• Panorama of  the central stone circle, at sunset, erected between 2900-2600BC measuring 11 metres wide. At the centre of the ring stands a huge monolith stone 4.8 metres high weighing about 7 tonnes, which is perfectly orientated so that its widest sides face due north south. Calanais Neolithic Standing Stone (Tursachan Chalanais) , Isle of Lewis, Outer Hebrides, Scotland.
  • Monolithic stone of Calanais Neolithic Standing Stone (Tursachan Chalanais) , Isle of Lewis, Outer Hebrides, Scotland.
  • Calanais Standing Stones central stone circle erected between 2900-2600BC measuring 11 metres wide. At the centre of the ring stands a huge monolith stone 4.8 metres high weighing about 7 tonnes, which is perfectly orientated so that its widest sides face due north south. Calanais Neolithic Standing Stone (Tursachan Chalanais) , Isle of Lewis, Outer Hebrides, Scotland.
  • Outer row of stones, 27 metres long,  leading to the central stone circle, circa 2900BC. Calanais Neolithic Standing Stone (Tursachan Chalanais) , Isle of Lewis, Outer Hebrides, Scotland.
  • Calanais Standing Stones central stone circle erected between 2900-2600BC measuring 11 metres wide. At the centre of the ring stands a huge monolith stone 4.8 metres high weighing about 7 tonnes, which is perfectly orientated so that its widest sides face due north south. Calanais Neolithic Standing Stone (Tursachan Chalanais) , Isle of Lewis, Outer Hebrides, Scotland.
  • Monolth of Calanais Neolithic Standing Stone (Tursachan Chalanais) , Isle of Lewis, Outer Hebrides, Scotland.
  • Calanais Standing Stones  central stone circle erected between 2900-2600BC measuring 11 metres wide. At the centre of the ring stands a huge monolith stone 4.8 metres high weighing about 7 tonnes, which is perfectly orientated so that its widest sides face due north south. Calanais Neolithic Standing Stone (Tursachan Chalanais) , Isle of Lewis, Outer Hebrides, Scotland.
  • Panorama of Calanais Standing Stones  central stone circle erected between 2900-2600BC measuring 11 metres wide. At the centre of the ring stands a huge monolith stone 4.8 metres high weighing about 7 tonnes, which is perfectly orientated so that its widest sides face due north south. Calanais Neolithic Standing Stone (Tursachan Chalanais) , Isle of Lewis, Outer Hebrides, Scotland.
  • The Phrygian rock Monument known locally as Yazilikaya, ( written rock ) . 8th - 6th century BC . Midas City, Yazilikaya, Eskisehir, Turkey.<br />
<br />
This is the largest Phrygian rock cut facade monument, measuring 17m x 16.5m. It represents the front of a Phrygian megaron type building with a low pitched roof. It is known locally as yazilikaya , which means “written rock”, because of the Paleo-Phrygian inscriptions carved above the rock above the roof outline, down the right side and in the niche. The upper inscription dedicates the monument to King Midas, and so it is also known as the “Midas Monument”. The niche probably contained an image of the Phrygian Mother  Goddess, and the word “Matar” (Mother) is inscribed inside. The monument was carved  around the 8th and  6th century BC.
  • The Phrygian rock Monument known locally as Yazilikaya, ( written rock ) . 8th - 6th century BC . Midas City, Yazilikaya, Eskisehir, Turkey.<br />
<br />
This is the largest Phrygian rock cut facade monument, measuring 17m x 16.5m. It represents the front of a Phrygian megaron type building with a low pitched roof. It is known locally as yazilikaya , which means “written rock”, because of the Paleo-Phrygian inscriptions carved above the rock above the roof outline, down the right side and in the niche. The upper inscription dedicates the monument to King Midas, and so it is also known as the “Midas Monument”. The niche probably contained an image of the Phrygian Mother  Goddess, and the word “Matar” (Mother) is inscribed inside. The monument was carved  around the 8th and  6th century BC.
  • The Phrygian rock Monument known locally as Yazilikaya, ( written rock ) . 8th - 6th century BC . Midas City, Yazilikaya, Eskisehir, Turkey.<br />
<br />
This is the largest Phrygian rock cut facade monument, measuring 17m x 16.5m. It represents the front of a Phrygian megaron type building with a low pitched roof. It is known locally as yazilikaya , which means “written rock”, because of the Paleo-Phrygian inscriptions carved above the rock above the roof outline, down the right side and in the niche. The upper inscription dedicates the monument to King Midas, and so it is also known as the “Midas Monument”. The niche probably contained an image of the Phrygian Mother  Goddess, and the word “Matar” (Mother) is inscribed inside. The monument was carved  around the 8th and  6th century BC.
  • The Unfinished rock monument of Midas, 8th - 6th century BC . Midas City, Yazilikaya, Eskisehir, Turkey.<br />
<br />
This rock facade was planned but never finished and so little is known about the unfinished Monument. It is also known locally as the Kucuk Yazilikaya ( “little written rock”), since it appears to have been planned as a smaller version of the Midas Monument, also called Yazilikaya. It measures 7m x 10m and faces west, unlike the other monument at Midas whose facades face east. Since it was never completed, it was gives some idea of the construction techniques : first the rock was flattened and then the facade was carved from the top down. The architectural frame and the ornament were carved at the same time. About  2m below the monument are a smaller facade, to the left and a small cut altar to the right.
  • The Unfinished rock monument of Midas, 8th - 6th century BC . Midas City, Yazilikaya, Eskisehir, Turkey.<br />
<br />
This rock facade was planned but never finished and so little is known about the unfinished Monument. It is also known locally as the Kucuk Yazilikaya ( “little written rock”), since it appears to have been planned as a smaller version of the Midas Monument, also called Yazilikaya. It measures 7m x 10m and faces west, unlike the other monument at Midas whose facades face east. Since it was never completed, it was gives some idea of the construction techniques : first the rock was flattened and then the facade was carved from the top down. The architectural frame and the ornament were carved at the same time. About  2m below the monument are a smaller facade, to the left and a small cut altar to the right.
  • The Phrygian rock Monument known locally as Yazilikaya, ( written rock ) . 8th - 6th century BC . Midas City, Yazilikaya, Eskisehir, Turkey.<br />
<br />
This is the largest Phrygian rock cut facade monument, measuring 17m x 16.5m. It represents the front of a Phrygian megaron type building with a low pitched roof. It is known locally as yazilikaya , which means “written rock”, because of the Paleo-Phrygian inscriptions carved above the rock above the roof outline, down the right side and in the niche. The upper inscription dedicates the monument to King Midas, and so it is also known as the “Midas Monument”. The niche probably contained an image of the Phrygian Mother  Goddess, and the word “Matar” (Mother) is inscribed inside. The monument was carved  around the 8th and  6th century BC.
  • Close up of the inscription dedicated to King Midas on the Phrygian rock Monument known locally as Yazilikaya, ( written rock ) . 8th - 6th century BC . Midas City, Yazilikaya, Eskisehir, Turkey.<br />
<br />
This is the largest Phrygian rock cut facade monument, measuring 17m x 16.5m. It represents the front of a Phrygian megaron type building with a low pitched roof. It is known locally as yazilikaya , which means “written rock”, because of the Paleo-Phrygian inscriptions carved above the rock above the roof outline, down the right side and in the niche. The upper inscription dedicates the monument to King Midas, and so it is also known as the “Midas Monument”. The niche probably contained an image of the Phrygian Mother  Goddess, and the word “Matar” (Mother) is inscribed inside. The monument was carved  around the 8th and  6th century BC.
  • The Phrygian rock Monument known locally as Yazilikaya, ( written rock ) . 8th - 6th century BC . Midas City, Yazilikaya, Eskisehir, Turkey.<br />
<br />
This is the largest Phrygian rock cut facade monument, measuring 17m x 16.5m. It represents the front of a Phrygian megaron type building with a low pitched roof. It is known locally as yazilikaya , which means “written rock”, because of the Paleo-Phrygian inscriptions carved above the rock above the roof outline, down the right side and in the niche. The upper inscription dedicates the monument to King Midas, and so it is also known as the “Midas Monument”. The niche probably contained an image of the Phrygian Mother  Goddess, and the word “Matar” (Mother) is inscribed inside. The monument was carved  around the 8th and  6th century BC.
  • The Phrygian rock Monument known locally as Yazilikaya, ( written rock ) . 8th - 6th century BC . Midas City, Yazilikaya, Eskisehir, Turkey.<br />
<br />
This is the largest Phrygian rock cut facade monument, measuring 17m x 16.5m. It represents the front of a Phrygian megaron type building with a low pitched roof. It is known locally as yazilikaya , which means “written rock”, because of the Paleo-Phrygian inscriptions carved above the rock above the roof outline, down the right side and in the niche. The upper inscription dedicates the monument to King Midas, and so it is also known as the “Midas Monument”. The niche probably contained an image of the Phrygian Mother  Goddess, and the word “Matar” (Mother) is inscribed inside. The monument was carved  around the 8th and  6th century BC.
  • The Phrygian rock Monument known locally as Yazilikaya, ( written rock ) . 8th - 6th century BC . Midas City, Yazilikaya, Eskisehir, Turkey.<br />
<br />
This is the largest Phrygian rock cut facade monument, measuring 17m x 16.5m. It represents the front of a Phrygian megaron type building with a low pitched roof. It is known locally as yazilikaya , which means “written rock”, because of the Paleo-Phrygian inscriptions carved above the rock above the roof outline, down the right side and in the niche. The upper inscription dedicates the monument to King Midas, and so it is also known as the “Midas Monument”. The niche probably contained an image of the Phrygian Mother  Goddess, and the word “Matar” (Mother) is inscribed inside. The monument was carved  around the 8th and  6th century BC.
  • The Phrygian rock Monument known locally as Yazilikaya, ( written rock ) . 8th - 6th century BC . Midas City, Yazilikaya, Eskisehir, Turkey.<br />
<br />
This is the largest Phrygian rock cut facade monument, measuring 17m x 16.5m. It represents the front of a Phrygian megaron type building with a low pitched roof. It is known locally as yazilikaya , which means “written rock”, because of the Paleo-Phrygian inscriptions carved above the rock above the roof outline, down the right side and in the niche. The upper inscription dedicates the monument to King Midas, and so it is also known as the “Midas Monument”. The niche probably contained an image of the Phrygian Mother  Goddess, and the word “Matar” (Mother) is inscribed inside. The monument was carved  around the 8th and  6th century BC.
  • The Phrygian rock Monument known locally as Yazilikaya, ( written rock ) . 8th - 6th century BC . Midas City, Yazilikaya, Eskisehir, Turkey.<br />
<br />
This is the largest Phrygian rock cut facade monument, measuring 17m x 16.5m. It represents the front of a Phrygian megaron type building with a low pitched roof. It is known locally as yazilikaya , which means “written rock”, because of the Paleo-Phrygian inscriptions carved above the rock above the roof outline, down the right side and in the niche. The upper inscription dedicates the monument to King Midas, and so it is also known as the “Midas Monument”. The niche probably contained an image of the Phrygian Mother  Goddess, and the word “Matar” (Mother) is inscribed inside. The monument was carved  around the 8th and  6th century BC.
  • The Phrygian rock Monument known locally as Yazilikaya, ( written rock ) . 8th - 6th century BC . Midas City, Yazilikaya, Eskisehir, Turkey.<br />
<br />
This is the largest Phrygian rock cut facade monument, measuring 17m x 16.5m. It represents the front of a Phrygian megaron type building with a low pitched roof. It is known locally as yazilikaya , which means “written rock”, because of the Paleo-Phrygian inscriptions carved above the rock above the roof outline, down the right side and in the niche. The upper inscription dedicates the monument to King Midas, and so it is also known as the “Midas Monument”. The niche probably contained an image of the Phrygian Mother  Goddess, and the word “Matar” (Mother) is inscribed inside. The monument was carved  around the 8th and  6th century BC.
  • The Phrygian rock Monument known locally as Yazilikaya, ( written rock ) . 8th - 6th century BC . Midas City, Yazilikaya, Eskisehir, Turkey.<br />
<br />
This is the largest Phrygian rock cut facade monument, measuring 17m x 16.5m. It represents the front of a Phrygian megaron type building with a low pitched roof. It is known locally as yazilikaya , which means “written rock”, because of the Paleo-Phrygian inscriptions carved above the rock above the roof outline, down the right side and in the niche. The upper inscription dedicates the monument to King Midas, and so it is also known as the “Midas Monument”. The niche probably contained an image of the Phrygian Mother  Goddess, and the word “Matar” (Mother) is inscribed inside. The monument was carved  around the 8th and  6th century BC.
  • The Phrygian rock Monument known locally as Yazilikaya, ( written rock ) . 8th - 6th century BC . Midas City, Yazilikaya, Eskisehir, Turkey.<br />
<br />
This is the largest Phrygian rock cut facade monument, measuring 17m x 16.5m. It represents the front of a Phrygian megaron type building with a low pitched roof. It is known locally as yazilikaya , which means “written rock”, because of the Paleo-Phrygian inscriptions carved above the rock above the roof outline, down the right side and in the niche. The upper inscription dedicates the monument to King Midas, and so it is also known as the “Midas Monument”. The niche probably contained an image of the Phrygian Mother  Goddess, and the word “Matar” (Mother) is inscribed inside. The monument was carved  around the 8th and  6th century BC.
  • The Phrygian rock Monument known locally as Yazilikaya, ( written rock ) . 8th - 6th century BC . Midas City, Yazilikaya, Eskisehir, Turkey.<br />
<br />
This is the largest Phrygian rock cut facade monument, measuring 17m x 16.5m. It represents the front of a Phrygian megaron type building with a low pitched roof. It is known locally as yazilikaya , which means “written rock”, because of the Paleo-Phrygian inscriptions carved above the rock above the roof outline, down the right side and in the niche. The upper inscription dedicates the monument to King Midas, and so it is also known as the “Midas Monument”. The niche probably contained an image of the Phrygian Mother  Goddess, and the word “Matar” (Mother) is inscribed inside. The monument was carved  around the 8th and  6th century BC.
  • The Unfinished rock monument of Midas, 8th - 6th century BC . Midas City, Yazilikaya, Eskisehir, Turkey.<br />
<br />
This rock facade was planned but never finished and so little is known about the unfinished Monument. It is also known locally as the Kucuk Yazilikaya ( “little written rock”), since it appears to have been planned as a smaller version of the Midas Monument, also called Yazilikaya. It measures 7m x 10m and faces west, unlike the other monument at Midas whose facades face east. Since it was never completed, it was gives some idea of the construction techniques : first the rock was flattened and then the facade was carved from the top down. The architectural frame and the ornament were carved at the same time. About  2m below the monument are a smaller facade, to the left and a small cut altar to the right.
  • The Phrygian rock Monument known locally as Yazilikaya, ( written rock ) . 8th - 6th century BC . Midas City, Yazilikaya, Eskisehir, Turkey.<br />
<br />
This is the largest Phrygian rock cut facade monument, measuring 17m x 16.5m. It represents the front of a Phrygian megaron type building with a low pitched roof. It is known locally as yazilikaya , which means “written rock”, because of the Paleo-Phrygian inscriptions carved above the rock above the roof outline, down the right side and in the niche. The upper inscription dedicates the monument to King Midas, and so it is also known as the “Midas Monument”. The niche probably contained an image of the Phrygian Mother  Goddess, and the word “Matar” (Mother) is inscribed inside. The monument was carved  around the 8th and  6th century BC.
  • Close up of the inscription dedicated to King Midas on the Phrygian rock Monument known locally as Yazilikaya, ( written rock ) . 8th - 6th century BC . Midas City, Yazilikaya, Eskisehir, Turkey.<br />
<br />
This is the largest Phrygian rock cut facade monument, measuring 17m x 16.5m. It represents the front of a Phrygian megaron type building with a low pitched roof. It is known locally as yazilikaya , which means “written rock”, because of the Paleo-Phrygian inscriptions carved above the rock above the roof outline, down the right side and in the niche. The upper inscription dedicates the monument to King Midas, and so it is also known as the “Midas Monument”. The niche probably contained an image of the Phrygian Mother  Goddess, and the word “Matar” (Mother) is inscribed inside. The monument was carved  around the 8th and  6th century BC.
  • The Memmius Monument was built in the 1st century B.C. to honour Mmmius, the grandson of Emperor Sulla and son of Caicus whose sculptures can be seen on the monument. Ephesus Archaeological Site, Anatolia, Turkey.
  • Close up pictures & images of the socialist art of the Treaty of Georgievsk or Friendship Monument situated on the Georgian Military Highway high in the Caucasus mountains, Jvari Pass , Gudauri, Georgia (country).<br />
<br />
The Friendship Monument was built in 1983 to celebrate the bicentennial of the Treaty of Georgievsk and the ongoing friendship between Soviet Georgia and Soviet Russia.
  • Close up pictures & images of the socialist art of the Treaty of Georgievsk or Friendship Monument situated on the Georgian Military Highway high in the Caucasus mountains, Jvari Pass , Gudauri, Georgia (country).<br />
<br />
The Friendship Monument was built in 1983 to celebrate the bicentennial of the Treaty of Georgievsk and the ongoing friendship between Soviet Georgia and Soviet Russia.
  • Close up pictures & images of the socialist art of the Treaty of Georgievsk or Friendship Monument situated on the Georgian Military Highway high in the Caucasus mountains, Jvari Pass , Gudauri, Georgia (country).<br />
<br />
The Friendship Monument was built in 1983 to celebrate the bicentennial of the Treaty of Georgievsk and the ongoing friendship between Soviet Georgia and Soviet Russia.
  • Close up pictures & images of the socialist art of the Treaty of Georgievsk or Friendship Monument situated on the Georgian Military Highway high in the Caucasus mountains, Jvari Pass , Gudauri, Georgia (country).<br />
<br />
The Friendship Monument was built in 1983 to celebrate the bicentennial of the Treaty of Georgievsk and the ongoing friendship between Soviet Georgia and Soviet Russia.
  • Close up pictures & images of the socialist art of the Treaty of Georgievsk or Friendship Monument situated on the Georgian Military Highway high in the Caucasus mountains, Jvari Pass , Gudauri, Georgia (country).<br />
<br />
The Friendship Monument was built in 1983 to celebrate the bicentennial of the Treaty of Georgievsk and the ongoing friendship between Soviet Georgia and Soviet Russia.
  • Close up pictures & images of the socialist art of the Treaty of Georgievsk or Friendship Monument situated on the Georgian Military Highway high in the Caucasus mountains, Jvari Pass , Gudauri, Georgia (country).<br />
<br />
The Friendship Monument was built in 1983 to celebrate the bicentennial of the Treaty of Georgievsk and the ongoing friendship between Soviet Georgia and Soviet Russia.
  • Pictures & images of the Treaty of Georgievsk or Friendship Monument situated on the Georgian Military Highway high in the Caucasus mountains, Jvari Pass , Gudauri, Georgia (country).<br />
<br />
The Friendship Monument was built in 1983 to celebrate the bicentennial of the Treaty of Georgievsk and the ongoing friendship between Soviet Georgia and Soviet Russia.
  • Pictures & images of the Treaty of Georgievsk or Friendship Monument situated on the Georgian Military Highway high in the Caucasus mountains, Jvari Pass , Gudauri, Georgia (country).<br />
<br />
The Friendship Monument was built in 1983 to celebrate the bicentennial of the Treaty of Georgievsk and the ongoing friendship between Soviet Georgia and Soviet Russia.
  • Stonehenge Neolithic ancient standing stone circle monument, Wilshire, England
  • Close up pictures & images of the socialist art of the Treaty of Georgievsk or Friendship Monument situated on the Georgian Military Highway high in the Caucasus mountains, Jvari Pass , Gudauri, Georgia (country).<br />
<br />
The Friendship Monument was built in 1983 to celebrate the bicentennial of the Treaty of Georgievsk and the ongoing friendship between Soviet Georgia and Soviet Russia.
  • Close up pictures & images of the socialist art of the Treaty of Georgievsk or Friendship Monument situated on the Georgian Military Highway high in the Caucasus mountains, Jvari Pass , Gudauri, Georgia (country).<br />
<br />
The Friendship Monument was built in 1983 to celebrate the bicentennial of the Treaty of Georgievsk and the ongoing friendship between Soviet Georgia and Soviet Russia.
  • Close up pictures & images of the socialist art of the Treaty of Georgievsk or Friendship Monument situated on the Georgian Military Highway high in the Caucasus mountains, Jvari Pass , Gudauri, Georgia (country).<br />
<br />
The Friendship Monument was built in 1983 to celebrate the bicentennial of the Treaty of Georgievsk and the ongoing friendship between Soviet Georgia and Soviet Russia.
  • Close up pictures & images of the socialist art of the Treaty of Georgievsk or Friendship Monument situated on the Georgian Military Highway high in the Caucasus mountains, Jvari Pass , Gudauri, Georgia (country).<br />
<br />
The Friendship Monument was built in 1983 to celebrate the bicentennial of the Treaty of Georgievsk and the ongoing friendship between Soviet Georgia and Soviet Russia.
  • Close up pictures & images of the socialist art of the Treaty of Georgievsk or Friendship Monument situated on the Georgian Military Highway high in the Caucasus mountains, Jvari Pass , Gudauri, Georgia (country).<br />
<br />
The Friendship Monument was built in 1983 to celebrate the bicentennial of the Treaty of Georgievsk and the ongoing friendship between Soviet Georgia and Soviet Russia.
  • Close up pictures & images of the socialist art of the Treaty of Georgievsk or Friendship Monument situated on the Georgian Military Highway high in the Caucasus mountains, Jvari Pass , Gudauri, Georgia (country).<br />
<br />
The Friendship Monument was built in 1983 to celebrate the bicentennial of the Treaty of Georgievsk and the ongoing friendship between Soviet Georgia and Soviet Russia.
  • Close up pictures & images of the socialist art of the Treaty of Georgievsk or Friendship Monument situated on the Georgian Military Highway high in the Caucasus mountains, Jvari Pass , Gudauri, Georgia (country).<br />
<br />
The Friendship Monument was built in 1983 to celebrate the bicentennial of the Treaty of Georgievsk and the ongoing friendship between Soviet Georgia and Soviet Russia.
  • Close up pictures & images of the socialist art of the Treaty of Georgievsk or Friendship Monument situated on the Georgian Military Highway high in the Caucasus mountains, Jvari Pass , Gudauri, Georgia (country).<br />
<br />
The Friendship Monument was built in 1983 to celebrate the bicentennial of the Treaty of Georgievsk and the ongoing friendship between Soviet Georgia and Soviet Russia.
  • Pictures & images of the Treaty of Georgievsk or Friendship Monument situated on the Georgian Military Highway high in the Caucasus mountains, Jvari Pass , Gudauri, Georgia (country).<br />
<br />
The Friendship Monument was built in 1983 to celebrate the bicentennial of the Treaty of Georgievsk and the ongoing friendship between Soviet Georgia and Soviet Russia.
  • Stonehenge Neolithic ancient standing stone circle monument, Wilshire, England
  • Stonehenge Neolithic ancient standing stone circle monument, Wilshire, England
  • Stonehenge Neolithic ancient standing stone circle monument, Wilshire, England
  • Stonehenge Neolithic ancient standing stone circle monument, Wilshire, England
  • Stonehenge Neolithic ancient standing stone circle monument, Wilshire, England
  • Stonehenge Neolithic ancient standing stone circle monument, Wilshire, England
  • Stonehenge Neolithic ancient standing stone circle monument, Wilshire, England
  • Stonehenge Neolithic ancient standing stone circle monument, Wilshire, England
  • Stonehenge Neolithic ancient standing stone circle monument, Wilshire, England
  • The Memmius Monument was built in the 1st century B.C. to honour Mmmius, the grandson of Emperor Sulla and son of Caicus whose sculptures can be seen on the monument. Ephesus Archaeological Site, Anatolia, Turkey.
  • Stonehenge Neolithic ancient standing stone circle monument, A UNESCO World Heritage Site, Wilshire, England
  • Picture of the Hittite Hittite Fasillar Monument, finished replica of 13th century BC original. Anatolian Civilisations Museum, Ankara, Turkey. Against a grey art background.<br />
<br />
The original is an unfinished monumental stele that is situated fiat on the back on a slope at the immediate vicinity of the village Fasillar within the Konya province, Beysehir. This is an exact replica of the original that was made of trachyte igneous rock. This represents the origin& that was cast into the mould of the same dimensions and colour. <br />
<br />
The height from the toes to the top of the lions is 7,40 meters. There is also a socket that is 80 cm. Long inserted into the basement. The Hittite monument dates from the end of 13th century BC There appears the great God higher than 4 meters stepping on the smaller mountain God that is accompanied by the lions on.
  • Stonehenge Neolithic ancient standing stone circle monument, A UNESCO World Heritage Site, Wilshire, England
  • Image of the Hittite Fasillar Monument, finished replica of 13th century BC original. Anatolian Civilisations Museum, Ankara, Turkey. Against a white background.<br />
<br />
The original is an unfinished monumental stele that is situated fiat on the back on a slope at the immediate vicinity of the village Fasillar within the Konya province, Beysehir. This is an exact replica of the original that was made of trachyte igneous rock. This represents the origin& that was cast into the mould of the same dimensions and colour. <br />
<br />
The height from the toes to the top of the lions is 7,40 meters. There is also a socket that is 80 cm. Long inserted into the basement. The Hittite monument dates from the end of 13th century BC There appears the great God higher than 4 meters stepping on the smaller mountain God that is accompanied by the lions on.
  • Photo of the Hittite Fasillar Monument, finished replica of 13th century BC original. Anatolian Civilisations Museum, Ankara, Turkey. Against a black background.<br />
<br />
The original is an unfinished monumental stele that is situated fiat on the back on a slope at the immediate vicinity of the village Fasillar within the Konya province, Beysehir. This is an exact replica of the original that was made of trachyte igneous rock. This represents the origin& that was cast into the mould of the same dimensions and colour. <br />
<br />
The height from the toes to the top of the lions is 7,40 meters. There is also a socket that is 80 cm. Long inserted into the basement. The Hittite monument dates from the end of 13th century BC There appears the great God higher than 4 meters stepping on the smaller mountain God that is accompanied by the lions on.
  • The Hittite Fasillar Monument, finished replica of 13th century BC original. Anatolian Civilizations Museum, Ankara, Turkey. Against a gray background.<br />
<br />
The original is an unfinished monumental stele that is situated fiat on the back on a slope at the immediate vicinity of the village Fasillar within the Konya province, Beysehir. This is an exact replica of the original that was made of trachyte igneous rock. This represents the origin& that was cast into the mould of the same dimensions and colour. <br />
<br />
The height from the toes to the top of the lions is 7,40 meters. There is also a socket that is 80 cm. Long inserted into the basement. The Hittite monument dates from the end of 13th century BC There appears the great God higher than 4 meters stepping on the smaller mountain God that is accompanied by the lions on.
  • The Hittite Fasillar Monument, finished replica of 13th century BC original. Anatolian Civilizations Museum, Ankara, Turkey. Against a brown art background.<br />
<br />
The original is an unfinished monumental stele that is situated fiat on the back on a slope at the immediate vicinity of the village Fasillar within the Konya province, Beysehir. This is an exact replica of the original that was made of trachyte igneous rock. This represents the origin& that was cast into the mould of the same dimensions and colour. <br />
<br />
The height from the toes to the top of the lions is 7,40 meters. There is also a socket that is 80 cm. Long inserted into the basement. The Hittite monument dates from the end of 13th century BC There appears the great God higher than 4 meters stepping on the smaller mountain God that is accompanied by the lions on.
  • Close up of the Hittite Fasillar Monument, finished replica of 13th century BC original. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
The original is an unfinished monumental stele that is situated fiat on the back on a slope at the immediate vicinity of the village Fasillar within the Konya province, Beysehir. This is an exact replica of the original that was made of trachyte igneous rock. This represents the origin& that was cast into the mould of the same dimensions and colour. <br />
<br />
The height from the toes to the top of the lions is 7,40 meters. There is also a socket that is 80 cm. Long inserted into the basement. The Hittite monument dates from the end of 13th century BC There appears the great God higher than 4 meters stepping on the smaller mountain God that is accompanied by the lions on.
  • The Hittite Fasillar Monument, finished replica of 13th century BC original. Anatolian Civilizations Museum, Ankara, Turkey<br />
<br />
The original is an unfinished monumental stele that is situated fiat on the back on a slope at the immediate vicinity of the village Fasillar within the Konya province, Beysehir. This is an exact replica of the original that was made of trachyte igneous rock. This represents the origin& that was cast into the mould of the same dimensions and colour. <br />
<br />
The height from the toes to the top of the lions is 7,40 meters. There is also a socket that is 80 cm. Long inserted into the basement. The Hittite monument dates from the end of 13th century BC There appears the great God higher than 4 meters stepping on the smaller mountain God that is accompanied by the lions on.
  • Stonehenge Neolithic ancient standing stone circle monument, A UNESCO World Heritage Site, Wilshire, England
  • Stonehenge Neolithic ancient standing stone circle monument, A UNESCO World Heritage Site, Wilshire, England
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Picture and image of the stone sculpture commissioned by Luigi Parpaglioni, a rich trader coming from the Lombardy, because of his daughter’s death. The funery monument depicts  flying angel going before the soul who is rising up to the sky.  This romantic style is typical of the pre raphilites and although realistic the style is a little stilted. The Papaglioni tomb became popular and was copied by sculptors in many other countries.  Tomb Parpaglioni sculptor F. Fabiani 1884. Section A, no 35, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a  mourning widow who is bringing a crown and knocking on a sepulcher’s bronze door, which holds the bas relief of an hourglass, a classic symbol of the passing of time. This theme of the sorrowful survivor in front of the sepulcher’s door comes from the Monument dedicated to Maria Christina, Duchess of Teschen, Maria Theresa of Austria’s daughter, a neoclassical sculpture. In this version the widow is wearing fashionable clothes, which have been accurately represented, and her openwork shawl. Sculptor G. B. Cevasco 1875. Section A, no 38, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculptured  funeral monument of Caterina Campodonico, also called "The Peanuts Seller" carrying a string of peanuts and donuts that she sold on the streets of Genoa. Completed while she was still alve by sculptor Lorenzo Orengo, who was the most important artist of the Bourgeois Realism, greatly sought after by the member of the middle class. The Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculptured  funeral monument of Caterina Campodonico, also called "The Peanuts Seller" carrying a string of peanuts and donuts that she sold on the streets of Genoa. Completed while she was still alve by sculptor Lorenzo Orengo, who was the most important artist of the Bourgeois Realism, greatly sought after by the member of the middle class. The Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture commissioned by Luigi Parpaglioni, a rich trader coming from the Lombardy, because of his daughter’s death. The funery monument depicts  flying angel going before the soul who is rising up to the sky.  This romantic style is typical of the pre raphilites and although realistic the style is a little stilted. The Papaglioni tomb became popular and was copied by sculptors in many other countries.  Tomb Parpaglioni sculptor F. Fabiani 1884. Section A, no 35, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture commissioned by Luigi Parpaglioni, a rich trader coming from the Lombardy, because of his daughter’s death. The funery monument depicts  flying angel going before the soul who is rising up to the sky.  This romantic style is typical of the pre raphilites and although realistic the style is a little stilted. The Papaglioni tomb became popular and was copied by sculptors in many other countries.  Tomb Parpaglioni sculptor F. Fabiani 1884. Section A, no 35, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture commissioned by Luigi Parpaglioni, a rich trader coming from the Lombardy, because of his daughter’s death. The funery monument depicts  flying angel going before the soul who is rising up to the sky.  This romantic style is typical of the pre raphilites and although realistic the style is a little stilted. The Papaglioni tomb became popular and was copied by sculptors in many other countries.  Tomb Parpaglioni sculptor F. Fabiani 1884. Section A, no 35, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture commissioned by Luigi Parpaglioni, a rich trader coming from the Lombardy, because of his daughter’s death. The funery monument depicts  flying angel going before the soul who is rising up to the sky.  This romantic style is typical of the pre raphilites and although realistic the style is a little stilted. The Papaglioni tomb became popular and was copied by sculptors in many other countries.  Tomb Parpaglioni sculptor F. Fabiani 1884. Section A, no 35, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture commissioned by Luigi Parpaglioni, a rich trader coming from the Lombardy, because of his daughter’s death. The funery monument depicts  flying angel going before the soul who is rising up to the sky.  This romantic style is typical of the pre raphilites and although realistic the style is a little stilted. The Papaglioni tomb became popular and was copied by sculptors in many other countries.  Tomb Parpaglioni sculptor F. Fabiani 1884. Section A, no 35, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a  mourning widow who is bringing a crown and knocking on a sepulcher’s bronze door, which holds the bas relief of an hourglass, a classic symbol of the passing of time. This theme of the sorrowful survivor in front of the sepulcher’s door comes from the Monument dedicated to Maria Christina, Duchess of Teschen, Maria Theresa of Austria’s daughter, a neoclassical sculpture. In this version the widow is wearing fashionable clothes, which have been accurately represented, and her openwork shawl. Sculptor G. B. Cevasco 1875. Section A, no 38, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a  mourning widow who is bringing a crown and knocking on a sepulcher’s bronze door, which holds the bas relief of an hourglass, a classic symbol of the passing of time. This theme of the sorrowful survivor in front of the sepulcher’s door comes from the Monument dedicated to Maria Christina, Duchess of Teschen, Maria Theresa of Austria’s daughter, a neoclassical sculpture. In this version the widow is wearing fashionable clothes, which have been accurately represented, and her openwork shawl. Sculptor G. B. Cevasco 1875. Section A, no 38, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a  mourning widow who is bringing a crown and knocking on a sepulcher’s bronze door, which holds the bas relief of an hourglass, a classic symbol of the passing of time. This theme of the sorrowful survivor in front of the sepulcher’s door comes from the Monument dedicated to Maria Christina, Duchess of Teschen, Maria Theresa of Austria’s daughter, a neoclassical sculpture. In this version the widow is wearing fashionable clothes, which have been accurately represented, and her openwork shawl. Sculptor G. B. Cevasco 1875. Section A, no 38, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a  mourning widow who is bringing a crown and knocking on a sepulcher’s bronze door, which holds the bas relief of an hourglass, a classic symbol of the passing of time. This theme of the sorrowful survivor in front of the sepulcher’s door comes from the Monument dedicated to Maria Christina, Duchess of Teschen, Maria Theresa of Austria’s daughter, a neoclassical sculpture. In this version the widow is wearing fashionable clothes, which have been accurately represented, and her openwork shawl. Sculptor G. B. Cevasco 1875. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image  of the stone sculptures of two young siblings at the doors of heaven through which their mother had to go before them by Sculptor A. Rota 1882. The theme of the monument is sorrow but also of hope as an angel guides the sould of the mouring siblings mother to heaven. As is tytpical of the Borgeois realistic style everday clothes, hairstyle and natural gestures are used in the sulpture. Section A, no 42, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image  of the stone sculptures of two young siblings at the doors of heaven through which their mother had to go before them by Sculptor A. Rota 1882. The theme of the monument is sorrow but also of hope as an angel guides the sould of the mouring siblings mother to heaven. As is tytpical of the Borgeois realistic style everday clothes, hairstyle and natural gestures are used in the sulpture. Section A, no 42, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a women on the tomb of ship builder Giovanni Battista Piaggio by  Sculptor G. Benetti 1873. Giovanni Battista Piaggio, who is buried here, was a rich ship-owner, whose important role in society is expressed by the professional symbols -the anchor, the ropes, the sand-glass, the globe, the chart that the sculptor Giuseppe Benetti put on the sides of the deceased's bust hosted in the lunette, which surmounts the architecture in Renaissance style of the monument. As a representative of the upper middle class he couldn't die without leaving memories of his social role: Benetti, in order to meet this requirement, represented the widow coming out of the chapel with a prayer-book in her hand. Bringing the mourning in an everyday-life dimension Benetti created a work in accordance with the dictates of the Realism bourgeois. Section A, no 47, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a women on the tomb of ship builder Giovanni Battista Piaggio by  Sculptor G. Benetti 1873. Giovanni Battista Piaggio, who is buried here, was a rich ship-owner, whose important role in society is expressed by the professional symbols -the anchor, the ropes, the sand-glass, the globe, the chart that the sculptor Giuseppe Benetti put on the sides of the deceased's bust hosted in the lunette, which surmounts the architecture in Renaissance style of the monument. As a representative of the upper middle class he couldn't die without leaving memories of his social role: Benetti, in order to meet this requirement, represented the widow coming out of the chapel with a prayer-book in her hand. Bringing the mourning in an everyday-life dimension Benetti created a work in accordance with the dictates of the Realism bourgeois. Section A, no 47, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a women on the tomb of ship builder Giovanni Battista Piaggio by  Sculptor G. Benetti 1873. Giovanni Battista Piaggio, who is buried here, was a rich ship-owner, whose important role in society is expressed by the professional symbols -the anchor, the ropes, the sand-glass, the globe, the chart that the sculptor Giuseppe Benetti put on the sides of the deceased's bust hosted in the lunette, which surmounts the architecture in Renaissance style of the monument. As a representative of the upper middle class he couldn't die without leaving memories of his social role: Benetti, in order to meet this requirement, represented the widow coming out of the chapel with a prayer-book in her hand. Bringing the mourning in an everyday-life dimension Benetti created a work in accordance with the dictates of the Realism bourgeois. Section A, no 47, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures of the stone sculptured monumental tomb for the Celesia Family by sculptor D. Paernio 1899. At the top back of the monument is a sculpture of the deceased. In front is an impressive male figure with a heavy club, which is an allegory of the Work, and an adolescent angel with delicate features, which is examining some sheets while sitting, representing so the Study.  Sculpted in the bourgeois Realism style this gigantic statue of the worker follows Michelangelo’s heroic style, which was an obsession to many European and Italian sculptors between the end of the 19th century and the beginning of the 20th century,  Section A, no 51, The Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures of the stone sculptured monumental tomb for the Celesia Family by sculptor D. Paernio 1899. At the top back of the monument is a sculpture of the deceased. In front is an impressive male figure with a heavy club, which is an allegory of the Work, and an adolescent angel with delicate features, which is examining some sheets while sitting, representing so the Study.  Sculpted in the bourgeois Realism style this gigantic statue of the worker follows Michelangelo’s heroic style, which was an obsession to many European and Italian sculptors between the end of the 19th century and the beginning of the 20th century,  Section A, no 51, The Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures of the stone sculptured monumental tomb for the Celesia Family by sculptor D. Paernio 1899. At the top back of the monument is a sculpture of the deceased. In front is an impressive male figure with a heavy club, which is an allegory of the Work, and an adolescent angel with delicate features, which is examining some sheets while sitting, representing so the Study.  Sculpted in the bourgeois Realism style this gigantic statue of the worker follows Michelangelo’s heroic style, which was an obsession to many European and Italian sculptors between the end of the 19th century and the beginning of the 20th century,  Section A, no 51, The Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image  of the Realistic young grieving girl stone funary monument sculpture  commissioned by Enrico Amerigo for his sisters memory. beside the pedestal on which the sculptor set the deceased’s bust he placed, on the left, the figure of an old blind man, kneeling down and leaning on a stick; on the right he placed the figure of a young orphan girl, recognizable as such by her kindergarten uniform, portrayed in the act of making the sign of the cross. This work belongs to the Realism, a trend which was typical during the 1880s and 1890s, according to which the orphans, the poor, the sick and all those who benefited from somebody’s generosity had to be portrayed in a concrete fashion. Sculptor G Moreno 1890. Section A, no 53, The Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image  of the Realistic young grieving girl stone funary monument sculpture  commissioned by Enrico Amerigo for his sisters memory. beside the pedestal on which the sculptor set the deceased’s bust he placed, on the left, the figure of an old blind man, kneeling down and leaning on a stick; on the right he placed the figure of a young orphan girl, recognizable as such by her kindergarten uniform, portrayed in the act of making the sign of the cross. This work belongs to the Realism, a trend which was typical during the 1880s and 1890s, according to which the orphans, the poor, the sick and all those who benefited from somebody’s generosity had to be portrayed in a concrete fashion. Sculptor G Moreno 1890. Section A, no 53, The Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image  of the Realistic young grieving girl stone funary monument sculpture  commissioned by Enrico Amerigo for his sisters memory. beside the pedestal on which the sculptor set the deceased’s bust he placed, on the left, the figure of an old blind man, kneeling down and leaning on a stick; on the right he placed the figure of a young orphan girl, recognizable as such by her kindergarten uniform, portrayed in the act of making the sign of the cross. This work belongs to the Realism, a trend which was typical during the 1880s and 1890s, according to which the orphans, the poor, the sick and all those who benefited from somebody’s generosity had to be portrayed in a concrete fashion. Sculptor G Moreno 1890. Section A, no 53, The Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image  of the Realistic young grieving girl stone funary monument sculpture  commissioned by Enrico Amerigo for his sisters memory. beside the pedestal on which the sculptor set the deceased’s bust he placed, on the left, the figure of an old blind man, kneeling down and leaning on a stick; on the right he placed the figure of a young orphan girl, recognizable as such by her kindergarten uniform, portrayed in the act of making the sign of the cross. This work belongs to the Realism, a trend which was typical during the 1880s and 1890s, according to which the orphans, the poor, the sick and all those who benefited from somebody’s generosity had to be portrayed in a concrete fashion. Sculptor G Moreno 1890. The Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the Realistic blind man stone funary monument sculpture commissioned by Enrico Amerigo for his sisters memory. beside the pedestal on which the sculptor set the deceased’s bust he placed, on the left, the figure of an old blind man, kneeling down and leaning on a stick; on the right he placed the figure of a young orphan girl, recognizable as such by her kindergarten uniform, portrayed in the act of making the sign of the cross. This work belongs to the Realism, a trend which was typical during the 1880s and 1890s, according to which the orphans, the poor, the sick and all those who benefited from somebody’s generosity had to be portrayed in a concrete fashion. Sculptor G Moreno 1890. Section A, no 53, The Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the Realistic blind man stone funary monument sculpture commissioned by Enrico Amerigo for his sisters memory. beside the pedestal on which the sculptor set the deceased’s bust he placed, on the left, the figure of an old blind man, kneeling down and leaning on a stick; on the right he placed the figure of a young orphan girl, recognizable as such by her kindergarten uniform, portrayed in the act of making the sign of the cross. This work belongs to the Realism, a trend which was typical during the 1880s and 1890s, according to which the orphans, the poor, the sick and all those who benefited from somebody’s generosity had to be portrayed in a concrete fashion. Sculptor G Moreno 1890. Section A, no 53, The Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculptured  funeral monument of Caterina Campodonico, also called "The Peanuts Seller" carrying a string of peanuts and donuts that she sold on the streets of Genoa. Completed while she was still alve by sculptor Lorenzo Orengo, who was the most important artist of the Bourgeois Realism, greatly sought after by the member of the middle class. The Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture commissioned by Luigi Parpaglioni, a rich trader coming from the Lombardy, because of his daughter’s death. The funery monument depicts  flying angel going before the soul who is rising up to the sky.  This romantic style is typical of the pre raphilites and although realistic the style is a little stilted. The Papaglioni tomb became popular and was copied by sculptors in many other countries.  Tomb Parpaglioni sculptor F. Fabiani 1884. Section A, no 35, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a  mourning widow who is bringing a crown and knocking on a sepulcher’s bronze door, which holds the bas relief of an hourglass, a classic symbol of the passing of time. This theme of the sorrowful survivor in front of the sepulcher’s door comes from the Monument dedicated to Maria Christina, Duchess of Teschen, Maria Theresa of Austria’s daughter, a neoclassical sculpture. In this version the widow is wearing fashionable clothes, which have been accurately represented, and her openwork shawl. Sculptor G. B. Cevasco 1875. Section A, no 38, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image  of the Realistic young grieving girl stone funary monument sculpture  commissioned by Enrico Amerigo for his sisters memory. beside the pedestal on which the sculptor set the deceased’s bust he placed, on the left, the figure of an old blind man, kneeling down and leaning on a stick; on the right he placed the figure of a young orphan girl, recognizable as such by her kindergarten uniform, portrayed in the act of making the sign of the cross. This work belongs to the Realism, a trend which was typical during the 1880s and 1890s, according to which the orphans, the poor, the sick and all those who benefited from somebody’s generosity had to be portrayed in a concrete fashion. Sculptor G Moreno 1890. Section A, no 53, The Staglieno Monumental Cemetery, Genoa, Italy
  • Tomb of  Louis XII (1462 - 1515) King of France 1498 to 1515 and his wife Anne of Bretagne who was alos wife of Charles VIII in 1491. The four sculptures at the corners of the monument represent prudence, justice, force and temperance abd the Bas relief along the bottom of the monument shows scenes from the wars against Italy. The Gothic Cathedral Basilica of Saint Denis ( Basilique Saint-Denis ) Paris, France. A UNESCO World Heritage Site.
  • Picture and image of the stone sculpture of a grieving family around the death bed of the deceased. In a Borgeoise realistic style sculpted by GB Villa 1896. The Rivara Family Tomb, Section D no 15, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an enigmatic angels face in a realistic style. One of the best know csulptures of Staglieno. The Oneto family tomb sculpted by G Monteverde. Section D no 13, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an enigmatic angels face in a realistic style. One of the best know csulptures of Staglieno. The Oneto family tomb sculpted by G Monteverde. Section D no 13, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an enigmatic angels face in a realistic style. One of the best know csulptures of Staglieno. The Oneto family tomb sculpted by G Monteverde. Section D no 13, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and iamge of the stone sculpture of an angel with a grieving family on the steps of the Palrano tomb. Sculpted in a Borgeoise realistic style by C Rubatto in 1878. Section D no 09, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a man sitting in a chair on a plinth in Borgeois Realistic style. The Bomba family Tomb sculpted by G B Cevasco. Section D no 33, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a young girl picking flowers in a Borgeoise Realistic style. The Grillo Family Tomb sulpted by G Scanzi 1876. Section D No 26, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an angel at the doors of the Pallavicino Family tomb, sculpted by A Rivalta 1896. Section D no 27, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of 2 mourning sisters at the door of their mothers pyramid shaped tomb, The Rossi Tomb sculpted by G Benetti in 1878. Section D, no 24, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of 2 mourning sisters at the door of their mothers pyramid shaped tomb, The Rossi Tomb sculpted by G Benetti in 1878. Section D, no 24, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a Jannet Duff and her gireving son. Sculpted by L Beltrami 1894. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image  of the stone sculpture  of a young couple and an angel. The Pietrafraccia Tomb sculped by G. Navone 1909. Section A, no 17, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture ”L’Angelo Nocchiero” (the Helmsman Angel). The sculpture depicts an angel, standing astride a small boat, beginning to secure the sails at the end of a journey. His garments are streaming behind him, suggesting a strong wind. The prow of the boat is the stoic face of a woman, and under the prow the water swirls. The Giacomo Carpaneto tomb  sculpted by Giovanni Scanzi in 1886. Section A, no 25, monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a nude on the Taramiso tomb. The  monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an agel in thought at the door of the tomb of the Mantero family. Art Nouveau style sculpted by L Orengo 1895. Section B, no 04, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image  of the Bronze sculpture of the Gallino Tomb by G Bennetti 1903. Section A, no 29, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a mourning widow in Borgeois Realistc style. The Emanuelle Tomb sculpted by Carli Fecce 1888. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of Paolo and Lorenzo Paracca. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the Art Nouveau stone sculpture of a nude. The Pizzorini Tomb by Vittorio  Lavezzari 1906. Section A, no 33, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the Art Nouveau stone sculpture of a nude. The Pizzorini Tomb by Vittorio  Lavezzari 1906. Section A, no 33, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of the Podesta family tomb in the Borgeois Realistic style by  D Carli 1892. Section A, no 39, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of the Podesta family tomb in the Borgeois Realistic style by  D Carli 1892. Section A, no 39, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an angel in 19th century Borgeois Realistic style. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a mouring women in the Bourgeois Realistic style. Badaracco Tomb sculpted by G Moreno 1878. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a mouring women in the Bourgeois Realistic style. Badaracco Tomb sculpted by G Moreno 1878. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of a mourning women  stone sculpture in the realistic borgeois style. The tomb of the Stefano family Tsculpted by by G Benetti 1877. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and imabe in the Realistic Beorgeous style of a young man. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of a stone sculpture of Charity with an angel to her left, by Sculptor V. Lavezzari 1897 on the Repetto tomb.  Section A, no 52, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures of the Neo classical style stone sculpture of the Francesca Curro Tomb sculpted by G Navonne in 1895. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures of the Neo classical style stone sculpture of the Curro Family Tomb sculpted by G Navonne in 1895. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Ital
  • Picture and image of the late borgeoise realistic style stone sculpture of the Gallino tomb sculpted by  G. Moreno 1894.  In the tomb, the bust that portrays the deceased Carolina receives the kiss of a child, probably the niece, supported by a young woman - the mother, or perhaps the elder sister - whose face is marked by pain; on the right an older man, presumably her husband, stands aside, almost absent, looking down at the ground. The most intimate tones and psychological introspection are grafted here in the language of bourgeois Realism: with undoubted technical virtuosity Moreno offers a rigorous "quantitative" description of reality, dwelling on every single detail of faces, clothing, accessories and hairstyles . Section A, no 54, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the realistic stone sculpture of a women praying at the monumental tomb of Luigi Priario by sculptor Paernio 1880,  the Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures of the stone classical sculptured of an angel on a monumental tombs of Guiseppe Ghiglioni,  Staglieno Monumental Cemetery. Sculptor Giovanni Battista Cevasco 1870,  Genoa, Italy
  • Stonehenge Neolithic ancient standing stone circle monument, Wilshire, England
  • Stonehenge Neolithic ancient standing stone circle monument, Wilshire, England
  • Stonehenge Neolithic ancient standing stone circle monument, Wilshire, England
  • Picture and image of the stone sculpture of a Job (Giobbe) on the steps of the Parthenon by  G Benetti 1872. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures of the stone sculptured monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a Job (Giobbe) on the steps of the Parthenon by  G Benetti 1872. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a grieving family around the death bed of the deceased. In a Borgeoise realistic style sculpted by GB Villa 1896. The Rivara Family Tomb, Section D no 15, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a grieving family around the death bed of the deceased. In a Borgeoise realistic style sculpted by GB Villa 1896. The Rivara Family Tomb, Section D no 15, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a grieving family around the death bed of the deceased. In a Borgeoise realistic style sculpted by GB Villa 1896. The Rivara Family Tomb, Section D no 15, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a grieving family around the death bed of the deceased. In a Borgeoise realistic style sculpted by GB Villa 1896. The Rivara Family Tomb, Section D no 15, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a grieving family around the death bed of the deceased. In a Borgeoise realistic style sculpted by GB Villa 1896. The Rivara Family Tomb, Section D no 15, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculptured Art Nouveau monumental tomb of the Masoleni family. The Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an enigmatic angels face in a realistic style. One of the best know csulptures of Staglieno. The Oneto family tomb sculpted by G Monteverde. Section D no 13, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an enigmatic angels face in a realistic style. One of the best know csulptures of Staglieno. The Oneto family tomb sculpted by G Monteverde. Section D no 13, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an enigmatic angels face in a realistic style. One of the best know csulptures of Staglieno. The Oneto family tomb sculpted by G Monteverde. Section D no 13, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an enigmatic angels face in a realistic style. One of the best know csulptures of Staglieno. The Oneto family tomb sculpted by G Monteverde. Section D no 13, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a grieving family arounf the death bed of an old man sculpted in Borgeoise Realistic style by A Rivalta in 1872.  The Raggio family tomb, Scection D no 10, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a grieving family arounf the death bed of an old man sculpted in Borgeoise Realistic style by A Rivalta in 1872.  The Raggio family tomb, Scection D no 10, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and iamge of the stone sculpture of an angel with a grieving family on the steps of the Palrano tomb. Sculpted in a Borgeoise realistic style by C Rubatto in 1878. Section D no 09, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculptured monumental tomb of the Bracelli Spinola family sculpted by S Varni 1864. Section D no 8, the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a young women grieving in the Borgosie Realistic style. The Gatti Tomb sculpted by G Benetti 1875. Section D no 5, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a young women grieving in the Borgosie Realistic style. The Gatti Tomb sculpted by G Benetti 1875. Section D no 5, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures of the stone sculptured monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a dead women lying at rest in a realistic style. The Pignone Avanzini tomb sculpted by G Benetti 1867. Section D no 4, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a young women waiting by the gates of the tomb in a Borgeois Realistic style. The Piaggio Family Tomb sculpted by G Scanzi 1885. Section D no 36, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture of the stone sculpture of a widow covering the face of a lying corpse sculpted in a Borgeoise realistic style. Section D no 2, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a young women waiting by the gates of the tomb in a Borgeois Realistic style. The Piaggio Family Tomb sculpted by G Scanzi 1885. Section D no 36, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a man sitting in a chair on a plinth in Borgeois Realistic style. The Bomba family Tomb sculpted by G B Cevasco. Section D no 33, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a young women filling a candle stick with oil in an art Nouveau style. Family Tomb Montanari sculpted by G B Villa 1888. Section D no 31 the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures and image of the stone sculpture of a mouring widow sitting on the steps of the tomb. The Lavarello Family Tomb sculpted by S Saccomanno 1890. Section D no 32, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of Giuseppe Ratto looking down on his grieving wife with an angel in a Borgeois Realistic style. The Ratto Family Tomb sculpted by L Orengo in 1890. Section D no 30 the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of Giuseppe Ratto looking down on his grieving wife with an angel in a Borgeois Realistic style. The Ratto Family Tomb sculpted by L Orengo in 1890. Section D no 30 the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of Giuseppe Ratto looking down on his grieving wife with an angel in a Borgeois Realistic style. The Ratto Family Tomb sculpted by L Orengo in 1890. Section D no 30 the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of Giuseppe Ratto looking down on his grieving wife with an angel in a Borgeois Realistic style. The Ratto Family Tomb sculpted by L Orengo in 1890. Section D no 30 the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures of the stone sculpture of a Madonna and child in Realistic style. The Baldulno Family Tomb sculpted by G Monteverde 1889. Section D no 28, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a young girl picking flowers in a Borgeoise Realistic style. The Grillo Family Tomb sulpted by G Scanzi 1876. Section D No 26, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an angel at the doors of the Pallavicino Family tomb, sculpted by A Rivalta 1896. Section D no 27, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a young giral and her dog. The Varni family tomb sculpted by S Varni 1875. Sction D No 25 the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an angel at the doors of the Pallavicino Family tomb, sculpted by A Rivalta 1896. Section D no 27, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an angel at the doors of the Pallavicino Family tomb, sculpted by A Rivalta 1896. Section D no 27, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an angel at the doors of the Pallavicino Family tomb, sculpted by A Rivalta 1896. Section D no 27, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of 2 mourning sisters at the door of their mothers pyramid shaped tomb, The Rossi Tomb sculpted by G Benetti in 1878. Section D, no 24, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of 2 mourning sisters at the door of their mothers pyramid shaped tomb, The Rossi Tomb sculpted by G Benetti in 1878. Section D, no 24, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of 2 mourning sisters at the door of their mothers pyramid shaped tomb, The Rossi Tomb sculpted by G Benetti in 1878. Section D, no 24, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a mouyring widow and two children sitting by the doors of the tomb with an angel. The Patrone tomb sculpted by S Varni 1976. Section D, no 23, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a mouyring widow and two children sitting by the doors of the tomb with an angel. The Patrone tomb sculpted by S Varni 1976. Section D, no 23, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a mouyring widow and two children sitting by the doors of the tomb with an angel. The Patrone tomb sculpted by S Varni 1976. Section D, no 23, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a mouyring widow and two children sitting by the doors of the tomb with an angel. The Patrone tomb sculpted by S Varni 1976. Section D, no 23, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a mouyring widow and two children sitting by the doors of the tomb with an angel. The Patrone tomb sculpted by S Varni 1976. Section D, no 23, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the bronze sculpture of a women dancing with a shrouded corpse. The Celle Tomb sculpted by G Monteverde in 1893. Section D, no 22, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures of the stone sculptured monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a nude looking at a skull on a crucifix.  Sculpted in an art Nouveau style the sculture is a reminder that beauty and life is transient. The Lavarello tomb sculpted by Demetrio Paernio 1914. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a nude looking at a skull on a crucifix.  Sculpted in an art Nouveau style the sculture is a reminder that beauty and life is transient. The Lavarello tomb sculpted by Demetrio Paernio 1914. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a nude looking at a skull on a crucifix.  Sculpted in an art Nouveau style the sculture is a reminder that beauty and life is transient. The Lavarello tomb sculpted by Demetrio Paernio 1914. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a nude looking at a skull on a crucifix.  Sculpted in an art Nouveau style the sculture is a reminder that beauty and life is transient. The Lavarello tomb sculpted by Demetrio Paernio 1914. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of Margherita Capurro ascending to heaven while her husband grieves, 1901.  The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of Margherita Capurro ascending to heaven while her husband grieves, 1901.  The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of Margherita Capurro ascending to heaven while her husband grieves, 1901.  The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a Jannet Duff and her gireving son. Sculpted by L Beltrami 1894. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an angel over the sarcophagus of Salvatore and Rosa Queirolo, sculpted by G Navone, 1901. Section A, no 16, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an angel over the sarcophagus of Salvatore and Rosa Queirolo, sculpted by G Navone, 1901. Section A, no 16, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image  of the stone sculpture  of a young couple and an angel. The Pietrafraccia Tomb sculped by G. Navone 1909. Section A, no 17, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image  of the stone sculpture  of a young couple and an angel. The Pietrafraccia Tomb sculped by G. Navone 1909. Section A, no 17, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image  of the stone sculpture  of a young couple and an angel. The Pietrafraccia Tomb sculped by G. Navone 1909. Section A, no 17, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture of the stone sculpture of a women in Art Nouveau style. The G.B. Susto Family Tomb sculpted by L Beltrami in 1904. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture of the stone sculpture bas relief of the Orsini Tomb sculpted by L  Bistolfi 1906-07. Section A, no 20, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture of the stone sculpture bas relief of the Orsini Tomb sculpted by L  Bistolfi 1906-07. Section A, no 20, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture of the Art Deco stone sculpture women of the Masnata tomb sculpted by E de Albertis 1935. Section A, no 22, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture of the Art Deco stone sculpture women of the Masnata tomb sculpted by E de Albertis 1935. Section A, no 22, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture of the Art Deco stone sculpture women of the Masnata tomb sculpted by E de Albertis 1935. Section A, no 22, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an angel on the Raggio Family Tomb 1887. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an angel on the Raggio Family Tomb 1887. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures of the stone sculpture of a father and son in realistic style being handed a will by the deceased. Tomb of Gian Battista Castagnola 1896. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an angel on the Raggio Family Tomb 1887. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures of the stone sculpture of a father and son in realistic style being handed a will by the deceased. Tomb of Gian Battista Castagnola 1896. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures of the stone sculpture of a father and son in realistic style being handed a will by the deceased. Tomb of Gian Battista Castagnola 1896. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an angel standing by a stone sarcophagus. The Croce Tomb sculpted by G Moreno 1889. Section A, no 23, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an angel standing by a stone sarcophagus. The Croce Tomb sculpted by G Moreno 1889. Section A, no 23, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an angel standing by a stone sarcophagus. The Croce Tomb sculpted by G Moreno 1889. Section A, no 23, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an angel standing by a stone sarcophagus. The Croce Tomb sculpted by G Moreno 1889. Section A, no 23, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture ”L’Angelo Nocchiero” (the Helmsman Angel). The sculpture depicts an angel, standing astride a small boat, beginning to secure the sails at the end of a journey. His garments are streaming behind him, suggesting a strong wind. The prow of the boat is the stoic face of a woman, and under the prow the water swirls. The Giacomo Carpaneto tomb  sculpted by Giovanni Scanzi in 1886. Section A, no 25, monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture ”L’Angelo Nocchiero” (the Helmsman Angel). The sculpture depicts an angel, standing astride a small boat, beginning to secure the sails at the end of a journey. His garments are streaming behind him, suggesting a strong wind. The prow of the boat is the stoic face of a woman, and under the prow the water swirls. The Giacomo Carpaneto tomb  sculpted by Giovanni Scanzi in 1886. Section A, no 25, monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a grieving father and son standing at the doors of a tomb. Piccollo Tomb sculpted by G Moreno 1891. Section A, no 26, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture ”L’Angelo Nocchiero” (the Helmsman Angel). The sculpture depicts an angel, standing astride a small boat, beginning to secure the sails at the end of a journey. His garments are streaming behind him, suggesting a strong wind. The prow of the boat is the stoic face of a woman, and under the prow the water swirls. The Giacomo Carpaneto tomb  sculpted by Giovanni Scanzi in 1886. Section A, no 25, monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a grieving father and son standing at the doors of a tomb. Piccollo Tomb sculpted by G Moreno 1891. Section A, no 26, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a grieving father and son standing at the doors of a tomb. Piccollo Tomb sculpted by G Moreno 1891. Section A, no 26, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a grieving father and son standing at the doors of a tomb. Piccollo Tomb sculpted by G Moreno 1891. Section A, no 26, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an agel in thought at the door of the tomb of the Mantero family. Art Nouveau style sculpted by L Orengo 1895. Section B, no 04, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an agel in thought at the door of the tomb of the Mantero family. Art Nouveau style sculpted by L Orengo 1895. Section B, no 04, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an angel blessing the deceased lying on a chez longue. Bonini Tomb sculpted by D Carli 1891. Section A, no 27, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an angel blessing the deceased lying on a chez longue. Bonini Tomb sculpted by D Carli 1891. Section A, no 27, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an angel blessing the deceased lying on a chez longue. Bonini Tomb sculpted by D Carli 1891. Section A, no 27, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture in Borgeoise Realistic style of the Rossi family tomb. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture in Borgeoise Realistic style of the Rossi family tomb. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture in Borgeoise Realistic style of the Rossi family tomb. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculptures of angels and a Sister of Charity. in memory of the surgeon Luigi Pastorini, the sculptor Navone has conceived a complex allegory, in which a feminine winged figure, representing the Medicine, distributes some wealth to a Sister of Charity who holds an ill baby. She is helped by another winged figure, the Munificence, whose regard is turned towards the deceased. The “Cappellone” Sisters – they are so named because of their large head covering – were so committed to provide aid to the poor that they have become the symbol of the assistance to the needy. Navone has succeeded in harmonizing the Medicine allegory and its delicacy with the raw representation of the poor people: in fact, as from the middle years of the bourgeois realism, the poor were portrayed in a very realistic way, without any idealization. Sculpted by G. Navone 1902. Section A, no 28,  The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculptures of angels and a Sister of Charity. in memory of the surgeon Luigi Pastorini, the sculptor Navone has conceived a complex allegory, in which a feminine winged figure, representing the Medicine, distributes some wealth to a Sister of Charity who holds an ill baby. She is helped by another winged figure, the Munificence, whose regard is turned towards the deceased. The “Cappellone” Sisters – they are so named because of their large head covering – were so committed to provide aid to the poor that they have become the symbol of the assistance to the needy. Navone has succeeded in harmonizing the Medicine allegory and its delicacy with the raw representation of the poor people: in fact, as from the middle years of the bourgeois realism, the poor were portrayed in a very realistic way, without any idealization. Sculpted by G. Navone 1902. Section A, no 28,  The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy

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