Musée du Louvre in the context of "Louvre Palace"

Act 5, Scene 1, better known as the sleepwalking scene, is a critically celebrated scene from William Shakespeare's tragedy Macbeth (1606). It deals with the guilt and madness experienced by Lady Macbeth, one of the main themes of the play.

Carrying a taper (candlestick), Lady Macbeth enters sleepwalking. The Doctor and the Gentlewoman stand aside to observe. The Doctor asks how Lady Macbeth came to have the light. The Gentlewoman replies she has ordered a light be beside her at all times (she is now afraid of the dark, having committed her crimes under its cover). Lady Macbeth rubs her hands in a washing motion. With anguish, she recalls the deaths of King Duncan, Lady Macduff, and Banquo, then leaves. The Gentlewoman and the bewildered Doctor exeunt, realizing these are the symptoms of a guilt-ridden mind. The Doctor feels Lady Macbeth is beyond his help, saying she has more need of "the divine than the physician". He orders the Gentlewoman to remove from Lady Macbeth the "means of all annoyance", anticipating she might commit suicide. Despite his warning, the audience is informed in Act 5, Scene 5, that Lady Macbeth has managed to commit suicide off-stage.

The Venus de Milo or Aphrodite of Melos is an ancient Greek marble sculpture that was created during the Hellenistic period. Its exact dating is uncertain, but the modern consensus places it in the 2nd century BC, perhaps between 160 and 110 BC. It was discovered in 1820 on the island of Milos, Greece, and has been displayed at the Louvre Museum since 1821. Since the statue's discovery, it has become one of the most famous works of ancient Greek sculpture in the world.

The Venus de Milo is believed to depict Aphrodite, the Greek goddess of love, whose Roman counterpart was Venus. Made of Parian marble, the statue is larger than life size, standing over 2 metres (6 ft 7 in) high. The statue is missing both arms. The original position of these missing arms is uncertain. The sculpture was originally identified as depicting Aphrodite holding the apple of discord as a marble hand holding an apple was found alongside it; recent scientific analysis supports the identification of this hand as part of the sculpture. On the basis of a now-lost inscription found near the sculpture, it has been attributed to Alexandros from Antioch on the Maeander, though the name on the inscription is uncertain and its connection to the Venus is disputed.

The Stele of the Vultures is a monument from the Early Dynastic IIIb period (2600–2350 BC) in Mesopotamia celebrating a victory of the city-state of Lagash over its neighbour Umma. It shows various battle and religious scenes and is named after the vultures that can be seen in one of these scenes. The stele was originally carved out of a single slab of limestone, but only seven fragments are known to have survived up to the present day. The fragments were found at Tello (ancient Girsu) in southern Iraq in the 1880s and are now on display in the Louvre. The stele was erected as a monument to the victory of king Eannatum of Lagash over Ush, king of Umma. It is the earliest known war monument.

The Braque Triptych (or the Braque Family Triptych) is a c. 1452 oil-on-oak altarpiece by the Early Netherlandish painter Rogier van der Weyden. When open, its three half-length panels reveal, from left to right, John the Baptist, The Virgin Mary with Jesus and Saint John the Evangelist, and Mary Magdalene. When the wings are closed, the work shows a vanitas motif of a skull and cross.

The Braque Triptych is the only surviving devotional work by van der Weyden known to be painted for private rather than public display. The altarpiece was probably commissioned by either Jehan Braque of Tournai or, more likely, his wife Catherine de Brabant – possibly after Jehan's sudden and early death in 1452. The couple had been married for only a brief period. Catherine was much younger than her husband; when they married in 1450 or early 1451, she was 20 and some 12 or 13 years his junior. She evidently held a deep and lasting affection for him. When she died, almost 50 years after him, she had asked to be buried alongside him, despite remarrying years earlier.

In ancient Greek religion, kriophoros (Greek: κριοφόρος) or criophorus, the "ram-bearer," is a figure of Hermes that commemorates the solemn sacrifice of a ram; thus, one of the god's epithets is Hermes Kriophoros.

The corpus of texts written in the Hittite language consists of more than 30,000 tablets or fragments that have been excavated from the royal archives of the capital of the Hittite Kingdom, Hattusa, close to the modern Turkish town of Boğazkale or Boğazköy. While Hattusa has yielded the majority of tablets, other sites where they have been found include: Maşat Höyük, Ortaköy, Kuşaklı or Kayalıpınar in Turkey, Alalakh, Ugarit and Emar in Syria, Amarna in Egypt.

The tablets are mostly conserved in the Turkish museums of Ankara, Istanbul, Boğazkale and Çorum (Ortaköy) as well as in international museums such as the Pergamonmuseum in Berlin, the British Museum in London and the Musée du Louvre in Paris.

Phryne (Ancient Greek: Φρύνη, before 370 – after 316 BC) was an ancient Greek hetaira (courtesan). Born Mnesarete, she was from Thespiae in Boeotia, but seems to have lived most of her life in Athens. She apparently grew up poor, but became one of the richest women in Greece.

Phryne is best known for her trial for impiety, in which she was defended by the orator Hypereides. According to legend, she was acquitted after baring her breasts to the jury, though the historical accuracy of this episode is doubtful. She also modeled for the artists Apelles and Praxiteles: the Aphrodite of Knidos was said to have been based on her. Phryne was largely ignored during the Renaissance, but artistic interest in her began to grow from the end of the eighteenth century. Her trial was depicted by Jean-Léon Gérôme in the 1861 painting Phryne Before the Areopagus, which influenced many subsequent depictions of her, and according to Laura McClure made her an "international cultural icon". As well as her depiction in visual arts, since the nineteenth century she has also appeared in literature, theatre, and on film.

Hubert Drouais (French: [ybɛʁ dʁwɛ]; 5 May 1699 – 9 February 1767) was a French painter, portraitist and miniaturist.

Drouais was born in Pont-Audemer in the Province of Normandy, the son of Anne Talon and the painter Jean Drouais. Hubert followed in his father’s footsteps and received his first lessons from him before leaving for Rouen to further his skills. He then decided to make it to Paris, although he was so poor that, unable to afford the cost of the trip, he had to work his way on the road to his destination.

The Death of Sardanapalus (La Mort de Sardanapale) is an 1827 oil painting on canvas by the French artist Eugène Delacroix, now in the Musée du Louvre, Paris. A smaller replica he made in 1844 is in the Philadelphia Museum of Art. It is a work of Romanticism based on the tale of Sardanapalus, a king of Assyria, from Greek historian Diodorus Siculus's library. It uses rich, vivid and warm colours and broad brushstrokes, was inspired by Lord Byron's play Sardanapalus (1821) and inspired a Hector Berlioz cantata, Sardanapale (1830), and an unfinished Franz Liszt opera, Sardanapalo (1845–1852).