• Traditional dried  Italaian Casarecce pasta close up in a rustic setting on wood
  • Traditional dried  Italaian Bronze Mezze Penne Rigate pasta close up in a rustic setting on wood
  • Traditional dried  Italaian Croxeti pasta close up in a rustic setting on wood
  • Traditional dried  Italaian Calamarata Siciliana pasta close up in a rustic setting on wood
  • Traditional dried  Italaian Mezze Maniche Rigate pasta close up in a rustic setting on wood
  • Traditional dried  Italaian Maccheroni di Toscana pasta close up in a rustic setting on wood
  • Traditional dried  Italaian Rigatoni pasta close up in a rustic setting on wood
  • Traditional Italaian Casarecce pasta being made and shaped in a rustic setting
  • Traditional Italaian Casarecce pasta being made and shaped in a rustic setting
  • Traditional Italaian Casarecce pasta being made and shaped in a rustic setting
  • Traditional Italaian Casarecce pasta being made and shaped in a rustic setting
  • Traditional Italaian Casarecce pasta being made and shaped in a rustic setting
  • Traditional Italaian Casarecce pasta being made in a rustic setting
  • Traditional dried Orcichiette Pugleisi in a rustic setting
  • Traditional dried Malloreddus Sardi pasta  close up in a rustic setting on a wood backfround
  • Traditional dried Cavatelli Pugleisi close up in a rustic setting on a wood background
  • Orcichiette Pugleisi pasta being made and shaped  in a rustic setting
  • Orcichiette Pugleisi pasta being made and shaped in a rustic setting
  • View from the medieval  hill fortifications above Kotor across roof tops and Kotor Bay - Montenegro
  • View from the medieval  hill fortifications above Kotor across roof tops and Kotor Bay - Montenegro
  • View from the medieval  hill fortifications above Kotor across roof tops and Kotor Bay - Montenegro
  • View from the medieval  hill fortifications above Kotor across roof tops and Kotor Bay - Montenegro
  • Panoramic view from the medieval  hill fortifications above Kotor across roof tops and Kotor Bay - Montenegro
  • View across roof tops from the medieval  hill fortifications above Kotor across roof tops and Kotor Bay - Montenegro
  • View from the medieval  hill fortifications above Kotor - Montenegro
  • North Porch, Left Portal (Incarnation Portal), Tympanum- Gifts of the Magi and Dream of the Magi c 1194-1230, from the Cathedral of Chartres, France. At left is the Adoration of the Magi (Matthew 2:1)..Two Magi (crowned) stand at left, holding jars. One has a beard and the other is clean-shaven. The third Magus (bearded) kneels, handing a round object to the Christ Child, who sits on Mary's lap in the middle of the composition. Above them is the star of Bethlehem between two angels holding scrolls..At right is the Dream of the Magi. (Matthew 2:12).Two of the Magi (bearded, still crowned) lie sleeping on a bed at the lower right. The third Magus (beardless) appears behind them, with his eyes closed and his head propped up in his hand. Above is an angel with a scroll, one of the pair of angels who flank the star of Bethlehem at the top of the tympanum..Surrounding the central scene is the Inner archivolt. It contains angels holding candlesticks standing on clouds. Below The Virgin Mary (veiled) lies on a bed that is parallel to the panel plane. She raises one hand. The Christ Child (in swaddling clothes) is in a manger above the bed. Above him are the heads of the ox and the ass. They are probably a reference to Old Testament verses thought to be prophecies of the coming of the Messiah. Isaiah 1:3 says, "The ox knows his owner and the ass his maker's crib." There is a similar verse in Habakkuk. The apocryphal Protevangelium of James mentions only the ass. The Gospel of Pseudo-Matthew also says that an ox and an ass worshiped the Christ Child in the manger..Above are angels leaning out of a cloud and holding a long scroll.. A UNESCO World Heritage Site. .
  • Medieval Windows of the Gothic Cathedral of Chartres, France, dedicated to the signs of the Zodiac and the monthly labours.  From bottom left - Wine growers, Bell ringers ( centre bottom) Count Thibault VI on his horse. Above centre is January, the Roman god of Janus  or Aquarius, above left  - February, a man keeping warm in font of a fire, right - two fish representing Pisces. Above left March - A Man pruning the vines and right Aries. Centre panel above - May / Gemini. Above left  is April and top right is Taurus. A UNESCO World Heritage Site.
  • Medieval Windows of the Gothic Cathedral of Chartres, France, dedicated to the signs of the Zodiac and the monthly labours.  From bottom left - Wine growers, Bell ringers ( centre bottom) Count Thibault VI on his horse. Above centre is January, the Roman god of Janus  or Aquarius, above left  - February, a man keeping warm in font of a fire, right - two fish representing Pisces. Above left March - A Man pruning the vines and right Aries. Centre panel above - May / Gemini. Above left  is April and top right is Taurus. A UNESCO World Heritage Site.
  • Medieval stained glass Window of the Gothic Cathedral of Chartres, France - dedicated to the Life of St Lubin . Central panel shows A barrel of wine being transported to the Cathedral, below left - The young Lubin working as a shepherd, below right - A monk gives Lubin a belt with the alphabet written on it, above left - Lubin receiving instruction from a cleric, above right - Lubin spends his spare time learning to read, while his companion idles.  Cental bottom semi circle - wine cryers, above left -a procession, above right - a procession of laymen and clerics.  A UNESCO World Heritage Site..
  • Medieval stained glass Window of the Gothic Cathedral of Chartres, France - dedicated to the Life of St Lubin . Central bottom panel shows A barrel of wine being transported to the Cathedral, below left - The young Lubin working as a shepherd, below right - A monk gives Lubin a belt with the alphabet written on it, above left - Lubin receiving instruction from a cleric, above right - Lubin spends his spare time learning to read, while his companion idles.  Top central panel -  A cellerer draws sacramental wine into a cruet, below left - Lubin is accepted into a monastery, below right - Nileffus advises Lubin to visit other monasteries to broaden his knowledge, above left - Lubin, Nileffus and another monk, approach a new monastery, above right - Lubin and his companions leaving a monastery. A UNESCO World Heritage Site.
  • Medieval stained glass Window of the Gothic Cathedral of Chartres, France - dedicated to the Life of St Lubin . Central panel shows A barrel of wine being transported to the Cathedral, below left - The young Lubin working as a shepherd, below right - A monk gives Lubin a belt with the alphabet written on it, above left - Lubin receiving instruction from a cleric, above right - Lubin spends his spare time learning to read, while his companion idles.  Cental bottom semi circle - wine cryers, above left -a procession, above right - a procession of laymen and clerics.  A UNESCO World Heritage Site..
  • Medieval stained glass Window of the Gothic Cathedral of Chartres, France - dedicated to the Life of St Lubin . Central panel shows A barrel of wine being transported to the Cathedral, below left - The young Lubin working as a shepherd, below right - A monk gives Lubin a belt with the alphabet written on it, above left - Lubin receiving instruction from a cleric, above right - Lubin spends his spare time learning to read, while his companion idles.  Cental bottom semi circle - wine cryers, above left -a procession, above right - a procession of laymen and clerics.  A UNESCO World Heritage Site..
  • Medieval stained glass Window of the Gothic Cathedral of Chartres, France - dedicated to St Sylvester.  Bottom left - The young Sylvester presented by his mother to the priest Cyrinus, bottom right - Sylvester welcoming St Timothy to his house. Side panel right - above right - Execution of St Timothy , side panel left - Death of the prefect Tarquin, who chokes on a fish bone. Two centre panels, left- Funeral of St Timothy, right - Sylvester refusing the prefect's orders to worship an idol. Top central oval panel - Sylvester released from prison by Pope Melchiades. Above left - People beg Sylvester (holding book) to become a deacon, above right - Sylvester is ordained by Melchiades as deacon. A UNESCO World Heritage Site.
  • Medieval stained glass Window of the Gothic Cathedral of Chartres, France - dedicated to St Sylvester.  Bottom left - The young Sylvester presented by his mother to the priest Cyrinus, bottom right - Sylvester welcoming St Timothy to his house. Bottom side panels right - above right - Execution of St Timothy , side panel left - Death of the prefect Tarquin, who chokes on a fish bone. Two centre panels, left- Funeral of St Timothy, right - Sylvester refusing the prefect's orders to worship an idol. Top central oval panel - Sylvester released from prison by Pope Melchiades. Above left - People beg Sylvester (holding book) to become a deacon, above right - Sylvester is ordained by Melchiades as deacon. Top side panel , right - After the death of Melchiades Sylvester installed as Pope, left - Emperor Constantine falls ill (note doctor with urine flask). Top two panels - left -  Constantine orders sacrifices to an idol, right - Pope Sylvester and his followers flee persecution. Top central oval panel - Soldiers about to prepare a bath with the blood of 3000 children. A UNESCO World Heritage Site.
  • Guardian Sphinxes, part lion & part sphinx from the gable end of a vaulted Lycian sarcophagus from the Heros of the Acropolis (Building H Xanthos). The sphinx was linked to death and above each sphinx is a lion, a guardian of the dead.  From Xanthos, UNESCO World Heritage site, south west Turkey. A British Museum exhibit GR 1848-10-20-24-25 sculpture B 290.
  • Guardian Sphinxes, part lion & part sphinx from the gable end of a vaulted Lycian sarcophagus from the Heros of the Acropolis (Building H Xanthos). The sphinx was linked to death and above each sphinx is a lion, a guardian of the dead.  From Xanthos, UNESCO World Heritage site, south west Turkey. A British Museum exhibit GR 1848-10-20-24-25 sculpture B 290.
  • Guardian Sphinxes, part lion & part sphinx from the gable end of a vaulted Lycian sarcophagus from the Heros of the Acropolis (Building H Xanthos). The sphinx was linked to death and above each sphinx is a lion, a guardian of the dead.  From Xanthos, UNESCO World Heritage site, south west Turkey. A British Museum exhibit GR 1848-10-20-24-25 sculpture B 290.
  • Guardian Sphinxes, part lion & part sphinx from the gable end of a vaulted Lycian sarcophagus from the Heros of the Acropolis (Building H Xanthos). The sphinx was linked to death and above each sphinx is a lion, a guardian of the dead.  From Xanthos, UNESCO World Heritage site, south west Turkey. A British Museum exhibit GR 1848-10-20-24-25 sculpture B 290.
  • Guardian Sphinxes, part lion & part sphinx from the gable end of a vaulted Lycian sarcophagus from the Heros of the Acropolis (Building H Xanthos). The sphinx was linked to death and above each sphinx is a lion, a guardian of the dead.  From Xanthos, UNESCO World Heritage site, south west Turkey. A British Museum exhibit GR 1848-10-20-24-25 sculpture B 290.
  • Guardian Sphinxes, part lion & part sphinx from the gable end of a vaulted Lycian sarcophagus from the Heros of the Acropolis (Building H Xanthos). The sphinx was linked to death and above each sphinx is a lion, a guardian of the dead.  From Xanthos, UNESCO World Heritage site, south west Turkey. A British Museum exhibit GR 1848-10-20-24-25 sculpture B 290.
  • Guardian Sphinxes, part lion & part sphinx from the gable end of a vaulted Lycian sarcophagus from the Heros of the Acropolis (Building H Xanthos). The sphinx was linked to death and above each sphinx is a lion, a guardian of the dead.  From Xanthos, UNESCO World Heritage site, south west Turkey. A British Museum exhibit GR 1848-10-20-24-25 sculpture B 290.
  • Hittite monumental relief sculpted orthostat stone panel of Royal Buttress. Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Hieroglyph panel1 (left) - Discourse of Yariris. Yariris presents his predecessor, the eldest son Kamanis, to his people. <br />
Second From left panel 2  -  King Araras holds his son Kamanis from the wrist. King carries a sceptre in his hand and a sword at his waist while the prince leans on a stick and carries a sword on his shoulder. <br />
Hieroglyphs reads; "This is Kamanis and his siblings.) held his hand and despite the fact that he is a child, I located him on the temple. This is Yariris' image".  <br />
<br />
Panel 3 - This panels scene showing 8 out of 10 children of the King, the hieroglyphs reads as follows: "Malitispas, Astitarhunzas, Tamitispas,Isikaritispas, Sikaras, Halpawaris, Ya hilatispas". Above, there are three figures holding knucklebones (astragalus) and one figure walking by leaning on a stick; below are two each figures playing the knucklebones and turning whirligigs.<br />
 <br />
Panel 4 - The queen carries her youngest son. The hieroglyphs located above read; "and this is Tuwarsais; the prince desired by the ruler, whose exclusiveness has been exposed". While the queen carries her son in her lap, she holds the rope of the colt coming behind with her other hand. The muscles of the colt are schematic. <br />
<br />
Against a grey art background.
  • Hittite monumental relief sculpted orthostat stone panel of Royal Buttress. Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Hieroglyph panel1 (left) - Discourse of Yariris. Yariris presents his predecessor, the eldest son Kamanis, to his people. <br />
Second From left panel 2  -  King Araras holds his son Kamanis from the wrist. King carries a sceptre in his hand and a sword at his waist while the prince leans on a stick and carries a sword on his shoulder. <br />
Hieroglyphs reads; "This is Kamanis and his siblings.) held his hand and despite the fact that he is a child, I located him on the temple. This is Yariris' image".  <br />
<br />
Panel 3 - This panels scene showing 8 out of 10 children of the King, the hieroglyphs reads as follows: "Malitispas, Astitarhunzas, Tamitispas,Isikaritispas, Sikaras, Halpawaris, Ya hilatispas". Above, there are three figures holding knucklebones (astragalus) and one figure walking by leaning on a stick; below are two each figures playing the knucklebones and turning whirligigs.<br />
 <br />
Panel 4 - The queen carries her youngest son. The hieroglyphs located above read; "and this is Tuwarsais; the prince desired by the ruler, whose exclusiveness has been exposed". While the queen carries her son in her lap, she holds the rope of the colt coming behind with her other hand. The muscles of the colt are schematic. <br />
<br />
Against a white background.
  • Hittite monumental relief sculpted orthostat stone panel of Royal Buttress. Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Hieroglyph panel1 (left) - Discourse of Yariris. Yariris presents his predecessor, the eldest son Kamanis, to his people. <br />
Second From left panel 2  -  King Araras holds his son Kamanis from the wrist. King carries a sceptre in his hand and a sword at his waist while the prince leans on a stick and carries a sword on his shoulder. <br />
Hieroglyphs reads; "This is Kamanis and his siblings.) held his hand and despite the fact that he is a child, I located him on the temple. This is Yariris' image".  <br />
<br />
Panel 3 - This panels scene showing 8 out of 10 children of the King, the hieroglyphs reads as follows: "Malitispas, Astitarhunzas, Tamitispas,Isikaritispas, Sikaras, Halpawaris, Ya hilatispas". Above, there are three figures holding knucklebones (astragalus) and one figure walking by leaning on a stick; below are two each figures playing the knucklebones and turning whirligigs.<br />
 <br />
Panel 4 - The queen carries her youngest son. The hieroglyphs located above read; "and this is Tuwarsais; the prince desired by the ruler, whose exclusiveness has been exposed". While the queen carries her son in her lap, she holds the rope of the colt coming behind with her other hand. The muscles of the colt are schematic. <br />
<br />
Against a black background.
  • Photo of Hittite monumental relief sculpted orthostat stone panel of Royal Buttress. Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Hieroglyph panel1 (left) - Discourse of Yariris. Yariris presents his predecessor, the eldest son Kamanis, to his people. <br />
Second From left panel 2  -  King Araras holds his son Kamanis from the wrist. King carries a sceptre in his hand and a sword at his waist while the prince leans on a stick and carries a sword on his shoulder. <br />
Hieroglyphs reads; "This is Kamanis and his siblings.) held his hand and despite the fact that he is a child, I located him on the temple. This is Yariris' image".  <br />
<br />
Panel 3 - This panels scene showing 8 out of 10 children of the King, the hieroglyphs reads as follows: "Malitispas, Astitarhunzas, Tamitispas,Isikaritispas, Sikaras, Halpawaris, Ya hilatispas". Above, there are three figures holding knucklebones (astragalus) and one figure walking by leaning on a stick; below are two each figures playing the knucklebones and turning whirligigs.<br />
 <br />
Panel 4 - The queen carries her youngest son. The hieroglyphs located above read; "and this is Tuwarsais; the prince desired by the ruler, whose exclusiveness has been exposed". While the queen carries her son in her lap, she holds the rope of the colt coming behind with her other hand. The muscles of the colt are schematic. <br />
<br />
Against a brown art background.
  • Medieval stained glass Window of the Gothic Cathedral of Chartres, France - dedicated to The life of St Lubin. Centre bottom panel - Signature panel (Wine cryers). Above left - Procession; a nobleman and his retinue, above right - Procession; a group of laymen and clerics departing from a church. Top left -  The young Lubin working as a shepherd, top right - A monk gives Lubin a belt with the alphabet written on it. A UNESCO World Heritage Site.  .
  • Medieval stained glass Window of the Gothic Cathedral of Chartres, France - dedicated to The Tree of Jesse (12th century). Botton row of panels - Nahum / Jesse with the 'stem' growing from his loins / Joel. row above - Ezekiel / David / Hosea, row above - saiah / Solomon / Micah. Top row - Moses / Generic King of Israel / Balaam. A UNESCO World Heritage Site.
  • Medieval stained glass Window of the Gothic Cathedral of Chartres, France - dedicated to The Tree of Jesse (12th century). Botton row of panels - Nahum / Jesse with the 'stem' growing from his loins / Joel. row above - Ezekiel / David / Hosea, row above - saiah / Solomon / Micah. Top row - Moses / Generic King of Israel / Balaam. A UNESCO World Heritage Site.
  • Medieval stained glass Window of the Gothic Cathedral of Chartres, France - dedicated to the Life of St Lubin . Central panel shows A barrel of wine being transported to the Cathedral, below left - The young Lubin working as a shepherd, below right - A monk gives Lubin a belt with the alphabet written on it, above left - Lubin receiving instruction from a cleric, above right - Lubin spends his spare time learning to read, while his companion idles.  A UNESCO World Heritage Site..
  • Medieval stained glass Window of the Gothic Cathedral of Chartres, France - dedicated to the Life of St Lubin . Central panel shows A barrel of wine being transported to the Cathedral, below left - The young Lubin working as a shepherd, below right - A monk gives Lubin a belt with the alphabet written on it, above left - Lubin receiving instruction from a cleric, above right - Lubin spends his spare time learning to read, while his companion idles.  A UNESCO World Heritage Site..
  • Medieval stained glass Window of the Gothic Cathedral of Chartres, France - dedicated to the Good Samaritan .  Bottom central panel shows A bandit prepares to attack the pilgrim , below left -The pilgrim leaving Jerusalem, right -  The pilgrim is beaten, robbed and stripped , above - A Priest and a Levite see the injured man but walk on past. Central oval panel - The Samaritan leading the Pilgrim to an inn, left of this - A Samaritan binds the injured man's wounds, right of centre - An innkeeper welcoming the Samaritan. Top central panel shows Adam dwelling in Paradise, below - At the inn, the Samaritan nurses the injured man back to health, left - God breathing life into Adam, above - God warning Adam and Eve not to eat from the tree of knowledge, right - God creates Eve out of Adam's rib . A UNESCO World Heritage Site.
  • Medieval stained glass Window of the Gothic Cathedral of Chartres, France - dedicated to the Good Samaritan .  Bottom central panel shows Adam dwelling in Paradise, below - At the inn, the Samaritan nurses the injured man back to health, left - God breathing life into Adam, above - God warning Adam and Eve not to eat from the tree of knowledge, right - God creates Eve out of Adam's rib . Small central oval panel - Tempted by the serpent, Eve tastes the forbidden fruit , left side panel - Adam and Eve conversing beneath the tree of knowledge, right side panel -  God finds Adam and Eve hiding their nakedness. Top centre panel - God instructing Adam and Eve how to live in the wilderness, below - An angel casts Adam and Eve out of Paradise , left - Labouring in the wilderness; Adam digs and Eve spins, right -  Cain murdering his brother Abel with a sickle, above -  Christ in Majesty, seated on the rainbow. A UNESCO World Heritage Site.
  • Medieval stained glass Window of the Gothic Cathedral of Chartres, France - dedicated to the Good Samaritan .  Bottom central panel shows A bandit prepares to attack the pilgrim , below left -The pilgrim leaving Jerusalem, right -  The pilgrim is beaten, robbed and stripped , above - A Priest and a Levite see the injured man but walk on past. Central oval panel - The Samaritan leading the Pilgrim to an inn, left of this - A Samaritan binds the injured man's wounds, right of centre - An innkeeper welcoming the Samaritan. Top central panel shows Adam dwelling in Paradise, below - At the inn, the Samaritan nurses the injured man back to health, left - God breathing life into Adam, above - God warning Adam and Eve not to eat from the tree of knowledge, right - God creates Eve out of Adam's rib . A UNESCO World Heritage Site.
  • Medieval stained glass Window of the Gothic Cathedral of Chartres, France - dedicated to the Good Samaritan .  Bottom central panel shows A bandit prepares to attack the pilgrim , below left -The pilgrim leaving Jerusalem, right -  The pilgrim is beaten, robbed and stripped , above - A Priest and a Levite see the injured man but walk on past. Central oval panel - The Samaritan leading the Pilgrim to an inn, left of this - A Samaritan binds the injured man's wounds, right of centre - An innkeeper welcoming the Samaritan. Top central panel shows Adam dwelling in Paradise, below - At the inn, the Samaritan nurses the injured man back to health, left - God breathing life into Adam, above - God warning Adam and Eve not to eat from the tree of knowledge, right - God creates Eve out of Adam's rib . A UNESCO World Heritage Site.
  • Medieval stained glass Window of the Gothic Cathedral of Chartres, France - dedicated to the Good Samaritan .  Bottom central panel shows A bandit prepares to attack the pilgrim , below left -The pilgrim leaving Jerusalem, right -  The pilgrim is beaten, robbed and stripped , above - A Priest and a Levite see the injured man but walk on past. Central oval panel - The Samaritan leading the Pilgrim to an inn, left of this - A Samaritan binds the injured man's wounds, right of centre - An innkeeper welcoming the Samaritan. Top central panel shows Adam dwelling in Paradise, below - At the inn, the Samaritan nurses the injured man back to health, left - God breathing life into Adam, above - God warning Adam and Eve not to eat from the tree of knowledge, right - God creates Eve out of Adam's rib . A UNESCO World Heritage Site.
  • Medieval stained glass Window of the Gothic Cathedral of Chartres, France - dedicated to the life of Eustace . Central panel shows act 2 ?the Tragedy and Exile? , central diamond -   The sailors kidnap Eustace's wife, casting him overboard , below left - possibly Eustace negotiating passage to Egypt, below right Eustace and his family board a boat to Egypt . Above left - Before Eustace can reach land, a lion snatches away his eldest son, above right -  Shepherds rescue Eustace's younger son from the jaws of a wolf. A UNESCO World Heritage Site.
  • Roman mosaic of a Phoenix, From Daphne, a suburb of Antioch, Antakya, Turkey, 6th century AD. Marble blocks and glass paste cubes. The phoenix is a mythical bird associated with the sun. A phoenix obtains new life by arising from the ashes of its predecessor. The phoenix was subsequently adopted as a symbol in Early Christianity.In the mosaic it is perched rock above a background of rose buds and is bordered by a pair of facing rams. inv 3342, restored in 1936 by the Louvre Museum, Paris
  • Roman mosaic of a Phoenix, From Daphne, a suburb of Antioch, Antakya, Turkey, 6th century AD. Marble blocks and glass paste cubes. The phoenix is a mythical bird associated with the sun. A phoenix obtains new life by arising from the ashes of its predecessor. The phoenix was subsequently adopted as a symbol in Early Christianity.In the mosaic it is perched rock above a background of rose buds and is bordered by a pair of facing rams. inv 3342, restored in 1936 by the Louvre Museum, Paris
  • Roman mosaic of a Phoenix, From Daphne, a suburb of Antioch, Antakya, Turkey, 6th century AD. Marble blocks and glass paste cubes. The phoenix is a mythical bird associated with the sun. A phoenix obtains new life by arising from the ashes of its predecessor. The phoenix was subsequently adopted as a symbol in Early Christianity.In the mosaic it is perched rock above a background of rose buds and is bordered by a pair of facing rams. inv 3342, restored in 1936 by the Louvre Museum, Paris
  • Roman mosaic of a Phoenix, From Daphne, a suburb of Antioch, Antakya, Turkey, 6th century AD. Marble blocks and glass paste cubes. The phoenix is a mythical bird associated with the sun. A phoenix obtains new life by arising from the ashes of its predecessor. The phoenix was subsequently adopted as a symbol in Early Christianity.In the mosaic it is perched rock above a background of rose buds and is bordered by a pair of facing rams. inv 3342, restored in 1936 by the Louvre Museum, Paris
  • Roman mosaic of a Phoenix, From Daphne, a suburb of Antioch, Antakya, Turkey, 6th century AD. Marble blocks and glass paste cubes. The phoenix is a mythical bird associated with the sun. A phoenix obtains new life by arising from the ashes of its predecessor. The phoenix was subsequently adopted as a symbol in Early Christianity.In the mosaic it is perched rock above a background of rose buds and is bordered by a pair of facing rams. inv 3342, restored in 1936 by the Louvre Museum, Paris
  • Roman mosaic of a Phoenix, From Daphne, a suburb of Antioch, Antakya, Turkey, 6th century AD. Marble blocks and glass paste cubes. The phoenix is a mythical bird associated with the sun. A phoenix obtains new life by arising from the ashes of its predecessor. The phoenix was subsequently adopted as a symbol in Early Christianity.In the mosaic it is perched rock above a background of rose buds and is bordered by a pair of facing rams. inv 3342, restored in 1936 by the Louvre Museum, Paris
  • Roman mosaic of a Phoenix, From Daphne, a suburb of Antioch, Antakya, Turkey, 6th century AD. Marble blocks and glass paste cubes. The phoenix is a mythical bird associated with the sun. A phoenix obtains new life by arising from the ashes of its predecessor. The phoenix was subsequently adopted as a symbol in Early Christianity.In the mosaic it is perched rock above a background of rose buds and is bordered by a pair of facing rams. inv 3342, restored in 1936 by the Louvre Museum, Paris
  • Roman mosaic of a Phoenix, From Daphne, a suburb of Antioch, Antakya, Turkey, 6th century AD. Marble blocks and glass paste cubes. The phoenix is a mythical bird associated with the sun. A phoenix obtains new life by arising from the ashes of its predecessor. The phoenix was subsequently adopted as a symbol in Early Christianity.In the mosaic it is perched rock above a background of rose buds and is bordered by a pair of facing rams. inv 3342, restored in 1936 by the Louvre Museum, Paris
  • Fifth Century Christian Eastern Roman Byzantine  funerary mosaic from Mezghani Christian necropolis mounds in the Roman province of Africa Proconsularis , (Tunisian Sfax) dedicated to Priscianus. Above the memorial text is the Constantinian monogram depicting the Christian Chi-Rho symbol used by the Roman emperor Constantine I as part of his military standard (vexillum). The layout of the mosaic is typical of those excavated in the Sfax region from this period.<br />
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The Bardo National Museum, Tunis, Tunisia.
  • Fifth Century Christian Eastern Roman Byzantine  funerary mosaic from Mezghani Christian necropolis mounds in the Roman province of Africa Proconsularis , (Tunisian Sfax) dedicated to Priscianus. Above the memorial text is the Constantinian monogram depicting the Christian Chi-Rho symbol used by the Roman emperor Constantine I as part of his military standard (vexillum). The layout of the mosaic is typical of those excavated in the Sfax region from this period.<br />
<br />
The Bardo National Museum, Tunis, Tunisia.   Against a grey background.
  • Fifth Century Christian Eastern Roman Byzantine  funerary mosaic from Mezghani Christian necropolis mounds in the Roman province of Africa Proconsularis , (Tunisian Sfax) dedicated to Priscianus. Above the memorial text is the Constantinian monogram depicting the Christian Chi-Rho symbol used by the Roman emperor Constantine I as part of his military standard (vexillum). The layout of the mosaic is typical of those excavated in the Sfax region from this period.<br />
<br />
The Bardo National Museum, Tunis, Tunisia. Against a grey art background.
  • Christian funerary Mosaic of a ship owner called Felix. The mosaic depicts his two masted above a kantharos, a Greek styled drinking cup, with vines and foliage. At the top is a Constantinian monogram in a laurel wreath which symbolises the deceased devotion to Christianity.  This early Christian mosaic is from Tabarka, 5th century AD. Roman mosaics from the north African Roman province of Africanus . Bardo Museum, Tunis, Tunisia.
  • Christian funerary Mosaic of a ship owner called Felix. The mosaic depicts his two masted above a kantharos, a Greek styled drinking cup, with vines and foliage. At the top is a Constantinian monogram in a laurel wreath which symbolises the deceased devotion to Christianity.  This early Christian mosaic is from Tabarka, 5th century AD. Roman mosaics from the north African Roman province of Africanus . Bardo Museum, Tunis, Tunisia.
  • Christian funerary Mosaic of a ship owner called Felix. The mosaic depicts his two masted above a kantharos, a Greek styled drinking cup, with vines and foliage. At the top is a Constantinian monogram in a laurel wreath which symbolises the deceased devotion to Christianity.  This early Christian mosaic is from Tabarka, 5th century AD. Roman mosaics from the north African Roman province of Africanus . Bardo Museum, Tunis, Tunisia.
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Guardian Sphinxes, part lion & part sphinx from the gable end of a vaulted Lycian sarcophagus from the Heros of the Acropolis (Building H Xanthos). The sphinx was linked to death and above each sphinx is a lion, a guardian of the dead.  From Xanthos, UNESCO World Heritage site, south west Turkey. A British Museum exhibit GR 1848-10-20-24-25 sculpture B 290.
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Guardian Sphinxes, part lion & part sphinx from the gable end of a vaulted Lycian sarcophagus from the Heros of the Acropolis (Building H Xanthos). The sphinx was linked to death and above each sphinx is a lion, a guardian of the dead.  From Xanthos, UNESCO World Heritage site, south west Turkey. A British Museum exhibit GR 1848-10-20-24-25 sculpture B 290.
  • Guardian Sphinxes, part lion & part sphinx from the gable end of a vaulted Lycian sarcophagus from the Heros of the Acropolis (Building H Xanthos). The sphinx was linked to death and above each sphinx is a lion, a guardian of the dead.  From Xanthos, UNESCO World Heritage site, south west Turkey. A British Museum exhibit GR 1848-10-20-24-25 sculpture B 290.
  • Fifth Century Christian Eastern Roman Byzantine  funerary mosaic from Mezghani Christian necropolis mounds in the Roman province of Africa Proconsularis , (Tunisian Sfax) dedicated to Priscianus. Above the memorial text is the Constantinian monogram depicting the Christian Chi-Rho symbol used by the Roman emperor Constantine I as part of his military standard (vexillum). The layout of the mosaic is typical of those excavated in the Sfax region from this period.<br />
<br />
The Bardo National Museum, Tunis, Tunisia.  Against a white background.
  • Fifth Century Christian Eastern Roman Byzantine  funerary mosaic from Mezghani Christian necropolis mounds in the Roman province of Africa Proconsularis , (Tunisian Sfax) dedicated to Priscianus. Above the memorial text is the Constantinian monogram depicting the Christian Chi-Rho symbol used by the Roman emperor Constantine I as part of his military standard (vexillum). The layout of the mosaic is typical of those excavated in the Sfax region from this period.<br />
<br />
The Bardo National Museum, Tunis, Tunisia.  Against a black background.
  • Christian funerary Mosaic of a ship owner called Felix. The mosaic depicts his two masted above a kantharos, a Greek styled drinking cup, with vines and foliage. At the top is a Constantinian monogram in a laurel wreath which symbolises the deceased devotion to Christianity.  This early Christian mosaic is from Tabarka, 5th century AD. Roman mosaics from the north African Roman province of Africanus . Bardo Museum, Tunis, Tunisia.
  • Christian funerary Mosaic of a ship owner called Felix. The mosaic depicts his two masted above a kantharos, a Greek styled drinking cup, with vines and foliage. At the top is a Constantinian monogram in a laurel wreath which symbolises the deceased devotion to Christianity.  This early Christian mosaic is from Tabarka, 5th century AD. Roman mosaics from the north African Roman province of Africanus . Bardo Museum, Tunis, Tunisia.
  • Christian funerary Mosaic of a ship owner called Felix. The mosaic depicts his two masted above a kantharos, a Greek styled drinking cup, with vines and foliage. At the top is a Constantinian monogram in a laurel wreath which symbolises the deceased devotion to Christianity.  This early Christian mosaic is from Tabarka, 5th century AD. Roman mosaics from the north African Roman province of Africanus . Bardo Museum, Tunis, Tunisia.
  • Christian funerary Mosaic of a ship owner called Felix. The mosaic depicts his two masted above a kantharos, a Greek styled drinking cup, with vines and foliage. At the top is a Constantinian monogram in a laurel wreath which symbolises the deceased devotion to Christianity.  This early Christian mosaic is from Tabarka, 5th century AD. Roman mosaics from the north African Roman province of Africanus . Bardo Museum, Tunis, Tunisia.
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Guardian Sphinxes, part lion & part sphinx from the gable end of a vaulted Lycian sarcophagus from the Heros of the Acropolis (Building H Xanthos). The sphinx was linked to death and above each sphinx is a lion, a guardian of the dead.  From Xanthos, UNESCO World Heritage site, south west Turkey. A British Museum exhibit GR 1848-10-20-24-25 sculpture B 290.
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Statue of Puzur-Ishtar Shakkanakku  (military governor or prince c. 2050 BC)) of Mari appointed by the Akkad Kings. According to the inscription below the right hand above the hem of the garment , the sculpture was originally made as a votive gift. The name Puzar-Eshtar, Prince of Mari, is mentioned twice, but the figures headgear is the horned cap of a deity, the statue cannot depict the mortal prince. The clasped hands of the figure and the text make it certain that the statue once belonged to the inventory of a temple, but where the temple stood is not known, despite the mention of Mari in the title of the prince. Like many other monuments, the statue was looted from its original site in Mari and the body was was discovered in the museum of Nebuchadrezzar’s palace at Babylon (604-562 BC). This oversized statue is one of the few large preserved sculptures of the Near East. The head was broken from the body in antiquity and both pieces survived separately. The excavated body was taken to the Istanbul Museum and an exchange of casts with the Pergamon Mus The Vorderasiatisches Museum, part of the head from the Pergamon Museum meant that the statue could be reassembled. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Pictures & images of the Church of the Assumption exterior bas relief Georgian stone work of a crucifix and angel figures,1689, Ananuri castle complex & Georgian Orthodox churches, 17th century, Georgia (country).<br />
<br />
Ananuri castle is situated next to the Military Road overlooking the Aragvi River in Georgia, about 45 miles (72 kilometres) from Tbilisi. It was the castle of the eristavis (Dukes) of Aragvi from the 13th century and was the scene of numerous battles. In 2007 Ananuri castle was enscribed on the   UNESCO World Heritage Site tentative list.<br />
<br />
The exterior of The Church of the Assumption is highly decorated with Georgian bas relief sculpture. Above the main door is a geometric stone relief of a crucifix which is the whole height of the facade. Either side of the crucifix are reliefs of the tree of life below which are reliefs of naive style angels.
  • Pictures & images of the Church of the Assumption exterior bas relief Georgian stone work of a crucifix and angel figures,1689, Ananuri castle complex & Georgian Orthodox churches, 17th century, Georgia (country).<br />
<br />
Ananuri castle is situated next to the Military Road overlooking the Aragvi River in Georgia, about 45 miles (72 kilometres) from Tbilisi. It was the castle of the eristavis (Dukes) of Aragvi from the 13th century and was the scene of numerous battles. In 2007 Ananuri castle was enscribed on the   UNESCO World Heritage Site tentative list.<br />
<br />
The exterior of The Church of the Assumption is highly decorated with Georgian bas relief sculpture. Above the main door is a geometric stone relief of a crucifix which is the whole height of the facade. Either side of the crucifix are reliefs of the tree of life below which are reliefs of naive style angels.
  • Pictures & images of the Church of the Assumption exterior bas relief Georgian stone work of a crucifix and angel figures,1689, Ananuri castle complex & Georgian Orthodox churches, 17th century, Georgia (country).<br />
<br />
Ananuri castle is situated next to the Military Road overlooking the Aragvi River in Georgia, about 45 miles (72 kilometres) from Tbilisi. It was the castle of the eristavis (Dukes) of Aragvi from the 13th century and was the scene of numerous battles. In 2007 Ananuri castle was enscribed on the   UNESCO World Heritage Site tentative list.<br />
<br />
The exterior of The Church of the Assumption is highly decorated with Georgian bas relief sculpture. Above the main door is a geometric stone relief of a crucifix which is the whole height of the facade. Either side of the crucifix are reliefs of the tree of life below which are reliefs of naive style angels.
  • Pictures & images of the Church of the Assumption exterior bas relief Georgian stone work of a crucifix and angel figures,1689, Ananuri castle complex & Georgian Orthodox churches, 17th century, Georgia (country).<br />
<br />
Ananuri castle is situated next to the Military Road overlooking the Aragvi River in Georgia, about 45 miles (72 kilometres) from Tbilisi. It was the castle of the eristavis (Dukes) of Aragvi from the 13th century and was the scene of numerous battles. In 2007 Ananuri castle was enscribed on the   UNESCO World Heritage Site tentative list.<br />
<br />
The exterior of The Church of the Assumption is highly decorated with Georgian bas relief sculpture. Above the main door is a geometric stone relief of a crucifix which is the whole height of the facade. Either side of the crucifix are reliefs of the tree of life below which are reliefs of naive style angels.
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. Excavated from Barilli I site,  Laconi. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. Excavated from Genna Arrele II. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy. Grey background.
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. Excavated from Genna Arrele II. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. Excavated from Genna Arrele II. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. Excavated from Genna Arrele II. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy. White background.
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. Excavated from Genna Arrele II. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy. Grey background.
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. Excavated from Genna Arrele II. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. Excavated from Genna Arrele II. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy. White background.
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. Excavated from Genna Arrele II. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy. Black background.
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. Excavated from Genna Arrele II. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy. Grey background.
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. Excavated from Genna Arrele II. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. Excavated from Genna Arrele II. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. Excavated from Genna Arrele II. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy. White background.
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. Excavated from Genna Arrele II. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy. Black background.
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. Excavated from Genna Arrele II. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. Excavated from Genna Arrele II. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. Excavated from S’Arretzraxiu, Laconi. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy. White background.
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. Excavated from S’Arretzraxiu, Laconi. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy. Black background.
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. Excavated from S’Arretzraxiu, Laconi. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy. Grey background.
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. Excavated from S’Arretzraxiu, Laconi. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. Excavated from S’Arretzraxiu, Laconi. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. Excavated from Bau Carradore II, Laconi. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy. White background.
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. Excavated from Bau Carradore II, Laconi. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy. Black background.
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. Excavated from Bau Carradore II, Laconi. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy. Grey background.
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. Excavated from Bau Carradore II, Laconi. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. Excavated from Bau Carradore II, Laconi. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above.Excavated from Nuraghe Orrubiu IV, Laconi. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy. Black background.
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above.Excavated from Nuraghe Orrubiu IV, Laconi. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy. White background.
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above.Excavated from Nuraghe Orrubiu IV, Laconi. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above.Excavated from Nuraghe Orrubiu IV, Laconi. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy. Grey background.
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above.Excavated from Nuraghe Orrubiu IV, Laconi. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. Excavated from Cabamadau, Villa Sant’ Antonia. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy. White background.
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. Excavated from Cabamadau, Villa Sant’ Antonia. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy. Black background.
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. Excavated from Cabamadau, Villa Sant’ Antonia. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy. Grey background.
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. Excavated from Cabamadau, Villa Sant’ Antonia. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. Excavated from Cabamadau, Villa Sant’ Antonia. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. Excavated from Cabamadau, Villa Sant’ Antonia. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy. White background.
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. Excavated from Cabamadau, Villa Sant’ Antonia. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy. Black background.
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. Excavated from Cabamadau, Villa Sant’ Antonia. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. Excavated from Cabamadau, Villa Sant’ Antonia. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy. Grey background.
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. Excavated from Cabamadau, Villa Sant’ Antonia. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. Excavated from Paule Luturru,  Samugheo. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy. White background.
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. Excavated from Paule Luturru,  Samugheo. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy. Black background.
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. Excavated from Paule Luturru,  Samugheo. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy. Grey background.
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. Excavated from Paule Luturru,  Samugheo. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. Excavated from Barilli I site,  Laconi. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy. Black background.
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. Excavated from Barilli I site,  Laconi. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy. Grey background.
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. Excavated from Barilli I site,  Laconi. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. Excavated from Pranu Maore I site,  Laconi. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy. White background.
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. Excavated from Pranu Maore I site,  Laconi. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy. Black background.
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. Excavated from Pranu Maore I site,  Laconi. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. Excavated from Pranu Maore I site,  Laconi. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. Excavated from Perida Iddocca VII site,  Laconi.  Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy. White background.
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. Excavated from Perida Iddocca VII site,  Laconi.  Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy. Grey background.
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. Excavated from Perida Iddocca VII site,  Laconi.  Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy. Black background.
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. Excavated from Perida Iddocca VII site,  Laconi.  Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. Excavated from Perida Iddocca VII site,  Laconi.  Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. the bottom is a carving of a dagger running horizontally across the menhir. Excavated from Piscina ‘E Sali VI site,  Laconi.  Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy. Black background.
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. the bottom is a carving of a dagger running horizontally across the menhir. Excavated from Piscina ‘E Sali VI site,  Laconi.  Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy. Grey background.
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. the bottom is a carving of a dagger running horizontally across the menhir. Excavated from Piscina ‘E Sali VI site,  Laconi.  Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. Excavated from Piscina ‘E Sali II site,  Laconi. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy. White background.
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. Excavated from Piscina ‘E Sali II site,  Laconi. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy. Black background.
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. Excavated from Piscina ‘E Sali II site,  Laconi. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. Excavated from Piscina ‘E Sali II site,  Laconi. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy. Grey background.
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. Excavated from Piscina ‘E Sali II site,  Laconi. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. Excavated from Piscina ‘E Sali II site,  Laconi. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy. Grey background.
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. Excavated from Piscina ‘E Sali II site,  Laconi. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. Excavated from Piscina ‘E Sali II site,  Laconi. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The remains of a representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. the bottom is a carving of a dagger running horizontally across the menhir. Excavated from Piscina ‘E Sali IV site,  Laconi.  Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy. White background.
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The remains of a representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. the bottom is a carving of a dagger running horizontally across the menhir. Excavated from Piscina ‘E Sali IV site,  Laconi.  Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy. Black background.
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The remains of a representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. the bottom is a carving of a dagger running horizontally across the menhir. Excavated from Piscina ‘E Sali IV site,  Laconi.  Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy. Grey background.
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The remains of a representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. the bottom is a carving of a dagger running horizontally across the menhir. Excavated from Piscina ‘E Sali IV site,  Laconi.  Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The remains of a representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. the bottom is a carving of a dagger running horizontally across the menhir. Excavated from Piscina ‘E Sali IV site,  Laconi.  Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir.  Excavated from Piscina ‘E Sali V site,  Laconi. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy. White background.
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir.  Excavated from Piscina ‘E Sali V site,  Laconi. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy. Black background.
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir.  Excavated from Barrili II site,  Laconi. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy. White background.
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir.  Excavated from Barrili II site,  Laconi. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy. Black background.
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir.  Excavated from Barrili II site,  Laconi. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy. Grey background.
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir.  Excavated from Barrili II site,  Laconi. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir.  Excavated from Barrili II site,  Laconi. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir.  From Barrili I site, Laconi. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy. White background.
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir.  From Barrili I site, Laconi. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy. Black background.
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir.  From Barrili I site, Laconi. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy. Grey background.
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir.  From Barrili I site, Laconi. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir.  From Barrili I site, Laconi. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir.  From Barrili I site, Laconi. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy. Black background.
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir.  From Barrili I site, Laconi. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir.  From Barrili I site, Laconi. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy
  • Gothic painted Panel Altarpiece of Saint Barbara by Goncal Peris Sarria. Tempera and gold leaf on wood. Date Circa 1410-1425. Dimensions 278 x 207.7 x 17 cm. At the beginning of the 20th century, the altarpiece was kept in the parish church of Puertomingalvo (Teruel), but it could originally have come from the chapel of Santa Bárbara near this town. This altarpiece is attributed to the painter Gonçal Peris Sarrià, one of the chief representatives of Valencian International Gothic. His style is marked by expressive and picturesque elements, the flowing line and the charm of the colour. The main compartment of the altarpiece represents the titular saint with her distinctive attributes –the tower, in allusion to her imprisonment, and the palm, as she is considered a martyr-- and above her the Calvary. On either side are depicted various episodes from the life of Saint Barbara, who was called on to keep away lightning and storms. . National Museum of Catalan Art, Barcelona, Spain, inv no: 035672-CJT
  • Roman mosaic of a Phoenix, From Daphne, a suburb of Antioch, Antakya, Turkey, 6th century AD. Marble blocks and glass paste cubes. The phoenix is a mythical bird associated with the sun. A phoenix obtains new life by arising from the ashes of its predecessor. The phoenix was subsequently adopted as a symbol in Early Christianity.In the mosaic it is perched rock above a background of rose buds and is bordered by a pair of facing rams. inv 3342, restored in 1936 by the Louvre Museum, Paris
  • Roman mosaic of a Phoenix, From Daphne, a suburb of Antioch, Antakya, Turkey, 6th century AD. Marble blocks and glass paste cubes. The phoenix is a mythical bird associated with the sun. A phoenix obtains new life by arising from the ashes of its predecessor. The phoenix was subsequently adopted as a symbol in Early Christianity.In the mosaic it is perched rock above a background of rose buds and is bordered by a pair of facing rams. inv 3342, restored in 1936 by the Louvre Museum, Paris
  • Photo of Roman releif sculpture of Aphrodite & Anchises from the Oda first room, Aphrodisias, Turkey, Images of Roman art bas releifs. Buy as stock or photo art prints. The trojan shepherd Anchises gazes at a seated Aphrodite, his lover for one night on Mount Ida. She hold a smalkl Eros in her lap : this is an erotic encounter. The head of Seine [ moon ] appears above the mountain in the top left of the scene. Aineas was the result of this union.
  • Photo of Roman releif sculpture of Aphrodite & Anchises from the Oda first room, Aphrodisias, Turkey, Images of Roman art bas releifs. Buy as stock or photo art prints. The trojan shepherd Anchises gazes at a seated Aphrodite, his lover for one night on Mount Ida. She hold a smalkl Eros in her lap : this is an erotic encounter. The head of Seine [ moon ] appears above the mountain in the top left of the scene. Aineas was the result of this union.
  • Photo of Roman releif sculpture of Aphrodite & Anchises from the Oda first room, Aphrodisias, Turkey, Images of Roman art bas releifs. Buy as stock or photo art prints. The trojan shepherd Anchises gazes at a seated Aphrodite, his lover for one night on Mount Ida. She hold a smalkl Eros in her lap : this is an erotic encounter. The head of Seine [ moon ] appears above the mountain in the top left of the scene. Aineas was the result of this union.
  • Gothic painted Panel Altarpiece of Saint Barbara by Goncal Peris Sarria. Tempera and gold leaf on wood. Date Circa 1410-1425. Dimesions 278 x 207.7 x 17 cm. At the beginning of the 20th century, the altarpiece was kept in the parish church of Puertomingalvo (Teruel), but it could originally have come from the chapel of Santa Bárbara near this town. This altarpiece is attributed to the painter Gonçal Peris Sarrià, one of the chief representatives of Valencian International Gothic. His style is marked by expressive and picturesque elements, the flowing line and the charm of the colour. The main compartment of the altarpiece represents the titular saint with her distinctive attributes –the tower, in allusion to her imprisonment, and the palm, as she is considered a martyr-- and above her the Calvary. On either side are depicted various episodes from the life of Saint Barbara, who was called on to keep away lightning and storms. . National Museum of Catalan Art, Barcelona, Spain, inv no: 035672-CJT
  • Gothic painted Panel Altarpiece of Saint Barbara by Goncal Peris Sarria. Tempera and gold leaf on wood. Date Circa 1410-1425. Dimesions 278 x 207.7 x 17 cm. At the beginning of the 20th century, the altarpiece was kept in the parish church of Puertomingalvo (Teruel), but it could originally have come from the chapel of Santa Bárbara near this town. This altarpiece is attributed to the painter Gonçal Peris Sarrià, one of the chief representatives of Valencian International Gothic. His style is marked by expressive and picturesque elements, the flowing line and the charm of the colour. The main compartment of the altarpiece represents the titular saint with her distinctive attributes –the tower, in allusion to her imprisonment, and the palm, as she is considered a martyr-- and above her the Calvary. On either side are depicted various episodes from the life of Saint Barbara, who was called on to keep away lightning and storms. . National Museum of Catalan Art, Barcelona, Spain, inv no: 035672-CJT
  • Gothic painted Panel Altarpiece of Saint Barbara by Goncal Peris Sarria. Tempera and gold leaf on wood. Date Circa 1410-1425. Dimesions 278 x 207.7 x 17 cm. At the beginning of the 20th century, the altarpiece was kept in the parish church of Puertomingalvo (Teruel), but it could originally have come from the chapel of Santa Bárbara near this town. This altarpiece is attributed to the painter Gonçal Peris Sarrià, one of the chief representatives of Valencian International Gothic. His style is marked by expressive and picturesque elements, the flowing line and the charm of the colour. The main compartment of the altarpiece represents the titular saint with her distinctive attributes –the tower, in allusion to her imprisonment, and the palm, as she is considered a martyr-- and above her the Calvary. On either side are depicted various episodes from the life of Saint Barbara, who was called on to keep away lightning and storms. . National Museum of Catalan Art, Barcelona, Spain, inv no: 035672-CJT
  • Roman mosaic of a Phoenix, From Daphne, a suburb of Antioch, Antakya, Turkey, 6th century AD. Marble blocks and glass paste cubes. The phoenix is a mythical bird associated with the sun. A phoenix obtains new life by arising from the ashes of its predecessor. The phoenix was subsequently adopted as a symbol in Early Christianity.In the mosaic it is perched rock above a background of rose buds and is bordered by a pair of facing rams. inv 3342, restored in 1936 by the Louvre Museum, Paris
  • Gothic painted Panel Altarpiece of Saint Barbara by Goncal Peris Sarria. Tempera and gold leaf on wood. Date Circa 1410-1425. Dimesions 278 x 207.7 x 17 cm. At the beginning of the 20th century, the altarpiece was kept in the parish church of Puertomingalvo (Teruel), but it could originally have come from the chapel of Santa Bárbara near this town. This altarpiece is attributed to the painter Gonçal Peris Sarrià, one of the chief representatives of Valencian International Gothic. His style is marked by expressive and picturesque elements, the flowing line and the charm of the colour. The main compartment of the altarpiece represents the titular saint with her distinctive attributes –the tower, in allusion to her imprisonment, and the palm, as she is considered a martyr-- and above her the Calvary. On either side are depicted various episodes from the life of Saint Barbara, who was called on to keep away lightning and storms. . National Museum of Catalan Art, Barcelona, Spain, inv no: 035672-CJT
  • Gothic painted Panel Altarpiece of Saint Barbara by Goncal Peris Sarria. Tempera and gold leaf on wood. Date Circa 1410-1425. Dimesions 278 x 207.7 x 17 cm. At the beginning of the 20th century, the altarpiece was kept in the parish church of Puertomingalvo (Teruel), but it could originally have come from the chapel of Santa Bárbara near this town. This altarpiece is attributed to the painter Gonçal Peris Sarrià, one of the chief representatives of Valencian International Gothic. His style is marked by expressive and picturesque elements, the flowing line and the charm of the colour. The main compartment of the altarpiece represents the titular saint with her distinctive attributes –the tower, in allusion to her imprisonment, and the palm, as she is considered a martyr-- and above her the Calvary. On either side are depicted various episodes from the life of Saint Barbara, who was called on to keep away lightning and storms. . National Museum of Catalan Art, Barcelona, Spain, inv no: 035672-CJT
  • Gothic painted Panel Altarpiece of Saint Barbara by Goncal Peris Sarria. Tempera and gold leaf on wood. Date Circa 1410-1425. Dimesions 278 x 207.7 x 17 cm. At the beginning of the 20th century, the altarpiece was kept in the parish church of Puertomingalvo (Teruel), but it could originally have come from the chapel of Santa Bárbara near this town. This altarpiece is attributed to the painter Gonçal Peris Sarrià, one of the chief representatives of Valencian International Gothic. His style is marked by expressive and picturesque elements, the flowing line and the charm of the colour. The main compartment of the altarpiece represents the titular saint with her distinctive attributes –the tower, in allusion to her imprisonment, and the palm, as she is considered a martyr-- and above her the Calvary. On either side are depicted various episodes from the life of Saint Barbara, who was called on to keep away lightning and storms. . National Museum of Catalan Art, Barcelona, Spain, inv no: 035672-CJT
  • Picture & image of a Neo-Hittite orthostat with a releif sculpture of A Winged God from Aslantepe ,  Malatya, Turkey. Museum of Anatolian Civilisations, Ankara.  The God holds a branch of fruit in his left hand and a single fruit in the right hand. The First beared god is holding out a 3 pronged object to the king and has a boomerang in his other hand. Behind him is a 2 winged Godess with a  bare leg showing from her tunic. She is carrying a double headed axe. Behind her is another dearded God with a bore tusk helmet holding a spear. On the far right is another Godess, bare headed holding a double headed axe. On the far right is an attendant holding a bull. Above him the epographs indicate the name of the King & Gods. 2
  • Picture & image of a Neo-Hittite orthostat with a releif sculpture of A Winged God from Aslantepe ,  Malatya, Turkey. Ancora Archaeological Museum.  The God holds a branch of fruit in his left hand and a single fruit in the right hand. The First beared god is holding out a 3 pronged object to the king and has a boomerang in his other hand. Behind him is a 2 winged Godess with a  bare leg showing from her tunic. She is carrying a double headed axe. Behind her is another dearded God with a bore tusk helmet holding a spear. On the far right is another Godess, bare headed holding a double headed axe. On the far right is an attendant holding a bull. Above him the epographs indicate the name of the King & Gods.
  • 13th century Medieval Romanesque Sculptures from the above the central door of the facade of St Mark's Basilica, Venice, depicting fortitude from the theme Virtues and Beatitudes .
  • 13th century Medieval Romanesque Sculptures from the above the central door of the facade of St Mark's Basilica, Venice, depicting Constancy from the theme Virtues and Beatitudes .
  • Photo of Roman releif sculpture of Aphrodite & Anchises from the Oda first room, Aphrodisias, Turkey, Images of Roman art bas releifs. Buy as stock or photo art prints. The trojan shepherd Anchises gazes at a seated Aphrodite, his lover for one night on Mount Ida. She hold a smalkl Eros in her lap : this is an erotic encounter. The head of Seine [ moon ] appears above the mountain in the top left of the scene. Aineas was the result of this union.
  • Photo of Roman releif sculpture of Aphrodite & Anchises from the Oda first room, Aphrodisias, Turkey, Images of Roman art bas releifs. Buy as stock or photo art prints. The trojan shepherd Anchises gazes at a seated Aphrodite, his lover for one night on Mount Ida. She hold a smalkl Eros in her lap : this is an erotic encounter. The head of Seine [ moon ] appears above the mountain in the top left of the scene. Aineas was the result of this union.
  • Photo of Roman releif sculpture of Aphrodite & Anchises from the Oda first room, Aphrodisias, Turkey, Images of Roman art bas releifs. Buy as stock or photo art prints. The trojan shepherd Anchises gazes at a seated Aphrodite, his lover for one night on Mount Ida. She hold a smalkl Eros in her lap : this is an erotic encounter. The head of Seine [ moon ] appears above the mountain in the top left of the scene. Aineas was the result of this union.
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. Excavated from Genna Arrele II. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy. Black background.
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. Excavated from Genna Arrele II. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy. White background.
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. Excavated from Genna Arrele II. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy. Black background.
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. Excavated from Genna Arrele II. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. Excavated from Genna Arrele II. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy. Grey background.
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. Excavated from Paule Luturru,  Samugheo. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. Excavated from Barilli I site,  Laconi. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy. White background.
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above. at the bottom is a carving of a dagger running horizontally across the menhir. Excavated from Pranu Maore I site,  Laconi. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy. Grey background.

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