• Ancient Egyptian mummy mask of Pasyg. 1st century BC. Neues Museum Berlin AM 34436.
  • 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
  • Ancient Egyptian quartz statue head of princess from Amarna. 18th Dynasty Ancient Egypt, 1345 BC . Neues Museum Berlin Cat No: AM 21223.
  • Ancient Egyptian house altar relief sculpture of Akhenaten, Nefrertiti and their three daughters. 18th Dynasty 1345 BC . Neues Museum Berlin AM 14145.
  • 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.
  • Ushabti. 18 dynasty Egyptian kneeling sculpture of queen Hatshepsut with a cultic vessel, 1475BC Deir el-Bahari . Neues Reiche Museum, Berlin. Cat No AM22883
  • Ancient Egyptian relief study of a foot. 18th Dynasty 1345 BC . Neues Museum Berlin AM 20672.
  • 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 relief portrait of King Akhenaten from Amarna. 18th Dynasty 1340 BC . Neues Museum Berlin Cat No: AM 14512.
  • Ancient Egyptian relief portrait of King Akhenaten from Amarna. 18th Dynasty 1340 BC . Neues Museum Berlin Cat No: AM 21683.
  • Ancient Egyptian tomb relief sculpture depicting the scribe and judge Ankhirptah. Middle Kingdom Egypt, 2170 BC. Neues Museum Berlin Cat No: AM 7337.
  • 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 Greywacke statue head . 27 th Dynasty 500 BC . Neues Museum Berlin Cat No: AM 31196.
  • Quartz Ancient Egyptian Statue head of King Amenhotep II from Wad Ban Naga, Sudan . 18 th Dynasty 1425 BC . Neues Reich Museum Berlin Cat No: AM 2057.
  • 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.
  • Sculptured Eyyptian  head of a man in Baslt. Fifth. Dynasty 2500 BC.  Altes Reich Egyptian Museum, Berlin
  • Ancient Egyptian Statue the " Berlin Green Man ". / Berliner Grüner Kopf. / Egypt 30.  Dynasty  (350 BC) Berlin Neues Museum Cat No: AM 12500.
  • Statue Portrait head of Nefertiti. / Portratkopfe des Konigspaares Nofretete. / Egypt 18. Dynasty  (1340 BC) Berlin Neues Museum Cat No: AM 21348.
  • Ancient Egyptian granite statue of Sobekhotep V kneeling with ointment vessels. Egypt 13-14 Dynastie (1750-1700 BC) Berlin Neues Museum Cat No: AM 10645
  • Ancient Ptolemaic Egyptian basalt statue of Ptolemy III, 220 BC . Neues Museum Berlin. Cat No: 14764
  • 25th dynasty Egyptian granite Sphinx of Shepenepet II, god's wife of Amon. 660 BC, Karnak. Neues Reiche Museum, Berlin. Cat No AM7972
  • Egyptian painting on stucco of the defied Pharaoh Amenhotep I . 11152-1145BC, Thebes, Grab Nr 359. Neues Reiche Museum, Berlin. Cat No AM2061
  • Egyptian painting on stucco of Pharaoh Amenhotep I. 11152-1145BC, Thebes. Neues Reiche Museum, Berlin. Cat No AM2061
  • Egyptian painting on stucco of the defied queen Ahmose-Nofretari. 11152-1145BC, Thebes, Grab Nr 359. Neues Reiche Museum, Berlin. Cat No AM2060
  • 12 dynasty Egyptian statue of king Amenemhet III praying. 1840-1800 BC, Memphis. Neues  Museum, Berlin. Cat No AM1121
  • 12 dynasty Egyptian statue of king Amenemhet III praying. 1840-1800 BC, Memphis. Neues  Museum, Berlin. Cat No AM1121
  • Ancient Egyptian case of the inner coffin of Nespamai depicting the goddess Nut. 500BC BC. Neues Museum Berlin AM 31213/2.
  • Ancient Egyptian mummy mask of Pasyg. 1st century BC. Neues Museum Berlin VAGM 1989/111.
  • Early Roman mummy mask of a women from  Egypt 1st century BC . Neues Museum Berlin Cat No: AM 34434.
  • Ancient Egyptian voitive stele of Takasu for the Gods Harmakhis and Atun from Thebes. Ancient Egypt 25/26 Dynaty, 630 BC. Neues Museum Berlin Cat No: AM 935.
  • 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 Ptolemaic sacrophagus of the prophet Ahmose. 332-30 BC. Neues Museum Berlin AM 38.
  • Ancient Egyptian bronze statue of Meres-Amun. Ancient Egypt 22nd Dynaty, 850 BC. Neues Museum Berlin Cat No: AM 32321.
  • Ancient Egyptian granite block statue of the steward Haruafrom Thebes. 26th Dynasty 500 BC. Neues Museum Berlin AM 8163.
  • Ancient Egyptian statue from Thebes, 500 BC, Neues Museum Berlin
  • Ancient Egyptian granite block statue of the steward Haruafrom Thebes. 26th Dynasty 500 BC. Neues Museum Berlin AM 8163.
  • Ancient Egyptian quartz statue head of princess from Amarna. 18th Dynasty Ancient Egypt, 1345 BC . Neues Museum Berlin Cat No: AM 21223.
  • Ancient Egyptian statue head of Queen Hatshepsut or King Thutmose III. Ancient Egypt 18th Dynaty, 1460-1450 BC. Neues Museum Berlin Cat No: AM 34431.
  • Ushabti. Ptolemaic Dynasty  Egyptian textile & gold mummy mask depicting various gods, 306-30 BC. Neues Reiche Museum, Berlin. Cat No AM813
  • Paros Marble Lycian Sarcophagus from the end of the 5th Cent. B.C  from the Royal Necropolis of Sidon (lebanon), Chamber no IV. Istanbul Archaeological Museum Inv. No 369T Cat. Mendel 63.
  • Paros Marble Lycian Sarcophagus from the end of the 5th Cent. B.C  from the Royal Necropolis of Sidon (lebanon), Chamber no IV. Istanbul Archaeological Museum Inv. No 369T Cat. Mendel 63.
  • Sarcophagus of The Mourning Women, 4th cent. B.C Greek from the Royal Necropolis of Sidon , Chamber no I, Lebanon, Istanbul Archaeological Museum Inv. 386T  Cat. Mendel 10.
  • Sidamara Sarcophagus, a 2nd century marble Roman sarcophagus from Ambararasi (Konya) Turkey. Istanbul Archaeology Museum, Inv 1179T Cat. Mendel 112.
  • Sidamara Sarcophagus, a 2nd century marble Roman sarcophagus from Turkey. Istanbul Archaeology Museum.
  • Alexander The Great ( Alexander III of Macedon) 4th Cent BC. Sarcophagus calved from Pentelic Marble from the Royal Necropolis of Sidon, Chamber no.III, Lebanon. Istanbul Archaeological Museum Inv. 370T Cat. Mendel 68
  • Sarcophagus of The Mourning Women, 4th cent. B.C Greek from the Royal Necropolis of Sidon , Chamber no I, Lebanon, Istanbul Archaeological Museum Inv. 386T  Cat. Mendel 10.
  • "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.
  • 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
  • Satrap Sarcophagus, Paros marble from the Royal Necropolis of Sidon, Chamber no. VI. Second half of the 5th cent. B.C.  Istanbul Archaeological museum Inv 367 T.  Cat. Mendel 9
  • 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 relief portrait fragment of King Akhenaten from Amarna. 18th Dynasty 1345 BC . Neues Museum Berlin 1985.328.3: Gift from New York Metropolitan Museum, Norbert Schimmel.
  • Paros Marble Lycian Sarcophagus from the end of the 5th Cent. B.C  from the Royal Necropolis of Sidon (lebanon), Chamber no IV. Istanbul Archaeological Museum Inv. No 369T Cat. Mendel 63.
  • 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.
  • "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.
  • Large Sphinx of Naxos sitting on an Ionic column circa 560 B.C. Delphi Archaeological Museum.
  • Large Sphinx of Naxos sitting on an Ionic column circa 560 B.C. Delphi Archaeological Museum.
  • Large Sphinx of Naxos sitting on an Ionic column circa 560 B.C. Delphi Archaeological Museum.
  • Large Sphinx of Naxos sitting on an Ionic column circa 560 B.C. Delphi Archaeological Museum.
  • Autumn leaf. Single fall leaf against white. Natural colors and textures.
  • Autumn leaf. Single fall leaf against white. Natural colors and textures.
  • Autumn leaf. Single fall leaf against white. Natural colors and textures.
  • Autumn leaf. Single fall leaf against white. Natural colors and textures.
  • Autumn leaf. Single fall leaf against white. Natural colors and textures.
  • Nail Varnish dripping from a nail varnish brush balanced on a nail varnish bottle. Pink colour against white with a reflection
  • Nail Varnish dripping from a nail varnish brush balanced on a nail varnish bottle. Pink colour against white with a reflection
  • Nail Varnish dripping from a nail varnish brush balanced on a nail varnish bottle. Pink colour against white with a reflection
  • Nail Varnish dripping from a nail varnish brush balanced on a nail varnish bottle. Pink colour against white with a reflection
  • Nail Varnish dripping from a nail varnish brush balanced on a nail varnish bottle. Peach colour against white with a reflection
  • Fresh turmeric  or tumeric root (Curcuma longa) against a white background
  • Fresh turmeric  or tumeric root (Curcuma longa) against a white background
  • Fresh turmeric  or tumeric root (Curcuma longa) against a white background
  • Fresh turmeric  or tumeric root (Curcuma longa) against a white background
  • Fresh turmeric  or tumeric root (Curcuma longa) against a white background
  • Fresh turmeric  or tumeric root (Curcuma longa) against a white background
  • Granulated white Sugar against a white background
  • Granulated white Sugar against a white background
  • Stinging Nettle leaves against a white backgroung.
  • Fresh whole coffee beans in a cofee cup against a white background
  • Fresh Cherry against a white background
  • Nude female standing against a white background
  • Courgette Flower against a white background
  • Courgette Flower against a white background
  • Hittite Terra cotta lion shaped ritual vessel - 16th century BC - Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey. Against white background
  • Hittite terra cotta two handled vessel and a ritual vessel in the shape of a bunch of grapes - 16th century BC - Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey . Against white background
  • Hittite terra cotta ritual vessel in the shape of a duck with two heads - 16th century BC - Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey . Against white background
  • Hittite terra cotta ritual vessel in the shape of a duck with two heads - 16th century BC - Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey . Against white background
  • Hittite terra cotta long neck pitcher - 16th century BC - Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey . Against white background
  • Hittite terra cotta ring shaped vessel - 16th century BC - Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey . Against white background
  • Hittite terra cotta pitcher - 16th century BC - Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey . Against white background
  • Terra cotta ritual bull pots, probably of Hurri & Serri, the bulls of Teshup the Storm God. produced as pairs only differing in the direction of their tails, the spouts on their backs indicate that they were offering vessels- 16th century BC - Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey . Against white background
  • Hittite terra cotta bull head - 17th -16th century BC- Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey . Against white background
  • Hittite terra cotta double handled jug with a relief human face- 17th - 16th century BC - Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey . Against white background
  • Hittite pot with animal head reliefs - 17th-16th century BC - Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey . Against white background
  • Hittite Terracotta statue of a bull - 17th-16th century BC - Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey . Against white background
  • Hittite pithos with reliefs of animals - 17th - 16th century BC -  Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey . Against white background
  • Pictures & images of the North Gate Hittite sculpture stele depicting Hittite man with a sheep on his shoulders. 8th century BC. Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey. Against white background
  • Pictures & images of the North Gate Hittite sculpture stele depicting Hittite winged God. 8th century BC. Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey. Against white background
  • Pictures & images of the North Gate Hittite sculpture stele depicting Hittite man with abow and a bear. 8th century BC. Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey. Against white background
  • Pictures & images of the North Gate Hittite sculpture stele depicting Hittite Gods. 8th century BC. Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey. Against white background
  • Pictures & images of the North Gate Hittite sculpture stele depicting Hittite God hunting a lion. 8th century BC. Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey. Against white background
  • Pictures & images of the North Gate Hittite sculpture stele depicting Hittite Gods. 8th century BC. Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey. Against white background
  • Pictures & images of the North Gate Hittite sculpture stele depicting Hittite Gods. 8th century BC. Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey. Against white background
  • Pictures & images of the North Gate Hittite sculpture stele depicting Hittite Gods. 8th century BC. Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey. Against white background
  • Pictures & images of the North Gate Hittite sculpture stele depicting Hittite Gods. 8th century BC. Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey. Against white background
  • Pictures & images of the North Gate Hittite sculpture stele depicting Hittite Gods. 8th century BC. Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey. Against white background
  • Pictures & images of the North Gate Hittite sculpture stele depicting Hittite Gods. 8th century BC. Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey. Against white background
  • Pictures & images of the North Gate Hittite sculpture stele depicting Hittite hunting. 8th century BC. Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey. Against white background
  • Pictures & images of the North Gate Hittite sculpture stele depicting man with wolves. 8the century BC.  Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey. Against white background
  • Pictures & images of the North Gate Hittite sculpture stele depicting a women breast feeding a child. 8the century BC.  Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey. Against white background
  • Pictures & images of the North Gate Hittite sculpture stele depicting Hittite Gods. 8th century BC. Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey. Against white background
  • Pictures & images of the North Gate Hittite sculpture stele depicting a Hittite chariot. 8th century BC. Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey. Against white background
  • Pictures & images of the North Gate Hittite sculpture stele depicting Hittite Gods. 8th century BC. Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey. Against white background
  • Pictures & images of the North Gate Hittite sculpture stele depicting Hittite Gods. 8th century BC. Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey. Against white background
  • Pictures & images of the North Gate Hittite sculpture stele depicting musicians playing instruments. 8the century BC.  Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey. Against white background
  • Pictures & images of the North Gate Hittite sculpture statue depicting a mythical winged god with a human head. 8the century BC.  Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey. Against white background
  • Pictures & images of the North Gate Hittite sculpture stele depicting a God with a spear. 8the century BC.  Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey. Against white background
  • Pictures & images of the North Gate Hittite sculpture stele depicting a ship with fish. 8the century BC.  Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey. Against white background
  • Pictures & images of the North Gate Hittite sculpture stele depicting a winged bird God. 8the century BC.  Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey. Against white background
  • Pictures & images of the North Gate Hittite sculpture stele depicting soldiers. 8the century BC.  Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey. Against white background
  • Pictures & images of the North Gate Hittite sculpture stele depicting the Egyptian God Bes. 8the century BC.  Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey. Against white background
  • Pictures & images of the North Gate Hittite sculpture stele depicting Hittite Gods. 8th century BC. Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey. Against white background
  • Pictures & images of the North Gate ancient Hittite stele stone slabs with carvings of the Phoenician language  known as the Karatepe bilingual, which allowed academics to translate Hittite hieroglyphs. 8th century BC discovered in 1946. Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey. Against white background
  • Pictures & images of the North Gate ancient Hittite stele stone slabs with stele of Hittite Gods, mythical beasts and lion as well as carvings of the Phoenician language  known as the Karatepe bilingual, which allowed academics to translate Hittite hieroglyphs. 8th century BC discovered in 1946. Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey. Against white background
  • Pictures & images of the North Gate Hittite sculpture stele depicting Hittite Gods. 8th century BC. Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey. Against white background
  • Pictures & images of the South Gate Hittite sculpture stele depicting Hittite Gods. 8th century BC. Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey.  Against white background
  • Pictures & images of the South Gate Hittite sculpture stele depicting Hittite Gods. 8th century BC. Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey.  Against white background
  • Pictures & images of the South Gate Hittite sculpture stele depicting Hittite Gods. 8th century BC. Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey.  Against white background
  • Pictures & images of the South Gate Hittite sculpture stele depicting Hittite Gods. 8th century BC. Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey.  Against white background
  • Pictures & images of the South Gate Hittite sculpture statue of Hittite Storm God Tarhunzas ( Tarḫunz Tarḫunna or in Hurrian Teshub or in Phoenician Baal Krntrys ). 8th century BC. Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey. Against white background
  • Pictures & images of the South Gate Hittite sculpture statue of Hittite Storm God Tarhunzas ( Tarḫunz Tarḫunna or in Hurrian Teshub or in Phoenician Baal Krntrys ). 8th century BC. Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey. Against white background
  • Pictures & images of the South Gate Hittite sculpture statue of Hittite Storm God Tarhunzas ( Tarḫunz Tarḫunna or in Hurrian Teshub or in Phoenician Baal Krntrys ). 8th century BC. Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey.  Against white background
  • Pictures & images of the South Gate Hittite sculpture stele depicting Hittite Gods. 8th century BC. Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey.  Against white background
  • Pictures & images of the South Gate Hittite sculpture stele depicting Hittite Gods. 8th century BC. Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey.  Against white background
  • Fresh cape gooseberry against white background
  • Fresh whole mango against white to cut out
  • Hittite Terra cotta lion shaped ritual vessel - 16th century BC - Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey. Against white background
  • Hittite terra cotta tower shaped vessel representing a two storey tower of the city walls complete with merlons - 14th century BC - Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey . Against white background
  • Hittite terra cotta tower shaped vessel representing a two storey tower of the city walls complete with merlons - 14th century BC - Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey . Against white background
  • Terra cotta ritual bull pots, probably of Hurri & Serri, the bulls of Teshup the Storm God. produced as pairs only differing in the direction of their tails, the spouts on their backs indicate that they were offering vessels- 16th century BC - Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey . Against white background
  • Hittite terra cotta vessel with strainer - 19th 17th century BC - Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey . Against white background
  • Hittite Terracotta statue of a bull - 17th-16th century BC - Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey . Against white background
  • Pictures & images of the North Gate Hittite sculpture stele depicting Hittite Gods. 8th century BC. Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey. Against white background
  • Pictures & images of the North Gate Hittite sculpture stele depicting Hittite Gods. 8th century BC. Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey. Against white background
  • Pictures & images of the North Gate Hittite sculpture stele depicting Hittite Gods. 8th century BC. Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey. Against white background
  • Pictures & images of the North Gate Hittite sculpture stele depicting musicians playing instruments. 8the century BC.  Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey. Against white background
  • Pictures & images of the North Gate Hittite sculpture stele depicting Hittite Gods. 8th century BC. Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey. Against white background
  • Pictures & images of the South Gate Hittite sculpture stele depicting Hittite Gods. 8th century BC. Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey.  Against white background
  • Pictures & images of the South Gate Hittite sculpture statue of a Lion. 8th century BC. Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey. Against white background
  • Pictures & images of the South Gate Hittite sculpture stele depicting Hittite Gods. 8th century BC. Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey.  Against white background
  • Pictures & images of the South Gate Hittite sculpture stele depicting Hittite Gods. 8th century BC. Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey.  Against white background
  • Pictures & images of the South Gate Hittite sculpture stele depicting Hittite Gods. 8th century BC. Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey.  Against white background
  • Pictures & images of the South Gate Hittite sculpture stele depicting Hittite Gods. 8th century BC. Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey.  Against white background
  • Pictures & images of the South Gate Hittite sculpture stele depicting Hittite Gods. 8th century BC. Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey.  Against white background
  • Roman fresco wall decorations of  Room E10 0f La Domus, Rome. Museo Nazionale Romano, 130-140AD ( National Roman Museum), Rome, Italy. Against a white background.<br />
<br />
 The white-ground central panel had a figured decoration, already obliterated by repairs carried out in antiquity. In the squares to the sides of the upper area, swathes of white fabric bordered by green leaves and berries are depicted against a purplish red background. The side walls are decorated in a similar symmetrical way; in the squares there are various decorative elements, a stag in flight with a quiver nearby (perhaps an allusion to the myth of Actaeon who was transformed into a stag by Artemis, or, more simply, to hunting), a small head (gorgoneion) contained between volutes.
  • Roman fresco wall decorations of  Room E10 0f La Domus, Rome. Museo Nazionale Romano, 130-140AD ( National Roman Museum), Rome, Italy. Against a white background.<br />
<br />
 The white-ground central panel had a figured decoration, already obliterated by repairs carried out in antiquity. In the squares to the sides of the upper area, swathes of white fabric bordered by green leaves and berries are depicted against a purplish red background. The side walls are decorated in a similar symmetrical way; in the squares there are various decorative elements, a stag in flight with a quiver nearby (perhaps an allusion to the myth of Actaeon who was transformed into a stag by Artemis, or, more simply, to hunting), a small head (gorgoneion) contained between volutes.
  • Fresh picked edible yellow or golden oyster mushrooms (Pleurotus citrinopileatus) in a grow box against a white background
  • Roman fresco wall decorations of  Vestibule of a Rome Villa, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy. Against a white background.<br />
<br />
A large fresco covered the curving wall of the vestibule E 5 was positioned at the entrance of the house onto the street. Vitruvius claims that the vestibulum was a room which was not needed by common people, but which was essential in a house worthy of respect, because it served to welcome guests and the people who came to be received by the owners of the house. The frescoed decoration of this wall, which was entirely detached, shows a division into panels, architectural perspectives and pavilions among which are figures and decorative elements, above a band of skirting. Numerous panels have been detached from the corridor E 3 E 11 which connected all the areas of the house, but it has not been possible to reconstruct the sequence of the walls. Inside the frames, against a white background, different decorative elements are arranged, along with hanging female and male figures, hippogriffs and other fantastical animals, vases, garlands and vegetation.
  • Fresh picked edible yellow or golden oyster mushrooms (Pleurotus citrinopileatus) against a white background for cut out
  • Fresh picked edible yellow or golden oyster mushrooms (Pleurotus citrinopileatus) against a white background for cut out
  • Fresh picked edible yellow or golden oyster mushrooms (Pleurotus citrinopileatus) against a white background for cut out
  • Fresh picked edible yellow or golden oyster mushrooms (Pleurotus citrinopileatus) against a white background for cut out
  • Fresh picked edible yellow or golden pyster mushrooms (Pleurotus citrinopileatus) in a grow box against a white background
  • Fresh picked edible yellow or golden pyster mushrooms (Pleurotus citrinopileatus) in a grow box against a white background
  • Fresh picked edible yellow or golden pyster mushrooms (Pleurotus citrinopileatus) in a grow box against a white background
  • Fresh picked edible yellow or golden oyster mushrooms (Pleurotus citrinopileatus) against a white background for cut out
  • Fresh picked edible yellow or golden oyster mushrooms (Pleurotus citrinopileatus) against a white background for cut out
  • Fresh picked edible yellow or golden oyster mushrooms (Pleurotus citrinopileatus) against a white background for cut out
  • Fresh picked Sambucus berries commonly known as elder or elderberry against a white background
  • Fresh picked Sambucus berries commonly known as elder or elderberry against a white background
  • Fresh picked berries from a Crataegus bush,  commonly called hawthorn, thornapple, May-tree, whitethorn, or hawberry against a white background
  • Fresh picked berries from a Crataegus bush,  commonly called hawthorn, thornapple, May-tree, whitethorn, or hawberry against a white background
  • Fresh picked berries from a Crataegus bush,  commonly called hawthorn, thornapple, May-tree, whitethorn, or hawberry against a white background
  • 323-300B.C Etruscan Hellenistisc style column Krater with red figure of a young man against a black background, made in Volterra (Pisa), National Archaeological Museum Florence, Italy , white background
  • Erotic 5th cnetury BC attica style anfora of two men, black against an potrange background, Caolina Murat Collection inv no 27670, Secret Museum or Secret Cabinet, Naples National Archaeological Museum , white background
  • Roman fresco wall decorations of  Room E10 0f La Domus, Rome. Museo Nazionale Romano, 130-140AD ( National Roman Museum), Rome, Italy. Against a grey background.<br />
<br />
 The white-ground central panel had a figured decoration, already obliterated by repairs carried out in antiquity. In the squares to the sides of the upper area, swathes of white fabric bordered by green leaves and berries are depicted against a purplish red background. The side walls are decorated in a similar symmetrical way; in the squares there are various decorative elements, a stag in flight with a quiver nearby (perhaps an allusion to the myth of Actaeon who was transformed into a stag by Artemis, or, more simply, to hunting), a small head (gorgoneion) contained between volutes.
  • Roman fresco wall decorations of  Room E10 0f La Domus, Rome. Museo Nazionale Romano, 130-140AD ( National Roman Museum), Rome, Italy. Against a black background.<br />
<br />
 The white-ground central panel had a figured decoration, already obliterated by repairs carried out in antiquity. In the squares to the sides of the upper area, swathes of white fabric bordered by green leaves and berries are depicted against a purplish red background. The side walls are decorated in a similar symmetrical way; in the squares there are various decorative elements, a stag in flight with a quiver nearby (perhaps an allusion to the myth of Actaeon who was transformed into a stag by Artemis, or, more simply, to hunting), a small head (gorgoneion) contained between volutes.
  • Roman fresco wall decorations of  Room E10 0f La Domus, Rome. Museo Nazionale Romano, 130-140AD ( National Roman Museum), Rome, Italy. Against an art background.<br />
<br />
 The white-ground central panel had a figured decoration, already obliterated by repairs carried out in antiquity. In the squares to the sides of the upper area, swathes of white fabric bordered by green leaves and berries are depicted against a purplish red background. The side walls are decorated in a similar symmetrical way; in the squares there are various decorative elements, a stag in flight with a quiver nearby (perhaps an allusion to the myth of Actaeon who was transformed into a stag by Artemis, or, more simply, to hunting), a small head (gorgoneion) contained between volutes.
  • Roman fresco wall decorations of  Room E10 0f La Domus, Rome. Museo Nazionale Romano, 130-140AD ( National Roman Museum), Rome, Italy. Against a grey background.<br />
<br />
 The white-ground central panel had a figured decoration, already obliterated by repairs carried out in antiquity. In the squares to the sides of the upper area, swathes of white fabric bordered by green leaves and berries are depicted against a purplish red background. The side walls are decorated in a similar symmetrical way; in the squares there are various decorative elements, a stag in flight with a quiver nearby (perhaps an allusion to the myth of Actaeon who was transformed into a stag by Artemis, or, more simply, to hunting), a small head (gorgoneion) contained between volutes.
  • Roman fresco wall decorations of  Room E10 0f La Domus, Rome. Museo Nazionale Romano, 130-140AD ( National Roman Museum), Rome, Italy. Against a black background.<br />
<br />
 The white-ground central panel had a figured decoration, already obliterated by repairs carried out in antiquity. In the squares to the sides of the upper area, swathes of white fabric bordered by green leaves and berries are depicted against a purplish red background. The side walls are decorated in a similar symmetrical way; in the squares there are various decorative elements, a stag in flight with a quiver nearby (perhaps an allusion to the myth of Actaeon who was transformed into a stag by Artemis, or, more simply, to hunting), a small head (gorgoneion) contained between volutes.
  • Roman fresco wall decorations of  Room E10 0f La Domus, Rome. Museo Nazionale Romano, 130-140AD ( National Roman Museum), Rome, Italy. Against an art background.<br />
<br />
 The white-ground central panel had a figured decoration, already obliterated by repairs carried out in antiquity. In the squares to the sides of the upper area, swathes of white fabric bordered by green leaves and berries are depicted against a purplish red background. The side walls are decorated in a similar symmetrical way; in the squares there are various decorative elements, a stag in flight with a quiver nearby (perhaps an allusion to the myth of Actaeon who was transformed into a stag by Artemis, or, more simply, to hunting), a small head (gorgoneion) contained between volutes.
  • Roman Black and White Geometric mosaic decorations  from  a Villa of Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy. Against a white background.
  • Roman Black and White Geometric mosaic decorations  from  a Villa of Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy. Against a grey background.
  • Roman Black and White Geometric mosaic decorations  from  a Villa of Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy. Against an art background.
  • Roman Sebasteion relief  sculpture of Royal Hero with hunting dogs,  Aphrodisias Museum, Aphrodisias, Turkey.     Against a white background.<br />
<br />
A diademed youth stands with his horse and hunting dogs. At the left an oval shield (foreign) hangs from a leafless tree, against which leans a long thin club. The Royal hero in this and the relief to the left is probably a local founder such as Assyrian King Ninos, claimed as founder of their city by the Aphrodisians.
  • Detail of a  Roman Sebasteion relief sculpture of Achilles and a dying Amazon, Aphrodisias Museum, Aphrodisias, Turkey.       Against a white background.<br />
<br />
Achilles supports the dying Amazon queen Penthesilea whom he has mortally wounded. Her double headed axe slips from her hands. The queen had come to fight against the Greeks in the Trojan war and Achilles fell in love with her.
  • Roman Sebasteion relief sculpture of Achilles and a dying Amazon, Aphrodisias Museum, Aphrodisias, Turkey.       Against a white background.<br />
<br />
Achilles supports the dying Amazon queen Penthesilea whom he has mortally wounded. Her double headed axe slips from her hands. The queen had come to fight against the Greeks in the Trojan war and Achilles fell in love with her.
  • Toprak Bagis Belgesi  cuneiform donation document of winter  pasture to the shepherds of Uhhiva city. Hittite Period 1600 - 1450 BC.  Hattusa Boğazkale. Çorum Archaeological Museum, Corum, Turkey.. Against a white bacground.<br />
<br />
The document reads "The Big King donates the summery and winter pastures with shepherds of Uhhiva city to his servant Hassuli, head of the guardians. No one shall have the right to claim against Hassuli or his grandchildren in the future. The Big King's word is made of iron, which can never be changed or broken. Whoever changes his word shall be beheaded. This tablet was written by Hanukkuli, Sarpa, head of Hittite palace guardians before Iskanussu, commander-in-chief."
  • Alaca Hoyuk Sphinx Gate Hittite monumental relief sculpted orthostat stone panel. Andesite. Alaca, Corum, 1399 - 1301 B.C. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Left Panel - Sitting in a chair without a backrest, the head and the face of the figure are completely destroyed. She has a long veil on her head, a long dress hanging down to her ankles, and the shoes with the curved ends. The stool under her feet indicates that she is an important person. She drinks something from the vessel in her right hand and she keeps the handled goblet in her hand a little higher.  <br />
<br />
Right Panel - Three figures with short skirts have their right arms positioned ahead. They each carry a sceptre in their left hand, which they lean against their shoulder. <br />
<br />
Against a white background.
  • Roman Black and White Geometric mosaic decorations  from  a Villa of Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy. Against a black background.
  • Roman fresco wall decorations of  Vestibule of a Rome Villa, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy. Against a grey background.<br />
<br />
A large fresco covered the curving wall of the vestibule E 5 was positioned at the entrance of the house onto the street. Vitruvius claims that the vestibulum was a room which was not needed by common people, but which was essential in a house worthy of respect, because it served to welcome guests and the people who came to be received by the owners of the house. The frescoed decoration of this wall, which was entirely detached, shows a division into panels, architectural perspectives and pavilions among which are figures and decorative elements, above a band of skirting. Numerous panels have been detached from the corridor E 3 E 11 which connected all the areas of the house, but it has not been possible to reconstruct the sequence of the walls. Inside the frames, against a white background, different decorative elements are arranged, along with hanging female and male figures, hippogriffs and other fantastical animals, vases, garlands and vegetation.
  • Roman fresco wall decorations of  Vestibule of a Rome Villa, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy. Against a black background.<br />
<br />
A large fresco covered the curving wall of the vestibule E 5 was positioned at the entrance of the house onto the street. Vitruvius claims that the vestibulum was a room which was not needed by common people, but which was essential in a house worthy of respect, because it served to welcome guests and the people who came to be received by the owners of the house. The frescoed decoration of this wall, which was entirely detached, shows a division into panels, architectural perspectives and pavilions among which are figures and decorative elements, above a band of skirting. Numerous panels have been detached from the corridor E 3 E 11 which connected all the areas of the house, but it has not been possible to reconstruct the sequence of the walls. Inside the frames, against a white background, different decorative elements are arranged, along with hanging female and male figures, hippogriffs and other fantastical animals, vases, garlands and vegetation.
  • Roman fresco wall decorations of  Vestibule of a Rome Villa, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy. Against an art background.<br />
<br />
A large fresco covered the curving wall of the vestibule E 5 was positioned at the entrance of the house onto the street. Vitruvius claims that the vestibulum was a room which was not needed by common people, but which was essential in a house worthy of respect, because it served to welcome guests and the people who came to be received by the owners of the house. The frescoed decoration of this wall, which was entirely detached, shows a division into panels, architectural perspectives and pavilions among which are figures and decorative elements, above a band of skirting. Numerous panels have been detached from the corridor E 3 E 11 which connected all the areas of the house, but it has not been possible to reconstruct the sequence of the walls. Inside the frames, against a white background, different decorative elements are arranged, along with hanging female and male figures, hippogriffs and other fantastical animals, vases, garlands and vegetation.
  • Roman fresco wall decorations of  Room E10 0f La Domus, Rome. Museo Nazionale Romano, 130-140AD ( National Roman Museum), Rome, Italy.<br />
<br />
 The white-ground central panel had a figured decoration, already obliterated by repairs carried out in antiquity. In the squares to the sides of the upper area, swathes of white fabric bordered by green leaves and berries are depicted against a purplish red background. The side walls are decorated in a similar symmetrical way; in the squares there are various decorative elements, a stag in flight with a quiver nearby (perhaps an allusion to the myth of Actaeon who was transformed into a stag by Artemis, or, more simply, to hunting), a small head (gorgoneion) contained between volutes.
  • Roman fresco wall decorations of  Room E10 0f La Domus, Rome. Museo Nazionale Romano, 130-140AD ( National Roman Museum), Rome, Italy.<br />
<br />
 The white-ground central panel had a figured decoration, already obliterated by repairs carried out in antiquity. In the squares to the sides of the upper area, swathes of white fabric bordered by green leaves and berries are depicted against a purplish red background. The side walls are decorated in a similar symmetrical way; in the squares there are various decorative elements, a stag in flight with a quiver nearby (perhaps an allusion to the myth of Actaeon who was transformed into a stag by Artemis, or, more simply, to hunting), a small head (gorgoneion) contained between volutes.
  • Phrygian table base support decorated with ivory roaring lion statuettes. From Gordion. Phrygian Collection, 8th-7th century BC -  Museum of Anatolian Civilisations Ankara, Turkey.. Turkey. Against a white background
  • Phrygian ivory statuette carved as a roaring lion lying down from a table base decoration. From Gordion. Phrygian Collection, 8th-7th century BC - Museum of Anatolian Civilisations Ankara. Turkey. Against a white background
  • Phrygian bronze trefoil spouted jug from Gordion . Phrygian Collection, 8th century BC -Museum of Anatolian Civilisations Ankara. Turkey. Against a white background
  • Phrygian bronze trefoil spouted jug from Gordion . Phrygian Collection, 8th century BC - Museum of Anatolian Civilisations Ankara. Turkey. Against a white background
  • Phrygian bronze trefoil jug with a beated geometric design. From Gordion. Phrygian Collection, 8th century BC - Museum of Anatolian Civilisations Ankara. Turkey. Against a white background
  • Phrygian Gold bowl with deeply beated design from Gordion. Phrygian Collection, 8th-7th century BC - Museum of Anatolian Civilisations Ankara. Turkey. Against a white background
  • Close up of a Phrygian terra cotta large jug with handles, decorated with animals, from Gordion. Phrygian Collection, 6th century BC - Museum of Anatolian Civilisations Ankara. Turkey. Against a white background
  • Phrygian terra cotta large jug with handles, decorated with animals, from Gordion. Phrygian Collection, 6th century BC - Museum of Anatolian Civilisations Ankara. Turkey. Against a white background
  • Phrygian terra cotta large jug with handles, decorated with animals, from Gordion. Phrygian Collection, 6th century BC - Museum of Anatolian Civilisations Ankara. Turkey. Against a white background
  • Phrygian grey ceramic rhython in the shape of a goat from Gordion. Phrygian Collection, 8th-7th century BC - Museum of Anatolian Civilisations Ankara. Turkey. Against a white background
  • Phrygian bronze fibula from Gordion. Phrygian Collection, 8th-7th century BC - Museum of Anatolian Civilisations Ankara. Turkey. Against a white background
  • Phrygian terra cotta jug with geometric designs from Gordion. Phrygian Collection, 8th century BC - Museum of Anatolian Civilisations Ankara. Turkey. Against a white background
  • Phrygian pottery vessel in the shape of a goose decorated with geometric deigns from Gordion. Phrygian Collection, 8th century BC - Museum of Anatolian Civilisations Ankara. Turkey. Against a white background
  • Phrygian terra cotta pottery vessel with a strainer and long pouring lip, decorated with geometric designs and images of animals and birds, from Gordion. Phrygian Collection, 9th century BC - Museum of Anatolian Civilisations Ankara. Turkey. Against a white background
  • Phrygian terra Cotta vessel with a strainer and a long pouring lip with geometric painted patterns from Gordion. Phrygian Collection, 9th century BC - Museum of Anatolian Civilisations Ankara. Turkey. Against a white background
  • Phrygian decorated  terra cotta pottery  rhyton in the shape of a ram from Gordion. Phrygian Collection, 8th century BC - Museum of Anatolian Civilisations Ankara. Turkey. Against a white background
  • Phrygian inlayed Wooden Screen from the Gordion Great Tumulus. Phrygian Collection, 8th-7th century BC - Museum of Anatolian Civilisations Ankara. Turkey. Against a white background
  • Roman Sebasteion relief sculpture of Krete Aphrodisias Museum, Aphrodisias, Turkey.   Against a white background.<br />
<br />
The classical hairstyle, dress and pose characterises the figure of civilised and free,
  • Roman Sebasteion relief sculpture of Ethnos of the Dacians Aphrodisias Museum, Aphrodisias, Turkey.   Against a white background.<br />
<br />
The Dacians are shown as a captive Barbarian woman. Her arms are crossed in submission, her thick dress slips off the shoulder slightly partly revealing her breast. The forepart of a small bull stands in profile behind. Dacia (modern Romania) was claimed by Augustus as a conquest in 1BC to 4AD
  • Roman Sebasteion relief sculpture personifing a Balkan Warrior  Aphrodisias Museum, Aphrodisias, Turkey.  Against a white background.<br />
<br />
The relief figure personifies a Balkan Warrior tribe defeated by Tiberius in AD 6-8 before he became emperor. She wears a classical dress, cloak and helmet and carries a small shield and probably once a spear. A builder’s inscription, “Pirouston”, written above the shield, ensured the relief was put on the right base
  • Close up of Roman Sebasteion relief sculpture personifing a Balkan Warrior  Aphrodisias Museum, Aphrodisias, Turkey.  Against a white background.<br />
<br />
The relief figure personifies a Balkan Warrior tribe defeated by Tiberius in AD 6-8 before he became emperor. She wears a classical dress, cloak and helmet and carries a small shield and probably once a spear. A builder’s inscription, “Pirouston”, written above the shield, ensured the relief was put on the right base
  • Roman Sebasteion relief sculpture personifing a Balkan Warrior  Aphrodisias Museum, Aphrodisias, Turkey.  Against a white background.<br />
<br />
The relief figure personifies a Balkan Warrior tribe defeated by Tiberius in AD 6-8 before he became emperor. She wears a classical dress, cloak and helmet and carries a small shield and probably once a spear. A builder’s inscription, “Pirouston”, written above the shield, ensured the relief was put on the right base
  • Roman Sebasteion relief sculpture of Ethnos with belted peplos, Aphrodisias Museum, Aphrodisias, Turkey.   Against a white background.<br />
<br />
The matronly figure wears a belted classical dress (peplos) and held her long cloak up behind. The square hole above her shoulder with a corresponding hole in the back, was for lifting the finished relief into the ancient building by crane.
  • Roman Sebasteion relief sculpture of the god Okeanos (Ocean), Aphrodisias Museum, Aphrodisias, Turkey.   Against a white background.<br />
<br />
The bearded of Okeanos makes an epiphany, controlling his cloak which billows around his head. Ocean would be paired with Earth: together they represented empire without end, over land and sea
  • Close up of Roman Sebasteion relief sculpture of emperor Augustus and Goddess Victory, Aphrodisias Museum, Aphrodisias, Turkey.   Against a white background.<br />
<br />
The naked emperor Augustus stands in majesty with the winged goddess Victory(Nike). He carried a spear and has an eagle, the bird representing Zeus, at his feet. Victory is crowning a military trophy - a rough post with enemy armour attached to it. Beneath the trophy is a barbarian captive, his hands tied behind his back.
  • Roman Sebasteion relief sculpture of emperor Augustus and Goddess Victory, Aphrodisias Museum, Aphrodisias, Turkey.   Against a white background.<br />
<br />
The naked emperor Augustus stands in majesty with the winged goddess Victory(Nike). He carried a spear and has an eagle, the bird representing Zeus, at his feet. Victory is crowning a military trophy - a rough post with enemy armour attached to it. Beneath the trophy is a barbarian captive, his hands tied behind his back.
  • Roman Sebasteion relief sculpture of  an Imperial prince as Diokouros son of zeus, Aphrodisias Museum, Aphrodisias, Turkey.   Against a white background.<br />
<br />
An imperial youth wearing a military cloak and cuirass of a commander holds the reins of hios horse. This panel is next to a Claudius panel so is probably of Britanicus or Nero the emperors son and intended successor
  • Roman Sebasteion relief sculpture of  an Imperial prince as Diokouros, Aphrodisias Museum, Aphrodisias, Turkey.   Against a white background.<br />
<br />
An imperial youth wearing a military cloak and cuirass of a commander holds the reins of hios horse. This panel is next to a Claudius panel so is probably of Britanicus or Nero the emperors son and intended successor
  • Roman Sebasteion relief  sculpture of the goddess Roma and Ge (Earth),  Aphrodisias Museum, Aphrodisias, Turkey.  Against a white background. <br />
<br />
The goddess Roma holds a spear and wears a crown in the form of a city wall. Earth reclines half naked leaning on a pile of fruit. She holds a cornucopia full of more fruit. A baby child (now damaged) climbs up the horn she holds. The relief represents Earths fertility and abundance overseen by Rome.
  • Roman Sebastian relief sculpture of Nero conquering Armenia Aphrodisias Museum, Aphrodisias, Turkey.   Against a white background.<br />
<br />
Nero, wearing only a cloak and sword strap, supports a slumped naked Armenia by her upper arms. She wears a soft eastern hat, and her bow and quiver are next to her. The heroic composition likens them to Achilles and the Amazon Queen Penthesilea. The inscription reads: Armenia - (Neron) Klaudios Drousos Kaisar Sebastos Germanikos.
  • Roman Sebasteion relief  sculpture of Victory of the Emperors, Aphrodisias Museum, Aphrodisias, Turkey.   Against a white background.<br />
<br />
The inscription identifies the subject of the relief panel as the “Victory of the Emperors” (Neike Sebaston), and refers to the conquest of Armenia and Britannica in its adjacent relief panels. A half naked Victory flies diagonally across the panel, carrying a military trophy over her shoulder. A small winged Eros, now damaged was clinging to the end of the trophy pole. Victory was a key imperial attribute
  • Roman Sebasteion relief  sculpture of emperor Claudius and Britannia, Aphrodisias Museum, Aphrodisias, Turkey.   Against a white background.<br />
<br />
Naked warrior emperor Claudius is about to deliver a death blow to the slumped Britannia. He wears a helmet, cloak and sword belt with a scabbard. Britannia wears a tunic with one breast exposed like the Amazon figures she was modelled on. The inscription reads: Tiberios Klaudios Kaiser - Bretannia.
  • Roman Sebasteion relief  sculpture of emperor Claudius and Britannia, Aphrodisias Museum, Aphrodisias, Turkey.   Against a white background.<br />
<br />
Naked warrior emperor Claudius is about to deliver a death blow to the slumped Britannia. He wears a helmet, cloak and sword belt with a scabbard. Britannia wears a tunic with one breast exposed like the Amazon figures she was modelled on. The inscription reads: Tiberios Klaudios Kaiser - Bretannia.
  • Roman Sebasteion relief  sculpture of emperor Tiberius with a captive Aphrodisias Museum, Aphrodisias, Turkey.   Against a white background.<br />
<br />
The naked emperor Tiberius stands frontally holding a spear and shield wearing a cloak and a sword strap. Besides him stands a barbarian
  • Close up of a Roman Sebasteion relief  sculpture of Aphrodite crowned by Andreia, Aphrodisias Museum, Aphrodisias, Turkey.   Against a white background.<br />
<br />
A draped goddess is crowned by a female warrior figure. The goddess is probably Aphrodite, while the warrior has a bare breated Amazonian dress and equipment (spear, sword strap and shield) worn by Roma or Andreia (Bravery)
  • Roman Sebasteion relief  sculpture of the Emperor and Roman People, Aphrodisias Museum, Aphrodisias, Turkey.  Against a white background. <br />
<br />
The emperor is a naked warrior and is crowned by a personification of the Roman People or the Senate wearing a toga, the stately civilian dress of a Roman Citizen. The crown is an oak wreath, the corona civica or “civic crown” awarded for saving citizens lives. The emperor is setting up a battlefield trophy beneath which kneels an anguished barbarian women captive
  • Close up of a Roman Sebasteion relief  sculpture of  Two princes, Aphrodisias Museum, Aphrodisias, Turkey.  Against a white background.<br />
<br />
Two princes stand like statues, naked, wearing cloaks. The left figure holds the orb of the world in one hand, a symbol of  world rule that indicates he is the imperial heir, and in the other a ship’s stern ornament (aphlaston), a symbol of naval victory. They and probably Gius and Lucius, the grandsons of Augustus, or Nero and Britanicus, Claudius’ heir.
  • Roman Sebasteion relief  sculpture of the goddess Victory, Aphrodisias Museum, Aphrodisias, Turkey.   Against a white background.<br />
<br />
A winged goddess Victory( Nike) flies past carrying a military trophy. She wears a long light dress and has one breast and one leg exposed. Her clothing is set in motion by her swift flight.
  • Roman Sebasteion relief  sculpture of Leda and swan, Aphrodisias Museum, Aphrodisias, Turkey.   Against a white background.<br />
<br />
Zeus disguised as a swan assaults Spartan princess Leda. The bird stands on the tips of its outspread wings and presses its webbed foot on the thigh of modest, struggling Leda. The swan is supported from behind a small Eros. From this encounter came a large egg from which were born Helen and the Dionskouroi twins, Kastor and Polydeukes
  • Roman Sebasteion relief  sculpture of Poseidon and Amphitrite,  Aphrodisias Museum, Aphrodisias, Turkey.   Against a white background.<br />
<br />
The two god-like tritons, Poseidon and Amphitrite, are seated on two sea horses accompanied by two fish legged tritons below. Between the tritons sits a sea-putto of baby triton. The male god is in the form of Poseidon crowned by his wife Amphitrite. Unusually he wears a military cloak and they might be an emperor and his wife (such as Claudius and Agrippina) in the guise of Poseidon and Amphitrite
  • Roman Sebastian relief  sculpture of Roma armed, Aphrodisias Museum, Aphrodisias, Turkey.   Against a white background.<br />
<br />
Roma is equipped with a spear, helmet, round shield and imperial style armour. Blow crouches a naked bearded prisoner, with hands tied behind his back and a skin knotted around his neck. He turns to look up at Roma
  • Roman Sebasteion relief  sculpture of a Goddess inscribing a trophy, Aphrodisias Museum, Aphrodisias, Turkey.   Against a white background.<br />
<br />
A draped goddess strides forward to inscribe a military trophy to which is bound a kneeling female captive. The goddess is probably a personification such as Honour, Virtue or Courage.
  • Roman Sebasteion relief  sculpture of a Goddess inscribing a trophy, Aphrodisias Museum, Aphrodisias, Turkey.   Against a white background.<br />
<br />
A draped goddess strides forward to inscribe a military trophy to which is bound a kneeling female captive. The goddess is probably a personification such as Honour, Virtue or Courage.
  • Close up of a Roman Sebasteion relief  sculpture of Emperor Nero with captive, Aphrodisias Museum, Aphrodisias, Turkey.   Against a white background.<br />
<br />
Naked warrior emperor Nero holds the orb of world rule in one hand and crowns the military trophy with the other. Between the trophy and the emperor stands a bound captive boy. He wears long barbarian trousers and looks up at Nero.
  • Roman Sebasteion relief  sculpture of Emperor Nero with captive, Aphrodisias Museum, Aphrodisias, Turkey.   Against a white background.<br />
<br />
Naked warrior emperor Nero holds the orb of world rule in one hand and crowns the military trophy with the other. Between the trophy and the emperor stands a bound captive boy. He wears long barbarian trousers and looks up at Nero.
  • 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.
  • 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.
  • 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 relief  sculpture of Hygieia, Aphrodisias Museum, Aphrodisias, Turkey.   Against a white background.<br />
<br />
Hygieia, the goddess of Health, hold a flat bowl (phiale) from which she feeds a snake. The snake is wound twice around her forearm. A plump naked child sits on a square pedestal. Hygieia was the daughter of the healing god Asklepios, with whom she is paired here
  • Roman Sebasteion relief  sculpture of Ares, Aphrodisias Museum, Aphrodisias, Turkey.   Against a white background.<br />
<br />
The nude and classically7 styled young god wears only a helmet and holds a spear (missing) in one hand and a shield in the other. At the left stands cuirass, and at the upper right corner hangs his sword. Ares was a god of war and was not later defaced by Christians probably because he so closely resembles a young emperor.
  • Close up of a Roman Sebasteion relief  sculpture of Anchises and Aphrodite Aphrodisias Museum, Aphrodisias, Turkey.   Against a white background.<br />
<br />
The Trojan shepherd Anchises gazes at the seated Aphrodite, his lover for one night on mount Ida. She hold a small Eros on her lap: this is an erotic encounter. The head of Selene (Moon) appears above the mountain rocks: she indicates night time. It was from this union that Aineas was born
  • 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.
  • Roman Sebasteion 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.
  • Roman Sebasteion relief  sculpture of the Three Graces, Aphrodisias Museum, Aphrodisias, Turkey.     Against a white background.<br />
<br />
The Three Graces stand in their familiar hellenistic composition. They were handmaids of Aphrodite and appeared in this form on the decoration of her cult statue at Aphrodisias. Their names evoked their character: Euphrosyne (joy), Aglaia (Splendour) and Thaleia (Bloom).
  • Roman Sebasteion relief  sculpture of Apollo and Royal Hero Aphrodisias Museum, Aphrodisias, Turkey.     Against a white background.<br />
<br />
Apollo sits on a raised platform with his tripod at his oracular shrine. He is approached by two figures. A women greets  the god with a raised hand. With her is a hero wearing a travelling cloak and the flat headband or diadem of a king. He has come to consult Apollo, probably about a city foundation.

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....