It is a standing source of astonishment and amusement to visitors that the British Museum has so few British things in it: that it is a museum about the world as seen from Britain rather than a history focused on these islands.
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The Louvre stopped buying paintings in 1848, and neither the Metropolitan nor the Hermitage acquire contemporary material.
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Objects let you tell a narrative that encompasses everybody. Texts don't.
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The things we make have one supreme quality - they live longer than us. We perish, they survive; we have one life, they have many lives, and in each life they can mean different things. Which means that, while we all have one biography, they have many.
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Creation stories, so central in the religions of the Middle East, play a surprisingly marginal part in Greek myth. The Greeks had nothing to set alongside the resounding 'In the beginning' in the book of Genesis, where one eternal God creates the universe out of nothing.
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Google the name Prometheus, and see how often it has been given to innovations in many different fields, notably science, medicine and space exploration. The fire he stole can be seen, too, as the spark generating all artistic creativity.
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The focus in the Western pictorial tradition is on the body of Christ, the bit you can paint, the Nativity and the infancy, but above all the Passion, where you can find images for every stage and every moment.
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Saddam Hussein was fascinated by ancient Babylon and Assyria. He made money available to protect and develop the great archaeological sites. The great achievements of Mesopotamian civilisation were pressed into the service of the Ba'athist regime.
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I feel I understand now why, whenever there are revolutions, Shakespeare is what people turn to. Because whenever a society is on the cusp, about to become something else, they find themselves in Shakespeare.