
Samothracian Marble Gable (c.150-125 BCE)
This marble gable figure once formed part of the sculptural decoration of the Hieron in the Sanctuary of the Great Gods on Samothrace.

Artifacts from architectural history, showcasing the evolution of design, engineering, and cultural expression across civilizations.

This marble gable figure once formed part of the sculptural decoration of the Hieron in the Sanctuary of the Great Gods on Samothrace.

Carved in marble and still preserving its inscription in full, this small inscribed colonette records a personal act of thanks in the Roman city of Tomis. The text tells us that a man from Sidon, dedicated the object to the Syrian Goddess.

This image depicts a group of Bedouinsβmen, women, and children in traditional attireβgathered outside the entrance to what is believed to be the tomb of Lazarus, the biblical figure famously resurrected by Jesus.

The image invites the viewer to reflect on contrasts: movement and permanence of the Bedouins, desert survival and ancient stone marvels and everyday life unfolding beside timeless monuments at Giza.

The photo depicts three acrobats, known as the Three Jacksons, performing a precarious balancing act on the narrow ledge of the Empire State Building's 86th-floor observation deck, 1,050 feet (320 meters) above the streets of Manhattan.

The photo transports viewers to a remote precipice high above the Urubamba River, sparking curiosity about the sophisticated civilization that once thrived there and the explorer who unveiled Machu Picchu to the modern world.

Taken during the height of the Great Depression, this daring scene, set 850 feet (259 meters) above ground, showcases not only the remarkable engineering feats of the era but also the fearless spirit of the workers involved in building skyscrapers.

This intriguing monster, originating from the late 500s CE during the Northern Qi dynasty, served as a supportive element in Buddhist cave temples, blending grotesque ferocity with protective symbolism to ward off evil spirits.

Known as a Male Atlantean Figure, it likely formed part of an architectural or decorative program within a Buddhist monastic complex.

This female sphinx, an architectural fragment from the Nabataean city of Petra in Jordan, serves as a window into a lost world of hybrid creatures and divine protectors.

Molded c. late 500sβearly 400s BCE, this Etruscan terracotta caps a roof tile with a maidenβs face.