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Stonehenge, c. 3,000 B.C.E., Salisbury Plain, England

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This large complex structure was built during the Neolithic Revolution, approximately 3,000 BCE. This period paved the way for how humans settled into homes and populated towns and cities. This Era showcased specialized labor, exposed an artisan class and the evolution of social and political institutions.

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Palette of King Narmer, c. 3000–2920 B.C.E., Slate, Egyptian Museum, Cairo.

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The Palette of Narmer demonstrated the relationship between art and social hierarchies. The use of hieratic scale and composite view can be seen the palette. Narmer is depicted to be larger than the other details, showing his elite status and divinity.

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Law Code Stele of King Hammurabi, 1792-1750 B.C.E., Louvre Museum, Paris.

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A representation of the earliest legal codes, the law code of Hammurabi the most famous example of a cuneiform. The law codes greatly aided non-elites by being sympathetic to workers and giving women a considerable amount of rights. To signify the value of women, violent crimes against women such as rape, robbery, and perjury were punishable by death.

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Kroisos Kouros, Anavyso, c. 530 B.C.E., Marble, National Archaeological Museum, Athens.

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During this period, artists begin to embrace more naturalism of the human body. Similar to Egyptian statues, the pose of the Anavysos Kouros' posture is stiff with one foot infront of the other and displays a non-expressional face. However, advancements towards naturalism in the Greek statue can be seen in the contoured body and the size of the tights and torso.

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Augustus of Primaporta, 63-14 B.C.E., Marble, Vatican Museums, Italy.

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Similar to Greek status with its contrapposto and musculature features, this statue of Rome's first emperor is far more detailed like the fringe detail in the drapery and imagery of the breast plate. This statue was created to idealize Augustus instead of represent him in a life like view. Cupid is represented as a reminder of Augustus' divine right to rule and status as a god.

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Sutton Hoo gold belt buckle, c. 600-50 C.E., Jewelry, British Museum, London. 

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The golden belt buckle represents the transition from old pagan and new Christian beliefs, where exposure to Christianity ties directly with wealthy elite. During a time of continual conflict there was a need for visually extravagant items such as the golden belt were needed to show off one's status. The items material, gold, being extremely precious conveyed to observers the status, holiness and power of the individual donning it.

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Christ Pantocrator, c. 1080-1100 C.E., Mosaic, Church of the Dormition, Greece.

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During this period, artists sought to simplify the religious figures and narratives portrayed. In Pantocrator posture, Christ hovers over worshipers holding the new testament in his left hand while the right hand gestures a blessing. This style of Christ is the most popular from this time.

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Abbot Suger, Ambulatory, c.1137, Basilica of Saint Denis, Paris.

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The Ambulatory at St. Denis with its symmetry and use of ratios is the embodiment of Gothic architecture. Ratios were heavily used in French Gothic cathedrals to communicate perfection created by God. During this period, the use of stained glass in cathedrals rises. Abbot used stained glass to convey that light equates god. The light itself was a metaphor for God's presence. Cathedrals such as this drew in travelers from all over Europe bringing a stream of money to the cities that housed the cathedrals.

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Page from the Golden Haggadah, c. 1320, British Museum, London. 

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With each miniature decorated with gold leaf, the Golden Haggadah is the most lavishly decorated Haggadot. A manuscript of this magnitude was commissioned to signal the wealth of its owners. The condition of the Haggadot shows that it was used for ceremonial purposes, used to showcase the wealth and success of the family. Although, the second commandment of Judaism forbids "graven images", Haggadot were viewed as educational resources therefor exempted from the rule.

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Tile Mosaic Mihrab, 1354 C.E., Mosaic, Metropolitan Museum of Art, New York

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During this period, cultural exchange exploded and Islamic art flourished. The ultimate Islamic element, the pointed arch, frames the inscription from the Qur'an written in Kufic calligraphy. This mihrab is significant in the way that it perfectly unifies Islamic calligraphy and geometric ornament.