• "mum" - Mothers day chocolates
  • "I Love You" Valentines or Mothers Day Chocolates
  • "I Love You" Valentines or Mothers Day Chocolates
  • "I Love You" Valentines or Mothers Day Chocolates
  • "I Love You" Valentines or Mothers Day Chocolates
  • "I Love You" Valentines or Mothers Day Chocolates
  • "I Love You" Valentines or Mothers Day Chocolates
  • "I Love You" Valentines or Mothers Day Chocolates
  • " I love you " chocolates stock photos for Valentines or any love message. The perfect "I love you" stock image. Ready to cut out from Funky Stock Photos libr
  • " I love you " chocolates stock photos for Valentines or any love message. The perfect "I love you" stock image. Ready to cut out from Funky Stock Photos libr
  • " I love you " chocolates stock photos for Valentines or any love message. The perfect "I love you" stock image. Ready to cut out from Funky Stock Photos libr
  • " I love you " chocolates stock photos for Valentines or any love message. The perfect "I love you" stock image. Ready to cut out from Funky Stock Photos libr
  • " I love you " chocolates stock photos for Valentines or any love message. The perfect "I love you" stock image. Ready to cut out from Funky Stock Photos libr
  • " I love you " chocolates stock photos for Valentines or any love message. The perfect "I love you" stock image. Ready to cut out from Funky Stock Photos libr
  • " I love you " chocolates stock photos for Valentines or any love message. The perfect "I love you" stock image. Ready to cut out from Funky Stock Photos libr
  • " I love you " chocolates stock photos for Valentines or any love message. The perfect "I love you" stock image. Ready to cut out from Funky Stock Photos libr
  • " I love you " chocolates stock photos for Valentines or any love message. The perfect "I love you" stock image. Ready to cut out from Funky Stock Photos libr
  • " I love you " chocolates stock photos for Valentines or any love message. The perfect "I love you" stock image. Ready to cut out from Funky Stock Photos libr
  • " I love you " chocolates stock photos for Valentines or any love message. The perfect "I love you" stock image. Ready to cut out from Funky Stock Photos library.
  • " I love you " chocolates stock photos for Valentines or any love message. The perfect "I love you" stock image. Ready to cut out from Funky Stock Photos library.
  • " I love you " chocolates stock photos for Valentines or any love message. The perfect "I love you" stock image. Ready to cut out from Funky Stock Photos library.
  • " I love you " chocolates stock photos for Valentines or any love message. The perfect "I love you" stock image. Ready to cut out from Funky Stock Photos library.
  • " I love you " chocolates stock photos for Valentines or any love message. The perfect "I love you" stock image. Ready to cut out from Funky Stock Photos library.
  • " I love you " chocolates stock photos for Valentines or any love message. The perfect "I love you" stock image. Ready to cut out from Funky Stock Photos library.
  • " I love you " chocolates stock photos for Valentines or any love message. The perfect "I love you" stock image. Ready to cut out from Funky Stock Photos library.
  • Picture & image of the exterior geometric reief sculpture architectural details of Betania (Bethania ) Monastery of the Nativity of the Mother of God Georgian Orthodox complex, Georgia.<br />
<br />
Betania (Bethania ) Monastery of the Nativity of the Mother of God is a 11th century church with a cruciform ground plan and dome in the style of Georgian Orthodox church  architecture of the "Golden Age" of the Kingdom of Georgia.
  • Picture & image of the exterior geometric reief sculpture architectural details of Betania (Bethania ) Monastery of the Nativity of the Mother of God Georgian Orthodox complex, Georgia.<br />
<br />
Betania (Bethania ) Monastery of the Nativity of the Mother of God is a 11th century church with a cruciform ground plan and dome in the style of Georgian Orthodox church  architecture of the "Golden Age" of the Kingdom of Georgia.
  • Picture & image of the exterior geometric reief sculpture architectural details of Betania (Bethania ) Monastery of the Nativity of the Mother of God Georgian Orthodox complex, Georgia.<br />
<br />
Betania (Bethania ) Monastery of the Nativity of the Mother of God is a 11th century church with a cruciform ground plan and dome in the style of Georgian Orthodox church  architecture of the "Golden Age" of the Kingdom of Georgia.
  • Picture & image of the  Betania (Bethania ) Monastery of the Nativity of the Mother of God Georgian Orthodox complex, Georgia.<br />
<br />
Betania (Bethania ) Monastery of the Nativity of the Mother of God is a 11th century church with a cruciform ground plan and dome in the style of Georgian Orthodox church  architecture of the "Golden Age" of the Kingdom of Georgia.
  • Picture & image of the  Betania (Bethania ) Monastery of the Nativity of the Mother of God Georgian Orthodox complex, Georgia.<br />
<br />
Betania (Bethania ) Monastery of the Nativity of the Mother of God is a 11th century church with a cruciform ground plan and dome in the style of Georgian Orthodox church  architecture of the "Golden Age" of the Kingdom of Georgia.
  • Picture & image of the  Betania (Bethania ) Monastery of the Nativity of the Mother of God Georgian Orthodox complex, Georgia.<br />
<br />
Betania (Bethania ) Monastery of the Nativity of the Mother of God is a 11th century church with a cruciform ground plan and dome in the style of Georgian Orthodox church  architecture of the "Golden Age" of the Kingdom of Georgia.
  • Picture & image of the  Betania (Bethania ) Monastery of the Nativity of the Mother of God Georgian Orthodox complex, Georgia.<br />
<br />
Betania (Bethania ) Monastery of the Nativity of the Mother of God is a 11th century church with a cruciform ground plan and dome in the style of Georgian Orthodox church  architecture of the "Golden Age" of the Kingdom of Georgia.
  • Picture & image of the  Betania (Bethania ) Monastery of the Nativity of the Mother of God Georgian Orthodox complex, Georgia.<br />
<br />
Betania (Bethania ) Monastery of the Nativity of the Mother of God is a 11th century church with a cruciform ground plan and dome in the style of Georgian Orthodox church  architecture of the "Golden Age" of the Kingdom of Georgia.
  • Picture & image of the  Betania (Bethania ) Monastery of the Nativity of the Mother of God Georgian Orthodox complex, Georgia.<br />
<br />
Betania (Bethania ) Monastery of the Nativity of the Mother of God is a 11th century church with a cruciform ground plan and dome in the style of Georgian Orthodox church  architecture of the "Golden Age" of the Kingdom of Georgia.
  • Picture & image of the  Betania (Bethania ) Monastery of the Nativity of the Mother of God Georgian Orthodox complex, Georgia.<br />
<br />
Betania (Bethania ) Monastery of the Nativity of the Mother of God is a 11th century church with a cruciform ground plan and dome in the style of Georgian Orthodox church  architecture of the "Golden Age" of the Kingdom of Georgia.
  • Picture & image of the  Betania (Bethania ) Monastery of the Nativity of the Mother of God Georgian Orthodox complex, Georgia.<br />
<br />
Betania (Bethania ) Monastery of the Nativity of the Mother of God is a 11th century church with a cruciform ground plan and dome in the style of Georgian Orthodox church  architecture of the "Golden Age" of the Kingdom of Georgia.
  • Picture & image of the  Betania (Bethania ) Monastery of the Nativity of the Mother of God Georgian Orthodox complex, Georgia.<br />
<br />
Betania (Bethania ) Monastery of the Nativity of the Mother of God is a 11th century church with a cruciform ground plan and dome in the style of Georgian Orthodox church  architecture of the "Golden Age" of the Kingdom of Georgia.
  • Picture & image of the exterior geometric reief sculpture architectural details of Betania (Bethania ) Monastery of the Nativity of the Mother of God Georgian Orthodox complex, Georgia.<br />
<br />
Betania (Bethania ) Monastery of the Nativity of the Mother of God is a 11th century church with a cruciform ground plan and dome in the style of Georgian Orthodox church  architecture of the "Golden Age" of the Kingdom of Georgia.
  • Picture & image of the exterior geometric reief sculpture architectural details of Betania (Bethania ) Monastery of the Nativity of the Mother of God Georgian Orthodox complex, Georgia.<br />
<br />
Betania (Bethania ) Monastery of the Nativity of the Mother of God is a 11th century church with a cruciform ground plan and dome in the style of Georgian Orthodox church  architecture of the "Golden Age" of the Kingdom of Georgia.
  • Picture & image of the exterior geometric reief sculpture architectural details of Betania (Bethania ) Monastery of the Nativity of the Mother of God Georgian Orthodox complex, Georgia.<br />
<br />
Betania (Bethania ) Monastery of the Nativity of the Mother of God is a 11th century church with a cruciform ground plan and dome in the style of Georgian Orthodox church  architecture of the "Golden Age" of the Kingdom of Georgia.
  • Picture & image of the  Betania (Bethania ) Monastery of the Nativity of the Mother of God Georgian Orthodox complex, Georgia.<br />
<br />
Betania (Bethania ) Monastery of the Nativity of the Mother of God is a 11th century church with a cruciform ground plan and dome in the style of Georgian Orthodox church  architecture of the "Golden Age" of the Kingdom of Georgia.
  • Picture & image of the exterior geometric reief sculpture architectural details of Betania (Bethania ) Monastery of the Nativity of the Mother of God Georgian Orthodox complex, Georgia.<br />
<br />
Betania (Bethania ) Monastery of the Nativity of the Mother of God is a 11th century church with a cruciform ground plan and dome in the style of Georgian Orthodox church  architecture of the "Golden Age" of the Kingdom of Georgia.
  • Picture & image of the exterior geometric reief sculpture architectural details of Betania (Bethania ) Monastery of the Nativity of the Mother of God Georgian Orthodox complex, Georgia.<br />
<br />
Betania (Bethania ) Monastery of the Nativity of the Mother of God is a 11th century church with a cruciform ground plan and dome in the style of Georgian Orthodox church  architecture of the "Golden Age" of the Kingdom of Georgia.
  • Picture & image of the exterior geometric reief sculpture architectural details of Betania (Bethania ) Monastery of the Nativity of the Mother of God Georgian Orthodox complex, Georgia.<br />
<br />
Betania (Bethania ) Monastery of the Nativity of the Mother of God is a 11th century church with a cruciform ground plan and dome in the style of Georgian Orthodox church  architecture of the "Golden Age" of the Kingdom of Georgia.
  • Picture & image of the  Betania (Bethania ) Monastery of the Nativity of the Mother of God Georgian Orthodox complex, Georgia.<br />
<br />
Betania (Bethania ) Monastery of the Nativity of the Mother of God is a 11th century church with a cruciform ground plan and dome in the style of Georgian Orthodox church  architecture of the "Golden Age" of the Kingdom of Georgia.
  • Picture & image of the  Betania (Bethania ) Monastery of the Nativity of the Mother of God Georgian Orthodox complex, Georgia.<br />
<br />
Betania (Bethania ) Monastery of the Nativity of the Mother of God is a 11th century church with a cruciform ground plan and dome in the style of Georgian Orthodox church  architecture of the "Golden Age" of the Kingdom of Georgia.
  • Picture & image of the  Betania (Bethania ) Monastery of the Nativity of the Mother of God Georgian Orthodox complex, Georgia.<br />
<br />
Betania (Bethania ) Monastery of the Nativity of the Mother of God is a 11th century church with a cruciform ground plan and dome in the style of Georgian Orthodox church  architecture of the "Golden Age" of the Kingdom of Georgia.
  • Picture & image of the  Betania (Bethania ) Monastery of the Nativity of the Mother of God Georgian Orthodox complex, Georgia.<br />
<br />
Betania (Bethania ) Monastery of the Nativity of the Mother of God is a 11th century church with a cruciform ground plan and dome in the style of Georgian Orthodox church  architecture of the "Golden Age" of the Kingdom of Georgia.
  • Picture & image of the  Betania (Bethania ) Monastery of the Nativity of the Mother of God Georgian Orthodox complex, Georgia.<br />
<br />
Betania (Bethania ) Monastery of the Nativity of the Mother of God is a 11th century church with a cruciform ground plan and dome in the style of Georgian Orthodox church  architecture of the "Golden Age" of the Kingdom of Georgia.
  • Picture & image of the  Betania (Bethania ) Monastery of the Nativity of the Mother of God Georgian Orthodox complex, Georgia.<br />
<br />
Betania (Bethania ) Monastery of the Nativity of the Mother of God is a 11th century church with a cruciform ground plan and dome in the style of Georgian Orthodox church  architecture of the "Golden Age" of the Kingdom of Georgia.
  • Picture & image of the  Betania (Bethania ) Monastery of the Nativity of the Mother of God Georgian Orthodox complex, Georgia.<br />
<br />
Betania (Bethania ) Monastery of the Nativity of the Mother of God is a 11th century church with a cruciform ground plan and dome in the style of Georgian Orthodox church  architecture of the "Golden Age" of the Kingdom of Georgia.
  • Stock photos of Young Donkey with its mother - Dalnatian mountains - Dubrovnik Croatia
  • Stock photos of Young Donkey with its mother - Dalnatian mountains - Dubrovnik Croatia
  • Mother holding babies hand
  • Mother holding babies hand
  • Mother holding babies hand
  • Mother holding babies hand
  • Gothic altarpiece of Madonna and Child possibly by Francesco del Cossa of Ferrara, circa 1460, tempera and gold leaf on wood.  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  64971.
  • Gothic statue of The Virgin Mary (Madonna) holding the baby Jesus. Polychrome and gold leaf on wood by the Circle of Gil de Siloe around 1500, probably from Castella. Inv MNAC 64028. National Museum of Catalan Art (MNAC), Barcelona, Spain. Against a black background.
  • Gothic statue of The Virgin Mary (Madonna) holding the baby Jesus. Polychrome and gold leaf on wood by the Circle of Gil de Siloe around 1500, probably from Castella. Inv MNAC 64028. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Gothic painted panel of the Nativity scene by Taddeo Gabbi of Florence, circa 1325, tempera and gold leaf on wood. National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC 212807. Against a grey art background. <br />
Taddeo Gabbi, one of Giotto's most brilliant disciples, painted this Nativity when he was still part of Giotto's workshop. The painting has many of Giotto's hallmarks such as  spatial illusionism or the reality of figures that can be seen in the nativity of the Peruzzi Chapel.<br />
<br />
SPANISH<br />
<br />
Taddeo Gabbi, uno de los discipulos mas brillantes de Giotto, debio pintar esta Natividad cuando aun formaba parte del taller del maestro. En ella se ven las conquistas de la "revolucion giottesca", como el illusioismo espacial o el realismo de las figuras. Maria arropa a Jesus dentro del establo, mientras los sobrevuela un grupo de angeles. La posicion de uno de ellos y la presencia de una oveja indican que la composicion se completaba a la izquierda con el Anuncio a los pastores. En primer termino aparecen un pensativo Jose y las dos parteras que susurran, un recurso ya utilizado pr Giotto en los frescos de la Capilla Peruzzi.
  • Gothic altarpiece of Madonna and Child by Bernardo Daddi, circa 1340-1345, tempera and gold leaf on wood.  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  212806. Against a art background.
  • Gothic altarpiece of Madonna Of Humility With The Eternal Father In Glory, by Cenni di Francesco di Ser Cenni of Florence, circa 1375-80, tempera and gold leaf on wood. The Madonna and Child are depicted with the 12 apostles. National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  212805. Against a white background.
  • Gothic altarpiece of Madonna Of Humility With The Eternal Father In Glory, by Cenni di Francesco di Ser Cenni of Florence, circa 1375-80, tempera and gold leaf on wood. The Madonna and Child are depicted with the 12 apostles. National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  212805. Against a grey art background.
  • Gothic altarpiece of Madonna and Child with St Peter and Paul by Vicenzo Frediani, circa 1490, tempera and gold leaf on wood.  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  64978. Against a grey art background.
  • Gothic Altarpiece of the Madonna Nursing or Madonna Lactans, by Ramon de Mur, active around Tarrega and Montblanc circa 1412-1435, tempera and gold leaf on for wood, from the parish church of Santa Maria de Cervera (Segarra),  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  15818.
  • Gothic Altarpiece of the Madonna Nursing or Madonna Lactans, by Ramon de Mur, active around Tarrega and Montblanc circa 1412-1435, tempera and gold leaf on for wood, from the parish church of Santa Maria de Cervera (Segarra),  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  15818. Against a grey art background.
  • Gothic altarpiece of Madonna and Child by Niccolo di Tommaso, circa 1362-1367, tempera and gold leaf on wood.  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  212809. Against a white background.
  • Gothic Altarpiece of the Madonna Nursing or Madonna Lactans, by Ramon de Mur, active around Tarrega and Montblanc circa 1412-1435, tempera and gold leaf on for wood, from the parish church of Santa Maria de Cervera (Segarra),  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  15818. Against a art background.
  • Gothic altarpiece of Madonna and Child by Niccolo di Tommaso, circa 1362-1367, tempera and gold leaf on wood.  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  212809. Against a art background.
  • Gothic altarpiece of Madonna and Child by Niccolo di Tommaso, circa 1362-1367, tempera and gold leaf on wood.  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  212809.
  • Gothic wooden statue of Madonna and Child from Bohemia, circa 1530-1540, tempera and gold leaf on wood,.  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  65506. Against a white background.
  • Gothic wooden statue of Madonna and Child from Bohemia, circa 1530-1540, tempera and gold leaf on wood,.  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  65506. Against a black background.
  • Gothic wooden statue of Madonna and Child from Bohemia, circa 1530-1540, tempera and gold leaf on wood,.  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  65506.
  • Gothic wooden statue of Madonna and Child from Bohemia, circa 1530-1540, tempera and gold leaf on wood,.  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  65506. Against a art background.
  • Gothic wooden statue of Madonna and Child by Seguidor de Diego de Siloe of Burgos, circa 1530-1540, tempera and gold leaf on wood, from the church of San Miguel de Medina del Campo, Valladolid..  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  131050. Against a white background.
  • Gothic Altarpiece of Madonna and Child enthroned with angels byPero di Giovanni known as "Lorenzo Monaco" of Sienna and Florence, circa 1415-1420, tempera and gold leaf on wood. National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC 212808.<br />
<br />
The Virgin Mary is seated with the child standing on her lap, in an attitude of blessing, accompanied by angels with incentives. The composition is very simple and fuses Sienese and Florentine pictorial traditions in the style of Lorenzo Monaco, monk of the convent of Santa Maria degli Angeli in Florence and the last representative of the style of Giotto before the Renaissance revival of Fra Angelico.
  • Gothic Catalan Altarpiece of Madonna and Child by Jaume Huguet, circa 1450, tempera and gold leaf on wood, from the parish church of Vallmoll, Alt Camp.  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  64066.
  • Gothic Altarpiece of the Madonna Nursing or Madonna Lactans, by Ramon de Mur, active around Tarrega and Montblanc circa 1412-1435, tempera and gold leaf on for wood, from the parish church of Santa Maria de Cervera (Segarra),  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  15818.
  • Gothic Altarpiece of the Madonna and Child nursing or Madonna Lactans, with St Clara and St Anthony the Abbot from the workshop of Llorenc, Saragossa,  last quarter of the 14th century, tempera and gold leaf on for wood, from Xelva (Valencia),  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  64027.
  • Grindelwald First- Walkers - Bernese Alps - Switzerland
  • Gothic altarpiece of Madonna and Child and the Saints, by Rossello di Jacopo Franchi, from Florence, 1st quarter of 15th century.  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  15932.
  • Gothic painted panel of the Nativity scene by Taddeo Gabbi of Florence, circa 1325, tempera and gold leaf on wood. National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC 212807. <br />
Taddeo Gabbi, one of Giotto's most brilliant disciples, painted this Nativity when he was still part of Giotto's workshop. The painting has many of Giotto's hallmarks such as  spatial illusionism or the reality of figures that can be seen in the nativity of the Peruzzi Chapel.<br />
<br />
SPANISH<br />
<br />
Taddeo Gabbi, uno de los discipulos mas brillantes de Giotto, debio pintar esta Natividad cuando aun formaba parte del taller del maestro. En ella se ven las conquistas de la "revolucion giottesca", como el illusioismo espacial o el realismo de las figuras. Maria arropa a Jesus dentro del establo, mientras los sobrevuela un grupo de angeles. La posicion de uno de ellos y la presencia de una oveja indican que la composicion se completaba a la izquierda con el Anuncio a los pastores. En primer termino aparecen un pensativo Jose y las dos parteras que susurran, un recurso ya utilizado pr Giotto en los frescos de la Capilla Peruzzi.
  • Gothic statue of The Virgin Mary (Madonna) holding the baby Jesus. Polychrome and gold leaf on wood by the Circle of Gil de Siloe around 1500, probably from Castella. Inv MNAC 64028. National Museum of Catalan Art (MNAC), Barcelona, Spain. Against a white background.
  • Gothic statue of The Virgin Mary (Madonna) holding the baby Jesus. Polychrome and gold leaf on wood by the Circle of Gil de Siloe around 1500, probably from Castella. Inv MNAC 64028. National Museum of Catalan Art (MNAC), Barcelona, Spain. Against a art background.
  • Gothic statue of The Virgin Mary (Madonna) holding the baby Jesus. Polychrome and gold leaf on wood by the Circle of Gil de Siloe around 1500, probably from Castella. Inv MNAC 64028. National Museum of Catalan Art (MNAC), Barcelona, Spain. Against a grey art background.
  • Gothic painted panel of the Nativity scene by Taddeo Gabbi of Florence, circa 1325, tempera and gold leaf on wood. National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC 212807. Against a black background. <br />
Taddeo Gabbi, one of Giotto's most brilliant disciples, painted this Nativity when he was still part of Giotto's workshop. The painting has many of Giotto's hallmarks such as  spatial illusionism or the reality of figures that can be seen in the nativity of the Peruzzi Chapel.<br />
<br />
SPANISH<br />
<br />
Taddeo Gabbi, uno de los discipulos mas brillantes de Giotto, debio pintar esta Natividad cuando aun formaba parte del taller del maestro. En ella se ven las conquistas de la "revolucion giottesca", como el illusioismo espacial o el realismo de las figuras. Maria arropa a Jesus dentro del establo, mientras los sobrevuela un grupo de angeles. La posicion de uno de ellos y la presencia de una oveja indican que la composicion se completaba a la izquierda con el Anuncio a los pastores. En primer termino aparecen un pensativo Jose y las dos parteras que susurran, un recurso ya utilizado pr Giotto en los frescos de la Capilla Peruzzi.
  • Gothic painted panel of the Nativity scene by Taddeo Gabbi of Florence, circa 1325, tempera and gold leaf on wood. National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC 212807. Against a art background. <br />
Taddeo Gabbi, one of Giotto's most brilliant disciples, painted this Nativity when he was still part of Giotto's workshop. The painting has many of Giotto's hallmarks such as  spatial illusionism or the reality of figures that can be seen in the nativity of the Peruzzi Chapel.<br />
<br />
SPANISH<br />
<br />
Taddeo Gabbi, uno de los discipulos mas brillantes de Giotto, debio pintar esta Natividad cuando aun formaba parte del taller del maestro. En ella se ven las conquistas de la "revolucion giottesca", como el illusioismo espacial o el realismo de las figuras. Maria arropa a Jesus dentro del establo, mientras los sobrevuela un grupo de angeles. La posicion de uno de ellos y la presencia de una oveja indican que la composicion se completaba a la izquierda con el Anuncio a los pastores. En primer termino aparecen un pensativo Jose y las dos parteras que susurran, un recurso ya utilizado pr Giotto en los frescos de la Capilla Peruzzi.
  • Gothic painted panel of the Nativity scene by Taddeo Gabbi of Florence, circa 1325, tempera and gold leaf on wood. National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC 212807. <br />
Taddeo Gabbi, one of Giotto's most brilliant disciples, painted this Nativity when he was still part of Giotto's workshop. The painting has many of Giotto's hallmarks such as  spatial illusionism or the reality of figures that can be seen in the nativity of the Peruzzi Chapel.<br />
<br />
SPANISH<br />
<br />
Taddeo Gabbi, uno de los discipulos mas brillantes de Giotto, debio pintar esta Natividad cuando aun formaba parte del taller del maestro. En ella se ven las conquistas de la "revolucion giottesca", como el illusioismo espacial o el realismo de las figuras. Maria arropa a Jesus dentro del establo, mientras los sobrevuela un grupo de angeles. La posicion de uno de ellos y la presencia de una oveja indican que la composicion se completaba a la izquierda con el Anuncio a los pastores. En primer termino aparecen un pensativo Jose y las dos parteras que susurran, un recurso ya utilizado pr Giotto en los frescos de la Capilla Peruzzi.
  • Gothic altarpiece of Madonna and Child by Bernardo Daddi, circa 1340-1345, tempera and gold leaf on wood.  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  212806. Against a white background.
  • Gothic altarpiece of Madonna and Child by Bernardo Daddi, circa 1340-1345, tempera and gold leaf on wood.  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  212806. Against a black background.
  • Gothic altarpiece of Madonna and Child by Bernardo Daddi, circa 1340-1345, tempera and gold leaf on wood.  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  212806.
  • Gothic altarpiece of Madonna and Child by Bernardo Daddi, circa 1340-1345, tempera and gold leaf on wood.  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  212806. Against a grey art background.
  • Gothic altarpiece of Madonna Of Humility With The Eternal Father In Glory, by Cenni di Francesco di Ser Cenni of Florence, circa 1375-80, tempera and gold leaf on wood. The Madonna and Child are depicted with the 12 apostles. National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  212805. Against a black background.
  • Gothic altarpiece of Madonna Of Humility With The Eternal Father In Glory, by Cenni di Francesco di Ser Cenni of Florence, circa 1375-80, tempera and gold leaf on wood. The Madonna and Child are depicted with the 12 apostles. National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  212805.
  • Gothic altarpiece of Madonna Of Humility With The Eternal Father In Glory, by Cenni di Francesco di Ser Cenni of Florence, circa 1375-80, tempera and gold leaf on wood. The Madonna and Child are depicted with the 12 apostles. National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  212805. Against a art background.
  • Gothic altarpiece of Madonna and Child with St Peter and Paul by Vicenzo Frediani, circa 1490, tempera and gold leaf on wood.  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  64978. Against a white background.
  • Gothic altarpiece of Madonna and Child with St Peter and Paul by Vicenzo Frediani, circa 1490, tempera and gold leaf on wood.  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  64978. Against a black background.
  • Gothic altarpiece of Madonna and Child with St Peter and Paul by Vicenzo Frediani, circa 1490, tempera and gold leaf on wood.  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  64978.
  • Gothic altarpiece of Madonna and Child with St Peter and Paul by Vicenzo Frediani, circa 1490, tempera and gold leaf on wood.  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  64978. Against a art background.
  • Gothic altarpiece of Madonna and Child and 4 angels, by Pere Garcia de Benavarri, circa 1445-1485, tempera and gold leaf on wood.  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  15817. Against a white background.
  • Gothic altarpiece of Madonna and Child and 4 angels, by Pere Garcia de Benavarri, circa 1445-1485, tempera and gold leaf on wood.  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  15817. Against a black background.
  • Gothic altarpiece of Madonna and Child and 4 angels, by Pere Garcia de Benavarri, circa 1445-1485, tempera and gold leaf on wood.  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  15817.
  • Gothic altarpiece of Madonna and Child and 4 angels, by Pere Garcia de Benavarri, circa 1445-1485, tempera and gold leaf on wood.  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  15817. Against a art background.
  • Gothic altarpiece of Madonna and Child and 4 angels, by Pere Garcia de Benavarri, circa 1445-1485, tempera and gold leaf on wood.  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  15817. Against a grey art background.
  • Gothic Altarpiece of the Madonna Nursing or Madonna Lactans, by Ramon de Mur, active around Tarrega and Montblanc circa 1412-1435, tempera and gold leaf on for wood, from the parish church of Santa Maria de Cervera (Segarra),  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  15818. Against a white background.
  • Gothic Altarpiece of the Madonna Nursing or Madonna Lactans, by Ramon de Mur, active around Tarrega and Montblanc circa 1412-1435, tempera and gold leaf on for wood, from the parish church of Santa Maria de Cervera (Segarra),  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  15818. Against a black background.
  • Gothic altarpiece of Madonna and Child by Niccolo di Tommaso, circa 1362-1367, tempera and gold leaf on wood.  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  212809. Against a black background.
  • Gothic altarpiece of Madonna and Child by Niccolo di Tommaso, circa 1362-1367, tempera and gold leaf on wood.  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  212809. Against a grey art background.
  • Gothic wooden statue of Madonna and Child from Bohemia, circa 1530-1540, tempera and gold leaf on wood,.  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  65506. Against a grey art background.
  • Gothic wooden statue of Madonna and Child by Seguidor de Diego de Siloe of Burgos, circa 1530-1540, tempera and gold leaf on wood, from the church of San Miguel de Medina del Campo, Valladolid..  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  131050. Against a black background.
  • Gothic wooden statue of Madonna and Child by Seguidor de Diego de Siloe of Burgos, circa 1530-1540, tempera and gold leaf on wood, from the church of San Miguel de Medina del Campo, Valladolid..  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  131050.
  • Gothic wooden statue of Madonna and Child by Seguidor de Diego de Siloe of Burgos, circa 1530-1540, tempera and gold leaf on wood, from the church of San Miguel de Medina del Campo, Valladolid..  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  131050. Against a grey art background.
  • Gothic wooden statue of Madonna and Child by Seguidor de Diego de Siloe of Burgos, circa 1530-1540, tempera and gold leaf on wood, from the church of San Miguel de Medina del Campo, Valladolid..  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  131050. Against a art background.
  • Gothic Altarpiece of Madonna and Child by Giovanni de Bologna, circa 1380-1389, tempera and gold leaf on wood.  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  212802.
  • Gothic Altarpiece of Madonna and Child by Francesc d'Orsona of Valencia, circa 1500-1505, tempera and gold leaf on wood, from the monastery of Sant Jeroni de Cotalba, Valencia.  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  44357.
  • Gothic Altarpiece of the Madonna Nursing or Madonna Lactans, by Ramon de Mur, active around Tarrega and Montblanc circa 1412-1435, tempera and gold leaf on for wood, from the parish church of Santa Maria de Cervera (Segarra),  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  15818.
  • Gothic Altarpiece of the Madonna and Child nursing or Madonna Lactans, with St Clara and St Anthony the Abbot from the workshop of Llorenc, Saragossa,  last quarter of the 14th century, tempera and gold leaf on for wood, from Xelva (Valencia),  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  64027.
  • Hungarian Regional Gastronomic Festival 2009 - Gyor ( Gy?r ) Hungary
  • 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 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 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 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
  • Armenian script over thr door of the cathedral of Ani, Also known as Surp Asdvadzadzin (church of the Holy Mother of God), its construction was started in the year 989, under King Smbat II.  Ani archaelogical site on the Ancient Silk Road , Anatolia, Turkey
  • The cathedral of Ani, Also known as Surp Asdvadzadzin (church of the Holy Mother of God), its construction was started in the year 989, under King Smbat II.  Ani archaelogical site on the Ancient Silk Road , Anatolia, Turkey
  • Ancient Egyptian limestone funerary stele of Ipepi with his wife, mother and sister in front of Osiris. Middle Kingdom, 11th Dynasty, 2120-1980 BC. Neues Museum Berlin Cat No: AM 24031.
  • Ancient Egyptian limestone funerary stele of Ipepi with his wife, mother and sister in front of Osiris. Middle Kingdom, 11th Dynasty, 2120-1980 BC. Neues Museum Berlin Cat No: AM 24031.
  • Kouros Statues of the Archaic Period. Early 6th c. B.C. (circa 580 B.C.)  Known as Kleovis and Biton, the two boys who heroically pulled their mother on her chariot to the sanctuary where she was to worship. They pulled the chariot for a distance of about 8km. They died the same night peacefully in their sleep according to Herodotus. Delphi Archaeological Museum.
  • Pictures & images of the Byzantine apse fresco of Theotokos, depicting the Virgin Mary, the  Mother of God, and child,  in the Gelati Georgian Orthodox Church St George, 13th century, depicting scenes from the Passion of Christ.  The medieval Gelati monastic complex near Kutaisi in the Imereti region of western Georgia (country). A UNESCO World Heritage Site.
  • 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.
  • Gothic Catalan altarpiece depicting the Madonna of Mercy by Bonant Zaortiga, circa 1430-1440, tempera and gold leaf on wood, from the church of Mare de Dieu de Carrasca , Blancas, Terol, Spain<br />
Bonnat Zaortiga was one of the most prominent representatives of the international Gothic. The Mother of God of Mercy  protects humans with her cape, symbolizing one of the most feared evils of the European Middle Ages, plague, often understood as a punishment for the sins of mankind. This was the central panel of the altarpiece of the church of the Mother of God. National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC 3945.
  • Gothic Catalan altarpiece depicting the Madonna of Mercy by Bonant Zaortiga, circa 1430-1440, tempera and gold leaf on wood, from the church of Mare de Dieu de Carrasca , Blancas, Terol, Spain. Against a grey art background. <br />
Bonnat Zaortiga was one of the most prominent representatives of the international Gothic. The Mother of God of Mercy  protects humans with her cape, symbolizing one of the most feared evils of the European Middle Ages, plague, often understood as a punishment for the sins of mankind. This was the central panel of the altarpiece of the church of the Mother of God. National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC 3945.
  • Kouros Statues of the Archaic Period. Early 6th c. B.C. (circa 580 B.C.)  Known as Kleovis and Biton, the two boys who heroically pulled their mother on her chariot to the sanctuary where she was to worship. They pulled the chariot for a distance of about 8km. They died the same night peacefully in their sleep according to Herodotus. Delphi Archaeological Museum.
  • Kouros Statues of the Archaic Period. Early 6th c. B.C. (circa 580 B.C.)  Known as Kleovis and Biton, the two boys who heroically pulled their mother on her chariot to the sanctuary where she was to worship. They pulled the chariot for a distance of about 8km. They died the same night peacefully in their sleep according to Herodotus. Delphi Archaeological Museum.
  • Kouros Statues of the Archaic Period. Early 6th c. B.C. (circa 580 B.C.)  Known as Kleovis and Biton, the two boys who heroically pulled their mother on her chariot to the sanctuary where she was to worship. They pulled the chariot for a distance of about 8km. They died the same night peacefully in their sleep according to Herodotus. Delphi Archaeological Museum.
  • Roman marble portrait bust of Matidia circa119 AD from Via Giolitti, Rome. Matidia was Sabina’s mother and Hadrian’s wife. The high level of idealisation of the portrait suggests that it was made after her death. Capitoline Museums, Rome
  • Roman marble portrait bust of Matidia circa119 AD from Via Giolitti, Rome. Matidia was Sabina’s mother and Hadrian’s wife. The high level of idealisation of the portrait suggests that it was made after her death. Capitoline Museums, Rome
  • Medieval Rose Window of the North Transept of the Gothic Cathedral of Chartres, France- Circa 1235. A UNESCO World Heritage Site. The 10.5m rose window is dedicated to the Virgin Mary . The central oculus shows the Virgin and Child and is surrounded by 12 small petal-shaped windows, 4 with doves (the 'Four Gifts of the Spirit'), the rest with adoring angels carrying candlesticks. Beyond this is a ring of 12 diamond-shaped openings containing the Old Testament Kings of Judah, another ring of smaller lozenges containing the arms of France and Castille, and finally a ring of semicircles containing Old Testament Prophets holding scrolls. The presence of the arms of the French king (yellow fleurs-de-lis on a blue background) and of his mother, Blanche of Castile (yellow castles on a red background) are taken as a sign of royal patronage for this window. Beneath the rose itself are five tall lancet windows (7.5 m high) showing, in the centre, the Virgin as an infant held by her mother, St Anne - the same subject as the trumeau in the portal beneath it. Flanking this lancet are four more containing Old Testament figures. Each of these standing figures is shown symbolically triumphing over an enemy depicted in the base of the lancet beneath them - David over Saul, Aaron over Pharaoh, St Anne over Synagoga, etc
  • Young girl and her mother wind blowing sorgum grain in a village. West Nile Uganda
  • Ancient Egyptian limestone funerary stele of Ipepi with his wife, mother and sister in front of Osiris. Middle Kingdom, 11th Dynasty, 2120-1980 BC. Neues Museum Berlin Cat No: AM 24031.
  • Ancient Egyptian limestone funerary stele of Ipepi with his wife, mother and sister in front of Osiris. Middle Kingdom, 11th Dynasty, 2120-1980 BC. Neues Museum Berlin Cat No: AM 24031.
  • Ancient Egyptian limestone funerary stele of Ipepi with his wife, mother and sister in front of Osiris. Middle Kingdom, 11th Dynasty, 2120-1980 BC. Neues Museum Berlin Cat No: AM 24031.
  • Kouros Statues of the Archaic Period. Early 6th c. B.C. (circa 580 B.C.)  Known as Kleovis and Biton, the two boys who heroically pulled their mother on her chariot to the sanctuary where she was to worship. They pulled the chariot for a distance of about 8km. They died the same night peacefully in their sleep according to Herodotus. Delphi Archaeological Museum.
  • Kouros Statues of the Archaic Period. Early 6th c. B.C. (circa 580 B.C.)  Known as Kleovis and Biton, the two boys who heroically pulled their mother on her chariot to the sanctuary where she was to worship. They pulled the chariot for a distance of about 8km. They died the same night peacefully in their sleep according to Herodotus. Delphi Archaeological Museum.
  • Kouros Statues of the Archaic Period. Early 6th c. B.C. (circa 580 B.C.)  Known as Kleovis and Biton, the two boys who heroically pulled their mother on her chariot to the sanctuary where she was to worship. They pulled the chariot for a distance of about 8km. They died the same night peacefully in their sleep according to Herodotus. Delphi Archaeological Museum.
  • Kouros Statues of the Archaic Period. Early 6th c. B.C. (circa 580 B.C.)  Known as Kleovis and Biton, the two boys who heroically pulled their mother on her chariot to the sanctuary where she was to worship. They pulled the chariot for a distance of about 8km. They died the same night peacefully in their sleep according to Herodotus. Delphi Archaeological Museum.
  • Pictures & images of the Byzantine apse fresco of Theotokos, depicting the Virgin Mary, the  Mother of God, and child,  in the Gelati Georgian Orthodox Church St George, 13th century, depicting scenes from the Passion of Christ.  The medieval Gelati monastic complex near Kutaisi in the Imereti region of western Georgia (country). A UNESCO World Heritage Site.
  • Pictures & images of the Byzantine apse fresco of Theotokos, depicting the Virgin Mary, the  Mother of God, and child,  in the Gelati Georgian Orthodox Church St George, 13th century, depicting scenes from the Passion of Christ.  The medieval Gelati monastic complex near Kutaisi in the Imereti region of western Georgia (country). A UNESCO World Heritage Site.
  • Pictures & images of the Byzantine apse fresco of Theotokos, depicting the Virgin Mary, the  Mother of God, and child,  in the Gelati Georgian Orthodox Church St George, 13th century, depicting scenes from the Passion of Christ.  The medieval Gelati monastic complex near Kutaisi in the Imereti region of western Georgia (country). A UNESCO World Heritage Site.
  • Pictures & images of the Byzantine apse fresco of Theotokos, depicting the Virgin Mary, the  Mother of God, and child,  in the Gelati Georgian Orthodox Church St George, 13th century, depicting scenes from the Passion of Christ.  The medieval Gelati monastic complex near Kutaisi in the Imereti region of western Georgia (country). A UNESCO World Heritage Site.
  • Pictures & images of the Byzantine tympanum fresco of Theotokos, depicting the Virgin Mary, the  Mother of God, and child, 1126-1130, in the apse of the Gelati Georgian Orthodox Church of the Virgin, 1106. The medieval Gelati monastic complex near Kutaisi in the Imereti region of western Georgia (country). A UNESCO World Heritage Site.
  • Pictures & images of the Byzantine tympanum fresco of Theotokos, depicting the Virgin Mary, the  Mother of God, and child, 1126-1130, in the apse of the Gelati Georgian Orthodox Church of the Virgin, 1106. The medieval Gelati monastic complex near Kutaisi in the Imereti region of western Georgia (country). A UNESCO World Heritage Site.
  • Pictures & images of the Byzantine mosaic of Theotokos, depicting the Virgin Mary, the  Mother of God, and child, 1126-1130, in the apse of the Gelati Georgian Orthodox Church of the Virgin, 1106. The medieval Gelati monastic complex near Kutaisi in the Imereti region of western Georgia (country). A UNESCO World Heritage Site.
  • Pictures & images of the Byzantine mosaic of Theotokos, depicting the Virgin Mary, the  Mother of God, and child, 1126-1130, in the apse of the Gelati Georgian Orthodox Church of the Virgin, 1106. The medieval Gelati monastic complex near Kutaisi in the Imereti region of western Georgia (country). A UNESCO World Heritage Site.
  • Pictures & images of the Byzantine mosaic of Theotokos, depicting the Virgin Mary, the  Mother of God, and child, 1126-1130, in the apse of the Gelati Georgian Orthodox Church of the Virgin, 1106. The medieval Gelati monastic complex near Kutaisi in the Imereti region of western Georgia (country). A UNESCO World Heritage Site.
  • 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.
  • 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.
  • Gothic Catalan altarpiece depicting the Madonna of Mercy by Bonant Zaortiga, circa 1430-1440, tempera and gold leaf on wood, from the church of Mare de Dieu de Carrasca , Blancas, Terol, Spain. Against a white background.<br />
Bonnat Zaortiga was one of the most prominent representatives of the international Gothic. The Mother of God of Mercy  protects humans with her cape, symbolizing one of the most feared evils of the European Middle Ages, plague, often understood as a punishment for the sins of mankind. This was the central panel of the altarpiece of the church of the Mother of God. National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC 3945.
  • Gothic Catalan altarpiece depicting the Madonna of Mercy by Bonant Zaortiga, circa 1430-1440, tempera and gold leaf on wood, from the church of Mare de Dieu de Carrasca , Blancas, Terol, Spain. Against a black background. <br />
Bonnat Zaortiga was one of the most prominent representatives of the international Gothic. The Mother of God of Mercy  protects humans with her cape, symbolizing one of the most feared evils of the European Middle Ages, plague, often understood as a punishment for the sins of mankind. This was the central panel of the altarpiece of the church of the Mother of God. National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC 3945.
  • Gothic Catalan altarpiece depicting the Madonna of Mercy by Bonant Zaortiga, circa 1430-1440, tempera and gold leaf on wood, from the church of Mare de Dieu de Carrasca , Blancas, Terol, Spain. Against a art background. <br />
Bonnat Zaortiga was one of the most prominent representatives of the international Gothic. The Mother of God of Mercy  protects humans with her cape, symbolizing one of the most feared evils of the European Middle Ages, plague, often understood as a punishment for the sins of mankind. This was the central panel of the altarpiece of the church of the Mother of God. National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC 3945.
  • Gothic Catalan altar piece depicting the Madonna of Mercy by Bonant Zaortiga, circa 1430-1440, tempera and gold leaf on wood, from the church of Mare de Dieu de Carrasca , Blancas, Terol, Spain<br />
Bonnat Zaortiga was one of the most prominent representatives of the international Gothic. The Mother of God of Mercy  protects humans with her cape, symbolising one of the most feared evils of the European Middle Ages, plague, often understood as a punishment for the sins of mankind. This was the central panel of the altarpiece of the church of the Mother of God. National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC 3945.
  • The Kilamuwa Stela a stele of King Kilamuwa, from the Kingdom of Sam'al. The stele is a 16-line text in Phoenician. King Kilamuwa is shown standing on the upper left and addressing four Canaanite god-insignias with his right arm and finger. His left hand is draped at his left side holding a wilted lotus flower, a symbol of a king's death. He is dressed in king's regalia with hat, and his figure stands at the beginning of the first nine lines of the text.. Basalt  9th-century BC. Vorderasiatisches Museum, Pergamon Museum, Berlin.  The text reads "I am Kilamuwa, the son of King Haya'. King Gabar reigned over Ya'diya-(Sam'al) but achieved nothing.<br />
Then came Bamah, and he achieved nothing.<br />
My own father, Haya', did nothing with his reign.<br />
My brother, Sha'il, also did nothing.<br />
It was I, Kilamuwa...who managed to do what none of my ancestors had.<br />
My father's kingdom was beset by powerful, predatory kings, all holding out their hands, demanding to be fed.<br />
But I raged amongst them like a fire, burning their beards and consuming their outstretched hands.<br />
Only the Danunian kings overmastered me; I had to call on the King of Assyria to assist me...<br />
I, Kilamuwa, the son of Haya', ascended my father's throne.<br />
Under their previous kings, the [people] had howled like dogs.<br />
But I was a father, a mother and a brother to them.<br />
I gave gold, silver and cattle to men who had never so much as seen the face of a sheep before.<br />
Those who had never even seen linen all their lives I clothed in byssus-cloth from head to foot.<br />
I took the [people] by the hand and in their souls they looked to me just as the orphan looks to his mother."<br />
"Whoever of my sons comes after me and interferes with this inscription, may he be dishonoured among the people...<br />
And if anyone should damage this inscription,<br />
Let Gabar's god Ba'al-Samad destroy his head,<br />
And let Bamah's god Ba'al Hamon destroy his head..."<br />
Together with Reχub-ʾEl, the Lord of the Palace
  • Roman marble portrait bust of Matidia circa119 AD from Via Giolitti, Rome. Matidia was Sabina’s mother and Hadrian’s wife. The high level of idealisation of the portrait suggests that it was made after her death. Capitoline Museums, Rome
  • Roman marble portrait bust of Matidia circa119 AD from Via Giolitti, Rome. Matidia was Sabina’s mother and Hadrian’s wife. The high level of idealisation of the portrait suggests that it was made after her death. Capitoline Museums, Rome
  • Roman marble portrait bust of Matidia circa119 AD from Via Giolitti, Rome. Matidia was Sabina’s mother and Hadrian’s wife. The high level of idealisation of the portrait suggests that it was made after her death. Capitoline Museums, Rome
  • Medieval Rose Window of the North Transept of the Gothic Cathedral of Chartres, France- Circa 1235. A UNESCO World Heritage Site. The 10.5m rose window is dedicated to the Virgin Mary . The central oculus shows the Virgin and Child and is surrounded by 12 small petal-shaped windows, 4 with doves (the 'Four Gifts of the Spirit'), the rest with adoring angels carrying candlesticks. Beyond this is a ring of 12 diamond-shaped openings containing the Old Testament Kings of Judah, another ring of smaller lozenges containing the arms of France and Castille, and finally a ring of semicircles containing Old Testament Prophets holding scrolls. The presence of the arms of the French king (yellow fleurs-de-lis on a blue background) and of his mother, Blanche of Castile (yellow castles on a red background) are taken as a sign of royal patronage for this window. Beneath the rose itself are five tall lancet windows (7.5 m high) showing, in the centre, the Virgin as an infant held by her mother, St Anne - the same subject as the trumeau in the portal beneath it. Flanking this lancet are four more containing Old Testament figures. Each of these standing figures is shown symbolically triumphing over an enemy depicted in the base of the lancet beneath them - David over Saul, Aaron over Pharaoh, St Anne over Synagoga, etc
  • Figures from the East Pediment of the Parthenon, Acropolis Athens. From left to right cat no K possibly the goddess Hestia ,L & M probably the goddess Aphrodite lying the the lap of Dione her mother. British Museum London Exhibit
  • Kouros Statues of the Archaic Period. Early 6th c. B.C. (circa 580 B.C.)  Known as Kleovis and Biton, the two boys who heroically pulled their mother on her chariot to the sanctuary where she was to worship. They pulled the chariot for a distance of about 8km. They died the same night peacefully in their sleep according to Herodotus. Delphi Archaeological Museum.
  • Kouros Statues of the Archaic Period. Early 6th c. B.C. (circa 580 B.C.)  Known as Kleovis and Biton, the two boys who heroically pulled their mother on her chariot to the sanctuary where she was to worship. They pulled the chariot for a distance of about 8km. They died the same night peacefully in their sleep according to Herodotus. Delphi Archaeological Museum.
  • Kouros Statues of the Archaic Period. Early 6th c. B.C. (circa 580 B.C.)  Known as Kleovis and Biton, the two boys who heroically pulled their mother on her chariot to the sanctuary where she was to worship. They pulled the chariot for a distance of about 8km. They died the same night peacefully in their sleep according to Herodotus. Delphi Archaeological Museum.
  • The apartments of the Queen Mother in the Harem of the Topkapi Palace, Istanbul, Turkey
  • The apartments of the Queen Mother in the Harem of the Topkapi Palace, Istanbul, Turkey
  • The apartments of the Queen Mother in the Harem of the Topkapi Palace, Istanbul, Turkey
  • The apartments of the Queen Mother in the Harem of the Topkapi Palace, Istanbul, Turkey
  • The apartments of the Queen Mother in the Harem of the Topkapi Palace, Istanbul, Turkey
  • The apartments of the Queen Mother in the Harem of the Topkapi Palace, Istanbul, Turkey
  • The apartments of the Queen Mother in the Harem of the Topkapi Palace, Istanbul, Turkey
  • Phrygian temple of Aslankaya, 7th century BC. Phyrigian Valley, Emre Lake, near Döğer, Turkey.<br />
<br />
On the triangular roof over the facade are two sphinxes (winged figures with the head of a human and the body of a lion), facing one another, take place. In the main facade, below, the sphinxes in a niche, a cult statue of Kybele or the Great Mother (vandalised and destroyed) was flanked by two lions. This main facade is ornamented with relief geometrical patterns.
  • Phrygian temple of Aslankaya, 7th century BC. Phyrigian Valley, Emre Lake, near Döğer, Turkey.<br />
<br />
On the triangular roof over the facade are two sphinxes (winged figures with the head of a human and the body of a lion), facing one another, take place. In the main facade, below, the sphinxes in a niche, a cult statue of Kybele or the Great Mother (vandalised and destroyed) was flanked by two lions. This main facade is ornamented with relief geometrical patterns.
  • Phrygian temple of Aslankaya, 7th century BC. Phyrigian Valley, Emre Lake, near Doger, Turkey.<br />
<br />
On the triangular roof over the facade are two sphinxes (winged figures with the head of a human and the body of a lion), facing one another, take place. In the main facade, below, the sphinxes in a niche, a cult statue of Kybele or the Great Mother (vandalised and destroyed) was flanked by two lions. This main facade is ornamented with relief geometrical patterns.
  • Phrygian temple of Aslankaya, 7th century BC. Phyrigian Valley, Emre Lake, near Döğer, Turkey.<br />
<br />
On the triangular roof over the facade are two sphinxes (winged figures with the head of a human and the body of a lion), facing one another, take place. In the main facade, below, the sphinxes in a niche, a cult statue of Kybele or the Great Mother (vandalised and destroyed) was flanked by two lions. This main facade is ornamented with relief geometrical patterns.
  • close up of the facade and relief sculptures of the Phrygian temple of Aslankaya, 7th century BC. Phyrigian Valley, Emre Lake, near Döğer, Turkey.<br />
<br />
<br />
On the triangular roof over the facade are two sphinxes (winged figures with the head of a human and the body of a lion), facing one another, take place. In the main facade, below, the sphinxes in a niche, a cult statue of Kybele or the Great Mother (vandalised and destroyed) was flanked by two lions. This main facade is ornamented with relief geometrical patterns.
  • Close up of two sphinxes relief scul[ptures of the Phrygian temple of Aslankaya, 7th century BC. Phyrigian Valley, Emre Lake, near Doger, Turkey.<br />
<br />
On the triangular roof over the facade are two sphinxes (winged figures with the head of a human and the body of a lion), facing one another, take place. In the main facade, below, the sphinxes in a niche, a cult statue of Kybele or the Great Mother (vandalised and destroyed) was flanked by two lions. This main facade is ornamented with relief geometrical patterns.
  • Phrygian temple of Aslankaya, 7th century BC. Phyrigian Valley, Emre Lake, near Döğer, Turkey.<br />
<br />
On the triangular roof over the facade are two sphinxes (winged figures with the head of a human and the body of a lion), facing one another, take place. In the main facade, below, the sphinxes in a niche, a cult statue of Kybele or the Great Mother (vandalised and destroyed) was flanked by two lions. This main facade is ornamented with relief geometrical patterns.
  • Detail of a Roman Sebasteion relief  sculpture of Aineas’ flight from Troy, Aphrodisias Museum, Aphrodisias, Turkey.  <br />
<br />
Aineas in armour carries his aged farther Anchises on his shoulders and leads his young son Lulus by his hand. They are fleeing from the sack of Troy. The figure floating behind is Aphrodite, Aineas’ mother: she is helping their escape. Old Anchises carries a round box that held images of Troy’s ancestral gods.
  • Detail of a Roman Sebasteion relief  sculpture of Aineas’ flight from Troy, Aphrodisias Museum, Aphrodisias, Turkey.  <br />
<br />
Aineas in armour carries his aged farther Anchises on his shoulders and leads his young son Lulus by his hand. They are fleeing from the sack of Troy. The figure floating behind is Aphrodite, Aineas’ mother: she is helping their escape. Old Anchises carries a round box that held images of Troy’s ancestral gods.
  • Close up of a Roman Sebasteion relief  sculpture of Orestes At Delphi Aphrodisias Museum, Aphrodisias, Turkey.   <br />
<br />
Orestes who has sought sanctuary at Delphi after murdering his mother, leaves Apollo’s shrine on his way to stand trial in Athens, The hero steps gingerly over sleeping Fury; he brandishes a sword and still hold onto Apollo’s tripod. The Fury has a snake and a burning torch with which she torments male factors. A small local nymph sits above on a rocky outcrop of Delphi’s Mt Parnossos
  • Close up of a Roman Sebasteion relief  sculpture of Orestes At Delphi Aphrodisias Museum, Aphrodisias, Turkey.   <br />
<br />
Orestes who has sought sanctuary at Delphi after murdering his mother, leaves Apollo’s shrine on his way to stand trial in Athens, The hero steps gingerly over sleeping Fury; he brandishes a sword and still hold onto Apollo’s tripod. The Fury has a snake and a burning torch with which she torments male factors. A small local nymph sits above on a rocky outcrop of Delphi’s Mt Parnossos
  • Close up of a RomanSebasteion relief  sculpture of Aineas’ flight from Troy, Aphrodisias Museum, Aphrodisias, Turkey.   Against a white background.<br />
<br />
Aineas in armour carries his aged farther Anchises on his shoulders and leads his young son Lulus by his hand. They are fleeing from the sack of Troy. The figure floating behind is Aphrodite, Aineas’ mother: she is helping their escape. Old Anchises carries a round box that held images of Troy’s ancestral gods.
  • Close up of a Roman Sebasteion relief  sculpture of Aineas’ flight from Troy, Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.<br />
<br />
Aineas in armour carries his aged farther Anchises on his shoulders and leads his young son Lulus by his hand. They are fleeing from the sack of Troy. The figure floating behind is Aphrodite, Aineas’ mother: she is helping their escape. Old Anchises carries a round box that held images of Troy’s ancestral gods.
  • Close up of a Roman Sebasteion relief  sculpture of Aineas’ flight from Troy, Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
Aineas in armour carries his aged farther Anchises on his shoulders and leads his young son Lulus by his hand. They are fleeing from the sack of Troy. The figure floating behind is Aphrodite, Aineas’ mother: she is helping their escape. Old Anchises carries a round box that held images of Troy’s ancestral gods.
  • Roman Sebasteion relief  sculpture of Orestes At Delphi Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
Orestes who has sought sanctuary at Delphi after murdering his mother, leaves Apollo’s shrine on his way to stand trial in Athens, The hero steps gingerly over sleeping Fury; he brandishes a sword and still hold onto Apollo’s tripod. The Fury has a snake and a burning torch with which she torments male factors. A small local nymph sits above on a rocky outcrop of Delphi’s Mt Parnossos
  • Picture and image of the late borgeoise realistic style stone sculpture of the Gallino tomb sculpted by  G. Moreno 1894.  In the tomb, the bust that portrays the deceased Carolina receives the kiss of a child, probably the niece, supported by a young woman - the mother, or perhaps the elder sister - whose face is marked by pain; on the right an older man, presumably her husband, stands aside, almost absent, looking down at the ground. The most intimate tones and psychological introspection are grafted here in the language of bourgeois Realism: with undoubted technical virtuosity Moreno offers a rigorous "quantitative" description of reality, dwelling on every single detail of faces, clothing, accessories and hairstyles . Section A, no 54, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the late borgeoise realistic style stone sculpture of the Gallino tomb sculpted by  G. Moreno 1894.  In the tomb, the bust that portrays the deceased Carolina receives the kiss of a child, probably the niece, supported by a young woman - the mother, or perhaps the elder sister - whose face is marked by pain; on the right an older man, presumably her husband, stands aside, almost absent, looking down at the ground. The most intimate tones and psychological introspection are grafted here in the language of bourgeois Realism: with undoubted technical virtuosity Moreno offers a rigorous "quantitative" description of reality, dwelling on every single detail of faces, clothing, accessories and hairstyles . Section A, no 54, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the late borgeoise realistic style stone sculpture of the Gallino tomb sculpted by  G. Moreno 1894.  In the tomb, the bust that portrays the deceased Carolina receives the kiss of a child, probably the niece, supported by a young woman - the mother, or perhaps the elder sister - whose face is marked by pain; on the right an older man, presumably her husband, stands aside, almost absent, looking down at the ground. The most intimate tones and psychological introspection are grafted here in the language of bourgeois Realism: with undoubted technical virtuosity Moreno offers a rigorous "quantitative" description of reality, dwelling on every single detail of faces, clothing, accessories and hairstyles . Section A, no 54, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the late borgeoise realistic style stone sculpture of the Gallino tomb sculpted by  G. Moreno 1894.  In the tomb, the bust that portrays the deceased Carolina receives the kiss of a child, probably the niece, supported by a young woman - the mother, or perhaps the elder sister - whose face is marked by pain; on the right an older man, presumably her husband, stands aside, almost absent, looking down at the ground. The most intimate tones and psychological introspection are grafted here in the language of bourgeois Realism: with undoubted technical virtuosity Moreno offers a rigorous "quantitative" description of reality, dwelling on every single detail of faces, clothing, accessories and hairstyles . Section A, no 54, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Virgin Mary; Mother of God; The Virgin; Mare de deu; Gothic altarpiece of Madonna and Child by Joan Reixach of Barcelona, circa 1450, tempera and gold leaf on wood, from the sanctuary of San Pau d'Albocasser, Castello..  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  64055. Against a black background.
  • Virgin Mary; Mother of God; The Virgin; Mare de deu; Gothic altarpiece of Madonna and Child by Joan Reixach of Barcelona, circa 1450, tempera and gold leaf on wood, from the sanctuary of San Pau d'Albocasser, Castello..  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  64055.
  • statue of Echidina, mother of the many enemies of Hercules, vainly in love with Glauco, the sea God, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Greek  statue of a Niobid from the Horti Sallustiani (Gardens of Sallust), a Greek original from the 5th cent BC found near the Via Collina and Piazza Sallustio, Rome. The wounded female figure whose back has been struck by an arrow is one of fourteen children of Amphion of Thebes and Niobe.  According to myth, Niobe insulted Lato, mother of the divine Apollo and Artemis; “why ever should Lato, a women of common birth, with a coarse daughter and an effeminate son, be preferred to me, the niece of Zeus and Atlas, scourge of the Phyrigians and the royal house of Cadmus?.”. The vengeful Lato ordered Apollo and Artemis to kill Niobe’s children who were struck down with arrows. In antiquity the myth of the Niobids was the subject matter of numerous works of art. The statue , a 5th century Greek original, was used as an ornamental piece in the Horti Sallustiani (Gardens of Sallust), where it was found with other figures of Niobids, two of which are now at the Ny Carlsberg Glypotheck in Copenhargen. Originally it was part of a pedimental group which decorated the facade of a Greek Temple. Inv 72274, The National Roman Museum, Rome, Italy
  • Greek  statue of a Niobid from the Horti Sallustiani (Gardens of Sallust), a Greek original from the 5th cent BC found near the Via Collina and Piazza Sallustio, Rome. The wounded female figure whose back has been struck by an arrow is one of fourteen children of Amphion of Thebes and Niobe.  According to myth, Niobe insulted Lato, mother of the divine Apollo and Artemis; “why ever should Lato, a women of common birth, with a coarse daughter and an effeminate son, be preferred to me, the niece of Zeus and Atlas, scourge of the Phyrigians and the royal house of Cadmus?.”. The vengeful Lato ordered Apollo and Artemis to kill Niobe’s children who were struck down with arrows. In antiquity the myth of the Niobids was the subject matter of numerous works of art. The statue , a 5th century Greek original, was used as an ornamental piece in the Horti Sallustiani (Gardens of Sallust), where it was found with other figures of Niobids, two of which are now at the Ny Carlsberg Glypotheck in Copenhargen. Originally it was part of a pedimental group which decorated the facade of a Greek Temple. Inv 72274, The National Roman Museum, Rome, Italy
  • Greek  statue of a Niobid from the Horti Sallustiani (Gardens of Sallust), a Greek original from the 5th cent BC found near the Via Collina and Piazza Sallustio, Rome. The wounded female figure whose back has been struck by an arrow is one of fourteen children of Amphion of Thebes and Niobe.  According to myth, Niobe insulted Lato, mother of the divine Apollo and Artemis; “why ever should Lato, a women of common birth, with a coarse daughter and an effeminate son, be preferred to me, the niece of Zeus and Atlas, scourge of the Phyrigians and the royal house of Cadmus?.”. The vengeful Lato ordered Apollo and Artemis to kill Niobe’s children who were struck down with arrows. In antiquity the myth of the Niobids was the subject matter of numerous works of art. The statue , a 5th century Greek original, was used as an ornamental piece in the Horti Sallustiani (Gardens of Sallust), where it was found with other figures of Niobids, two of which are now at the Ny Carlsberg Glypotheck in Copenhargen. Originally it was part of a pedimental group which decorated the facade of a Greek Temple. Inv 72274, The National Roman Museum, Rome, Italy
  • Greek  statue of a Niobid from the Horti Sallustiani (Gardens of Sallust), a Greek original from the 5th cent BC found near the Via Collina and Piazza Sallustio, Rome. The wounded female figure whose back has been struck by an arrow is one of fourteen children of Amphion of Thebes and Niobe.  According to myth, Niobe insulted Lato, mother of the divine Apollo and Artemis; “why ever should Lato, a women of common birth, with a coarse daughter and an effeminate son, be preferred to me, the niece of Zeus and Atlas, scourge of the Phyrigians and the royal house of Cadmus?.”. The vengeful Lato ordered Apollo and Artemis to kill Niobe’s children who were struck down with arrows. In antiquity the myth of the Niobids was the subject matter of numerous works of art. The statue , a 5th century Greek original, was used as an ornamental piece in the Horti Sallustiani (Gardens of Sallust), where it was found with other figures of Niobids, two of which are now at the Ny Carlsberg Glypotheck in Copenhargen. Originally it was part of a pedimental group which decorated the facade of a Greek Temple. Inv 72274, The National Roman Museum, Rome, Italy
  • Greek  statue of a Niobid from the Horti Sallustiani (Gardens of Sallust), a Greek original from the 5th cent BC found near the Via Collina and Piazza Sallustio, Rome. The wounded female figure whose back has been struck by an arrow is one of fourteen children of Amphion of Thebes and Niobe.  According to myth, Niobe insulted Lato, mother of the divine Apollo and Artemis; “why ever should Lato, a women of common birth, with a coarse daughter and an effeminate son, be preferred to me, the niece of Zeus and Atlas, scourge of the Phyrigians and the royal house of Cadmus?.”. The vengeful Lato ordered Apollo and Artemis to kill Niobe’s children who were struck down with arrows. In antiquity the myth of the Niobids was the subject matter of numerous works of art. The statue , a 5th century Greek original, was used as an ornamental piece in the Horti Sallustiani (Gardens of Sallust), where it was found with other figures of Niobids, two of which are now at the Ny Carlsberg Glypotheck in Copenhargen. Originally it was part of a pedimental group which decorated the facade of a Greek Temple. Inv 72274, The National Roman Museum, Rome, Italy
  • Greek  statue of a Niobid from the Horti Sallustiani (Gardens of Sallust), a Greek original from the 5th cent BC found near the Via Collina and Piazza Sallustio, Rome. The wounded female figure whose back has been struck by an arrow is one of fourteen children of Amphion of Thebes and Niobe.  According to myth, Niobe insulted Lato, mother of the divine Apollo and Artemis; “why ever should Lato, a women of common birth, with a coarse daughter and an effeminate son, be preferred to me, the niece of Zeus and Atlas, scourge of the Phyrigians and the royal house of Cadmus?.”. The vengeful Lato ordered Apollo and Artemis to kill Niobe’s children who were struck down with arrows. In antiquity the myth of the Niobids was the subject matter of numerous works of art. The statue , a 5th century Greek original, was used as an ornamental piece in the Horti Sallustiani (Gardens of Sallust), where it was found with other figures of Niobids, two of which are now at the Ny Carlsberg Glypotheck in Copenhargen. Originally it was part of a pedimental group which decorated the facade of a Greek Temple. Inv 72274, The National Roman Museum, Rome, Italy
  • Greek  statue of a Niobid from the Horti Sallustiani (Gardens of Sallust), a Greek original from the 5th cent BC found near the Via Collina and Piazza Sallustio, Rome. The wounded female figure whose back has been struck by an arrow is one of fourteen children of Amphion of Thebes and Niobe.  According to myth, Niobe insulted Lato, mother of the divine Apollo and Artemis; “why ever should Lato, a women of common birth, with a coarse daughter and an effeminate son, be preferred to me, the niece of Zeus and Atlas, scourge of the Phyrigians and the royal house of Cadmus?.”. The vengeful Lato ordered Apollo and Artemis to kill Niobe’s children who were struck down with arrows. In antiquity the myth of the Niobids was the subject matter of numerous works of art. The statue , a 5th century Greek original, was used as an ornamental piece in the Horti Sallustiani (Gardens of Sallust), where it was found with other figures of Niobids, two of which are now at the Ny Carlsberg Glypotheck in Copenhargen. Originally it was part of a pedimental group which decorated the facade of a Greek Temple. Inv 72274, The National Roman Museum, Rome, Italy
  • Greek  statue of a Niobid from the Horti Sallustiani (Gardens of Sallust), a Greek original from the 5th cent BC found near the Via Collina and Piazza Sallustio, Rome. The wounded female figure whose back has been struck by an arrow is one of fourteen children of Amphion of Thebes and Niobe.  According to myth, Niobe insulted Lato, mother of the divine Apollo and Artemis; “why ever should Lato, a women of common birth, with a coarse daughter and an effeminate son, be preferred to me, the niece of Zeus and Atlas, scourge of the Phyrigians and the royal house of Cadmus?.”. The vengeful Lato ordered Apollo and Artemis to kill Niobe’s children who were struck down with arrows. In antiquity the myth of the Niobids was the subject matter of numerous works of art. The statue , a 5th century Greek original, was used as an ornamental piece in the Horti Sallustiani (Gardens of Sallust), where it was found with other figures of Niobids, two of which are now at the Ny Carlsberg Glypotheck in Copenhargen. Originally it was part of a pedimental group which decorated the facade of a Greek Temple. Inv 72274, The National Roman Museum, Rome, Italy
  • Greek  statue of a Niobid from the Horti Sallustiani (Gardens of Sallust), a Greek original from the 5th cent BC found near the Via Collina and Piazza Sallustio, Rome. The wounded female figure whose back has been struck by an arrow is one of fourteen children of Amphion of Thebes and Niobe.  According to myth, Niobe insulted Lato, mother of the divine Apollo and Artemis; “why ever should Lato, a women of common birth, with a coarse daughter and an effeminate son, be preferred to me, the niece of Zeus and Atlas, scourge of the Phyrigians and the royal house of Cadmus?.”. The vengeful Lato ordered Apollo and Artemis to kill Niobe’s children who were struck down with arrows. In antiquity the myth of the Niobids was the subject matter of numerous works of art. The statue , a 5th century Greek original, was used as an ornamental piece in the Horti Sallustiani (Gardens of Sallust), where it was found with other figures of Niobids, two of which are now at the Ny Carlsberg Glypotheck in Copenhargen. Originally it was part of a pedimental group which decorated the facade of a Greek Temple. Inv 72274, The National Roman Museum, Rome, Italy
  • Greek  statue of a Niobid from the Horti Sallustiani (Gardens of Sallust), a Greek original from the 5th cent BC found near the Via Collina and Piazza Sallustio, Rome. The wounded female figure whose back has been struck by an arrow is one of fourteen children of Amphion of Thebes and Niobe.  According to myth, Niobe insulted Lato, mother of the divine Apollo and Artemis; “why ever should Lato, a women of common birth, with a coarse daughter and an effeminate son, be preferred to me, the niece of Zeus and Atlas, scourge of the Phyrigians and the royal house of Cadmus?.”. The vengeful Lato ordered Apollo and Artemis to kill Niobe’s children who were struck down with arrows. In antiquity the myth of the Niobids was the subject matter of numerous works of art. The statue , a 5th century Greek original, was used as an ornamental piece in the Horti Sallustiani (Gardens of Sallust), where it was found with other figures of Niobids, two of which are now at the Ny Carlsberg Glypotheck in Copenhargen. Originally it was part of a pedimental group which decorated the facade of a Greek Temple. Inv 72274, The National Roman Museum, Rome, Italy
  • Aphrodite of Fréjus in the style known as "Venus Genetrix". A 1.64m high Roman statue, dating from the end of the 1st century BC to the start of the 1st century AD, in Parian marble, was discovered at Fréjus (Forum Julii) in 1650. It is considered as the best Roman copy of the lost Greek work. Louvre Museum, Paris<br />
<br />
The Venus Genetrix style of statue depicts Aphrodite (Venus to the Romans) as Genetrix ( Latin for Mother). This sculptural type was adopted by the Julia-Claudian dynasty after Julius Caesar claimed that he was defended from Venus herself.  The original lost Greek statue is attributed to Greek sculpture Callimachus who created a Bronze Aphrodite in 420-410. According to Pliny's Natural History showing her dressed in a light but clinging chiton or peplos, which was lowered on the left shoulder to reveal her left breast and hung down in a sheer face and decoratively carved so as not to hide the outlines of the woman's body. Venus was depicted holding the apple won in the Judgement of Paris in her left hand, whilst her right hand moved to cover her head. From the lost bronze original are derived all surviving copies. The composition was frontal, the body's form monumental, and in the surviving Roman replicas its proportions are close to the Polyclitean, an ancient Greek sculptor in bronze of the fifth century BC.
  • Medieval stained glass Window of the Gothic Cathedral of Chartres, France - dedicated to St Sylvester.  Bottom left - The young Sylvester presented by his mother to the priest Cyrinus, bottom right - Sylvester welcoming St Timothy to his house. Side panel right - above right - Execution of St Timothy , side panel left - Death of the prefect Tarquin, who chokes on a fish bone. Two centre panels, left- Funeral of St Timothy, right - Sylvester refusing the prefect's orders to worship an idol. Top central oval panel - Sylvester released from prison by Pope Melchiades. A UNESCO World Heritage Site..
  • Bottom corners, left shows a belt seller, right a merchant. Centre panel, bottom shows a merchant with scales, left birth of St Nicholas, left the miracles of the first bath of St Nicholas, top The infant St Nicholas refuses his mother's milk except on mondays and fridays..Medieval Windows  of the Gothic Cathedral of Chartres, France, dedicated to the life an miracles of St Nicholas. A UNESCO World Heritage Site. .Bottom centre panel,  bottom shows The young St Nicholas does well at school, left Nicholas secretly gives gold to an old man to save his daughters , right The old man tries to thank Nicholas, who humbly flees from him, top .Nicholas is chosen to be the new Bishop ..Top centre panel, bottom shows The miracle of the boiling baby, saved by the intervention of St Nicholas, left An old couple's only son falls overboard en-route to the Saint's shrine, right The child lost at sea is found safe and well at the Saint's shrine, top Installation of Nicholas as Bishop of Myra
  • Medieval Windows  of the Gothic Cathedral of Chartres, France, dedicated to the life an miracles of St Nicholas. A UNESCO World Heritage Site. Bottom corners, left shows a belt seller, right a merchant. Centre panel, bottom shows a merchant with scales, left birth of St Nicholas, left the miracles of the first bath of St Nicholas, top The infant St Nicholas refuses his mother's milk except on mondays and fridays..Centre panel above ,  bottom shows The young St Nicholas does well at school, left Nicholas secretly gives gold to an old man to save his daughters , right The old man tries to thank Nicholas, who humbly flees from him, top Nicholas is chosen to be the new Bishop of Myra.
  • Bottom corners, left shows a belt seller, right a merchant. Centre panel, bottom shows a merchant with scales, left birth of St Nicholas, left the miracles of the first bath of St Nicholas, top The infant St Nicholas refuses his mother's milk except on mondays and fridays..Medieval Windows  of the Gothic Cathedral of Chartres, France, dedicated to the life an miracles of St Nicholas. A UNESCO World Heritage Site. .Bottom centre panel,  bottom shows The young St Nicholas does well at school, left Nicholas secretly gives gold to an old man to save his daughters , right The old man tries to thank Nicholas, who humbly flees from him, top .Nicholas is chosen to be the new Bishop ..Top centre panel, bottom shows The miracle of the boiling baby, saved by the intervention of St Nicholas, left An old couple's only son falls overboard en-route to the Saint's shrine, right The child lost at sea is found safe and well at the Saint's shrine, top Installation of Nicholas as Bishop of Myra
  • Bottom corners, left shows a belt seller, right a merchant. Centre panel, bottom shows a merchant with scales, left birth of St Nicholas, left the miracles of the first bath of St Nicholas, top The infant St Nicholas refuses his mother's milk except on mondays and fridays.
  • Ancient Egyptian limestone funerary stele of Ipepi with his wife, mother and sister in front of Osiris. Middle Kingdom, 11th Dynasty, 2120-1980 BC. Neues Museum Berlin Cat No: AM 24031.
  • Figures from the East Pediment of the Parthenon, Acropolis Athens. From left to right cat no K possibly the goddess Hestia ,L & M probably the goddess Aphrodite lying the the lap of Dione her mother. British Museum London Exhibit
  • Figures from the East Pediment of the Parthenon, Acropolis Athens. From left to right cat no K possibly the goddess Hestia ,L & M probably the goddess Aphrodite lying the the lap of Dione her mother. British Museum London Exhibit
  • The Room of Summer - Frescoes on the vaulted ceiling depict the myth of Proserpine who, during the summer, rises from the dead to her mother Ceres, painted by Fedele Fischetti. Above the doors paintings by Giovan Battista de Rossi depict the Allegories of the liberal arts alternated with representations of the Rivers of the Kingdom of Naples. The Kings of Naples Royal Palace of Caserta, Italy. A UNESCO World Heritage Site
  • Tombstone of a mother showing her with her sons in a kitchen,  The  Merry Cemetery ( Cimitirul Vesel ),  Săpânţa, Maramares, Northern Transylvania, Romania.  The naive folk art style of the tombstones created by woodcarver  Stan Ioan Pătraş (1909 - 1977) who created in his lifetime over 700 colourfully painted wooden tombstones with small relief portrait carvings of the deceased or with scenes depicting them at work or play or surprisingly showing the violent accident that killed them. Each tombstone has an inscription about the person, sometimes a light hearted  limerick in Romanian.
  • Kouros Statues of the Archaic Period. Early 6th c. B.C. (circa 580 B.C.)  Known as Kleovis and Biton, the two boys who heroically pulled their mother on her chariot to the sanctuary where she was to worship. They pulled the chariot for a distance of about 8km. They died the same night peacefully in their sleep according to Herodotus. Delphi Archaeological Museum.
  • Interior The cathedral of Ani, Also known as Surp Asdvadzadzin (church of the Holy Mother of God), its construction was started in the year 989, under King Smbat II.  The Gothic clustered arches & pointed arches pre date the European Gothic and are thought to be an influence for Western European Gothic. Ani archaelogical site on the Ancient Silk Road , Kars , Anatolia, Turkey
  • The cathedral of Ani, Also known as Surp Asdvadzadzin (church of the Holy Mother of God), its construction was started in the year 989, under King Smbat II.  Ani archaelogical site on the Ancient Silk Road , Kars , Anatolia, Turkey
  • Mother and child Skiing - Insbruck - Austrian Tyrol
  • Picture & image the interior apse medieval frescoes of Theotokos, depicting the Virgin Mary, the Mother of God, and child, Khobi Georgian Orthodox Cathedral, 13th century,  Khobi Monastery, Khobi, Georgia.
  • Picture & image the interior apse medieval frescoes of Theotokos, depicting the Virgin Mary, the Mother of God, and child, Khobi Georgian Orthodox Cathedral, 13th century,  Khobi Monastery, Khobi, Georgia.
  • Pictures & images of the iconostasis screen mosaics in the Gelati Georgian Orthodox Church St George, 13th century depicting Christ Pantocrator and the Theotokos, depicting the Virgin Mary, the  Mother of God.  The medieval Gelati monastic complex near Kutaisi in the Imereti region of western Georgia (country). A UNESCO World Heritage Site.
  • Pictures & images of the Byzantine fresco panels in the Gelati Georgian Orthodox Church of the Virgin, 1106, depicting a scene from the Assumption of the Virgin Mary, Mother of God, into Heaven .  The medieval Gelati monastic complex near Kutaisi in the Imereti region of western Georgia (country). A UNESCO World Heritage Site.
  • Pictures & images of the Byzantine fresco panels in the Gelati Georgian Orthodox Church of the Virgin, 1106, depicting a scene from the Assumption of the Virgin Mary, Mother of God, into Heaven .  The medieval Gelati monastic complex near Kutaisi in the Imereti region of western Georgia (country). A UNESCO World Heritage Site.
  • Pictures & images of the Byzantine fresco panels in the Gelati Georgian Orthodox Church of the Virgin, 1106, depicting a scene from the Assumption of the Virgin Mary, Mother of God, into Heaven .  The medieval Gelati monastic complex near Kutaisi in the Imereti region of western Georgia (country). A UNESCO World Heritage Site.
  • Pictures & images of the Byzantine fresco panels in the Gelati Georgian Orthodox Church of the Virgin, 1106, depicting a scene from the Assumption of the Virgin Mary, Mother of God, into Heaven .  The medieval Gelati monastic complex near Kutaisi in the Imereti region of western Georgia (country). A UNESCO World Heritage Site.
  • Phrygian temple of Aslankaya, 7th century BC. Phyrigian Valley, Emre Lake, near Dogerr, Turkey.<br />
<br />
On the triangular roof over the facade are two sphinxes (winged figures with the head of a human and the body of a lion), facing one another, take place. In the main facade, below, the sphinxes in a niche, a cult statue of Kybele or the Great Mother (vandalised and destroyed) was flanked by two lions. This main facade is ornamented with relief geometrical patterns.

FunkyStock Picture Library Resource

Picture The Past

ABOUT

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

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

COUNTRIES

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

VIEW COUNTRIES INDEX....

HISTORICAL

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

EXPLORE HISTORICAL PLACES...

MUSEUMS

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

SEE MUESEUM ANTIQUITIES....