• Goat herd on Ios, Cyclades Islands, Greece
  • Goat herd on Ios, Cyclades Islands, Greece
  • Goat herd on Ios, Cyclades Islands, Greece
  • Goat herd on Ios, Cyclades Islands, Greece
  • Goat herd on Ios, Cyclades Islands, Greece
  • Goat herd on Ios, Cyclades Islands, Greece
  • Goat herd on Ios, Cyclades Islands, Greece
  • Goat herd on Ios, Cyclades Islands, Greece
  • Goat herd on Ios, Cyclades Islands, Greece
  • Old Pack horse trail well, Kea, Greek Cycaldes Islands
  • Corn cobs drying - Hungary
  • African Monkey Mask
  • African Monkey Mask
  • Close up of pigs head against black background
  • Sheep grazing  on the stony hills of  Cres Island, Croatia
  • Sheep grazing  on the stony hills of  Cres Island, Croatia
  • Sheep grazing  on the stony hills of  Cres Island, Croatia
  • Old Pack horse trail well, Kea, Greek Cycaldes Islands
  • Corn cobs drying - Hungary
  • Corn cobs drying - Hungary
  • Elephant in Budapest Z0o & Botanical Garden (F?városi Állat- és Növénykert) Hungary
  • Corn cobs drying - Hungary
  • Corn cobs drying - Hungary
  • Fresh cobs of Maize, Corn Sweetcorn photos
  • African Monkey Mask
  • Nile Scene Roman Mosaic ( Scena Nileotica )  from Pompei Archaeological Site. Naples Archaeological Museum inv 9990
  • Nile Scene Roman Mosaic ( Scena Nileotica )  from Pompei Archaeological Site. Naples Archaeological Museum inv 9990
  • Nile Scene Roman Mosaic ( Scena Nileotica )  from Pompei Archaeological Site. Naples Archaeological Museum inv 9990
  • Nile Scene Roman Mosaic ( Scena Nileotica )  from Pompei Archaeological Site. Naples Archaeological Museum inv 9990
  • Prehistoric Saharan petroglyph rock art carvings of cattle with small figures riding on their backs from a site 20km east of Taouz, South Eastern Morocco
  • Prehistoric Saharan petroglyph rock art carvings of cattle with a man riding on its back from a site 20km east of Taouz, South Eastern Morocco
  • Prehistoric Saharan petroglyph rock art carvings of cattle from a site 20km east of Taouz, South Eastern Morocco
  • Prehistoric Saharan petroglyph rock art carvings of cattle from a site 20km east of Taouz, South Eastern Morocco
  • Prehistoric Saharan petroglyph rock art carvings of cattle from a site 20km east of Taouz, South Eastern Morocco
  • Prehistoric Saharan petroglyph rock art carvings of cattle from a site 20km east of Taouz, South Eastern Morocco
  • Prehistoric Saharan petroglyph rock art carvings of cattle from a site 20km east of Taouz, South Eastern Morocco
  • Prehistoric Saharan petroglyph rock art carvings of cattle from a site 20km east of Taouz, South Eastern Morocco
  • Prehistoric Saharan petroglyph rock art carvings of cattle from a site 20km east of Taouz, South Eastern Morocco
  • Prehistoric Saharan petroglyph rock art carvings of cattle from a site 20km east of Taouz, South Eastern Morocco
  • Prehistoric Saharan petroglyph rock art carvings of cattle from a site 20km east of Taouz, South Eastern Morocco
  • Prehistoric Saharan petroglyph rock art carvings of cattle from a site 20km east of Taouz, South Eastern Morocco
  • A prehistoric northern Sahara burial tumuli in the hills 20km east of Taouz, Morocco
  • Prehistoric Saharan petroglyph rock art carvings of cattle from a site 20km east of Taouz, South Eastern Morocco
  • Prehistoric Saharan petroglyph rock art carvings of cattle from a site 20km east of Taouz, South Eastern Morocco
  • Interior chamber of a northern Sahara burial tumuli in the hills 20km east of Taouz, Morocco
  • Prehistoric Saharan petroglyph rock art carvings of cattle from a site 20km east of Taouz, South Eastern Morocco
  • Nile Scene Roman Mosaic ( Scena Nileotica )  from Pompei Archaeological Site. Naples Archaeological Museum inv 9990
  • Nile Scene Roman Mosaic ( Scena Nileotica )  from Pompei Archaeological Site. Naples Archaeological Museum inv 9990
  • Nile Scene Roman Mosaic ( Scena Nileotica )  from Pompei Archaeological Site. Naples Archaeological Museum inv 9990
  • Nile Scene Roman Mosaic ( Scena Nileotica )  from Pompei Archaeological Site. Naples Archaeological Museum inv 9990
  • Moors sheep and lamb in North Yorks Moors National Park, Farndale, England. Yorkshire stock photos
  • Alpine Pasture with cow shed - Grinderwald - Alps - Switzerland
  • Alpine Pasture with cow shed - Grinderwald - Alps - Switzerland
  • Coloured glazed brick panels depicting the mythical composite animal has the head and the body of a snake, the front legs of a lion, the hind legs of a bird and a scorpion sting in the tail the symbol of the city God Marduk. From the facade of the  first smaller Ishtar Gate, Babylon, dating from 604-562 BC. Babylon (present day Iraq). The Ishtar Gate, Babylon, was situated in the northern wall of the city and was named after the goddess Ishtar. The ground plan and debris of the gate buildings were uncovered during the German excavation from 1899-1917 directed by Robert Koldewey. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed brick panels depicting the mythical composite animal has the head and the body of a snake, the front legs of a lion, the hind legs of a bird and a scorpion sting in the tail the symbol of the city God Marduk. From the facade of the  first smaller Ishtar Gate, Babylon, dating from 604-562 BC. Babylon (present day Iraq). The Ishtar Gate, Babylon, was situated in the northern wall of the city and was named after the goddess Ishtar. The ground plan and debris of the gate buildings were uncovered during the German excavation from 1899-1917 directed by Robert Koldewey. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed brick panels depicting the mythical composite animal has the head and the body of a snake, the front legs of a lion, the hind legs of a bird and a scorpion sting in the tail the symbol of the city God Marduk. From the facade of the  first smaller Ishtar Gate, Babylon, dating from 604-562 BC. Babylon (present day Iraq). The Ishtar Gate, Babylon, was situated in the northern wall of the city and was named after the goddess Ishtar. The ground plan and debris of the gate buildings were uncovered during the German excavation from 1899-1917 directed by Robert Koldewey. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed brick panels depicting the mythical composite animal has the head and the body of a snake, the front legs of a lion, the hind legs of a bird and a scorpion sting in the tail the symbol of the city God Marduk. From the facade of the  first smaller Ishtar Gate, Babylon, dating from 604-562 BC. Babylon (present day Iraq). The Ishtar Gate, Babylon, was situated in the northern wall of the city and was named after the goddess Ishtar. The ground plan and debris of the gate buildings were uncovered during the German excavation from 1899-1917 directed by Robert Koldewey. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed brick panels depicting the mythical composite animal has the head and the body of a snake, the front legs of a lion, the hind legs of a bird and a scorpion sting in the tail the symbol of the city God Marduk. From the facade of the  first smaller Ishtar Gate, Babylon, dating from 604-562 BC. Babylon (present day Iraq). The Ishtar Gate, Babylon, was situated in the northern wall of the city and was named after the goddess Ishtar. The ground plan and debris of the gate buildings were uncovered during the German excavation from 1899-1917 directed by Robert Koldewey. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed brick panels of the facade of the  first smaller Ishtar Gate, Babylon, dating from 604-562 BC. Babylon (present day Iraq). The Ishtar Gate, Babylon, was situated in the northern wall of the city and was named after the goddess Ishtar. The gate was decorated with reprentations of bulls, the symbol of the weather god Adad, and dragons (Babylonian Mushhushu), the symbol of the city God Marduk. The mythical composite animal has the head and the body of a snake, the front legs of a lion, the hind legs of a bird and a scorpion sting in the tail. The ground plan and debris of the gate buildings were uncovered during the German excavation from 1899-1917 directed by Robert Koldewey. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed brick panels of the facade of the  first smaller Ishtar Gate, Babylon, dating from 604-562 BC. Babylon (present day Iraq). The Ishtar Gate, Babylon, was situated in the northern wall of the city and was named after the goddess Ishtar. The gate was decorated with reprentations of bulls, the symbol of the weather god Adad, and dragons (Babylonian Mushhushu), the symbol of the city God Marduk. The mythical composite animal has the head and the body of a snake, the front legs of a lion, the hind legs of a bird and a scorpion sting in the tail. The ground plan and debris of the gate buildings were uncovered during the German excavation from 1899-1917 directed by Robert Koldewey. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Ampitheatre of Xanthos that has been modified by the Romans with a wall around what would have been the stage to make a pit for Gladitorial & animal events. Xanthos UNESCO World Heritage Archaeological Site, Turkey
  • Phrygian relief fragment depicting a walking animal. 8th-7th century BC . Çorum Archaeological Museum, Corum, Turkey
  • Phrygian relief fragment depicting a walking animal. 8th-7th century BC . Çorum Archaeological Museum, Corum, Turkey
  • Phrygian relief fragment depicting a walking animal. 8th-7th century BC . Çorum Archaeological Museum, Corum, Turkey
  • Hittite pot with animal head reliefs - 17th-16th century BC - Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey . Against white background
  • Animal quarters in the original interior of The Blackhouse, 24 Arnol, Bragar, Isle of Lewis, Scotland.
  • Late medieval relief sculpture depicting the labours for December with an animal being killed and astrological signs on the Facade of the Cattedrale di San Martino,  Duomo of Lucca, Tunscany, Italy,
  • captured wild animal from the Ambulatory of The Great Hunt, room no 28,  at the Villa Romana del Casale which containis the richest, largest and most complex collection of Roman mosaics in the world. Constructed in the first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.
  • Norman Romanesque exterior corbel no 21 - sculpture of an animal with a long snout and pointed ears. The Norman Romanesque Church of St Mary and St David, Kilpeck Herefordshire, England. Built around 1140
  • Phrygian relief fragment depicting a walking animal. 8th-7th century BC . Çorum Archaeological Museum, Corum, Turkey
  • Phrygian relief fragment depicting a walking animal. 8th-7th century BC . Çorum Archaeological Museum, Corum, Turkey
  • Picture of a Roman mosaics design depicting scenes from the Life of Dionysus, detail of an animal and tendrils, from the ancient Roman city of Thysdrus, House of Silenus. Late 2nd to early 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Bronze Age Anatolian terra cotta spouted pitcher with animal shaped handle - 19th to 17th century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey. Against a white background.
  • Bronze Age Anatolian terra cotta spouted pitcher with animal shaped handle - 19th to 17th century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.  Against a black background.
  • Bronze Age Anatolian terra cotta spouted pitcher with animal shaped handle - 19th to 17th century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey. Against a grey background.
  • Bronze Age Anatolian terra cotta spouted pitcher with animal shaped handle - 19th to 17th century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.  Against a warn art background.
  • Bronze Age Anatolian terra cotta spouted pitcher with animal shaped handle - 19th to 17th century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.
  • Hittite pot with animal head reliefs - 17th-16th century BC - Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey . Against black background
  • Hittite pot with animal head reliefs - 17th-16th century BC - Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey . Against gray background
  • Hittite pot with animal head reliefs - 17th-16th century BC - Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey . Against grey art background
  • Hittite pot with animal head reliefs - 17th-16th century BC - Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey
  • captured wild animal from the Ambulatory of The Great Hunt, room no 28,  at the Villa Romana del Casale, 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.
  • Late medieval inlay sculpture depicting a Griffin killing a mythical animal on the Facade of the Cattedrale di San Martino,  Duomo of Lucca, Tunscany, Italy,
  • Mythical animal sculpture on the door jams on the main portal of the of the 12th century Romanesque Ferrara Duomo, Italy
  • Norman Romanesque exterior corbel no 12 - sculpture of the head of an animal with a lions mane and big fanged teeth. The Norman Romanesque Church of St Mary and St David, Kilpeck Herefordshire, England. Built around 1140
  • Norman Romanesque exterior corbel no 21 - sculpture of an animal with a long snout and pointed ears. The Norman Romanesque Church of St Mary and St David, Kilpeck Herefordshire, England. Built around 1140
  • Norman Romanesque exterior corbel no 64 - sculpture of  an animal with a cat like head biting the underside of a bowl. The Norman Romanesque Church of St Mary and St David, Kilpeck Herefordshire, England. Built around 1140
  • Norman Romanesque exterior corbel no 43 - sculpture of an animal head, maybe a cat. The Norman Romanesque Church of St Mary and St David, Kilpeck Herefordshire, England. Built around 1140
  • Norman Romanesque exterior corbel no 17 - sculpture of the head of an animal with a lions mane and beak shaped wide mouth. The Norman Romanesque Church of St Mary and St David, Kilpeck Herefordshire, England. Built around 1140
  • Mythical medieval animal. A 12th Century Romanesque fresco from the Church of Saint Joan Boi, al de Boi, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15953
  • Close up picture of the Roman mosaics of the Peristyle depicting animals in a geometric mosaic wreath inside square panels, room no 13 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The peristyle mosaic floor of Villa Romana del Casale is decorated with square mosaic repeating designs which have a rope design geometric mosaic on the outside, inside which is are laurel wreath mosaics which surround Protomas, the representation of the head and neck of an animal often used decoratively in architecture, of wild and domesticated animals. The two sides of the peristyle have been identified as one side for visitors use and the other for the family. The peristyle mosaics lead on both sides around three sides of the peristyle to steps that lead up to the corridor of the Great Hunt Mosaics,
  • Close up picture of the Roman mosaics of the Peristyle depicting animals in a geometric mosaic wreath inside square panels, room no 13 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The peristyle mosaic floor of Villa Romana del Casale is decorated with square mosaic repeating designs which have a rope design geometric mosaic on the outside, inside which is are laurel wreath mosaics which surround Protomas, the representation of the head and neck of an animal often used decoratively in architecture, of wild and domesticated animals. The two sides of the peristyle have been identified as one side for visitors use and the other for the family. The peristyle mosaics lead on both sides around three sides of the peristyle to steps that lead up to the corridor of the Great Hunt Mosaics,
  • Close up picture of the Roman mosaics of the Peristyle depicting animals in a geometric mosaic wreath inside square panels, room no 13 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The peristyle mosaic floor of Villa Romana del Casale is decorated with square mosaic repeating designs which have a rope design geometric mosaic on the outside, inside which is are laurel wreath mosaics which surround Protomas, the representation of the head and neck of an animal often used decoratively in architecture, of wild and domesticated animals. The two sides of the peristyle have been identified as one side for visitors use and the other for the family. The peristyle mosaics lead on both sides around three sides of the peristyle to steps that lead up to the corridor of the Great Hunt Mosaics,
  • Close up picture of the Roman mosaics of the Peristyle depicting animals in a geometric mosaic wreath inside square panels, room no 13 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The peristyle mosaic floor of Villa Romana del Casale is decorated with square mosaic repeating designs which have a rope design geometric mosaic on the outside, inside which is are laurel wreath mosaics which surround Protomas, the representation of the head and neck of an animal often used decoratively in architecture, of wild and domesticated animals. The two sides of the peristyle have been identified as one side for visitors use and the other for the family. The peristyle mosaics lead on both sides around three sides of the peristyle to steps that lead up to the corridor of the Great Hunt Mosaics,
  • Close up picture of the Roman mosaics of the Peristyle depicting animals in a geometric mosaic wreath inside square panels, room no 13 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The peristyle mosaic floor of Villa Romana del Casale is decorated with square mosaic repeating designs which have a rope design geometric mosaic on the outside, inside which is are laurel wreath mosaics which surround Protomas, the representation of the head and neck of an animal often used decoratively in architecture, of wild and domesticated animals. The two sides of the peristyle have been identified as one side for visitors use and the other for the family. The peristyle mosaics lead on both sides around three sides of the peristyle to steps that lead up to the corridor of the Great Hunt Mosaics,
  • Close up picture of the Roman mosaics of the Peristyle depicting animals in a geometric mosaic wreath inside square panels, room no 13 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The peristyle mosaic floor of Villa Romana del Casale is decorated with square mosaic repeating designs which have a rope design geometric mosaic on the outside, inside which is are laurel wreath mosaics which surround Protomas, the representation of the head and neck of an animal often used decoratively in architecture, of wild and domesticated animals. The two sides of the peristyle have been identified as one side for visitors use and the other for the family. The peristyle mosaics lead on both sides around three sides of the peristyle to steps that lead up to the corridor of the Great Hunt Mosaics,
  • Close up picture of the Roman mosaics of the Peristyle depicting animals in a geometric mosaic wreath inside square panels, room no 13 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The peristyle mosaic floor of Villa Romana del Casale is decorated with square mosaic repeating designs which have a rope design geometric mosaic on the outside, inside which is are laurel wreath mosaics which surround Protomas, the representation of the head and neck of an animal often used decoratively in architecture, of wild and domesticated animals. The two sides of the peristyle have been identified as one side for visitors use and the other for the family. The peristyle mosaics lead on both sides around three sides of the peristyle to steps that lead up to the corridor of the Great Hunt Mosaics,
  • Close up picture of the Roman mosaics of the Peristyle depicting animals in a geometric mosaic wreath inside square panels, room no 13 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The peristyle mosaic floor of Villa Romana del Casale is decorated with square mosaic repeating designs which have a rope design geometric mosaic on the outside, inside which is are laurel wreath mosaics which surround Protomas, the representation of the head and neck of an animal often used decoratively in architecture, of wild and domesticated animals. The two sides of the peristyle have been identified as one side for visitors use and the other for the family. The peristyle mosaics lead on both sides around three sides of the peristyle to steps that lead up to the corridor of the Great Hunt Mosaics,
  • Pictures of a geometric Roman doorstep mosaics depicting five fishes surrounded by bars and a medallion, from the ancient Roman city of Thysdrus. 3rd century AD The Small Baths in the M'barek Rhaiem area. El Djem Archaeological Museum, El Djem, Tunisia. Against a white background<br />
<br />
The mosaic depicts the emblem of the Pentasii, a powerful Nortyh African Roman association that organised and  maintained the wild animals and hired animal killers to carry on the games in ampitheatres.
  • Pictures of a geometric Roman doorstep mosaics depicting five fishes surrounded by bars and a medallion, from the ancient Roman city of Thysdrus. 3rd century AD The Small Baths in the M'barek Rhaiem area. El Djem Archaeological Museum, El Djem, Tunisia. Against a black background<br />
<br />
The mosaic depicts the emblem of the Pentasii, a powerful Nortyh African Roman association that organised and  maintained the wild animals and hired animal killers to carry on the games in ampitheatres.
  • Pictures of a geometric Roman doorstep mosaics depicting five fishes surrounded by bars and a medallion, from the ancient Roman city of Thysdrus. 3rd century AD The Small Baths in the M'barek Rhaiem area. El Djem Archaeological Museum, El Djem, Tunisia. Against an art background<br />
<br />
The mosaic depicts the emblem of the Pentasii, a powerful Nortyh African Roman association that organised and  maintained the wild animals and hired animal killers to carry on the games in ampitheatres.
  • Pictures of a geometric Roman doorstep mosaics depicting five fishes surrounded by bars and a medallion, from the ancient Roman city of Thysdrus. 3rd century AD The Small Baths in the M'barek Rhaiem area. El Djem Archaeological Museum, El Djem, Tunisia. Against a grey background<br />
<br />
The mosaic depicts the emblem of the Pentasii, a powerful Nortyh African Roman association that organised and  maintained the wild animals and hired animal killers to carry on the games in ampitheatres.
  • Ambulatory of the Great Hunt Roman mosaic, Emperor Maximianus watches the animal hunt, room no 28, at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Great Hunt ambulatory is around 60 meters long (200 Roman feet) and connects the master’s northern apartments with the triclinium in the south. The door in the centre of the the Great Hunt ambulatory leads to audience hall. <br />
<br />
The Great Hunt Roman mosaic depicts African animals being hunted and put onto ships to be taken to the Colosseum.
  • Ambulatory of the Great Hunt Roman mosaic, Emperor Maximianus watches the animal hunt, room no 28, at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Great Hunt ambulatory is around 60 meters long (200 Roman feet) and connects the master’s northern apartments with the triclinium in the south. The door in the centre of the the Great Hunt ambulatory leads to audience hall. <br />
<br />
The Great Hunt Roman mosaic depicts African animals being hunted and put onto ships to be taken to the Colosseum.
  • Ambulatory of the Great Hunt Roman mosaic, Emperor Maximianus watches the animal hunt, room no 28, at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Great Hunt ambulatory is around 60 meters long (200 Roman feet) and connects the master’s northern apartments with the triclinium in the south. The door in the centre of the the Great Hunt ambulatory leads to audience hall. <br />
<br />
The Great Hunt Roman mosaic depicts African animals being hunted and put onto ships to be taken to the Colosseum.
  • Pictures of a geometric Roman doorstep mosaics depicting five fishes surrounded by bars and a medallion, from the ancient Roman city of Thysdrus. 3rd century AD The Small Baths in the M'barek Rhaiem area. El Djem Archaeological Museum, El Djem, Tunisia.<br />
<br />
The mosaic depicts the emblem of the Pentasii, a powerful Nortyh African Roman association that organised and  maintained the wild animals and hired animal killers to carry on the games in ampitheatres.
  • Hüseyindede vases, Old Hittite Polychrome Relief vessel, close up depicting a bull being led to be sacrificed, following Hittite convention of sacrificing an animal of the same gender as the God this bull indicates the sacrifice is to a male god, 16th century BC.. Çorum Archaeological Museum, Corum, Turkey. Against a black bacground.
  • Hüseyindede vases, Old Hittite Polychrome Relief vessel, close up depicting a bull being led to be sacrificed, following Hittite convention of sacrificing an animal of the same gender as the God this bull indicates the sacrifice is to a male god, 16th century BC.. Çorum Archaeological Museum, Corum, Turkey. Against a white bacground.
  • Hüseyindede vases, Old Hittite Polychrome Relief vessel, close up depicting a bull being led to be sacrificed, following Hittite convention of sacrificing an animal of the same gender as the God this bull indicates the sacrifice is to a male god, 16th century BC.. Çorum Archaeological Museum, Corum, Turkey. Against a grey bacground.
  • Hüseyindede vases, Old Hittite Polychrome Relief vessel, close up depicting a bull being led to be sacrificed, following Hittite convention of sacrificing an animal of the same gender as the God this bull indicates the sacrifice is to a male god, 16th century BC.. Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Assyrian Trader Colony Bronze Age terracotta sandal shaped ritual vessed. This cult pot is boat shaped with an animal head at the front. Inside the vessel is god. The deities associated with the ritual vessel were associated with trade and transportation in Ancient Mesopotamia and Summerian literature. The vessel signifies a religious river trip.  - 19th  century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.. Against a white background.
  • Assyrian Trader Colony Bronze Age terracotta sandal shaped ritual vessed. This cult pot is boat shaped with an animal head at the front. Inside the vessel is a model of a temple and goddess. The deities associated with the ritual vessel were associated with trade and transportation in Ancient Mesopotamia and Summerian literature. The vessel signifies a religious river trip.  - 19th  century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.  Against a black background.
  • Close up of a recontructed fresco of an original found at Catalhoyuk. The men are hunting an animal. Reconstructed houses, Painted by Mutlu Gundiler. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • Hittite monumental relief sculpted orthostat stone panel of a Procession. Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 - 700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
It is a depiction of three marching female figures in long dress with a high headdress (photos) at their head. These women are considered to be the nuns of the Goddess Kubaba. The figure in the front has a small animal in her right hand while the figure in the middle has a glass in his right hand. The object which the figures carry in their left is not understood.  <br />
<br />
Against a black background.
  • Hittite monumental relief sculpted orthostat stone panel of a Procession. Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 - 700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
It is a depiction of three marching female figures in long dress with a high headdress (photos) at their head. These women are considered to be the nuns of the Goddess Kubaba. The figure in the front has a small animal in her right hand while the figure in the middle has a glass in his right hand. The object which the figures carry in their left is not understood.  <br />
<br />
Against a white background.
  • Hittite monumental relief sculpted orthostat stone panel. Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Hunting carriage. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Two human figures; one handling the carriage, the other throwing arrows. Both figures are wearing a headdress shaped like a skullcap. The dagger at the waist of the figure throwing arrow draws attention. There is an animal between the legs of the horse having an aigrette over its head.  <br />
<br />
Against a black background.
  • Picture & image of Hittite monumental relief sculpted orthostat stone panel. Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Hunting carriage.  Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Two human figures; one handling the carriage, the other throwing arrows. Both figures are wearing a headdress shaped like a skullcap. The dagger at the waist of the figure throwing arrow draws attention. There is an animal between the legs of the horse having an aigrette over its head. <br />
<br />
Against a gray background.
  • Alaca Hoyuk Hittite monumental relief sculpted orthostat stone panel. Andesite, Alaca, Corum, 1399-1301 B.C. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Four deer figures are depicted in various positions with a flower in the lower right corner and a tree in the upper left corner. A faded human figure and an animal figure in the upper section are noteworthy. <br />
<br />
Against a brown gray background.
  • Alaca Hoyuk Hittite monumental relief sculpted orthostat stone panel. Andesite, Alaca, Corum, 1399-1301 B.C. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Four deer figures are depicted in various positions with a flower in the lower right corner and a tree in the upper left corner. A faded human figure and an animal figure in the upper section are noteworthy.
  • Alaca Hoyuk Hittite monumental relief sculpted orthostat stone panel. Andesite, Alaca, Corum, 1399-1301 B.C. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Four deer figures are depicted in various positions with a flower in the lower right corner and a tree in the upper left corner. A faded human figure and an animal figure in the upper section are noteworthy. <br />
<br />
Against a white background.
  • Alaca Hoyuk Hittite monumental relief sculpted orthostat stone panel. Andesite, Alaca, Corum, 1399-1301 B.C. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Four deer figures are depicted in various positions with a flower in the lower right corner and a tree in the upper left corner. A faded human figure and an animal figure in the upper section are noteworthy. <br />
<br />
Against a black background.
  • Alaca Hoyuk Sphinx Gate Hittite monumental relief sculpted orthostat stone panel. Andesite, Alaca, Corum, 1399 - 1301 BC. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
The figure playing a musical instrument similar to a guitar is followed by another figure carrying an animal. The stem of the musical instrument is fringed. The left side of the Orthostat is uncompleted.<br />
<br />
Against a white background.
  • Alaca Hoyuk Sphinx Gate Hittite monumental relief sculpted orthostat stone panel. Andesite, Alaca, Corum, 1399 - 1301 BC. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
The figure playing a musical instrument similar to a guitar is followed by another figure carrying an animal. The stem of the musical instrument is fringed. The left side of the Orthostat is uncompleted. <br />
<br />
Against a grey art background.
  • Alaca Hoyuk Sphinx Gate Hittite monumental relief sculpted orthostat stone panel. Andesite, Alaca, Corum, 1399 - 1301 BC. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
The figure playing a musical instrument similar to a guitar is followed by another figure carrying an animal. The stem of the musical instrument is fringed. The left side of the Orthostat is uncompleted.  <br />
<br />
Against a brown art background.
  • Alaca Hoyuk Sphinx Gate Hittite monumental relief sculpted orthostat stone panel. Andesite, Alaca, corum, 1399 - 1301 B.C.  King and queen in front of the altar. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Left Panel - The king carries the kingdom sceptre - lituus in his right hand, and extends his left hand forward for worship. The queen wears a fancy dress hanging down to the floor; both figures wear earrings with a large ring.<br />
<br />
Right Panel - Bull. It is the sacred animal of the Storm God. It is over a pedestal which is split from top to bottom. It is stocky and short-legged. With a huge horn, the bull has schematic muscles. In the orthostats on the left side, there is a procession moving towards this bull. <br />
<br />
Against a black background.
  • Alaca Hoyuk Sphinx Gate Hittite monumental relief sculpted orthostat stone panel. Andesite, Alaca, corum, 1399 - 1301 B.C.  King and queen in front of the altar. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Left Panel - The king carries the kingdom sceptre - lituus in his right hand, and extends his left hand forward for worship. The queen wears a fancy dress hanging down to the floor; both figures wear earrings with a large ring.<br />
<br />
Right Panel - Bull. It is the sacred animal of the Storm God. It is over a pedestal which is split from top to bottom. It is stocky and short-legged. With a huge horn, the bull has schematic muscles. In the orthostats on the left side, there is a procession moving towards this bull.
  • Alaca Hoyuk Sphinx Gate Hittite monumental relief sculpted orthostat stone panel. Andesite, Alaca, corum, 1399 - 1301 B.C.  King and queen in front of the altar. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Left Panel - The king carries the kingdom sceptre - lituus in his right hand, and extends his left hand forward for worship. The queen wears a fancy dress hanging down to the floor; both figures wear earrings with a large ring.<br />
<br />
Right Panel - Bull. It is the sacred animal of the Storm God. It is over a pedestal which is split from top to bottom. It is stocky and short-legged. With a huge horn, the bull has schematic muscles. In the orthostats on the left side, there is a procession moving towards this bull. <br />
<br />
Against a brown art background.
  • Pictures & images of the North Gate Hittite sculpture stele depicting Hittite mythical animal Gods. 8th century BC. Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey. Against grey background
  • Pictures & images of the North Gate Hittite sculpture stele depicting Hittite mythical animal Gods. 8th century BC. Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey. Against grey art background
  • Pictures & images of the North Gate Hittite sculpture stele depicting Hittite mythical animal Gods. 8th century BC. Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey. Against black background
  • Roman mosaic depicting The Education of Achilles by the Centaur Chiron. Achilles , left, is depicted riding a centaur ( mosaic of its body s missing) and is about to kill a deer. In the bottom right hand corner is a Chimera was, according to Greek mythology, a monstrous fire-breathing hybrid creature of Lycia in Asia Minor, composed of the parts of more than one animal. The mosaic follows the story of Bellerophon who was a ‘great slayer of monsters’. From Belalis Major (Henshir El-Fawar ) in the Beja region of Tunisia. Early 7th century AD.Roman mosaics from the north African Roman province of Africanus . Bardo Museum, Tunis, Tunisia.
  • Roman mosaic depicting The Education of Achilles by the Centaur Chiron. Achilles , left, is depicted riding a centaur ( mosaic of its body s missing) and is about to kill a deer. In the bottom right hand corner is a Chimera was, according to Greek mythology, a monstrous fire-breathing hybrid creature of Lycia in Asia Minor, composed of the parts of more than one animal. The mosaic follows the story of Bellerophon who was a ‘great slayer of monsters’. From Belalis Major (Henshir El-Fawar ) in the Beja region of Tunisia. Early 7th century AD.Roman mosaics from the north African Roman province of Africanus . Bardo Museum, Tunis, Tunisia.
  • Roman mosaic depicting The Education of Achilles by the Centaur Chiron. Achilles , left, is depicted riding a centaur ( mosaic of its body s missing) and is about to kill a deer. In the bottom right hand corner is a Chimera was, according to Greek mythology, a monstrous fire-breathing hybrid creature of Lycia in Asia Minor, composed of the parts of more than one animal. The mosaic follows the story of Bellerophon who was a ‘great slayer of monsters’. From Belalis Major (Henshir El-Fawar ) in the Beja region of Tunisia. Early 7th century AD.Roman mosaics from the north African Roman province of Africanus . Bardo Museum, Tunis, Tunisia.
  • Ampitheatre of Xanthos that has been modified by the Romans with a wall around what would have been the stage to make a pit for Gladitorial & animal events. Xanthos UNESCO World Heritage Archaeological Site, Turkey
  • Norman Romanesque exterior corbel no 12 - sculpture of the head of an animal with a lions mane and big fanged teeth. The Norman Romanesque Church of St Mary and St David, Kilpeck Herefordshire, England. Built around 1140
  • Norman Romanesque exterior corbel no 64 - sculpture of  an animal with a cat like head biting the underside of a bowl. The Norman Romanesque Church of St Mary and St David, Kilpeck Herefordshire, England. Built around 1140
  • Coloured glazed brick panels of the facade of the  first smaller Ishtar Gate, Babylon, dating from 604-562 BC. Babylon (present day Iraq). The Ishtar Gate, Babylon, was situated in the northern wall of the city and was named after the goddess Ishtar. The gate was decorated with reprentations of bulls, the symbol of the weather god Adad, and dragons (Babylonian Mushhushu), the symbol of the city God Marduk. The mythical composite animal has the head and the body of a snake, the front legs of a lion, the hind legs of a bird and a scorpion sting in the tail. The ground plan and debris of the gate buildings were uncovered during the German excavation from 1899-1917 directed by Robert Koldewey. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed brick panels of the facade of the  first smaller Ishtar Gate, Babylon, dating from 604-562 BC. Babylon (present day Iraq). The Ishtar Gate, Babylon, was situated in the northern wall of the city and was named after the goddess Ishtar. The gate was decorated with reprentations of bulls, the symbol of the weather god Adad, and dragons (Babylonian Mushhushu), the symbol of the city God Marduk. The mythical composite animal has the head and the body of a snake, the front legs of a lion, the hind legs of a bird and a scorpion sting in the tail. The ground plan and debris of the gate buildings were uncovered during the German excavation from 1899-1917 directed by Robert Koldewey. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Assyrian relief sculpture panel  of Tribute bearers, the first one has a turban from north-west Syria and raises his clenched hands as a token of submission. The second person may be Phoenician and has a pair of monkeys to add the Assyrian kings exotic animal collection .  From Nimrud, Iraq,  865-860 B.C North West Palace. Court D, panel 7.  British Museum Assyrian  Archaeological exhibit no WA 124502.
  • Roman mosaic of a Young boy playing with snakes, possibly an early Christian mosaic. Syria or Lebanon, 5th century AD. Cubes of marble and limestone. Dressed in a long tunic, the child playing with two snakes could be illustrating a passage from the Book of Isai (11.6 to 8). This fragmented mosaic panel once continued in upper part, as indicated by the animal hoofs, and to the right of the mosaic are remains of a Greek inscription. inv 5094. Louvre Museum, Paris
  • Roman mosaic of a Young boy playing with snakes, possibly an early Christian mosaic. Syria or Lebanon, 5th century AD. Cubes of marble and limestone. Dressed in a long tunic, the child playing with two snakes could be illustrating a passage from the Book of Isai (11.6 to 8). This fragmented mosaic panel once continued in upper part, as indicated by the animal hoofs, and to the right of the mosaic are remains of a Greek inscription. inv 5094. Louvre Museum, Paris
  • Roman mosaic of a Young boy playing with snakes, possibly an early Christian mosaic. Syria or Lebanon, 5th century AD. Cubes of marble and limestone. Dressed in a long tunic, the child playing with two snakes could be illustrating a passage from the Book of Isai (11.6 to 8). This fragmented mosaic panel once continued in upper part, as indicated by the animal hoofs, and to the right of the mosaic are remains of a Greek inscription. inv 5094. Louvre Museum, Paris
  • Roman mosaic of a Young boy playing with snakes, possibly an early Christian mosaic. Syria or Lebanon, 5th century AD. Cubes of marble and limestone. Dressed in a long tunic, the child playing with two snakes could be illustrating a passage from the Book of Isai (11.6 to 8). This fragmented mosaic panel once continued in upper part, as indicated by the animal hoofs, and to the right of the mosaic are remains of a Greek inscription. inv 5094. Louvre Museum, Paris
  • Mythical medieval animal. A 12th Century Romanesque fresco from the Church of Saint Joan Boi, al de Boi, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15953
  • Mythical medieval animal. A 12th Century Romanesque fresco from the Church of Saint Joan Boi, al de Boi, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15953
  • Anglo Saxon Medieval stone mythical animal head from Lindisfarne Abbey, Holy Island, England
  • Twelfth century restored Romanesque Frescoes of a mthical animal in the church of Saint Joan of Boi, Val de Boi, Alta Ribagorca, Pyranese, Spain. A UNESCO World Heritage Site
  • Mythical medieval animal. A 12th Century Romanesque fresco from the Church of Saint Joan Boi, al de Boi, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15953
  • Mythical medieval animal. A 12th Century Romanesque fresco from the Church of Saint Joan Boi, al de Boi, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15953
  • Mythical medieval animal. A 12th Century Romanesque fresco from the Church of Saint Joan Boi, al de Boi, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15953
  • Restoration of a Mythical medieval animal. A 12th Century Romanesque fresco from the Church of Saint Joan Boi, al de Boi, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15953
  • Mythical medieval animal. A 12th Century Romanesque fresco from the Church of Saint Joan Boi, al de Boi, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15953
  • Picture & image of a Neo-Hittite orthostat with a chariot Releif sculpture from Karkamis,, Turkey. Ancora Archaeological Museum. The Cahiot is pulled by horses with plumed headresses. One man os about to shoot an arrow from his bow, the other man is driving the cahriot. Below the horse is a animal cowering. 5
  • Picture & image of a Neo-Hittite orthostat with a chariot Releif sculpture from Karkamis,, Turkey.Museum of Anatolian Civilisations, Ankara. The Cahiot is pulled by horses with plumed headresses. One man os about to shoot an arrow from his bow, the other man is driving the cahriot. Below the horse is a animal cowering. 2
  • Picture & image of a Neo-Hittite orthostat with a chariot Releif sculpture from Karkamis,, Turkey. Museum of Anatolian Civilisations, Ankara. The Cahiot is pulled by horses with plumed headresses. One man os about to shoot an arrow from his bow, the other man is driving the cahriot. Below the horse is a animal cowering.
  • Ampitheatre of Xanthos that has been modified by the Romans with a wall around what would have been the stage to make a pit for Gladitorial & animal events. Xanthos UNESCO World Heritage Archaeological Site, Turkey
  • Ampitheatre of Xanthos that has been modified by the Romans with a wall around what would have been the stage to make a pit for Gladitorial & animal events. Xanthos UNESCO World Heritage Archaeological Site, Turkey
  • Ampitheatre of Xanthos that has been modified by the Romans with a wall around what would have been the stage to make a pit for Gladitorial & animal events. Xanthos UNESCO World Heritage Archaeological Site, Turkey
  • Picture & image of a Neo-Hittite orthostat with a chariot Releif sculpture from Karkamis,, Turkey.  The Cahiot is pulled by horses with plumed headresses. One man os about to shoot an arrow from his bow, the other man is driving the cahriot. Below the horse is a animal cowering. An Ankara Museum of Anatolian Civilizations exhibit.
  • Stock photos of Sculptured animal historiated Romanesque column Capitals - Franciscan Monatery cloisters - Dubrovnik
  • Hüseyindede vases, Old Hittite Polychrome Relief vessel, close up depicting a bull being led to be sacrificed, following Hittite convention of sacrificing an animal of the same gender as the God this bull indicates the sacrifice is to a male god, 16th century BC.. Çorum Archaeological Museum, Corum, Turkey
  • Assyrian Trader Colony Bronze Age terracotta sandal shaped ritual vessed. This cult pot is boat shaped with an animal head at the front. Inside the vessel is god. The deities associated with the ritual vessel were associated with trade and transportation in Ancient Mesopotamia and Summerian literature. The vessel signifies a religious river trip.  - 19th  century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey. Against a white background.
  • Assyrian Trader Colony Bronze Age terracotta sandal shaped ritual vessed. This cult pot is boat shaped with an animal head at the front. Inside the vessel is god. The deities associated with the ritual vessel were associated with trade and transportation in Ancient Mesopotamia and Summerian literature. The vessel signifies a religious river trip.  - 19th  century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.  Against a black background.
  • Assyrian Trader Colony Bronze Age terracotta sandal shaped ritual vessed. This cult pot is boat shaped with an animal head at the front. Inside the vessel is god. The deities associated with the ritual vessel were associated with trade and transportation in Ancient Mesopotamia and Summerian literature. The vessel signifies a religious river trip.  - 19th  century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.  Against a grey background.
  • Assyrian Trader Colony Bronze Age terracotta sandal shaped ritual vessed. This cult pot is boat shaped with an animal head at the front. Inside the vessel is god. The deities associated with the ritual vessel were associated with trade and transportation in Ancient Mesopotamia and Summerian literature. The vessel signifies a religious river trip.  - 19th  century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.  Against a warn art background.
  • Assyrian Trader Colony Bronze Age terracotta sandal shaped ritual vessed. This cult pot is boat shaped with an animal head at the front. Inside the vessel is god. The deities associated with the ritual vessel were associated with trade and transportation in Ancient Mesopotamia and Summerian literature. The vessel signifies a religious river trip.  - 19th  century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.
  • Assyrian Trader Colony Bronze Age terracotta sandal shaped ritual vessed. This cult pot is boat shaped with an animal head at the front. Inside the vessel is god. The deities associated with the ritual vessel were associated with trade and transportation in Ancient Mesopotamia and Summerian literature. The vessel signifies a religious river trip.  - 19th  century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey. Against a grey background.
  • Assyrian Trader Colony Bronze Age terracotta sandal shaped ritual vessed. This cult pot is boat shaped with an animal head at the front. Inside the vessel is god. The deities associated with the ritual vessel were associated with trade and transportation in Ancient Mesopotamia and Summerian literature. The vessel signifies a religious river trip.  - 19th  century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.  Against a black background.
  • Assyrian Trader Colony Bronze Age terracotta sandal shaped ritual vessed. This cult pot is boat shaped with an animal head at the front. Inside the vessel is god. The deities associated with the ritual vessel were associated with trade and transportation in Ancient Mesopotamia and Summerian literature. The vessel signifies a religious river trip.  - 19th  century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.  Against a warn art background.
  • Assyrian Trader Colony Bronze Age terracotta sandal shaped ritual vessed. This cult pot is boat shaped with an animal head at the front. Inside the vessel is god. The deities associated with the ritual vessel were associated with trade and transportation in Ancient Mesopotamia and Summerian literature. The vessel signifies a religious river trip.  - 19th  century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.
  • Assyrian Trader Colony Bronze Age terracotta sandal shaped ritual vessed. This cult pot is boat shaped with an animal head at the front. Inside the vessel is a model of a temple and goddess. The deities associated with the ritual vessel were associated with trade and transportation in Ancient Mesopotamia and Summerian literature. The vessel signifies a religious river trip.  - 19th  century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey. Against a white background.
  • Assyrian Trader Colony Bronze Age terracotta sandal shaped ritual vessed. This cult pot is boat shaped with an animal head at the front. Inside the vessel is a model of a temple and goddess. The deities associated with the ritual vessel were associated with trade and transportation in Ancient Mesopotamia and Summerian literature. The vessel signifies a religious river trip.  - 19th  century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey. Against a grey background.
  • Assyrian Trader Colony Bronze Age terracotta sandal shaped ritual vessed. This cult pot is boat shaped with an animal head at the front. Inside the vessel is a model of a temple and goddess. The deities associated with the ritual vessel were associated with trade and transportation in Ancient Mesopotamia and Summerian literature. The vessel signifies a religious river trip.  - 19th  century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.  Against a warn art background.
  • Assyrian Trader Colony Bronze Age terracotta sandal shaped ritual vessed. This cult pot is boat shaped with an animal head at the front. Inside the vessel is a model of a temple and goddess. The deities associated with the ritual vessel were associated with trade and transportation in Ancient Mesopotamia and Summerian literature. The vessel signifies a religious river trip.  - 19th  century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.
  • Picture & image of Hittite monumental relief sculpted orthostat stone panel of a Procession. Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 - 700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
It is a depiction of three marching female figures in long dress with a high headdress (photos) at their head. These women are considered to be the nuns of the Goddess Kubaba. The figure in the front has a small animal in her right hand while the figure in the middle has a glass in his right hand. The object which the figures carry in their left is not understood.  <br />
<br />
Against a gray background.
  • Photo of Hittite monumental relief sculpted orthostat stone panel of a Procession. Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 - 700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
It is a depiction of three marching female figures in long dress with a high headdress (photos) at their head. These women are considered to be the nuns of the Goddess Kubaba. The figure in the front has a small animal in her right hand while the figure in the middle has a glass in his right hand. The object which the figures carry in their left is not understood.  <br />
<br />
Against a brown art background.
  • Hittite monumental relief sculpted orthostat stone panel of a Procession. Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 - 700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
It is a depiction of three marching female figures in long dress with a high headdress (photos) at their head. These women are considered to be the nuns of the Goddess Kubaba. The figure in the front has a small animal in her right hand while the figure in the middle has a glass in his right hand. The object which the figures carry in their left is not understood.  <br />
<br />
Against a grey art background.
  • Hittite monumental relief sculpted orthostat stone panel. Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Hunting carriage. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Two human figures; one handling the carriage, the other throwing arrows. Both figures are wearing a headdress shaped like a skullcap. The dagger at the waist of the figure throwing arrow draws attention. There is an animal between the legs of the horse having an aigrette over its head.  <br />
<br />
Against a grey art background.
  • Hittite monumental relief sculpted orthostat stone panel. Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Hunting carriage. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Two human figures; one handling the carriage, the other throwing arrows. Both figures are wearing a headdress shaped like a skullcap. The dagger at the waist of the figure throwing arrow draws attention. There is an animal between the legs of the horse having an aigrette over its head.  <br />
<br />
Against a white background.
  • Picture & image of Hittite monumental relief sculpted orthostat stone panel. Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Hunting carriage. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Two human figures; one handling the carriage, the other throwing arrows. Both figures are wearing a headdress shaped like a skullcap. The dagger at the waist of the figure throwing arrow draws attention. There is an animal between the legs of the horse having an aigrette over its head.  <br />
<br />
Against a gray background.
  • Photo of Hittite monumental relief sculpted orthostat stone panel. Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Hunting carriage. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Two human figures; one handling the carriage, the other throwing arrows. Both figures are wearing a headdress shaped like a skullcap. The dagger at the waist of the figure throwing arrow draws attention. There is an animal between the legs of the horse having an aigrette over its head.  <br />
<br />
Against a brown art background.
  • Hittite monumental relief sculpted orthostat stone panel. Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Hunting carriage.  Anatolian Civilisations Museum, Ankara, Turkey.<br />
Two human figures; one handling the carriage, the other throwing arrows. Both figures are wearing a headdress shaped like a skullcap. The dagger at the waist of the figure throwing arrow draws attention. There is an animal between the legs of the horse having an aigrette over its head. Anatolian Civilizations Museum, Ankara, Turkey
  • Photo of Hittite monumental relief sculpted orthostat stone panel. Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Hunting carriage.  Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Two human figures; one handling the carriage, the other throwing arrows. Both figures are wearing a headdress shaped like a skullcap. The dagger at the waist of the figure throwing arrow draws attention. There is an animal between the legs of the horse having an aigrette over its head. <br />
<br />
Against a brown art background.
  • Hittite monumental relief sculpted orthostat stone panel. Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Hunting carriage.  Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Two human figures; one handling the carriage, the other throwing arrows. Both figures are wearing a headdress shaped like a skullcap. The dagger at the waist of the figure throwing arrow draws attention. There is an animal between the legs of the horse having an aigrette over its head. <br />
<br />
Against a grey art background.
  • Hittite monumental relief sculpted orthostat stone panel. Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Hunting carriage.  Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Two human figures; one handling the carriage, the other throwing arrows. Both figures are wearing a headdress shaped like a skullcap. The dagger at the waist of the figure throwing arrow draws attention. There is an animal between the legs of the horse having an aigrette over its head. <br />
<br />
Against a white background.
  • Alaca Hoyuk Hittite monumental relief sculpted orthostat stone panel. Andesite, Alaca, Corum, 1399-1301 B.C. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Four deer figures are depicted in various positions with a flower in the lower right corner and a tree in the upper left corner. A faded human figure and an animal figure in the upper section are noteworthy. <br />
<br />
Against a brown art background.
  • Alaca Hoyuk Hittite monumental relief sculpted orthostat stone panel. Andesite, Alaca, Corum, 1399-1301 B.C. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Four deer figures are depicted in various positions with a flower in the lower right corner and a tree in the upper left corner. A faded human figure and an animal figure in the upper section are noteworthy. <br />
<br />
Against a grey art background.
  • Alaca Hoyuk Sphinx Gate Hittite monumental relief sculpted orthostat stone panel. Andesite, Alaca, Corum, 1399 - 1301 BC. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
The figure playing a musical instrument similar to a guitar is followed by another figure carrying an animal. The stem of the musical instrument is fringed. The left side of the Orthostat is uncompleted.<br />
<br />
Against a brown gray background.
  • Alaca Hoyuk Sphinx Gate Hittite monumental relief sculpted orthostat stone panel. Andesite, Alaca, Corum, 1399 - 1301 BC. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
The figure playing a musical instrument similar to a guitar is followed by another figure carrying an animal. The stem of the musical instrument is fringed. The left side of the Orthostat is uncompleted.  <br />
<br />
Against a black background.
  • Alaca Hoyuk Sphinx Gate Hittite monumental relief sculpted orthostat stone panel. Andesite, Alaca, corum, 1399 - 1301 B.C.  King and queen in front of the altar. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Left Panel - The king carries the kingdom sceptre - lituus in his right hand, and extends his left hand forward for worship. The queen wears a fancy dress hanging down to the floor; both figures wear earrings with a large ring.<br />
<br />
Right Panel - Bull. It is the sacred animal of the Storm God. It is over a pedestal which is split from top to bottom. It is stocky and short-legged. With a huge horn, the bull has schematic muscles. In the orthostats on the left side, there is a procession moving towards this bull. <br />
<br />
Against a white background.
  • Alaca Hoyuk Sphinx Gate Hittite monumental relief sculpted orthostat stone panel. Andesite, Alaca, corum, 1399 - 1301 B.C.  King and queen in front of the altar. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Left Panel - The king carries the kingdom sceptre - lituus in his right hand, and extends his left hand forward for worship. The queen wears a fancy dress hanging down to the floor; both figures wear earrings with a large ring.<br />
<br />
Right Panel - Bull. It is the sacred animal of the Storm God. It is over a pedestal which is split from top to bottom. It is stocky and short-legged. With a huge horn, the bull has schematic muscles. In the orthostats on the left side, there is a procession moving towards this bull. <br />
<br />
Against a grey art background.
  • Pictures & images of the North Gate Hittite sculpture stele depicting Hittite mythical animal Gods. 8th century BC. Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey. Against art background
  • Close up of prehistoric  petroglyphs, rock carvings, of animal  carved by the the prehistoric Camuni people in the Copper Age around the 3rd milleneum BC, Stele "Bagnolo 1" found in 1972 from Malegno near Bangnolo Ceresolo. Museo Nazionale della Preistoria della Valle Camonica ( National Museum of Prehistory in Valle Cominca ), Lombardy, Italy. Grey Art Background
  • Petroglyph, rock carving, of a an animal carved by the ancient Camuni people in the iron age between  900-1200 BC. Rock 26-27, Foppi di Nadro, Riserva Naturale Incisioni Rupestri di Ceto, Cimbergo e Paspardo, Capo di Ponti, Valcamonica (Val Camonica), Lombardy plain, Italy
  • Roman mosaic depicting The Education of Achilles by the Centaur Chiron. Achilles , left, is depicted riding a centaur ( mosaic of its body s missing) and is about to kill a deer. In the bottom right hand corner is a Chimera was, according to Greek mythology, a monstrous fire-breathing hybrid creature of Lycia in Asia Minor, composed of the parts of more than one animal. The mosaic follows the story of Bellerophon who was a ‘great slayer of monsters’. From Belalis Major (Henshir El-Fawar ) in the Beja region of Tunisia. Early 7th century AD.Roman mosaics from the north African Roman province of Africanus . Bardo Museum, Tunis, Tunisia.
  • Ampitheatre of Xanthos that has been modified by the Romans with a wall around what would have been the stage to make a pit for Gladitorial & animal events. Xanthos UNESCO World Heritage Archaeological Site, Turkey
  • Ampitheatre of Xanthos that has been modified by the Romans with a wall around what would have been the stage to make a pit for Gladitorial & animal events. Xanthos UNESCO World Heritage Archaeological Site, Turkey
  • Ampitheatre of Xanthos that has been modified by the Romans with a wall around what would have been the stage to make a pit for Gladitorial & animal events. Xanthos UNESCO World Heritage Archaeological Site, Turkey
  • Ampitheatre of Xanthos that has been modified by the Romans with a wall around what would have been the stage to make a pit for Gladitorial & animal events. Xanthos UNESCO World Heritage Archaeological Site, Turkey
  • Lion killing an animal. Roman mosaics at the Villa Romana del Casale which containis the richest, largest and most complex collection of Roman mosaics in the world. Constructed  in the first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.
  • Norman Romanesque exterior corbel no 21 - sculpture of an animal with a long snout and pointed ears. The Norman Romanesque Church of St Mary and St David, Kilpeck Herefordshire, England. Built around 1140
  • Norman Romanesque exterior corbel no 43 - sculpture of an animal head, maybe a cat. The Norman Romanesque Church of St Mary and St David, Kilpeck Herefordshire, England. Built around 1140
  • Norman Romanesque exterior corbel no 21 - sculpture of an animal with a long snout and pointed ears. The Norman Romanesque Church of St Mary and St David, Kilpeck Herefordshire, England. Built around 1140
  • Norman Romanesque exterior corbel no 17 - sculpture of the head of an animal with a lions mane and beak shaped wide mouth. The Norman Romanesque Church of St Mary and St David, Kilpeck Herefordshire, England. Built around 1140
  • Coloured glazed brick panels of the facade of the  first smaller Ishtar Gate, Babylon, dating from 604-562 BC. Babylon (present day Iraq). The Ishtar Gate, Babylon, was situated in the northern wall of the city and was named after the goddess Ishtar. The gate was decorated with reprentations of bulls, the symbol of the weather god Adad, and dragons (Babylonian Mushhushu), the symbol of the city God Marduk. The mythical composite animal has the head and the body of a snake, the front legs of a lion, the hind legs of a bird and a scorpion sting in the tail. The ground plan and debris of the gate buildings were uncovered during the German excavation from 1899-1917 directed by Robert Koldewey. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed brick panels of the facade of the  first smaller Ishtar Gate, Babylon, dating from 604-562 BC. Babylon (present day Iraq). The Ishtar Gate, Babylon, was situated in the northern wall of the city and was named after the goddess Ishtar. The gate was decorated with reprentations of bulls, the symbol of the weather god Adad, and dragons (Babylonian Mushhushu), the symbol of the city God Marduk. The mythical composite animal has the head and the body of a snake, the front legs of a lion, the hind legs of a bird and a scorpion sting in the tail. The ground plan and debris of the gate buildings were uncovered during the German excavation from 1899-1917 directed by Robert Koldewey. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed brick panels of the facade of the  first smaller Ishtar Gate, Babylon, dating from 604-562 BC. Babylon (present day Iraq). The Ishtar Gate, Babylon, was situated in the northern wall of the city and was named after the goddess Ishtar. The gate was decorated with reprentations of bulls, the symbol of the weather god Adad, and dragons (Babylonian Mushhushu), the symbol of the city God Marduk. The mythical composite animal has the head and the body of a snake, the front legs of a lion, the hind legs of a bird and a scorpion sting in the tail. The ground plan and debris of the gate buildings were uncovered during the German excavation from 1899-1917 directed by Robert Koldewey. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed brick panels of the facade of the  first smaller Ishtar Gate, Babylon, dating from 604-562 BC. Babylon (present day Iraq). The Ishtar Gate, Babylon, was situated in the northern wall of the city and was named after the goddess Ishtar. The gate was decorated with reprentations of bulls, the symbol of the weather god Adad, and dragons (Babylonian Mushhushu), the symbol of the city God Marduk. The mythical composite animal has the head and the body of a snake, the front legs of a lion, the hind legs of a bird and a scorpion sting in the tail. The ground plan and debris of the gate buildings were uncovered during the German excavation from 1899-1917 directed by Robert Koldewey. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed brick panels of the facade of the  first smaller Ishtar Gate, Babylon, dating from 604-562 BC. Babylon (present day Iraq). The Ishtar Gate, Babylon, was situated in the northern wall of the city and was named after the goddess Ishtar. The gate was decorated with reprentations of bulls, the symbol of the weather god Adad, and dragons (Babylonian Mushhushu), the symbol of the city God Marduk. The mythical composite animal has the head and the body of a snake, the front legs of a lion, the hind legs of a bird and a scorpion sting in the tail. The ground plan and debris of the gate buildings were uncovered during the German excavation from 1899-1917 directed by Robert Koldewey. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed brick panels of the facade of the  first smaller Ishtar Gate, Babylon, dating from 604-562 BC. Babylon (present day Iraq). The Ishtar Gate, Babylon, was situated in the northern wall of the city and was named after the goddess Ishtar. The gate was decorated with reprentations of bulls, the symbol of the weather god Adad, and dragons (Babylonian Mushhushu), the symbol of the city God Marduk. The mythical composite animal has the head and the body of a snake, the front legs of a lion, the hind legs of a bird and a scorpion sting in the tail. The ground plan and debris of the gate buildings were uncovered during the German excavation from 1899-1917 directed by Robert Koldewey. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed brick panels of the facade of the  first smaller Ishtar Gate, Babylon, dating from 604-562 BC. Babylon (present day Iraq). The Ishtar Gate, Babylon, was situated in the northern wall of the city and was named after the goddess Ishtar. The gate was decorated with reprentations of bulls, the symbol of the weather god Adad, and dragons (Babylonian Mushhushu), the symbol of the city God Marduk. The mythical composite animal has the head and the body of a snake, the front legs of a lion, the hind legs of a bird and a scorpion sting in the tail. The ground plan and debris of the gate buildings were uncovered during the German excavation from 1899-1917 directed by Robert Koldewey. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed brick panels of the facade of the  first smaller Ishtar Gate, Babylon, dating from 604-562 BC. Babylon (present day Iraq). The Ishtar Gate, Babylon, was situated in the northern wall of the city and was named after the goddess Ishtar. The gate was decorated with reprentations of bulls, the symbol of the weather god Adad, and dragons (Babylonian Mushhushu), the symbol of the city God Marduk. The mythical composite animal has the head and the body of a snake, the front legs of a lion, the hind legs of a bird and a scorpion sting in the tail. The ground plan and debris of the gate buildings were uncovered during the German excavation from 1899-1917 directed by Robert Koldewey. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Assyrian relief sculpture panel  of Tribute bearers, the first one has a turban from north-west Syria and raises his clenched hands as a token of submission. The second person may be Phoenician and has a pair of monkeys to add the Assyrian kings exotic animal collection .  From Nimrud, Iraq,  865-860 B.C North West Palace. Court D, panel 7.  British Museum Assyrian  Archaeological exhibit no WA 124502.
  • Assyrian relief sculpture panel  of Tribute bearers, the first one has a turban from north-west Syria and raises his clenched hands as a token of submission. The second person may be Phoenician and has a pair of monkeys to add the Assyrian kings exotic animal collection .  From Nimrud, Iraq,  865-860 B.C North West Palace. Court D, panel 7.  British Museum Assyrian  Archaeological exhibit no WA 124502.
  • Assyrian relief sculpture panel  of Tribute bearers, the first one has a turban from north-west Syria and raises his clenched hands as a token of submission. The second person may be Phoenician and has a pair of monkeys to add the Assyrian kings exotic animal collection .  From Nimrud, Iraq,  865-860 B.C North West Palace. Court D, panel 7.  British Museum Assyrian  Archaeological exhibit no WA 124502.
  • Roman mosaic of a Young boy playing with snakes, possibly an early Christian mosaic. Syria or Lebanon, 5th century AD. Cubes of marble and limestone. Dressed in a long tunic, the child playing with two snakes could be illustrating a passage from the Book of Isai (11.6 to 8). This fragmented mosaic panel once continued in upper part, as indicated by the animal hoofs, and to the right of the mosaic are remains of a Greek inscription. inv 5094. Louvre Museum, Paris
  • Mythical medieval animal. A 12th Century Romanesque fresco from the Church of Saint Joan Boi, al de Boi, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15953
  • Mythical medieval animal. A 12th Century Romanesque fresco from the Church of Saint Joan Boi, al de Boi, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15953
  • Mythical medieval animal. A 12th Century Romanesque fresco from the Church of Saint Joan Boi, al de Boi, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15953
  • Mythical medieval animal. A 12th Century Romanesque fresco from the Church of Saint Joan Boi, al de Boi, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15953
  • Restoration of a Mythical medieval animal. A 12th Century Romanesque fresco from the Church of Saint Joan Boi, al de Boi, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15953
  • Mythical medieval animal. A 12th Century Romanesque fresco from the Church of Saint Joan Boi, al de Boi, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15953
  • Anglo Saxon Medieval stone mythical animal head from Lindisfarne Abbey, Holy Island, England
  • Anglo Saxon Medieval stone mythical animal head from Lindisfarne Abbey, Holy Island, England
  • Anglo Saxon Medieval stone mythical animal head from Lindisfarne Abbey, Holy Island, England
  • Mythical medieval animal. A 12th Century Romanesque fresco from the Church of Saint Joan Boi, al de Boi, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15953
  • Mythical medieval animal. A 12th Century Romanesque fresco from the Church of Saint Joan Boi, al de Boi, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15953
  • Mythical medieval animal. A 12th Century Romanesque fresco from the Church of Saint Joan Boi, al de Boi, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15953
  • Mythical medieval animal. A 12th Century Romanesque fresco from the Church of Saint Joan Boi, al de Boi, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15953
  • Mythical medieval animal. A 12th Century Romanesque fresco from the Church of Saint Joan Boi, al de Boi, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15953
  • Mythical medieval animal. A 12th Century Romanesque fresco from the Church of Saint Joan Boi, al de Boi, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15953
  • Mythical animal from the medieval  Gothic door of the Cathedral Basilica of Saint Denis ( Basilique Saint-Denis ) Paris, France. A UNESCO World Heritage Site.
  • Picture & image of a Neo-Hittite orthostat with a chariot Releif sculpture from Karkamis,, Turkey. Museum of Anatolian Civilisations, Ankara. The Cahiot is pulled by horses with plumed headresses. One man os about to shoot an arrow from his bow, the other man is driving the cahriot. Below the horse is a animal cowering. 6
  • Picture & image of a Neo-Hittite orthostat with a chariot Releif sculpture from Karkamis,, Turkey. Museum of Anatolian Civilisations, Ankara. The Cahiot is pulled by horses with plumed headresses. One man os about to shoot an arrow from his bow, the other man is driving the cahriot. Below the horse is a animal cowering. 4
  • Picture & image of a Neo-Hittite orthostat with a chariot Releif sculpture from Karkamis,, Turkey. Ancora Archaeological Museum. The Cahiot is pulled by horses with plumed headresses. One man os about to shoot an arrow from his bow, the other man is driving the cahriot. Below the horse is a animal cowering. 3
  • Ampitheatre of Xanthos that has been modified by the Romans with a wall around what would have been the stage to make a pit for Gladitorial & animal events. Xanthos UNESCO World Heritage Archaeological Site, Turkey
  • Ampitheatre of Xanthos that has been modified by the Romans with a wall around what would have been the stage to make a pit for Gladitorial & animal events. Xanthos UNESCO World Heritage Archaeological Site, Turkey
  • Bas Releif sculpture if a hunter in armour shooting an animal   on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 36
  • Picture & image of a Neo-Hittite orthostat with a chariot Releif sculpture from Karkamis,, Turkey.  The Chariot is pulled by horses with plumed headresses. One man os about to shoot an arrow from his bow, the other man is driving the cahriot. Below the horse is a animal cowering. An Ankara Museum of Anatolian Civilizations exhibit.
  • Stock photos of Sculptured animal historiated Romanesque column Capitals - Franciscan Monatery cloisters - Dubrovnik
  • Eastern Mediterranean Roman mosaics of Animals, late 5th - 6th century. Marble cubes, and limestone. Three animals are in the race, a dog, a lion and a pheasant. They belonged perhaps to a hunting scene which was a popular floor decoration in houses or they may illustrate the biblical theme of 'Peace of animals', found on the floors of the churches of the Eastern Roman provinces. inv 3672, Louvre Museum, Paris
  • Eastern Mediterranean Roman mosaics of Animals, late 5th - 6th century. Marble cubes, and limestone. Three animals are in the race, a dog, a lion and a pheasant. They belonged perhaps to a hunting scene which was a popular floor decoration in houses or they may illustrate the biblical theme of 'Peace of animals', found on the floors of the churches of the Eastern Roman provinces. inv 3672, Louvre Museum, Paris
  • Eastern Mediterranean Roman mosaics of Animals, late 5th - 6th century. Marble cubes, and limestone. Three animals are in the race, a dog, a lion and a pheasant. They belonged perhaps to a hunting scene which was a popular floor decoration in houses or they may illustrate the biblical theme of 'Peace of animals', found on the floors of the churches of the Eastern Roman provinces. inv 3672, Louvre Museum, Paris
  • Eastern Mediterranean Roman mosaics of Animals, late 5th - 6th century. Marble cubes, and limestone. Three animals are in the race, a dog, a lion and a pheasant. They belonged perhaps to a hunting scene which was a popular floor decoration in houses or they may illustrate the biblical theme of 'Peace of animals', found on the floors of the churches of the Eastern Roman provinces. inv 3672, Louvre Museum, Paris
  • Ambulatory of the Great Hunt Roman mosaic, african animals are loaded onto a ship, room no 28, at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Great Hunt ambulatory is around 60 meters long (200 Roman feet) and connects the master’s northern apartments with the triclinium in the south. The door in the centre of the the Great Hunt ambulatory leads to audience hall. <br />
<br />
The Great Hunt Roman mosaic depicts African animals being hunted and put onto ships to be taken to the Colosseum.
  • Ambulatory of the Great Hunt Roman mosaic, african animals are loaded onto a ship, room no 28, at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Great Hunt ambulatory is around 60 meters long (200 Roman feet) and connects the master’s northern apartments with the triclinium in the south. The door in the centre of the the Great Hunt ambulatory leads to audience hall. <br />
<br />
The Great Hunt Roman mosaic depicts African animals being hunted and put onto ships to be taken to the Colosseum.
  • Ambulatory of the Great Hunt Roman mosaic, african animals are loaded onto a ship, room no 28, at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Great Hunt ambulatory is around 60 meters long (200 Roman feet) and connects the master’s northern apartments with the triclinium in the south. The door in the centre of the the Great Hunt ambulatory leads to audience hall. <br />
<br />
The Great Hunt Roman mosaic depicts African animals being hunted and put onto ships to be taken to the Colosseum.
  • Ambulatory of the Great Hunt Roman mosaic, african animals are loaded onto a ship, room no 28, at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Great Hunt ambulatory is around 60 meters long (200 Roman feet) and connects the master’s northern apartments with the triclinium in the south. The door in the centre of the the Great Hunt ambulatory leads to audience hall. <br />
<br />
The Great Hunt Roman mosaic depicts African animals being hunted and put onto ships to be taken to the Colosseum.
  • Eastern Mediterranean Roman mosaics of Animals, late 5th - 6th century. Marble cubes, and limestone. Three animals are in the race, a dog, a lion and a pheasant. They belonged perhaps to a hunting scene which was a popular floor decoration in houses or they may illustrate the biblical theme of 'Peace of animals', found on the floors of the churches of the Eastern Roman provinces. inv 3672, Louvre Museum, Paris
  • Medieval Byzantine mosaics of Noah putting animals into the arc, Monreale Cathedral, Sicily

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