Furniture plaque carved in relief with a falcon-headed figure ca. 9th–8th century Assyrian Carved in high relief, this rectangular, framed plaque depicts a falcon-headed figure in profile raising one arm with an open palm and holding the long, curving stalk of a voluted palmette flower in the hand of its other, lowered arm. It was found in a storeroom at Fort Shalmaneser, a royal building at Nimrud that was probably used to store tribute and booty collected by the Assyrians while on military campaign. Like two other plaques found in the same room, this piece is inscribed in the raised squ

Furniture plaque carved in relief with a falcon-headed figure ca. 9th–8th century Assyrian Carved in high relief, this rectangular, framed plaque depicts a falcon-headed figure in profile raising one arm with an open palm and holding the long, curving stalk of a voluted palmette flower in the hand of its other, lowered arm. It was found in a storeroom at Fort Shalmaneser, a royal building at Nimrud that was probably used to store tribute and booty collected by the Assyrians while on military campaign. Like two other plaques found in the same room, this piece is inscribed in the raised square of the upper left corner with Egyptian hieroglyphs that read "She who is beautiful." Iconographic elements drawn from Egyptian art including the solar disc crown, wesekh broad collar, and a pleated and fringed, long-sleeved shawl and shendyt (cloth kilt), frequently appear on Phoenician style ivories such as this piece. In Egyptian art, the motif of a falcon-headed figure crowned by a solar disc represents Harakhty, an aspect of Egyptian sky god Horus associated with the rising sun. The West Semitic letter Heth is inscribed into the upper edge of the ivory. Known as a fitter’s mark, it would have served as a guide to aid the craftsperson in the piece-by-piece assembly of the piece of furniture to which this plaque originally belonged. An adhesive probably aided the attachment of the ivory to a wooden furniture frame. The reverse has been roughened, probably to help the glue join the surface of the plaque to the by the Assyrian king Ashurnasirpal II, the palaces and storerooms of Nimrud housed thousands of pieces of carved ivory. Most of the ivories served as furniture inlays or small precious objects such as boxes. While some of them were carved in the same style as the large Assyrian reliefs lining the walls of the Northwest Palace, the majority of the ivories display images and styles related to the arts of North Syria and the Phoenician city-states. Phoen

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