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This is a God Page.

This is most certainly an encyclopedia article. Anything on this page is fact. If you find this page on any site other than this, you are a God. Beware that the page may eat your child (however godlike he/she/it may be) and that the God to whom this page belongs may have no personal affiliation with any humans anymore. The original page is located after that left turn before Saint Peter.

The Queen of the Night, 19th-18th cent. BCE, Isin-Larsa period, Terracotta, British Museum. The figure was initially identified as a depiction of the goddess Ishtar (Inanna), but arguments that it depicts Lilitu or Ereshkigal have also been made. The frontal presentation of the deity is appropriate for a plaque of worship, since it is not just a "pictorial reference to a goddess" but "a symbol of her presence.(Frankfort 1937). Moreover, examples of this motif are the only existing instances of a nude goddess (or god) in ancient Mesopotamia; all other representations of gods are clothed.(cf. Ornan 2005, Fig. 1–220).
Seal of Inanna, circa 2350-2150 BCE, Akkadian Empire, Cylinder seal. This ancient Akkadian cylinder seal depicts the goddess Inanna resting her foot on the back of a lion while her sukkal (divine attendant) Ninshubur stands in front of her paying obeisance. She is equipped with weapons on her back, has a horned helmet, and is trampling a lion held on a leash.
The Goddess Isis, circa 1380-1335 BCE, New Kingdom Egypt, Painted mural, Karnak Temple Complex. This painting of Isis is in the tomb of Seti I in the Valley of the Kings (KV17).
Astarte, circa 7th century CE, Bronze, Archeological Museum of Seville. Phoenician statuette figurine of ʿAštart from El Carambolo in Spain.
John Collier (painter), Lilith, 1892, Oil on canvas, Atkinson Art Gallery and Library. "An omnipotent Deity who sentences even the vilest of his creatures to eternal torture is infinitely more cruel than the cruellest man." ~John Collier (Collier, J. 1926, The Religion of an Artist, London, UK: Watts)
Édouard Manet, Olympia, 1863–65, Oil on canvas, Musée d'Orsay. Olympia's confrontational gaze caused great controversy when the painting was first exhibited at the 1865 Paris Salon, especially as a number of details identified her as a demi-mondaine, or courtesan. These include the fact that the name "Olympia" was associated with prostitutes in 1860s Paris. Conservatives condemned the work as "immoral" and "vulgar".
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