This 1835 watercolor by John Constable depicts the Stonehenge monument in Salisbury Plain, England. Note the tall standing stones in the center of the work, an excellent example of post and lintel.
Stonehenge at Sunset, after John Constable, 1776–1837, British, unknown artist, 1836, From the collection of: Yale Center for British Art
This 1836 oil-on-paper-on-board painting by John Constable depicts Stonehenge in its greater environment. Note how the standing stones are sharply contrasted with the sky, forming a skyline silhouette.
From the storerooms of the great temple ziggurat in Chogha Zanbil, Iran. The exact use of this earthenware object is unclear, but is is thought to have had some architectural purpose. With inscription.
One of the best-known works of Babylonian architecture. This is the inner gate of the city and features reliefs of different animals symbolic of various gods. The gate is coated in lapis lazuli.
Created from gyspsum alabaster, this is a stone representation of a mythical creature that protected Assyrian leaders. These were placed on either side of the entrance to the palace to inspire awe.
The Sphinx, the Great Pyramid and two lesser Pyramids, Ghizeh, Egypt, Francis Bedford, 1862, From the collection of: Royal Collection Trust, UK
This 1862 photograph by Francis Bedford depicts the Sphinx and Great Pyramids of Giza in Egypt. This picture shows the landmarks in relatively stable condition, as they were when built, though decay is apparent.
The Great Temple of Amon Karnak, The Hypostyle Hall, David Roberts, 1796–1864, British, 1838, From the collection of: Yale Center for British Art
A depiction of the Hypostyle Hall in the Temple of Amon Karnak, which is famous for its columns. "Watercolor and gouache with scratching out and graphite on moderately thick, slightly textured, beige wove paper"
Temple Relief with Royal Marines, Unknown, New Kingdom, Dynasty 18, reign of Hatshepsut, ca. 1470 - 1460 B.C., From the collection of: Cincinnati Art Museum
The wall relief comes from the mortuary temple of Hatshepsut, the first female leader of Egypt. It depicts two sailors of the Royal Egyptian Navy. When placed with the rest of the wall, they lead a procession.
This lithograph print provides an excellent view of the entire Lion Gate in the context of its larger environment. The humans in the print provide a scale by which the size of the gate can be measured.
This watercolor shows the Temple of Athena Nike in 1877, just after Greece had freed itself from the Ottoman Empire. Note the Ionic Columns and the people loitering around the temple, they can be used as scale.
This 1864 plaster cast of Trajan's column in Rome captures the essence of the original quite well. The spiral registers of the column contain relief which depict Trajan's victories and glories.
Scale model of the Flavian Amphitheatre (Colosseum), Italo Gismondi, 1900/1950, From the collection of: Museo della Civiltà Romana
This scale model of the Flavian Amphitheatre (Colosseum) shows it as a complete structure, with poles mounted on top to afix the sunshade. Note the different orders on different levels and concrete construction.
This 1906 oil on canvas shows some architectural aspects of the Hagia Sophia. Note the domes and geometric designs of Islamic art, the building was originally a mosque. Byzantine blending of East and West.
This piece of illuminated manuscript depicts St. Michael, the patron saint of St. Michael’s of Hildesheim Church in Germany, fighting demons as part of the battle predicted in the book of Revelations.
Durham Cathedral and Castle, Thomas Girtin (British, 1775 - 1802), about 1800, From the collection of: The J. Paul Getty Museum
This Watercolor over pencil heightened with gum arabic was created in 1800. The work depicts the Durham Cathedral in England, which was designed to double as a fortress. The Cathedral is a masterpiece of Romanequse design.
The Quai Saint-Michel and Notre-Dame, Maximilien Luce, 1901, From the collection of: Musée d’Orsay, Paris
This oil on canvas pictures the famous Notre-Dame Cathedral in Paris. Note the Gothic design points and the enormity of the cathedral, as manifested by the way it dwarfs the people standing before it.