Votive in the context of "Acropolis Museum"

Greek temples (Ancient Greek: ναός, romanized: nāós, lit. 'dwelling', semantically distinct from Latin templum, "temple") were structures built to house deity statues within Greek sanctuaries in ancient Greek religion. The temple interiors did not serve as meeting places, since the sacrifices and rituals dedicated to the deity took place outside them, within the wider precinct of the sanctuary, which might be large. Temples were frequently used to store votive offerings. They are the most important and most widespread surviving building type in Greek architecture. In the Hellenistic kingdoms of Southwest Asia and of North Africa, buildings erected to fulfill the functions of a temple often continued to follow the local traditions. Even where a Greek influence is visible, such structures are not normally considered as Greek temples. This applies, for example, to the Graeco-Parthian and Bactrian temples, or to the Ptolemaic examples, which follow Egyptian tradition. Most Greek temples were oriented astronomically.

Between the 9th century BC and the 6th century BC, the ancient Greek temples developed from the small mud brick structures into double-porched monumental "peripteral" buildings with colonnade on all sides, often reaching more than 20 metres in height (not including the roof). Stylistically, they were governed by the regionally specific architectural orders. Whereas the distinction was originally between the Doric and Ionic orders, a third alternative arose in late 3rd century with the Corinthian order. A multitude of different ground plans were developed, each of which could be combined with the superstructure in the different orders. Temples would be destroyed due to warfare in the Greek World or from lack of repairs. Some of these temples such as the temple of Poseidon Soter (The Savior) would be rebuilt outside of Athens after the defeat of the Persian Empire in 449. From the 3rd century onward, the construction of large temples became less common; after a short 2nd century BC flourish, it ceased nearly entirely in the 1st century BC. Thereafter, only smaller structures were started, while older temples continued to be renovated or brought to completion if in an unfinished state.

Intercession or intercessory prayer is the act of praying on behalf of others, or asking a saint in heaven to pray on behalf of oneself or for others.

The Apostle Paul's exhortation to Timothy specified that intercession prayers should be made for all people.

The Tanagra figurines are a mold-cast type of Greek terracotta figurines produced from the later fourth century BC, named after the Boeotian town of Tanagra, where many were excavated and which has given its name to the whole class. However, they were produced in many cities. They were coated with a liquid white slip before firing and were sometimes painted afterward in naturalistic tints with watercolors, such as the famous "Dame en Bleu" ("Lady in Blue") at the Louvre. They were widely exported around the ancient Greek world. Such figures were made in many other Mediterranean sites, including Alexandria, Tarentum in Magna Graecia, Centuripe in Sicily and Myrina in Mysia.

Although not portraits, Tanagra figures depict real women—and some men and boys—in elegant but everyday costume, with familiar accessories like hats, wreaths or fans. Some character pieces may have represented stock figures from the New Comedy of Menander and other writers. Others continued an earlier tradition of molded terracotta figures used as cult images or votive objects. Typically they are about 10 to 20 centimetres high.

A retablo is a devotional painting, especially a small popular or folk art one using iconography derived from traditional Catholic church art. More generally retablo is also the Spanish term for a retable or reredos above an altar, whether a large altarpiece painting or an elaborate wooden structure with sculptures. Typically this includes painting, sculpture, or a combination of the two, and an elaborate framework enclosing it. The Latin etymology of the Spanish word means "board behind". Aside from being found behind the altar, "similar ornamental structures are built and carved over facades and doorways", called overdoors.

Small retablos are devotional or votive paintings, often on rectangular sheets of tin that illustrate holy images such as Christ, the Virgin Mother, or one of the hundreds of saints. Many are ex-votos ("from a vow") that depict the story that led to their commission, usually dangerous or threatening events that occurred, and which the person survived, thanks to the intercession of a sacred person – God, Mary, or a saint. They are made as a way of thanking the sacred person for protection in precarious situations, such as surviving an illness or earthquake. This class of ex-votos often shows the protected humans in a dangerous situation, and the sacred person who protected them, usually with an inscribed explanation of the events, with the date and location. Both devotional and especially ex-voto retablos may be deposited at a shrine as a votive offering, or kept at home.

Sacred caves and peak sanctuaries are characteristic holy places of ancient Minoan Crete. Most scholars agree that sacred caves were used by the Minoans for religious rites, and some for burial. While all peak sanctuaries have clay human figurines, only Idaeon, Trapeza and Psychro have them among the sacred caves. Clay body parts, also called votive body parts, common among peak sanctuaries, appear in no caves with the exception of a bronze leg in Psychro.

One author, Tyree (1974), restricts "sacred caves" to those with architectural additions such as "paved areas, partition walls, and low walls surrounding stalagmites", as well as the presence (upon excavation) of "cult implements" of various kinds.

Reitia (Venetic: 𐌓𐌄:𐌉:𐌕𐌉:𐌀) was a goddess, one of the best known deities of the Adriatic Veneti of northeastern Italy.

While her place in the Venetic pantheon cannot be known for certain, the importance of her cult to Venetic society is well attested in archaeological finds. A large body of votive offerings on pottery and metal objects has been found at a Venetic shrine in Baratella, near Este. In Venetic, she is given the epithets Śahnate "the Healer" and Pora "the good and kind."

The Analatos Painter was an Attic vase painter of the Early Proto-Attic style.

The name of the Analatos Painter is derived from the central Attic area of Analatos (today Nea Smyrni), where several of his works have been excavated. His name vase is a hydria. His period of activity is estimated to be similar to that of the Mesogeia Painter, between c. 700 and 675 BC. It is possible that the Analatos Painter was also a potter.