• Woman in traditional costume at the Hungarian Regional Gastronomic Festival 2009 - Gyor ( Gy?r ) Hungary
  • Roman Mosaic portrait of a women from Pompei Archaeological Site. Naples Archaeological Museum inv 124666
  • Roman Mosaic portrait of a women from Pompei Archaeological Site. Naples Archaeological Museum inv 124666
  • Young nude women.
  • Young nude women.
  • Young nude women.
  • Young nude women.
  • Close up of womens breast.
  • feminine nude women standing
  • Naked women sleeping in bed
  • youg women holding a sunflower revealing her breast.
  • youg bare feminine women holding a 3 red gerberra flowers reealing ger breasts
  • close up nude women's breasts sunbathing
  • Nude women sleeping in bed
  • Naked women lying in bed reading.
  • Young nude feminine women revealing her breasts
  • Young nude feminine women revealing her breasts
  • Nude female standing against a white background
  • Naked female standing.
  • Naked female standing.
  • Young nude women.
  • Young nude women.
  • Young nude women.
  • Young nude women.
  • Young nude women.
  • Young nude women.
  • Young nude women.
  • nude young women standing examining her breast
  • nude young women standing examining her breast
  • Young nude women standing confidently
  • Young nude women holding an orange towel
  • close up nude women's breasts sunbathing
  • Naked women sleeping in bed
  • Nude women examining her reast whilst lying down in bed
  • Naked women sleeping viewed from under the sheets holding her teddy bear
  • Naked women sleeping viewed from under the sheets
  • Naked women sleeping in bed with her toy dog bear in front of her
  • Naked women sleeping in bed with her teddy bear in front of her
  • Naked women lying in bed holding a diamond engagement ring in its box in front of her
  • Young nude women holding a turquoise towel
  • Young women wearing black top and revealing one nipple
  • Roman statue of a Dancing Woman . Marble. Perge. 2nd century AD. Inv no 10.29.81 . Antalya Archaeology Museum; Turkey. Against a warm art background.
  • Roman statue of a seated woman . Marble. Perge. 2nd century AD. Inv no 17.7. . Antalya Archaeology Museum; Turkey.
  • Roman statue of a seated woman . Marble. Perge. 2nd century AD. Inv no 17.7. . Antalya Archaeology Museum; Turkey. Against a black background.
  • Roman statue of a seated woman . Marble. Perge. 2nd century AD. Inv no 17.7. . Antalya Archaeology Museum; Turkey. Against a warm art background.
  • Roman statue of a seated woman . Marble. Perge. 2nd century AD. Inv no 17.7. . Antalya Archaeology Museum; Turkey.  Against a grey background
  • Roman statue of a woman. Marble. Perge. 2nd century AD. Inv no 2015/186. Antalya Archaeology Museum; Turkey.
  • Roman statue of a woman. Marble. Perge. 2nd century AD. Inv no 2015/186. Antalya Archaeology Museum; Turkey. Against a white background.
  • Roman statue of a woman. Marble. Perge. 2nd century AD. Inv no 2015/186. Antalya Archaeology Museum; Turkey. Against a black background.
  • Roman statue of a woman. Marble. Perge. 2nd century AD. Inv no 2015/186. Antalya Archaeology Museum; Turkey. Against a warm art background.
  • Roman statue of a Dancing Woman . Marble. Perge. 2nd century AD. Inv no 10.29.81 . Antalya Archaeology Museum; Turkey.
  • Roman statue of a Dancing Woman . Marble. Perge. 2nd century AD. Inv no 10.29.81 . Antalya Archaeology Museum; Turkey. Against a black background.
  • Roman statue of a Dancing Woman . Marble. Perge. 2nd century AD. Inv no 10.29.81 . Antalya Archaeology Museum; Turkey. Against a white background.
  • Roman statue of a Dancing Woman . Marble. Perge. 2nd century AD. Inv no 10.29.81 . Antalya Archaeology Museum; Turkey.  Against a grey background
  • Roman statue of a seated woman . Marble. Perge. 2nd century AD. Inv no 17.7. . Antalya Archaeology Museum; Turkey. Against a white background.
  • Roman statue of a woman. Marble. Perge. 2nd century AD. Inv no 2015/186. Antalya Archaeology Museum; Turkey.  Against a grey background
  • Ancient Greek funerary statue of a women, type Small Herculaneum Woman style. From Delos circa 2nd Cent BC. Athens National Archaeological Museum. Cat No 1827. against black<br />
<br />
This marble statue from Delos shopws a women wearing a full length chiton and a himation that covers her entire body and arms. This style of statue is known os 'Small Herculaneum Woman' and is a copy of a famous original dating from 300 BC.
  • Ancient Greek funerary statue of a women, type Small Herculaneum Woman style. From Delos circa 2nd Cent BC. Athens National Archaeological Museum. Cat No 1827. Against grey<br />
<br />
This marble statue from Delos shopws a women wearing a full length chiton and a himation that covers her entire body and arms. This style of statue is known os 'Small Herculaneum Woman' and is a copy of a famous original dating from 300 BC.
  • Ancient Greek funerary statue of a women, type Small Herculaneum Woman style. From Delos circa 2nd Cent BC. Athens National Archaeological Museum. Cat No 1827, Against white, <br />
<br />
This marble statue from Delos shopws a women wearing a full length chiton and a himation that covers her entire body and arms. This style of statue is known os 'Small Herculaneum Woman' and is a copy of a famous original dating from 300 BC.
  • Ancient Greek funerary statue of a women, type Small Herculaneum Woman style. From Delos circa 2nd Cent BC. Athens National Archaeological Museum. Cat No 1827<br />
<br />
This marble statue from Delos shopws a women wearing a full length chiton and a himation that covers her entire body and arms. This style of statue is known os 'Small Herculaneum Woman' and is a copy of a famous original dating from 300 BC.
  • Ancient Greek funerary statue of a women, type Small Herculaneum Woman style. From Delos circa 2nd Cent BC. Athens National Archaeological Museum. Cat No 1827. Against grey<br />
<br />
This marble statue from Delos shopws a women wearing a full length chiton and a himation that covers her entire body and arms. This style of statue is known os 'Small Herculaneum Woman' and is a copy of a famous original dating from 300 BC.
  • Marble Ancient Greek Archaic statue of a Woman, found on Delos, circa 650 BC, Athens National Archaeological Museum. Cat no 1. Against white.<br />
<br />
One of the earlist known monumental statues in stone this statue probably represents Artemis. According to the inscription carved on the left thigh of the statue it was dedicated to Apollo ny Naxian Nikandre. Typical Daedalic style from a Delos workshop.
  • Marble Ancient Greek Archaic statue of a Woman, found on Delos, circa 650 BC, Athens National Archaeological Museum. Cat no 1. Against black<br />
<br />
One of the earlist known monumental statues in stone this statue probably represents Artemis. According to the inscription carved on the left thigh of the statue it was dedicated to Apollo ny Naxian Nikandre. Typical Daedalic style from a Delos workshop.
  • Marble Ancient Greek Archaic statue of a Woman, found on Delos, circa 650 BC, Athens National Archaeological Museum. Cat no 1.  Against grey.<br />
<br />
One of the earlist known monumental statues in stone this statue probably represents Artemis. According to the inscription carved on the left thigh of the statue it was dedicated to Apollo ny Naxian Nikandre. Typical Daedalic style from a Delos workshop.
  • Roman statue of a woman. Marble. Perge. 2nd century AD. Inv no 2015/186. Antalya Archaeology Museum; Turkey. Against a white background.
  • Roman statue of a woman. Marble. Perge. 2nd century AD. Inv no 2015/186. Antalya Archaeology Museum; Turkey. Against a warm art background.
  • Roman statue head of a woman. Marble. Perge. 2nd century AD. Inv no 1016. Antalya Archaeology Museum; Turkey.
  • Roman statue head of a woman. Marble. Perge. 2nd century AD. Inv no 1016. Antalya Archaeology Museum; Turkey. Against a black background.
  • Copper statuettes of warriors with a short loincloth which originally held weapons in their hands, as well as representation of a woman. These acquired in the art trade figures were probably made ​​in the mountains of Lebanon. They are characterised by the rigid body shapes and rough running faces, whose eyes were inserted once. 3rd century BC , Pergamon Museum, Berlin
  • Copper statuettes of warriors with a short loincloth which originally held weapons in their hands, as well as representation of a woman. These acquired in the art trade figures were probably made ​​in the mountains of Lebanon. They are characterised by the rigid body shapes and rough running faces, whose eyes were inserted once. 3rd century BC , Pergamon Museum, Berlin
  • Copper statuettes of warriors with a short loincloth which originally held weapons in their hands, as well as representation of a woman. These acquired in the art trade figures were probably made ​​in the mountains of Lebanon. They are characterised by the rigid body shapes and rough running faces, whose eyes were inserted once. 3rd century BC , Pergamon Museum, Berlin
  • Copper statuettes of warriors with a short loincloth which originally held weapons in their hands, as well as representation of a woman. These acquired in the art trade figures were probably made ​​in the mountains of Lebanon. They are characterised by the rigid body shapes and rough running faces, whose eyes were inserted once. 3rd century BC , Pergamon Museum, Berlin
  • Copper statuettes of warriors with a short loincloth which originally held weapons in their hands, as well as representation of a woman. These acquired in the art trade figures were probably made ​​in the mountains of Lebanon. They are characterised by the rigid body shapes and rough running faces, whose eyes were inserted once. 3rd century BC , Pergamon Museum, Berlin
  • Copper statuettes of warriors with a short loincloth which originally held weapons in their hands, as well as representation of a woman. These acquired in the art trade figures were probably made ​​in the mountains of Lebanon. They are characterised by the rigid body shapes and rough running faces, whose eyes were inserted once. 3rd century BC , Pergamon Museum, Berlin
  • Copper statuettes of warriors with a short loincloth which originally held weapons in their hands, as well as representation of a woman. These acquired in the art trade figures were probably made ​​in the mountains of Lebanon. They are characterised by the rigid body shapes and rough running faces, whose eyes were inserted once. 3rd century BC , Pergamon Museum, Berlin
  • Marble Ancient Greek Archaic statue of a Woman, found on Delos, circa 650 BC, Athens National Archaeological Museum. Cat no 1.  Against grey.<br />
<br />
One of the earlist known monumental statues in stone this statue probably represents Artemis. According to the inscription carved on the left thigh of the statue it was dedicated to Apollo ny Naxian Nikandre. Typical Daedalic style from a Delos workshop.
  • Marble Ancient Greek Archaic statue of a Woman, found on Delos, circa 650 BC, Athens National Archaeological Museum. Cat no 1.<br />
<br />
One of the earlist known monumental statues in stone this statue probably represents Artemis. According to the inscription carved on the left thigh of the statue it was dedicated to Apollo ny Naxian Nikandre. Typical Daedalic style from a Delos workshop.
  • Roman Erotic Fresco from Pompeii depicting  a man & woman having sex Naples National Archaeological Museum - 1st century AD
  • Roman Erotic Fresco from Pompeii depicting  a man & woman having sex Naples National Archaeological Museum - 1st century AD
  • Roman Erotic Fresco from Pompeii depicting  a man & woman having sex Naples National Archaeological Museum - 1st century AD
  • Roman statue of a woman. Marble. Perge. 2nd century AD. Inv no 2015/186. Antalya Archaeology Museum; Turkey. Against a black background.
  • Roman statue of a woman. Marble. Perge. 2nd century AD. Inv no 2015/186. Antalya Archaeology Museum; Turkey.
  • Roman statue of a woman. Marble. Perge. 2nd century AD. Inv no 2015/186. Antalya Archaeology Museum; Turkey. Against a grey background
  • Roman statue head of a woman. Marble. Perge. 2nd century AD. Inv no 1016. Antalya Archaeology Museum; Turkey. Against a white background.
  • Roman statue head of a woman. Marble. Perge. 2nd century AD. Inv no 1016. Antalya Archaeology Museum; Turkey. Against a warm art background.
  • Roman statue head of a woman. Marble. Perge. 2nd century AD. Inv no 1016. Antalya Archaeology Museum; Turkey. Against a grey background
  • Copper statuettes of warriors with a short loincloth which originally held weapons in their hands, as well as representation of a woman. These acquired in the art trade figures were probably made ​​in the mountains of Lebanon. They are characterised by the rigid body shapes and rough running faces, whose eyes were inserted once. 3rd century BC , Pergamon Museum, Berlin
  • Copper statuettes of warriors with a short loincloth which originally held weapons in their hands, as well as representation of a woman. These acquired in the art trade figures were probably made ​​in the mountains of Lebanon. They are characterised by the rigid body shapes and rough running faces, whose eyes were inserted once. 3rd century BC , Pergamon Museum, Berlin
  • Copper statuettes of warriors with a short loincloth which originally held weapons in their hands, as well as representation of a woman. These acquired in the art trade figures were probably made ​​in the mountains of Lebanon. They are characterised by the rigid body shapes and rough running faces, whose eyes were inserted once. 3rd century BC , Pergamon Museum, Berlin
  • Copper statuettes of warriors with a short loincloth which originally held weapons in their hands, as well as representation of a woman. These acquired in the art trade figures were probably made ​​in the mountains of Lebanon. They are characterised by the rigid body shapes and rough running faces, whose eyes were inserted once. 3rd century BC , Pergamon Museum, Berlin
  • Copper statuettes of warriors with a short loincloth which originally held weapons in their hands, as well as representation of a woman. These acquired in the art trade figures were probably made ​​in the mountains of Lebanon. They are characterised by the rigid body shapes and rough running faces, whose eyes were inserted once. 3rd century BC , Pergamon Museum, Berlin
  • Copper statuettes of warriors with a short loincloth which originally held weapons in their hands, as well as representation of a woman. These acquired in the art trade figures were probably made ​​in the mountains of Lebanon. They are characterised by the rigid body shapes and rough running faces, whose eyes were inserted once. 3rd century BC , Pergamon Museum, Berlin
  • Copper statuettes of warriors with a short loincloth which originally held weapons in their hands, as well as representation of a woman. These acquired in the art trade figures were probably made ​​in the mountains of Lebanon. They are characterised by the rigid body shapes and rough running faces, whose eyes were inserted once. 3rd century BC , Pergamon Museum, Berlin
  • Copper statuettes of warriors with a short loincloth which originally held weapons in their hands, as well as representation of a woman. These acquired in the art trade figures were probably made ​​in the mountains of Lebanon. They are characterised by the rigid body shapes and rough running faces, whose eyes were inserted once. 3rd century BC , Pergamon Museum, Berlin
  • Copper statuettes of warriors with a short loincloth which originally held weapons in their hands, as well as representation of a woman. These acquired in the art trade figures were probably made ​​in the mountains of Lebanon. They are characterised by the rigid body shapes and rough running faces, whose eyes were inserted once. 3rd century BC , Pergamon Museum, Berlin
  • Ancient Egyptian False Door stele of Princess Wehemnefret, limestone, Old Kingdom, 4th Dynasty (2543-2435 BC), Giza, Western Cemetery, mastaba of Wehemnefret. Egyptian Museum, Turin.  Schiaparelli Cat 1840. black background<br />
<br />
In the centre at the yop the deceased woman is depicted sitiing infront of a tabel laden with bread slices. The slices are depicted vertically as was the stylistic convention of the period. Imediately below the panel , on the left side of the lintel of the false door, is the name of the deceased and her titles stressing that she is a member of the Royal family "the daughter of the king".  In the 4 upper panels high ranking officials and courtiers are depicted. The nude child with his finger in his mouth on the right inner jamb is identified by its inscription as Irenptah, the deceased grandson. In other panels are ndividuals carrying offerings and priests.
  • Ancient Egyptian Roman female mummy mask, limestone, Roman Period, 2nd Cent AD, Hawara,  Egyptian Museum, Turin. Grey Background<br />
<br />
This is a remarkable gilt cartonnage with inlaid cystal eyes . The woman wears a Roman style hardo half covered by a veil, a himation, fringed cloak, yied to her breat, snake shaped bracelets and a necklace of pink flowers, all of which are connected to the cult of Isis.
  • Ancient Egyptian wooden sarcophagus - the coffin of Puia circa 1800BC - Thebes Necropolis. Egyptian Museum, Turin. Black background<br />
<br />
From about 100BC "anthropoid " sarcophagi with fihure shaped lids started to replace rectangular coffins. Pia was probably the son of Puyemre, a high official of Thebes and second priest of Amon under the woman pharoah, Hatshepsut (1479-1458). The sarcophagus was excavated by Robert Mond from a shaft grave found close to the tomb of Puyemre in Thebes Necropolis.
  • Picture and image of the stone sculpture ”L’Angelo Nocchiero” (the Helmsman Angel). The sculpture depicts an angel, standing astride a small boat, beginning to secure the sails at the end of a journey. His garments are streaming behind him, suggesting a strong wind. The prow of the boat is the stoic face of a woman, and under the prow the water swirls. The Giacomo Carpaneto tomb  sculpted by Giovanni Scanzi in 1886. Section A, no 25, monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the late borgeoise realistic style stone sculpture of the Gallino tomb sculpted by  G. Moreno 1894.  In the tomb, the bust that portrays the deceased Carolina receives the kiss of a child, probably the niece, supported by a young woman - the mother, or perhaps the elder sister - whose face is marked by pain; on the right an older man, presumably her husband, stands aside, almost absent, looking down at the ground. The most intimate tones and psychological introspection are grafted here in the language of bourgeois Realism: with undoubted technical virtuosity Moreno offers a rigorous "quantitative" description of reality, dwelling on every single detail of faces, clothing, accessories and hairstyles . Section A, no 54, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Ancient Egyptian False Door stele of Princess Wehemnefret, limestone, Old Kingdom, 4th Dynasty (2543-2435 BC), Giza, Western Cemetery, mastaba of Wehemnefret. Egyptian Museum, Turin.  Schiaparelli Cat 1840. white background<br />
<br />
In the centre at the yop the deceased woman is depicted sitiing infront of a tabel laden with bread slices. The slices are depicted vertically as was the stylistic convention of the period. Imediately below the panel , on the left side of the lintel of the false door, is the name of the deceased and her titles stressing that she is a member of the Royal family "the daughter of the king".  In the 4 upper panels high ranking officials and courtiers are depicted. The nude child with his finger in his mouth on the right inner jamb is identified by its inscription as Irenptah, the deceased grandson. In other panels are ndividuals carrying offerings and priests.
  • Ancient Egyptian False Door stele of Princess Wehemnefret, limestone, Old Kingdom, 4th Dynasty (2543-2435 BC), Giza, Western Cemetery, mastaba of Wehemnefret. Egyptian Museum, Turin.  Schiaparelli Cat 1840. <br />
<br />
In the centre at the yop the deceased woman is depicted sitiing infront of a tabel laden with bread slices. The slices are depicted vertically as was the stylistic convention of the period. Imediately below the panel , on the left side of the lintel of the false door, is the name of the deceased and her titles stressing that she is a member of the Royal family "the daughter of the king".  In the 4 upper panels high ranking officials and courtiers are depicted. The nude child with his finger in his mouth on the right inner jamb is identified by its inscription as Irenptah, the deceased grandson. In other panels are ndividuals carrying offerings and priests.
  • Ancient Egyptian False Door stele of Princess Wehemnefret, limestone, Old Kingdom, 4th Dynasty (2543-2435 BC), Giza, Western Cemetery, mastaba of Wehemnefret. Egyptian Museum, Turin.  Schiaparelli Cat 1840. Grey background<br />
<br />
In the centre at the yop the deceased woman is depicted sitiing infront of a tabel laden with bread slices. The slices are depicted vertically as was the stylistic convention of the period. Imediately below the panel , on the left side of the lintel of the false door, is the name of the deceased and her titles stressing that she is a member of the Royal family "the daughter of the king".  In the 4 upper panels high ranking officials and courtiers are depicted. The nude child with his finger in his mouth on the right inner jamb is identified by its inscription as Irenptah, the deceased grandson. In other panels are ndividuals carrying offerings and priests.
  • Ancient Egyptian False Door stele of Princess Wehemnefret, limestone, Old Kingdom, 4th Dynasty (2543-2435 BC), Giza, Western Cemetery, mastaba of Wehemnefret. Egyptian Museum, Turin.  Schiaparelli Cat 1840. Grey background<br />
<br />
In the centre at the yop the deceased woman is depicted sitiing infront of a tabel laden with bread slices. The slices are depicted vertically as was the stylistic convention of the period. Imediately below the panel , on the left side of the lintel of the false door, is the name of the deceased and her titles stressing that she is a member of the Royal family "the daughter of the king".  In the 4 upper panels high ranking officials and courtiers are depicted. The nude child with his finger in his mouth on the right inner jamb is identified by its inscription as Irenptah, the deceased grandson. In other panels are ndividuals carrying offerings and priests.
  • Ancient Egyptian stele dedicated to Meretsesger, limestone, New Kingdom, 19th Dynasty, (1279-1213 BC), Deir el-Medina, Egyptian Museum, Turin. white background.<br />
<br />
The stele is divided into 3 registers. In the top section 2 wedjat eyes with shen sign above 3 zigzag lines indicating water are depicted. The second, largest register, is divided into 12 horizontal strips. Each is occupied by a coloured snake facing to the right.In the bottom register 3 columns of hieroglyphic text worship the goddess Meretseger: "life, strength and health to the ka and the lady of the house Wab, the justified." To the right of the text the deceased woman is kneeling with her hands raised in adoration. She  wears a white robe. A lotus flower is placed on top of her wig. Behind her head there are 4 hieroglyphic signs that form the phrase "at peace". To the right of the scene there is an offering table with a vessel flanked by a bunch of lotus flowers. Below the table there are 2 vessels on pedestals.
  • Ancient Egyptian stele dedicated to Meretsesger, limestone, New Kingdom, 19th Dynasty, (1279-1213 BC), Deir el-Medina, Egyptian Museum, Turin. black background.<br />
<br />
The stele is divided into 3 registers. In the top section 2 wedjat eyes with shen sign above 3 zigzag lines indicating water are depicted. The second, largest register, is divided into 12 horizontal strips. Each is occupied by a coloured snake facing to the right.In the bottom register 3 columns of hieroglyphic text worship the goddess Meretseger: "life, strength and health to the ka and the lady of the house Wab, the justified." To the right of the text the deceased woman is kneeling with her hands raised in adoration. She  wears a white robe. A lotus flower is placed on top of her wig. Behind her head there are 4 hieroglyphic signs that form the phrase "at peace". To the right of the scene there is an offering table with a vessel flanked by a bunch of lotus flowers. Below the table there are 2 vessels on pedestals.
  • Ancient Egyptian stele dedicated to Meretsesger, limestone, New Kingdom, 19th Dynasty, (1279-1213 BC), Deir el-Medina, Egyptian Museum, Turin. Grey background.<br />
<br />
The stele is divided into 3 registers. In the top section 2 wedjat eyes with shen sign above 3 zigzag lines indicating water are depicted. The second, largest register, is divided into 12 horizontal strips. Each is occupied by a coloured snake facing to the right.In the bottom register 3 columns of hieroglyphic text worship the goddess Meretseger: "life, strength and health to the ka and the lady of the house Wab, the justified." To the right of the text the deceased woman is kneeling with her hands raised in adoration. She  wears a white robe. A lotus flower is placed on top of her wig. Behind her head there are 4 hieroglyphic signs that form the phrase "at peace". To the right of the scene there is an offering table with a vessel flanked by a bunch of lotus flowers. Below the table there are 2 vessels on pedestals.
  • Ancient Egyptian stele dedicated to Meretsesger, limestone, New Kingdom, 19th Dynasty, (1279-1213 BC), Deir el-Medina, Egyptian Museum, Turin. <br />
<br />
The stele is divided into 3 registers. In the top section 2 wedjat eyes with shen sign above 3 zigzag lines indicating water are depicted. The second, largest register, is divided into 12 horizontal strips. Each is occupied by a coloured snake facing to the right.In the bottom register 3 columns of hieroglyphic text worship the goddess Meretseger: "life, strength and health to the ka and the lady of the house Wab, the justified." To the right of the text the deceased woman is kneeling with her hands raised in adoration. She  wears a white robe. A lotus flower is placed on top of her wig. Behind her head there are 4 hieroglyphic signs that form the phrase "at peace". To the right of the scene there is an offering table with a vessel flanked by a bunch of lotus flowers. Below the table there are 2 vessels on pedestals.
  • Ancient Egyptian stele dedicated to Meretsesger, limestone, New Kingdom, 19th Dynasty, (1279-1213 BC), Deir el-Medina, Egyptian Museum, Turin. Grey background.<br />
<br />
The stele is divided into 3 registers. In the top section 2 wedjat eyes with shen sign above 3 zigzag lines indicating water are depicted. The second, largest register, is divided into 12 horizontal strips. Each is occupied by a coloured snake facing to the right.In the bottom register 3 columns of hieroglyphic text worship the goddess Meretseger: "life, strength and health to the ka and the lady of the house Wab, the justified." To the right of the text the deceased woman is kneeling with her hands raised in adoration. She  wears a white robe. A lotus flower is placed on top of her wig. Behind her head there are 4 hieroglyphic signs that form the phrase "at peace". To the right of the scene there is an offering table with a vessel flanked by a bunch of lotus flowers. Below the table there are 2 vessels on pedestals.
  • Ancient Egyptian wooden model boat from tomb of Shemes,  Middle Kingdom (1980-1700 BC), Asyut. Egyptian Museum, Turin. black background<br />
<br />
In 1908 in Asyut, Egypt an intact tomb was discovered of an official named Shemes, it contained many rich grave goods. Two rectangular Coffins, one for Shemes and the other for a woman called Rehuerausen, possibly his wife. They carry typical Middle Kingdom decorations,
  • Ancient Egyptian wooden model boat from tomb of Shemes,  Middle Kingdom (1980-1700 BC), Asyut. Egyptian Museum, Turin.  white background<br />
<br />
In 1908 in Asyut, Egypt an intact tomb was discovered of an official named Shemes, it contained many rich grave goods. Two rectangular Coffins, one for Shemes and the other for a woman called Rehuerausen, possibly his wife. They carry typical Middle Kingdom decorations,
  • Ancient Egyptian wooden model boat from tomb of Shemes,  Middle Kingdom (1980-1700 BC), Asyut. Egyptian Museum, Turin.  Grey background.<br />
<br />
In 1908 in Asyut, Egypt an intact tomb was discovered of an official named Shemes, it contained many rich grave goods. Two rectangular Coffins, one for Shemes and the other for a woman called Rehuerausen, possibly his wife. They carry typical Middle Kingdom decorations,
  • Ancient Egyptian wooden model boat from tomb of Shemes,  Middle Kingdom (1980-1700 BC), Asyut. Egyptian Museum, Turin.  Grey background.<br />
<br />
In 1908 in Asyut, Egypt an intact tomb was discovered of an official named Shemes, it contained many rich grave goods. Two rectangular Coffins, one for Shemes and the other for a woman called Rehuerausen, possibly his wife. They carry typical Middle Kingdom decorations,
  • Ancient Egyptian wooden model boat from tomb of Shemes,  Middle Kingdom (1980-1700 BC), Asyut. Egyptian Museum, Turin.  <br />
<br />
In 1908 in Asyut, Egypt an intact tomb was discovered of an official named Shemes, it contained many rich grave goods. Two rectangular Coffins, one for Shemes and the other for a woman called Rehuerausen, possibly his wife. They carry typical Middle Kingdom decorations,
  • Ancient Egyptian wooden statue of Shemes,  Middle Kingdom (1980-1700 BC), tomb of Shimes, Asyut. Egyptian Museum, Turin.  white background<br />
<br />
In 1908 in Asyut, Egypt an intact tomb was discovered of an official named Shemes, it contained many rich grave goods. Two rectangular Coffins, one for Shemes and the other for a woman called Rehuerausen, possibly his wife. They carry typical Middle Kingdom decorations,
  • Ancient Egyptian wooden statue of Shemes,  Middle Kingdom (1980-1700 BC), tomb of Shimes, Asyut. Egyptian Museum, Turin. black background<br />
<br />
In 1908 in Asyut, Egypt an intact tomb was discovered of an official named Shemes, it contained many rich grave goods. Two rectangular Coffins, one for Shemes and the other for a woman called Rehuerausen, possibly his wife. They carry typical Middle Kingdom decorations,
  • Ancient Egyptian wooden statue of Shemes,  Middle Kingdom (1980-1700 BC), tomb of Shimes, Asyut. Egyptian Museum, Turin.  Grey background.<br />
<br />
In 1908 in Asyut, Egypt an intact tomb was discovered of an official named Shemes, it contained many rich grave goods. Two rectangular Coffins, one for Shemes and the other for a woman called Rehuerausen, possibly his wife. They carry typical Middle Kingdom decorations,
  • Ancient Egyptian wooden statue of Shemes,  Middle Kingdom (1980-1700 BC), tomb of Shimes, Asyut. Egyptian Museum, Turin.  Grey background.<br />
<br />
In 1908 in Asyut, Egypt an intact tomb was discovered of an official named Shemes, it contained many rich grave goods. Two rectangular Coffins, one for Shemes and the other for a woman called Rehuerausen, possibly his wife. They carry typical Middle Kingdom decorations,
  • Ancient Egyptian Roman female mummy mask, limestone, Roman Period, 2nd Cent AD, Hawara,  Egyptian Museum, Turin. black background<br />
<br />
This is a remarkable gilt cartonnage with inlaid cystal eyes . The woman wears a Roman style hardo half covered by a veil, a himation, fringed cloak, yied to her breat, snake shaped bracelets and a necklace of pink flowers, all of which are connected to the cult of Isis.
  • Ancient Egyptian Roman female mummy mask, limestone, Roman Period, 2nd Cent AD, Hawara,  Egyptian Museum, Turin. Grey Background<br />
<br />
This is a remarkable gilt cartonnage with inlaid cystal eyes . The woman wears a Roman style hardo half covered by a veil, a himation, fringed cloak, yied to her breat, snake shaped bracelets and a necklace of pink flowers, all of which are connected to the cult of Isis.
  • Ancient Egyptian wooden sarcophagus - the tomb of Tagiaset, Iuefdi & Harwa circa 22nd Dynasty (943 - 716 BC.) Thebes. Egyptian Museum, Turin. white background.<br />
<br />
Coffin lid of the eldest woman buried in the tomb, probably Tagiasettahekat, wife of Padiau. The sarcophagus decoration includes representation of strips crossed over her chest typical of "stoa coffin" of the 22nd dynasty.
  • Ancient Egyptian wooden sarcophagus - the tomb of Tagiaset, Iuefdi & Harwa circa 22nd Dynasty (943 - 716 BC.) Thebes. Egyptian Museum, Turin. black background.<br />
<br />
Coffin lid of the eldest woman buried in the tomb, probably Tagiasettahekat, wife of Padiau. The sarcophagus decoration includes representation of strips crossed over her chest typical of "stoa coffin" of the 22nd dynasty.
  • Ancient Egyptian wooden sarcophagus - the tomb of Tagiaset, Iuefdi & Harwa circa 22nd Dynasty (943 - 716 BC.) Thebes. Egyptian Museum, Turin. Grey background.<br />
<br />
Coffin lid of the eldest woman buried in the tomb, probably Tagiasettahekat, wife of Padiau. The sarcophagus decoration includes representation of strips crossed over her chest typical of "stoa coffin" of the 22nd dynasty.
  • Ancient Egyptian wooden sarcophagus - the tomb of Tagiaset, Iuefdi & Harwa circa 22nd Dynasty (943 - 716 BC.) Thebes. Egyptian Museum, Turin. <br />
<br />
Coffin lid of the eldest woman buried in the tomb, probably Tagiasettahekat, wife of Padiau. The sarcophagus decoration includes representation of strips crossed over her chest typical of "stoa coffin" of the 22nd dynasty.
  • Ancient Egyptian wooden sarcophagus - the tomb of Tagiaset, Iuefdi & Harwa circa 22nd Dynasty (943 - 716 BC.) Thebes. Egyptian Museum, Turin. Grey background.<br />
<br />
Coffin lid of the eldest woman buried in the tomb, probably Tagiasettahekat, wife of Padiau. The sarcophagus decoration includes representation of strips crossed over her chest typical of "stoa coffin" of the 22nd dynasty.
  • Ancient Egyptian wooden sarcophagus - the tomb of Tagiaset, Iuefdi & Harwa circa 22nd Dynasty (943 - 716 BC.) Thebes. Egyptian Museum, Turin. white background.<br />
<br />
Coffin lid of the eldest woman buried in the tomb, probably Tagiasettahekat, wife of Padiau. The sarcophagus decoration includes representation of strips crossed over her chest typical of "stoa coffin" of the 22nd dynasty.
  • Ancient Egyptian wooden sarcophagus - the tomb of Tagiaset, Iuefdi & Harwa circa 22nd Dynasty (943 - 716 BC.) Thebes. Egyptian Museum, Turin. black background.<br />
<br />
Coffin lid of the eldest woman buried in the tomb, probably Tagiasettahekat, wife of Padiau. The sarcophagus decoration includes representation of strips crossed over her chest typical of "stoa coffin" of the 22nd dynasty.
  • Ancient Egyptian wooden sarcophagus - the tomb of Tagiaset, Iuefdi & Harwa circa 22nd Dynasty (943 - 716 BC.) Thebes. Egyptian Museum, Turin. Grey background.<br />
<br />
Coffin lid of the eldest woman buried in the tomb, probably Tagiasettahekat, wife of Padiau. The sarcophagus decoration includes representation of strips crossed over her chest typical of "stoa coffin" of the 22nd dynasty.
  • Ancient Egyptian wooden sarcophagus - the tomb of Tagiaset, Iuefdi & Harwa circa 22nd Dynasty (943 - 716 BC.) Thebes. Egyptian Museum, Turin. Grey background.<br />
<br />
Coffin lid of the eldest woman buried in the tomb, probably Tagiasettahekat, wife of Padiau. The sarcophagus decoration includes representation of strips crossed over her chest typical of "stoa coffin" of the 22nd dynasty.
  • Ancient Egyptian wooden sarcophagus - the coffin of Puia circa 1800BC - Thebes Necropolis. Egyptian Museum, Turin. <br />
<br />
From about 100BC "anthropoid " sarcophagi with fihure shaped lids started to replace rectangular coffins. Pia was probably the son of Puyemre, a high official of Thebes and second priest of Amon under the woman pharoah, Hatshepsut (1479-1458). The sarcophagus was excavated by Robert Mond from a shaft grave found close to the tomb of Puyemre in Thebes Necropolis.
  • Ancient Egyptian wooden sarcophagus - the coffin of Puia circa 1800BC - Thebes Necropolis. Egyptian Museum, Turin. white background<br />
<br />
From about 100BC "anthropoid " sarcophagi with fihure shaped lids started to replace rectangular coffins. Pia was probably the son of Puyemre, a high official of Thebes and second priest of Amon under the woman pharoah, Hatshepsut (1479-1458). The sarcophagus was excavated by Robert Mond from a shaft grave found close to the tomb of Puyemre in Thebes Necropolis.
  • Ancient Egyptian wooden sarcophagus - the coffin of Puia circa 1800BC - Thebes Necropolis. Egyptian Museum, Turin. white background<br />
<br />
From about 100BC "anthropoid " sarcophagi with fihure shaped lids started to replace rectangular coffins. Pia was probably the son of Puyemre, a high official of Thebes and second priest of Amon under the woman pharoah, Hatshepsut (1479-1458). The sarcophagus was excavated by Robert Mond from a shaft grave found close to the tomb of Puyemre in Thebes Necropolis.
  • Ancient Egyptian wooden sarcophagus - the coffin of Puia circa 1800BC - Thebes Necropolis. Egyptian Museum, Turin. Grey background<br />
<br />
From about 100BC "anthropoid " sarcophagi with fihure shaped lids started to replace rectangular coffins. Pia was probably the son of Puyemre, a high official of Thebes and second priest of Amon under the woman pharoah, Hatshepsut (1479-1458). The sarcophagus was excavated by Robert Mond from a shaft grave found close to the tomb of Puyemre in Thebes Necropolis.
  • Ancient Egyptian wooden sarcophagus - the coffin of Puia circa 1800BC - Thebes Necropolis. Egyptian Museum, Turin. Grey background<br />
<br />
From about 100BC "anthropoid " sarcophagi with fihure shaped lids started to replace rectangular coffins. Pia was probably the son of Puyemre, a high official of Thebes and second priest of Amon under the woman pharoah, Hatshepsut (1479-1458). The sarcophagus was excavated by Robert Mond from a shaft grave found close to the tomb of Puyemre in Thebes Necropolis.
  • Ancient Egyptian wooden sarcophagus - the coffin of Puia circa 1800BC - Thebes Necropolis. Egyptian Museum, Turin. Grey background<br />
<br />
From about 100BC "anthropoid " sarcophagi with fihure shaped lids started to replace rectangular coffins. Pia was probably the son of Puyemre, a high official of Thebes and second priest of Amon under the woman pharoah, Hatshepsut (1479-1458). The sarcophagus was excavated by Robert Mond from a shaft grave found close to the tomb of Puyemre in Thebes Necropolis.
  • Roman Sebasteion relief sculpture of Ethnos of the Dacians Aphrodisias Museum, Aphrodisias, Turkey.   Against a white background.<br />
<br />
The Dacians are shown as a captive Barbarian woman. Her arms are crossed in submission, her thick dress slips off the shoulder slightly partly revealing her breast. The forepart of a small bull stands in profile behind. Dacia (modern Romania) was claimed by Augustus as a conquest in 1BC to 4AD
  • Roman Sebasteion relief sculpture of Ethnos of the Dacians Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.<br />
<br />
The Dacians are shown as a captive Barbarian woman. Her arms are crossed in submission, her thick dress slips off the shoulder slightly partly revealing her breast. The forepart of a small bull stands in profile behind. Dacia (modern Romania) was claimed by Augustus as a conquest in 1BC to 4AD
  • Roman Sebasteion relief sculpture of Ethnos of the Dacians Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
The Dacians are shown as a captive Barbarian woman. Her arms are crossed in submission, her thick dress slips off the shoulder slightly partly revealing her breast. The forepart of a small bull stands in profile behind. Dacia (modern Romania) was claimed by Augustus as a conquest in 1BC to 4AD
  • Roman Sebasteion relief sculpture of Ethnos of the Dacians Aphrodisias Museum, Aphrodisias, Turkey.  Against an art background.<br />
<br />
The Dacians are shown as a captive Barbarian woman. Her arms are crossed in submission, her thick dress slips off the shoulder slightly partly revealing her breast. The forepart of a small bull stands in profile behind. Dacia (modern Romania) was claimed by Augustus as a conquest in 1BC to 4AD
  • Roman Sebasteion relief sculpture of Ethnos of the Dacians Aphrodisias Museum, Aphrodisias, Turkey. Against a grey background.<br />
<br />
The Dacians are shown as a captive Barbarian woman. Her arms are crossed in submission, her thick dress slips off the shoulder slightly partly revealing her breast. The forepart of a small bull stands in profile behind. Dacia (modern Romania) was claimed by Augustus as a conquest in 1BC to 4AD
  • Roman mosaics - Seasons  Mosaic. Telete Villa.  2nd - 3rd century AD . Zeugma Mosaic Museum, Gaziantep, Turkey.<br />
<br />
Seasons mosaic Telete, was unearthed during the rescue excavations y Gaziantep Museum in 1994 when it was about to be stolen by the traffickers. It is the floor mosaic of a villa terrace located on the western skins of Zeugma hill <br />
<br />
The pane% consists of nine parts. At the central panel, Eros, who Is a mythological character and who has a crown on his head, sits side by side with Telete, the daughter of Dionysus. This representation symbolises the preparation of a young woman who is just about to taste the love and to become mature. There are busts of seasonal gods In the square panels at the corners. The crowned head of the Spring Goddess Ear Is slightly towards right. She wears a floral necklace. Her righr shoulder is naked and the crimps of her cloak are seen on her left shoulder. There is the bust of the river god on the top-right of the Telete panel. A kid lying on the grass and a bucket are pictured in the lower rectangular panel. In the western-side rectangular panel, on the other hand, there are four fish going in and out of a game basket. There is a rabbit figure within the rectangular panel on the right. Mythical narrations and natural life are intertwined in this mosaic.
  • Roman mosaics - Seasons  Mosaic. Telete Villa.  2nd - 3rd century AD . Zeugma Mosaic Museum, Gaziantep, Turkey.   Against a black background.<br />
<br />
Seasons mosaic Telete, was unearthed during the rescue excavations y Gaziantep Museum in 1994 when it was about to be stolen by the traffickers. It is the floor mosaic of a villa terrace located on the western skins of Zeugma hill <br />
<br />
The pane% consists of nine parts. At the central panel, Eros, who Is a mythological character and who has a crown on his head, sits side by side with Telete, the daughter of Dionysus. This representation symbolises the preparation of a young woman who is just about to taste the love and to become mature. There are busts of seasonal gods In the square panels at the corners. The crowned head of the Spring Goddess Ear Is slightly towards right. She wears a floral necklace. Her righr shoulder is naked and the crimps of her cloak are seen on her left shoulder. There is the bust of the river god on the top-right of the Telete panel. A kid lying on the grass and a bucket are pictured in the lower rectangular panel. In the western-side rectangular panel, on the other hand, there are four fish going in and out of a game basket. There is a rabbit figure within the rectangular panel on the right. Mythical narrations and natural life are intertwined in this mosaic.
  • Roman mosaics - Seasons  Mosaic. Telete Villa.  2nd - 3rd century AD . Zeugma Mosaic Museum, Gaziantep, Turkey.   Against an art background.<br />
<br />
Seasons mosaic Telete, was unearthed during the rescue excavations y Gaziantep Museum in 1994 when it was about to be stolen by the traffickers. It is the floor mosaic of a villa terrace located on the western skins of Zeugma hill <br />
<br />
The pane% consists of nine parts. At the central panel, Eros, who Is a mythological character and who has a crown on his head, sits side by side with Telete, the daughter of Dionysus. This representation symbolises the preparation of a young woman who is just about to taste the love and to become mature. There are busts of seasonal gods In the square panels at the corners. The crowned head of the Spring Goddess Ear Is slightly towards right. She wears a floral necklace. Her righr shoulder is naked and the crimps of her cloak are seen on her left shoulder. There is the bust of the river god on the top-right of the Telete panel. A kid lying on the grass and a bucket are pictured in the lower rectangular panel. In the western-side rectangular panel, on the other hand, there are four fish going in and out of a game basket. There is a rabbit figure within the rectangular panel on the right. Mythical narrations and natural life are intertwined in this mosaic.
  • Roman mosaics - Seasons  Mosaic. Telete Villa.  2nd - 3rd century AD . Zeugma Mosaic Museum, Gaziantep, Turkey.<br />
<br />
Seasons mosaic Telete, was unearthed during the rescue excavations y Gaziantep Museum in 1994 when it was about to be stolen by the traffickers. It is the floor mosaic of a villa terrace located on the western skins of Zeugma hill <br />
<br />
The pane% consists of nine parts. At the central panel, Eros, who Is a mythological character and who has a crown on his head, sits side by side with Telete, the daughter of Dionysus. This representation symbolises the preparation of a young woman who is just about to taste the love and to become mature. There are busts of seasonal gods In the square panels at the corners. The crowned head of the Spring Goddess Ear Is slightly towards right. She wears a floral necklace. Her righr shoulder is naked and the crimps of her cloak are seen on her left shoulder. There is the bust of the river god on the top-right of the Telete panel. A kid lying on the grass and a bucket are pictured in the lower rectangular panel. In the western-side rectangular panel, on the other hand, there are four fish going in and out of a game basket. There is a rabbit figure within the rectangular panel on the right. Mythical narrations and natural life are intertwined in this mosaic.
  • Roman statue of Plancia Magna a prominent woman from Anatolia who lived between the 1st century and 2nd century in the Roman Empire. Marble . Perge. 2nd century AD. Inv no 3459 . Antalya Archaeology Museum; Turkey.
  • Roman statue of Plancia Magna a prominent woman from Anatolia who lived between the 1st century and 2nd century in the Roman Empire. Marble . Perge. 2nd century AD. Inv no 3459 . Antalya Archaeology Museum; Turkey. Against a white background.
  • Roman statue of Plancia Magna a prominent woman from Anatolia who lived between the 1st century and 2nd century in the Roman Empire. Marble . Perge. 2nd century AD. Inv no 3459 . Antalya Archaeology Museum; Turkey. Against a black background.
  • Roman statue of Plancia Magna a prominent woman from Anatolia who lived between the 1st century and 2nd century in the Roman Empire. Marble . Perge. 2nd century AD. Inv no 3459 . Antalya Archaeology Museum; Turkey. Against a warm art background.
  • Roman statue of Plancia Magna a prominent woman from Anatolia who lived between the 1st century and 2nd century in the Roman Empire. Marble . Perge. 2nd century AD. Inv no 3459 . Antalya Archaeology Museum; Turkey. Against a grey background
  • Picture and image of the stone sculpture ”L’Angelo Nocchiero” (the Helmsman Angel). The sculpture depicts an angel, standing astride a small boat, beginning to secure the sails at the end of a journey. His garments are streaming behind him, suggesting a strong wind. The prow of the boat is the stoic face of a woman, and under the prow the water swirls. The Giacomo Carpaneto tomb  sculpted by Giovanni Scanzi in 1886. Section A, no 25, monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture ”L’Angelo Nocchiero” (the Helmsman Angel). The sculpture depicts an angel, standing astride a small boat, beginning to secure the sails at the end of a journey. His garments are streaming behind him, suggesting a strong wind. The prow of the boat is the stoic face of a woman, and under the prow the water swirls. The Giacomo Carpaneto tomb  sculpted by Giovanni Scanzi in 1886. Section A, no 25, monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture ”L’Angelo Nocchiero” (the Helmsman Angel). The sculpture depicts an angel, standing astride a small boat, beginning to secure the sails at the end of a journey. His garments are streaming behind him, suggesting a strong wind. The prow of the boat is the stoic face of a woman, and under the prow the water swirls. The Giacomo Carpaneto tomb  sculpted by Giovanni Scanzi in 1886. Section A, no 25, monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the late borgeoise realistic style stone sculpture of the Gallino tomb sculpted by  G. Moreno 1894.  In the tomb, the bust that portrays the deceased Carolina receives the kiss of a child, probably the niece, supported by a young woman - the mother, or perhaps the elder sister - whose face is marked by pain; on the right an older man, presumably her husband, stands aside, almost absent, looking down at the ground. The most intimate tones and psychological introspection are grafted here in the language of bourgeois Realism: with undoubted technical virtuosity Moreno offers a rigorous "quantitative" description of reality, dwelling on every single detail of faces, clothing, accessories and hairstyles . Section A, no 54, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the late borgeoise realistic style stone sculpture of the Gallino tomb sculpted by  G. Moreno 1894.  In the tomb, the bust that portrays the deceased Carolina receives the kiss of a child, probably the niece, supported by a young woman - the mother, or perhaps the elder sister - whose face is marked by pain; on the right an older man, presumably her husband, stands aside, almost absent, looking down at the ground. The most intimate tones and psychological introspection are grafted here in the language of bourgeois Realism: with undoubted technical virtuosity Moreno offers a rigorous "quantitative" description of reality, dwelling on every single detail of faces, clothing, accessories and hairstyles . Section A, no 54, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the late borgeoise realistic style stone sculpture of the Gallino tomb sculpted by  G. Moreno 1894.  In the tomb, the bust that portrays the deceased Carolina receives the kiss of a child, probably the niece, supported by a young woman - the mother, or perhaps the elder sister - whose face is marked by pain; on the right an older man, presumably her husband, stands aside, almost absent, looking down at the ground. The most intimate tones and psychological introspection are grafted here in the language of bourgeois Realism: with undoubted technical virtuosity Moreno offers a rigorous "quantitative" description of reality, dwelling on every single detail of faces, clothing, accessories and hairstyles . Section A, no 54, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the late borgeoise realistic style stone sculpture of the Gallino tomb sculpted by  G. Moreno 1894.  In the tomb, the bust that portrays the deceased Carolina receives the kiss of a child, probably the niece, supported by a young woman - the mother, or perhaps the elder sister - whose face is marked by pain; on the right an older man, presumably her husband, stands aside, almost absent, looking down at the ground. The most intimate tones and psychological introspection are grafted here in the language of bourgeois Realism: with undoubted technical virtuosity Moreno offers a rigorous "quantitative" description of reality, dwelling on every single detail of faces, clothing, accessories and hairstyles . Section A, no 54, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the late borgeoise realistic style stone sculpture of the Gallino tomb sculpted by  G. Moreno 1894.  In the tomb, the bust that portrays the deceased Carolina receives the kiss of a child, probably the niece, supported by a young woman - the mother, or perhaps the elder sister - whose face is marked by pain; on the right an older man, presumably her husband, stands aside, almost absent, looking down at the ground. The most intimate tones and psychological introspection are grafted here in the language of bourgeois Realism: with undoubted technical virtuosity Moreno offers a rigorous "quantitative" description of reality, dwelling on every single detail of faces, clothing, accessories and hairstyles . Section A, no 54, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the late borgeoise realistic style stone sculpture of the Gallino tomb sculpted by  G. Moreno 1894.  In the tomb, the bust that portrays the deceased Carolina receives the kiss of a child, probably the niece, supported by a young woman - the mother, or perhaps the elder sister - whose face is marked by pain; on the right an older man, presumably her husband, stands aside, almost absent, looking down at the ground. The most intimate tones and psychological introspection are grafted here in the language of bourgeois Realism: with undoubted technical virtuosity Moreno offers a rigorous "quantitative" description of reality, dwelling on every single detail of faces, clothing, accessories and hairstyles . Section A, no 54, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Roman mosaic of an Amazon on horseback fighting, From Daphne, a suburb of Antioch, Antakya, Turkey, 4th century AD. Marble blocks and glass paste cubes. The mosaic depicts the legendary woman warriors known as the Amazons, who fought with one breast showing, fighting a soldier with armour. inv 3463, The Louvre Museum, Paris
  • Fragment of a stele depicting a seated woman and a rider on a horse. Neo Syro Hittite, Basalt 8th century BC. Pergamon Museum, Berlin inv no VA15208
  • Fragment of a stele depicting a seated woman and a rider on a horse. Neo Syro Hittite, Basalt 8th century BC. Pergamon Museum, Berlin inv no VA15208
  • Fragment of a stele depicting a seated woman and a rider on a horse. Neo Syro Hittite, Basalt 8th century BC. Pergamon Museum, Berlin inv no VA15208
  • Aphrodite of Fréjus in the style known as "Venus Genetrix". A 1.64m high Roman statue, dating from the end of the 1st century BC to the start of the 1st century AD, in Parian marble, was discovered at Fréjus (Forum Julii) in 1650. It is considered as the best Roman copy of the lost Greek work. Louvre Museum, Paris<br />
<br />
The Venus Genetrix style of statue depicts Aphrodite (Venus to the Romans) as Genetrix ( Latin for Mother). This sculptural type was adopted by the Julia-Claudian dynasty after Julius Caesar claimed that he was defended from Venus herself.  The original lost Greek statue is attributed to Greek sculpture Callimachus who created a Bronze Aphrodite in 420-410. According to Pliny's Natural History showing her dressed in a light but clinging chiton or peplos, which was lowered on the left shoulder to reveal her left breast and hung down in a sheer face and decoratively carved so as not to hide the outlines of the woman's body. Venus was depicted holding the apple won in the Judgement of Paris in her left hand, whilst her right hand moved to cover her head. From the lost bronze original are derived all surviving copies. The composition was frontal, the body's form monumental, and in the surviving Roman replicas its proportions are close to the Polyclitean, an ancient Greek sculptor in bronze of the fifth century BC.
  • Aphrodite of Fréjus in the style known as "Venus Genetrix". A 1.64m high Roman statue, dating from the end of the 1st century BC to the start of the 1st century AD, in Parian marble, was discovered at Fréjus (Forum Julii) in 1650. It is considered as the best Roman copy of the lost Greek work. Louvre Museum, Paris<br />
<br />
The Venus Genetrix style of statue depicts Aphrodite (Venus to the Romans) as Genetrix ( Latin for Mother). This sculptural type was adopted by the Julia-Claudian dynasty after Julius Caesar claimed that he was defended from Venus herself.  The original lost Greek statue is attributed to Greek sculpture Callimachus who created a Bronze Aphrodite in 420-410. According to Pliny's Natural History showing her dressed in a light but clinging chiton or peplos, which was lowered on the left shoulder to reveal her left breast and hung down in a sheer face and decoratively carved so as not to hide the outlines of the woman's body. Venus was depicted holding the apple won in the Judgement of Paris in her left hand, whilst her right hand moved to cover her head. From the lost bronze original are derived all surviving copies. The composition was frontal, the body's form monumental, and in the surviving Roman replicas its proportions are close to the Polyclitean, an ancient Greek sculptor in bronze of the fifth century BC.
  • Aphrodite of Fréjus in the style known as "Venus Genetrix". A 1.64m high Roman statue, dating from the end of the 1st century BC to the start of the 1st century AD, in Parian marble, was discovered at Fréjus (Forum Julii) in 1650. It is considered as the best Roman copy of the lost Greek work. Louvre Museum, Paris<br />
<br />
The Venus Genetrix style of statue depicts Aphrodite (Venus to the Romans) as Genetrix ( Latin for Mother). This sculptural type was adopted by the Julia-Claudian dynasty after Julius Caesar claimed that he was defended from Venus herself.  The original lost Greek statue is attributed to Greek sculpture Callimachus who created a Bronze Aphrodite in 420-410. According to Pliny's Natural History showing her dressed in a light but clinging chiton or peplos, which was lowered on the left shoulder to reveal her left breast and hung down in a sheer face and decoratively carved so as not to hide the outlines of the woman's body. Venus was depicted holding the apple won in the Judgement of Paris in her left hand, whilst her right hand moved to cover her head. From the lost bronze original are derived all surviving copies. The composition was frontal, the body's form monumental, and in the surviving Roman replicas its proportions are close to the Polyclitean, an ancient Greek sculptor in bronze of the fifth century BC.
  • Aphrodite of Fréjus in the style known as "Venus Genetrix". A 1.64m high Roman statue, dating from the end of the 1st century BC to the start of the 1st century AD, in Parian marble, was discovered at Fréjus (Forum Julii) in 1650. It is considered as the best Roman copy of the lost Greek work. Louvre Museum, Paris<br />
<br />
The Venus Genetrix style of statue depicts Aphrodite (Venus to the Romans) as Genetrix ( Latin for Mother). This sculptural type was adopted by the Julia-Claudian dynasty after Julius Caesar claimed that he was defended from Venus herself.  The original lost Greek statue is attributed to Greek sculpture Callimachus who created a Bronze Aphrodite in 420-410. According to Pliny's Natural History showing her dressed in a light but clinging chiton or peplos, which was lowered on the left shoulder to reveal her left breast and hung down in a sheer face and decoratively carved so as not to hide the outlines of the woman's body. Venus was depicted holding the apple won in the Judgement of Paris in her left hand, whilst her right hand moved to cover her head. From the lost bronze original are derived all surviving copies. The composition was frontal, the body's form monumental, and in the surviving Roman replicas its proportions are close to the Polyclitean, an ancient Greek sculptor in bronze of the fifth century BC.
  • Copper statuettes of warriors with a short loincloth which originally held weapons in their hands, as well as representation of a woman. These acquired in the art trade figures were probably made ​​in the mountains of Lebanon. They are characterised by the rigid body shapes and rough running faces, whose eyes were inserted once. 3rd century BC , Pergamon Museum, Berlin
  • Copper statuettes of warriors with a short loincloth which originally held weapons in their hands, as well as representation of a woman. These acquired in the art trade figures were probably made ​​in the mountains of Lebanon. They are characterised by the rigid body shapes and rough running faces, whose eyes were inserted once. 3rd century BC , Pergamon Museum, Berlin
  • Copper statuettes of warriors with a short loincloth which originally held weapons in their hands, as well as representation of a woman. These acquired in the art trade figures were probably made ​​in the mountains of Lebanon. They are characterised by the rigid body shapes and rough running faces, whose eyes were inserted once. 3rd century BC , Pergamon Museum, Berlin
  • Aphrodite of Fréjus in the style known as "Venus Genetrix". A 1.64m high Roman statue, dating from the end of the 1st century BC to the start of the 1st century AD, in Parian marble, was discovered at Fréjus (Forum Julii) in 1650. It is considered as the best Roman copy of the lost Greek work. Louvre Museum, Paris<br />
<br />
The Venus Genetrix style of statue depicts Aphrodite (Venus to the Romans) as Genetrix ( Latin for Mother). This sculptural type was adopted by the Julia-Claudian dynasty after Julius Caesar claimed that he was defended from Venus herself.  The original lost Greek statue is attributed to Greek sculpture Callimachus who created a Bronze Aphrodite in 420-410. According to Pliny's Natural History showing her dressed in a light but clinging chiton or peplos, which was lowered on the left shoulder to reveal her left breast and hung down in a sheer face and decoratively carved so as not to hide the outlines of the woman's body. Venus was depicted holding the apple won in the Judgement of Paris in her left hand, whilst her right hand moved to cover her head. From the lost bronze original are derived all surviving copies. The composition was frontal, the body's form monumental, and in the surviving Roman replicas its proportions are close to the Polyclitean, an ancient Greek sculptor in bronze of the fifth century BC.
  • Aphrodite of Fréjus in the style known as "Venus Genetrix". A 1.64m high Roman statue, dating from the end of the 1st century BC to the start of the 1st century AD, in Parian marble, was discovered at Fréjus (Forum Julii) in 1650. It is considered as the best Roman copy of the lost Greek work. Louvre Museum, Paris<br />
<br />
The Venus Genetrix style of statue depicts Aphrodite (Venus to the Romans) as Genetrix ( Latin for Mother). This sculptural type was adopted by the Julia-Claudian dynasty after Julius Caesar claimed that he was defended from Venus herself.  The original lost Greek statue is attributed to Greek sculpture Callimachus who created a Bronze Aphrodite in 420-410. According to Pliny's Natural History showing her dressed in a light but clinging chiton or peplos, which was lowered on the left shoulder to reveal her left breast and hung down in a sheer face and decoratively carved so as not to hide the outlines of the woman's body. Venus was depicted holding the apple won in the Judgement of Paris in her left hand, whilst her right hand moved to cover her head. From the lost bronze original are derived all surviving copies. The composition was frontal, the body's form monumental, and in the surviving Roman replicas its proportions are close to the Polyclitean, an ancient Greek sculptor in bronze of the fifth century BC.
  • West Facade, Central Portal - Left Jamb Figures c. 1145. Cathedral of Chartres, France . Gothic statues on the left jamb of the central portal. All have haloes. The leftmost is a crowned woman whose hair is in long plaits; she holds a book. The central figure is a bearded man in a cap that resembles the ones worn by other jamb figures and by figures in the tympanum of the right portal. He holds an unidentified object. The figure nearest the portal is a bearded man holding a scroll and raising one hand- palm outwards- towards the viewer. A UNESCO World Heritage Site. .
  • 1 cent AD Roman Erotic  fresco of a man & woman having sex  from a house in Pompeii. Naples Archaological Museum inv no: 27696
  • 1 cent AD Roman Erotic  fresco of a man & woman having sex  from a house in Pompeii. Naples Archaological Museum inv no: 27686
  • Ancient Egyptian wooden statue of Shemes,  Middle Kingdom (1980-1700 BC), tomb of Shimes, Asyut. Egyptian Museum, Turin.  <br />
<br />
In 1908 in Asyut, Egypt an intact tomb was discovered of an official named Shemes, it contained many rich grave goods. Two rectangular Coffins, one for Shemes and the other for a woman called Rehuerausen, possibly his wife. They carry typical Middle Kingdom decorations,
  • Ancient Egyptian Roman female mummy mask, limestone, Roman Period, 2nd Cent AD, Hawara,  Egyptian Museum, Turin. white background<br />
<br />
This is a remarkable gilt cartonnage with inlaid cystal eyes . The woman wears a Roman style hardo half covered by a veil, a himation, fringed cloak, yied to her breat, snake shaped bracelets and a necklace of pink flowers, all of which are connected to the cult of Isis.
  • Ancient Egyptian Roman female mummy mask, limestone, Roman Period, 2nd Cent AD, Hawara,  Egyptian Museum, Turin. <br />
<br />
This is a remarkable gilt cartonnage with inlaid cystal eyes . The woman wears a Roman style hardo half covered by a veil, a himation, fringed cloak, yied to her breat, snake shaped bracelets and a necklace of pink flowers, all of which are connected to the cult of Isis.
  • Ancient Egyptian wooden sarcophagus - the tomb of Tagiaset, Iuefdi & Harwa circa 22nd Dynasty (943 - 716 BC.) Thebes. Egyptian Museum, Turin. <br />
<br />
Coffin lid of the eldest woman buried in the tomb, probably Tagiasettahekat, wife of Padiau. The sarcophagus decoration includes representation of strips crossed over her chest typical of "stoa coffin" of the 22nd dynasty.
  • Ancient Egyptian wooden sarcophagus - the coffin of Puia circa 1800BC - Thebes Necropolis. Egyptian Museum, Turin. <br />
<br />
From about 100BC "anthropoid " sarcophagi with fihure shaped lids started to replace rectangular coffins. Pia was probably the son of Puyemre, a high official of Thebes and second priest of Amon under the woman pharoah, Hatshepsut (1479-1458). The sarcophagus was excavated by Robert Mond from a shaft grave found close to the tomb of Puyemre in Thebes Necropolis.
  • Ancient Egyptian wooden sarcophagus - the coffin of Puia circa 1800BC - Thebes Necropolis. Egyptian Museum, Turin. Black background<br />
<br />
From about 100BC "anthropoid " sarcophagi with fihure shaped lids started to replace rectangular coffins. Pia was probably the son of Puyemre, a high official of Thebes and second priest of Amon under the woman pharoah, Hatshepsut (1479-1458). The sarcophagus was excavated by Robert Mond from a shaft grave found close to the tomb of Puyemre in Thebes Necropolis.
  • Ancient Egyptian wooden sarcophagus - the coffin of Puia circa 1800BC - Thebes Necropolis. Egyptian Museum, Turin. Grey background<br />
<br />
From about 100BC "anthropoid " sarcophagi with fihure shaped lids started to replace rectangular coffins. Pia was probably the son of Puyemre, a high official of Thebes and second priest of Amon under the woman pharoah, Hatshepsut (1479-1458). The sarcophagus was excavated by Robert Mond from a shaft grave found close to the tomb of Puyemre in Thebes Necropolis.
  • Roman mosaics - Seasons  Mosaic. Telete Villa.  2nd - 3rd century AD . Zeugma Mosaic Museum, Gaziantep, Turkey.  Against a white background.<br />
<br />
Seasons mosaic Telete, was unearthed during the rescue excavations y Gaziantep Museum in 1994 when it was about to be stolen by the traffickers. It is the floor mosaic of a villa terrace located on the western skins of Zeugma hill <br />
<br />
The pane% consists of nine parts. At the central panel, Eros, who Is a mythological character and who has a crown on his head, sits side by side with Telete, the daughter of Dionysus. This representation symbolises the preparation of a young woman who is just about to taste the love and to become mature. There are busts of seasonal gods In the square panels at the corners. The crowned head of the Spring Goddess Ear Is slightly towards right. She wears a floral necklace. Her righr shoulder is naked and the crimps of her cloak are seen on her left shoulder. There is the bust of the river god on the top-right of the Telete panel. A kid lying on the grass and a bucket are pictured in the lower rectangular panel. In the western-side rectangular panel, on the other hand, there are four fish going in and out of a game basket. There is a rabbit figure within the rectangular panel on the right. Mythical narrations and natural life are intertwined in this mosaic.
  • Roman mosaic of an Amazon on horseback fighting, From Daphne, a suburb of Antioch, Antakya, Turkey, 4th century AD. Marble blocks and glass paste cubes. The mosaic depicts the legendary woman warriors known as the Amazons, who fought with one breast showing, fighting a soldier with armour. inv 3463, The Louvre Museum, Paris
  • Fragment of a stele depicting a seated woman and a rider on a horse. Neo Syro Hittite, Basalt 8th century BC. Pergamon Museum, Berlin inv no VA15208
  • Copper statuettes of warriors with a short loincloth which originally held weapons in their hands, as well as representation of a woman. These acquired in the art trade figures were probably made ​​in the mountains of Lebanon. They are characterised by the rigid body shapes and rough running faces, whose eyes were inserted once. 3rd century BC , Pergamon Museum, Berlin
  • Aphrodite of Fréjus in the style known as "Venus Genetrix". A 1.64m high Roman statue, dating from the end of the 1st century BC to the start of the 1st century AD, in Parian marble, was discovered at Fréjus (Forum Julii) in 1650. It is considered as the best Roman copy of the lost Greek work. Louvre Museum, Paris<br />
<br />
The Venus Genetrix style of statue depicts Aphrodite (Venus to the Romans) as Genetrix ( Latin for Mother). This sculptural type was adopted by the Julia-Claudian dynasty after Julius Caesar claimed that he was defended from Venus herself.  The original lost Greek statue is attributed to Greek sculpture Callimachus who created a Bronze Aphrodite in 420-410. According to Pliny's Natural History showing her dressed in a light but clinging chiton or peplos, which was lowered on the left shoulder to reveal her left breast and hung down in a sheer face and decoratively carved so as not to hide the outlines of the woman's body. Venus was depicted holding the apple won in the Judgement of Paris in her left hand, whilst her right hand moved to cover her head. From the lost bronze original are derived all surviving copies. The composition was frontal, the body's form monumental, and in the surviving Roman replicas its proportions are close to the Polyclitean, an ancient Greek sculptor in bronze of the fifth century BC.
  • Aphrodite of Fréjus in the style known as "Venus Genetrix". A 1.64m high Roman statue, dating from the end of the 1st century BC to the start of the 1st century AD, in Parian marble, was discovered at Fréjus (Forum Julii) in 1650. It is considered as the best Roman copy of the lost Greek work. Louvre Museum, Paris<br />
<br />
The Venus Genetrix style of statue depicts Aphrodite (Venus to the Romans) as Genetrix ( Latin for Mother). This sculptural type was adopted by the Julia-Claudian dynasty after Julius Caesar claimed that he was defended from Venus herself.  The original lost Greek statue is attributed to Greek sculpture Callimachus who created a Bronze Aphrodite in 420-410. According to Pliny's Natural History showing her dressed in a light but clinging chiton or peplos, which was lowered on the left shoulder to reveal her left breast and hung down in a sheer face and decoratively carved so as not to hide the outlines of the woman's body. Venus was depicted holding the apple won in the Judgement of Paris in her left hand, whilst her right hand moved to cover her head. From the lost bronze original are derived all surviving copies. The composition was frontal, the body's form monumental, and in the surviving Roman replicas its proportions are close to the Polyclitean, an ancient Greek sculptor in bronze of the fifth century BC.
  • Erotic Roman Bas Relief Sculpture of a man & woman having sex Pompeii. 1st Cent AD, Naples Archaeological Museum
  • Erotic Roman Bas Relief Sculpture of a man & woman having sex Pompeii. 1st Cent AD, Naples Archaeological Museum
  • Erotic Roman Bas Relief Sculpture of a man & woman having sex Pompeii. 1st Cent AD, Naples Archaeological Museum
  • 1 cent AD Roman Erotic  fresco of a man & woman having sex  from a house in Pompeii. Naples Archaological Museum inv no: 27696
  • Erotic Roman Bas Relief Sculpture of a man & woman having sex Pompeii. 1st Cent AD, Naples Archaeological Museum
  • Roman funerary statue of a women in the Large Herculaneum style, Found in the cemetery of Stagiou Street, Athens, Athens Archaeological Museum, cat no 32622. Against black<br />
<br />
This statue is the typle known as the Large Herculaneum Wome. She wears a full length chiton and himation that covers her head and entire body. Dating from the 1st cent AD it is a copy of an earlier statue circa 320 BC, probably by Praxiteles
  • Statue of a female inj the Small Herculaneum Style, Athens Archaeological Museum, Cat no 242. Pentelic marble.  Against white, <br />
<br />
Copy of earlier famous Greek statue dated 300 BC. The women is depicted wearing a full length chiton and a himation that covers her entire body.
  • Statue of a female inj the Small Herculaneum Style, Athens Archaeological Museum, Cat no 242. Pentelic marble. Against black<br />
<br />
Copy of earlier famous Greek statue dated 300 BC. The women is depicted wearing a full length chiton and a himation that covers her entire body.
  • Statue of a female inj the Small Herculaneum Style, Athens Archaeological Museum, Cat no 242. Pentelic marble. Against grey<br />
<br />
Copy of earlier famous Greek statue dated 300 BC. The women is depicted wearing a full length chiton and a himation that covers her entire body.
  • Statue of a female inj the Small Herculaneum Style, Athens Archaeological Museum, Cat no 242. Pentelic marble. <br />
<br />
Copy of earlier famous Greek statue dated 300 BC. The women is depicted wearing a full length chiton and a himation that covers her entire body.
  • Statue of a female inj the Small Herculaneum Style, Athens Archaeological Museum, Cat no 242. Pentelic marble.  Against grey<br />
<br />
Copy of earlier famous Greek statue dated 300 BC. The women is depicted wearing a full length chiton and a himation that covers her entire body.
  • Roman funerary statue of a women in the Large Herculaneum style, Found in the cemetery of Stagiou Street, Athens, Athens Archaeological Museum, cat no 32622. Against white, <br />
<br />
This statue is the typle known as the Large Herculaneum Wome. She wears a full length chiton and himation that covers her head and entire body. Dating from the 1st cent AD it is a copy of an earlier statue circa 320 BC, probably by Praxiteles
  • Roman funerary statue of a women in the Large Herculaneum style, Found in the cemetery of Stagiou Street, Athens, Athens Archaeological Museum, cat no 32622.  against grey<br />
<br />
This statue is the typle known as the Large Herculaneum Wome. She wears a full length chiton and himation that covers her head and entire body. Dating from the 1st cent AD it is a copy of an earlier statue circa 320 BC, probably by Praxiteles
  • Roman funerary statue of a women in the Large Herculaneum style, Found in the cemetery of Stagiou Street, Athens, Athens Archaeological Museum, cat no 32622.<br />
<br />
This statue is the typle known as the Large Herculaneum Wome. She wears a full length chiton and himation that covers her head and entire body. Dating from the 1st cent AD it is a copy of an earlier statue circa 320 BC, probably by Praxiteles
  • Roman funerary statue of a women in the Large Herculaneum style, Found in the cemetery of Stagiou Street, Athens, Athens Archaeological Museum, cat no 32622.  against grey<br />
<br />
This statue is the typle known as the Large Herculaneum Wome. She wears a full length chiton and himation that covers her head and entire body. Dating from the 1st cent AD it is a copy of an earlier statue circa 320 BC, probably by Praxiteles
  • Statue of Artemis, found at the 'House of Diadoumenos' on Delos. Pariam marble, Circa 100 BC. Athens Archaeological Museum, Cat No 1829. Against white, <br />
<br />
Artemis wears a chiton, a girt and himation. The diagonal strap ocross her breast will have held the quiver full of arrows. The Goddess's beauty is stressed by her elaborate coiffure.
  • Statue of Artemis, found at the 'House of Diadoumenos' on Delos. Pariam marble, Circa 100 BC. Athens Archaeological Museum, Cat No 1829. against black<br />
Artemis wears a chiton, a girt and himation. The diagonal strap ocross her breast will have held the quiver full of arrows. The Goddess's beauty is stressed by her elaborate coiffure.
  • Statue of Artemis, found at the 'House of Diadoumenos' on Delos. Pariam marble, Circa 100 BC. Athens Archaeological Museum, Cat No 1829.<br />
<br />
Artemis wears a chiton, a girt and himation. The diagonal strap ocross her breast will have held the quiver full of arrows. The Goddess's beauty is stressed by her elaborate coiffure.
  • Statue of Artemis, found at the 'House of Diadoumenos' on Delos. Pariam marble, Circa 100 BC. Athens Archaeological Museum, Cat No 1829. Against grey<br />
<br />
Artemis wears a chiton, a girt and himation. The diagonal strap ocross her breast will have held the quiver full of arrows. The Goddess's beauty is stressed by her elaborate coiffure.
  • Statue of Artemis, found at the 'House of Diadoumenos' on Delos. Pariam marble, Circa 100 BC. Athens Archaeological Museum, Cat No 1829.<br />
<br />
Artemis wears a chiton, a girt and himation. The diagonal strap ocross her breast will have held the quiver full of arrows. The Goddess's beauty is stressed by her elaborate coiffure.

FunkyStock Picture Library Resource

Picture The Past

ABOUT

FunkyStock Picture Library free resource for professional editorial picture editors, picture researchers, historical scholars and students and enthusiasts who want to browse some of the best pictures and images of historic countries, historical places, archaeological sites and the very best museum antiquities and artefacts exhibits in Europe and the Middle East.

Pictures and Images can be downloaded or bought as stock photos or photo art prints.

COUNTRIES

Browse travel pictures and images of historic places and archaeological sites of countries in Europe and the Middle East.

VIEW COUNTRIES INDEX....

HISTORICAL

Explore the past through pictures and images of its historic places. See the great palaces, castles and cities of antiquity as well as the great archaeological sites where our ancestors made history.

EXPLORE HISTORICAL PLACES...

MUSEUMS

Browse pictures & images the treasured artefacts and antiquities exhibits from the great Museum of Europe and the Middle East. See the art and objects made by our ancestors.

SEE MUESEUM ANTIQUITIES....