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Known in Venice as inghistere fracade ("flat-sided bottles"), pilgrim flasks drew on Islamic models not only for their shape but also for foliate and floral patterns. In both the Islamic world and Renaissance Venice, pilgrim flasks were often made in pairs to celebrate marriages.

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Silver stamps on the bottom identify this bucket as a Byzantine product, likely of a much earlier date than the rest of the treasure.

The Avars
The Avars were a nomadic tribe of mounted warriors from the Eurasian steppe. The Byzantine emperor Justinian negotiated with them in the sixth century to protect the Empire’s northern border along the Black Sea. Emboldened by their subjugation of numerous tribes, they unsuccessfully attempted to seize the Empire’s capital, Constantinople. They remained a scourge of both Byzantium and the Western kingdoms until Charlemagne defeated them through a series of campaigns in the 790s and early 800s.

All the money and treasure that the Avars had been years amassing was seized, and no war in which the Franks have ever engaged . . . brought them such riches and such booty. Up to that time the Avars had passed for a poor people, but so much gold and silver was found . . . that one may well think that the Franks took justly from the Avars what the Avars had formerly taken unjustly from other nations.
— Einhard (ca. 770–840), biographer of the Frankish ruler Charlemagne, early 800s

The Vrap Treasure
Tribute payments from the Byzantine Empire and war booty provided the Avars with enormous amounts of gold and silver. Avar goldsmiths created work of exceptionally high quality and were counted among the Avars’ ruling class. This ensemble of objects, all found together in Vrap, in present-day Albania, would seem to attest to the wealth of the Avars. Why this varied group was brought together remains a mystery. Some scholars have suggested that these objects were part of a treasure belonging to an Avar chief; others have speculated that they were the materials of an Avar artist. Others question whether an Avar metalsmith made them at all and assert these objects to be the products of a provincial Byzantine artist.

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Marble statue of Eirene (the personification of peace) Jossie Hernandez

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Marble statue of Eirene (the personification of peace) Jossie Hernandez

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Eirene, the daughter of Zeus and Themis, was one of the three Horai (Seasons), maidens closely associated with the fertility of the earth and the nurturing of children. The original bronze was erected in the Agora (marketplace) of Athens between 375/374 and 360/359 B.C. Rarely can an ancient monument be dated so exactly. We know from literary sources that the cult of Eirene was introduced to Athens in 375/374, and six recently found Panathenaic amphorae dated to 360/359 show an image of the statue. The Greek traveler Pausanius saw the work in the Agora in the second century A.D. and reported that it was by the sculptor Kephisodotos. Eirene was represented as a beautiful young woman wearing a peplos and himation (cloak), holding a scepter in her right hand, and carrying the young child Ploutos (the personification of wealth) and a cornucopia on her left arm. The figure brings to mind images of Demeter, the major goddess of agricultural plenty and the mother of Ploutos.

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Thoth, the god of writing, accounting and all things intellectual, was associated with two animals: the ibis and the baboon. His images either show him represented by these animals or they combine a human body with an ibis head as in this piece of shining blue, perfectly preserved faience.

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This is a helmet from a piece of renaissance armor conceived in the late 15th century. It consists of a multitude of materials including steel/iron, copper, and gold--all of which are characteristic of the production of armor during this period. The cultural significance of this piece revolves around the fact that it is based on the Nemean Lion who has a close connection to Hercules and is a symbol of strength and valor.

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This is one in a pair of two jeweled bracelets from the Byzantine period. A defining characteristic of the period and culture is a profound emphasis on beauty and esteem. These two characteristics are present within this bracelet as it consists of intricate patterns and pearls which line both the interior and exterior of it.

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This is an oil flask from around 420 B.C. which is roughly the middle of the Classical Greek Era. Painted on the lower section is a collection of figures considered to be a battle between the Amazons and the Greeks. A characteristic of the classical era within Greece is both human and heroic realism, both of which can be seen not only in the stature and movement of the warriors on the lower section, but also on the upper sections where there are multiple gods painted in what looks to be a session of mourning. The focus on movement and divinity is something that not only defines the Classical Greek Era, but the vast majority of the art found in Ancient Greece.

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Pictured is a statue of Osiris from the late period. Osiris is known as the god of fertility and the afterlife and his depiction here resembles a mummy which is a characteristic of art that is quite common within the Egyptian period. This depiction represents the gods connection with the deceased and the afterlife, both of which have strong influences in Egyptian culture. The statue itself is made out of bronze which is a material often used to create similar statues within Egypt, although this one is considered to be quite large in comparison to others from the region and time period.

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The birth of Venus represents the rebirth of civilization, a new hope, geopolitical social and culture shift which occurred in the middle ages. It stands out from other Renaissance scenes which shows the roman goddess associated with love and beauty.

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The culture meaning of Ptolemy's handy tables which talks about the positions of the sun, moon and planets. It provides numerical solutions to astronomy related problems.

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The marble metope from the Parthenon tells the story of the trojan wars that happened in ancient Greece. It really brings in the information about the ancient wars and depicts the battle between the giants with the Olympian gods.

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Some Egyptian relics that represent the culture are hieroglyphics, they represent the culture of Egypt, they tell the stories of ancient Egypt. Their a term for ancient articles.

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Ginevra de' Benci [obverse], c. 1474/1478

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She was the daughter of a wealthy Florentine banker, and her portrait—the only painting by Leonardo da Vinci in the Americas—was probably commissioned about the time of her marriage at age 16. Leonardo himself was only about six years older. The portrait is among his earliest experiments with the new medium of oil paint; some wrinkling of the surface shows he was still learning to control it. Still, the careful observation of nature and subtle three–dimensionality of Ginevra's face point unmistakably to the new naturalism with which Leonardo would transform Renaissance painting. Ginevra is modeled with gradually deepening veils of smoky shadow—not by line, not by abrupt transitions of color or light.

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Marble portrait head of the Emperor Constantine Ica. A.D. 325–370

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Constantine the Great was the first Christian emperor of Rome, and his reign had a profound effect on the subsequent development of the Roman, later Byzantine, world. The long face, neatly arranged hairstyle, and the clean-shaven appearance of this portrait head are a deliberate attempt to evoke memories of earlier rulers such as Trajan, who in the later third and fourth centuries was seen as an ideal example of a Roman emperor. Certainly, by the time that the head was set up, as part of either a bust or, more probably, an over life-sized statue, Constantine had adopted an official image that was intended to set him apart from his immediate predecessors.

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Marble portrait head of the Emperor Constantine

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This work is a masterpiece of Greek vase-painting because it brings together many features of Athenian culture in an artistic expression of the highest quality. The identity of the singer is given by his instrument, the kithara, which was a type of lyre used in public performances, including recitations of epic poetry. The figure on the reverse is identified by his garb and wand. While the situation is probably a competition, the subject is the music itself. It transports the performer, determines his pose, and causes the cloth below the instrument to sway gently.

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Scarab with separate wings, faience, glazed, Egypt, c. 712–342 BCE; in the Brooklyn Museum, New York. Scarab 1.8 × 4.2 × 6.3 cm., wing 3.4 × 9.6 cm.

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This winged scarab consists of three pieces: an actual scarab beetle and two separately made wings. The wings are not those of a beetle, but those of a bird, as is apparent by their shape and the indication of individual feathers. Each piece features several small holes that were used to fasten the winged scarab to the wrappings of a mummy. Winged scarabs, meant to guarantee the rebirth of the deceased, were very popular funerary amulets.

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This piece of armor was found in a Venetian fortress which fell to the Turks. It had very distinctive features that survived the attack and was meant to be full body armor. It was made of steel, copper alloy and leather.
Olivia C

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This art is a silver plate which was used as decorative pieces to show wealth. Silver was a rather rare resource at the time. They usually depicted biblical scenes or important religious figures.
-Olivia Cooper

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The painting depicted on this terracotta vase was representing the foot race which was an event in the  Panathenaic games. Those who won the games were awarded one of these filled with olive oil.

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This falcon sarcophagus represents the Egyptian period through the use of bronze that was often used in Egyptian works like tools, jewelry, shrines and more. Also the god Horus who is the sun god was represented as a falcon. Lastly, the piece is a sarcophagus for a presumed sacred animal, something that was commonly done to people of power in Egypt.

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Sallet in the Shape of a Lion's Head // Maria Piedrahita 12th.

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Sallet in the Shape of a Lion's Head // Maria Piedrahita 12th.

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This piece of art is related to the mythological hero Hercules who was seen culturally in Renaissance art as a symbol of strength and perseverance, The lion's head is an outer shell made of embossed and gilt copper that is fitted over an underlying plain steel helmet, the unique style of the Renaissance and the admiration for mythological heroes was a main concept for the inspiration of Italian artists.

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Icon with the  Deesis / Maria Piedrahita 12th 

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Icon with the  Deesis / Maria Piedrahita 12th 

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The Byzantine period was culturally characterized by Christianity, Icon with the Deesis is a representation of Christ together with the virgin and John the forerunner, this type of icon specifically reflected la religion, traditionally and culturally the divinity of Christ Mary and Saint John they were seen as intercessors with him on behalf of humanity. Its main material was Ivory its texture and resistance allowed the Artists to grind and create carved figures.

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ca. 465–460 B.C. , Terracotta -white background //                                                          Maria Piedrahita-Art History

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The pyxis was a Greek object related to marriage, it was a wedding gift for women, it represents the judgment of Paris, a popular fact in Greek art, its story is based on the wedding of Peleus and Thetis where three goddesses dispute the Title of "TO THE FAIREST ''  and there arises the Trojan War, this vase shows each scene with a special technique of white ceramic background and black patterns.

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ca. 1090–900 B.C. , Clay Glazed //                                                                 Maria Piedrahita /Art History.

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This figure is a representative amulet of the Egyptian culture, it is generally made of different materials such as glass, clay and metal however the one that stands out the most is blue glazed Egyptian faience, they put these amulets in the tombs to ensure the resurrection of the body, The Egyptians relied heavily on agriculture in daily life, and it was assumed that the afterlife would be similar, so most of the ushabtis are depicted holding hoes or bags of seeds to continue this agricultural work in the afterlife.

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Archaic Period 4th quarter of the 6th century B.C., diameter 3 13/16in. overall: 5 3/16 in

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Geometric patterns compliment the frieze of a youth holding two winged horses and driving a chariot. Many other animals are represented. The ram's-head cover may have been used as a cosmetic applicator

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Artist Girolamo dai Libri (Italian, Verona 1474–1555)

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Tempera, ink, and gold on parchment
The illumination dipicts David in Prayer inside the letter M

“Italian Peninsula, 1000–1400 A.D.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/ht/?period=07&region=eust (October 2001

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The Egyptian god Horus was usually depicted in human form but with the head of a falcon. His eye was taken to represent the sun, whose setting and rising symbolized loss and recovery

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Ivory low relief sculpture, Constantinople Late 900s

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Images of the Koimesis, Greek: "The falling-asleep" show the Virgin lying on a bier, while her soul, represented as a baby, is offered by Christ to attendant angels who will take it to heaven. The apostles, led by Saints Paul and Peter, stand witness.