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Chauvet-Pont-d’Arc Cave painting (replica) ~30,000 BC

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Thick, confident lines, all animals are in a profile perspective with very naturalistic/true-to-life forms.

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Votive figures from Square Temple at Eshnunna (Tell Asmar, Iraq) 2900–2350 BC

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Stiff, static uniform poses with large exaggerated eyes and deep grooves/waves to imply men's hair/beards.

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 “Queen of the Night” relief, Old Babylonian, 1800–1750 BC, southern Iraq

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Soft body contours with a strictly head-on view and enlarged head and animal feet and wings. Animals and hair/headpiece are more abstracted.

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Dying Lion, panel from the North Palace of Ashurbanipal, 645 BC Nineveh, northern Iraq 

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Stiff pose with very realistic and detailed muscle contours. Blood represented by a pattern of wavy lines and mane by spikes with evenly placed scores.

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Use of mainly profile view of humans and animals, some with distended/exaggerated forms. Most of the lines are very curved and dynamic despite figures being in rather unnatural poses.

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Nebamun fowling in the marshes, Tomb-chapel of Nebamun, c. 1350 BC  Thebes 

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Use of vibrant colors with a limited palette, profile view of humans and animals while eyes are looking straight-on. The child(?) looks like a very small adult, and there's lots of curved lines and use of patterns/repeating shapes.

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Bull-leaping fresco, east wing of the palace of Knossos (reconstructed), 1400 BC

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Elongated figures with thin waists (including the bull), use of profile view and vibrant repeating border patterns. It also seems that there is a striped pattern across the bull to indicate fur.

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Mask of Agamemnon, Grave Circle A, Mycenae 1550–1500 BC

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Abstracted features, very thin long nose and lips with outlined closed eyes. Use of repeated lines to indicate beard and eyebrows in the precious metal.

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Anavysos (Kroisos) Kouros, 530 BC, Athens

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Realistic muscle contouring with more symbolic facial features and patterned hair, evidence of painting.

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Polykleitos, Doryphoros (Spear-Bearer), Roman marble copy after a Greek bronze original from 450–440 BC

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Defined natural muscular contours, idealized human proportions and contrapposto stance. Very anatomically correct.

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Nike of Samothrace (winged Victory), 190 BC

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Extremely detailed fabric drapery that allows the natural human form to be seen "through" it and conveys lots of movement despite missing parts. The wings are also depicted very accurately like the human parts of the statue, albeit sized up for the human form.

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Detail of Aplu (Apollo of Veii), from the roof of the Portonaccio Temple, Veii, Italy, 510–500 BC

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Use of paint, cloth is rendered in a pattern of lines and zigzags to indicate folds. Face is more abstracted with a large mouth and eyes.

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Head of a Roman Patrician from Otricoli, 75–50 BC, Palazzo Torlonia, Rome

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Very detailed facial features with realistic contours and proportions. Non-idealized, true to life bust with differing implied textures between skin and cloth.

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Gemma Claudia, 49 C.E, with 18th century gold band

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Use of contrasting color in layers of the stone to portray figures. Incredible amounts of detail in very slight contours to show facial structure and repeated patterns for hair and ornamentation.

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Use of small groove lines to indicate beard and hair, larger eyes and slightly exaggerated yet simplified features and contours in the face. Fabric is conveyed naturally with soft creased, curves, and folds.

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Rebecca and Eliezer at the Well, folio 7 recto from the Vienna Genesis, early 6th century

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Distorted perspective with representative, abstracted forms. Colors are vibrant and light, contrasting the darker background.

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Christ Pantokrator mosaic, c. 1316–1321, Chora church, Constantinople (Istanbul) 

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Enlongated features and hands (one being in an unnatural position), using lots of gold and a circle with cross to represent a halo. Even, repetitive, wavy lines for hair and flowing dynamic lines for the cloth.

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Image of a Man (Symbol of St. Matthew), Book of Durrow, c. 660-680

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Use of very simple shapes to convey human form. Simple but vibrant color scheme with repeating patterns and intricate knot-style border.

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St. Mark from the Ebbo Gospels, folio 60v., c. 816–35

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Cloth is represented with a very complicated repeating texture while other forms are very simple. Distorted perspective, very thick neck, and odd hands.

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Portal, West Façade, St. Trophime, Arles, c. 1150

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Repeated/similar poses of figures and patterns to frame the door and central figure. Stiff posture but detailed and rounded drapery that is also shows repetition.

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Cathedral interior, Laon, France, c. 1160-1205

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Lots of repetition of pillars and stacked arches that get smaller towards the top. The walls and floors are very plain, which adds more emphasis towards the ornate, detailed stained glass windows.

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Sainte Chapelle (interior stained glass and ceiling), Paris, 1241-1248

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Lots of repeating shapes, guiding lines that lead up towards the ceiling. Extreme symmetry between sides, vibrantly colored patterns that makes the whole room feel very busy with slight emphasis on the circular main stained glass window.

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Annunciation and Visitation, portal sculpture, Cathedral, Reims, France, c. 1225-1245

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Varying facial and bodily proportions between figures though all are posed similarly. The figures on the left have less details and more abstracted, simplified and expressive facial features than the two right figures. The two on the right convey much more movement, especially in the way the fold lines on the cloth are depicted.

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Death of the Virgin, tympanum, Strausbourg Cathedral, France, c. 1230

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Emphasis on the central figure and figure lying in the bed. Slightly uncanny poses and larger heads than natural proportion, otherwise things are rendered very realistically and true to form.

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Cimabue, Maestà or Santa Trinita Madonna and Child Enthroned, c. 1280-90

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Use of lots of gold and other vibrant colors, circular halos behind the heads of the divine. Symmetry and repetition of secondary figures. The child looks like a miniature adult and faces recede into the neck without a noticeable jaw.