• The The pre-Romanesque  Byzantine St Donat's Church & the Campinale bell tower of the St Anastasia Cathedral. Zadar, Croatia Byzantine St Donat's Church & the Campinale bell tower of the St Anastasia Cathedral. Zadar, Croatia
  • The The pre-Romanesque  Byzantine St Donat's Church & the Campinale bell tower of the St Anastasia Cathedral. Zadar, Croatia Byzantine St Donat's Church & the Campinale bell tower of the St Anastasia Cathedral. Zadar, Croatia
  • The The pre-Romanesque  Byzantine St Donat's Church & the Campinale bell tower of the St Anastasia Cathedral. Zadar, Croatia Byzantine St Donat's Church & the Campinale bell tower of the St Anastasia Cathedral. Zadar, Croatia
  • The The pre-Romanesque  Byzantine St Donat's Church & the Campinale bell tower of the St Anastasia Cathedral. Zadar, Croatia Byzantine St Donat's Church & the Campinale bell tower of the St Anastasia Cathedral. Zadar, Croatia
  • The The pre-Romanesque  Byzantine St Donat's Church & the Campinale bell tower of the St Anastasia Cathedral. Zadar, Croatia Byzantine St Donat's Church & the Campinale bell tower of the St Anastasia Cathedral. Zadar, Croatia
  • The The pre-Romanesque  Byzantine St Donat's Church & the Campinale bell tower of the St Anastasia Cathedral. Zadar, Croatia Byzantine St Donat's Church & the Campinale bell tower of the St Anastasia Cathedral. Zadar, Croatia
  • The The pre-Romanesque  Byzantine St Donat's Church & the Campinale bell tower of the St Anastasia Cathedral. Zadar, Croatia Byzantine St Donat's Church & the Campinale bell tower of the St Anastasia Cathedral. Zadar, Croatia
  • The The pre-Romanesque  Byzantine St Donat's Church & the Campinale bell tower of the St Anastasia Cathedral. Zadar, Croatia Byzantine St Donat's Church & the Campinale bell tower of the St Anastasia Cathedral. Zadar, Croatia
  • The The pre-Romanesque  Byzantine St Donat's Church & the Campinale bell tower of the St Anastasia Cathedral. Zadar, Croatia Byzantine St Donat's Church & the Campinale bell tower of the St Anastasia Cathedral. Zadar, Croatia
  • The The pre-Romanesque  Byzantine St Donat's Church & the Campinale bell tower of the St Anastasia Cathedral. Zadar, Croatia Byzantine St Donat's Church & the Campinale bell tower of the St Anastasia Cathedral. Zadar, Croatia
  • The The pre-Romanesque  Byzantine St Donat's Church & the Campinale bell tower of the St Anastasia Cathedral. Zadar, Croatia Byzantine St Donat's Church & the Campinale bell tower of the St Anastasia Cathedral. Zadar, Croatia
  • The The pre-Romanesque  Byzantine St Donat's Church & the Campinale bell tower of the St Anastasia Cathedral. Zadar, Croatia Byzantine St Donat's Church & the Campinale bell tower of the St Anastasia Cathedral. Zadar, Croatia
  • The The pre-Romanesque  Byzantine St Donat's Church & the Campinale bell tower of the St Anastasia Cathedral. Zadar, Croatia Byzantine St Donat's Church & the Campinale bell tower of the St Anastasia Cathedral. Zadar, Croatia
  • The The pre-Romanesque  Byzantine St Donat's Church & the Campinale bell tower of the St Anastasia Cathedral. Zadar, Croatia Byzantine St Donat's Church & the Campinale bell tower of the St Anastasia Cathedral. Zadar, Croatia
  • The The pre-Romanesque  Byzantine St Donat's Church & the Campinale bell tower of the St Anastasia Cathedral. Zadar, Croatia Byzantine St Donat's Church & the Campinale bell tower of the St Anastasia Cathedral. Zadar, Croatia
  • The The pre-Romanesque  Byzantine St Donat's Church & the Campinale bell tower of the St Anastasia Cathedral. Zadar, Croatia Byzantine St Donat's Church & the Campinale bell tower of the St Anastasia Cathedral. Zadar, Croatia
  • The The pre-Romanesque  Byzantine St Donat's Church & the Campinale bell tower of the St Anastasia Cathedral. Zadar, Croatia Byzantine St Donat's Church & the Campinale bell tower of the St Anastasia Cathedral. Zadar, Croatia
  • The pre-Romanesque  Byzantine St Donat's Church & the Campinale bell tower of the St Anastasia Cathedral. Zadar, Croatia
  • The pre-Romanesque  Byzantine St Donat's Church & the Campinale bell tower of the St Anastasia Cathedral. Zadar, Croatia
  • The pre-Romanesque  Byzantine St Donat's Church & the Campinale bell tower of the St Anastasia Cathedral. Zadar, Croatia
  • The pre-Romanesque  Byzantine St Donat's Church & the Campinale bell tower of the St Anastasia Cathedral. Zadar, Croatia
  • The pre-Romanesque  Byzantine St Donat's Church & the Campinale bell tower of the St Anastasia Cathedral. Zadar, Croatia
  • The pre-Romanesque  Byzantine St Donat's Church & the Campinale bell tower of the St Anastasia Cathedral. Zadar, Croatia
  • The pre-Romanesque  Byzantine St Donat's Church & the Campinale bell tower of the St Anastasia Cathedral. Zadar, Croatia
  • The pre-Romanesque  Byzantine St Donat's Church & the Campinale bell tower of the St Anastasia Cathedral. Zadar, Croatia
  • The pre-Romanesque  Byzantine St Donat's Church & the Campinale bell tower of the St Anastasia Cathedral. Zadar, Croatia
  • The Byzantine St Donat's Church & the Campinale bell tower of the St Anastasia Cathedral. Zadar, Croatia
  • The Byzantine St Donat's Church & the Campinale bell tower of the St Anastasia Cathedral. Zadar, Croatia
  • The Pre-Romanesque Byzantine St Donat's Church. Zadar, Croatia
  • The Byzantine St Donat's Church & the Campinale bell tower of the St Anastasia Cathedral. Zadar, Croatia
  • The Byzantine St Donat's Church & the Campinale bell tower of the St Anastasia Cathedral. Zadar, Croatia
  • Roman stones left in the old forum and used in the foundations of  the Byzantine St Donat's Church
  • Roman stones left in the old forum and used in the foundations of  the Byzantine St Donat's Church
  • "Day For Night No 16" - St Donat's Church & the Campinale bell tower of the St Anastasia Cathedral. Zadar, Croatia.  A black & white photo art seroes by photographer Paul E Williams.
  • Toprak Bagis Belgesi  cuneiform donation document. Hittite Period 1600 - 1450 BC.  Hattusa Boğazkale. Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Stone Sculpture depicting  Kassite or 3rd Dynasty of Babylon King Meli-Shipak II commemorating a donation of land to his daughter-Hannubat Nannaya. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. The king dressed in a long robe with his right hand raised in a gesture of greeting. With his left hand he grasps the wrist of his daughter. The princess carries in her left hand a nine-stringed harp. Both face an enthroned goddess Nanya, a deity worshipped especially at Uruk[, who is dressed in a flounced or segmented garment and donning a feathered mitre and sits on the far side of a cultic censer on a stand. Above them are the symbols of three divinities astral: the star of Ishtar, the sun god Shamash and Sin of the crescent moon are in the sky. The rest of the stele has been entirely defaced, possibly by an Elamite king intending to have his own inscription engraved. The Louvre Museum, Paris.
  • Medieval Window of the South Transept of the Gothic Cathedral of Chartres, France- Circa 1225-30. A UNESCO World Heritage Site. This window was a donation of the Mauclerc family, the Counts of Dreux-Bretagne, who are depicted with their arms in the bases of the lancets above it shows one of the four evangelists sitting on the shoulders of four Prophets - a rare literal illustration of the theological principle that the New Testament builds upon the Old Testament.
  • Toprak Bagis Belgesi  cuneiform donation document. Hittite Period 1600 - 1450 BC.  Hattusa Boğazkale. Çorum Archaeological Museum, Corum, Turkey. Against a white bacground.
  • Toprak Bagis Belgesi  cuneiform donation document. Hittite Period 1600 - 1450 BC.  Hattusa Boğazkale. Çorum Archaeological Museum, Corum, Turkey. Against a black bacground.
  • Toprak Bagis Belgesi  cuneiform donation document. Hittite Period 1600 - 1450 BC.  Hattusa Boğazkale. Çorum Archaeological Museum, Corum, Turkey
  • Toprak Bagis Belgesi  cuneiform donation document. Hittite Period 1600 - 1450 BC.  Hattusa Boğazkale. Çorum Archaeological Museum, Corum, Turkey. Against a grey bacground.
  • Toprak Bagis Belgesi  cuneiform donation document of winter  pasture to the shepherds of Uhhiva city. Hittite Period 1600 - 1450 BC.  Hattusa Boğazkale. Çorum Archaeological Museum, Corum, Turkey.. Against a white bacground.<br />
<br />
The document reads "The Big King donates the summery and winter pastures with shepherds of Uhhiva city to his servant Hassuli, head of the guardians. No one shall have the right to claim against Hassuli or his grandchildren in the future. The Big King's word is made of iron, which can never be changed or broken. Whoever changes his word shall be beheaded. This tablet was written by Hanukkuli, Sarpa, head of Hittite palace guardians before Iskanussu, commander-in-chief."
  • Toprak Bagis Belgesi  cuneiform donation document of winter  pasture to the shepherds of Uhhiva city. Hittite Period 1600 - 1450 BC.  Hattusa Boğazkale. Çorum Archaeological Museum, Corum, Turkey.. Against a warm art bacground.<br />
<br />
The document reads "The Big King donates the summery and winter pastures with shepherds of Uhhiva city to his servant Hassuli, head of the guardians. No one shall have the right to claim against Hassuli or his grandchildren in the future. The Big King's word is made of iron, which can never be changed or broken. Whoever changes his word shall be beheaded. This tablet was written by Hanukkuli, Sarpa, head of Hittite palace guardians before Iskanussu, commander-in-chief."
  • Toprak Bagis Belgesi  cuneiform donation document of winter  pasture to the shepherds of Uhhiva city. Hittite Period 1600 - 1450 BC.  Hattusa Boğazkale. Çorum Archaeological Museum, Corum, Turkey.<br />
<br />
The document reads "The Big King donates the summery and winter pastures with shepherds of Uhhiva city to his servant Hassuli, head of the guardians. No one shall have the right to claim against Hassuli or his grandchildren in the future. The Big King's word is made of iron, which can never be changed or broken. Whoever changes his word shall be beheaded. This tablet was written by Hanukkuli, Sarpa, head of Hittite palace guardians before Iskanussu, commander-in-chief."
  • Toprak Bagis Belgesi  cuneiform donation document of winter  pasture to the shepherds of Uhhiva city. Hittite Period 1600 - 1450 BC.  Hattusa Boğazkale. Çorum Archaeological Museum, Corum, Turkey.. Against a black bacground.<br />
<br />
The document reads "The Big King donates the summery and winter pastures with shepherds of Uhhiva city to his servant Hassuli, head of the guardians. No one shall have the right to claim against Hassuli or his grandchildren in the future. The Big King's word is made of iron, which can never be changed or broken. Whoever changes his word shall be beheaded. This tablet was written by Hanukkuli, Sarpa, head of Hittite palace guardians before Iskanussu, commander-in-chief."
  • Toprak Bagis Belgesi  cuneiform donation document of winter  pasture to the shepherds of Uhhiva city. Hittite Period 1600 - 1450 BC.  Hattusa Boğazkale. Çorum Archaeological Museum, Corum, Turkey. Against a grey bacground.<br />
<br />
The document reads "The Big King donates the summery and winter pastures with shepherds of Uhhiva city to his servant Hassuli, head of the guardians. No one shall have the right to claim against Hassuli or his grandchildren in the future. The Big King's word is made of iron, which can never be changed or broken. Whoever changes his word shall be beheaded. This tablet was written by Hanukkuli, Sarpa, head of Hittite palace guardians before Iskanussu, commander-in-chief."
  • Hittite cuneiform clay tablet. A Property donation deed - Hattusa (Bogazkoy),  1700 BC to 1500BC - Museum of Anatolian Civilisations, Ankara, Turkey. Against a white background
  • Hittite cuneiform clay tablet. A Property donation deed - Hattusa (Bogazkoy),  1700 BC to 1500BC - Museum of Anatolian Civilisations, Ankara, Turkey. Against a black background
  • Hittite cuneiform clay tablet. A Property donation deed - Hattusa (Bogazkoy),  1700 BC to 1500BC - Museum of Anatolian Civilisations, Ankara, Turkey. Against a grey  background
  • Hittite cuneiform clay tablet. A Property donation deed - Hattusa (Bogazkoy),  1700 BC to 1500BC - Museum of Anatolian Civilisations, Ankara, Turkey,  Against a warm art  background
  • Hittite cuneiform clay tablet. A Property donation deed - Hattusa (Bogazkoy),  1700 BC to 1500BC - Museum of Anatolian Civilisations, Ankara, Turkey
  • Eastern Roman Byzantine walk in baptismal font from the 6th century AD Parish Church of Demna near Kalibia, Cape Bon, Tunisia. <br />
<br />
The baptismal font was removed from the church and restored in the Bardo Museum Tunis in 1955. <br />
<br />
The mosaic iconographic decorations represent the salvation of the neophyte, newcomer, who by being baptised is admitted into the Church of Christ whilst being illuminated by faith, represented the mosaic lit candle illustrations.<br />
<br />
The P with a cross through it is the Chi Rho, a Christian symbol which represent the first two letters of Jesus Christ's name in Greek. The Christogram also has the Greek letters Alpha and Omega which represent the passage from the book of revelations: “I am the Alpha and Omega" Chapter 1 verse 8, which is clarified by "the beginning and the end" (Revelation 21:6, 22:13). <br />
<br />
In these type of baptismal fonts those being baptised would have been fully immersed in water as John the Baptist immersed Jesus. <br />
<br />
The font was paid for by donation by Iuliana and Aquinius who dedicated the font to St Cyprian, the martyed Bishop of Carthage, circa 258,  and the author of a treatise on baptism rites<br />
<br />
The Bardo Museum Tunis
  • Eastern Roman Byzantine walk in baptismal font from the 6th century AD Parish Church of Demna near Kalibia, Cape Bon, Tunisia. <br />
<br />
The baptismal font was removed from the church and restored in the Bardo Museum Tunis in 1955. <br />
<br />
The mosaic iconographic decorations represent the salvation of the neophyte, newcomer, who by being baptised is admitted into the Church of Christ whilst being illuminated by faith, represented the mosaic lit candle illustrations.<br />
<br />
The P with a cross through it is the Chi Rho, a Christian symbol which represent the first two letters of Jesus Christ's name in Greek. The Christogram also has the Greek letters Alpha and Omega which represent the passage from the book of revelations: “I am the Alpha and Omega" Chapter 1 verse 8, which is clarified by "the beginning and the end" (Revelation 21:6, 22:13). <br />
<br />
In these type of baptismal fonts those being baptised would have been fully immersed in water as John the Baptist immersed Jesus. <br />
<br />
The font was paid for by donation by Iuliana and Aquinius who dedicated the font to St Cyprian, the martyed Bishop of Carthage, circa 258,  and the author of a treatise on baptism rites<br />
<br />
The Bardo Museum Tunis
  • Eastern Roman Byzantine walk in baptismal font from the 6th century AD Parish Church of Demna near Kalibia, Cape Bon, Tunisia. <br />
<br />
The baptismal font was removed from the church and restored in the Bardo Museum Tunis in 1955. <br />
<br />
The mosaic iconographic decorations represent the salvation of the neophyte, newcomer, who by being baptised is admitted into the Church of Christ whilst being illuminated by faith, represented the mosaic lit candle illustrations.<br />
<br />
The P with a cross through it is the Chi Rho, a Christian symbol which represent the first two letters of Jesus Christ's name in Greek. The Christogram also has the Greek letters Alpha and Omega which represent the passage from the book of revelations: “I am the Alpha and Omega" Chapter 1 verse 8, which is clarified by "the beginning and the end" (Revelation 21:6, 22:13). <br />
<br />
In these type of baptismal fonts those being baptised would have been fully immersed in water as John the Baptist immersed Jesus. <br />
<br />
The font was paid for by donation by Iuliana and Aquinius who dedicated the font to St Cyprian, the martyed Bishop of Carthage, circa 258,  and the author of a treatise on baptism rites<br />
<br />
The Bardo Museum Tunis
  • Eastern Roman Byzantine walk in baptismal font from the 6th century AD Parish Church of Demna near Kalibia, Cape Bon, Tunisia. <br />
<br />
The baptismal font was removed from the church and restored in the Bardo Museum Tunis in 1955. <br />
<br />
The mosaic iconographic decorations represent the salvation of the neophyte, newcomer, who by being baptised is admitted into the Church of Christ whilst being illuminated by faith, represented the mosaic lit candle illustrations.<br />
<br />
The P with a cross through it is the Chi Rho, a Christian symbol which represent the first two letters of Jesus Christ's name in Greek. The Christogram also has the Greek letters Alpha and Omega which represent the passage from the book of revelations: “I am the Alpha and Omega" Chapter 1 verse 8, which is clarified by "the beginning and the end" (Revelation 21:6, 22:13). <br />
<br />
In these type of baptismal fonts those being baptised would have been fully immersed in water as John the Baptist immersed Jesus. <br />
<br />
The font was paid for by donation by Iuliana and Aquinius who dedicated the font to St Cyprian, the martyed Bishop of Carthage, circa 258,  and the author of a treatise on baptism rites<br />
<br />
The Bardo Museum Tunis
  • Stone Sculpture depicting  Kassite or 3rd Dynasty of Babylon King Meli-Shipak II commemorating a donation of land to his daughter-Hannubat Nannaya. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. The king dressed in a long robe with his right hand raised in a gesture of greeting. With his left hand he grasps the wrist of his daughter. The princess carries in her left hand a nine-stringed harp. Both face an enthroned goddess Nanya, a deity worshipped especially at Uruk[, who is dressed in a flounced or segmented garment and donning a feathered mitre and sits on the far side of a cultic censer on a stand. Above them are the symbols of three divinities astral: the star of Ishtar, the sun god Shamash and Sin of the crescent moon are in the sky. The rest of the stele has been entirely defaced, possibly by an Elamite king intending to have his own inscription engraved. The Louvre Museum, Paris.
  • Stone Sculpture depicting  Kassite or 3rd Dynasty of Babylon King Meli-Shipak II commemorating a donation of land to his daughter-Hannubat Nannaya. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. The king dressed in a long robe with his right hand raised in a gesture of greeting. With his left hand he grasps the wrist of his daughter. The princess carries in her left hand a nine-stringed harp. Both face an enthroned goddess Nanya, a deity worshipped especially at Uruk[, who is dressed in a flounced or segmented garment and donning a feathered mitre and sits on the far side of a cultic censer on a stand. Above them are the symbols of three divinities astral: the star of Ishtar, the sun god Shamash and Sin of the crescent moon are in the sky. The rest of the stele has been entirely defaced, possibly by an Elamite king intending to have his own inscription engraved. The Louvre Museum, Paris.
  • Stone Sculpture depicting  Kassite or 3rd Dynasty of Babylon King Meli-Shipak II commemorating a donation of land to his daughter-Hannubat Nannaya. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. The king dressed in a long robe with his right hand raised in a gesture of greeting. With his left hand he grasps the wrist of his daughter. The princess carries in her left hand a nine-stringed harp. Both face an enthroned goddess Nanya, a deity worshipped especially at Uruk[, who is dressed in a flounced or segmented garment and donning a feathered mitre and sits on the far side of a cultic censer on a stand. Above them are the symbols of three divinities astral: the star of Ishtar, the sun god Shamash and Sin of the crescent moon are in the sky. The rest of the stele has been entirely defaced, possibly by an Elamite king intending to have his own inscription engraved. The Louvre Museum, Paris.
  • Stone Sculpture depicting  Kassite or 3rd Dynasty of Babylon King Meli-Shipak II commemorating a donation of land to his daughter-Hannubat Nannaya. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. The king dressed in a long robe with his right hand raised in a gesture of greeting. With his left hand he grasps the wrist of his daughter. The princess carries in her left hand a nine-stringed harp. Both face an enthroned goddess Nanya, a deity worshipped especially at Uruk[, who is dressed in a flounced or segmented garment and donning a feathered mitre and sits on the far side of a cultic censer on a stand. Above them are the symbols of three divinities astral: the star of Ishtar, the sun god Shamash and Sin of the crescent moon are in the sky. The rest of the stele has been entirely defaced, possibly by an Elamite king intending to have his own inscription engraved. The Louvre Museum, Paris.
  • Stone Sculpture depicting  Kassite or 3rd Dynasty of Babylon King Meli-Shipak II commemorating a donation of land to his daughter-Hannubat Nannaya. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. The king dressed in a long robe with his right hand raised in a gesture of greeting. With his left hand he grasps the wrist of his daughter. The princess carries in her left hand a nine-stringed harp. Both face an enthroned goddess Nanya, a deity worshipped especially at Uruk[, who is dressed in a flounced or segmented garment and donning a feathered mitre and sits on the far side of a cultic censer on a stand. Above them are the symbols of three divinities astral: the star of Ishtar, the sun god Shamash and Sin of the crescent moon are in the sky. The rest of the stele has been entirely defaced, possibly by an Elamite king intending to have his own inscription engraved. The Louvre Museum, Paris.
  • Medieval Window of the South Transept of the Gothic Cathedral of Chartres, France- Circa 1225-30. A UNESCO World Heritage Site. These windows were a donation of the Mauclerc family, the Counts of Dreux-Bretagne, who are depicted with their arms in the bases of the lancets above (centre) is the Virgin Mary & Child and on either side are the four evangelists sitting on the shoulders of four Prophets - a rare literal illustration of the theological principle that the New Testament builds upon the Old Testament.
  • Medieval Window of the South Transept of the Gothic Cathedral of Chartres, France- Circa 1225-30. A UNESCO World Heritage Site. These windows were a donation of the Mauclerc family, the Counts of Dreux-Bretagne, who are depicted with their arms in the bases of the lancets above (right) is the Virgin Mary & Child and (left) is one of the four evangelists sitting on the shoulders of a Prophet - a rare literal illustration of the theological principle that the New Testament builds upon the Old Testament.
  • Medieval Window of the South Transept of the Gothic Cathedral of Chartres, France- Circa 1225-30. A UNESCO World Heritage Site. This window was a donation of the Mauclerc family, the Counts of Dreux-Bretagne, who are depicted with their arms in the bases of the lancets above is the Virgin Mary & Child
  • Medieval Rose  Window of the South Transept of the Gothic Cathedral of Chartres, France- Circa 1225-30. A UNESCO World Heritage Site. Dedicated to Christ, who is shown in the central oculus, right hand raised in benediction, surrounded by adoring angels. Two outer rings of twelve circles each contain the 24 Elders of the Apocalypse, crowned and carrying phials and musical instruments. The central lancet beneath the rose shows the Virgin carrying the infant Christ. Either side of this are four lancets showing the four evangelists sitting on the shoulders of four Prophets - a rare literal illustration of the theological principle that the New Testament builds upon the Old Testament. This window was a donation of the Mauclerc family, the Counts of Dreux-Bretagne, who are depicted with their arms in the bases of the lancets
  • Medieval Rose  Window of the South Transept of the Gothic Cathedral of Chartres, France- Circa 1225-30. A UNESCO World Heritage Site. Dedicated to Christ, who is shown in the central oculus, right hand raised in benediction, surrounded by adoring angels. Two outer rings of twelve circles each contain the 24 Elders of the Apocalypse, crowned and carrying phials and musical instruments. The central lancet beneath the rose shows the Virgin carrying the infant Christ. Either side of this are four lancets showing the four evangelists sitting on the shoulders of four Prophets - a rare literal illustration of the theological principle that the New Testament builds upon the Old Testament. This window was a donation of the Mauclerc family, the Counts of Dreux-Bretagne, who are depicted with their arms in the bases of the lancets
  • Medieval Rose  Window of the South Transept of the Gothic Cathedral of Chartres, France- Circa 1225-30. A UNESCO World Heritage Site. Dedicated to Christ, who is shown in the central oculus, right hand raised in benediction, surrounded by adoring angels. Two outer rings of twelve circles each contain the 24 Elders of the Apocalypse, crowned and carrying phials and musical instruments. The central lancet beneath the rose shows the Virgin carrying the infant Christ. Either side of this are four lancets showing the four evangelists sitting on the shoulders of four Prophets - a rare literal illustration of the theological principle that the New Testament builds upon the Old Testament. This window was a donation of the Mauclerc family, the Counts of Dreux-Bretagne, who are depicted with their arms in the bases of the lancets
  • Third Room of The Library. Queen Mary Caroline commissioned  German painter Freidrich Heinrich Fuger to decorate the Third Library Room. The paintings on the wall represent classical themes of: The Parnassus with Apollo and the Three Graces, The Envy and the Richness, The School of Athens, The protection of The Arts. The two globes represent the planisphere and the astral map and were donated to Ferdinand IV of Bourbon by King of France Louis XVI, his brother-in-law. The Kings of Naples Royal Palace of Caserta, Italy. A UNESCO World Heritage Site
  • Third Room of The Library. Queen Mary Caroline commissioned  German painter Freidrich Heinrich Fuger to decorate the Third Library Room. The paintings on the wall represent classical themes of: The Parnassus with Apollo and the Three Graces, The Envy and the Richness, The School of Athens, The protection of The Arts. The two globes represent the planisphere and the astral map and were donated to Ferdinand IV of Bourbon by King of France Louis XVI, his brother-in-law. The Kings of Naples Royal Palace of Caserta, Italy. A UNESCO World Heritage Site
  • Third Room of The Library. Queen Mary Caroline commissioned  German painter Freidrich Heinrich Fuger to decorate the Third Library Room. The paintings on the wall represent classical themes of: The Parnassus with Apollo and the Three Graces, The Envy and the Richness, The School of Athens, The protection of The Arts. The two globes represent the planisphere and the astral map and were donated to Ferdinand IV of Bourbon by King of France Louis XVI, his brother-in-law. The Kings of Naples Royal Palace of Caserta, Italy. A UNESCO World Heritage Site
  • The Room of Mars - The Neoclassical fresco by Antonia Gallianop painted in 1815, represents the death of Hector and the triumph of Hector. The furniture is in Empire style and the Alabaster vase in the middle of the room was donated by Pius IX  .The Kings of Naples Royal Palace of Caserta, Italy. A UNESCO World Heritage Site
  • The Room of Mars - The Neoclassical fresco by Antonia Gallianop painted in 1815, represents the death of Hector and the triumph of Hector. The furniture is in Empire style and the Alabaster vase in the middle of the room was donated by Pius IX  .The Kings of Naples Royal Palace of Caserta, Italy. A UNESCO World Heritage Site
  • The Room of Mars - The Neoclassical fresco by Antonia Gallianop painted in 1815, represents the death of Hector and the triumph of Hector. The furniture is in Empire style and the Alabaster vase in the middle of the room was donated by Pius IX  .The Kings of Naples Royal Palace of Caserta, Italy. A UNESCO World Heritage Site
  • Third Room of The Library. Queen Mary Caroline commissioned  German painter Freidrich Heinrich Fuger to decorate the Third Library Room. The paintings on the wall represent classical themes of: The Parnassus with Apollo and the Three Graces, The Envy and the Richness, The School of Athens, The protection of The Arts. The two globes represent the planisphere and the astral map and were donated to Ferdinand IV of Bourbon by King of France Louis XVI, his brother-in-law. The Kings of Naples Royal Palace of Caserta, Italy. A UNESCO World Heritage Site
  • 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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