• Close up of a Roman Sebasteion relief  sculpture of Emperor Claudius as God of sea and land,  Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.<br />
<br />
The Emperor as god Claudius strides forward in a divine epiphany, drapery billowing around his head. He receives a cornucopia with fruits of the earth from a figure emerging from the ground, anda ship’s steering oar from a marine tritoness with fish legs. The idea is clear: the god-emperor guarantees the prosperity of land and sea. The relief is a remarkable local visualisation - elevated and panegyrical - of the emperor’s role as a universal saviour and divine protector.
  • Close up of a Roman Sebasteion relief  sculpture of a prisoner of  Emperor Claudius as God of sea and land,  Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
The Emperor as god Claudius strides forward in a divine epiphany, drapery billowing around his head. He receives a cornucopia with fruits of the earth from a figure emerging from the ground, anda ship’s steering oar from a marine tritoness with fish legs. The idea is clear: the god-emperor guarantees the prosperity of land and sea. The relief is a remarkable local visualisation - elevated and panegyrical - of the emperor’s role as a universal saviour and divine protector.
  • Close up of a Roman Sebasteion relief  sculpture of a prisoner of  Emperor Claudius as God of sea and land,  Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
The Emperor as god Claudius strides forward in a divine epiphany, drapery billowing around his head. He receives a cornucopia with fruits of the earth from a figure emerging from the ground, anda ship’s steering oar from a marine tritoness with fish legs. The idea is clear: the god-emperor guarantees the prosperity of land and sea. The relief is a remarkable local visualisation - elevated and panegyrical - of the emperor’s role as a universal saviour and divine protector.
  • Close up of a Roman Sebasteion relief  sculpture of Emperor Claudius as God of sea and land,  Aphrodisias Museum, Aphrodisias, Turkey.   Against a white background.<br />
<br />
The Emperor as god Claudius strides forward in a divine epiphany, drapery billowing around his head. He receives a cornucopia with fruits of the earth from a figure emerging from the ground, anda ship’s steering oar from a marine tritoness with fish legs. The idea is clear: the god-emperor guarantees the prosperity of land and sea. The relief is a remarkable local visualisation - elevated and panegyrical - of the emperor’s role as a universal saviour and divine protector.
  • Close up of a Roman Sebasteion relief  sculpture of Emperor Claudius as God of sea and land,  Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
The Emperor as god Claudius strides forward in a divine epiphany, drapery billowing around his head. He receives a cornucopia with fruits of the earth from a figure emerging from the ground, anda ship’s steering oar from a marine tritoness with fish legs. The idea is clear: the god-emperor guarantees the prosperity of land and sea. The relief is a remarkable local visualisation - elevated and panegyrical - of the emperor’s role as a universal saviour and divine protector.
  • Close up of a Roman Sebasteion relief  sculpture of Emperor Claudius as God of sea and land,  Aphrodisias Museum, Aphrodisias, Turkey.  Against an art background.<br />
<br />
The Emperor as god Claudius strides forward in a divine epiphany, drapery billowing around his head. He receives a cornucopia with fruits of the earth from a figure emerging from the ground, anda ship’s steering oar from a marine tritoness with fish legs. The idea is clear: the god-emperor guarantees the prosperity of land and sea. The relief is a remarkable local visualisation - elevated and panegyrical - of the emperor’s role as a universal saviour and divine protector.
  • Close up of a Roman Sebasteion relief  sculpture of Emperor Claudius as God of sea and land,  Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
The Emperor as god Claudius strides forward in a divine epiphany, drapery billowing around his head. He receives a cornucopia with fruits of the earth from a figure emerging from the ground, anda ship’s steering oar from a marine tritoness with fish legs. The idea is clear: the god-emperor guarantees the prosperity of land and sea. The relief is a remarkable local visualisation - elevated and panegyrical - of the emperor’s role as a universal saviour and divine protector.
  • Roman Sebasteion relief  sculpture of Emperor Claudius as God of sea and land,  Aphrodisias Museum, Aphrodisias, Turkey.   Against a white background.<br />
<br />
The Emperor as god Claudius strides forward in a divine epiphany, drapery billowing around his head. He receives a cornucopia with fruits of the earth from a figure emerging from the ground, anda ship’s steering oar from a marine tritoness with fish legs. The idea is clear: the god-emperor guarantees the prosperity of land and sea. The relief is a remarkable local visualisation - elevated and panegyrical - of the emperor’s role as a universal saviour and divine protector.
  • RomanSebasteion relief  sculpture of Emperor Claudius as God of sea and land,  Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.<br />
<br />
The Emperor as god Claudius strides forward in a divine epiphany, drapery billowing around his head. He receives a cornucopia with fruits of the earth from a figure emerging from the ground, anda ship’s steering oar from a marine tritoness with fish legs. The idea is clear: the god-emperor guarantees the prosperity of land and sea. The relief is a remarkable local visualisation - elevated and panegyrical - of the emperor’s role as a universal saviour and divine protector.
  • Roman Sebasteion relief  sculpture of Emperor Claudius as God of sea and land,  Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
The Emperor as god Claudius strides forward in a divine epiphany, drapery billowing around his head. He receives a cornucopia with fruits of the earth from a figure emerging from the ground, anda ship’s steering oar from a marine tritoness with fish legs. The idea is clear: the god-emperor guarantees the prosperity of land and sea. The relief is a remarkable local visualisation - elevated and panegyrical - of the emperor’s role as a universal saviour and divine protector.
  • Roman Sebasteion relief  sculpture of Emperor Claudius as God of sea and land,  Aphrodisias Museum, Aphrodisias, Turkey.  Against an art background.<br />
<br />
The Emperor as god Claudius strides forward in a divine epiphany, drapery billowing around his head. He receives a cornucopia with fruits of the earth from a figure emerging from the ground, anda ship’s steering oar from a marine tritoness with fish legs. The idea is clear: the god-emperor guarantees the prosperity of land and sea. The relief is a remarkable local visualisation - elevated and panegyrical - of the emperor’s role as a universal saviour and divine protector.
  • Roman Sebasteion relief  sculpture of Emperor Claudius as God of sea and land,  Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
The Emperor as god Claudius strides forward in a divine epiphany, drapery billowing around his head. He receives a cornucopia with fruits of the earth from a figure emerging from the ground, anda ship’s steering oar from a marine tritoness with fish legs. The idea is clear: the god-emperor guarantees the prosperity of land and sea. The relief is a remarkable local visualisation - elevated and panegyrical - of the emperor’s role as a universal saviour and divine protector.
  • Roman Sebasteion rrelief  sculpture of Emperor Claudius as God of sea and land,  Aphrodisias Museum, Aphrodisias, Turkey.   Against a white background.<br />
<br />
The Emperor as god Claudius strides forward in a divine epiphany, drapery billowing around his head. He receives a cornucopia with fruits of the earth from a figure emerging from the ground, anda ship’s steering oar from a marine tritoness with fish legs. The idea is clear: the god-emperor guarantees the prosperity of land and sea. The relief is a remarkable local visualisation - elevated and panegyrical - of the emperor’s role as a universal saviour and divine protector.
  • Roman Sebasteion rrelief  sculpture of Emperor Claudius as God of sea and land,  Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.<br />
<br />
The Emperor as god Claudius strides forward in a divine epiphany, drapery billowing around his head. He receives a cornucopia with fruits of the earth from a figure emerging from the ground, anda ship’s steering oar from a marine tritoness with fish legs. The idea is clear: the god-emperor guarantees the prosperity of land and sea. The relief is a remarkable local visualisation - elevated and panegyrical - of the emperor’s role as a universal saviour and divine protector.
  • Roman Sebasteion rrelief  sculpture of Emperor Claudius as God of sea and land,  Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
The Emperor as god Claudius strides forward in a divine epiphany, drapery billowing around his head. He receives a cornucopia with fruits of the earth from a figure emerging from the ground, anda ship’s steering oar from a marine tritoness with fish legs. The idea is clear: the god-emperor guarantees the prosperity of land and sea. The relief is a remarkable local visualisation - elevated and panegyrical - of the emperor’s role as a universal saviour and divine protector.
  • Roman Sebasteion rrelief  sculpture of Emperor Claudius as God of sea and land,  Aphrodisias Museum, Aphrodisias, Turkey.  Against an art background.<br />
<br />
The Emperor as god Claudius strides forward in a divine epiphany, drapery billowing around his head. He receives a cornucopia with fruits of the earth from a figure emerging from the ground, anda ship’s steering oar from a marine tritoness with fish legs. The idea is clear: the god-emperor guarantees the prosperity of land and sea. The relief is a remarkable local visualisation - elevated and panegyrical - of the emperor’s role as a universal saviour and divine protector.
  • Roman Sebasteion rrelief  sculpture of Emperor Claudius as God of sea and land,  Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
The Emperor as god Claudius strides forward in a divine epiphany, drapery billowing around his head. He receives a cornucopia with fruits of the earth from a figure emerging from the ground, anda ship’s steering oar from a marine tritoness with fish legs. The idea is clear: the god-emperor guarantees the prosperity of land and sea. The relief is a remarkable local visualisation - elevated and panegyrical - of the emperor’s role as a universal saviour and divine protector.
  • Roman statue of Emperor Caracalla. Marble. Perge. 2nd century AD. Inv no  2014/194. Antalya Archaeology Museum; Turkey.  Against a grey background<br />
<br />
Caracalla Roman emperor from 198 to 217 AD. He was a member of the Severan Dynasty, the elder son of Septimius Severus and Julia Domna. Co-ruler with his father from 198, he continued to rule with his brother Geta, emperor from 209, after their father's death in 211. He had his brother murdered later that year, and reigned afterwards as sole ruler of the Roman Empire.
  • Hittite relief sculpted orthostat stone panel of Long Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 - 700 B.C. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Goddess Kubaba. Goddess is depicted from the profile. The part below the chest of the relief is broken. She holds a pomegranate in her hands on her chest. She carries a one-horned headdress on her head. Her braided hair hangs down to her shoulder. The text in the hieroglyphics is not understood. The lower part of the relief has been restored. <br />
<br />
On a White Background.
  • Hittite relief sculpted orthostat stone panel of Long Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 - 700 B.C. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Goddess Kubaba. Goddess is depicted from the profile. The part below the chest of the relief is broken. She holds a pomegranate in her hands on her chest. She carries a one-horned headdress on her head. Her braided hair hangs down to her shoulder. The text in the hieroglyphics is not understood. The lower part of the relief has been restored. <br />
<br />
On a black background.
  • Picture & image of Hittite relief sculpted orthostat stone panel of Long Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 - 700 B.C. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Goddess Kubaba. Goddess is depicted from the profile. The part below the chest of the relief is broken. She holds a pomegranate in her hands on her chest. She carries a one-horned headdress on her head. Her braided hair hangs down to her shoulder. The text in the hieroglyphics is not understood. The lower part of the relief has been restored. <br />
<br />
On a gray background.
  • Photo of Hittite relief sculpted orthostat stone panel of Long Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 - 700 B.C. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Goddess Kubaba. Goddess is depicted from the profile. The part below the chest of the relief is broken. She holds a pomegranate in her hands on her chest. She carries a one-horned headdress on her head. Her braided hair hangs down to her shoulder. The text in the hieroglyphics is not understood. The lower part of the relief has been restored. <br />
<br />
On a brown art background.
  • Medieval stained glass Window of the Gothic Cathedral of Chartres, France - dedicated to the Life of St Mary Magdalen. Central panel - top left - Mary meets the angel at Christ's empty tomb (the Quem quaeritis), bottom right - The Noli me tangere, top left - Mary as the Apostola Apostolorum , top right - The Apostles receiving Mary's news . Diamond below and side panels either side - Christ raising Lazarus. Bottom central panel - bottom left - Mary washing Christ's feet in the house of Simon the Pharisee, bottom right - Death of Lazarus, top left - Their neighbours try to console Mary and Martha, top right - Funeral of Lazarus. Diamond panel above and side panels either side - Christ raising Lazarus. A UNESCO World Heritage Site.
  • Medieval Rose  Window of the South Transept of the Gothic Cathedral of Chartres, France- Circa 1225-30. A UNESCO World Heritage Site. Dedicated to Christ, who is shown in the central oculus, right hand raised in benediction, surrounded by adoring angels. Two outer rings of twelve circles each contain the 24 Elders of the Apocalypse, crowned and carrying phials and musical instruments. The central lancet beneath the rose shows the Virgin carrying the infant Christ. Either side of this are four lancets showing the four evangelists sitting on the shoulders of four Prophets - a rare literal illustration of the theological principle that the New Testament builds upon the Old Testament. This window was a donation of the Mauclerc family, the Counts of Dreux-Bretagne, who are depicted with their arms in the bases of the lancets
  • Medieval Rose  Window of the South Transept of the Gothic Cathedral of Chartres, France- Circa 1225-30. A UNESCO World Heritage Site. Dedicated to Christ, who is shown in the central oculus, right hand raised in benediction, surrounded by adoring angels. Two outer rings of twelve circles each contain the 24 Elders of the Apocalypse, crowned and carrying phials and musical instruments. The central lancet beneath the rose shows the Virgin carrying the infant Christ. Either side of this are four lancets showing the four evangelists sitting on the shoulders of four Prophets - a rare literal illustration of the theological principle that the New Testament builds upon the Old Testament. This window was a donation of the Mauclerc family, the Counts of Dreux-Bretagne, who are depicted with their arms in the bases of the lancets
  • Medieval Rose  Window of the South Transept of the Gothic Cathedral of Chartres, France- Circa 1225-30. A UNESCO World Heritage Site. Dedicated to Christ, who is shown in the central oculus, right hand raised in benediction, surrounded by adoring angels. Two outer rings of twelve circles each contain the 24 Elders of the Apocalypse, crowned and carrying phials and musical instruments. The central lancet beneath the rose shows the Virgin carrying the infant Christ. Either side of this are four lancets showing the four evangelists sitting on the shoulders of four Prophets - a rare literal illustration of the theological principle that the New Testament builds upon the Old Testament. This window was a donation of the Mauclerc family, the Counts of Dreux-Bretagne, who are depicted with their arms in the bases of the lancets
  • Close up pictures & images of the socialist art of the Treaty of Georgievsk or Friendship Monument situated on the Georgian Military Highway high in the Caucasus mountains, Jvari Pass , Gudauri, Georgia (country).<br />
<br />
The Friendship Monument was built in 1983 to celebrate the bicentennial of the Treaty of Georgievsk and the ongoing friendship between Soviet Georgia and Soviet Russia.
  • Close up pictures & images of the socialist art of the Treaty of Georgievsk or Friendship Monument situated on the Georgian Military Highway high in the Caucasus mountains, Jvari Pass , Gudauri, Georgia (country).<br />
<br />
The Friendship Monument was built in 1983 to celebrate the bicentennial of the Treaty of Georgievsk and the ongoing friendship between Soviet Georgia and Soviet Russia.
  • Close up pictures & images of the socialist art of the Treaty of Georgievsk or Friendship Monument situated on the Georgian Military Highway high in the Caucasus mountains, Jvari Pass , Gudauri, Georgia (country).<br />
<br />
The Friendship Monument was built in 1983 to celebrate the bicentennial of the Treaty of Georgievsk and the ongoing friendship between Soviet Georgia and Soviet Russia.
  • Close up pictures & images of the socialist art of the Treaty of Georgievsk or Friendship Monument situated on the Georgian Military Highway high in the Caucasus mountains, Jvari Pass , Gudauri, Georgia (country).<br />
<br />
The Friendship Monument was built in 1983 to celebrate the bicentennial of the Treaty of Georgievsk and the ongoing friendship between Soviet Georgia and Soviet Russia.
  • Close up pictures & images of the socialist art of the Treaty of Georgievsk or Friendship Monument situated on the Georgian Military Highway high in the Caucasus mountains, Jvari Pass , Gudauri, Georgia (country).<br />
<br />
The Friendship Monument was built in 1983 to celebrate the bicentennial of the Treaty of Georgievsk and the ongoing friendship between Soviet Georgia and Soviet Russia.
  • Close up pictures & images of the socialist art of the Treaty of Georgievsk or Friendship Monument situated on the Georgian Military Highway high in the Caucasus mountains, Jvari Pass , Gudauri, Georgia (country).<br />
<br />
The Friendship Monument was built in 1983 to celebrate the bicentennial of the Treaty of Georgievsk and the ongoing friendship between Soviet Georgia and Soviet Russia.
  • Close up pictures & images of the socialist art of the Treaty of Georgievsk or Friendship Monument situated on the Georgian Military Highway high in the Caucasus mountains, Jvari Pass , Gudauri, Georgia (country).<br />
<br />
The Friendship Monument was built in 1983 to celebrate the bicentennial of the Treaty of Georgievsk and the ongoing friendship between Soviet Georgia and Soviet Russia.
  • Close up pictures & images of the socialist art of the Treaty of Georgievsk or Friendship Monument situated on the Georgian Military Highway high in the Caucasus mountains, Jvari Pass , Gudauri, Georgia (country).<br />
<br />
The Friendship Monument was built in 1983 to celebrate the bicentennial of the Treaty of Georgievsk and the ongoing friendship between Soviet Georgia and Soviet Russia.
  • Close up pictures & images of the socialist art of the Treaty of Georgievsk or Friendship Monument situated on the Georgian Military Highway high in the Caucasus mountains, Jvari Pass , Gudauri, Georgia (country).<br />
<br />
The Friendship Monument was built in 1983 to celebrate the bicentennial of the Treaty of Georgievsk and the ongoing friendship between Soviet Georgia and Soviet Russia.
  • Close up pictures & images of the socialist art of the Treaty of Georgievsk or Friendship Monument situated on the Georgian Military Highway high in the Caucasus mountains, Jvari Pass , Gudauri, Georgia (country).<br />
<br />
The Friendship Monument was built in 1983 to celebrate the bicentennial of the Treaty of Georgievsk and the ongoing friendship between Soviet Georgia and Soviet Russia.
  • Close up pictures & images of the socialist art of the Treaty of Georgievsk or Friendship Monument situated on the Georgian Military Highway high in the Caucasus mountains, Jvari Pass , Gudauri, Georgia (country).<br />
<br />
The Friendship Monument was built in 1983 to celebrate the bicentennial of the Treaty of Georgievsk and the ongoing friendship between Soviet Georgia and Soviet Russia.
  • Close up pictures & images of the socialist art of the Treaty of Georgievsk or Friendship Monument situated on the Georgian Military Highway high in the Caucasus mountains, Jvari Pass , Gudauri, Georgia (country).<br />
<br />
The Friendship Monument was built in 1983 to celebrate the bicentennial of the Treaty of Georgievsk and the ongoing friendship between Soviet Georgia and Soviet Russia.
  • Close up pictures & images of the socialist art of the Treaty of Georgievsk or Friendship Monument situated on the Georgian Military Highway high in the Caucasus mountains, Jvari Pass , Gudauri, Georgia (country).<br />
<br />
The Friendship Monument was built in 1983 to celebrate the bicentennial of the Treaty of Georgievsk and the ongoing friendship between Soviet Georgia and Soviet Russia.
  • Close up pictures & images of the socialist art of the Treaty of Georgievsk or Friendship Monument situated on the Georgian Military Highway high in the Caucasus mountains, Jvari Pass , Gudauri, Georgia (country).<br />
<br />
The Friendship Monument was built in 1983 to celebrate the bicentennial of the Treaty of Georgievsk and the ongoing friendship between Soviet Georgia and Soviet Russia.
  • Pictures & images of the Treaty of Georgievsk or Friendship Monument situated on the Georgian Military Highway high in the Caucasus mountains, Jvari Pass , Gudauri, Georgia (country).<br />
<br />
The Friendship Monument was built in 1983 to celebrate the bicentennial of the Treaty of Georgievsk and the ongoing friendship between Soviet Georgia and Soviet Russia.
  • Pictures & images of the Treaty of Georgievsk or Friendship Monument situated on the Georgian Military Highway high in the Caucasus mountains, Jvari Pass , Gudauri, Georgia (country).<br />
<br />
The Friendship Monument was built in 1983 to celebrate the bicentennial of the Treaty of Georgievsk and the ongoing friendship between Soviet Georgia and Soviet Russia.
  • Roman statue of Emperor Caracalla. Marble. Perge. 2nd century AD. Inv no  2014/194. Antalya Archaeology Museum; Turkey. Against a black background.<br />
<br />
Caracalla Roman emperor from 198 to 217 AD. He was a member of the Severan Dynasty, the elder son of Septimius Severus and Julia Domna. Co-ruler with his father from 198, he continued to rule with his brother Geta, emperor from 209, after their father's death in 211. He had his brother murdered later that year, and reigned afterwards as sole ruler of the Roman Empire.
  • Roman statue of Tyche. Marble. Perge. 2nd century AD. Inv no 3062 . Antalya Archaeology Museum; Turkey.  Against a warm art background.<br />
<br />
A Tyche; was the presiding tutelary deity who governed the fortune and prosperity of a city; its destiny. In Classical Greek mythology; she is the daughter of Aphrodite and Zeus or Hermes.
  • Roman statue of Julia Domina . Marble. Perge. 2nd century AD. Inv no 3268. Antalya Archaeology Museum; Turkey. Against a warm art background.<br />
<br />
Julia Domna (AD 160–217) was a Roman empress , the second wife of Septimius Severus (reigned 193–211).
  • Hittite relief sculpted orthostat stone panel of Long Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 - 700 B.C. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Goddess Kubaba. Goddess is depicted from the profile. The part below the chest of the relief is broken. She holds a pomegranate in her hands on her chest. She carries a one-horned headdress on her head. Her braided hair hangs down to her shoulder. The text in the hieroglyphics is not understood. The lower part of the relief has been restored. <br />
<br />
On a grey art background.
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above.Excavated from Nuraghe Orrubiu IV, Laconi. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy. Black background.
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above.Excavated from Nuraghe Orrubiu IV, Laconi. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy. White background.
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above.Excavated from Nuraghe Orrubiu IV, Laconi. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above.Excavated from Nuraghe Orrubiu IV, Laconi. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy. Grey background.
  • Late European Neolithic prehistoric Menhir standing stone with carvings on its face side. The representation of a stylalised male figure starts at the top with a long nose from which 2 eyebrows arch around the top of the stone. below this is a carving of a falling figure with head at the bottom and 2 curved arms encircling a body above.Excavated from Nuraghe Orrubiu IV, Laconi. Menhir Museum, Museo della Statuaria Prehistorica in Sardegna, Museum of Prehoistoric Sardinian Statues, Palazzo Aymerich, Laconi, Sardinia, Italy
  • Medieval stained glass Window of the Gothic Cathedral of Chartres, France - dedicated to the life of Eustace . Central panel shows act 2 ?the Tragedy and Exile? , central diamond -   The sailors kidnap Eustace's wife, casting him overboard , below left - possibly Eustace negotiating passage to Egypt, below right Eustace and his family board a boat to Egypt . Above left - Before Eustace can reach land, a lion snatches away his eldest son, above right -  Shepherds rescue Eustace's younger son from the jaws of a wolf. A UNESCO World Heritage Site.
  • Pictures & images of the Treaty of Georgievsk or Friendship Monument situated on the Georgian Military Highway high in the Caucasus mountains, Jvari Pass , Gudauri, Georgia (country).<br />
<br />
The Friendship Monument was built in 1983 to celebrate the bicentennial of the Treaty of Georgievsk and the ongoing friendship between Soviet Georgia and Soviet Russia.
  • Leaning Tower of Pisa - Pizza  del Miracoli - Pisa - Italy Leaning Tower of Pisa - Piazza  del Miracoli - Pisa - Italy
  • Picture of the ruins of columns in the ruins of the The Church of the Sepulchre, Roman 1st century AD. Hierapolis archaeological site near Pamukkale in Turkey.
  • Plaque depicting the Hittite Protector of the wild standing on the back of a deer. Steatite - 14th - 13th century BC - Corum Yenikoy  - Museum of Anatolian Civilisations, Ankara, Turkey. Against a white background
  • Plaque depicting the Hittite Protector of the wild standing on the back of a deer. Steatite - 14th - 13th century BC - Corum Yenikoy  - Museum of Anatolian Civilisations, Ankara, Turkey. Against a black background
  • Plaque depicting the Hittite Protector of the wild standing on the back of a deer. Steatite - 14th - 13th century BC - Corum Yenikoy  - Museum of Anatolian Civilisations, Ankara, Turkey
  • Plaque depicting the Hittite Protector of the wild standing on the back of a deer. Steatite - 14th - 13th century BC - Corum Yenikoy  - Museum of Anatolian Civilisations, Ankara, Turkey, Against a grey  background
  • Plaque depicting the Hittite Protector of the wild standing on the back of a deer. Steatite - 14th - 13th century BC - Corum Yenikoy  - Museum of Anatolian Civilisations, Ankara, Turkey,  Against a warm art  background
  • Leaning Tower of Pisa - Piazza  del Miracoli - Pisa - Italy
  • Leaning Tower of Pisa - Piazza  del Miracoli - Pisa - Italy
  • Leaning Tower of Pisa - Piazza  del Miracoli - Pisa - Italy
  • Leaning Tower of Pisa - Piazza  del Miracoli - Pisa - Italy
  • Leaning Tower of Pisa - Piazza  del Miracoli - Pisa - Italy
  • Leaning Tower of Pisa - Piazza  del Miracoli - Pisa - Italy
  • Leaning Tower of Pisa - Piazza  del Miracoli - Pisa - Italy
  • Leaning Tower of Pisa - Piazza  del Miracoli - Pisa - Italy
  • Leaning Tower of Pisa - Piazza  del Miracoli - Pisa - Italy
  • Leaning Tower of Pisa - Piazza  del Miracoli - Pisa - Italy
  • Leaning Tower of Pisa - Piazza  del Miracoli - Pisa - Italy
  • Catherderal and Leaning Tower - Piazza  del Miracoli - Pisa - Italy
  • Leaning Tower of Pisa - Piazza  del Miracoli - Pisa - Italy
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • Doric style temple of Hera of Paestum, built around 550 BC by Greek colonists from Sybaris, is the oldest surviving temple in Paestum archaeological site, Italy.
  • Doric style temple of Hera of Paestum, built around 550 BC by Greek colonists from Sybaris, is the oldest surviving temple in Paestum archaeological site, Italy.
  • Doric style temple of Hera of Paestum, built around 550 BC by Greek colonists from Sybaris, is the oldest surviving temple in Paestum archaeological site, Italy.
  • Doric style temple of Hera of Paestum, built around 550 BC by Greek colonists from Sybaris, is the oldest surviving temple in Paestum archaeological site, Italy.
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Bridge Of Sighs - Doge's Palace ; Venice Italy
  • Catherderal and Leaning Tower - Piazza  del Miracoli - Pisa - Italy
  • The Ring of Brodgar  ( circa 2,500 to 2,000 BC) is a Neolithic henge with a stone circle inside, the third largest in the British Isles and a UNESCO World Heritage Site, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • Pictures & imagse of the interior frescoes of the Timotesubani medieval Orthodox monastery Church of the Holy Dormition (Assumption), dedcated to the Virgin Mary, 1184-1213, Samtskhe-Javakheti region, Georgia (country).<br />
<br />
Built during the reigh of Queen Tamar during the “Golden Age of Georgia”, Timotesubani Church of the Holy Dormition is one of the most important examples of medieval Georgian architecture and art. <br />
<br />
The interior frescoes of date from the 11th - 13th century so the Timotesubani church of the Dormition is a treasure trove of medieval Georgian art created during the reign of Queen Tamar. The fresco murals have been rescued and preserved by the Global Fund of Cultural Heritage.
  • Detail of a Roman Sebasteion relief  sculpture of Agon Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
The scene is an allegory of the athletic contest (or agon). The pillar was a beareded head of Hermes the god of the Gymnasium. Nearby is a palm of victory and a prize table with victory ribbon on it. Two winged baby Eros figures are struggling over a palm branch ( mostly broken): they act out the idea of contest, which is personified in the youthful figure behind. He hold another palm of victory: he is Agon himself.
  • Detail of a Roman Sebasteion relief  sculpture of Agon Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
The scene is an allegory of the athletic contest (or agon). The pillar was a beareded head of Hermes the god of the Gymnasium. Nearby is a palm of victory and a prize table with victory ribbon on it. Two winged baby Eros figures are struggling over a palm branch ( mostly broken): they act out the idea of contest, which is personified in the youthful figure behind. He hold another palm of victory: he is Agon himself.
  • Detail of a Roman Sebasteion relief  sculpture of Agon Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
The scene is an allegory of the athletic contest (or agon). The pillar was a beareded head of Hermes the god of the Gymnasium. Nearby is a palm of victory and a prize table with victory ribbon on it. Two winged baby Eros figures are struggling over a palm branch ( mostly broken): they act out the idea of contest, which is personified in the youthful figure behind. He hold another palm of victory: he is Agon himself.
  • Detail of a Roman Sebasteion relief  sculpture of Agon Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
The scene is an allegory of the athletic contest (or agon). The pillar was a beareded head of Hermes the god of the Gymnasium. Nearby is a palm of victory and a prize table with victory ribbon on it. Two winged baby Eros figures are struggling over a palm branch ( mostly broken): they act out the idea of contest, which is personified in the youthful figure behind. He hold another palm of victory: he is Agon himself.
  • Detail of a Roman Sebasteion relief  sculpture of Agon Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
The scene is an allegory of the athletic contest (or agon). The pillar was a beareded head of Hermes the god of the Gymnasium. Nearby is a palm of victory and a prize table with victory ribbon on it. Two winged baby Eros figures are struggling over a palm branch ( mostly broken): they act out the idea of contest, which is personified in the youthful figure behind. He hold another palm of victory: he is Agon himself.
  • Close up of a Roman Sebasteion relief  sculpture of Agon Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
The scene is an allegory of the athletic contest (or agon). The pillar was a beareded head of Hermes the god of the Gymnasium. Nearby is a palm of victory and a prize table with victory ribbon on it. Two winged baby Eros figures are struggling over a palm branch ( mostly broken): they act out the idea of contest, which is personified in the youthful figure behind. He hold another palm of victory: he is Agon himself.
  • Close up of a Roman Sebasteion relief  sculpture of Agon Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.<br />
<br />
The scene is an allegory of the athletic contest (or agon). The pillar was a beareded head of Hermes the god of the Gymnasium. Nearby is a palm of victory and a prize table with victory ribbon on it. Two winged baby Eros figures are struggling over a palm branch ( mostly broken): they act out the idea of contest, which is personified in the youthful figure behind. He hold another palm of victory: he is Agon himself.
  • Roman Sebasteion relief  sculpture of Agon Aphrodisias Museum, Aphrodisias, Turkey.     Against a white background.<br />
<br />
The scene is an allegory of the athletic contest (or agon). The pillar was a beareded head of Hermes the god of the Gymnasium. Nearby is a palm of victory and a prize table with victory ribbon on it. Two winged baby Eros figures are struggling over a palm branch ( mostly broken): they act out the idea of contest, which is personified in the youthful figure behind. He hold another palm of victory: he is Agon himself.
  • 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
  • A Colossal Statue of the Weather God Hadad found near Gerdshin near Sam'al / Zincirli , Turkey. The lower part of the body of the statue has Aramaic text which starts " I am Panamuwa, the son of QRL, the king of Ja'udi, I have erected this statue of Hadad, at my eternal grave.  Originally the statue would have held lightening rods and an axe. On his round cap are bull horns known as the symbols of divinity. The weather God brought the rains which in the dry areas of Mesopotamia was all important. The inscription goes on to read " May the soul of Panamuwa eat with Hadad, May the soul of Panamuwa drink with Hadad". Basalt 775 BC, Pergamon Museum Berlin, inv no VA 2882.
  • Relief panels orthostat from northern part of the hall at the Palace of Sam 'al - Zincirli. On the throne sits the Prince Barrakib, before him stands a scribe with his pen with a writing board under his arm. Above their heads each side of a crescent moon  are inscriptions in Aramaic "I am Barrakib, son of Panammuwa" and the inscription "My Lord of the Ba 'al of Harran" with symbols of the moon god.Neo Syro Hittite.  Basalt around 730 BC. Neo Syro Hittite.  Basalt around 730 BC.  Pergamon Museum, Berlin, inv no VA2817
  • 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
  • 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
  • 25th dynasty Egyptian granite Sphinx of Shepenepet II, god's wife of Amon. 660 BC, Karnak. Neues Reiche Museum, Berlin. Cat No AM7972
  • 25th dynasty Egyptian granite Sphinx of Shepenepet II, god's wife of Amon. 660 BC, Karnak. Neues Reiche Museum, Berlin. Cat No AM7972
  • Ushabti box of Sched-es-en-mut. Egyptian painted wooden box panel of the deceased in front of a tree goddess, 1540-1075 BC . Neues Reiche Museum, Berlin. Cat No AM630
  • Ushabti box of Sched-es-en-mut. Egyptian painted wooden box panel of the deceased in front of a tree goddess, 1540-1075 BC . Neues Reiche Museum, Berlin. Cat No AM630
  • Ushabti box of Sched-es-en-mut. Egyptian painted wooden box panel of the deceased in front of a tree goddess, 1540-1075 BC . Neues Reiche Museum, Berlin. Cat No AM630
  • Ushabti box of Sched-es-en-mut. Egyptian painted wooden box panel of the deceased in front of a tree goddess, 1540-1075 BC . Neues Reiche Museum, Berlin. Cat No AM630
  • Ushabti box of Sched-es-en-mut. Egyptian painted wooden box panel of the deceased in front of a tree goddess, 1540-1075 BC . Neues Reiche Museum, Berlin. Cat No AM630
  • Quartz ancient Egyptian relief sculpture of Queen Tiy from the funerary temple of Amenohis III, West Thebes. 18th Dynasty Ancient Egypt, 1375 BC . Neues Museum Berlin Cat No: AM 23270.
  • Quartz ancient Egyptian relief sculpture of Queen Tiy from the funerary temple of Amenohis III, West Thebes. 18th Dynasty Ancient Egypt, 1375 BC . Neues Museum Berlin Cat No: AM 23270.
  • Quartz ancient Egyptian relief sculpture of Queen Tiy from the funerary temple of Amenohis III, West Thebes. 18th Dynasty Ancient Egypt, 1375 BC . Neues Museum Berlin Cat No: AM 23270.
  • Quartz ancient Egyptian relief sculpture of Queen Tiy from the funerary temple of Amenohis III, West Thebes. 18th Dynasty Ancient Egypt, 1375 BC . Neues Museum Berlin Cat No: AM 23270.
  • Quartz ancient Egyptian relief sculpture of Queen Tiy from the funerary temple of Amenohis III, West Thebes. 18th Dynasty Ancient Egypt, 1375 BC . Neues Museum Berlin Cat No: AM 23270.
  • Ancient Egyptian tomb relief sculpture of King Amenhotep III from the grave of Chaemhat, Thebes West. 18th Dynasty 1360 BC. Neues Museum Berlin AM 14503.
  • Ancient Egyptian tomb relief sculpture of King Amenhotep III from the grave of Chaemhat, Thebes West. 18th Dynasty 1360 BC. Neues Museum Berlin AM 14503.
  • Ancient Egyptian quartz statue head of prince Khaemwase, son of Pharaoh  Rameses II. 19th Dynasty Ancient Egypt, 1260 BC . Neues Museum Berlin Cat No: AM 13460.
  • Ancient Egyptian head of a statue  of king Amenhotep III. / Kopf eider statue des Königs Amenophis III. / Egypt 18. Dynasty  (1360BC) Berlin Neues Museum Cat No: VAGM 1997/118.
  • Ancient Egyptian head of a statue  of king Amenhotep III. / Kopf eider statue des Königs Amenophis III. / Egypt 18. Dynasty  (1360BC) Berlin Neues Museum Cat No: VAGM 1997/118.
  • 25th dynasty Egyptian granite Sphinx of Shepenepet II, god's wife of Amon. 660 BC, Karnak. Neues Reiche Museum, Berlin. Cat No AM7972
  • 25th dynasty Egyptian granite Sphinx of Shepenepet II, god's wife of Amon. 660 BC, Karnak. Neues Reiche Museum, Berlin. Cat No AM7972
  • 25th dynasty Egyptian granite Sphinx of Shepenepet II, god's wife of Amon. 660 BC, Karnak. Neues Reiche Museum, Berlin. Cat No AM7972
  • Ancient Egyptian case of the inner coffin of Nespamai depicting the goddess Nut. 500BC BC. Neues Museum Berlin AM 31213/2.
  • Ancient Egyptian case of the inner coffin of Nespamai depicting the goddess Nut. 500BC BC. Neues Museum Berlin AM 31213/2.
  • Ancient Egyptian case of the inner coffin of Nespamai depicting the goddess Nut. 500BC BC. Neues Museum Berlin AM 31213/2.
  • Ancient Egyptian case of the inner coffin of Nespamai depicting the goddess Nut. 500BC BC. Neues Museum Berlin AM 31213/2.
  • 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.
  • 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 house altar relief sculpture of Akhenaten, Nefrertiti and their three daughters. 18th Dynasty 1345 BC . Neues Museum Berlin AM 14145.
  • Egyptian painting on stucco of the defied Pharaoh Amenhotep I . 11152-1145BC, Thebes, Grab Nr 359. Neues  Museum, Berlin. Cat No AM2061
  • Egyptian painting on stucco of Pharaoh Amenhotep I. 11152-1145BC, Thebes. Neues  Museum, Berlin. Cat No AM2061
  • "Charioteer of Delphi" 470 BC. The "Charioteer of Delphi" is one of the best known ancient Greek statues, and one of the best preserved examples of classical bronze casts. It is considered a fine example of the "Severe" style. Delphi Archaeological Museum.
  • "Charioteer of Delphi" 470 BC. The "Charioteer of Delphi" is one of the best known ancient Greek statues, and one of the best preserved examples of classical bronze casts. It is considered a fine example of the "Severe" style. Delphi Archaeological Museum.
  • "Charioteer of Delphi" 470 BC. The "Charioteer of Delphi" is one of the best known ancient Greek statues, and one of the best preserved examples of classical bronze casts. It is considered a fine example of the "Severe" style. Delphi Archaeological Museum.
  • "Charioteer of Delphi" 470 BC. The "Charioteer of Delphi" is one of the best known ancient Greek statues, and one of the best preserved examples of classical bronze casts. It is considered a fine example of the "Severe" style. Delphi Archaeological Museum.
  • "Charioteer of Delphi" 470 BC. The "Charioteer of Delphi" is one of the best known ancient Greek statues, and one of the best preserved examples of classical bronze casts. It is considered a fine example of the "Severe" style. Delphi Archaeological Museum.
  • "Charioteer of Delphi" 470 BC. The "Charioteer of Delphi" is one of the best known ancient Greek statues, and one of the best preserved examples of classical bronze casts. It is considered a fine example of the "Severe" style. Delphi Archaeological Museum.
  • "Charioteer of Delphi" 470 BC. The "Charioteer of Delphi" is one of the best known ancient Greek statues, and one of the best preserved examples of classical bronze casts. It is considered a fine example of the "Severe" style. Delphi Archaeological Museum.
  • "Charioteer of Delphi" 470 BC. The "Charioteer of Delphi" is one of the best known ancient Greek statues, and one of the best preserved examples of classical bronze casts. It is considered a fine example of the "Severe" style. Delphi Archaeological Museum.
  • "Charioteer of Delphi" 470 BC. The "Charioteer of Delphi" is one of the best known ancient Greek statues, and one of the best preserved examples of classical bronze casts. It is considered a fine example of the "Severe" style. Delphi Archaeological Museum.
  • "Charioteer of Delphi" 470 BC. The "Charioteer of Delphi" is one of the best known ancient Greek statues, and one of the best preserved examples of classical bronze casts. It is considered a fine example of the "Severe" style. Delphi Archaeological Museum.
  • Gold Death Mask Known from Grave IV, Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC. Cat No 253 Athens Archaeological Museum.
  • Gold Death Mask Known from Grave IV, Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC. Cat No 253 Athens Archaeological Museum.
  • Gold Death Mask  from Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC.  Athens Archaeological Museum.
  • Gold Death Mask  from Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC.  Athens Archaeological Museum.
  • Gold Death Mask  from Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC.  Athens Archaeological Museum.
  • Gold Death Mask  from Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC.  Athens Archaeological Museum.
  • Gold Death Mask  from Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC.  Athens Archaeological Museum.
  • Gold Death Mask Known as the "mask of Agamemnon"  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold & shows a man with a beard. 16th century BC. Cat No 624 Athens Archaeological Museum.
  • Gold Death Mask Known as the "mask of Agamemnon"  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold & shows a man with a beard. 16th century BC. Cat No 624 Athens Archaeological Museum.
  • Gold Death Mask Known as the "mask of Agamemnon"  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold & shows a man with a beard. 16th century BC. Cat No 624 Athens Archaeological Museum.
  • Gold Death Mask Known as the "mask of Agamemnon"  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold & shows a man with a beard. 16th century BC. Cat No 624 Athens Archaeological Museum.
  • Gold Death Mask Known as the "mask of Agamemnon"  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold & shows a man with a beard. 16th century BC. Cat No 624 Athens Archaeological Museum.
  • Gold Death Mask  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold and is the only mask from grave circle A with eyes open. 16th century BC. Cat No 259 Athens Archaeological Museum.
  • Gold Death Mask  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold and is the only mask from grave circle A with eyes open. 16th century BC. Cat No 259 Athens Archaeological Museum.
  • Large wine krater known as "House of the Warrior Vase", showing men in full armour ( helmet, cuirass, greaves, shield and spear ) as they depart fro war with a sack of supplies hanging from their spears. A fine example of Mycenaean Pictoral Style. Mycenae acropolis, Greece. 12th century BC, cat no: 1426 ,  National Archaeological Museum, Athens.
  • Large wine krater known as "House of the Warrior Vase", showing men in full armour ( helmet, cuirass, greaves, shield and spear ) as they depart fro war with a sack of supplies hanging from their spears. A fine example of Mycenaean Pictoral Style. Mycenae acropolis, Greece. 12th century BC, cat no: 1426 ,  National Archaeological Museum, Athens.
  • Three handled Mycenaean  Palace Style amphora with large palm trees symmetrically placed on the sides and smaller palm trees with floral motifs in between. This Mycenaean  vase is distinguished by the high quality of clay and paint, and by the naturalistic rendering of the decoration. From the Mycenaean cemetery at Argive Deiras, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Three handled Mycenaean  Palace Style amphora with large palm trees symmetrically placed on the sides and smaller palm trees with floral motifs in between. This Mycenaean  vase is distinguished by the high quality of clay and paint, and by the naturalistic rendering of the decoration. From the Mycenaean cemetery at Argive Deiras, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Photo of a Three handles "Palace Style" amphora with three large octopuses within a marines cape of rocks and seaweed. A mycenaean copy of a Minoan Marine Style.   Mycenae tomb 2, Greece. 15th century BC,  cat no: 6725, National Archaeological Museum, Athens.
  • Photo of a Three handles "Palace Style" amphora with three large octopuses within a marines cape of rocks and seaweed. A mycenaean copy of a Minoan Marine Style.   Mycenae tomb 2, Greece. 15th century BC,  cat no: 6725, National Archaeological Museum, Athens.
  • Photo of a Three handles "Palace Style" amphora with three large octopuses within a marines cape of rocks and seaweed. A mycenaean copy of a Minoan Marine Style.   Mycenae tomb 2, Greece. 15th century BC,  cat no: 6725, National Archaeological Museum, Athens.
  • Photo of a Three handles "Palace Style" amphora with three large octopuses within a marines cape of rocks and seaweed. A mycenaean copy of a Minoan Marine Style.   Mycenae tomb 2, Greece. 15th century BC,  cat no: 6725, National Archaeological Museum, Athens.
  • Photo of a Three handles "Palace Style" amphora with three large octopuses within a marines cape of rocks and seaweed. A mycenaean copy of a Minoan Marine Style.   Mycenae tomb 2, Greece. 15th century BC,  cat no: 6725, National Archaeological Museum, Athens.
  • Three handled Mycenaean  Palace Style amphora with three large octopuses within a marinescape of rocks and seaweed. A Mycenaean imitation of Minoan Marine Style. From the Mycenaean cemetery of Argive Prosymna, tomb 2, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Three handled Mycenaean  Palace Style amphora with three large octopuses within a marinescape of rocks and seaweed. A Mycenaean imitation of Minoan Marine Style. From the Mycenaean cemetery of Argive Prosymna, tomb 2, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Three handled Mycenaean  Palace Style amphora with three large octopuses within a marinescape of rocks and seaweed. A Mycenaean imitation of Minoan Marine Style. From the Mycenaean cemetery of Argive Prosymna, tomb 2, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Three handled Mycenaean  Palace Style amphora with three large octopuses within a marinescape of rocks and seaweed. A Mycenaean imitation of Minoan Marine Style. From the Mycenaean cemetery of Argive Prosymna, tomb 2, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Greek Classical Period Bronze Statue of Zeus or Poseidon found in the sea of Cape Artemision of the north Eastern Euboea Island, Greece.  The God is shown in a great stride about to throw either a trident of a thunderbolt that is now missing from his right hand. The statue is one of the only preserved statues of the preserved style with exquisite rendering of motion & anatomy. The identity of the statue is controversial and is probably more likely to be Zeus rather than Poseidon. 460 BC Ref No X15161 Athens Archaeological Museum
  • Three handled Mycenaean  Palace Style amphora with three large octopuses within a marinescape of rocks and seaweed. A Mycenaean imitation of Minoan Marine Style. From the Mycenaean cemetery of Argive Prosymna, tomb 2, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Greek Classical Period Bronze Statue of Zeus or Poseidon found in the sea of Cape Artemision of the north Eastern Euboea Island, Greece.  The God is shown in a great stride about to throw either a trident of a thunderbolt that is now missing from his right hand. The statue is one of the only preserved statues of the preserved style with exquisite rendering of motion & anatomy. The identity of the statue is controversial and is probably more likely to be Zeus rather than Poseidon. 460 BC Ref No X15161 Athens Archaeological Museum
  • Greek Classical Period Bronze Statue of Zeus or Poseidon found in the sea of Cape Artemision of the north Eastern Euboea Island, Greece.  The God is shown in a great stride about to throw either a trident of a thunderbolt that is now missing from his right hand. The statue is one of the only preserved statues of the preserved style with exquisite rendering of motion & anatomy. The identity of the statue is controversial and is probably more likely to be Zeus rather than Poseidon. 460 BC Ref No X15161 Athens Archaeological Museum
  • Greek Classical Period Bronze Statue of Zeus or Poseidon found in the sea of Cape Artemision of the north Eastern Euboea Island, Greece.  The God is shown in a great stride about to throw either a trident of a thunderbolt that is now missing from his right hand. The statue is one of the only preserved statues of the preserved style with exquisite rendering of motion & anatomy. The identity of the statue is controversial and is probably more likely to be Zeus rather than Poseidon. 460 BC Ref No X15161 Athens Archaeological Museum
  • Greek Classical Period Bronze Statue of Zeus or Poseidon found in the sea of Cape Artemision of the north Eastern Euboea Island, Greece.  The God is shown in a great stride about to throw either a trident of a thunderbolt that is now missing from his right hand. The statue is one of the only preserved statues of the preserved style with exquisite rendering of motion & anatomy. The identity of the statue is controversial and is probably more likely to be Zeus rather than Poseidon. 460 BC Ref No X15161 Athens Archaeological Museum
  • Alaca Hoyuk - Hittite lion sculpture corner Stone . Andesite. Alacahoyuk, 1399 - 1301 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Corner stone with sculpted lion, bull and winged sun disk. It was discovered at the right side of the Alacahoyuk sphinx door. The lion puts his front legs on a small bull. There is a Hittite winged sun disk on the abdomen of the lion, which can be seen from a lower location. The position of the sun course indicates that the stone is situated in a high place.<br />
<br />
Against a brown gray background.
  • 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 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.
  • 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.
  • Pictures & imagse of the interior frescoes depicting the Assumption of the Virgin in the Timotesubani medieval Orthodox monastery Church of the Holy Dormition (Assumption), dedcated to the Virgin Mary, 1184-1213, Samtskhe-Javakheti region, Georgia (country).<br />
<br />
Built during the reigh of Queen Tamar during the “Golden Age of Georgia”, Timotesubani Church of the Holy Dormition is one of the most important examples of medieval Georgian architecture and art. <br />
<br />
The interior frescoes of date from the 11th - 13th century so the Timotesubani church of the Dormition is a treasure trove of medieval Georgian art created during the reign of Queen Tamar. The fresco murals have been rescued and preserved by the Global Fund of Cultural Heritage.
  • Pictures & imagse of the interior frescoes depicting the Assumption of the Virgin in the Timotesubani medieval Orthodox monastery Church of the Holy Dormition (Assumption), dedcated to the Virgin Mary, 1184-1213, Samtskhe-Javakheti region, Georgia (country).<br />
<br />
Built during the reigh of Queen Tamar during the “Golden Age of Georgia”, Timotesubani Church of the Holy Dormition is one of the most important examples of medieval Georgian architecture and art. <br />
<br />
The interior frescoes of date from the 11th - 13th century so the Timotesubani church of the Dormition is a treasure trove of medieval Georgian art created during the reign of Queen Tamar. The fresco murals have been rescued and preserved by the Global Fund of Cultural Heritage.
  • Pictures & imagse of the interior frescoes depicting the Assumption of the Virgin in the Timotesubani medieval Orthodox monastery Church of the Holy Dormition (Assumption), dedcated to the Virgin Mary, 1184-1213, Samtskhe-Javakheti region, Georgia (country).<br />
<br />
Built during the reigh of Queen Tamar during the “Golden Age of Georgia”, Timotesubani Church of the Holy Dormition is one of the most important examples of medieval Georgian architecture and art. <br />
<br />
The interior frescoes of date from the 11th - 13th century so the Timotesubani church of the Dormition is a treasure trove of medieval Georgian art created during the reign of Queen Tamar. The fresco murals have been rescued and preserved by the Global Fund of Cultural Heritage.
  • Pictures & imagse of the interior frescoes depicting the Assumption of the Virgin in the Timotesubani medieval Orthodox monastery Church of the Holy Dormition (Assumption), dedcated to the Virgin Mary, 1184-1213, Samtskhe-Javakheti region, Georgia (country).<br />
<br />
Built during the reigh of Queen Tamar during the “Golden Age of Georgia”, Timotesubani Church of the Holy Dormition is one of the most important examples of medieval Georgian architecture and art. <br />
<br />
The interior frescoes of date from the 11th - 13th century so the Timotesubani church of the Dormition is a treasure trove of medieval Georgian art created during the reign of Queen Tamar. The fresco murals have been rescued and preserved by the Global Fund of Cultural Heritage.
  • Pictures & imagse of the interior frescoes depicting the Assumption of the Virgin in the Timotesubani medieval Orthodox monastery Church of the Holy Dormition (Assumption), dedcated to the Virgin Mary, 1184-1213, Samtskhe-Javakheti region, Georgia (country).<br />
<br />
Built during the reigh of Queen Tamar during the “Golden Age of Georgia”, Timotesubani Church of the Holy Dormition is one of the most important examples of medieval Georgian architecture and art. <br />
<br />
The interior frescoes of date from the 11th - 13th century so the Timotesubani church of the Dormition is a treasure trove of medieval Georgian art created during the reign of Queen Tamar. The fresco murals have been rescued and preserved by the Global Fund of Cultural Heritage.
  • Pictures & imagse of the interior frescoes of the Timotesubani medieval Orthodox monastery Church of the Holy Dormition (Assumption), dedcated to the Virgin Mary, 1184-1213, Samtskhe-Javakheti region, Georgia (country).<br />
<br />
Built during the reigh of Queen Tamar during the “Golden Age of Georgia”, Timotesubani Church of the Holy Dormition is one of the most important examples of medieval Georgian architecture and art. <br />
<br />
The interior frescoes of date from the 11th - 13th century so the Timotesubani church of the Dormition is a treasure trove of medieval Georgian art created during the reign of Queen Tamar. The fresco murals have been rescued and preserved by the Global Fund of Cultural Heritage.
  • Pictures & imagse of the interior frescoes of the Timotesubani medieval Orthodox monastery Church of the Holy Dormition (Assumption), dedcated to the Virgin Mary, 1184-1213, Samtskhe-Javakheti region, Georgia (country).<br />
<br />
Built during the reigh of Queen Tamar during the “Golden Age of Georgia”, Timotesubani Church of the Holy Dormition is one of the most important examples of medieval Georgian architecture and art. <br />
<br />
The interior frescoes of date from the 11th - 13th century so the Timotesubani church of the Dormition is a treasure trove of medieval Georgian art created during the reign of Queen Tamar. The fresco murals have been rescued and preserved by the Global Fund of Cultural Heritage.
  • Pictures & imagse of the interior frescoes of the Timotesubani medieval Orthodox monastery Church of the Holy Dormition (Assumption), dedcated to the Virgin Mary, 1184-1213, Samtskhe-Javakheti region, Georgia (country).<br />
<br />
Built during the reigh of Queen Tamar during the “Golden Age of Georgia”, Timotesubani Church of the Holy Dormition is one of the most important examples of medieval Georgian architecture and art. <br />
<br />
The interior frescoes of date from the 11th - 13th century so the Timotesubani church of the Dormition is a treasure trove of medieval Georgian art created during the reign of Queen Tamar. The fresco murals have been rescued and preserved by the Global Fund of Cultural Heritage.
  • Pictures & imagse of the interior cupola frescoes of the Timotesubani medieval Orthodox monastery Church of the Holy Dormition (Assumption), dedcated to the Virgin Mary, 1184-1213, Samtskhe-Javakheti region, Georgia (country).<br />
<br />
Built during the reigh of Queen Tamar during the “Golden Age of Georgia”, Timotesubani Church of the Holy Dormition is one of the most important examples of medieval Georgian architecture and art. <br />
<br />
The interior frescoes of date from the 11th - 13th century so the Timotesubani church of the Dormition is a treasure trove of medieval Georgian art created during the reign of Queen Tamar. The fresco murals have been rescued and preserved by the Global Fund of Cultural Heritage.
  • Pictures & imagse of the interior frescoes of the Timotesubani medieval Orthodox monastery Church of the Holy Dormition (Assumption), dedcated to the Virgin Mary, 1184-1213, Samtskhe-Javakheti region, Georgia (country).<br />
<br />
Built during the reigh of Queen Tamar during the “Golden Age of Georgia”, Timotesubani Church of the Holy Dormition is one of the most important examples of medieval Georgian architecture and art. <br />
<br />
The interior frescoes of date from the 11th - 13th century so the Timotesubani church of the Dormition is a treasure trove of medieval Georgian art created during the reign of Queen Tamar. The fresco murals have been rescued and preserved by the Global Fund of Cultural Heritage.
  • Pictures & imagse of the interior cupola frescoes of the Timotesubani medieval Orthodox monastery Church of the Holy Dormition (Assumption), dedcated to the Virgin Mary, 1184-1213, Samtskhe-Javakheti region, Georgia (country).<br />
<br />
Built during the reigh of Queen Tamar during the “Golden Age of Georgia”, Timotesubani Church of the Holy Dormition is one of the most important examples of medieval Georgian architecture and art. <br />
<br />
The interior frescoes of date from the 11th - 13th century so the Timotesubani church of the Dormition is a treasure trove of medieval Georgian art created during the reign of Queen Tamar. The fresco murals have been rescued and preserved by the Global Fund of Cultural Heritage.
  • Pictures & imagse of the interior cupola frescoes of the Timotesubani medieval Orthodox monastery Church of the Holy Dormition (Assumption), dedcated to the Virgin Mary, 1184-1213, Samtskhe-Javakheti region, Georgia (country).<br />
<br />
Built during the reigh of Queen Tamar during the “Golden Age of Georgia”, Timotesubani Church of the Holy Dormition is one of the most important examples of medieval Georgian architecture and art. <br />
<br />
The interior frescoes of date from the 11th - 13th century so the Timotesubani church of the Dormition is a treasure trove of medieval Georgian art created during the reign of Queen Tamar. The fresco murals have been rescued and preserved by the Global Fund of Cultural Heritage.
  • Pictures & imagse of the interior frescoes depicting the Virgin and Child in the Timotesubani medieval Orthodox monastery Church of the Holy Dormition (Assumption), dedcated to the Virgin Mary, 1184-1213, Samtskhe-Javakheti region, Georgia (country).<br />
<br />
Built during the reigh of Queen Tamar during the “Golden Age of Georgia”, Timotesubani Church of the Holy Dormition is one of the most important examples of medieval Georgian architecture and art. <br />
<br />
The interior frescoes of date from the 11th - 13th century so the Timotesubani church of the Dormition is a treasure trove of medieval Georgian art created during the reign of Queen Tamar. The fresco murals have been rescued and preserved by the Global Fund of Cultural Heritage.
  • Pictures & imagse of the interior frescoes of the Timotesubani medieval Orthodox monastery Church of the Holy Dormition (Assumption), dedcated to the Virgin Mary, 1184-1213, Samtskhe-Javakheti region, Georgia (country).<br />
<br />
Built during the reigh of Queen Tamar during the “Golden Age of Georgia”, Timotesubani Church of the Holy Dormition is one of the most important examples of medieval Georgian architecture and art. <br />
<br />
The interior frescoes of date from the 11th - 13th century so the Timotesubani church of the Dormition is a treasure trove of medieval Georgian art created during the reign of Queen Tamar. The fresco murals have been rescued and preserved by the Global Fund of Cultural Heritage.
  • Pictures & imagse of the interior frescoes of the Timotesubani medieval Orthodox monastery Church of the Holy Dormition (Assumption), dedcated to the Virgin Mary, 1184-1213, Samtskhe-Javakheti region, Georgia (country).<br />
<br />
Built during the reigh of Queen Tamar during the “Golden Age of Georgia”, Timotesubani Church of the Holy Dormition is one of the most important examples of medieval Georgian architecture and art. <br />
<br />
The interior frescoes of date from the 11th - 13th century so the Timotesubani church of the Dormition is a treasure trove of medieval Georgian art created during the reign of Queen Tamar. The fresco murals have been rescued and preserved by the Global Fund of Cultural Heritage.
  • Pictures & imagse of the interior frescoes of the Timotesubani medieval Orthodox monastery Church of the Holy Dormition (Assumption), dedcated to the Virgin Mary, 1184-1213, Samtskhe-Javakheti region, Georgia (country).<br />
<br />
Built during the reigh of Queen Tamar during the “Golden Age of Georgia”, Timotesubani Church of the Holy Dormition is one of the most important examples of medieval Georgian architecture and art. <br />
<br />
The interior frescoes of date from the 11th - 13th century so the Timotesubani church of the Dormition is a treasure trove of medieval Georgian art created during the reign of Queen Tamar. The fresco murals have been rescued and preserved by the Global Fund of Cultural Heritage.
  • Pictures & imagse of the interior frescoes of the Timotesubani medieval Orthodox monastery Church of the Holy Dormition (Assumption), dedcated to the Virgin Mary, 1184-1213, Samtskhe-Javakheti region, Georgia (country).<br />
<br />
Built during the reigh of Queen Tamar during the “Golden Age of Georgia”, Timotesubani Church of the Holy Dormition is one of the most important examples of medieval Georgian architecture and art. <br />
<br />
The interior frescoes of date from the 11th - 13th century so the Timotesubani church of the Dormition is a treasure trove of medieval Georgian art created during the reign of Queen Tamar. The fresco murals have been rescued and preserved by the Global Fund of Cultural Heritage.
  • Pictures & imagse of the interior frescoes of the Timotesubani medieval Orthodox monastery Church of the Holy Dormition (Assumption), dedcated to the Virgin Mary, 1184-1213, Samtskhe-Javakheti region, Georgia (country).<br />
<br />
Built during the reigh of Queen Tamar during the “Golden Age of Georgia”, Timotesubani Church of the Holy Dormition is one of the most important examples of medieval Georgian architecture and art. <br />
<br />
The interior frescoes of date from the 11th - 13th century so the Timotesubani church of the Dormition is a treasure trove of medieval Georgian art created during the reign of Queen Tamar. The fresco murals have been rescued and preserved by the Global Fund of Cultural Heritage.
  • Pictures & imagse of the interior frescoes of the Timotesubani medieval Orthodox monastery Church of the Holy Dormition (Assumption), dedcated to the Virgin Mary, 1184-1213, Samtskhe-Javakheti region, Georgia (country).<br />
<br />
Built during the reigh of Queen Tamar during the “Golden Age of Georgia”, Timotesubani Church of the Holy Dormition is one of the most important examples of medieval Georgian architecture and art. <br />
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The interior frescoes of date from the 11th - 13th century so the Timotesubani church of the Dormition is a treasure trove of medieval Georgian art created during the reign of Queen Tamar. The fresco murals have been rescued and preserved by the Global Fund of Cultural Heritage.
  • Pictures & imagse of Timotesubani medieval Orthodox monastery Church of the Holy Dormition (Assumption), dedcated to the Virgin Mary, 1184-1213, Samtskhe-Javakheti region, Georgia (country).<br />
<br />
Built during the reigh of Queen Tamar during the “Golden Age of Georgia”, Timotesubani Church of the Holy Dormition is one of the most important examples of medieval Georgian architecture and art. <br />
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Built of pinkish Georgian brick to a cruciform floor plan. The eastern end of the church has 3 apses. Above the centre of the church is a high Georgian style cupola supported on 2 columns.

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