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The Background: Between 1649 and 1651, Velázquez travelled to Italy for the second and last time in his life. The main purpose of the trip was to buy paintings and sculptures for King Philip IV of Spain, and while he was in Rome, the painter also received the prestigious commission to portray Pope Innocent X (the canvas is now in the Galleria Doria Pamphilj, Rome)
B. Ponfredi sobre la pintura española].

People of the ancient Near East inhabited a world that was saturated with supernatural powers, and the arts of the Isin-Larsa and Old Babylonian periods show the range of deities available to the individual as sources of protection and well-being.
Slots and circular openings ( 1984.454.1a,b) as well as rollers ( 1980.407.1) suggest

The canvas is signed and dated 1647, a year after Charles Le Brun, the future premier peintre du roi under Louis XIV, returned to Paris from a period of study in Rome. In Paris, where he had been the pupil of François Perrier and spent time in the workshop of Simon Vouet, his work had caught the attention of Nicolas Poussin, who had returned to the French capital to work for the king in 1640
(color) [http://www.thearttribune.com/The-Metropolitan-Acquires-a.html].

Although ancient literary references inform us of Roman paintings on wood, ivory, and other materials, works that have survived are in the durable medium of fresco that was used to adorn the interiors of private homes in Roman cities and in the countryside.
Cubiculum (bedroom) from the Villa of P.

attachment of a textile blanket adorned with gold appliqué and cinnabar (AMNH B/

A pendant to the official cults of the Greeks and Romans, mystery cults served more personal, individualistic attitudes toward death and the afterlife.
308 ca. 340–330 BCE Wall painting from the west wall of Room L of the Villa of P.

Hidden in a natural crevice and wrapped in a straw mat, the hoard contained 442 different objects.
Eastern Art, The Metropolitan Museum of Ar October 2004 Further Reading Moorey, P.

Available at Durham E-Theses Online: http://etheses.dur.ac.uk/1457/: Durham University

Often saved and passed down from generation to generation, wedding dresses are a key means of understanding fashion traditions in different cultures across time and geographies.
A wedding dress in The Costume Institute ( C.I.46.97.1a,b) is a near match to one

Reception Room (Qa’a)This interior, a splendid example of a wood-paneled reception chamber (qa‘a) from a private house in Damascus, is among the earliest extant, nearly complete interiors of its kind, dated by an inscription to A
Daskalakis-Mathews 1997, p. 133. 10.