• Neolithic Marble Female Figurine grave offering of the early Cycladic II period from the Chalandriani, from Syros. 2800-2300BC. Athens Archaeological Museum Ref No 6169.
  • Neolithic Marble Female Figurine grave offering of the early Cycladic II period from the Chalandriani, from Syros. 2800-2300BC. Athens Archaeological Museum Ref No 6169.
  • Neolithic Marble Female Figurine grave offering of the early Cycladic II period from the Chalandriani, from Syros. 2800-2300BC. Athens Archaeological Museum Ref No 6169.
  • Neolithic Marble Female Figurine grave offering of the early Cycladic II period from the Chalandriani, from Syros. 2800-2300BC. Athens Archaeological Museum Ref No 6169.
  • Neolithic Marble Female Figurine grave offering of the early Cycladic II period from the Chalandriani, from Syros. 2800-2300BC. Athens Archaeological Museum Ref No 6169.
  • Gold Death Mask Known from Grave IV, Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC. Cat No 253 Athens Archaeological Museum.
  • Gold Death Mask Known from Grave IV, Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC. Cat No 253 Athens Archaeological Museum.
  • Gold Death Mask Known from Grave IV, Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC. Cat No 253 Athens Archaeological Museum.
  • Gold Death Mask  from Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC.  Athens Archaeological Museum.
  • Gold Death Mask  from Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC.  Athens Archaeological Museum.
  • Gold Death Mask  from Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC.  Athens Archaeological Museum.
  • Gold Death Mask Known as the "mask of Agamemnon"  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold & shows a man with a beard. 16th century BC. Cat No 624 Athens Archaeological Museum.
  • Gold Death Mask Known as the "mask of Agamemnon"  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold & shows a man with a beard. 16th century BC. Cat No 624 Athens Archaeological Museum.
  • Gold Death Mask Known as the "mask of Agamemnon"  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold & shows a man with a beard. 16th century BC. Cat No 624 Athens Archaeological Museum.
  • Gold Death Mask Known as the "mask of Agamemnon"  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold & shows a man with a beard. 16th century BC. Cat No 624 Athens Archaeological Museum.
  • Gold Death Mask  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold and is the only mask from grave circle A with eyes open. 16th century BC. Cat No 259 Athens Archaeological Museum.
  • Gold Death Mask  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold and is the only mask from grave circle A with eyes open. 16th century BC. Cat No 259 Athens Archaeological Museum.
  • Gold Death Mask  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold and is the only mask from grave circle A with eyes open. 16th century BC. Cat No 259 Athens Archaeological Museum.
  • 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"
  • Gold Death Mask Known from Grave IV, Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC. Cat No 253 Athens Archaeological Museum.
  • Gold Death Mask Known from Grave IV, Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC. Cat No 253 Athens Archaeological Museum.
  • Gold Death Mask  from Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC.  Athens Archaeological Museum.
  • Gold Death Mask  from Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC.  Athens Archaeological Museum.
  • Gold Death Mask Known as the "mask of Agamemnon"  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold & shows a man with a beard. 16th century BC. Cat No 624 Athens Archaeological Museum.
  • Gold Death Mask  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold and is the only mask from grave circle A with eyes open. 16th century BC. Cat No 259 Athens Archaeological Museum.
  • Gold Death Mask  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold and is the only mask from grave circle A with eyes open. 16th century BC. Cat No 259 Athens Archaeological Museum.
  • 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"
  • Photo of a Three handles "Palace Style" amphora with three large octopuses within a marines cape of rocks and seaweed. A mycenaean copy of a Minoan Marine Style.   Mycenae tomb 2, Greece. 15th century BC,  cat no: 6725, National Archaeological Museum, Athens.
  • Photo of a Three handles "Palace Style" amphora with three large octopuses within a marines cape of rocks and seaweed. A mycenaean copy of a Minoan Marine Style.   Mycenae tomb 2, Greece. 15th century BC,  cat no: 6725, National Archaeological Museum, Athens.
  • Photo of a Three handles "Palace Style" amphora with three large octopuses within a marines cape of rocks and seaweed. A mycenaean copy of a Minoan Marine Style.   Mycenae tomb 2, Greece. 15th century BC,  cat no: 6725, National Archaeological Museum, Athens.
  • Photo of a Three handles "Palace Style" amphora with three large octopuses within a marines cape of rocks and seaweed. A mycenaean copy of a Minoan Marine Style.   Mycenae tomb 2, Greece. 15th century BC,  cat no: 6725, National Archaeological Museum, Athens.
  • Photo of a Three handles "Palace Style" amphora with three large octopuses within a marines cape of rocks and seaweed. A mycenaean copy of a Minoan Marine Style.   Mycenae tomb 2, Greece. 15th century BC,  cat no: 6725, National Archaeological Museum, Athens.
  • Three handled Mycenaean  Palace Style amphora with large palm trees symmetrically placed on the sides and smaller palm trees with floral motifs in between. This Mycenaean  vase is distinguished by the high quality of clay and paint, and by the naturalistic rendering of the decoration. From the Mycenaean cemetery at Argive Deiras, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Three handled Mycenaean  Palace Style amphora with large palm trees symmetrically placed on the sides and smaller palm trees with floral motifs in between. This Mycenaean  vase is distinguished by the high quality of clay and paint, and by the naturalistic rendering of the decoration. From the Mycenaean cemetery at Argive Deiras, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Three handled Mycenaean  Palace Style amphora with three large octopuses within a marinescape of rocks and seaweed. A Mycenaean imitation of Minoan Marine Style. From the Mycenaean cemetery of Argive Prosymna, tomb 2, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Three handled Mycenaean  Palace Style amphora with three large octopuses within a marinescape of rocks and seaweed. A Mycenaean imitation of Minoan Marine Style. From the Mycenaean cemetery of Argive Prosymna, tomb 2, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Three handled Mycenaean  Palace Style amphora with three large octopuses within a marinescape of rocks and seaweed. A Mycenaean imitation of Minoan Marine Style. From the Mycenaean cemetery of Argive Prosymna, tomb 2, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Three handled Mycenaean  Palace Style amphora with large palm trees symmetrically placed on the sides and smaller palm trees with floral motifs in between. This Mycenaean  vase is distinguished by the high quality of clay and paint, and by the naturalistic rendering of the decoration. From the Mycenaean cemetery at Argive Deiras, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Three handled Mycenaean  Palace Style amphora with large palm trees symmetrically placed on the sides and smaller palm trees with floral motifs in between. This Mycenaean  vase is distinguished by the high quality of clay and paint, and by the naturalistic rendering of the decoration. From the Mycenaean cemetery at Argive Deiras, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Three handled Mycenaean  Palace Style amphora with large palm trees symmetrically placed on the sides and smaller palm trees with floral motifs in between. This Mycenaean  vase is distinguished by the high quality of clay and paint, and by the naturalistic rendering of the decoration. From the Mycenaean cemetery at Argive Deiras, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Three handled Mycenaean  Palace Style amphora with three large octopuses within a marinescape of rocks and seaweed. A Mycenaean imitation of Minoan Marine Style. From the Mycenaean cemetery of Argive Prosymna, tomb 2, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Three handled Mycenaean  Palace Style amphora with three large octopuses within a marinescape of rocks and seaweed. A Mycenaean imitation of Minoan Marine Style. From the Mycenaean cemetery of Argive Prosymna, tomb 2, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Greek Classical Period Bronze Statue of Zeus or Poseidon found in the sea of Cape Artemision of the north Eastern Euboea Island, Greece.  The God is shown in a great stride about to throw either a trident of a thunderbolt that is now missing from his right hand. The statue is one of the only preserved statues of the preserved style with exquisite rendering of motion & anatomy. The identity of the statue is controversial and is probably more likely to be Zeus rather than Poseidon. 460 BC Ref No X15161 Athens Archaeological Museum
  • Greek Classical Period Bronze Statue of Zeus or Poseidon found in the sea of Cape Artemision of the north Eastern Euboea Island, Greece.  The God is shown in a great stride about to throw either a trident of a thunderbolt that is now missing from his right hand. The statue is one of the only preserved statues of the preserved style with exquisite rendering of motion & anatomy. The identity of the statue is controversial and is probably more likely to be Zeus rather than Poseidon. 460 BC Ref No X15161 Athens Archaeological Museum
  • Greek Classical Period Bronze Statue of Zeus or Poseidon found in the sea of Cape Artemision of the north Eastern Euboea Island, Greece.  The God is shown in a great stride about to throw either a trident of a thunderbolt that is now missing from his right hand. The statue is one of the only preserved statues of the preserved style with exquisite rendering of motion & anatomy. The identity of the statue is controversial and is probably more likely to be Zeus rather than Poseidon. 460 BC Ref No X15161 Athens Archaeological Museum
  • Greek Classical Period Bronze Statue of Zeus or Poseidon found in the sea of Cape Artemision of the north Eastern Euboea Island, Greece.  The God is shown in a great stride about to throw either a trident of a thunderbolt that is now missing from his right hand. The statue is one of the only preserved statues of the preserved style with exquisite rendering of motion & anatomy. The identity of the statue is controversial and is probably more likely to be Zeus rather than Poseidon. 460 BC Ref No X15161 Athens Archaeological Museum
  • Greek Classical Period Bronze Statue of Zeus or Poseidon found in the sea of Cape Artemision of the north Eastern Euboea Island, Greece.  The God is shown in a great stride about to throw either a trident of a thunderbolt that is now missing from his right hand. The statue is one of the only preserved statues of the preserved style with exquisite rendering of motion & anatomy. The identity of the statue is controversial and is probably more likely to be Zeus rather than Poseidon. 460 BC Ref No X15161 Athens Archaeological Museum
  • Roman fresco wall painting of Ariadne fast asleep on a bed of seaweed does not realise that Theseus is about to abandon her and sailaway on a ship to Athens, Pompeii House of colored Capitals, VII,31-51, inv 9052 , Naples National Archaeological Museum
  • Large wine krater known as "House of the Warrior Vase", showing men in full armour ( helmet, cuirass, greaves, shield and spear ) as they depart fro war with a sack of supplies hanging from their spears. A fine example of Mycenaean Pictoral Style. Mycenae acropolis, Greece. 12th century BC, cat no: 1426 ,  National Archaeological Museum, Athens.
  • Large wine krater known as "House of the Warrior Vase", showing men in full armour ( helmet, cuirass, greaves, shield and spear ) as they depart fro war with a sack of supplies hanging from their spears. A fine example of Mycenaean Pictoral Style. Mycenae acropolis, Greece. 12th century BC, cat no: 1426 ,  National Archaeological Museum, Athens.
  • Roman fresco wall painting of Ariadne fast asleep on a bed of seaweed does not realise that Theseus is about to abandon her and sailaway on a ship to Athens, Pompeii House of colored Capitals, VII,31-51, inv 9052 , Naples National Archaeological Museum
  • Gold Death Mask  from Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC.  Athens Archaeological Museum.
  • Large wine krater known as "House of the Warrior Vase", showing men in full armour ( helmet, cuirass, greaves, shield and spear ) as they depart fro war with a sack of supplies hanging from their spears. A fine example of Mycenaean Pictoral Style. Mycenae acropolis, Greece. 12th century BC, cat no: 1426 ,  National Archaeological Museum, Athens.
  • Large wine krater known as "House of the Warrior Vase", showing men in full armour ( helmet, cuirass, greaves, shield and spear ) as they depart fro war with a sack of supplies hanging from their spears. A fine example of Mycenaean Pictoral Style. Mycenae acropolis, Greece. 12th century BC, cat no: 1426 ,  National Archaeological Museum, Athens.
  • Gold Death Mask  from Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC.  Athens Archaeological Museum.
  • Gold Death Mask  from Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC.  Athens Archaeological Museum.
  • 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"
  • A unique plaster head of a women, possibly a goddess of sphinx, one of the few examples of Mycenaean plater art. The severe expression is excentualted by red and black paint and the small hair curls fall from below a polos 9 a cylindrical cap). From one of the cult areas of the acropolis of  Mycenae, Greece. 13th century BC, cat no: 4575,  National Archaeological Museum, Athens.
  • A unique plaster head of a women, possibly a goddess of sphinx, one of the few examples of Mycenaean plater art. The severe expression is excentualted by red and black paint and the small hair curls fall from below a polos 9 a cylindrical cap). From one of the cult areas of the acropolis of  Mycenae, Greece. 13th century BC, cat no: 4575,  National Archaeological Museum, Athens.
  • Alabaster jug possibly imported from Minoan Crete.   Mycenae graves, Greece. 15th century BC,  National Archaeological Museum, Athens.
  • Alabaster jug possibly imported from Minoan Crete.   Mycenae graves, Greece. 15th century BC,  National Archaeological Museum, Athens.
  • Alabaster jug possibly imported from Minoan Crete.   Mycenae graves, Greece. 15th century BC,  National Archaeological Museum, Athens.
  • Photo of a Three handles "Palace Style" amphora with three large octopuses within a marines cape of rocks and seaweed. A mycenaean copy of a Minoan Marine Style.   Mycenae tomb 2, Greece. 15th century BC,  cat no: 6725, National Archaeological Museum, Athens.
  • Photo of a  jug decorated with stylised birds bands showing Cycladic and Minoan influences.   Mycenae Grave find, Greece. 15th century BC,  ,  National Archaeological Museum, Athens.
  • Photo of a Three handles "Palace Style" amphora with three large octopuses within a marines cape of rocks and seaweed. A mycenaean copy of a Minoan Marine Style.   Mycenae tomb 2, Greece. 15th century BC,  cat no: 6725, National Archaeological Museum, Athens.
  • Photo of a  jug decorated with stylised birds bands showing Cycladic and Minoan influences.   Mycenae Grave find, Greece. 15th century BC,  ,  National Archaeological Museum, Athens.
  • Photo of a late Helladic jug decorated with serpentine bands showing Cycladic and Minoan influences.   Mycenae Shaft Grave V, Greece. 16th to early 15th century BC,  cat no: 950,  National Archaeological Museum, Athens.
  • A unique plaster head of a women, possibly a goddess of sphinx, one of the few examples of Mycenaean plaster art. The severe expression is excentualted by red and black paint and the small hair curls fall from below a polos 9 a cylindrical cap). From one of the cult areas of the acropolis of  Mycenae, Greece. 13th century BC, cat no: 4575,  National Archaeological Museum, Athens.
  • Alabaster jug possibly imported from Minoan Crete.   Mycenae graves, Greece. 15th century BC,  National Archaeological Museum, Athens.
  • Alabaster jug possibly imported from Minoan Crete.   Mycenae graves, Greece. 15th century BC,  National Archaeological Museum, Athens.
  • Photo of a late Helladic jug decorated with serpentine bands showing Cycladic and Minoan influences.   Mycenae Shaft Grave V, Greece. 16th to early 15th century BC,  cat no: 950,  National Archaeological Museum, Athens.
  • Gold Death Mask  from Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC.  Athens Archaeological Museum.
  • 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"
  • A unique plaster head of a women, possibly a goddess of sphinx, one of the few examples of Mycenaean plater art. The severe expression is excentualted by red and black paint and the small hair curls fall from below a polos 9 a cylindrical cap). From one of the cult areas of the acropolis of  Mycenae, Greece. 13th century BC, cat no: 4575,  National Archaeological Museum, Athens.
  • A unique plaster head of a women, possibly a goddess of sphinx, one of the few examples of Mycenaean plater art. The severe expression is excentualted by red and black paint and the small hair curls fall from below a polos 9 a cylindrical cap). From one of the cult areas of the acropolis of  Mycenae, Greece. 13th century BC, cat no: 4575,  National Archaeological Museum, Athens.
  • Photo of a Three handles "Palace Style" amphora with three large octopuses within a marines cape of rocks and seaweed. A mycenaean copy of a Minoan Marine Style.   Mycenae tomb 2, Greece. 15th century BC,  cat no: 6725, National Archaeological Museum, Athens.
  • Photo of a  jug decorated with stylised birds bands showing Cycladic and Minoan influences.   Mycenae Grave find, Greece. 15th century BC,  ,  National Archaeological Museum, Athens.
  • Photo of a  jug decorated with stylised birds bands showing Cycladic and Minoan influences.   Mycenae Grave find, Greece. 15th century BC,  ,  National Archaeological Museum, Athens.
  • Photo of a Three handles "Palace Style" amphora with three large octopuses within a marines cape of rocks and seaweed. A mycenaean copy of a Minoan Marine Style.   Mycenae tomb 2, Greece. 15th century BC,  cat no: 6725, National Archaeological Museum, Athens.
  • Photo of a late Helladic jug decorated with serpentine bands showing Cycladic and Minoan influences.   Mycenae Shaft Grave V, Greece. 16th to early 15th century BC,  cat no: 950,  National Archaeological Museum, Athens.
  • Photo of a late Helladic jug decorated with serpentine bands showing Cycladic and Minoan influences.   Mycenae Shaft Grave V, Greece. 16th to early 15th century BC,  cat no: 950,  National Archaeological Museum, Athens.
  • Gold Death Mask  from Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC.  Athens Archaeological Museum.
  • Large wine krater known as "House of the Warrior Vase", showing men in full armour ( helmet, cuirass, greaves, shield and spear ) as they depart fro war with a sack of supplies hanging from their spears. A fine example of Mycenaean Pictoral Style. Mycenae acropolis, Greece. 12th century BC, cat no: 1426 ,  National Archaeological Museum, Athens.
  • Large wine krater known as "House of the Warrior Vase", showing men in full armour ( helmet, cuirass, greaves, shield and spear ) as they depart fro war with a sack of supplies hanging from their spears. A fine example of Mycenaean Pictoral Style. Mycenae acropolis, Greece. 12th century BC, cat no: 1426 ,  National Archaeological Museum, Athens.
  • Gold Death Mask  from Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC.  Athens Archaeological Museum.
  • 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..?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..?Homer, Iliad 10.260-5"
  • Photo of a Three handles "Palace Style" amphora with three large octopuses within a marines cape of rocks and seaweed. A mycenaean copy of a Minoan Marine Style.   Mycenae tomb 2, Greece. 15th century BC,  cat no: 6725, National Archaeological Museum, Athens.
  • Photo of a  jug decorated with stylised birds bands showing Cycladic and Minoan influences.   Mycenae Grave find, Greece. 15th century BC,  ,  National Archaeological Museum, Athens.
  • Photo of a late Helladic jug decorated with serpentine bands showing Cycladic and Minoan influences.   Mycenae Shaft Grave V, Greece. 16th to early 15th century BC,  cat no: 950,  National Archaeological Museum, Athens.
  • 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"
  • Alabaster jug possibly imported from Minoan Crete.   Mycenae graves, Greece. 15th century BC,  National Archaeological Museum, Athens.
  • Photo of a late Helladic jug decorated with serpentine bands showing Cycladic and Minoan influences.   Mycenae Shaft Grave V, Greece. 16th to early 15th century BC,  cat no: 950,  National Archaeological Museum, Athens.
  • Gold Death Mask Known from Grave IV, Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC. Cat No 253 Athens Archaeological Museum.
  • Minoan Fresco wall painting of " Boxing Youths"  from Minoan Bronze Age settlement  of Akrotiri on the Greek island of Thira, Santorini, Greece. . Athens Archaeological Museum.
  • Gold Death Mask Known as the "mask of Agamemnon"  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold & shows a man with a beard. 16th century BC Cat No 624 Athens Archaeological Museum.
  • Gold Death Mask Known as the "mask of Agamemnon"  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold & shows a man with a beard. 16th century BC. Cat No 624 Athens Archaeological Museum.
  • Gold Death Mask Known as the "mask of Agamemnon"  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold & shows a man with a beard. 16th century BC Cat No 624 Athens Archaeological Museum.
  • Gold Death Mask Known from Grave IV, Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC. Cat No 254 Athens Archaeological Museum.
  • Gold Death Mask Known from Grave IV, Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC. Cat No 254 Athens Archaeological Museum.
  • Gold Death Mask Known from Grave IV, Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC. Cat No 254 Athens Archaeological Museum.
  • Gold Death Mask Known from Grave IV, Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC. Cat No 253 Athens Archaeological Museum.
  • Gold Death Mask Known from Grave IV, Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC. Cat No 253 Athens Archaeological Museum.
  • Gold Death Mask  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold and is the only mask from grave circle A with eyes open. 16th century BC. Cat No 259 Athens Archaeological Museum.
  • Gold Death Mask  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold and is the only mask from grave circle A with eyes open. 16th century BC. Cat No 259 Athens Archaeological Museum.
  • Three handled Mycenaean  Palace Style amphora with large palm trees symmetrically placed on the sides and smaller palm trees with floral motifs in between. This Mycenaean  vase is distinguished by the high quality of clay and paint, and by the naturalistic rendering of the decoration. From the Mycenaean cemetery at Argive Deiras, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Three handled Mycenaean  Palace Style amphora with large palm trees symmetrically placed on the sides and smaller palm trees with floral motifs in between. This Mycenaean  vase is distinguished by the high quality of clay and paint, and by the naturalistic rendering of the decoration. From the Mycenaean cemetery at Argive Deiras, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Three handled Mycenaean  Palace Style amphora with large palm trees symmetrically placed on the sides and smaller palm trees with floral motifs in between. This Mycenaean  vase is distinguished by the high quality of clay and paint, and by the naturalistic rendering of the decoration. From the Mycenaean cemetery at Argive Deiras, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Three handled Mycenaean  Palace Style amphora with three large octopuses within a marinescape of rocks and seaweed. A Mycenaean imitation of Minoan Marine Style. From the Mycenaean cemetery of Argive Prosymna, tomb 2, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Three handled Mycenaean  Palace Style amphora with three large octopuses within a marinescape of rocks and seaweed. A Mycenaean imitation of Minoan Marine Style. From the Mycenaean cemetery of Argive Prosymna, tomb 2, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Three handled Mycenaean  Palace Style amphora with three large octopuses within a marinescape of rocks and seaweed. A Mycenaean imitation of Minoan Marine Style. From the Mycenaean cemetery of Argive Prosymna, tomb 2, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Ephyraean Jug decorated with arganaut shells, Markopoulo . Late Helladic IIB culture of mainland ancient Mycenaean Greece during. Cat No 3765, 9103, Athens Archaeological Museum.
  • Ephyraean Jug decorated with arganaut shells, Markopoulo . Late Helladic IIB culture of mainland ancient Mycenaean Greece during. Cat No 3765, 9103, Athens Archaeological Museum.
  • Mycenaean Fresco wall painting of a figure of eight shield. Mycenae Acropolis, Greece,  14th - 13th Century BC. Athens Archaeological Museum.
  • Mycenaean Fresco wall painting  from the Mycenae , Greece. 14th - 13th Century BC. Athens Archaeological Museum.
  • Mycenaean Fresco wall painting  from the Mycenae , Greece. 14th - 13th Century BC. Athens Archaeological Museum.
  • Neolithic Marble Female Figurine grave offering of the early Cycladic II period from the Chalandriani, from Syros. 2800-2300BC. Athens Archaeological Museum Ref No 6169.
  • Neolithic Marble Female Figurine grave offering of the early Cycladic II period from the Chalandriani, from Syros. 2800-2300BC. Athens Archaeological Museum Ref No 6169.
  • Gold Death Mask Known from Grave IV, Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC. Cat No 254 Athens Archaeological Museum.
  • Gold Death Mask Known from Grave IV, Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC. Cat No 253 Athens Archaeological Museum.
  • Gold Death Mask  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold and is the only mask from grave circle A with eyes open. 16th century BC. Cat No 259 Athens Archaeological Museum.
  • Gold Death Mask  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold and is the only mask from grave circle A with eyes open. 16th century BC. Cat No 259 Athens Archaeological Museum.
  • Three handled Mycenaean  Palace Style amphora with three large octopuses within a marinescape of rocks and seaweed. A Mycenaean imitation of Minoan Marine Style. From the Mycenaean cemetery of Argive Prosymna, tomb 2, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Minoan Fresco wall painting of " Spring "  from Minoan Bronze Age settlement  of Akrotiri on the Greek island of Thira, Santorini, Greece.  Athens Archaeological Museum.
  • Minoan Fresco wall painting of " Spring "  from Minoan Bronze Age settlement  of Akrotiri on the Greek island of Thira, Santorini, Greece.  Athens Archaeological Museum.
  • Minoan Fresco wall painting of goats from Minoan Bronze Age settlement  of Akrotiri on the Greek island of Thira, Santorini, Greece.. Athens Archaeological Museum.
  • Mycenaean Fresco wall painting of a man leaping over a bull  from the Tiryns, Greece. 14th - 13th Century BC. Athens Archaeological Museum.
  • Gold Death Mask Known as the "mask of Agamemnon"  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold & shows a man with a beard. 16th century BC Cat No 624 Athens Archaeological Museum.
  • Gold Death Mask Known as the "mask of Agamemnon"  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold & shows a man with a beard. 16th century BC. Cat No 624 Athens Archaeological Museum.
  • Gold Death Mask Known as the "mask of Agamemnon"  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold & shows a man with a beard. 16th century BC Cat No 624 Athens Archaeological Museum.
  • Gold Death Mask Known from Grave IV, Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC. Cat No 254 Athens Archaeological Museum.
  • Gold Death Mask  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold and is the only mask from grave circle A with eyes open. 16th century BC. Cat No 259 Athens Archaeological Museum.
  • Gold Death Mask  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold and is the only mask from grave circle A with eyes open. 16th century BC. Cat No 259 Athens Archaeological Museum.
  • Three handled Mycenaean  Palace Style amphora with large palm trees symmetrically placed on the sides and smaller palm trees with floral motifs in between. This Mycenaean  vase is distinguished by the high quality of clay and paint, and by the naturalistic rendering of the decoration. From the Mycenaean cemetery at Argive Deiras, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Three handled Mycenaean  Palace Style amphora with three large octopuses within a marinescape of rocks and seaweed. A Mycenaean imitation of Minoan Marine Style. From the Mycenaean cemetery of Argive Prosymna, tomb 2, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Ephyraean Jug decorated with arganaut shells, Markopoulo . Late Helladic IIB culture of mainland ancient Mycenaean Greece during. Cat No 3765, 9103, Athens Archaeological Museum.
  • Mycenaean Fresco wall painting  of a Mycanaean with horse & wild boar hunting dog from the Tiryns, Greece. 14th - 13th Century BC. Athens Archaeological Museum.
  • Ephyraean Jug decorated with arganaut shells, Markopoulo . Late Helladic IIB culture of mainland ancient Mycenaean Greece during. Cat No 3765, 9103, Athens Archaeological Museum.
  • Mycenaean Fresco wall painting of a figure of eight shield. Mycenae Acropolis, Greece,  14th - 13th Century BC.  Cat No 11672  Athens Archaeological Museum.
  • Gold Death Mask  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold and is the only mask from grave circle A with eyes open. 16th century BC. Cat No 259 Athens Archaeological Museum.
  • Close up of a Roman Sebasteion relief  sculpture of Orestes At Delphi Aphrodisias Museum, Aphrodisias, Turkey.   <br />
<br />
Orestes who has sought sanctuary at Delphi after murdering his mother, leaves Apollo’s shrine on his way to stand trial in Athens, The hero steps gingerly over sleeping Fury; he brandishes a sword and still hold onto Apollo’s tripod. The Fury has a snake and a burning torch with which she torments male factors. A small local nymph sits above on a rocky outcrop of Delphi’s Mt Parnossos
  • Close up of a Roman Sebasteion relief  sculpture of Orestes At Delphi Aphrodisias Museum, Aphrodisias, Turkey.   <br />
<br />
Orestes who has sought sanctuary at Delphi after murdering his mother, leaves Apollo’s shrine on his way to stand trial in Athens, The hero steps gingerly over sleeping Fury; he brandishes a sword and still hold onto Apollo’s tripod. The Fury has a snake and a burning torch with which she torments male factors. A small local nymph sits above on a rocky outcrop of Delphi’s Mt Parnossos
  • Close up of a Roman Sebasteion relief  sculpture of Orestes At Delphi Aphrodisias Museum, Aphrodisias, Turkey.   <br />
<br />
Orestes who has sought sanctuary at Delphi after murdering his mother, leaves Apollo’s shrine on his way to stand trial in Athens, The hero steps gingerly over sleeping Fury; he brandishes a sword and still hold onto Apollo’s tripod. The Fury has a snake and a burning torch with which she torments male factors. A small local nymph sits above on a rocky outcrop of Delphi’s Mt Parnossos
  • Close up of a Roman Sebasteion relief  sculpture of Orestes At Delphi Aphrodisias Museum, Aphrodisias, Turkey.   <br />
<br />
Orestes who has sought sanctuary at Delphi after murdering his mother, leaves Apollo’s shrine on his way to stand trial in Athens, The hero steps gingerly over sleeping Fury; he brandishes a sword and still hold onto Apollo’s tripod. The Fury has a snake and a burning torch with which she torments male factors. A small local nymph sits above on a rocky outcrop of Delphi’s Mt Parnossos
  • Close up of a Roman Sebasteion relief  sculpture of Orestes At Delphi Aphrodisias Museum, Aphrodisias, Turkey.   <br />
<br />
Orestes who has sought sanctuary at Delphi after murdering his mother, leaves Apollo’s shrine on his way to stand trial in Athens, The hero steps gingerly over sleeping Fury; he brandishes a sword and still hold onto Apollo’s tripod. The Fury has a snake and a burning torch with which she torments male factors. A small local nymph sits above on a rocky outcrop of Delphi’s Mt Parnossos
  • Roman Sebasteion relief  sculpture of Demeter and Triptolemos, Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
Deneter - stately, veiled and holding a sceptre - hands a bunch of wheat stalks to the young hero Trptolomos. Demeter was the grain goddess, and it was Triptolemos, a hero from Eleusis near Athens, whom she chose to bring grain cultivation to mankind
  • Roman Sebasteion relief  sculpture of Demeter and Triptolemos, Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
Deneter - stately, veiled and holding a sceptre - hands a bunch of wheat stalks to the young hero Trptolomos. Demeter was the grain goddess, and it was Triptolemos, a hero from Eleusis near Athens, whom she chose to bring grain cultivation to mankind
  • Roman Sebasteion relief  sculpture of Orestes At Delphi Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.<br />
<br />
Orestes who has sought sanctuary at Delphi after murdering his mother, leaves Apollo’s shrine on his way to stand trial in Athens, The hero steps gingerly over sleeping Fury; he brandishes a sword and still hold onto Apollo’s tripod. The Fury has a snake and a burning torch with which she torments male factors. A small local nymph sits above on a rocky outcrop of Delphi’s Mt Parnossos
  • Roman Sebasteion relief  sculpture of Orestes At Delphi Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
Orestes who has sought sanctuary at Delphi after murdering his mother, leaves Apollo’s shrine on his way to stand trial in Athens, The hero steps gingerly over sleeping Fury; he brandishes a sword and still hold onto Apollo’s tripod. The Fury has a snake and a burning torch with which she torments male factors. A small local nymph sits above on a rocky outcrop of Delphi’s Mt Parnossos
  • Roman Sebasteion relief  sculpture of Orestes At Delphi Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
Orestes who has sought sanctuary at Delphi after murdering his mother, leaves Apollo’s shrine on his way to stand trial in Athens, The hero steps gingerly over sleeping Fury; he brandishes a sword and still hold onto Apollo’s tripod. The Fury has a snake and a burning torch with which she torments male factors. A small local nymph sits above on a rocky outcrop of Delphi’s Mt Parnossos
  • Roman Sebasteion relief  sculpture of Demeter and Triptolemos, Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.<br />
<br />
Deneter - stately, veiled and holding a sceptre - hands a bunch of wheat stalks to the young hero Trptolomos. Demeter was the grain goddess, and it was Triptolemos, a hero from Eleusis near Athens, whom she chose to bring grain cultivation to mankind
  • Roman Sebasteion relief  sculpture of Demeter and Triptolemos, Aphrodisias Museum, Aphrodisias, Turkey.  Against an art background.<br />
<br />
Deneter - stately, veiled and holding a sceptre - hands a bunch of wheat stalks to the young hero Trptolomos. Demeter was the grain goddess, and it was Triptolemos, a hero from Eleusis near Athens, whom she chose to bring grain cultivation to mankind
  • Roman Sebasteion relief  sculpture of Demeter and Triptolemos, Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
Deneter - stately, veiled and holding a sceptre - hands a bunch of wheat stalks to the young hero Trptolomos. Demeter was the grain goddess, and it was Triptolemos, a hero from Eleusis near Athens, whom she chose to bring grain cultivation to mankind
  • RomanSebasteion relief  sculpture of Orestes At Delphi Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
Orestes who has sought sanctuary at Delphi after murdering his mother, leaves Apollo’s shrine on his way to stand trial in Athens, The hero steps gingerly over sleeping Fury; he brandishes a sword and still hold onto Apollo’s tripod. The Fury has a snake and a burning torch with which she torments male factors. A small local nymph sits above on a rocky outcrop of Delphi’s Mt Parnossos
  • Roman Sebasteion relief  sculpture of Orestes At Delphi Aphrodisias Museum, Aphrodisias, Turkey.  Against an art background.<br />
<br />
Orestes who has sought sanctuary at Delphi after murdering his mother, leaves Apollo’s shrine on his way to stand trial in Athens, The hero steps gingerly over sleeping Fury; he brandishes a sword and still hold onto Apollo’s tripod. The Fury has a snake and a burning torch with which she torments male factors. A small local nymph sits above on a rocky outcrop of Delphi’s Mt Parnossos
  • Alabaster jug possibly imported from Minoan Crete.   Mycenae graves, Greece. 15th century BC,  National Archaeological Museum, Athens.
  • Photo of a  jug decorated with stylised birds bands showing Cycladic and Minoan influences.   Mycenae Grave find, Greece. 15th century BC,  ,  National Archaeological Museum, Athens.
  • Photo of a  jug decorated with stylised birds bands showing Cycladic and Minoan influences.   Mycenae Grave find, Greece. 15th century BC,  ,  National Archaeological Museum, Athens.
  • Photo of a late Helladic jug decorated with serpentine bands showing Cycladic and Minoan influences.   Mycenae Shaft Grave V, Greece. 16th to early 15th century BC,  cat no: 950,  National Archaeological Museum, Athens.
  • Photo of a late Helladic jug decorated with serpentine bands showing Cycladic and Minoan influences.   Mycenae Shaft Grave V, Greece. 16th to early 15th century BC,  cat no: 950,  National Archaeological Museum, Athens.
  • Greek Late Hellenistic marble statue of Baeria, from Magnesia AD Maeandrum ( Menderes Manisasi ), temple of Athens, Turkey. Mid 1st cent. B.C .  Istanbul Archaeological museum Inv 605 T.  Cat. Mendel 550
  • Portrait head sculpture of the Roman emperor Lucius Verus ( AD 161-169). Pentalic marble found in Athens.
  • Neolithic Marble Female Figurine grave offering of the early Cycladic II period from the Chalandriani, from Syros. 2800-2300BC. Athens Archaeological Museum Ref No 6169.
  • Three handled Mycenaean  Palace Style amphora with three large octopuses within a marinescape of rocks and seaweed. A Mycenaean imitation of Minoan Marine Style. From the Mycenaean cemetery of Argive Prosymna, tomb 2, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Neolithic Marble Female Figurine grave offering of the early Cycladic II period from the Chalandriani, from Syros. 2800-2300BC. Athens Archaeological Museum Ref No 6169.
  • Gold Death Mask Known from Grave IV, Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC. Cat No 253 Athens Archaeological Museum.
  • Minoan Fresco wall painting of " Boxing Youths"  from Minoan Bronze Age settlement  of Akrotiri on the Greek island of Thira, Santorini, Greece. . Athens Archaeological Museum.
  • Mycenaean Fresco wall painting of a chariot from the Tiryns, Greece. 14th - 13th Century BC. Athens Archaeological Museum.
  • Mycenaean Fresco wall painting of a man leaping over a bull  from the Tiryns, Greece. 14th - 13th Century BC. Athens Archaeological Museum.
  • Mycenaean Fresco wall painting  of an elborately dressed women in a procession  from the Tiryns, Greece. 14th - 13th Century BC. Cat No 5883 Athens Archaeological Museum.
  • Greek Classical Period Bronze Statue of Zeus or Poseidon found in the sea of Cape Artemision of the north Eastern Euboea Island, Greece.  The God is shown in a great stride about to throw either a trident of a thunderbolt that is now missing from his right hand. The statue is one of the only preserved statues of the preserved style with exquisite rendering of motion & anatomy. The identity of the statue is controversial and is probably more likely to be Zeus rather than Poseidon. 460 BC Ref No X15161 Athens Archaeological Museum
  • Greek Classical Period Bronze Statue of Zeus or Poseidon found in the sea of Cape Artemision of the north Eastern Euboea Island, Greece.  The God is shown in a great stride about to throw either a trident of a thunderbolt that is now missing from his right hand. The statue is one of the only preserved statues of the preserved style with exquisite rendering of motion & anatomy. The identity of the statue is controversial and is probably more likely to be Zeus rather than Poseidon. 460 BC Ref No X15161 Athens Archaeological Museum
  • Gold Death Mask Known as the "mask of Agamemnon"  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold & shows a man with a beard. 16th century BC Cat No 624 Athens Archaeological Museum.
  • Mycenaean Fresco wall painting  of an elborately dressed women in a procession  from the Tiryns, Greece. 14th - 13th Century BC. Cat No 5883 Athens Archaeological Museum.
  • Mycenaean Fresco wall painting of a Wild Boar Hunt from the Tiryns, Greece. 14th - 13th Century BC. Athens Archaeological Museum.
  • Greek Classical Period Bronze Statue of Zeus or Poseidon found in the sea of Cape Artemision of the north Eastern Euboea Island, Greece.  The God is shown in a great stride about to throw either a trident of a thunderbolt that is now missing from his right hand. The statue is one of the only preserved statues of the preserved style with exquisite rendering of motion & anatomy. The identity of the statue is controversial and is probably more likely to be Zeus rather than Poseidon. 460 BC Ref No X15161 Athens Archaeological Museum
  • Greek Classical Period Bronze Statue of Zeus or Poseidon found in the sea of Cape Artemision of the north Eastern Euboea Island, Greece.  The God is shown in a great stride about to throw either a trident of a thunderbolt that is now missing from his right hand. The statue is one of the only preserved statues of the preserved style with exquisite rendering of motion & anatomy. The identity of the statue is controversial and is probably more likely to be Zeus rather than Poseidon. 460 BC Ref No X15161 Athens Archaeological Museum
  • Greek Classical Period Bronze Statue of Zeus or Poseidon found in the sea of Cape Artemision of the north Eastern Euboea Island, Greece.  The God is shown in a great stride about to throw either a trident of a thunderbolt that is now missing from his right hand. The statue is one of the only preserved statues of the preserved style with exquisite rendering of motion & anatomy. The identity of the statue is controversial and is probably more likely to be Zeus rather than Poseidon. 460 BC Ref No X15161 Athens Archaeological Museum
  • Three handled Mycenaean  Palace Style amphora with large palm trees symmetrically placed on the sides and smaller palm trees with floral motifs in between. This Mycenaean  vase is distinguished by the high quality of clay and paint, and by the naturalistic rendering of the decoration. From the Mycenaean cemetery at Argive Deiras, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Three handled Mycenaean  Palace Style amphora with large palm trees symmetrically placed on the sides and smaller palm trees with floral motifs in between. This Mycenaean  vase is distinguished by the high quality of clay and paint, and by the naturalistic rendering of the decoration. From the Mycenaean cemetery at Argive Deiras, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Hercules from the metope of hte Treasury of the Athenians, Delphi Archaeological Museum
  • Hercules from the metope of hte Treasury of the Athenians, Delphi Archaeological Museum
  • Photo of a Three handles "Palace Style" amphora with three large octopuses within a marines cape of rocks and seaweed. A mycenaean copy of a Minoan Marine Style.   Mycenae tomb 2, Greece. 15th century BC,  cat no: 6725, National Archaeological Museum, Athens.
  • Greek Late Hellenistic marble statue of Baeria, from Magnesia AD Maeandrum ( Menderes Manisasi ), temple of Athens, Turkey. Mid 1st cent. B.C .  Istanbul Archaeological museum Inv 605 T.  Cat. Mendel 550
  • Greek Late Hellenistic marble statue of Baeria, from Magnesia AD Maeandrum ( Menderes Manisasi ), temple of Athens, Turkey. Mid 1st cent. B.C .  Istanbul Archaeological museum Inv 605 T.  Cat. Mendel 550
  • Greek Late Hellenistic marble statue of Baeria, from Magnesia AD Maeandrum ( Menderes Manisasi ), temple of Athens, Turkey. Mid 1st cent. B.C .  Istanbul Archaeological museum Inv 605 T.  Cat. Mendel 550
  • Greek Classical Period Statue of Aphrodite made of Parian marble. Restored by the famous Italian Sculptor A. Canova ( 1757 - 1822 ), Aphrodite is standing nude apart from a richly draped himation which she retains with her left hand in front of her pudenda. 4th c. BC. Athens National Archaeological Museum cat No 3524, from the collection of Lord Hope, donated by M. Embeirikos in 1924.<br />
This statue of Aphrodite is a variant of the Aphrodite (Venus) of Cnidus and is a copy of a 2nd century AD copy of a 4th century  original by the ancient Greek sculptor Praxiteles of Athens. As with the Capitaline Venus, Aphrodite is rising from bathing and is covering her breasts with her right hand, unlike the other known variants of this pose the Aphrodite of the Athens museum is covered from the waste down with a drape.
  • Greek Classical Period Statue of Aphrodite made of Parian marble. Restored by the famous Italian Sculptor A. Canova ( 1757 - 1822 ), Aphrodite is standing nude apart from a richly draped himation which she retains with her left hand in front of her pudenda. 4th c. BC. Athens National Archaeological Museum cat No 3524, from the collection of Lord Hope, donated by M. Embeirikos in 1924.<br />
This statue of Aphrodite is a variant of the Aphrodite (Venus) of Cnidus and is a copy of a 2nd century AD copy of a 4th century  original by the ancient Greek sculptor Praxiteles of Athens. As with the Capitaline Venus, Aphrodite is rising from bathing and is covering her breasts with her right hand, unlike the other known variants of this pose the Aphrodite of the Athens museum is covered from the waste down with a drape.
  • Greek Classical Period Statue of Aphrodite made of Parian marble. Restored by the famous Italian Sculptor A. Canova ( 1757 - 1822 ), Aphrodite is standing nude apart from a richly draped himation which she retains with her left hand in front of her pudenda. 4th c. BC. Athens National Archaeological Museum cat No 3524, from the collection of Lord Hope, donated by M. Embeirikos in 1924.<br />
This statue of Aphrodite is a variant of the Aphrodite (Venus) of Cnidus and is a copy of a 2nd century AD copy of a 4th century  original by the ancient Greek sculptor Praxiteles of Athens. As with the Capitaline Venus, Aphrodite is rising from bathing and is covering her breasts with her right hand, unlike the other known variants of this pose the Aphrodite of the Athens museum is covered from the waste down with a drape.
  • Greek Classical Period Statue of Aphrodite made of Parian marble. Restored by the famous Italian Sculptor A. Canova ( 1757 - 1822 ), Aphrodite is standing nude apart from a richly draped himation which she retains with her left hand in front of her pudenda. 4th c. BC. Athens National Archaeological Museum cat No 3524, from the collection of Lord Hope, donated by M. Embeirikos in 1924.<br />
<br />
This statue of Aphrodite is a variant of the Aphrodite (Venus) of Cnidus and is a copy of a 2nd century AD copy of a 4th century  original by the ancient Greek sculptor Praxiteles of Athens. As with the Capitaline Venus, Aphrodite is rising from bathing and is covering her breasts with her right hand, unlike the other known variants of this pose the Aphrodite of the Athens museum is covered from the waste down with a drape.

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