Bas-relief in the context of Frieze of Parnassus

Sacrifice is an act or offering made to a deity. A sacrifice can serve as propitiation, or a sacrifice can be an offering of praise and thanksgiving.

Evidence of ritual animal sacrifice has been seen at least since ancient Hebrews and Greeks, and possibly existed before that. Evidence of ritual human sacrifice can also be found back to at least pre-Columbian civilizations of Mesoamerica as well as in European civilizations. Varieties of ritual non-human sacrifices are practiced by numerous religions today.

In classical architecture, the frieze /friːz/ is the wide central section of an entablature and may be plain in the Ionic or Corinthian orders, or decorated with bas-reliefs. Paterae are also usually used to decorate friezes. Even when neither columns nor pilasters are expressed, on an astylar wall it lies upon the architrave ("main beam") and is capped by the moldings of the cornice. A frieze can be found on many Greek and Roman buildings, the Parthenon Frieze being the most famous, and perhaps the most elaborate.

In interiors, the frieze of a room is the section of wall above the picture rail and under the crown moldings or cornice. By extension, a frieze is a long stretch of painted, sculpted or even calligraphic decoration in such a position, normally above eye-level. Frieze decorations may depict scenes in a sequence of discrete panels. The material of which the frieze is made may be plasterwork, carved wood or other decorative medium.

In Greek mythology, Aeolus (/ˈiːələs/; Ancient Greek: Αἴολος, romanized: Aíolos [ǎi̯.olos]; Modern Greek: Αίολος [ˈe.olos] ; lit. 'quick-moving, nimble') was a son of Poseidon by Arne, daughter of Aeolus (son of Hellen). He had a twin brother named Boeotus.

The Praetorians Relief is a Roman marble relief dated to c. 51–52 AD from the Arch of Claudius in Rome, now housed in the Louvre-Lens.

It depicts three soldiers in high relief in the foreground, while two others in the background, accompanied by a standard bearer, are made in bas-relief. The standard-bearer holds an aquila standard, where the eagle grasps a thunderbolt in its talons. The soldiers have been identified as Praetorians due to the richness of the apparel, particularly the helmets, the ceremonial dress and oval shields. The figures are wearing calcei and not caligae, worn by ordinary soldiers. However, according to Boris Rankov, "the Attic-style helmets are almost certainly an artistic convention". Rankov suggests that "early in their history the Praetorians were still using the Montefortino-style helmet normal in the legions of the Republic and early Empire".

Donato di Niccolò di Betto Bardi (c. 1386 – 13 December 1466), known mononymously as Donatello (English: /ˌdɒnəˈtɛloʊ/; Italian: [donaˈtɛllo]), was an Italian sculptor of the Renaissance period. Born in Florence, he studied classical sculpture and used his knowledge to develop an Early Renaissance style of sculpture. He spent time in other cities, where he worked on commissions and taught others; his periods in Rome, Padua, and Siena introduced to other parts of Italy the techniques he had developed in the course of a long and productive career. His David was the first freestanding nude male sculpture since antiquity; like much of his work, it was commissioned by the Medici family.

He worked with stone, bronze, wood, clay, stucco, and wax, and used glass in inventive ways. He had several assistants, with four perhaps being a typical number. Although his best-known works are mostly statues executed in the round, he developed a new, very shallow, type of bas-relief for small works, and a good deal of his output was architectural reliefs for pulpits, altars and tombs, as well as Madonna and Childs for homes.

In architecture, patera (pl. paterae) is an ornamental circular or elliptical bas-relief disc. The patera is usually used to decorate friezes and walls, and to interrupt moldings. Patera is also used in furniture-making. It can be carved, incised, inlaid, or even painted.

The Exaltation of the Flower (L'Exaltation de la Fleur) is the modern title given to an early Classical Greek marble fragment of a funerary stele from the 5th century BCE. It was discovered in 1861 by Léon Heuzey and Honoré Daumet at a church in Farsala, Thessaly, Greece. Carved in bas-relief in the severe style, the extant upper fragment of the marble relief stele depicts two women holding what appear to be flowers or other objects. The work is held by the Louvre museum in the Department of Greek, Etruscan, and Roman Antiquities (inv. Ma 701).

The so-called Mourning Athena (or Greek: Σκεπτομένη Αθηνά "Pensive Athena") is an Athenian marble relief dated circa 460 BC which depicts Athena, the Greek goddess of wisdom and warfare and patron-deity of the city of Athens. The relief is 0.48 m high and made of Parian marble. Today it is displayed at the Acropolis Museum in Athens, with inventory no. 695.

Richard Coeur de Lion is a Grade II listed equestrian statue of the 12th-century English monarch Richard I, also known as Richard the Lionheart, who reigned from 1189 to 1199. It stands on a granite pedestal in Old Palace Yard outside the Palace of Westminster in London, facing south towards the entrance to the House of Lords. It was created by Baron Carlo Marochetti, an Italian sculptor whose works were popular with European royalty and the nobility, though often less well regarded by critics and the artistic establishment. The statue was first produced in clay and displayed at The Great Exhibition in 1851, where it was located outside the west entrance to the Crystal Palace. It was well received at the time and two years later Queen Victoria and Prince Albert headed a list of illustrious subscribers to a fund that aimed to raise money for the casting of the statue in bronze.

Although the money was duly raised and the bronze cast of the statue was finally completed in 1856, a lengthy dispute delayed its installation for several years. The original idea had been to erect the statue as a memorial to the Great Exhibition. This prompted opposition, as did proposals to place it outside Charles Barry's newly completed Palace of Westminster. Various other locations to display the statue were initially considered before agreement was reached that it would be placed in Old Palace Yard, Marochetti's preferred location. It was installed in October 1860, though it was not until March 1867 that it was finally completed with the addition of bronze bas-reliefs on either side of the pedestal.

Palenque (Spanish pronunciation: [pa'leŋke]; Yucatec Maya: Bàakʼ [ɓaːkʼ]), also anciently known in the Itza Language as Lakamha ("big water" or "big waters"), was a Maya city-state in southern Mexico that perished in the 8th century. The Palenque ruins date from ca. 226 BC to ca. 799 AD. After its decline, it was overgrown by the jungle of cedar, mahogany, and sapodilla trees, but has since been excavated and restored. It is located near the Usumacinta River in the Mexican state of Chiapas, about 130 km (81 mi) south of Ciudad del Carmen, 150 meters (490 ft) above sea level. It is adjacent to the modern town of Palenque, Chiapas. It averages a humid 26 °C (79 °F) with roughly 2,160 millimeters (85 in) of rain a year.

Palenque is a medium-sized site, smaller than Tikal, Chichen Itza, or Copán, but it contains some of the finest architecture, sculpture, roof comb and bas-relief carvings that the Mayas produced. Much of the history of Palenque has been reconstructed from reading the hieroglyphic inscriptions on the many monuments; historians now have a long sequence of the ruling dynasty of Palenque in the 5th century and extensive knowledge of the city-state's rivalry with other states such as Calakmul and Toniná. The most famous ruler of Palenque was Kʼinich Janaabʼ Pakal, or Pacal the Great, whose tomb has been found and excavated in the Temple of the Inscriptions. By 2005, the discovered area covered up to 2.5 km (0.97 sq mi), but it is estimated that less than 10% of the total area of the city is explored, leaving more than a thousand structures still covered by jungle. Palenque received 920,470 visitors in 2017.

In classical architecture, the term attic refers to a storey or a parapet above the cornice of a classical façade. The decoration of the topmost part of a building was particularly important in ancient Greek architecture and this came to be seen as typifying the Attica style, the earliest example known being that of the monument of Thrasyllus in Athens.

It was largely employed in Ancient Rome, where their triumphal arches utilized it for inscriptions or for bas-relief sculpture. It was used also to increase the height of enclosure walls such as those of the Forum of Nerva. By the Italian revivalists it was utilized as a complete storey, pierced with windows, as found in Andrea Palladio's work in Vicenza and in Greenwich Hospital, London. One well-known large attic surmounts the entablature of St. Peter's Basilica, which measures 12 metres (39 ft) in height.

The Venus of Laussel is an 18.11-inch-high (46.0-centimetre) limestone bas-relief of a nude woman. It is painted with red ochre and was carved into the limestone of a rock shelter (Abri de Laussel) in the commune of Marquay, in the Dordogne department of south-western France. The carving is associated with the Gravettian Upper Paleolithic culture (approximately 25,000 years old). It is currently displayed in the Musée d'Aquitaine in Bordeaux, France.

The Fitzwilliam Museum is the art and antiquities museum of the University of Cambridge. It is located on Trumpington Street opposite Fitzwilliam Street in central Cambridge. It was founded in 1816 under the will of Richard FitzWilliam, 7th Viscount FitzWilliam (1745–1816), and comprises one of the best collections of antiquities and modern art in western Europe. With over half a million objects and artworks in its collections, the displays in the museum explore world history and art from antiquity to the present. The treasures of the museum include artworks by Monet, Picasso, Rubens, Vincent van Gogh, Renoir, Rembrandt, Cézanne, Van Dyck, and Canaletto, as well as a winged bas-relief from Nimrud. Admission to the public is always free.

The museum is a partner in the University of Cambridge Museums consortium, one of 16 Major Partner Museum services funded by Arts Council England to lead the development of the museums sector.

36°21′24.5″N 29°19′4.7″E / 36.356806°N 29.317972°E / 36.356806; 29.317972

The Harpy Tomb is a marble chamber from a pillar tomb that stands in the abandoned city of Xanthos, capital of ancient Lycia, a region of southwestern Anatolia in what is now Turkey. Built in the Persian Achaemenid Empire, and dating to approximately 480–470 BC, the chamber topped a tall pillar and was decorated with marble panels carved in bas-relief. The tomb was built for an Iranian prince or governor of Xanthus, perhaps Kybernis.

The mušḫuššu (𒈲𒍽; formerly also read as sirrušu or sirrush) or mushkhushshu (Akkadian pronunciation: [muʃˈχuʃ.ʃum]) is a creature from ancient Mesopotamian mythology. A mythological hybrid, it is a scaly animal with hind legs resembling the talons of an eagle, lion-like forelimbs, a long neck and tail, two horns on its head, a snake-like tongue, and a crest. The mušḫuššu most famously appears on the Ishtar Gate of the city of Babylon, dating to the sixth century BCE.

The form mušḫuššu is the Akkadian nominative of Sumerian: 𒈲𒍽 MUŠ.ḪUŠ, 'reddish snake', sometimes also translated as 'fierce snake'. One author, possibly following others, translates it as 'splendour serpent' (𒈲 MUŠ is the Sumerian term for 'serpent'). The older reading sir-ruššu is due to a mistransliteration of the cuneiform in early Assyriology and was often used as a placeholder before the actual reading was discovered.