Greece

A large seated clay figure of a man, his pose suggesting deep thought, from Karditsa in Thessaly. It is exceptional for its size within a wider Neolithic tradition of male figurines with exaggerated genitalia, thought to be linked to a fertility cult.

“This example of a Neolithic rendering of an enthroned ithyphallic male belongs to a well-known iconographic type, but is unique because of its size. It belongs to a group of figurines that continues the Middle Neolithic tradition of male statuettes with protuberant phalluses, which may be linked to a fertility cult.” In the museum’s words — namuseum.gr ↗

Meanwhile — Painted Pottery Jar with Stork, Fish and Stone Axe Design East Asia · Neolithic, Yangshao Culture (c. 5,000-3,000BC)

A large marble figure of a woman with arms folded across her body, in the characteristic Early Cycladic 'folded-arm' type. At 1.52 metres tall, it is the largest known example of Cycladic marble sculpture to survive complete.

“Unique piece, both because it is the largest known example of Cycladic sculpture and because it is preserved complete (height 1.52 m.).” In the museum’s words — namuseum.gr ↗

Meanwhile — Bull's Head with Inlaid Eyes Near East · ca. 26th century BC

A marble figurine of a seated man playing a stringed instrument, part of a small group of Early Cycladic 'musician' figures. Its fully three-dimensional modelling, unusual for the period's mostly flat folded-arm figurines, marks it as one of Cycladic sculpture's earliest achievements in the round.

“It belongs to the group of the musicians, i.e. male figures who play musical instruments. Its three dimensional development, a feature common in this category, is a very early achievement of the Cycladic sculpture. It is made of marble from Paros.” In the museum’s words — namuseum.gr ↗

Meanwhile — Bull's Head with Inlaid Eyes Near East · ca. 26th century BC

A wall painting from Akrotiri on Thera showing two boys sparring in boxing gloves and belts, their heads shaved but for long side-locks. The boy on the left wears a necklace and bracelets marking his higher social status; the fresco was found in the same room as, and probably painted by the same hand as, the site's 'Antelopes' fresco.

“Their heads are shaved but for two long locks at the back and two shorter ones above the forehead. Their dark complexion indicates their gender. The boy on the left is the more reserved of the two and wears jewelry consisting of a necklace and two bracelets, one on his arm and the other around his ankle, which indicate his higher social status. From the same room as the ‘Antelope’ fresco and probably by the same artist.” In the museum’s words — namuseum.gr ↗

Meanwhile — Statuette of a lion Near East · Middle Bronze Age, 17th–16th centuries BC

A gold funerary mask beaten from a single sheet with repousse detailing, depicting the imposing face of a bearded man; two holes near the ears held the twine that bound it over the deceased's face. It takes its popular name from Heinrich Schliemann's identification of the burial with the Homeric king Agamemnon, though the mask is now dated some centuries before the Trojan War of legend.

“The mask depicts the imposing face of a bearded man. It is made of a gold sheet with repousse details. Two holes near the ears indicate that the mask was held in place over the deceased’s face with twine.” In the museum’s words — namuseum.gr ↗

Meanwhile — Statuette of a lion Near East · Middle Bronze Age, 17th–16th centuries BC

A wall painting from Akrotiri on Thera (Santorini), the only fresco there found still fully in place across all three of its original walls. It shows the volcanic island's rocky spring landscape before the Bronze-Age eruption, with red lilies and swooping swallows evoking nature's yearly renewal.

“This is the only wall-painting of Akrotiri that was found in situ, covering three walls of the same room. It depicts the rocky Theran landscape before the volcanic eruption: clusters of red lilies with yellow stems dominate the red and gray volcanic formations, while swallows swoop above, alone or in flirtatious pairs, animating the scene and symbolically announcing nature’s annual rebirth.” In the museum’s words — namuseum.gr ↗

Meanwhile — Statuette of a lion Near East · Middle Bronze Age, 17th–16th centuries BC

A pair of gold cups, probably made by the same Creto-Mycenaean goldsmith, found together in a beehive tomb at Vapheio in Laconia. One shows a bull being lured and tethered peacefully among grazing cattle; the other shows bulls violently resisting capture in a net - together illustrating two contrasting bull-hunting techniques of the Aegean Bronze Age.

“These are two masterpieces of Creto-Mycenaean metalwork, found together with other precious objects in the Vapheio tholos tomb. On the first cup (1758) a bull is captured by peaceful means: a man ties a rope around the bull's leg, while the animal mates with a cow; three grazing bulls complete the composition. The second cup (1759) shows one bull caught in a net while another attacks two hunters as a third hunter flees. Both cups were probably made by the same craftsman, although the first cup is more carefully executed.” In the museum’s words — namuseum.gr ↗

Meanwhile — Sphinx of Hatshepsut Egypt & Nubia · ca. 1479–1458 B.C.

A small clay tablet from the palace archive at Pylos, inscribed in the Linear B script with a list that includes the word ti-ri-po next to a drawn tripod symbol - a match that helped confirm the decipherment of Linear B as an early form of Greek. The clay archive survives only because the palace burned down around 1200 BC, accidentally firing the unbaked tablets like pottery.

“The so-called ‘Tripod tablet’ was named after the tripod ideogram, which appears repeatedly in the text. The identification of the word ti-ri-po (tripous) with the tripod ideogram confirmed the veracity of the Mycenaean Greek decipherment. The clay tablets come in two shapes. The larger ones are rectangular and the smaller ones are elongated and leaf-shaped. Some tablets are inscribed on both sides and there are groups of tablets referring to the same subject. The tablets were stored in the palace archives, arranged by subject inside baskets, which were marked with clay labels bearing brief information on each basket’s contents. The text was inscribed on a damp clay tablet using a sharp bone or metal stylus. Then the tablet was left to dry in the sun. When the Mycenaean palaces were destroyed by fire in approximately 1200 BC, these clay archives were baked and so preserved until today.” In the museum’s words — namuseum.gr ↗

Meanwhile — Two appliqués Europe · 13th or 12th century BC

A large mixing-bowl painted with a frieze of armoured warriors marching off to battle, supplies slung from their spears, as a woman raises her hand in a gesture of farewell or mourning. A showpiece of the late Mycenaean Pictorial Style, made as the Bronze-Age palace civilization was nearing its collapse.

“The men wear helmet, cuirass, greaves, shield and spear as they depart for battle, a sack of supplies hanging from their spears. To the side, a woman raises her hand in a farewell or mourning gesture. On the back five warriors in similar attire, but with a different helmet, raise their spears. A relief bovine head and pairs of painted birds adorn the handles. A superb example of the Mycenaean Pictorial style.” In the museum’s words — namuseum.gr ↗

Meanwhile — Bronze Sword with Argali-Head Pommel East Asia · Bronze Age (museum-stated c. 3000 BCE – 700 CE)

A colossal marble statue of a nude standing youth, over three metres tall, found broken along with its plinth in a deposit in front of the Temple of Poseidon at Cape Sounion. Dedicated to Poseidon, it was likely gathered up with other damaged votive offerings after the Persian sack of the sanctuary in 480 BC.

“Statue of a kouros (naked youth), made of Naxian marble. The overlife-size statue, one of the largest and most impressive of its kind, was found along with its plinth , in a deposit in front of the Temple of Poseidon at cape Sounion, Attica. The statue was dedicated to Poseidon and probably stood in front of this temple, where it was deposited after the destruction of the temple and of its votive offerings by the Persians in 480 BC. Height 3,05 m.” In the museum’s words — namuseum.gr ↗

Meanwhile — Askos with bull-shaped handle from Kaptol Europe · Early Iron Age, Hallstatt (Kaptol group), 9th–4th c. BCE

A marble statue of a richly dressed maiden, her pedestal inscribed both to identify her as Phrasikleia and to name the sculptor, Aristion of Paros. Found together with the funerary kouros of a young man at Merenda, ancient Myrrhinous, it is among the best preserved of all Archaic Greek grave statues, retaining traces of its original paint and jewelry.

“Statue of a kore (maiden), made of Parian marble. It was found at Merenda (ancient Myrrhinous), Attica. The fully preserved statue stood on the grave of Phrasikleia, according to the inscription carved on the front of the pedestal. The kore wears a wreath on the head, jewellery (a necklace, earrings and bracelets) and a long chiton, painted red, with a variety of incised and painted motifs. It is an outstanding work, made by the sculptor Aristion from Paros, as it is indicated by the inscription carved on the right side of the pedestal. Height of the statue 1,79 m., height with the base 2,115 m.” In the museum’s words — namuseum.gr ↗

Meanwhile — Ox-shaped Zun (bronze wine warmer) East Asia · Spring and Autumn period (late), 6th–5th century BCE

A funerary marble statue of a nude standing youth, one of the largest and most accomplished kouroi to survive. It was erected over the grave of a young warrior named Kroisos who died in battle, according to the epigram carved into the front of its pedestal.

“Statue of a kouros (naked youth), one of the most imposing of its kind, made of Parian marble. The funerary statue was erected on the grave of Kroisos, who fell in battle, according to the epigram carved on the front of the pedestal. Height 1,94 m.” In the museum’s words — namuseum.gr ↗

Meanwhile — Ox-shaped Zun (bronze wine warmer) East Asia · Spring and Autumn period (late), 6th–5th century BCE

A larger-than-life bronze god caught mid-stride with both arms outstretched, his missing right hand once holding either a thunderbolt (if Zeus) or a trident (if Poseidon) - scholars remain divided on which. Recovered from the sea off Cape Artemision, it is one of the few large-scale original Greek bronzes (rather than a later Roman copy) to survive, and a landmark of the Severe Style at the start of the Classical period.

“The god is shown in wide stride, extending the left arm forward, while with the right he will have hold a trident or a thunderbolt. Opinions differ as to whether Poseidon or Zeus is depictted. The statue is one of the few surviving original works of the Sever Style with magnificent rendering of the movement and the formation of the body, undoubtedly the creation of a great sculptor of the Early Classical period.” In the museum’s words — namuseum.gr ↗

Meanwhile — Gold bracelets with ram-head terminals from Vani Near East · 5th century BC

A carved marble grave marker from the Kerameikos cemetery in Athens, showing a seated woman examining a piece of jewellery held up by a standing attendant - the jewellery itself originally added in paint, now lost. An inscription names the deceased as Hegeso, and the refined carving has long been attributed to the sculptor Kallimachos.

“Grave stele, made of Pentelic marble, found in 1870 in the ancient cemetery of the Kerameikos. An Athenian lady seated on a chair, her feet resting on a footstool, looks at a piece of jewellery held in her raised right hand, originally rendered in paint. Opposite her, a sorrowful standing attendant holds an open jewellery box. According to the inscription on the epistyle, the deceased is Hegeso, daughter of Proxenos. Her imposing appearance, along with the magnificence of the family grave plot, to which the stele belongs, indicate clearly her noble origin. Exquisite work, that has been attributed to the sculptor Kallimachos. Height 1,56 m., width 0,97 m.” In the museum’s words — namuseum.gr ↗

Meanwhile — Gold signet ring from the Svetitsa Tumulus Europe · Late 5th c. BC

A corroded bronze geared instrument recovered from the Antikythera shipwreck, built from at least 30 gearwheels along with dials, scales and pointers. It is widely regarded as the earliest surviving portable astronomical calculator, used to track the sun and moon (and probably the five planets known in antiquity), predict eclipses, and display the dates of the Panhellenic games.

“Seven large fragments (Α-G) and 75 minor pieces (1-75) have survived. Their exact position and the original structure of the Mechanism are still a matter of intense investigation. It contained at least 30 gearwheels as well as dials, scales, axles and pointers. The greek, astronomical inscriptions on the surface of the Mechanism refer to astronomical and calendar calculations, while the inscriptions on its metal protective plates contain instructions for its use. The Mechanism was protected by a wooden case, which had a bronze plaque on the front and another one at the back side. The Antikythera Mechanism is the earliest preserved portable astronomical calculator. It displayed the positions of the Sun, the Moon and most probably the five planets known in antiquity, Mercury, Venus, Mars, Jupiter and Saturn. It was used to predict solar and lunar eclipses, it kept an accurate calendar of many years and displayed the date of the Panhellenic games held at Olympia, Delphi, Nemea, Isthmia and Dodona.” In the museum’s words — namuseum.gr ↗

Meanwhile — Huehuetéotl, the Old Fire God (Cuicuilco) Americas & Oceania · Late Preclassic (c. 400 BCE–150 CE)

A bronze statue of a straining racehorse ridden by a young jockey, his face taut with the effort of the race. Recovered in pieces from the same stretch of sea off Cape Artemision as the museum's bronze Zeus/Poseidon, it is a rare Hellenistic bronze grouping of a full galloping horse and rider.

“Retrieved in 1928 and 1937 in pieces from the seafloor off Cape Artemision, north Euboea. The young jockey, probably African in origin, will have held the reins of the galloping horse in his left hand and a whip in his right. The contractions and furrows in his face, especially on the forehead, reveal agony and passion. The work is known as the Artemision Jockey.” In the museum’s words — namuseum.gr ↗

Meanwhile — Egyptian funerary mask Egypt & Nubia · Ptolemaic period (3rd–1st c. BCE)

A marble sculptural group from a merchants' clubhouse on Delos, showing the goat-legged god Pan making an advance on a nude Aphrodite, who fends him off with her raised sandal while her son Eros tugs at Pan's horn to pull him away. An inscription on its base records that it was dedicated by a Beirut merchant, Dionysios, to his ancestral gods.

“The group, made of Parian marble, was found in the “House of the Poseidoniastai of Beryttos” (Beirut), Delos. Traces of colour can be made out in many places. The sculpture is preserved together with its base, where is stated that the group was dedicated by Dionysios of Beryttos to his ancestral gods. The nude goddess Aphrodite attempts to fend off the goat-footed god Pan who makes erotic advances to her. She holds her sandal threateningly in her right hand, while the winged god Eros comes to her aid. Height with the base 1, 55 m.” In the museum’s words — namuseum.gr ↗

Meanwhile — Xiongnu Embroidered Felt Rug from Noyon Uul East Asia · Xiongnu period, 3rd century BCE – 1st century CE

A small marble statuette, found near the Varvakeion school in Athens, that is the most faithful surviving copy of Pheidias's colossal gold-and-ivory cult statue of Athena Parthenos, erected inside the Parthenon in 438 BC and long since lost. It preserves details - the Nike in her outstretched hand, the sphinx and winged horses on her helmet, the serpent Erichthonios coiled inside her shield - otherwise known only from ancient written descriptions.

“Statuette of goddess Athena, made of Pentelic marble. Found in 1880 in Athens, near the Varvakeion school. Known as the Varvakeion Athena, this statuette is the most faithful and best preserved copy of the cult statue of the Athena Parthenos by Pheidias, which was erected in the Parthenon in 438 B.C. The original, which was approximately twelve times larger than the Varvakeion copy, had the naked parts of the body made of ivory, whereas the rest of the statue was faced with leaves of gold. Athena wears the Attic peplos. Her entire breast is covered by a scaly aegis adorned with the gorgoneion at the centre and snakes around the edge. On her head she wears an Attic helmet with raised cheekpieces and three crests, the one in the middle ending at the front in a sphinx and the side ones in winged horses (pegasoi). In her right palm stands a Nike, about to fly. The left arm rests on her shield. On the inside of the shield is Erichthonios, coiled as sacred snake. Traces of red and yellow paint are preserved in many parts of the statue. Height 1,05 m.” In the museum’s words — namuseum.gr ↗

Meanwhile — Bronze statuette of Hercules from Tamnic (Hercules Epitrapezios) Rome · Roman, first half of the 3rd century CE