• Jånos Xantus Museum - The Abbott's House - 5 Szechenyi Square - Baroque with Rocco Style protruding Balcony - ( Gy?r )  Gyor Hungary
  • Jånos Xantus Museum - The Abbott's House - 5 Szechenyi Square - Baroque with Rocco Style protruding Balcony - ( Gy?r )  Gyor Hungary
  • Jånos Xantus Museum - The Abbott's House - 5 Szechenyi Square - Baroque with Rocco Style protruding Balcony - ( Gy?r )  Gyor Hungary
  • Jånos Xantus Museum - The Abbott's House - 5 Szechenyi Square - Baroque with Rocco Style protruding Balcony - ( Gy?r )  Gyor Hungary
  • vegatable market with boxes of vegetables
  • Clemantines on a market stall  France
  • Clemantines on a market stall  France
  • Donut Peaches piled on top of each other against a black background
  • Donut Peaches piled on top of each other against a black background
  • Donut Peaches piled on top of each other against a black background
  • Donut Peaches piled on top of each other against a black background
  • Oriental vegetarian stir fry of vegetables, noodle and mushrooms
  • Oriental vegetarian stir fry of vegetables, noodle and mushrooms
  • Oriental vegetarian stir fry of vegetables, noodle and mushrooms
  • Oriental vegetarian stir fry of vegetables, noodle and mushrooms
  • Oriental vegetarian stir fry of vegetables, noodle and mushrooms
  • Oriental vegetarian stir fry of vegetables, noodle and mushrooms
  • Oriental vegetarian stir fry of vegetables,, pak choi, asparagus & hoisin sauce
  • Roman fresco wall decorations of  Vestibule of a Rome Villa, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy. Against a white background.<br />
<br />
A large fresco covered the curving wall of the vestibule E 5 was positioned at the entrance of the house onto the street. Vitruvius claims that the vestibulum was a room which was not needed by common people, but which was essential in a house worthy of respect, because it served to welcome guests and the people who came to be received by the owners of the house. The frescoed decoration of this wall, which was entirely detached, shows a division into panels, architectural perspectives and pavilions among which are figures and decorative elements, above a band of skirting. Numerous panels have been detached from the corridor E 3 E 11 which connected all the areas of the house, but it has not been possible to reconstruct the sequence of the walls. Inside the frames, against a white background, different decorative elements are arranged, along with hanging female and male figures, hippogriffs and other fantastical animals, vases, garlands and vegetation.
  • Gypsum, schist, shells and lapis lazuli statue of Ebih-Il, early Dynastic; Shakkanakku (military governor) of the ancient city-state of Mari in present day eastern Syria, dating from circa 2340 BC or from the Akkadian period of rule Circa 2250 BC.. The statue carries a cuneiform inscription in Akkadian. Excavated from; the temple of Ishtar at Mari by André Parrot in 1934-1935 the statue measures; 52.5 cm (20.7 in) high; 20.6 cm (8.1 in) wide and 30 cm (11.8 in) deep. Department of Oriental Antiquities; Richelieu; ground floor; room 1b; inv AO 17551; Louvre Museum; Paris
  • Red Anorak, Nancy. Series Day Tripper No 5, Selective Colour, Photographed by Paul E Williams
  • "Flowerpress no: 5 Welsh Poppy". A Polaroid lift wall art print by photographer Paul E Williams
  • " Smile No: 5". Glacier Paradise, Zermat Switzerland. Selective colour street photo art pribt by photographer Paul E Williams.
  • Blue Domes No 5 , Santorini Island Greece. A Selective Colour Art Photo Series of the blue domed churches of the Greek Islads buy Photographer Paul E Williams.
  • "Unreliable Sightings No: 5 " - Manakins with headbands, Camden Lock, London. Selective colour photo art print by photographer Paul E Williams.
  • "Day For Night No 5" - Church of Assumption of Mary Pilgrimage  in the middle of  Lake Bled Slovenia.  A black & white photo art seroes by photographer Paul E Williams.
  • "Vanishing Poiunt No: 5" - A Series of abstract nude wall art photo prints, by photographer Paul E Williams.
  • "Harghita No 5"- Fine Art abstract nude photography picture wall art prints, by photographer Paul E Williams.
  • Hot Balloons No 5 - Cappadocia Turkey. A Selective Colour series of Art Photos by photographer Paul E Williams
  • "Manakins no 5", Lake Balaton, Hungary. An abstract  street nude art photo from a art photography series by photographer Paul E Williams
  • Gothic painted Panel Virgin of the "Consellers" by Lluis Dalmau. Tempera and gold leaf on wood. Date 1443-1445. Dimesions 316 x 312.5 x 32.5 cm. From the altar of the chapel of Barcelona City Hall. <br />
The prestige attached to Burgundian courtly culture and the painter Jan van Eyck explain why in 1431 King Alfons the Magnanimous sent his official painter, the Valencian Lluís Dalmau, to Flanders, to learn the new realist language at first hand. In 1443, Dalmau was commissioned to paint this altarpiece for the chapel of the City Hall. This work was a breakthrough in Catalonia on account of the format, the technique used, as it was painted in oil, and the skilful illusionism of a figurative space in which that year's five councillors, painted from life, are represented on the same scale as the Virgin and the Saints. National Museum of Catalan Art, Barcelona, Spain, inv no: 015938-000
  • Gothic painted Panel Virgin of the "Consellers" by Lluis Dalmau. Tempera and gold leaf on wood. Date 1443-1445. Dimesions 316 x 312.5 x 32.5 cm. From the altar of the chapel of Barcelona City Hall. <br />
The prestige attached to Burgundian courtly culture and the painter Jan van Eyck explain why in 1431 King Alfons the Magnanimous sent his official painter, the Valencian Lluís Dalmau, to Flanders, to learn the new realist language at first hand. In 1443, Dalmau was commissioned to paint this altarpiece for the chapel of the City Hall. This work was a breakthrough in Catalonia on account of the format, the technique used, as it was painted in oil, and the skilful illusionism of a figurative space in which that year's five councillors, painted from life, are represented on the same scale as the Virgin and the Saints. National Museum of Catalan Art, Barcelona, Spain, inv no: 015938-000
  • Gothic painted Panel Virgin of the "Consellers" by Lluis Dalmau. Tempera and gold leaf on wood. Date 1443-1445. Dimesions 316 x 312.5 x 32.5 cm. From the altar of the chapel of Barcelona City Hall. <br />
The prestige attached to Burgundian courtly culture and the painter Jan van Eyck explain why in 1431 King Alfons the Magnanimous sent his official painter, the Valencian Lluís Dalmau, to Flanders, to learn the new realist language at first hand. In 1443, Dalmau was commissioned to paint this altarpiece for the chapel of the City Hall. This work was a breakthrough in Catalonia on account of the format, the technique used, as it was painted in oil, and the skilful illusionism of a figurative space in which that year's five councillors, painted from life, are represented on the same scale as the Virgin and the Saints. National Museum of Catalan Art, Barcelona, Spain, inv no: 015938-000
  • Gothic painted Panel Altarpiece of Saint Anthony the Abbot by Master of Rubio. Tempera and gold leaf on wood. Circa 1360-1375. Dimensions 173.5 x 176.3 x 11.5 cm.  National Museum of Catalan Art, Barcelona, Spain, inv no: 045854-CJT
  • Gothic painted Panel Altarpiece of Saint Anthony the Abbot by Master of Rubio. Tempera and gold leaf on wood. Circa 1360-1375. Dimensions 173.5 x 176.3 x 11.5 cm.  National Museum of Catalan Art, Barcelona, Spain, inv no: 045854-CJT
  • Gothic painted Panel Altarpiece of Saint Anthony the Abbot by Master of Rubio. Tempera and gold leaf on wood. Circa 1360-1375. Dimensions 173.5 x 176.3 x 11.5 cm.  National Museum of Catalan Art, Barcelona, Spain, inv no: 045854-CJT
  • Gothic painted Panel Altarpiece of Saint Anthony the Abbot by Master of Rubio. Tempera and gold leaf on wood. Circa 1360-1375. Dimensions 173.5 x 176.3 x 11.5 cm.  National Museum of Catalan Art, Barcelona, Spain, inv no: 045854-CJT
  • Gothic painted Panel Altarpiece of the Saints John by  Master of Santa Coloma de Queralt. Tempera and gold leaf on wood. Circa 1356. 220.5 x 209.8 x 11.5 cm. From the church of Sant Miquel de Tamarit de Llitera (Huesca). National Museum of Catalan Art, Barcelona, Spain, inv no: 004351-CJT
  • Gothic painted Panel Altarpiece of the Saints John by  Master of Santa Coloma de Queralt. Tempera and gold leaf on wood. Circa 1356. 220.5 x 209.8 x 11.5 cm. From the church of Sant Miquel de Tamarit de Llitera (Huesca). National Museum of Catalan Art, Barcelona, Spain, inv no: 004351-CJT
  • Gothic painted Panel Altarpiece of the Saints John by  Master of Santa Coloma de Queralt. Tempera and gold leaf on wood. Circa 1356. 220.5 x 209.8 x 11.5 cm. From the church of Sant Miquel de Tamarit de Llitera (Huesca). National Museum of Catalan Art, Barcelona, Spain, inv no: 004351-CJT
  • Gothic painted Panel Altarpiece of the Saints John by  Master of Santa Coloma de Queralt. Tempera and gold leaf on wood. Circa 1356. 220.5 x 209.8 x 11.5 cm. From the church of Sant Miquel de Tamarit de Llitera (Huesca). National Museum of Catalan Art, Barcelona, Spain, inv no: 004351-CJT
  • Gothic painted Altarpiece of Saint Peter Martyr by an anonymous Aragon artist. Tempera and varnished metal plate on wood. First third of 14th century. 196.5 x 121.5 x 10 cm. From Barbastre or the monastery of Santa María de Sigena (Villanueva de Sigena, Huesca).. National Museum of Catalan Art, inv no: 015820-000
  • Gothic painted Altarpiece of Saint Peter Martyr by an anonymous Aragon artist. Tempera and varnished metal plate on wood. First third of 14th century. 196.5 x 121.5 x 10 cm. From Barbastre or the monastery of Santa María de Sigena (Villanueva de Sigena, Huesca).. National Museum of Catalan Art, inv no: 015820-000
  • Gothic painted Altarpiece of Saint Peter Martyr by an anonymous Aragon artist. Tempera and varnished metal plate on wood. First third of 14th century. 196.5 x 121.5 x 10 cm. From Barbastre or the monastery of Santa María de Sigena (Villanueva de Sigena, Huesca).. National Museum of Catalan Art, inv no: 015820-000
  • Gothic painted Altarpiece of Saint Peter Martyr by an anonymous Aragon artist. Tempera and varnished metal plate on wood. First third of 14th century. 196.5 x 121.5 x 10 cm. From Barbastre or the monastery of Santa María de Sigena (Villanueva de Sigena, Huesca).. National Museum of Catalan Art, inv no: 015820-000
  • Gothic painted Panel Altarpiece of Saint Anthony the Abbot by Master of Rubio. Tempera and gold leaf on wood. Circa 1360-1375. Dimensions 173.5 x 176.3 x 11.5 cm.  National Museum of Catalan Art, Barcelona, Spain, inv no: 045854-CJT
  • Gothic painted Panel Altarpiece of Saint Anthony the Abbot by Master of Rubio. Tempera and gold leaf on wood. Circa 1360-1375. Dimensions 173.5 x 176.3 x 11.5 cm.  National Museum of Catalan Art, Barcelona, Spain, inv no: 045854-CJT
  • Gothic painted Panel Altarpiece of Saint Anthony the Abbot by Master of Rubio. Tempera and gold leaf on wood. Circa 1360-1375. Dimensions 173.5 x 176.3 x 11.5 cm.  National Museum of Catalan Art, Barcelona, Spain, inv no: 045854-CJT
  • Gothic painted Panel Altarpiece of the Saints John by  Master of Santa Coloma de Queralt. Tempera and gold leaf on wood. Circa 1356. 220.5 x 209.8 x 11.5 cm. From the church of Sant Miquel de Tamarit de Llitera (Huesca). National Museum of Catalan Art, Barcelona, Spain, inv no: 004351-CJT
  • Gothic painted Panel Altarpiece of the Saints John by  Master of Santa Coloma de Queralt. Tempera and gold leaf on wood. Circa 1356. 220.5 x 209.8 x 11.5 cm. From the church of Sant Miquel de Tamarit de Llitera (Huesca). National Museum of Catalan Art, Barcelona, Spain, inv no: 004351-CJT
  • Gothic painted Panel Altarpiece of the Saints John by  Master of Santa Coloma de Queralt. Tempera and gold leaf on wood. Circa 1356. 220.5 x 209.8 x 11.5 cm. From the church of Sant Miquel de Tamarit de Llitera (Huesca). National Museum of Catalan Art, Barcelona, Spain, inv no: 004351-CJT
  • Gothic painted Altarpiece of Saint Peter Martyr by an anonymous Aragon artist. Tempera and varnished metal plate on wood. First third of 14th century. 196.5 x 121.5 x 10 cm. From Barbastre or the monastery of Santa María de Sigena (Villanueva de Sigena, Huesca).. National Museum of Catalan Art, inv no: 015820-000
  • Gothic painted Altarpiece of Saint Peter Martyr by an anonymous Aragon artist. Tempera and varnished metal plate on wood. First third of 14th century. 196.5 x 121.5 x 10 cm. From Barbastre or the monastery of Santa María de Sigena (Villanueva de Sigena, Huesca).. National Museum of Catalan Art, inv no: 015820-000
  • Gothic painted Panel Virgin of the "Consellers" by Lluis Dalmau. Tempera and gold leaf on wood. Date 1443-1445. Dimesions 316 x 312.5 x 32.5 cm. From the altar of the chapel of Barcelona City Hall. <br />
The prestige attached to Burgundian courtly culture and the painter Jan van Eyck explain why in 1431 King Alfons the Magnanimous sent his official painter, the Valencian Lluís Dalmau, to Flanders, to learn the new realist language at first hand. In 1443, Dalmau was commissioned to paint this altarpiece for the chapel of the City Hall. This work was a breakthrough in Catalonia on account of the format, the technique used, as it was painted in oil, and the skilful illusionism of a figurative space in which that year's five councillors, painted from life, are represented on the same scale as the Virgin and the Saints. National Museum of Catalan Art, Barcelona, Spain, inv no: 015938-000
  • Gothic painted Altarpiece of Saint Peter Martyr by an anonymous Aragon artist. Tempera and varnished metal plate on wood. First third of 14th century. 196.5 x 121.5 x 10 cm. From Barbastre or the monastery of Santa María de Sigena (Villanueva de Sigena, Huesca).. National Museum of Catalan Art, inv no: 015820-000
  • Gothic painted Panel Altarpiece of Saint Anthony the Abbot by Master of Rubio. Tempera and gold leaf on wood. Circa 1360-1375. Dimensions 173.5 x 176.3 x 11.5 cm.  National Museum of Catalan Art, Barcelona, Spain, inv no: 045854-CJT
  • Gothic painted Panel Altarpiece of the Virgin Suckling the Child, Saint Clare and Saint Anthony the Abbott by the Workshop of Llorenc Saragossa. Tempera and gold leaf on wood. Date Last quarter of 14th century. Dimesions 207 x 187.5 x 10 cm. From Xelva (Valencia). National Museum of Catalan Art, Barcelona, Spain, inv no: 064027-CJT
  • Gothic painted Panel Virgin Suckling the Child by Llorenc Saragossa. Tempera, gold leaf and metal plate on wood. Last quarter of 14th century. Dimensions 196.7 x 148.4 x 9.5 cm.  It comes from Albarracín cathedral (Teruel).  National Museum of Catalan Art, Barcelona, Spain, inv no: 005080-000
  • Gothic painted Panel of the Announcement to the Shepherds and Annunciation by anonymous artist from Navarra. Tempera and varnished metal leaf on wood and applied carving. Circa 1335-1350. 90.8 x 171.2 x 5.8 cm. From the parish church of Arteta (Navarra).. National Museum of Catalan Art, inv no: 004368-000
  • Roman gilded bronze head of Emperor Constantine dating from about 330-337 AD.. Inv 5.13, The Capitoline Museums, Rome
  • Gothic painted Panel Altarpiece of Saint Stephen by  Jaume Serra. Tempera, gold leaf and metal plate on wood. Circa 1385. Dimesions 185.7 x 186.5 x 11 cm. From the monastery of Santa Maria de Gualter (Noguera).. National Museum of Catalan Art, Barcelona, Spain, inv no: 003947-CJT
  • Gothic painted Panel Altarpiece of Saint Stephen by  Jaume Serra. Tempera, gold leaf and metal plate on wood. Circa 1385. Dimesions 185.7 x 186.5 x 11 cm. From the monastery of Santa Maria de Gualter (Noguera).. National Museum of Catalan Art, Barcelona, Spain, inv no: 003947-CJT
  • Gothic painted Panel Altar frontal of Jesus' childhood by anonymous artist from Navarra. Tempera and gold leaf on wood. Second quarter of 14th century. 90.8 x 171.2 x 5.8 cm. From the parish church of Arteta (Navarra).. National Museum of Catalan Art, inv no: 004368-000
  • Gothic painted Panel Altar frontal of Jesus' childhood by anonymous artist from Navarra. Tempera and gold leaf on wood. Second quarter of 14th century. 90.8 x 171.2 x 5.8 cm. From the parish church of Arteta (Navarra).. National Museum of Catalan Art, inv no: 004368-000
  • Picture and image of the stone sculpture of a young women grieving in the Borgosie Realistic style. The Gatti Tomb sculpted by G Benetti 1875. Section D no 5, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a young women grieving in the Borgosie Realistic style. The Gatti Tomb sculpted by G Benetti 1875. Section D no 5, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Gothic painted Panel Altarpiece of the Saints John by  Master of Santa Coloma de Queralt. Tempera and gold leaf on wood. Circa 1356. 220.5 x 209.8 x 11.5 cm. From the church of Sant Miquel de Tamarit de Llitera (Huesca). National Museum of Catalan Art, Barcelona, Spain, inv no: 004351-CJT
  • Gothic painted Panel Altarpiece of the Saints John by  Master of Santa Coloma de Queralt. Tempera and gold leaf on wood. Circa 1356. 220.5 x 209.8 x 11.5 cm. From the church of Sant Miquel de Tamarit de Llitera (Huesca). National Museum of Catalan Art, Barcelona, Spain, inv no: 004351-CJT
  • Gothic painted Panel Altarpiece of the Saints John by  Master of Santa Coloma de Queralt. Tempera and gold leaf on wood. Circa 1356. 220.5 x 209.8 x 11.5 cm. From the church of Sant Miquel de Tamarit de Llitera (Huesca). National Museum of Catalan Art, Barcelona, Spain, inv no: 004351-CJT
  • Mountains and pastures of the Sella plateau near Colfosco, 1,645 m (5,396 ft),  at the foot of the Sella group (Grup dl Sela) and Mount Sassongher, the Dolomite mountains, Alta Badia, Italy
  • Mountains and pastures of the Sella plateau near Colfosco, 1,645 m (5,396 ft),  at the foot of the Sella group (Grup dl Sela) and Mount Sassongher, the Dolomite mountains, Alta Badia, Italy
  • Mountains and pastures of the Sella plateau near Colfosco, 1,645 m (5,396 ft),  at the foot of the Sella group (Grup dl Sela) and Mount Sassongher, the Dolomite mountains, Alta Badia, Italy
  • Gothic painted Panel Altarpiece of the Virgin Suckling the Child, Saint Clare and Saint Anthony the Abbott by the Workshop of Llorenc Saragossa. Tempera and gold leaf on wood. Date Last quarter of 14th century. Dimesions 207 x 187.5 x 10 cm. From Xelva (Valencia). National Museum of Catalan Art, Barcelona, Spain, inv no: 064027-CJT
  • Gothic painted Panel Altarpiece of the Virgin Suckling the Child, Saint Clare and Saint Anthony the Abbott by the Workshop of Llorenc Saragossa. Tempera and gold leaf on wood. Date Last quarter of 14th century. Dimesions 207 x 187.5 x 10 cm. From Xelva (Valencia). National Museum of Catalan Art, Barcelona, Spain, inv no: 064027-CJT
  • Gothic painted Panel Altarpiece of the Virgin Suckling the Child, Saint Clare and Saint Anthony the Abbott by the Workshop of Llorenc Saragossa. Tempera and gold leaf on wood. Date Last quarter of 14th century. Dimesions 207 x 187.5 x 10 cm. From Xelva (Valencia). National Museum of Catalan Art, Barcelona, Spain, inv no: 064027-CJT
  • Gothic painted Panel Virgin Suckling the Child by Llorenc Saragossa. Tempera, gold leaf and metal plate on wood. Last quarter of 14th century. Dimensions 196.7 x 148.4 x 9.5 cm.  It comes from Albarracín cathedral (Teruel).  National Museum of Catalan Art, Barcelona, Spain, inv no: 005080-000
  • Gothic painted Panel Virgin Suckling the Child by Llorenc Saragossa. Tempera, gold leaf and metal plate on wood. Last quarter of 14th century. Dimensions 196.7 x 148.4 x 9.5 cm.  It comes from Albarracín cathedral (Teruel).  National Museum of Catalan Art, Barcelona, Spain, inv no: 005080-000
  • Gothic painted Panel Virgin Suckling the Child by Llorenc Saragossa. Tempera, gold leaf and metal plate on wood. Last quarter of 14th century. Dimensions 196.7 x 148.4 x 9.5 cm.  It comes from Albarracín cathedral (Teruel).  National Museum of Catalan Art, Barcelona, Spain, inv no: 005080-000
  • Gothic painted Panel Virgin Suckling the Child by Llorenc Saragossa. Tempera, gold leaf and metal plate on wood. Last quarter of 14th century. Dimensions 196.7 x 148.4 x 9.5 cm.  It comes from Albarracín cathedral (Teruel).  National Museum of Catalan Art, Barcelona, Spain, inv no: 005080-000
  • Gothic painted Panel Altarpiece of Saint Stephen by  Jaume Serra. Tempera, gold leaf and metal plate on wood. Circa 1385. Dimesions 185.7 x 186.5 x 11 cm. From the monastery of Santa Maria de Gualter (Noguera).. National Museum of Catalan Art, Barcelona, Spain, inv no: 003947-CJT
  • Gothic painted Panel Altarpiece of Saint Stephen by  Jaume Serra. Tempera, gold leaf and metal plate on wood. Circa 1385. Dimesions 185.7 x 186.5 x 11 cm. From the monastery of Santa Maria de Gualter (Noguera).. National Museum of Catalan Art, Barcelona, Spain, inv no: 003947-CJT
  • Gothic painted Panel Altarpiece of Saint Stephen by  Jaume Serra. Tempera, gold leaf and metal plate on wood. Circa 1385. Dimesions 185.7 x 186.5 x 11 cm. From the monastery of Santa Maria de Gualter (Noguera).. National Museum of Catalan Art, Barcelona, Spain, inv no: 003947-CJT
  • Gothic painted Panel Altarpiece of Saint Stephen by  Jaume Serra. Tempera, gold leaf and metal plate on wood. Circa 1385. Dimesions 185.7 x 186.5 x 11 cm. From the monastery of Santa Maria de Gualter (Noguera).. National Museum of Catalan Art, Barcelona, Spain, inv no: 003947-CJT
  • Gothic painted Panel of the Announcement to the Shepherds and Annunciation by anonymous artist from Navarra. Tempera and varnished metal leaf on wood and applied carving. Circa 1335-1350. 90.8 x 171.2 x 5.8 cm. From the parish church of Arteta (Navarra).. National Museum of Catalan Art, inv no: 004368-000
  • Gothic painted Panel Altar frontal of Jesus' childhood by anonymous artist from Navarra. Tempera and gold leaf on wood. Second quarter of 14th century. 90.8 x 171.2 x 5.8 cm. From the parish church of Arteta (Navarra).. National Museum of Catalan Art, inv no: 004368-000
  • Gothic painted Panel Altar frontal of Jesus' childhood by anonymous artist from Navarra. Tempera and gold leaf on wood. Second quarter of 14th century. 90.8 x 171.2 x 5.8 cm. From the parish church of Arteta (Navarra).. National Museum of Catalan Art, inv no: 004368-000
  • Gothic painted Panel Altar frontal of Jesus' childhood by anonymous artist from Navarra. Tempera and gold leaf on wood. Second quarter of 14th century. 90.8 x 171.2 x 5.8 cm. From the parish church of Arteta (Navarra).. National Museum of Catalan Art, inv no: 004368-000
  • Gothic painted Panel Altar frontal of Jesus' childhood by anonymous artist from Navarra. Tempera and gold leaf on wood. Second quarter of 14th century. 90.8 x 171.2 x 5.8 cm. From the parish church of Arteta (Navarra).. National Museum of Catalan Art, inv no: 004368-000
  • Gothic painted Panel Altar frontal of Jesus' childhood by anonymous artist from Navarra. Tempera and gold leaf on wood. Second quarter of 14th century. 90.8 x 171.2 x 5.8 cm. From the parish church of Arteta (Navarra).. National Museum of Catalan Art, inv no: 004368-000
  • Gothic painted Altar frontal of the Corpus Christi by Master of Vallbona de les Monges possibly Guillem Seguer. Tempera, stucco reliefs, gold leaf and varnished metal plate on wood. Circa 1335-1345. 106.5 x 223.2 x 9.3 cm. From the chapel of Corpus Christi in the church of the monastery of Santa Maria de Vallbona de les Monges (Urgell).  National Museum of Catalan Art, inv no: 009919-000
  • Roman gilded bronze head of Emperor Constantine dating from about 330-337 AD.. Inv 5.13, The Capitoline Museums, Rome
  • Roman gilded bronze head of Emperor Constantine dating from about 330-337 AD.. Inv 5.13, The Capitoline Museums, Rome
  • Roman gilded bronze head of Emperor Constantine dating from about 330-337 AD.. Inv 5.13, The Capitoline Museums, Rome
  • Roman gilded bronze head of Emperor Constantine dating from about 330-337 AD.. Inv 5.13, The Capitoline Museums, Rome
  • Roman gilded bronze head of Emperor Constantine dating from about 330-337 AD.. Inv 5.13, The Capitoline Museums, Rome
  • Roman gilded bronze head of Emperor Constantine dating from about 330-337 AD.. Inv 5.13, The Capitoline Museums, Rome
  • Roman gilded bronze head of Emperor Constantine dating from about 330-337 AD.. Inv 5.13, The Capitoline Museums, Rome
  • Roman gilded bronze head of Emperor Constantine dating from about 330-337 AD.. Inv 5.13, The Capitoline Museums, Rome
  • Gothic painted Panel Virgin of the "Consellers" by Lluis Dalmau. Tempera and gold leaf on wood. Date 1443-1445. Dimesions 316 x 312.5 x 32.5 cm. From the altar of the chapel of Barcelona City Hall. <br />
The prestige attached to Burgundian courtly culture and the painter Jan van Eyck explain why in 1431 King Alfons the Magnanimous sent his official painter, the Valencian Lluís Dalmau, to Flanders, to learn the new realist language at first hand. In 1443, Dalmau was commissioned to paint this altarpiece for the chapel of the City Hall. This work was a breakthrough in Catalonia on account of the format, the technique used, as it was painted in oil, and the skilful illusionism of a figurative space in which that year's five councillors, painted from life, are represented on the same scale as the Virgin and the Saints. National Museum of Catalan Art, Barcelona, Spain, inv no: 015938-000
  • Gothic painted Panel Virgin of the "Consellers" by Lluis Dalmau. Tempera and gold leaf on wood. Date 1443-1445. Dimesions 316 x 312.5 x 32.5 cm. From the altar of the chapel of Barcelona City Hall. <br />
The prestige attached to Burgundian courtly culture and the painter Jan van Eyck explain why in 1431 King Alfons the Magnanimous sent his official painter, the Valencian Lluís Dalmau, to Flanders, to learn the new realist language at first hand. In 1443, Dalmau was commissioned to paint this altarpiece for the chapel of the City Hall. This work was a breakthrough in Catalonia on account of the format, the technique used, as it was painted in oil, and the skilful illusionism of a figurative space in which that year's five councillors, painted from life, are represented on the same scale as the Virgin and the Saints. National Museum of Catalan Art, Barcelona, Spain, inv no: 015938-000
  • Gothic painted Panel Virgin of the "Consellers" by Lluis Dalmau. Tempera and gold leaf on wood. Date 1443-1445. Dimesions 316 x 312.5 x 32.5 cm. From the altar of the chapel of Barcelona City Hall. <br />
The prestige attached to Burgundian courtly culture and the painter Jan van Eyck explain why in 1431 King Alfons the Magnanimous sent his official painter, the Valencian Lluís Dalmau, to Flanders, to learn the new realist language at first hand. In 1443, Dalmau was commissioned to paint this altarpiece for the chapel of the City Hall. This work was a breakthrough in Catalonia on account of the format, the technique used, as it was painted in oil, and the skilful illusionism of a figurative space in which that year's five councillors, painted from life, are represented on the same scale as the Virgin and the Saints. National Museum of Catalan Art, Barcelona, Spain, inv no: 015938-000
  • Gothic painted Panel Virgin of the "Consellers" by Lluis Dalmau. Tempera and gold leaf on wood. Date 1443-1445. Dimesions 316 x 312.5 x 32.5 cm. From the altar of the chapel of Barcelona City Hall. <br />
The prestige attached to Burgundian courtly culture and the painter Jan van Eyck explain why in 1431 King Alfons the Magnanimous sent his official painter, the Valencian Lluís Dalmau, to Flanders, to learn the new realist language at first hand. In 1443, Dalmau was commissioned to paint this altarpiece for the chapel of the City Hall. This work was a breakthrough in Catalonia on account of the format, the technique used, as it was painted in oil, and the skilful illusionism of a figurative space in which that year's five councillors, painted from life, are represented on the same scale as the Virgin and the Saints. National Museum of Catalan Art, Barcelona, Spain, inv no: 015938-000
  • Gothic painted Panel Altarpiece of Saint Stephen by  Jaume Serra. Tempera, gold leaf and metal plate on wood. Circa 1385. Dimesions 185.7 x 186.5 x 11 cm. From the monastery of Santa Maria de Gualter (Noguera).. National Museum of Catalan Art, Barcelona, Spain, inv no: 003947-CJT
  • Gothic painted Panel Altarpiece of Saint Anthony the Abbot by Master of Rubio. Tempera and gold leaf on wood. Circa 1360-1375. Dimensions 173.5 x 176.3 x 11.5 cm.  National Museum of Catalan Art, Barcelona, Spain, inv no: 045854-CJT
  • Gothic painted Panel Altarpiece of the Saints John by  Master of Santa Coloma de Queralt. Tempera and gold leaf on wood. Circa 1356. 220.5 x 209.8 x 11.5 cm. From the church of Sant Miquel de Tamarit de Llitera (Huesca). National Museum of Catalan Art, Barcelona, Spain, inv no: 004351-CJT
  • Gothic painted Panel Altar frontal of Jesus' childhood by anonymous artist from Navarra. Tempera and gold leaf on wood. Second quarter of 14th century. 90.8 x 171.2 x 5.8 cm. From the parish church of Arteta (Navarra).. National Museum of Catalan Art, inv no: 004368-000
  • Gothic painted Altarpiece of Saint Peter Martyr by an anonymous Aragon artist. Tempera and varnished metal plate on wood. First third of 14th century. 196.5 x 121.5 x 10 cm. From Barbastre or the monastery of Santa María de Sigena (Villanueva de Sigena, Huesca).. National Museum of Catalan Art, inv no: 015820-000
  • Boar's tusk helmet with cheek guards and double bone hook on top. Tomb 515 Mycenae, Greece. 14th-15th century BC. National Archaeological Museum, Athens.. The Boar's tusk helmet was described in the Iliad as follows "Meriones gave Odysseus a bow, a quiver and a sword, and put a cleverly made leather helmet on his head. On the inside there was a strong lining on interwoven straps, onto which a felt cap had been sewn in. The outside was cleverly adorned all around with rows of white tusks from a shiny-toothed boar, the tusks running in alternate directions in each row.<br />
—Homer, Iliad 10.260–5"
  • Boar's tusk helmet with cheek guards and double bone hook on top. Tomb 515 Mycenae, Greece. 14th-15th century BC. National Archaeological Museum, Athens.. The Boar's tusk helmet was described in the Iliad as follows "Meriones gave Odysseus a bow, a quiver and a sword, and put a cleverly made leather helmet on his head. On the inside there was a strong lining on interwoven straps, onto which a felt cap had been sewn in. The outside was cleverly adorned all around with rows of white tusks from a shiny-toothed boar, the tusks running in alternate directions in each row.<br />
—Homer, Iliad 10.260–5"
  • Boar's tusk helmet with cheek guards and double bone hook on top. Tomb 515 Mycenae, Greece. 14th-15th century BC. National Archaeological Museum, Athens.. The Boar's tusk helmet was described in the Iliad as follows "Meriones gave Odysseus a bow, a quiver and a sword, and put a cleverly made leather helmet on his head. On the inside there was a strong lining on interwoven straps, onto which a felt cap had been sewn in. The outside was cleverly adorned all around with rows of white tusks from a shiny-toothed boar, the tusks running in alternate directions in each row.<br />
—Homer, Iliad 10.260–5"
  • Boar's tusk helmet with cheek guards and double bone hook on top. Tomb 515 Mycenae, Greece. 14th-15th century BC. National Archaeological Museum, Athens.. The Boar's tusk helmet was described in the Iliad as follows "Meriones gave Odysseus a bow, a quiver and a sword, and put a cleverly made leather helmet on his head. On the inside there was a strong lining on interwoven straps, onto which a felt cap had been sewn in. The outside was cleverly adorned all around with rows of white tusks from a shiny-toothed boar, the tusks running in alternate directions in each row.<br />
—Homer, Iliad 10.260–5"
  • Boar's tusk helmet with cheek guards and double bone hook on top. Tomb 515 Mycenae, Greece. 14th-15th century BC. National Archaeological Museum, Athens.. The Boar's tusk helmet was described in the Iliad as follows "Meriones gave Odysseus a bow, a quiver and a sword, and put a cleverly made leather helmet on his head. On the inside there was a strong lining on interwoven straps, onto which a felt cap had been sewn in. The outside was cleverly adorned all around with rows of white tusks from a shiny-toothed boar, the tusks running in alternate directions in each row.<br />
—Homer, Iliad 10.260–5"
  • Pictures of the stone sculptured monumental tomb erected in memory of the Marquis Gio.Carlo Di Negro, one of the most famous personalities of nineteenth-century Genoa, refined man of the world, friend and protector of writers and artists, cosmopolitan intellectual and poet. On the sarcophagus, decorated with the emblem and emblems of intellectual and poetic activity (zither, books, laurel crowns), a bas-relief depicts a biblical episode of Genesis, the welcome offered by Abraham to the three angels, probable allusion to the virtue of hospitality, practiced in life by the deceased. Sculptor Carlo Rubatto 1861. Section A, no 5, The Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the prehistoric magalith ruins of Nuraghe Arrubiu ( Red Nuraghe), archaeological site, Bronze age (14 -9 th century BC). The Nuraghe Arrubiu is one of the ;argest Nuraghe on Sardinia with a central fortification which had 5 towers reacing 35 -30 mteres high. Orroli, Southern Sardinia.
  • Picture and image of the prehistoric magalith ruins of Nuraghe Arrubiu ( Red Nuraghe), archaeological site, Bronze age (14 -9 th century BC). The Nuraghe Arrubiu is one of the ;argest Nuraghe on Sardinia with a central fortification which had 5 towers reacing 35 -30 mteres high. Orroli, Southern Sardinia.
  • Picture and image of the prehistoric magalith ruins of Nuraghe Arrubiu ( Red Nuraghe), archaeological site, Bronze age (14 -9 th century BC). The Nuraghe Arrubiu is one of the ;argest Nuraghe on Sardinia with a central fortification which had 5 towers reacing 35 -30 mteres high. Orroli, Southern Sardinia.
  • Picture and image of the prehistoric magalith ruins of Nuraghe Arrubiu ( Red Nuraghe), archaeological site, Bronze age (14 -9 th century BC). The Nuraghe Arrubiu is one of the ;argest Nuraghe on Sardinia with a central fortification which had 5 towers reacing 35 -30 mteres high. Orroli, Southern Sardinia.
  • Picture and image of the prehistoric magalith ruins of Nuraghe Arrubiu ( Red Nuraghe), archaeological site, Bronze age (14 -9 th century BC). The Nuraghe Arrubiu is one of the ;argest Nuraghe on Sardinia with a central fortification which had 5 towers reacing 35 -30 mteres high. Orroli, Southern Sardinia.
  • Picture and image of the prehistoric magalith ruins of Nuraghe Arrubiu ( Red Nuraghe), archaeological site, Bronze age (14 -9 th century BC). The Nuraghe Arrubiu is one of the ;argest Nuraghe on Sardinia with a central fortification which had 5 towers reacing 35 -30 mteres high. Orroli, Southern Sardinia.
  • Picture and image of the prehistoric magalith ruins of Nuraghe Arrubiu ( Red Nuraghe), archaeological site, Bronze age (14 -9 th century BC). The Nuraghe Arrubiu is one of the ;argest Nuraghe on Sardinia with a central fortification which had 5 towers reacing 35 -30 mteres high. Orroli, Southern Sardinia.
  • Picture and image of the prehistoric magalith ruins of Nuraghe Arrubiu ( Red Nuraghe), archaeological site, Bronze age (14 -9 th century BC). The Nuraghe Arrubiu is one of the ;argest Nuraghe on Sardinia with a central fortification which had 5 towers reacing 35 -30 mteres high. Orroli, Southern Sardinia.
  • Picture and image of the prehistoric magalith ruins of Nuraghe Arrubiu ( Red Nuraghe), archaeological site, Bronze age (14 -9 th century BC). The Nuraghe Arrubiu is one of the ;argest Nuraghe on Sardinia with a central fortification which had 5 towers reacing 35 -30 mteres high. Orroli, Southern Sardinia.
  • Picture and image of the prehistoric magalith ruins of Nuraghe Arrubiu ( Red Nuraghe), archaeological site, Bronze age (14 -9 th century BC). The Nuraghe Arrubiu is one of the ;argest Nuraghe on Sardinia with a central fortification which had 5 towers reacing 35 -30 mteres high. Orroli, Southern Sardinia.
  • Picture and image of the prehistoric magalith ruins of Nuraghe Arrubiu ( Red Nuraghe), archaeological site, Bronze age (14 -9 th century BC). The Nuraghe Arrubiu is one of the ;argest Nuraghe on Sardinia with a central fortification which had 5 towers reacing 35 -30 mteres high. Orroli, Southern Sardinia.
  • Picture and image of the prehistoric magalith ruins of Nuraghe Arrubiu ( Red Nuraghe), archaeological site, Bronze age (14 -9 th century BC). The Nuraghe Arrubiu is one of the ;argest Nuraghe on Sardinia with a central fortification which had 5 towers reacing 35 -30 mteres high. Orroli, Southern Sardinia.
  • Picture and image of the prehistoric magalith ruins of Nuraghe Arrubiu ( Red Nuraghe), archaeological site, Bronze age (14 -9 th century BC). The Nuraghe Arrubiu is one of the ;argest Nuraghe on Sardinia with a central fortification which had 5 towers reacing 35 -30 mteres high. Orroli, Southern Sardinia.
  • Picture and image of the prehistoric magalith ruins of Nuraghe Arrubiu ( Red Nuraghe), archaeological site, Bronze age (14 -9 th century BC). The Nuraghe Arrubiu is one of the ;argest Nuraghe on Sardinia with a central fortification which had 5 towers reacing 35 -30 mteres high. Orroli, Southern Sardinia.
  • Picture and image of the interior courtyard of the prehistoric magalith ruins of Nuraghe Arrubiu ( Red Nuraghe), archaeological site, Bronze age (14 -9 th century BC). The Nuraghe Arrubiu is one of the ;argest Nuraghe on Sardinia with a central fortification which had 5 towers reacing 35 -30 mteres high. Orroli, Southern Sardinia.
  • Picture and image of the prehistoric trangular "False" or corbel arch of Nuraghe Arrubiu ( Red Nuraghe), archaeological site, Bronze age (14 -9 th century BC). The Nuraghe Arrubiu is one of the ;argest Nuraghe on Sardinia with a central fortification which had 5 towers reacing 35 -30 mteres high. Orroli, Southern Sardinia.
  • Picture and image of the prehistoric magalith ruins of Nuraghe Arrubiu ( Red Nuraghe), archaeological site, Bronze age (14 -9 th century BC). The Nuraghe Arrubiu is one of the ;argest Nuraghe on Sardinia with a central fortification which had 5 towers reacing 35 -30 mteres high. Orroli, Southern Sardinia.
  • Roman fresco wall decorations of  Vestibule of a Rome Villa, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy. Against a grey background.<br />
<br />
A large fresco covered the curving wall of the vestibule E 5 was positioned at the entrance of the house onto the street. Vitruvius claims that the vestibulum was a room which was not needed by common people, but which was essential in a house worthy of respect, because it served to welcome guests and the people who came to be received by the owners of the house. The frescoed decoration of this wall, which was entirely detached, shows a division into panels, architectural perspectives and pavilions among which are figures and decorative elements, above a band of skirting. Numerous panels have been detached from the corridor E 3 E 11 which connected all the areas of the house, but it has not been possible to reconstruct the sequence of the walls. Inside the frames, against a white background, different decorative elements are arranged, along with hanging female and male figures, hippogriffs and other fantastical animals, vases, garlands and vegetation.
  • Roman fresco wall decorations of  Vestibule of a Rome Villa, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy. Against a black background.<br />
<br />
A large fresco covered the curving wall of the vestibule E 5 was positioned at the entrance of the house onto the street. Vitruvius claims that the vestibulum was a room which was not needed by common people, but which was essential in a house worthy of respect, because it served to welcome guests and the people who came to be received by the owners of the house. The frescoed decoration of this wall, which was entirely detached, shows a division into panels, architectural perspectives and pavilions among which are figures and decorative elements, above a band of skirting. Numerous panels have been detached from the corridor E 3 E 11 which connected all the areas of the house, but it has not been possible to reconstruct the sequence of the walls. Inside the frames, against a white background, different decorative elements are arranged, along with hanging female and male figures, hippogriffs and other fantastical animals, vases, garlands and vegetation.
  • Roman fresco wall decorations of  Vestibule of a Rome Villa, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy. Against an art background.<br />
<br />
A large fresco covered the curving wall of the vestibule E 5 was positioned at the entrance of the house onto the street. Vitruvius claims that the vestibulum was a room which was not needed by common people, but which was essential in a house worthy of respect, because it served to welcome guests and the people who came to be received by the owners of the house. The frescoed decoration of this wall, which was entirely detached, shows a division into panels, architectural perspectives and pavilions among which are figures and decorative elements, above a band of skirting. Numerous panels have been detached from the corridor E 3 E 11 which connected all the areas of the house, but it has not been possible to reconstruct the sequence of the walls. Inside the frames, against a white background, different decorative elements are arranged, along with hanging female and male figures, hippogriffs and other fantastical animals, vases, garlands and vegetation.
  • Roman fresco wall decorations of  Vestibule of a Rome Villa, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
A large fresco covered the curving wall of the vestibule E 5 was positioned at the entrance of the house onto the street. Vitruvius claims that the vestibulum was a room which was not needed by common people, but which was essential in a house worthy of respect, because it served to welcome guests and the people who came to be received by the owners of the house. The frescoed decoration of this wall, which was entirely detached, shows a division into panels, architectural perspectives and pavilions among which are figures and decorative elements, above a band of skirting. Numerous panels have been detached from the corridor E 3 E 11 which connected all the areas of the house, but it has not been possible to reconstruct the sequence of the walls. Inside the frames, against a white background, different decorative elements are arranged, along with hanging female and male figures, hippogriffs and other fantastical animals, vases, garlands and vegetation.
  • Gothic painted Panel Altarpiece of Saint Stephen by  Jaume Serra. Tempera, gold leaf and metal plate on wood. Circa 1385. Dimensions 185.7 x 186.5 x 11 cm. From the monastery of Santa Maria de Gualter (Noguera).. National Museum of Catalan Art, Barcelona, Spain, inv no: 003947-CJT
  • Gothic painted Panel Altarpiece of Saint Stephen by  Jaume Serra. Tempera, gold leaf and metal plate on wood. Circa 1385. Dimensions 185.7 x 186.5 x 11 cm. From the monastery of Santa Maria de Gualter (Noguera).. National Museum of Catalan Art, Barcelona, Spain, inv no: 003947-CJT
  • Gothic painted Panel Altarpiece of Saint Stephen by  Jaume Serra. Tempera, gold leaf and metal plate on wood. Circa 1385. Dimesions 185.7 x 186.5 x 11 cm. From the monastery of Santa Maria de Gualter (Noguera).. National Museum of Catalan Art, Barcelona, Spain, inv no: 003947-CJT
  • Photo of  the  Palace Walls to the Hittite capital Hattusa 5
  • Photo of the gates which led to tunnels under the walls of the Hittite capital Hattusa 5
  • Photo of the Hittite releif sculpture on the Lion gate to the Hittite capital Hattusa 5
  • Photo of The library of Celsus. Images of the Roman ruins of Ephasus, Turkey. Stock Picture & Photo art prints 5
  • Picture of The library of Celsus. Images of the Roman ruins of Ephasus, Turkey. Stock Picture & Photo art prints 5
  • Roman gilded bronze head of Emperor Constantine dating from about 330-337 AD.. Inv 5.13, The Capitoline Museums, Rome
  • Roman gilded bronze head of Emperor Constantine dating from about 330-337 AD.. Inv 5.13, The Capitoline Museums, Rome
  • Roman gilded bronze head of Emperor Constantine dating from about 330-337 AD.. Inv 5.13, The Capitoline Museums, Rome
  • Roman gilded bronze head of Emperor Constantine dating from about 330-337 AD.. Inv 5.13, The Capitoline Museums, Rome
  • Roman gilded bronze head of Emperor Constantine dating from about 330-337 AD.. Inv 5.13, The Capitoline Museums, Rome
  • Roman gilded bronze head of Emperor Constantine dating from about 330-337 AD.. Inv 5.13, The Capitoline Museums, Rome
  • Roman gilded bronze head of Emperor Constantine dating from about 330-337 AD.. Inv 5.13, The Capitoline Museums, Rome
  • Roman gilded bronze head of Emperor Constantine dating from about 330-337 AD.. Inv 5.13, The Capitoline Museums, Rome
  • Roman gilded bronze head of Emperor Constantine dating from about 330-337 AD.. Inv 5.13, The Capitoline Museums, Rome
  • Roman gilded bronze head of Emperor Constantine dating from about 330-337 AD.. Inv 5.13, The Capitoline Museums, Rome
  • Gypsum, schist, shells and lapis lazuli statue of Ebih-Il, early Dynastic; Shakkanakku (military governor) of the ancient city-state of Mari in present day eastern Syria, dating from circa 2340 BC or from the Akkadian period of rule Circa 2250 BC.. The statue carries a cuneiform inscription in Akkadian. Excavated from; the temple of Ishtar at Mari by André Parrot in 1934-1935 the statue measures; 52.5 cm (20.7 in) high; 20.6 cm (8.1 in) wide and 30 cm (11.8 in) deep. Department of Oriental Antiquities; Richelieu; ground floor; room 1b; inv AO 17551; Louvre Museum; Paris
  • Gypsum, schist, shells and lapis lazuli statue of Ebih-Il, early Dynastic; Shakkanakku (military governor) of the ancient city-state of Mari in present day eastern Syria, dating from circa 2340 BC or from the Akkadian period of rule Circa 2250 BC.. The statue carries a cuneiform inscription in Akkadian. Excavated from; the temple of Ishtar at Mari by André Parrot in 1934-1935 the statue measures; 52.5 cm (20.7 in) high; 20.6 cm (8.1 in) wide and 30 cm (11.8 in) deep. Department of Oriental Antiquities; Richelieu; ground floor; room 1b; inv AO 17551; Louvre Museum; Paris
  • Gypsum, schist, shells and lapis lazuli statue of Ebih-Il, early Dynastic; Shakkanakku (military governor) of the ancient city-state of Mari in present day eastern Syria, dating from circa 2340 BC or from the Akkadian period of rule Circa 2250 BC.. The statue carries a cuneiform inscription in Akkadian. Excavated from; the temple of Ishtar at Mari by André Parrot in 1934-1935 the statue measures; 52.5 cm (20.7 in) high; 20.6 cm (8.1 in) wide and 30 cm (11.8 in) deep. Department of Oriental Antiquities; Richelieu; ground floor; room 1b; inv AO 17551; Louvre Museum; Paris
  • Gypsum, schist, shells and lapis lazuli statue of Ebih-Il, early Dynastic; Shakkanakku (military governor) of the ancient city-state of Mari in present day eastern Syria, dating from circa 2340 BC or from the Akkadian period of rule Circa 2250 BC.. The statue carries a cuneiform inscription in Akkadian. Excavated from; the temple of Ishtar at Mari by André Parrot in 1934-1935 the statue measures; 52.5 cm (20.7 in) high; 20.6 cm (8.1 in) wide and 30 cm (11.8 in) deep. Department of Oriental Antiquities; Richelieu; ground floor; room 1b; inv AO 17551; Louvre Museum; Paris
  • Gypsum, schist, shells and lapis lazuli statue of Ebih-Il, early Dynastic; Shakkanakku (military governor) of the ancient city-state of Mari in present day eastern Syria, dating from circa 2340 BC or from the Akkadian period of rule Circa 2250 BC.. The statue carries a cuneiform inscription in Akkadian. Excavated from; the temple of Ishtar at Mari by André Parrot in 1934-1935 the statue measures; 52.5 cm (20.7 in) high; 20.6 cm (8.1 in) wide and 30 cm (11.8 in) deep. Department of Oriental Antiquities; Richelieu; ground floor; room 1b; inv AO 17551; Louvre Museum; Paris
  • Gypsum, schist, shells and lapis lazuli statue of Ebih-Il, early Dynastic; Shakkanakku (military governor) of the ancient city-state of Mari in present day eastern Syria, dating from circa 2340 BC or from the Akkadian period of rule Circa 2250 BC.. The statue carries a cuneiform inscription in Akkadian. Excavated from; the temple of Ishtar at Mari by André Parrot in 1934-1935 the statue measures; 52.5 cm (20.7 in) high; 20.6 cm (8.1 in) wide and 30 cm (11.8 in) deep. Department of Oriental Antiquities; Richelieu; ground floor; room 1b; inv AO 17551; Louvre Museum; Paris
  • Gypsum, schist, shells and lapis lazuli statue of Ebih-Il, early Dynastic; Shakkanakku (military governor) of the ancient city-state of Mari in present day eastern Syria, dating from circa 2340 BC or from the Akkadian period of rule Circa 2250 BC.. The statue carries a cuneiform inscription in Akkadian. Excavated from; the temple of Ishtar at Mari by André Parrot in 1934-1935 the statue measures; 52.5 cm (20.7 in) high; 20.6 cm (8.1 in) wide and 30 cm (11.8 in) deep. Department of Oriental Antiquities; Richelieu; ground floor; room 1b; inv AO 17551; Louvre Museum; Paris
  • Gypsum, schist, shells and lapis lazuli statue of Ebih-Il, early Dynastic; Shakkanakku (military governor) of the ancient city-state of Mari in present day eastern Syria, dating from circa 2340 BC or from the Akkadian period of rule Circa 2250 BC.. The statue carries a cuneiform inscription in Akkadian. Excavated from; the temple of Ishtar at Mari by André Parrot in 1934-1935 the statue measures; 52.5 cm (20.7 in) high; 20.6 cm (8.1 in) wide and 30 cm (11.8 in) deep. Department of Oriental Antiquities; Richelieu; ground floor; room 1b; inv AO 17551; Louvre Museum; Paris
  • Gypsum, schist, shells and lapis lazuli statue of Ebih-Il, early Dynastic; Shakkanakku (military governor) of the ancient city-state of Mari in present day eastern Syria, dating from circa 2340 BC or from the Akkadian period of rule Circa 2250 BC.. The statue carries a cuneiform inscription in Akkadian. Excavated from; the temple of Ishtar at Mari by André Parrot in 1934-1935 the statue measures; 52.5 cm (20.7 in) high; 20.6 cm (8.1 in) wide and 30 cm (11.8 in) deep. Department of Oriental Antiquities; Richelieu; ground floor; room 1b; inv AO 17551; Louvre Museum; Paris
  • Gypsum, schist, shells and lapis lazuli statue of Ebih-Il, early Dynastic; Shakkanakku (military governor) of the ancient city-state of Mari in present day eastern Syria, dating from circa 2340 BC or from the Akkadian period of rule Circa 2250 BC.. The statue carries a cuneiform inscription in Akkadian. Excavated from; the temple of Ishtar at Mari by André Parrot in 1934-1935 the statue measures; 52.5 cm (20.7 in) high; 20.6 cm (8.1 in) wide and 30 cm (11.8 in) deep. Department of Oriental Antiquities; Richelieu; ground floor; room 1b; inv AO 17551; Louvre Museum; Paris
  • Gypsum, schist, shells and lapis lazuli statue of Ebih-Il, early Dynastic; Shakkanakku (military governor) of the ancient city-state of Mari in present day eastern Syria, dating from circa 2340 BC or from the Akkadian period of rule Circa 2250 BC.. The statue carries a cuneiform inscription in Akkadian. Excavated from; the temple of Ishtar at Mari by André Parrot in 1934-1935 the statue measures; 52.5 cm (20.7 in) high; 20.6 cm (8.1 in) wide and 30 cm (11.8 in) deep. Department of Oriental Antiquities; Richelieu; ground floor; room 1b; inv AO 17551; Louvre Museum; Paris
  • Gypsum, schist, shells and lapis lazuli statue of Ebih-Il, early Dynastic; Shakkanakku (military governor) of the ancient city-state of Mari in present day eastern Syria, dating from circa 2340 BC or from the Akkadian period of rule Circa 2250 BC.. The statue carries a cuneiform inscription in Akkadian. Excavated from; the temple of Ishtar at Mari by André Parrot in 1934-1935 the statue measures; 52.5 cm (20.7 in) high; 20.6 cm (8.1 in) wide and 30 cm (11.8 in) deep. Department of Oriental Antiquities; Richelieu; ground floor; room 1b; inv AO 17551; Louvre Museum; Paris
  • Gypsum, schist, shells and lapis lazuli statue of Ebih-Il, early Dynastic; Shakkanakku (military governor) of the ancient city-state of Mari in present day eastern Syria, dating from circa 2340 BC or from the Akkadian period of rule Circa 2250 BC.. The statue carries a cuneiform inscription in Akkadian. Excavated from; the temple of Ishtar at Mari by André Parrot in 1934-1935 the statue measures; 52.5 cm (20.7 in) high; 20.6 cm (8.1 in) wide and 30 cm (11.8 in) deep. Department of Oriental Antiquities; Richelieu; ground floor; room 1b; inv AO 17551; Louvre Museum; Paris
  • Gypsum, schist, shells and lapis lazuli statue of Ebih-Il, early Dynastic; Shakkanakku (military governor) of the ancient city-state of Mari in present day eastern Syria, dating from circa 2340 BC or from the Akkadian period of rule Circa 2250 BC.. The statue carries a cuneiform inscription in Akkadian. Excavated from; the temple of Ishtar at Mari by André Parrot in 1934-1935 the statue measures; 52.5 cm (20.7 in) high; 20.6 cm (8.1 in) wide and 30 cm (11.8 in) deep. Department of Oriental Antiquities; Richelieu; ground floor; room 1b; inv AO 17551; Louvre Museum; Paris
  • Chaldean Assyrian relief sculpture slab from the northwest palace of King Ashurnasirpal II of a Genie standing. 881-859 B.C form Nimrud or Nimrut ( Kalhu or Kalah). Istanbul Archaeological exhibit Inv. No. 5.
  • Chaldean Assyrian relief sculpture slab from the northwest palace of King Ashurnasirpal II of a Genie standing. 881-859 B.C form Nimrud or Nimrut ( Kalhu or Kalah). Istanbul Archaeological exhibit Inv. No. 5.
  • Chaldean Assyrian relief sculpture slab from the northwest palace of King Ashurnasirpal II of a Genie standing. 881-859 B.C form Nimrud or Nimrut ( Kalhu or Kalah). Istanbul Archaeological exhibit Inv. No. 5.
  • Chaldean Assyrian relief sculpture slab from the northwest palace of King Ashurnasirpal II of a Genie standing. 881-859 B.C form Nimrud or Nimrut ( Kalhu or Kalah). Istanbul Archaeological exhibit Inv. No. 5.
  • Chaldean Assyrian relief sculpture slab from the northwest palace of King Ashurnasirpal II of a Genie standing. 881-859 B.C form Nimrud or Nimrut ( Kalhu or Kalah). Istanbul Archaeological exhibit Inv. No. 5.
  • Chaldean Assyrian relief sculpture slab from the northwest palace of King Ashurnasirpal II of a Genie standing. 881-859 B.C form Nimrud or Nimrut ( Kalhu or Kalah). Istanbul Archaeological exhibit Inv. No. 5.
  • Boar's tusk helmet with cheek guards and double bone hook on top. Tomb 515 Mycenae, Greece. 14th-15th century BC. National Archaeological Museum, Athens.. The Boar's tusk helmet was described in the Iliad as follows "Meriones gave Odysseus a bow, a quiver and a sword, and put a cleverly made leather helmet on his head. On the inside there was a strong lining on interwoven straps, onto which a felt cap had been sewn in. The outside was cleverly adorned all around with rows of white tusks from a shiny-toothed boar, the tusks running in alternate directions in each row.<br />
—Homer, Iliad 10.260–5"
  • Boar's tusk helmet with cheek guards and double bone hook on top. Tomb 515 Mycenae, Greece. 14th-15th century BC. National Archaeological Museum, Athens.. The Boar's tusk helmet was described in the Iliad as follows "Meriones gave Odysseus a bow, a quiver and a sword, and put a cleverly made leather helmet on his head. On the inside there was a strong lining on interwoven straps, onto which a felt cap had been sewn in. The outside was cleverly adorned all around with rows of white tusks from a shiny-toothed boar, the tusks running in alternate directions in each row.<br />
—Homer, Iliad 10.260–5"
  • Boar's tusk helmet with cheek guards and double bone hook on top. Tomb 515 Mycenae, Greece. 14th-15th century BC. National Archaeological Museum, Athens.. The Boar's tusk helmet was described in the Iliad as follows "Meriones gave Odysseus a bow, a quiver and a sword, and put a cleverly made leather helmet on his head. On the inside there was a strong lining on interwoven straps, onto which a felt cap had been sewn in. The outside was cleverly adorned all around with rows of white tusks from a shiny-toothed boar, the tusks running in alternate directions in each row.<br />
—Homer, Iliad 10.260–5"
  • Gothic wood statue of Virgin and Child by tan anontmous Catalan Artist. Carved alabaster with remains of polychrome and gold leaf. Date Second half of 14th century. Dimensions 117.5 x 38.6 x 28.4 cm.  Probably comes from Sanaüja (Segarra). National Museum of Catalan Art, Barcelona, Spain inv no: 004359-000
  • Gothic wood statue of Virgin and Child by tan anontmous Catalan Artist. Carved alabaster with remains of polychrome and gold leaf. Date Second half of 14th century. Dimensions 117.5 x 38.6 x 28.4 cm.  Probably comes from Sanaüja (Segarra). National Museum of Catalan Art, Barcelona, Spain inv no: 004359-000
  • Gothic wood statue of Virgin and Child by tan anontmous Catalan Artist. Carved alabaster with remains of polychrome and gold leaf. Date Second half of 14th century. Dimensions 117.5 x 38.6 x 28.4 cm.  Probably comes from Sanaüja (Segarra). National Museum of Catalan Art, Barcelona, Spain inv no: 004359-000
  • Gothic wood statue of Virgin and Child by tan anontmous Catalan Artist. Carved alabaster with remains of polychrome and gold leaf. Date Second half of 14th century. Dimensions 117.5 x 38.6 x 28.4 cm.  Probably comes from Sanaüja (Segarra). National Museum of Catalan Art, Barcelona, Spain inv no: 004359-000
  • Gothic statue of the Virgin Mary and child by an anonymous Catalan artist. Carved alabaster with remains of polychrome and gold leaf. Circa 1330-1340. 112 x 42.5 x 22.7 cm. From the parish church of Navata (Alt Empordà).. National Museum of Catalan Art, inv no: 004356-000
  • Gothic statue of the Virgin Mary and child by an anonymous Catalan artist. Carved alabaster with remains of polychrome and gold leaf. Circa 1330-1340. 112 x 42.5 x 22.7 cm. From the parish church of Navata (Alt Empordà).. National Museum of Catalan Art, inv no: 004356-000
  • Gothic statue of the Virgin Mary and child by an anonymous Catalan artist. Carved alabaster with remains of polychrome and gold leaf. Circa 1330-1340. 112 x 42.5 x 22.7 cm. From the parish church of Navata (Alt Empordà).. National Museum of Catalan Art, inv no: 004356-000
  • Gothic statue of the Virgin Mary and child by an anonymous Catalan artist. Carved alabaster with remains of polychrome and gold leaf. Circa 1330-1340. 112 x 42.5 x 22.7 cm. From the parish church of Navata (Alt Empordà).. National Museum of Catalan Art, inv no: 004356-000
  • Roman gilded bronze head of Emperor Constantine dating from about 330-337 AD.. Inv 5.13, The Capitoline Museums, Rome
  • Gothic painted Panel Altarpiece of the Virgin Suckling the Child, Saint Clare and Saint Anthony the Abbott by the Workshop of Llorenc Saragossa. Tempera and gold leaf on wood. Date Last quarter of 14th century. Dimesions 207 x 187.5 x 10 cm. From Xelva (Valencia). National Museum of Catalan Art, Barcelona, Spain, inv no: 064027-CJT
  • Gothic painted Panel Altarpiece of the Virgin Suckling the Child, Saint Clare and Saint Anthony the Abbott by the Workshop of Llorenc Saragossa. Tempera and gold leaf on wood. Date Last quarter of 14th century. Dimesions 207 x 187.5 x 10 cm. From Xelva (Valencia). National Museum of Catalan Art, Barcelona, Spain, inv no: 064027-CJT
  • Gothic painted Panel Altarpiece of the Virgin Suckling the Child, Saint Clare and Saint Anthony the Abbott by the Workshop of Llorenc Saragossa. Tempera and gold leaf on wood. Date Last quarter of 14th century. Dimesions 207 x 187.5 x 10 cm. From Xelva (Valencia). National Museum of Catalan Art, Barcelona, Spain, inv no: 064027-CJT
  • Gothic painted Panel Altarpiece of the Virgin Suckling the Child, Saint Clare and Saint Anthony the Abbott by the Workshop of Llorenc Saragossa. Tempera and gold leaf on wood. Date Last quarter of 14th century. Dimesions 207 x 187.5 x 10 cm. From Xelva (Valencia). National Museum of Catalan Art, Barcelona, Spain, inv no: 064027-CJT
  • Gothic wood statue of Virgin and Child by tan anontmous Catalan Artist. Carved alabaster with remains of polychrome and gold leaf. Date Second half of 14th century. Dimensions 117.5 x 38.6 x 28.4 cm.  Probably comes from Sanaüja (Segarra). National Museum of Catalan Art, Barcelona, Spain inv no: 004359-000
  • Gothic wood statue of Virgin and Child by tan anontmous Catalan Artist. Carved alabaster with remains of polychrome and gold leaf. Date Second half of 14th century. Dimensions 117.5 x 38.6 x 28.4 cm.  Probably comes from Sanaüja (Segarra). National Museum of Catalan Art, Barcelona, Spain inv no: 004359-000
  • Gothic painted Panel Virgin Suckling the Child by Llorenc Saragossa. Tempera, gold leaf and metal plate on wood. Last quarter of 14th century. Dimensions 196.7 x 148.4 x 9.5 cm.  It comes from Albarracín cathedral (Teruel).  National Museum of Catalan Art, Barcelona, Spain, inv no: 005080-000
  • Gothic wood statue of Virgin and Child by tan anontmous Catalan Artist. Carved alabaster with remains of polychrome and gold leaf. Date Second half of 14th century. Dimensions 117.5 x 38.6 x 28.4 cm.  Probably comes from Sanaüja (Segarra). National Museum of Catalan Art, Barcelona, Spain inv no: 004359-000
  • Gothic wood statue of Virgin and Child by tan anontmous Catalan Artist. Carved alabaster with remains of polychrome and gold leaf. Date Second half of 14th century. Dimensions 117.5 x 38.6 x 28.4 cm.  Probably comes from Sanaüja (Segarra). National Museum of Catalan Art, Barcelona, Spain inv no: 004359-000
  • Gothic painted Panel Virgin Suckling the Child by Llorenc Saragossa. Tempera, gold leaf and metal plate on wood. Last quarter of 14th century. Dimensions 196.7 x 148.4 x 9.5 cm.  It comes from Albarracín cathedral (Teruel).  National Museum of Catalan Art, Barcelona, Spain, inv no: 005080-000
  • Gothic painted Panel Virgin Suckling the Child by Llorenc Saragossa. Tempera, gold leaf and metal plate on wood. Last quarter of 14th century. Dimensions 196.7 x 148.4 x 9.5 cm.  It comes from Albarracín cathedral (Teruel).  National Museum of Catalan Art, Barcelona, Spain, inv no: 005080-000
  • Gothic painted Panel Virgin Suckling the Child by Llorenc Saragossa. Tempera, gold leaf and metal plate on wood. Last quarter of 14th century. Dimensions 196.7 x 148.4 x 9.5 cm.  It comes from Albarracín cathedral (Teruel).  National Museum of Catalan Art, Barcelona, Spain, inv no: 005080-000
  • Gothic painted Panel Virgin Suckling the Child by Llorenc Saragossa. Tempera, gold leaf and metal plate on wood. Last quarter of 14th century. Dimensions 196.7 x 148.4 x 9.5 cm.  It comes from Albarracín cathedral (Teruel).  National Museum of Catalan Art, Barcelona, Spain, inv no: 005080-000
  • Gothic painted Panel Altarpiece of Saint Stephen by  Jaume Serra. Tempera, gold leaf and metal plate on wood. Circa 1385. Dimesions 185.7 x 186.5 x 11 cm. From the monastery of Santa Maria de Gualter (Noguera).. National Museum of Catalan Art, Barcelona, Spain, inv no: 003947-CJT
  • Gothic painted Panel of the Announcement to the Shepherds and Annunciation by anonymous artist from Navarra. Tempera and varnished metal leaf on wood and applied carving. Circa 1335-1350. 90.8 x 171.2 x 5.8 cm. From the parish church of Arteta (Navarra).. National Museum of Catalan Art, inv no: 004368-000
  • Gothic painted Panel of the Announcement to the Shepherds and Annunciation by anonymous artist from Navarra. Tempera and varnished metal leaf on wood and applied carving. Circa 1335-1350. 90.8 x 171.2 x 5.8 cm. From the parish church of Arteta (Navarra).. National Museum of Catalan Art, inv no: 004368-000
  • Gothic painted Panel Altar frontal of Jesus' childhood by anonymous artist from Navarra. Tempera and gold leaf on wood. Second quarter of 14th century. 90.8 x 171.2 x 5.8 cm. From the parish church of Arteta (Navarra).. National Museum of Catalan Art, inv no: 004368-000
  • Gothic painted Panel Altar frontal of Jesus' childhood by anonymous artist from Navarra. Tempera and gold leaf on wood. Second quarter of 14th century. 90.8 x 171.2 x 5.8 cm. From the parish church of Arteta (Navarra).. National Museum of Catalan Art, inv no: 004368-000
  • Gothic painted Altar frontal of the Corpus Christi by Master of Vallbona de les Monges possibly Guillem Seguer. Tempera, stucco reliefs, gold leaf and varnished metal plate on wood. Circa 1335-1345. 106.5 x 223.2 x 9.3 cm. From the chapel of Corpus Christi in the church of the monastery of Santa Maria de Vallbona de les Monges (Urgell).  National Museum of Catalan Art, inv no: 009919-000
  • Gothic statue of the Virgin Mary and child by an anonymous Catalan artist. Carved alabaster with remains of polychrome and gold leaf. Circa 1330-1340. 112 x 42.5 x 22.7 cm. From the parish church of Navata (Alt Empordà).. National Museum of Catalan Art, inv no: 004356-000
  • Gothic statue of the Virgin Mary and child by an anonymous Catalan artist. Carved alabaster with remains of polychrome and gold leaf. Circa 1330-1340. 112 x 42.5 x 22.7 cm. From the parish church of Navata (Alt Empordà).. National Museum of Catalan Art, inv no: 004356-000
  • Gothic statue of the Virgin Mary and child by an anonymous Catalan artist. Carved alabaster with remains of polychrome and gold leaf. Circa 1330-1340. 112 x 42.5 x 22.7 cm. From the parish church of Navata (Alt Empordà).. National Museum of Catalan Art, inv no: 004356-000
  • Gothic statue of the Virgin Mary and child by an anonymous Catalan artist. Carved alabaster with remains of polychrome and gold leaf. Circa 1330-1340. 112 x 42.5 x 22.7 cm. From the parish church of Navata (Alt Empordà).. National Museum of Catalan Art, inv no: 004356-000
  • West Facade, Central Portal, Archivolts- Right c. 1145. Cathedral of Chartres, France . Gothic statues of figures, from  the center the inner archivolt contains figures of angels standing on clouds. They hold round objects. (Perhaps these are wheels- the symbol for the Thrones, one of the choirs of angels described in Old Testament Book of Ezekiel 1:13-19. - JV) .The outer archivolts (right) contain figures of the Elders of the Apocalypse (Apocalypse, Chapter 4). They are depicted as bearded, haloed men wearing crowns seated on thrones. Each holds a musical instrument (Apocalypse, 5:8). A UNESCO World Heritage Site.
  • West Facade, Central Portal, Archivolts- Right c. 1145. Cathedral of Chartres, France . Gothic statues of figures, from  the center the inner archivolt contains figures of angels standing on clouds. They hold round objects. (Perhaps these are wheels- the symbol for the Thrones, one of the choirs of angels described in Old Testament Book of Ezekiel 1:13-19. - JV) .The outer archivolts (right) contain figures of the Elders of the Apocalypse (Apocalypse, Chapter 4). They are depicted as bearded, haloed men wearing crowns seated on thrones. Each holds a musical instrument (Apocalypse, 5:8). A UNESCO World Heritage Site.
  • West Facade, Central Portal, Archivolts- Right c. 1145. Cathedral of Chartres, France . Gothic statues of figures, from  the center the inner archivolt contains figures of angels standing on clouds. They hold round objects. (Perhaps these are wheels- the symbol for the Thrones, one of the choirs of angels described in Old Testament Book of Ezekiel 1:13-19. - JV) .The outer archivolts (right) contain figures of the Elders of the Apocalypse (Apocalypse, Chapter 4). They are depicted as bearded, haloed men wearing crowns seated on thrones. Each holds a musical instrument (Apocalypse, 5:8). A UNESCO World Heritage Site.
  • North Porch, Central Portal, left Jambs- General View c. 1194-1230. Cathedral of Chartres, France . Gothic statues of figures, from the left.1) the Old-Testament Priest/King Melchisedech holding a cup..2) Abraham sacrificing Isaac.3) Moses with the brazen serpent and the tablets of the Law.4) Samuel, sacrificing a lamb.5) King David.This portal was cleaned in the 1990's. The cleaning uncovered the yellowish sizing material that at one time served as a base for the paint and gilding which once decorated the figures.. A UNESCO World Heritage Site. .
  • Medieval Rose Window of the North Transept of the Gothic Cathedral of Chartres, France- Circa 1235. A UNESCO World Heritage Site. The 10.5m rose window is dedicated to the Virgin Mary . The central oculus shows the Virgin and Child and is surrounded by 12 small petal-shaped windows, 4 with doves (the 'Four Gifts of the Spirit'), the rest with adoring angels carrying candlesticks. Beyond this is a ring of 12 diamond-shaped openings containing the Old Testament Kings of Judah, another ring of smaller lozenges containing the arms of France and Castille, and finally a ring of semicircles containing Old Testament Prophets holding scrolls. The presence of the arms of the French king (yellow fleurs-de-lis on a blue background) and of his mother, Blanche of Castile (yellow castles on a red background) are taken as a sign of royal patronage for this window. Beneath the rose itself are five tall lancet windows (7.5 m high) showing, in the centre, the Virgin as an infant held by her mother, St Anne - the same subject as the trumeau in the portal beneath it. Flanking this lancet are four more containing Old Testament figures. Each of these standing figures is shown symbolically triumphing over an enemy depicted in the base of the lancet beneath them - David over Saul, Aaron over Pharaoh, St Anne over Synagoga, etc
  • Medieval Window of the North Transept of the Gothic Cathedral of Chartres, France- Circa 1235. A UNESCO World Heritage Site. The panels depict from left to right - 1. Melchizedek with Nebechadnezzar praying to a pagan idol below 2. King David with his harp with Saul dying on his own sword below 3. Saint Anne carrying the infant Mary with The arms of the Royal House of France below 4. King Solomon with Jeroboam worshipping the idols of Dan and Bethel below, 5. Aaron with Pharaoh falling from his horse below,
  • Medieval Rose Window of the North Transept of the Gothic Cathedral of Chartres, France- Circa 1235. A UNESCO World Heritage Site. The 10.5m rose window is dedicated to the Virgin Mary . The central oculus shows the Virgin and Child and is surrounded by 12 small petal-shaped windows, 4 with doves (the 'Four Gifts of the Spirit'), the rest with adoring angels carrying candlesticks. Beyond this is a ring of 12 diamond-shaped openings containing the Old Testament Kings of Judah, another ring of smaller lozenges containing the arms of France and Castille, and finally a ring of semicircles containing Old Testament Prophets holding scrolls. The presence of the arms of the French king (yellow fleurs-de-lis on a blue background) and of his mother, Blanche of Castile (yellow castles on a red background) are taken as a sign of royal patronage for this window. Beneath the rose itself are five tall lancet windows (7.5 m high) showing, in the centre, the Virgin as an infant held by her mother, St Anne - the same subject as the trumeau in the portal beneath it. Flanking this lancet are four more containing Old Testament figures. Each of these standing figures is shown symbolically triumphing over an enemy depicted in the base of the lancet beneath them - David over Saul, Aaron over Pharaoh, St Anne over Synagoga, etc
  • Tomb of  (front) Jeanne ( 1311 - 1349) Queen of France and Navarra daughter of Louis X , and Jean 1st (1316) called the Posthumous as he only ruled from his birth to his death 5 days later. Son of Louis X he was the shortest ruling undisputed King of France.. The Gothic Cathedral Basilica of Saint Denis ( Basilique Saint-Denis ) Paris, France.
  • Picture of Phrygian releif sculpture Orthostat of a horse from Kucukevier, Ankara, Turkey. Ancora Archaeological Museum. 7th century BC. Note the stylised leg muscels. 5
  • Picture & image of a Neo-Hittite orthostat with a releif sculpture of A Winged God from Aslantepe ,  Malatya, Turkey. Museum of Anatolian Civilisations, Ankara.  The God holds a branch of fruit in his left hand and a single fruit in the right hand. 5
  • Picture & image of a Neo-Hittite orthostat with a releif sculpture of Lion Men  from Aslantepe ,  Malatya, Turkey. Ancora Archaeological Museum.  5
  • Picture & image of a Neo-Hittite orthostat showing a releif sculpture  of the Goddess Kubaba from Karkamis,, Turkey. Museum of Anatolian Civilisations, Ankara. 5 In her right hand she is holding a pomegranate
  • Picture & image of a Neo-Hittite orthostat with a chariot Releif sculpture from Karkamis,, Turkey. Museum of Anatolian Civilisations, Ankara. The Chariot is pulled by horses with plumed headresses. One man os about to shoot an arrow from his bow, the other man is driving the cahriot. Below the horse is a man dying. 5
  • Picture & image of a Neo-Hittite orthostat with a chariot Releif sculpture from Karkamis,, Turkey. Ancora Archaeological Museum. The Cahiot is pulled by horses with plumed headresses. One man os about to shoot an arrow from his bow, the other man is driving the cahriot. Below the horse is a animal cowering. 5
  • Picture & image of a Neo-Hittite orthostat showing a Conjurer & acrobats from Alacahöyük, Alaca Çorum Province, Turkey. Ancora Archaeological Museum.  The conjurer on the left has long hair and is swallowing a dagger whilst the acrobats go up the stairs without holding on. All the figures are wearing horned headress and large looped earings. The acrobats are thought to be foreigners which is why they are smaller than the conjurer. Old Bronze age Chalcolithic Period. 5
  • Picture & image of an Imperial Hittite orthostat dshowing a King & Queen before an altar from Alacahöyük,  Alaca Çorum Province,, Turkey. Museum of Anatolian Civilisations, Ankara. Old Bronze age Chalcolithic Period. 5
  • Picture & image of a Neo-Hittite orthostat showing goddess Kubaba  from  the legend of Gilgamesh from Karkamis,, Turkey. Ancora Archaeological Museum. 5
  • Picture & image of a Neo-Hittite orthostat of 3 warriors from the legend of Gilgamesh from Karkamis,, Turkey. Museum of Anatolian Civilisations, Ankara. The warrior on the far left holds a spear in one hand and the branch of a tree in the other. The middle warrior has a clenched fist an carries an impliment over his shoulder. The warrior on the far right carries a saff. All 3 are wearing swords. 5
  • Picture & image of a Neo-Hittite orthostat describing the legend of Gilgamesh from Karkamis,, Turkey. Museum of Anatolian Civilisations, Ankara. A three headed Sphinx which is a winged lion with a human heas and a bird of prey's head on the end of its tail 5
  • Picture of Neo-Hittite orthostat describing the legend of Gilgamesh from Karkamis,, Turkey. Museum of Anatolian Civilisations, Ankara. Symetrical mythological Scene depicting "Winged Griffin Demons", half men with birds heads & wings. Their hands are raised above their heads supposidly carrying the sky. 5
  • Picture & Image of  Neo-Hittite orthostat describing the legend of Gilgamesh from Karkamis,, Turkey. Museum of Anatolian Civilisations, Ankara. To the left a bearded deity with a horned helmet is holding a lions back leg and is about to strike it with an axe. To the right a man is stabbing the lion with a dagger. 5
  • Picture of Neo-Hittite orthostat describing the legend of Gilgamesh from Karkamis,, Turkey. Museum of Anatolian Civilisations, Ankara. Mythological scene. The 2 figures in the center are flanked by lion headed men who have one fist outstretched and are known as Ugallu. The 2 figures in the middle holding spears are men with bodies of bulls known as Kusarikku. 5
  • Photo of Neo-Hittite orthostat from Karkamis, Turkey. Ancora Archaeological Museum.  The meeting of the "Storm God" on right and a King on the left. 5
  • Picture of a Neo-Hittite orthostat describing the legend of Gilgamesh from Karkamis, Turkey. Ancora Archaeological Museum. Mythological Scene of 2 Spinxes standing on their back legs either side of a winged horse which is also standing on its rear legs. 5
  • Ruins of the Ayyubids Small Palace in the citadel of ancient Hasankeyf overlooking the Tigris River. Turkey 5
  • Remains of medieval Artukid Old Tigris Bridge – Built in 1116 by Artukid Fahrettin Karaaslan, the biggest in Anatolia at the time, with the old town Hasankeyf and its ruins on the cliffs abover the river Tigris. The minaret is of the El Rizk Mosque built 1409.  Turkey. 5
  • Ruins of the Ayyubids Small Palace in the citadel of ancient Hasankeyf overlooking the Tigris River. Turkey 5
  • Remains of medieval Artukid Old Tigris Bridge – Built in 1116 by Artukid Fahrettin Karaaslan, the biggest in Anatolia at the time, with the old town Hasankeyf and its ruins on the cliffs abover the river Tigris. The minaret is of the El Rizk Mosque built 1409.  Turkey. 5
  • The ancient Uratian iron age fortress of Van, Van, Turkey 5
  • Shepherds & their sheep on the shotre of Lake Van, Turkey 5
  • Pictures of the beehive adobe buildings of Harran, south west Anatolia, Turkey.  Harran was a major ancient city in Upper Mesopotamia whose site is near the modern village of Altınbaşak, Turkey, 24 miles (44 kilometers) southeast of Şanlıurfa. The location is in a district of Şanlıurfa Province that is also named "Harran". Harran is famous for its traditional 'beehive' adobe houses, constructed entirely without wood. The design of these makes them cool inside. 5
  • Picture & photo of the statues of around the tomb of Commagene King Antochus 1 on the top of Mount Nemrut, Turkey. Stock photos & Photo art prints. In 62 BC, King Antiochus I Theos of Commagene built on the mountain top a tomb-sanctuary flanked by huge statues (8–9 m/26–30 ft high) of himself, two lions, two eagles and various Greek, Armenian, and Iranian gods. The photos show the broken statues on the  2,134 m (7,001 ft)  mountain. 5
  • Image of the statues of around the tomb of Commagene King Antochus 1 on the top of Mount Nemrut, Turkey. Stock photos & Photo art prints. In 62 BC, King Antiochus I Theos of Commagene built on the mountain top a tomb-sanctuary flanked by huge statues (8–9 m/26–30 ft high) of himself, two lions, two eagles and various Greek, Armenian, and Iranian gods. The photos show the broken statues on the  2,134 m (7,001 ft)  mountain. 5
  • Pictures of the statues of around the tomb of Commagene King Antochus 1 on the top of Mount Nemrut, Turkey. Stock photos & Photo art prints. In 62 BC, King Antiochus I Theos of Commagene built on the mountain top a tomb-sanctuary flanked by huge statues (8–9 m/26–30 ft high) of himself, two lions, two eagles and various Greek, Armenian, and Iranian gods. The photos show the broken statues on the  2,134 m (7,001 ft)  mountain. 5
  • Pictures of the statues of around the tomb of Commagene King Antochus 1 on the top of Mount Nemrut, Turkey. Stock photos & Photo art prints. In 62 BC, King Antiochus I Theos of Commagene built on the mountain top a tomb-sanctuary flanked by huge statues (8–9 m/26–30 ft high) of himself, two lions, two eagles and various Greek, Armenian, and Iranian gods. The photos show the broken statues on the  2,134 m (7,001 ft)  mountain. 5
  • Image of the statues of around the tomb of Commagene King Antochus 1 on the top of Mount Nemrut, Turkey. Stock photos & Photo art prints. In 62 BC, King Antiochus I Theos of Commagene built on the mountain top a tomb-sanctuary flanked by huge statues (8–9 m/26–30 ft high) of himself, two lions, two eagles and various Greek, Armenian, and Iranian gods. The photos show the broken statues on the  2,134 m (7,001 ft)  mountain. 5
  • Picture of the double Tetrapylon Gate, Aphrodisias, Turkey. A tetrapylon (Greek: Τετράπυλον, "four gates") is an ancient type of Roman monument of cubic shape, with a gate on each of the four sides: generally it was built on a crossroads. stock photos & photo art prints. 5
  • Pictures & Image  of Pamukkale Travetine Terrace, Turkey. Images of the white Calcium carbonate rock formations. Buy as stock photos or as photo art prints. 5 Pamukkale travetine terrace water cascades, composed of white Calcium carbonate rock formations, Pamukkale, Anatolia, Turkey
  • Photo & Image  of Pamukkale Travetine Terrace, Turkey. Picture of the white Calcium carbonate rock formations. Buy as stock photos or as photo art prints. 5 Pamukkale travetine terrace water cascades, composed of white Calcium carbonate rock formations, Pamukkale, Anatolia, Turkey
  • Photo & Image  of Pamukkale Travetine Terrace, Turkey. Images of the white Calcium carbonate rock formations. Buy as stock photos or as photo art prints. 5 Pamukkale travetine terrace water cascades, composed of white Calcium carbonate rock formations, Pamukkale, Anatolia, Turkey
  • Photo & Image  of Pamukkale Travetine Terrace, Turkey, at sunset. Images of the white Calcium carbonate rock formations. Buy as stock photos or as photo art prints. 5 Pamukkale travetine terrace water cascades, composed of white Calcium carbonate rock formations, Pamukkale, Anatolia, Turkey
  • Fresh nasturtium flowers & leaves
  • Icarus # 5- Fine Art Polaroid lift photography picture wall art prints, by photographer Paul Williams.

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