. The very realistic bare feet face forward but the rest of the figure angles toward the right. The teenaged charioteer’s expression shows modesty in victory and control over his emotions (see detail in image below), consistent with the Severe style conventions that emphasize self-control over expressive emotion.
64. Ludovisi Throne
Artist: Unknown
Date: c. 470-460 BCE
Period/Style: Ancient Greece; Classical period
Medium: Relief sculptures on three side of a block of white marble
Dimensions: 2.9 ft. high by 4.6 ft. long (center panel); 2.7 ft. high by 2.2 ft. long (left panel); 2.8 ft. high by 2.3 ft. long (right panel)
Current location: Museo Nazionale Romano, Palazzo Massimo alle Terme, Rome
65. Artemision Bronze (Zeus/Poseidon of Artemision)
Artist: Unknown
Date: c. 460 BCE
Period/Style: Ancient Greece: Early Classical Period; Severe style
Medium: Bronze sculpture (the figure’s eyes, eyebrows, lips and nipples would likely have been filled with various materials (bone, silver, copper, etc.)
Dimensions: 6.9 ft. tall Current location: National Archaeological Museum, Athens, Greece
66. Discobolus (The Discus Thrower)
Artist: Myron (Greek bronze original); the sculptor of the Roman marble copy is unknown.
Date: 460-450 BCE (Greek bronze original, now lost); 1st Century CE (marble Roman copy)
Period/Style: Ancient Greece: Classical Period
Medium: The original was a bronze sculpture. The best existing copy (the Palombara Discobolus) is carved from marble.
Dimensions: The Palombara Discobolus is 5.1 ft. tall.
Current location: The Palombara Discobolus is in the Museo Nazionale Romano, Rome, Italy, at the Palazzo Massimo. The Townely Discobolus is in the British Museum, London.
The original Discobolus (also known as The Discus Thrower) was a bronze mid-5th Century BCE statue made by Classical-era Greek sculptor Myron. As with most Ancient Greek bronzes, Myron’s original sculpture was melted down to reuse the bronze, but the Ancient Romans made many copies. The copy considered to be the most accurate is the Palombara Discobolus, which dates from the 1st Century CE and was discovered in 1781. The statue is known for its depiction of athletic energy and a well-proportioned body as well as rhythmos, a quality of harmony and balance. Myron creates a sense of balance and order by having the discus thrower’s arms and back create two completely congruous intersecting arcs. Nazi dictator Adolf Hitler was obsessed with the statue; he bought it in 1938 and brought it to Munich (see photo below left). The statue featured prominently in Olympia, Leni Riefenstahl’s film about the 1936 Olympic Games. It was returned to Italy in 1948. Random Trivia: Another well-known copy of Myron’s original, the Townley Discobolus, which is now in the British Museum in London, was improperly restored with the facing down instead of looking back toward the discus (see image below right).
67. Riace Bronzes (Riace Warriors)
Artist: Unknown
Date: Warrior No. 1: c. 460-450 BCE; Warrior No. 2: 430-420 BCE
Period/Style: Ancient Greece: Early Classical Period
Medium: Bronze sculptures with calcite, silver and copper accessories
Dimensions: Warrior No. 1: 6.7 ft. tall. Warrior No. 2: 6.4 ft. tall
Current location: Museo Nazionale della Magna Grecia, Reggio Calabria, Italy
Vacationing Roman chemist Stefano Mariottini was snorkeling off the coast of Calabria, near Riace, in 1972 when he saw an arm sticking out of the sand at the bottom of the sea. When he touched it, he realized it was made of metal, and he called the police. Mariottini had stumbled upon two 5th Century BCE bronze statues made in Ancient Greece, in near perfect condition. How the sculptures arrived at Riace is unclear: they may have been booty from the Roman occupation of Greece, or perhaps they were being brought to a Greek temple in Italy. The two statues are named simply Statue A (dated to 460-450 BCE) and Statue B (dated to 430-430 BCE). They are prime examples of the transition period between the Archaic and early Classical styles of Greek sculpture. The statues may come from a group of statues representing the legend of the Seven Against Thebes at Argos or they may depict Athenian warriors in the Battle of Marathon monument at Delphi. Both figures are nude, bearded males portrayed in contrapposto poses with their weight on their back legs. Their eyes are made of calcite, the teeth of silver and lips and nipples of copper. They are missing their spears and shields, as well as helmets or other headgear. The sculptor has included so many realistic features that the idealized geometry and anatomical anomalies are not obvious. The images show: Statue A (above and below left); Statue B (above and below right).
68. Doryphorus (The Spear Bearer)
Artist: Polykleitos created the original Ancient Greek bronze (now lost); the identities of the artists who made the Ancient Roman marble copies are unknown.
Date: The lost Greek original is dated to c. 450-440 BCE. The Roman marble copy in Naples dates to 120-50 BCE.
Period/Style: Ancient Greece; High Classical style
Medium: The original statue was sculpted from bronze; the copies are marble.
Dimensions: The Naples statue is 6.9 ft. tall.
Current locations: The most highly-regarded marble copy is in the Museo Archaeologico Nazionale in Naples, Italy.
In the mid-5th Century BCE, Greek sculptor Polykleitos created a bronze statue of an athletic young man carrying a spear (The Spear Bearer, or Doryphoros) which exemplifies his theory of the canon, in which each part of the human body is proportional to every other part. The figure stands in an anatomically realistic contrapposto stance, with the body in motion and all the weight on the front (right) foot. (The spear would have been in the figure’s left hand and resting on his left shoulder.) Art historian Frederick Hartt analyzes Polykleitos’s achievement as follows: “Regardless of the fact that the figure is at rest – as never before – the dynamism of the pose transforms it into an easy walk and is expressed in the musculature by means of the differentiation of flexed and relaxed shapes, producing a rich interplay of changing curves through the powerful masses of torso and limbs.” The original bronze has long been lost but it is known by the many marble copies, including a number from Ancient Rome. The copy in the Archaeological Museum in Naples is considered the best-preserved marble copy from the Roman era. It may have been found in Pompeii or Herculaneum, although there is some dispute about this. Other Ancient Roman copies include a full-size marble in the Minneapolis Institute of Arts in Minnesota (see image below left) and a fragmentary torso in black basalt at the Uffizi Gallery in Florence (see image below right). Random Trivia: The weight of the marble requires a carved tree trunk support at the base and a connecting rod at the wrist, neither of which would have been necessary in the much lighter bronze original.
69. Athena Parthenos
Artist: Phidias
Date: c. 447-440 BCE
Period/Style: Ancient Greece; High Classical period
Medium: The core of the statue was made of wood, which was covered by bronze plates, which were covered by removable gold plates. Athena’s face and arms were made of ivory. The term chryselephantine is used to describe gold and ivory sculptures such as the Athena Parthenos.
Dimensions: The statue was estimated to be 37.7 feet tall. The pedestal base measured 13.1 feet by 26.2 feet
Current location: The original statue was destroyed.
70. The Parthenon Frieze
Artist: According to Plutarch, Ancient Greek sculptor Phidias oversaw the work, but it is not clear how much of the sculpting work he actually did.
Date: c. 443-438 BCE Period/Style: Ancient Greece – High Classical Period
Medium: Low relief sculptures carved in marble
Dimensions: 114 marble blocks, each 3.3 feet high and totaling almost 44 feet in length
Current location: Acropolis Museum, Athens, Greece; British Museum, London; Musée du Louvre, Paris, France.
71. Three Goddesses (Parthenon, East Pediment)
Artist: Phidias oversaw the sculptural program at the Parthenon, but the specific sculptors who worked on these pediment figures are unknown.
Date: c. 438-432 BCE
Period/Style: Ancient Greece; High Classical period
Medium: Pediment sculptures carved from pentelic marble
Dimensions: 4.6 feet tall by 7.6 feet wide
Current location: British Museum, London, England, UK
72. Chimera of Arezzo
Artist: Unknown
Date: c. 400 BCE
Period/Style: Etruscan; Italy
Medium: Bronze statue
Dimensions: 2.5 ft. high by 4.2 ft. long
Current location: Museo Archeologico Nazionale, Florence, Italy
73. The Farnese Hercules
Artist: Lysippos (Greek bronze original); Glykon (Roman marble copy)
Date: 370-310 BCE (Greek bronze original); c. 216-218 CE (Roman marble copy)
Period/Style: Ancient Greece: Late Classical or Early Hellenistic Period
Medium: bronze sculpture (Ancient Greek original); marble sculpture (Ancient Roman copy)
Dimensions: The Roman marble copy is 10.3 ft. tall; the Greek bronze original was probably closer to life-size.
Current location: Museo Archeologico Nazionale, Naples, Italy
The original 4th Century BCE Greek bronze statue of Hercules by Classical Period sculptor Lysippos was melted down by the Crusaders in the 13th Century. Of the many copies (in both bronze and marble) from Ancient Rome, the one considered closest to the original in quality is the Farnese Hercules, a marble statue that was made by Glykon of Athens in the early 3rd Century CE for the Baths of Caracalla in Rome (see image above). The sculpture shows a weary Hercules resting on his club, over which is draped the skin of the Nemean lion (referencing his first labor); behind his back he holds the immortality-giving apples of the Hesperides (referencing his eleventh labor) (see detail in first image below). The sculpture balances the heroism of the mythic figure with his humanity. It was rediscovered in 1546 (in various pieces) and was soon thereafter purchased by Cardinal Alessandro Farnese, who placed it in the Palazzo Farnese in Rome. It remained there until 1787, when it was moved to its current home in Naples. When the Farnese Hercules was first discovered, it was legless, so Guglielmo della Porta was commissioned to sculpt legs in 1560. Even though the original marble legs were soon discovered nearby, Michelangelo persuaded the Farnese family to keep the new legs to prove that contemporary sculptors were just as good as those of ancient times. The Farnese Hercules with della Porta’s legs can be seen in a print made from an engraving by Dutch artist Hendrick Goltzius, who visited Rome in 1592 (see image below left). The original legs were not restored to their owner until 1787. An older but much smaller bronze copy (1.4 ft. tall), from either 3rd Century Hellenist Greece or 1st Century CE Rome, known as Hercules Resting, was found at Fogliano, Umbria, Italy in the late 19th Century and is now in the Louvre (see image below right).
74. Amazon Frieze (Amazonomachy), Mausoleum of Halicarnassus
Artists: Leochares, Bryaxis, Scopas of Paros, & Timotheus
Date: c. 357-350 BCE
Period/Style: Ancient Greece; Late Classical period
Medium: Relief sculptures on the exterior walls of a tomb
Dimensions: A frieze with reliefs covered all four walls of the mausoleum, but the exact dimensions of the building are disputed. According to one estimate, the frieze would have been 1,340 feet long. The slabs in the British Museum are 2.9 feet tall.
Current location: British Museum, London, England, UK
75. Aphrodite of Knidos
Artist: Praxiteles created the original marble statue, which has been lost. It was possibly moved to Constantinople and destroyed in a fire about 475 CE. Many copies were made, but the names of those sculptors are not known.
Date: c. 350-330 BCE
Period/Style: Ancient Greece: Late Classical Period
Medium: Both the lost original and the Ancient Roman copies are sculpted from marble. Dimensions: The best Roman copy, the Colonna Venus, is 6.9 ft. tall.
Current location: The Colonna Venus is in the Vatican Museums in Vatican City. The Kaufmann Head is at the Musée du Louvre, Paris, France.
The lost marble statue known as Aphrodite of Knidos was considered the crowning achievement of Late Classical Greek sculptor Praxiteles. Made for a temple in the Greek city of Knidos, the marble statue is believed to have been the first life-size nude female sculpture. The goddess Aphrodite has just laid her drapery aside as she prepares for a ritual bath that will restore her purity. The figure stands in a contrapposto pose, and the statue is designed to be viewed from all sides. Famous even in the 4th Century BCE, the statue’s home of Knidos became a tourist destination. Based on descriptions of the original, scholars believe that the copy most faithful to the original is the statue known as the Colonna Venus, located in the Vatican Museums. The Kaufmann Head, now in the Louvre, is considered a very faithful marble copy of the head of Praxiteles’ original. Random Trivia: Visitors to the Vatican Museums may now observe the Colonna Venus in her full glory, although during the 19th and early 20th centuries, in an excess of modesty, the Vatican covered Aphrodite’s legs with tin draperies (see image below). The statue was not uncovered until 1932.
76. Hermes and the Infant Dionysus (Hermes of Praxiteles)
Artist: Some art historians attribute the sculpture to the renowned Ancient Greek sculptor Praxiteles, but others disagree.
Date: c. 350-330 BCE
Period/Style: Ancient Greece: Late Classical Period
Medium: The statue is sculpted from a single block of Parian marble; the base is made of limestone and marble blocks
Dimensions: The statue stands nearly 7 ft. tall; the base is 5 ft. tall.
Current location: National Archaeological Museum, Olympia, Greece
Near the end of the 3rd Century CE, an earthquake struck the Temple of Hera at Olympia, Greece, collapsing the roof and burying the artwork within under tons of rubble. In 1877, archaeologists exploring the site uncovered a Classical Period Greek marble statue of Hermes and the Infant Dionysus. According to myth, Hermes protected Dionysus (son of Zeus and the mortal woman Semele) from the wrath of Zeus’s wife Hera. The sculpture shows Hermes playing with the young Dionysus by dangling something (probably a bunch of grapes) just out of his reach. The front of the head and torso are very highly polished, although the back and other areas are unfinished. There is evidence that the statue was painted and that parts were covered in gold leaf. The sculpture displays a naturalism and intimacy (almost sentimentality) that are absent from earlier Classical Greek art. Hermes stands in an unbalanced, exaggerated contrapposto that is almost an S-curve and the entire composition shows a sensuousness of form and playfulness of subject that was not previously associated with portraits of the gods.
77. Apollo Belvedere (Pythian Apollo)
Artist: Leochares created the original bronze; an unknown artist created the marble copy.
Date: 350-320 BCE (Ancient Greek bronze original); 120-140 CE (Ancient Roman marble copy)
Period/Style: Ancient Greece: Late Classical Period
Medium: The original was a bronze sculpture; the copy is carved marble.
Dimensions: 7.3 ft. tall
Current location: The original bronze is lost. The marble copy is at the Vatican Museums, Vatican City.
The original Greek bronze statue of Apollo by Leochares is lost, but a Roman marble copy known as Apollo Belvedere (because it is located in the Belvedere Court designed by Renaissance architect Bramante) is in the Vatican Museums. Certain elements – such as the Roman-style footware – lead scholars to call this a re-creation rather than a faithful copy of the original Ancient Greek sculpture. The statue shows the god Apollo just after shooting an arrow (the bow is missing), possibly killing the Python, the serpent of Delphi (a snake is carved on the tree trunk). The god expresses no emotion in his face, a sign of his stoicism. Scholars have praised the unusual contrapposto pose, in which Apollo is depicted both facing front and in profile, and the way in which the hanging cloak sets off the god’s physique. The statue’s missing right arm and left hand were replaced in the 16th Century by Giovanni Angelo Montorsoli, a pupil of Michelangelo’s. The statue was Initially revered as emblematic of the Classical style, and made famous in the 1530s by prints from and engraving by Marcantonio Raimondi. A number of artists looked to the statue for inspiration, including Antonio Canova, whose Perseus Triumphant (1801), also in the Vatican Museums, copies much from the Apollo Belvedere (see image below). Eighteeenth Century art historian Johann Joachim Winckelmann called the Apollo Belvedere “the most sublime of all the statues of antiquity.” But beginning in the Romantic era and continuing through the 20th Century, the statue’s reputation has declined as more and more critics have found it to be cold and academic. According to Kenneth Clark, “in no other famous work of art are idea and execution more distressingly divorced.’”
78. Battersea Shield
Artist: Unknown
Date: c. 350-50 BCE
Period/Style: Celtic; La Tène style; England
Medium: Bronze shield facing, with enamel and glass
Dimensions: 2.5 ft. tall by 1.1 ft. wide
Current location: British Museum, London, England, UK
The Battersea Shield is not an true shield, for two reasons. First, this bronze sheet is only a facing that would have been attached to a wooden shield. Second, even with the wooden shield behind it, this small, elaborately decorated but extremely thin bronze facing (with no visible battle damage) was almost certainly not meant to go into battle. Instead, art historians believe the Battersea Shield was designed for display and also perhaps as a votive offering. This last purpose may explain why the Celtic artifact was dredged from the River Thames in London in 1857, since a common Celtic method of making an offering was to throw the object into the river. The shield is decorated in classic Celtic La Tène style, with many circles and spirals. The decorative elements are confined to three roundels with highly worked bronze, repoussé decoration, engraving, and enamel. Within the roundels are 27 small round compartments in raised bronze with red cloisonné enamel and opaque red glass (see detail in image below.) While the shield appears to be a single piece, it is actually composed a several different parts, with hidden rivets holding it all together.
79. The Marathon Boy (Ephebe of Marathon)
Artist: Unknown
Date: c. 340-330 BCE
Period/Style: Ancient Greece; Late Classical or Early Hellenistic period
Medium: Bronze statue with eye insets
Dimensions: 4.3 ft. tall
Current location: National Archaeological Museum, Athens, Greece
The Greek bronze sculpture known as Marathon Boy or Ephebe of Marathon was found in the Bay of Marathon in the Aegean Sea in 1925. A boy, perhaps a victorious athlete or the god Hermes, stands and looks at something in his left hand, while his right hand probably leans against a column. The pose is an exaggerated contrapposto or S-curve that is reminiscent of Praxiteles and his school. The inset eyes of the statue add to the boy’s expressiveness (see detail in image below).
80. Antkythera Ephebe (Youth of Antikythera)
Artist: The identity of the sculptor is unknown, although some art historians believe the statue may be the work of Euphranor of Corinth, a well-known and respected 4th Century BCE Greek painter and sculptor.
Date: c. 340-330 BCE
Period/Style: Ancient Greece; late Classical-early Hellenistic periods
Medium: Bronze statue
Dimensions: 6.4 feet tall
Current location: National Archaeological Museum, Athens, Greece
Because bronze is useful in making weapons, most Greek bronze statues were melted down and “repurposed” long ago. Most of those that survived but were exposed to the elements have also been destroyed. It is only the rare discovery of a buried or shipwrecked sculpture that has allowed us to see the truly great art of Greek bronze statuary. One of the first such fortuitous discoveries (for us, not for those on the ship) was that of a shipwreck off the coast of Greece near Antikythera that yielded a number of treasures, including a bronze statue of a young man in contrapposto pose who was once holding a spherical object in his right hand. The statue was in pieces that were poorly reconstructed in 1901 and 1902 but then disassembled and redone in the late 1940s and 1950s to the great satisfaction of art historians. The sculpture was created around the end of the Classical period or the beginning of the Hellenistic period of Greek art (see detail in image below). Debate rages about the identity of the figure, but no theory fits all the facts. A significant faction believes the figure is Paris, shown as he gives Aphrodite the Apple of Discord with his right hand and a bow in his left. (If correct, this may be the statue by Euphranor that is described by Pliny.) Naysayers point out that typical Paris iconography shows him wearing a cloak and a Phrygian cap. Another faction holds that the statue shows Perseus holding the head of Medusa by her hair in his right hand and the sickle he cut it off with in his left. The problem: Perseus is missing his typical chlamys cloak, winged sandals and the magical helmet that made him invisible. A third, less numerous group of scholars says that the figure is Heracles, young and beardless, holding the Hesperidean apple. Random Trivia: Historians of science and technology recognize the Antikythera shipwreck as the source of the famous Antikythera Mechanism, a complex gear-operated calendar and astronomical device.
81. Stag Hunt Mosaic
Artist: The mosaic contains the signature “Gnosis created.” It is not clear if this is a name referring to the creator of the mosaic, the creator of an earlier painting upon which the mosaic is based, or simply refers to the Greek word for knowledge (gnosis).
Date: c. 300-280 BCE
Period/Style: Ancient Macedonia; Hellenistic period
Medium: Floor mosaic made from pebbles set in cement
Dimensions: The central scene (emblema) measures 10.6 feet tall by 10.4 feet wide.
Current location: Archaeological Museum of Pella, Greece
82. Capitoline Venus
Artist: The statue is a Roman copy by an unknown artist of a Greek original by an unknown artist that is a variation on the Aphrodite of Cnidus (400-300 BCE) by Praxiteles.
Date: c. 300-100 BCE (Greek original); c. 96-192 CE (Roman copy)
Period/Style: Ancient Greece; Hellenistic period
Medium: The Capitoline Venus is a marble sculpture. The original Greek statue was bronze. Dimensions: 6.3 ft. tall Current location: The Capitoline Venus is in the Capitoline Museums in Rome. The Greek original is lost.
83. Lion Capital of Ashoka
Artist: Unknown
Date: c. 250 BCE
Period/Style: Mauryan Empire; Buddhist era; India
Medium: Statues and reliefs carved from a single block of sandstone
Dimensions: 7 ft. tall
Current location: Archaeological Museum, Sarnath, India
Ashoka the Great ruled (and expanded) the Mauryan Empire, which, at its peak, encompassed almost all of what is now India and Pakistan, as well as parts of current-day Iran and Afghanistan. During Ashoka’s 36-yr. reign (268-232 BCE), he erected a series of stone pillars at important Buddhist sites. The pillars average 40-50 ft. tall and weigh up to 50 tons each. Many of the pillars contain inscribed edicts and were topped with capitals in the form of carved animals, including the Lion Capital of Ashoka, which consists of four lions standing back to back on a base with an elephant, a bull, a horse, a lion and 24-spoked chariot wheels in bas relief, atop a bell-shaped lotus. Read from bottom to top, the capital contains several Buddhist symbols: the lotus and animals remind us of the cycle of samsara, which keeps souls in the material world; spoked wheels (cakras) represent the Eightfold Path to enlightenment, and the lions represent the Buddha himself, who possesses the knowledge to release souls from samsara. The four lions may also represent the spread of Dharma or the Maurya Empire in all four directions; or the Four Noble Truths of Buddhism. The Lion Capital is the national emblem of India, and the base on which the lions are standing is depicted on the Indian flag.
84. The Terracotta Army
Artists: The figures were constructed in separate pieces in workshops by thousands of anonymous government laborers and local craftsmen.
Date: 246-208 BCE
Period/Style: Qin Dynasty; Xi’an, China
Medium: Most of the figures are made of terracotta, although some items (such as a half life-size team of horses and chariot) are made of bronze, silver and gold.
Dimensions: Approximately 8,000 unique, life-size sculpted soldiers, 130 chariots with 520 horses, 150 cavalry horses, and various pieces of armor, weapons, and non-military figures and implements.
Current location: Xi’an, China, at the site of the Tomb of Emperor Qin Shi Huangdi. The site is both a museum and an ongoing archaeological dig.
85. The Dying Gaul (The Dying Galatian)
Artist: Unknown
Date: c. 230-220 BCE (Ancient Greek bronze original); 1st-2nd Century CE (Ancient Roman marble copy)
Period/Style: Ancient Greece: Hellenistic Period
Medium: The lost original was a bronze sculpture; the existing copy is carved marble.
Dimensions: 3 ft. tall by 6.1 ft. long by 2.9 ft. deep
Current location: Capitoline Museums, Rome, Italy
86. The Barberini Faun (Drunken Satyr)
Artist: Unknown
Date: The statue is either a Hellenstic Greek original from c. 220 BCE or a later Roman copy.
Period/Style: Ancient Greece; Hellenistic period (or later Roman copy)
Medium: Statue carved from marble
Dimensions: 6.3 feet tall
Current location: Glyptothek, Munich, Germany
Faun was the Roman term for a satyr, a supernatural creature – part human, part beast – that lived a life of revelry and debauchery at the drunken orgies of Dionysus. The faun here (we know he is not human by his tail – see detail in image below left) is not peacefully asleep but drunkenly passed out (see image below right with detail of face). Either a Hellenistic Greek original or a later Roman copy, the Barberini Faun is a marble sculpture standing 6.3 feet tall that was found in pieces in the moat of what had been Hadrian’s Mausoleum (now Castel Sant’Angelo) in Rome in the 1620s. According to the historian Procopius, the Roman defenders had thrown down the statues from Hadrian’s Mausoleum onto the invading Goths during the siege of Rome in 537 CE; art historians have speculated that the Barberini Faun (also known as the Drunken Satyr) was one of the statues so used. The sexually provocative pose – which leads the viewer’s eyes directly to the faun’s private parts – was controversial, but did not prevent the statue from being highly regarded, even in the 17th Century. The much-restored sculpture (a replacement left arm was installed and then removed, for example) is now in the Glyptothek in Munich, Germany.
87. Winged Victory of Samothrace (Nike of Samothrace)
Artist: Unknown
Date: c. 200-190 BCE
Period/Style: Ancient Greece: Hellenistic Period
Medium: The statue is made of white Parian marble. The base and pedestal are made from gray Rhodesian marble.
Dimensions: The statue stands 9 ft. tall; the pedestal is 1.2 ft. tall and the ship-shaped base is 6.6 ft. tall.
Current location: Musée du Louvre, Paris, France
Most art historians believe that the sculpture of Winged Victory (the Greek goddess also known as Nike), which was created in Ancient Greece during the Hellenistic Period (331-323 BCE), was intended to commemorate a naval victory. Made from Parian marble, the statue of the goddess measures eight feet from neck to feet. We see the goddess at the moment she descends from the sky and lands on the deck of a ship, her drapery still in motion. The artist balances the sense of dynamic forward movement with a calm stillness and balance. Because the head, arms and other portions of the statue were missing when it was discovered on the island of Samothrace in 1863, experts have speculated about what the original looked like, with differing interpretations (see drawing with artist’s imagined reconstruction below left). Although some reconstructions show the goddess holding something in her right hand, the discovery of fragments of the hand indicate that the hand was not grasping anything (see below right).
88. The Three Graces
Artist: Unknown
Date: c. 200-100 BCE (Ancient Greek original)
Period/Style: Ancient Greece; Hellenistic period
Medium: Marble sculptures
Dimensions: About 4 feet tall
Current location: The Ancient Greek original is lost. Roman copies may be found in various collections.
The Three Graces (Charites in Greek, Gratiae in Latin) – Aglaia (Beauty), Euphrosyne (Mirth), and Thalia (Abundance) – are minor goddesses who served as the handmaidens of Aphrodite. The Three Graces was a Greek Hellenistic period bronze or marble sculpture created in the 2nd Century BCE depicting the Graces as nude girls, posed so that the two on the ends face one way while the one in the center, draping her arms over her companions, faces the other direction. This configuration of the Graces was highly influential so that future sculptures almost always presented them this way. Drapery-covered water jars frame the trio and provide support. Art experts have noted the flatness of the composition and speculate that the model for the Greek sculptor may have been a fresco or bas relief. The Greek original has been lost and is only known by Roman marble copies made in the 2nd Century CE, many of which are missing the figures’ heads and many of their arms. Despite the serious damage, the arrangement and setting of this piece set the standard for future depictions of the Graces in art through the centuries. Shown are the Roman copy in the Metropolitan Museum of Art in New York (image above) and the copy in the Piccolomini Library, in Siena Cathedral, Italy (image below).
89. Nazca Lines
Artists: Unknown
Date: c. 200 BCE to 500 CE
Period/Style: Nazca Culture; Nazca Desert, Peru
Medium: The designs were made by removing reddish iron-oxide-coated pebbles from the ground, uncovering the lighter lime-filled clay beneath. The clay combined with mist to form a hard erosion-resistant layer.
Dimensions: The artworks are spread over a 190 sq. mi. area. The monkey is 310 ft. by 190 ft.; the condor is 446 feet long; and the spider (ant?) is 150 ft. long.
Current location: Nazca Desert, southern Peru.
90. Murals, Ajanta Caves
Artists: Unknown
Date: c. 200 BCE to 650 CE (first phase: c. 200 BCE-100 CE; second phase: c. 300-650 CE)
Period/Style: Classical Period, India: Satavahana Dynasty (1st phase), Vakataka Dynasty (2nd phase)
Medium: Frescoes (a secco) painted on cave walls prepared by plastering and covering with a smooth paste.
Dimensions: Ajanta consists of nearly 30 caves carved into a basalt cliff; the caves stretch for nearly 1000 yards along the cliffside. Many of the caves have paintings on their walls, amounting to many thousands of square feet of artwork.
Current location: Aurangbad district, Maharashtra, India
The Ajanta Caves, which contain some of the earliest examples of Indian Classical painting, served as a residence and resting place for Buddhist monks for more than 800 years. Most of the nearly 30 caves served as viharas, residence halls for Buddhist monks (each of which includes a small shrine), while five of the caves are chaitya-grihas, which contain larger shrines and stupas. Each cave contains numerous works of religious art, including fresco wall paintings. Most scholars believe the caves were built and decorated in two phases: the first phase probably lasted from 100 BCE to 100 CE and the art reflects the Hinayana (Theravada) form of Buddhism; the second phase probably took place from 300-650 CE and follows the Mahayana Buddhist tradition. Some of the frescoes show Hellenistic Greek influences in the painting style. The caves were used on and off in later centuries, possibly as shelter for travelers, with scattered references to them in medieval literature and as late as a 17th Century survey during the reign of Akbar the Great. The Western world rediscovered the caves in 1819 when British soldier John Smith stumbled upon them during a tiger-hunting expedition. The Ajanta Caves became a UNESCO World Heritage Site in 1983. The images above show: (top) Bodhisattva Padmapani, from Cave 1 (second phase); (middle) A scene from the Life of the Buddha, showing two kings, from Cave 10 (first phase) (photo by Prasad Pawar); (bottom) Scene from the Mahanipata Jataka: In his palace, King Mahajanaka announces his decision to renounce the worldly life From Cave 1 (second phase). The image below shows an overall view of the Ajanta Caves site.
91. Pergamon Altar Frieze
Artist: Unknown
Date: c. 180 BCE
Period/Style: Ancient Greece/Asia Minor: Hellenistic Period (now Turkey)
Medium: Bas reliefs sculpted in Proconnesian marble
Dimensions: The Gigantomachy frieze is 7.5 ft. tall and 370.7 ft. long
Current location: Pergmon Museum, Berlin, Germany
92. Funeral Banner of Lady Dai
Artist: Unknown
Date: c. 180-160 BCE
Period/Style: Han Dynasty; China; decorative art
Medium: Painted silk banner
Dimensions: 6 ft. long
Current location: Hunan Provincial Museum, Changsha, China
The tombs of three elite members of the Han Dynasty – the Marquis of Dai, his wife Lady Dia and their son – were discovered in 1972 at Mawangdui in Hunan Province, China. In Lady Dai’s tomb, a silk banner was found on top of the innermost of four nesting coffins. The purpose of the banner is unclear – it may have been used to identify the dead during mourning ceremonies, or it may have been intended to assist the soul of the deceased in traveling to the afterlife. The banner is important for being one of the earliest paintings of naturalistic scenes, as well as the earliest portrait of a real person (Lady Dai) in Chinese painting. The banner is divided into four sectors: (1) at the top is the afterlife, with various deities (see detail in image below left); (2) below that is a scene showing Lady Dai, in a beautiful gown, standing on a platform (with three servants behind her), receiving tribute from two kneeling men (see detail in image below right); (3) below that is a mourning scene, showing Lady Dai’s funeral; and (4) at the bottom is a representation of the underworld. The various registers are linked with figures of interlaced dragons. “The delicacy of the rhythmic line is typical of Han art,” according to art historian Frederick Hartt.
93. Gundestrup Cauldron
Artist: Unknown
Date: c. 150-1 BCE
Period/Style: Celtic; Thracian (?); decorative art
Medium: bowl made from silver (with gilding, tin and glass) with relief sculptures on inner and outer layers
Dimensions: 27 in. in diameter and 16.5 in. tall
Current location: National Museum, Copenhagen, Denmark
94. Venus de Milo (Aphrodite of Milos)
Artist: Alexandros of Antioch
Date: c. 130-100 BCE
Period/Style: Ancient Greece, Hellenistic Period
Medium: Carved marble sculpture
Dimensions: 6.7 ft. tall Current
Location: Musée du Louvre, Paris, France
First of all, they gave her the wrong name. The Venus de Milo is a marble sculpture of a nude woman dating from the Hellenistic period that was found on the island of Milos in the Aegean Sea. Art historians believe the statue is a Greek deity, most likely Aphrodite, the goddess of love, but someone began referring to the statue by the name Venus, Aphrodite’s Roman coun-terpart, and the name stuck. The museum label at the Louvre tactfully explains, “Aphrodite, known as Venus de Milo.” The statue was found by a Greek peasant, Yorgos Kentrotas, and a French naval officer, Olivier Voutier, in the ruins of the ancient city of Milos on the Aegean island known variously as Milos, Melos or Milo, then part of the Ottoman Empire. At the time it was discovered, the statue was in several pieces, which included part of the left arm and the left hand holding an apple, as well as a plinth with an inscription by Alexandros. By the time the French bought the statue from the Turks and brought it to the Louvre in Paris, the arms had disappeared. Soon afterwards, the plinth with Alexandros’ inscription also vanished. Some suspect the loss was not an accident because the plinth was evidence that the statue was Hellenistic and not from the earlier (and more prestigious) Classical period. The statue was carved from separate pieces, which were designed to fit together using pegs, a typical technique of that time and place. The exact positioning of the missing arms is a subject of some speculation. Also missing are her metal headband, earrings and bracelet.
95. Boshan Incense Burner (Boshan-lu), Tomb of Liu Sheng
Artist: Unknown
Date: c. 113 BCE
Period/Style: Western Han Dynasty; China; decorative art
Medium: Bronze incense burner with gold inlays
Dimensions: 10 inches tall
Current location: Hebei Provincial Museum, Shijiazhuang, China
An item often found in Han Dynasty tomb, a boshan-lu is a bronze incense burner with a lid representing the sacred mountains that human souls pass through on their way to the afterlife. The most highly regarded such incense burners is that found in the tomb of Liu Sheng, who died in 113 BCE. Liu was a king who ruled over a portion of the Western Han empire; he was the son of Emperor Jing and the brother of Emperor Wu. The bronze consists of three parts: (1) the base or foot, from which three dragons emerge to support the bowl; (2) the bowl, which is decorated with a swirling pattern (made from inlaid gold) representing the waves of the Eastern Sea; and (3) the lid, which represents clouds and mountain tops with various animals among them and a legendary hunter at the top. Smoke rising through the holes in the lid would have given the impresson of mist drifting over the mountaintops. Residue found inside the incense burner indicates it was used and was not simply ornamental. According to A. Gutkind Bulling in an article in Expedition magazine, “in beauty and quality of workmanship this [boshan-lu] is unsurpassed.”
96. The Battle of Issus (Alexander Mosaic)
Artist: Unknown
Date: c. 100 BCE
Period/Style: Hellenistic Greek
Medium: Floor mosaic made from tesserae (small square pieces) made from colored marble
Dimensions: 8.9 ft by 16.8 ft,
Current location: Museo Archeologico Nazionale, Naples
97. Toranas (Gateways), Great Stupa of Sanchi
Artist: Unknown
Date: c. 100-1 BCE
Period/Style: Ancient India; Buddhist era; Satavahana Dynasty
Medium: Carved stone gateways
Dimensions: Each torana is 36 feet tall and 19.7 feet wide.
Current location: Madhya Pradesh, India
98. Relief Sculptures, Great Stupa of Amaravati
Artist: Unknown
Date: c. 100 BCE-250 CE
Period/Style: Ancient India; Buddhist era; Satavahana Dynasty
Medium: Relief sculptures carved in stone
Dimensions: There are many hundreds of square feet of reliefs.
Current location: Relief sculptures from the Great Stupa are located in various collections, including the Government Museum in Chennai, India and the British Museum in London.
Legend has it that the Buddha himself preached at the future site of the Amaravati Stupa in Andhra Pradesh, India in 500 BCE, but historical records only begin in the 2nd Century BCE, when Dharanikota, near Amaravati, became the capital city of Satavahana Empire, which reigned over a large portion of central India from 230 BCE to 220 CE. Work reportedly began on the stupa (a hemispherical building used to house relics and as a focus of meditation) during the reign of Mauryan King Ashoka the Great in the 3rd Century BCE, but the building was not complete until c. 200 CE. When complete, the Great Stupa was estimated to be 88.6 ft. tall and 160 ft. in diameter. The structure of the Stupa was adorned with both freestanding statues of the Buddha and relief sculptures carved into limestone slabs that depict stories from the life of the Buddha and the Jakata stories. The Amaravati sculptural style is considered unique, in part because trade with Ancient Rome gives some of the work a Greco-Roman influence. Art historians identify four separate phases of sculpture at the site: (I) 200-100 BCE; (II) 100 CE; (III) 150 CE and (IV) 200-250 CE. When Hinduism became the dominant religion in central India, the Great Stupa suffered neglect, so that when British explorers visited it in the late 18th and early 19th centuries, it had been reduced to a pile of rubble. Some of the stone had been reused in local buildings; others had been burned for lime. Many of the sculptures found their way into museums in India (especially the Government Museum in Chennai) and elsewhere, particularly the British Museum, which has about 120 Amaravati pieces in its collection. The image show: (1) A relief (from c. 200-250 CE) that was located on the drum of the stupa shows a traditional Buddhist stupa, with lions at the gateway, dharmachaka (spoked wheel) capitals on the pillars and various figures worshipping (see image above); and (2) a relief (from c. 100-150 CE) from a pillar in the railing that surrounded the stupa, depicting the story of Queen Maya’s dream (see image below). Both reliefs shown are in the British Museum.
99. Frescoes, Villa of the Mysteries
Artist: Unknown
Date: c. 60-40 BCE
Period/Style: Ancient Rome; Second Pompeian (“architectural”) Style
Medium: Frescoes painted on residential walls
Dimensions: The frescoes are nearly 10 feet tall and run around the four walls of the room for a total of 56 feet.
Current location: Pompeii Archaeological Park, Pompeii, Italy
100. Laocoön and His Sons
Artists: Attributed to Agesander, Athenodoros & Polydorus
Date: Some experts believe it is an original sculpture from c. 42-19 BCE. Others believe it is a Roman copy of a lost Greek original dating to c. 200 BCE.
Period/Style: Ancient Greek; Late Hellenistic Period; Pergamene Baroque style
Medium: Carved marble group sculpture
Dimensions: 6.8 ft. tall, 5.3 ft. wide, 3.7 ft. deep
Current location: Vatican Museums, Vatican City
101. Relief Sculptures, Ara Pacis Augustae
Artist: Unknown
Date: 13-9 BCE
Period/Style: Ancient Roman
Medium: Relief sculptures and friezes carved in Luna marble decorating an altar
Dimensions: The reliefs cover most of the four exterior walls of the altar, which is 15.1 ft. tall, 34.8 ft. wide, and 38 ft. long.
Current location: The Ara Pacis Augustae is located in Rome, Italy near the banks of the Tiber. It is housed in a new museum designed by architect Richard Meier that opened in 2006.
102. Augustus of Prima Porta
Artist: Unknown
Date: c. 20 BCE; or 14-37 CE
Period/Style: Roman Empire; elements of Hellenistic Greek style
Medium: Marble sculpture
Dimensions: 6.7 ft. tall
Current location: Vatican Museums, Vatican City
In 1863, a 6.7 ft tall marble statue of Roman Emperor Augustus Caesar was discovered in the ruins of the house of his wife Livia, near the main gate (Prima Porta) of ancient Rome. The anonymous sculptor was much influenced by the Doryphoros of Classical Greek artist Polykleitos. Augustus raises his arm in what is known as an oratorical gesture; his features are idealized in the Hellenistic style The date of the statue is much debated. Some believe it is a contemporary marble copy of a bronze original that was made during Augustus’s lifetime, c. 20 BCE. But certain features point to a later origin, during the reign of Emperor Tiberius (14-37 CE), Livia’s son by a prior husband. For example, Augustus is shown with some divine attributes, including bare feet, although he was not considered divine until after his death. Also, the scene on his breastplate depicts the return to the Roman Legionary eagles (aquilae) by Mark Antony and Crassus (see detail below left), an event in which both Augustus (then Octavian) and Tiberius played roles, thus perhaps signaling that Tiberius had commissioned the work to emphasize his connection with Augustus. Like most Greek and Roman marble sculptures, the original would have been brightly painted (see image below right for a painted reconstruction prepared for the 2014 Tarraco Viva Festival in Tarragona, Spain). Random Trivia: The figure hanging onto Augustus’s toga is Cupid, who is riding on a dolphin (Venus’s patron animal), a reference to the claim that Julius Caesar (and Octavian, his nephew) were descended from Venus.
103. Frescoes, Villa of Agrippa Postumus
Artist: Unknown
Date: c. 11-1 BCE
Period/Style: Ancient Rome; Third Pompeian Style
Medium: Frescoes painted on residential walls
Dimensions: The frescoes decorate the walls of a large residence
Current location: National Archaeological Museum, Naples, Italy and Metropolitan Museum of Art, New York.
1 CE-399 CE
104. Gemma Augustea
Artist: The cameo is generally attributed to Dioscurides or one of his followers.
Date: c. 10-30 CE
Period/Style: Ancient Rome; early Imperial period
Medium: low-relief cameo engraved gem made from a double-layered Arabian onyx stone
Dimensions: 7.5 inches tall by 9 inches wide; 0.5 inches deep
Current location: Kunsthistorisches Museum, Vienna, Austria
105. Wall Paintings, House of Marcius Lucretius Fronto
Artist: Unknown
Date: c. 25-75 CE
Period/Style: Ancient Rome; Late Third Style and Fourth Style; Italy
Medium: Paintings on the walls of Ancient Roman residence
Dimensions: The paintings cover most of the walls of a small house
Current location: Pompeii, Italy
106. Flying Horse of Gansu
Artist: Unknown
Date: c. 25-220 CE
Period/Style: Eastern Han Dynasty; China
Medium: Bronze sculpture
Dimensions: 3.6 in. tall by 16.1 in. long; 17.6 pounds
Current location: Gansu Provincial Museum, Lanzhou City, China
107. Portrait of a Flavian Woman (Fonseca Bust)
Artist: Unknown
Date: c. 69-96 CE
Period/Style: Ancient Rome; Flavian Period; Italy
Medium: Marble sculpture (bust)
Dimensions: 24.8 in. tall
Current location: Capitoline Museums, Rome, Italy
Fashionable women during the period of the Flavian emperors (Vespasian, 69–79 CE; Titus, 79–81 CE; Domitian, 81–96 CE) wore their hair in the unusual style depicted in this bust (see image above). The skills required to shape the hair in such a way required a specially-trained slave called an ornatrix. Juvenal mocked the hairstyle in his Satires: “So important is the business of beautification; so numerous are the tiers and stories piled one upon another on her head! In front, you would take her for an Andromache; she is not so tall behind: you would not think it was the same person.” Satires (VI.502) (see rear view of hairstyle in image below).
108. Arch of Titus
Artist: The sculptor(s) are unknown, but some have speculated based on elements of style that the architect was Rabirius, a favorite of Emperor Domitian.
Date: 82 CE
Period/Style: Ancient Rome; Imperial Era
Medium: Stone triumphal arch with relief sculptures
Dimensions: 50 feet high, 44 feet wide and 15.5 feet deep
Current location: Roman Forum, Rome, Italy
The Arch of Titus is a triumphal arch on the Via Sacra in Rome that was built by Emperor Domitian to honor the military victories of his deceased older brother Titus, particularly the suppression of the Great Revolt by the Jewish people, culminating in Roman victory by Titus and his father Vespasian at the Siege of Jerusalem in 70 CE. A relief in the left or south interior passageway of the arch depicts Roman soldiers returning with the Spoils of Jerusalem, including a large menorah (see detail in first image below). The north inner panel depicts Titus as triumphator attended by both mortal and divine entities. A helmeted Amazonian, Valour, leads the four horsed chariot carrying Titus. Winged Victory crowns him with a laurel wreath. The panel is notable in Roman art is one of the first examples of divinities and humans inhabiting the same space. At the center of the coffered ceiling of the archway is a relief of the apotheosis of Titus. The Arch of Titus has been much altered over the centuries. During the Middle Ages, it was incorporated into a defensive wall, which destroyed some of the relief sculptures on the exterior. Restoration efforts in the 19th Century further altered the arch’s appearance. The Arch of Titus was the model for many other arches around the world, including the Arc d’Triomphe in Paris and the arch in Washington Square Park in New York City. Random Trivia: The menorah depicted in the Spoils of Jerusalem relief inside the Arch of Titus was used as the model for the emblem for the state of Israel.
109. Moche Portrait Vessels
Artists: Unknown
Date: 100-800 CE
Period/Style: Moche Culture, Peru
Medium: Painted ceramic vessels
Dimensions: The vessels range in size from 2 inches to 18 inches tall, with most ranging from 6-12 inches tall.
Current locations: Various collections.
The Moche culture that flourished in present-day Peru between 100-800 CE produced ceramic vessels carved into individualized and naturalistic three-dimensional representations of human faces. Close to 1000 vessels have been discovered, representing nine basic mold types. The vast majority of the portraits are of adult men; the artists have achieved a considerable level of realism, and the portraits occasionally reveal physical defects such as harelips, missing eyes, or in one case, an apparent paralysis. Many of the portrait vessels contain stirrup spouts, a feature of ceramic vessels in a number of Pre-Columbian cultures. The typical portrait vessel is painted with red on a pale cream background, but some are painted with white over a red and black background. The purpose of these elaborately decorated vessels is a subject of debate. While some experts believe they were designed to be placed in tombs, there is evidence that they were used in everyday life to hold liquids. The portrait vessels shown in the images are:
(1) (top left) Portrait of a Ruler wearing headgear with two birds, Museo Nacional Antropologia in Lima, Peru;;
(2) (top right) Portrait Vessel measuring 8.3 in. tall, 6.5 in. wide and 5.5 in. deep, c. 50-800 CE, at the Walters Art Museum in Baltimore, Maryland;
(3) (bottom left) Portrait Vessel, showing earflares, c. 100-500 CE, Worcester Art Museum in Worcester, Massachusetts; and
(4) (bottom right) Portrait Vessel of a Ruler, c. 100 BCE-500 CE, Art Institute of Chicago in Chicago, Illinois.
110. Moche Ear Ornaments
Artists: Unknown
Date: c. 100-800 CE
Period/Style: Moche culture; Peru
Medium: Ear ornaments made of wood and gold and adorned with mosaics and decoration made from turquoise, sodalite, shell and other materials
Dimensions: Each ear ornament is 3-5 inches wide
Current locations: Various collections
(1) Single ear ornament (4.75 inches) from the Lord of Sipan’s grave showing a warrior or god and two attendants, made of gold and turquoise and dated to c. 300 CE, now at the Bruning Archaeological Museum in Lambayeque, Peru (top image above);
(2) A pair of ear ornaments (each 3 inches wide) dated to 100-800 CE, with a geometrical pattern of iquanas, made of gold with turquoise and malachite shells; at the Museo Larco in Lima, Peru (second image above);
(3) A pair of gold and turquoise earrings with the image of a deer, dated to 100-800 CE, at the Larco Museum in Lima (see image below left); and
(4) A pair of ear ornaments (each 3.7 inches wide) dated to 400-700 CE, showing winged runners with bird heads, now at the Metropolitan Museum of Art, New York (see image below right).
111. Trajan’s Column
Artist: The design of the column is attributed to architect Apollodorus of Damascus, but the names of the artists who sculpted the reliefs are unknown.
Date: 113 CE
Period/Style: Ancient Roman
Medium: Relief sculptures carved into marble
Dimensions: The column, which consists of 20 stacked marble drums, each 11 feet in diameter, is 98 feet tall; with the pedestal included, it rises 125 feet from the ground.
Location: Roman Forum, Rome, Italy
112. Equestrian Statue of Marcus Aurelius
Artist: Unknown
Date: c. 173-176 CE
Period/Style: Ancient Rome; late Imperial period
Medium: Gilded bronze sculptural group
Dimensions: 13.9 feet tall
Current location: Capitoline Museums, Rome, Italy
Once Christianity became the dominant religion of the Roman Empire, pagan symbols were subject to dismantling (in the case of architecture) or melting down (in the case of bronze statues) to be reused in the service of new, Christian monuments and statues. Fortunately some ancient masterpieces survived. The Pantheon was converted to a Christian Church, saving that paragon from destruction. The bronze statue of Emperor Marcus Aurelius on horseback probably avoided being melted down because early Christians mistakenly believed it depicted Constantine, the first Christian Emperor. Scholars disagree about the date of the , which was originally fully gilded (see detail in image below, showing some remaining gilding) and placed in a public space. The emperor and the horse are not sculpted to the same scale, leading to the impression that either Marcus Aurelius is a giant or his horse is a miniature. Some believe the Emperor’s gesture is one of clemency and that the original monument included a kneeling defeated enemy, a reference to a Marcus Aurelius’s defeat of the Germans and Sarmatians for which he received a triumphant parade in 176 CE. Supporting this interpretation is the horse, which is depicted with Sarmatian blankets instead of a Roman saddle. But the lack of armor or weapons sends a message of peace, not war, which is consistent with this philosopher-emperor’s view of himself. The statue has been placed at various locations in Rome and was installed in the center of Michelangelo’s Piazza di Campidiglio in the mid-16th Century (against Michelangelo’s wishes). It remained there until 1981, when it was moved into the Capitoline Museums to protect it from the elements and replaced by a replica.
113. Commodus as Hercules
Artist: Unknown
Date: 192 CE
Period/Style: Ancient Rome; Italy
Medium: Marble sculpture (portrait bust)
Dimensions: 4.3 ft. tall
Current location: Capitoline Museums, Rome, Italy
114. Ludovisi Battle Sarcophagus (Great Ludovisi Sarcophagus)
Artist: Unknown
Date: c. 250-260 CE
Period/Style: Late Roman Empire; “Anti-Classical” style
Medium: Relief sculptures carved in Proconnesian marble on the front of a sarcophagus
Dimensions: The sarcophagus is 5.1 ft. tall, 8.9 ft. wide, and 4.5 ft. deep.
Current location: Museo Nazionale Romano, Palazzo Altemps, Rome, Italy
115. Portrait of the Four Tetrarchs
Artist: Unknown
Date: 300-305 CE
Period/Style: Late Roman Empire; Turkey; royal portraiture
Medium: Sculpture made from porphyry
Dimensions: 4.3 feet tall
Current location: St. Mark’s Basilica, Venice, Italy
Roman Emperor Diocletian (reigned 284-305 BCE) instituted the Tetrarchy, a short-lived system that divided the Roman Empire into eastern and western halves, with a senior Augustus and a junior Caesar ruling each portion. The Portrait of the Four Tetrarchs, which now stands on the exterior of St. Mark’s Basilica in Venice, was originally two separate statues with one Augustus and one Caesar each. Most scholars believe that the bearded figures are the older Augustii, who are shown embracing the younger clean-shaven Caesars. It is not known where the sculptures were made or by whom; they are carved from porphyry, a purple-red stone that stood out from the typical marble stone, and also imitates the purple robes worn by Roman Emperors. The statues were brought to Constantinople, where they stood (attached to porphyry columns) for nearly a millennium until Crusaders sacked the city in 1204 and removed them as booty (knocking off a foot in the process), bringing them to Venice, where they were installed as a single group sculpture on the southwest corner of St. Mark’s Basilica. (Part of the lost foot and plinth were discovered in an archaeological dig in Istanbul in the 1960s and are now on display there in the Archaeological Museum – see image below.) The statues are evidence of the move – deliberate or inadvertent – away from naturalism and Classical ideals that characterized the art of the era (see also the Arch of Constantine on this point). Art historian Frederick Hartt sums up the artistic revolution (or, in the view of some, the decline) embodied in these figures: “Nothing remains of the naturalistic tradition in the representation of the human body, which had evolved … throughout more than three thousand years. The figures have been reduced to cylinders, their legs and arms to tubes, their proportions to those of dolls, and their faces to staring masks. … [O]nly the individuality of their frowns differentiates these figures.” The cause of this detour off the path of Classicism is much debated. What is clear is that the next 1000 years of art history in Europe can be divided between those artists who sought (in various ways) to return to or revive Classicism and naturalism, and those who did not.
116. Obelisk of Axum (Axum Stele)
Artist: Unknown
Date: c. 300-400 CE
Period/Style: Kingdom of Axum, Ethiopia
Medium: Obelisk carved from phonolite stone
Dimensions: 79 ft. tall; 176 tons
Current location: Axum, Ethiopia
The Kingdom of Axum (also spelled Aksum) thrived in what is now Ethiopia between the 2nd Century BCE and the 10th Century CE. Obelisks or stelae found throughout the Axum territories are believed to have been markers for underground burial chambers. Most stelae are small, but those for kings and nobles were immense and were decorated with carvings of false doors and windows and other architectural features. The Axum Obelisk (also known as the Axum Stele) has two false doors at the base and numerous false windows as well as a semicircular crown that was once enclosed by metal frames. At some point in the past, the stele collapsed and broke into five pieces. In 1935, when Italy invaded Ethiopia, the Italians brought the stele back to Italy as war booty and erected it in Rome. There it remained until 2005, when, after many political discussions and practical difficulties, Italy began returning the stele to Ethiopia. It was finally restored and erected at its original location in 2008. Random Trivia: There are several other very large stela at the same site. One, known as the Great Stele, measuring 108 ft. tall, apparently collapsed as it was being erected, and still lies broken on the ground. The largest stele that has never broken is King Ezana’s Stela, at 70 ft. tall (see image below). In 1980, the site of the stelae was named a UNESCO World Heritage Site.
117. Relief Sculptures and Murals, Tikal
Artists: Unknown
Dates: 300-869 CE
Period/Style: Mayan
Medium: Relief sculptures and carvings made of stone, stucco, and wood; frescoes
Dimensions: The many artworks range in size.
Current location: Guatemala
118. Arch of Constantine
Artist: Unknown
Date: c. 315 CE (but incorporating medallions dating to 131-138 CE)
Period/Style: Ancient Roman triumphal architecture and late Roman Era sculpture
Medium: Triumphal arch made from marble and brick, with relief sculptures
Dimensions: The arch is 68.9 ft. tall, 84.9 ft. wide and 24.3 ft. deep. There are three archways: the center archway is 37.7 ft. high and 21.3 ft. wide; each of the two lateral archways is 24.3 ft. tall and 11.1 ft. wide.
Current location: Roman Forum, Rome, Italy
119. Constantine the Great (Colossus of Constantine)
Artist: Unknown
Date: c. 330 CE
Period/Style: Ancient Rome; late Imperial style; Italy
Medium: The statue’s head, arms and legs were made of marble and probably painted. The torso was composed of a brick core and wood frame that was probably covered by gilded bronze.
Dimensions: The fully-assembled statue was 40 feet tall. The marble head is 8.2 feet tall.
Current location: Capitoline Museums, Rome
120. Sarcophagus of Junius Bassus
Artist: Unknown
Date: c. 359 CE
Period: Ancient Rome; Late Imperial era; Early Christian era; Italy
Medium: Marble sarcophagus with relief sculptures
Dimensions: 4 feet tall by 8 feet wide by 4 feet deep
Current location: Treasury Museum, St. Peter’s Basilica, Vatican City
To see Art History 101, Part 2 (400-1399), go here.