Walters Art Museum in the context of "Strigil"

In ancient Greek religion and mythology, the twelve Olympians are the major deities of the Greek pantheon, commonly considered to be Zeus, Poseidon, Hera, Demeter, Aphrodite, Athena, Artemis, Apollo, Ares, Hephaestus, Hermes, and either Hestia or Dionysus. They were called Olympians because, according to tradition, they resided on Mount Olympus.

Besides the twelve Olympians, there were many other cultic groupings of twelve gods.

The Christianization of Iberia (Georgian: ქართლის გაქრისტიანება, romanized: kartlis gakrist'ianeba) refers to the spread of Christianity in the early 4th century as a result of the preaching of Saint Nino in the ancient Georgian kingdom of Kartli, known as Iberia in classical antiquity. The then-pagan king of Iberia Mirian III declared Christianity to be the kingdom's state religion. According to Roman historian Sozomen, this led the king's "large and warlike barbarian nation to confess Christ and renounce the religion of their fathers", as the polytheistic Georgians had long-established anthropomorphic idols, known as the "Gods of Kartli". The king would become the main sponsor, architect, initiator and an organizing power of all building processes.

Per Socrates of Constantinople, the "Iberians first embraced the Christian faith" alongside the Abyssinians, present day Ethiopians but the exact date of the event is still debated. The kings of Georgia and Armenia were among the first monarchs anywhere in the world to convert to the Christian faith. Prior to the escalation of the Armeno-Georgian ecclesiastical rivalry and the Christological controversies, their Caucasian Christianity was extraordinarily inclusive, pluralistic and flexible that only saw the rigid ecclesiological hierarchies established much later, particularly as "national" churches crystallised from the 6th century. Despite the tremendous diversity of the region, the Christianization process was a pan-regional and a cross-cultural phenomenon in the Caucasus, Eurasia's most energetic and cosmopolitan zones throughout the late antiquity, hard enough to place Georgians and Armenians unequivocally within any one major civilization.

Roman glass objects have been recovered across the Roman Empire in domestic, industrial and funerary contexts. Glass was used primarily for the production of vessels, although mosaic tiles and window glass were also produced. Roman glass production developed from Hellenistic technical traditions, initially concentrating on the production of intensely coloured cast glass vessels.

However, during the 1st century AD the industry underwent rapid technical growth that saw the introduction of glass blowing and the dominance of colourless or 'aqua' glasses. Production of raw glass was undertaken in geographically separate locations to the working of glass into finished vessels, and by the end of the 1st century AD large scale manufacturing resulted in the establishment of glass as a commonly available material in the Roman world, and one which also had technically very difficult specialized types of luxury glass, which must have been very expensive, and competed with silver and gold as elite tableware.

Etruscan art was produced by the Etruscan civilization in central Italy between the 10th and 1st centuries BC. From around 750 BC it was heavily influenced by Greek art, which was imported by the Etruscans, but always retained distinct characteristics. Particularly strong in this tradition were figurative sculpture in terracotta (especially life-size on sarcophagi or temples), wall-painting and metalworking especially in bronze. Jewellery and engraved gems of high quality were produced.

Etruscan sculpture in cast bronze was famous and widely exported, but relatively few large examples have survived (the material was too valuable, and recycled later). In contrast to terracotta and bronze, there was relatively little Etruscan sculpture in stone, despite the Etruscans controlling fine sources of marble, including Carrara marble, which seems not to have been exploited until the Romans.

The Roman Breviary (Latin: Breviarium Romanum) is a breviary of the Roman Rite in the Catholic Church. A liturgical book, it contains public or canonical prayers, hymns, the Psalms, readings, and notations for everyday use, especially by bishops, priests, and deacons in the Divine Office (i.e., at the canonical hours, the Christians' daily prayer).

The volume containing the daily hours of Catholic prayer was published as the Breviarium Romanum (Roman Breviary) from its editio princeps in 1568 under Pope Pius V until the reforms of Paul VI (1974), when replaced by the Liturgy of the Hours.

A zemi or cemi (Taíno: semi [sɛmi]) was a deity or ancestral spirit, and a sculptural object housing the spirit, among the Taíno people of the Caribbean. Cemi’no or Zemi’no is a plural word for the spirits.

A kantharos (/ˈkænθəˌrɒs/; Ancient Greek: κάνθαρος) or cantharus (/ˈkænθərəs/) is a type of ancient Greek cup used for drinking. Although almost all surviving examples are in Greek pottery, the shape, like many Greek vessel types, probably originates in metalwork. In its iconic "Type A" form, it is characterized by its deep bowl, tall pedestal foot, and pair of high-swung handles which extend above the lip of the pot. The Greek words kotylos (κότῦλος, masculine) and kotyle (κοτύλη, feminine) are other ancient names for this same shape.

The kantharos is a cup used to hold wine, probably both for drinking and for ritual use in libations and offerings. The kantharos seems to be an attribute of Dionysus, the god of wine, who was associated with vegetation and fertility.

In Byzantine art, and in later Eastern Orthodox iconography generally, the Deësis or Deisis (/deɪˈiːsɪs/, day-EE-siss; Greek: δέησις, "prayer" or "supplication") is a traditional iconic representation of Christ in Majesty or Christ Pantocrator: enthroned, carrying a book, and flanked by the Virgin Mary and St. John the Baptist, and sometimes other saints and angels. Mary and John, and any other figures, are shown facing towards Christ with their hands raised in supplication on behalf of humanity.

Early examples often appeared on the templon beam in Orthodox churches or above doors, though icons and devotional ivories also feature the Deesis.