• Roman Mosaic portrait of a women from Pompei Archaeological Site. Naples Archaeological Museum inv 124666
  • 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
  • Roman Mosaic portrait of a Cockerall Fight  from Pompei Archaeological Site. Naples Archaeological Museum
  • Nile Scene Roman Mosaic ( Scena Nileotica )  from Pompei Archaeological Site. Naples Archaeological Museum inv 9990
  • Roman mosaic of a mythical procession, Pompeii, Naples Archaeological Musum, Italy
  • Roman mosaic of birds drinking from Pompeii,  Naples Archaeological Musum, Italy
  • Roman mosaic of drinking birds from Santa Maria Capua Vetere, ancient Capua, inv no 9992, Naples Archaeological Musum, Italy
  • Roman mosaic of a scene from Meanders comedy Theophoroumene(the passed girl) with musical hawkers by Dioscurides of Samos. Pompeii from the so-called Villa of Cicero, Inv 9985, Naples Archaeological Musum, Italy
  • Roman panel with candelabra and a cupid hunter in glass paste from  Pompeii VI, Inv 38 No 10012, Naples Archaeological Musuem, Italy
  • Roman mosaic of  the Academy of Plato from the Villa of T. Siminius Stephanus, inv no 124545, Naples Archaeological Musum, Italy
  • Roman mosaic of  the Academy of Plato from the Villa of T. Siminius Stephanus, inv no 124545, Naples Archaeological Musum, Italy
  • Roman mosaic of actors from the Casa del Poet Tragic (VI 8, 3,) Pompeii, inv 9986. Naples Archaeological Musum, Italy
  • Roman mosaic of actors from the Casa del Poet Tragic (VI 8, 3,) Pompeii, inv 9986. Naples Archaeological Musum, Italy
  • Round Roman mosaic of a Lion and Cupids between Dionysus and Manadi, Pompeii, House of the Centaur (VI 9.3,) inv No 10019,  Naples Archaeological Musuem, Italy
  • Pictures of Roman Mosaics of a Lion Dionysus and Manadi from the Casa del Centauro (VI 9, 3) Pompeii, inv 10019, Naples Archaeological Museum - Stock Photos
  • Roman Mosaic of  Lycurgus and Ambrosia the presence of Dionysus from Herculaneum, Naples Archaeological Museum, Italy
  • Roman mosaics from Pompeii showing a Panther with Dionysus symbol (Pantera con simboli dionisiaci) from the Santangelo collection, Naples Archaeological Museum, Italy
  • Roman mosaic of a Lion from Pompeii,  Naples Archaeological Musum, Italy
  • "Pan & Goat" Roman Mythical erotic sculpture from Pompeii. Naples Archaeological inv no: 27709
  • Workshop Banner showing Mercury with a massive phalus. Erotic Fresco from Pompeii, Naples Archaeological Museum 1st cent AD
  • Interior of Aphrodisias Museum showing Roman statues from the archaeological site of Aphrodisias, , Aphrodisias, Turkey.
  • Mycenaean female figurine with raised arms, psi type, from Mycenae tomb , Archaeological Museum Athens. White Background.<br />
<br />
Stylised female figurines were common in the Mycenaean world and may have represented deities , divine nurses or worshipers. these Mycenaean female figurines were probably used as voitive offering and maybe as childrens toys.
  • Mycenaean female figurine with raised arms, psi type, from Mycenae tomb , Archaeological Museum Athens. Black Background<br />
<br />
Stylised female figurines were common in the Mycenaean world and may have represented deities , divine nurses or worshipers. these Mycenaean female figurines were probably used as voitive offering and maybe as childrens toys.
  • Mycenaean female figurine with raised arms, psi type, from Mycenae tomb , Archaeological Museum Athens. Grey art Background <br />
<br />
Stylised female figurines were common in the Mycenaean world and may have represented deities , divine nurses or worshipers. these Mycenaean female figurines were probably used as voitive offering and maybe as childrens toys.
  • Cycladic bronze spearhead.  Early Cycladic II (2800-2300 BC) , Amorgos. National Archaeological Museum Athens.
  • Cycladic bronze dagger.  Early Cycladic II (2800-2300 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat no 9337.  Black background.
  • Burnished monochrome Cycladic animal shaped wase with geometric incissions.  Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5697-8.  White background.<br />
<br />
<br />
Pottery from this Cycladic era was predominatly monochrome and burnished with linear motifs. Flower and bird designs were rare .
  • Cycladic bronze dagger.  Early Cycladic II (2800-2300 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat no 9337.   Gray background.
  • Burnished monochrome Cycladic animal shaped wase with geometric incissions.  Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5697-8. Black background.<br />
<br />
<br />
Pottery from this Cycladic era was predominatly monochrome and burnished with linear motifs. Flower and bird designs were rare .
  • Burnished monochrome Cycladic ring shaped wase with geometric incissions.  Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5697-8. Black background.<br />
<br />
<br />
Pottery from this Cycladic era was predominatly monochrome and burnished with linear motifs. Flower and bird designs were rare .
  • Burnished monochrome Cycladic ring shaped wase with geometric incissions.  Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5697-8.<br />
<br />
Pottery from this Cycladic era was predominatly monochrome and burnished with linear motifs. Flower and bird designs were rare .
  • Cycladic rounded alabastron top with 'marine style' decoration.   Cycladic (15th cent BC BC) , Phylakopi I-IV, Melos. National Archaeological Museum Athens.  Cat no 5777.
  • Cycladic ceramic spherical pyxis with impressed  linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens.   White background.
  • Cycladic ceramic spherical pyxis with impressed  linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens.
  • Cycladic ceramic kernos with painted linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat no 6185. Black background.<br />
<br />
<br />
Composed of 8 small pyxides with painted linear decoration, this complex vessel was probably for ritual use.
  • Cycladic ceramic kernos with painted linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat no 6185.  Grey background.<br />
<br />
<br />
Composed of 8 small pyxides with painted linear decoration, this complex vessel was probably for ritual use.
  • Cycladic ceramic kernos with painted linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat no 6185.  Gray background.<br />
<br />
<br />
Composed of 8 small pyxides with painted linear decoration, this complex vessel was probably for ritual use.
  • Cycladic ceramic spherical pyxis with painted linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat no 5170.   White background.
  • Cycladic ceramic spherical pyxis with painted linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat no 5170.   Grey background.
  • Cycladic ceramic spherical pyxis with painted linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat no 5170
  • Cycladic 'Kastri Group' tea pot.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 6104 1-3. Black background.<br />
<br />
<br />
The 'Kastri Group' from Syros (2500-2300 BC) coincides with the introdution of anatolian shpes of table ware and with the use of the ceramic wheel. The pottery is dark burnished with incised motifs<br />
<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic 'Kastri Group' tea pot.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 6104 1-3.  White background.<br />
<br />
<br />
The 'Kastri Group' from Syros (2500-2300 BC) coincides with the introdution of anatolian shpes of table ware and with the use of the ceramic wheel. The pottery is dark burnished with incised motifs<br />
<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic 'Kastri Group' tea pot.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 6104 1-3.<br />
<br />
The 'Kastri Group' from Syros (2500-2300 BC) coincides with the introdution of anatolian shpes of table ware and with the use of the ceramic wheel. The pottery is dark burnished with incised motifs<br />
<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic 'Kastri Group' tea pot.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 6104 1-3.  Gray background.<br />
<br />
<br />
The 'Kastri Group' from Syros (2500-2300 BC) coincides with the introdution of anatolian shpes of table ware and with the use of the ceramic wheel. The pottery is dark burnished with incised motifs<br />
<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic Kernos a multiple vessel in a base.  Early Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5829.  White background.<br />
<br />
<br />
This complex vessel was used for ritual offerings. During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic Kernos a multiple vessel in a base.  Early Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5829. Black background.<br />
<br />
<br />
This complex vessel was used for ritual offerings. During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic Kernos a multiple vessel in a base.  Early Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5829.  Gray background.<br />
<br />
<br />
This complex vessel was used for ritual offerings. During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic Kernos a multiple vessel in a base.  Early Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5829.<br />
<br />
This complex vessel was used for ritual offerings. During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic cylindrical vase illustrated with a fisherman (1600 BC) , Phylakopi III, Melos. National Archaeological Museum Athens. Cat No 5782.<br />
<br />
The vase has a procession of 4 fishermen illustrated on iy running all the way round it.
  • Cycladic ritual kernos with painted motif  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 822-833.  Grey background.<br />
<br />
<br />
A complec ritual vessel with multiple pithos for offerings.
  • Cycladic ritual kernos with painted motif  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 822-833.  White background.<br />
<br />
A complec ritual vessel with multiple pithos for offerings.
  • Cycladic ritual kernos with painted motif  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 822-833.<br />
<br />
A complec ritual vessel with multiple pithos for offerings.
  • Cycladic ritual kernos with painted motif  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 822-833.  Gray background.<br />
<br />
<br />
A complec ritual vessel with multiple pithos for offerings.
  • Cycladic ceramic krater with impressed  linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat No 5258.   Gray background.
  • Cycladic ceramic krater with impressed  linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat No 5188.  Black background.
  • Cycladic ceramic krater with impressed  linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat No 5188.   White background.
  • Cycladic ceramic krater with impressed  linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat No 5188.   Gray background.
  • Cycladic ceramic krater with impressed  linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat No 5188
  • Cycladic ceramic krater with impressed  linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat No 6180.   Grey background.
  • Cycladic ceramic krater with impressed  linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat No 6180.   Gray background.
  • Cycladic conical rhython with spiral decorations.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens.  Cat no 5791.  White background.<br />
<br />
<br />
Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic conical rhython with spiral decorations.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens.  Cat no 5791.  Grey background.<br />
<br />
<br />
Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic conical rhython with spiral decorations.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens.  Cat no 5791.  Gray background.<br />
<br />
<br />
Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic spouted cup with floral and net pattern.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens. Cat no 5755.   White background.<br />
<br />
<br />
Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic spouted cup with floral and net pattern.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens. Cat no 5755.   Grey background.<br />
<br />
<br />
Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic spouted cup with floral and net pattern.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens. Cat no 5755.   Gray background.<br />
<br />
<br />
Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic deep bridge spouted jar with spiral decorations.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens.  Cat no 5788.  Grey background.<br />
<br />
<br />
Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic deep bridge spouted jar with spiral decorations.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens.  Cat no 5788.<br />
<br />
Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic beaked nippled jug with monstrous creature decoration.   Cycladic (18th-17th cent BC BC) , Phylakopi I-IV, Melos. National Archaeological Museum Athens.  Cat no 5777.   Grey background.
  • Cycladic cut away jug with floral and net pattern.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens. Cat no 5757.  Black background.<br />
<br />
<br />
This jug has a strainer in the spout with floral patterns. Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic beaked nippled jug with monstrous creature decoration.   Cycladic (18th-17th cent BC BC) , Phylakopi I-IV, Melos. National Archaeological Museum Athens.  Cat no 5777.   Gray background.
  • Cycladic cut away jug with floral and net pattern.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens. Cat no 5757.   Grey background.<br />
<br />
<br />
This jug has a strainer in the spout with floral patterns. Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic ceramic jug with linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat no 5147.  Black background.
  • Cycladic ceramic jug with linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat no 5147.   Gray background.
  • Cycladic ceramic jug with linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat no 5147.
  • Cycladic ceramic jug with painted linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat no 4969.  Black background.
  • Cycladic ceramic jug with painted linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat no 4969
  • Cycladic askos with hatched painted decoration.  Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat no 5826.  Black background.<br />
<br />
<br />
Decorated pottery is rare during this Ccladic period. This Cycladic askos has vertical handle on top with a spout. It has painted decoration of hatched bands and a lozenge pattern
  • Cycladic askos with hatched painted decoration.  Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat no 5826.   White background.<br />
<br />
<br />
Decorated pottery is rare during this Ccladic period. This Cycladic askos has vertical handle on top with a spout. It has painted decoration of hatched bands and a lozenge pattern
  • Cycladic askos with hatched painted decoration.  Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat no 5826.   Grey background.<br />
<br />
<br />
Decorated pottery is rare during this Ccladic period. This Cycladic askos has vertical handle on top with a spout. It has painted decoration of hatched bands and a lozenge pattern
  • Cycladic amphora with bird decoration.  Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. cat no 5748.   White background.<br />
<br />
<br />
During this Ctcladic period pottery was predominatly monochrome and brnished , this amphora is a rare example of bird decorated pottery from the era
  • Cycladic amphora with bird decoration.  Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. cat no 5748.   Grey background.<br />
<br />
<br />
During this Ctcladic period pottery was predominatly monochrome and brnished , this amphora is a rare example of bird decorated pottery from the era
  • Cycladic amphora with bird decoration.  Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. cat no 5748.   Gray background.<br />
<br />
<br />
During this Ctcladic period pottery was predominatly monochrome and brnished , this amphora is a rare example of bird decorated pottery from the era
  • Cycladic amphora with 'melian' painted motifs.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens.   White background.
  • Cycladic amphora with 'melian' painted motifs.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens.   Grey background.
  • Cycladic amphora with 'melian' painted motifs.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens.
  • Cycladic amphora with 'melian' painted motifs.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens.   Gray background.
  • Cycladic footed necked jar with impressed decration.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 6168.  White background.<br />
<br />
<br />
During this period pottery was often monochrome with polised slip finishes sometimes with incised or impressed decorations.
  • Cycladic footed necked jar with impressed decration.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 6168. Black background.<br />
<br />
<br />
During this period pottery was often monochrome with polised slip finishes sometimes with incised or impressed decorations.
  • Cycladic footed necked jar with impressed decration.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 6168.<br />
<br />
During this period pottery was often monochrome with polised slip finishes sometimes with incised or impressed decorations.
  • Cycladic footed necked jar with impressed decration.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 6168.  Grey background.<br />
<br />
<br />
During this period pottery was often monochrome with polised slip finishes sometimes with incised or impressed decorations.
  • Cycladic footed necked jar with impressed decration.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 6168.  Gray background.<br />
<br />
<br />
During this period pottery was often monochrome with polised slip finishes sometimes with incised or impressed decorations.
  • Cycladic monachrome polished slip 'sauce boat' from Syros.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 55, 5159.  Grey background.<br />
<br />
<br />
These so called 'sauce boats' were a new shape and style that appeared during this period.
  • Cycladic beak spouted jug with 'melian' painted motifs.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 5725-6.  White background.
  • Cycladic pithos with geometric designs.  Early Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5831.  White background.<br />
<br />
<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic pithos with geometric designs.  Early Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5831. Black background.<br />
<br />
<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic beak spouted jug.  Early Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5726.  Grey background.<br />
<br />
<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic beak spouted jug.  Early Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5726.<br />
<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Small Cycladic amphora.  Early Cycladic III (2300-200 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5813.  White background.<br />
<br />
<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Spherical jug spiral and floral decorated. Early Cycladic I (1650-1550 BC); Phylakopi; Melos. National Archaeological Museum Athens. Cat No 5818.  White background.<br />
<br />
<br />
During this Cycladic period the pottery designs were heavily influenced by Cretean minoan with pottery.
  • Small Cycladic amphora.  Early Cycladic III (2300-200 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5813.<br />
<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Small Cycladic amphora.  Early Cycladic III (2300-200 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5813.  Gray background.<br />
<br />
<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Spherical jug spiral and floral decorated. Early Cycladic I (1650-1550 BC); Phylakopi; Melos. National Archaeological Museum Athens. Cat No 5818. Black background.<br />
<br />
<br />
During this Cycladic period the pottery designs were heavily influenced by Cretean minoan with pottery.
  • Spherical jug spiral and floral decorated. Early Cycladic I (1650-1550 BC); Phylakopi; Melos. National Archaeological Museum Athens. Cat No 5818.<br />
<br />
During this Cycladic period the pottery designs were heavily influenced by Cretean minoan with pottery.
  • Spherical jug spiral and floral decorated. Early Cycladic I (1650-1550 BC); Phylakopi; Melos. National Archaeological Museum Athens. Cat No 5818.  Gray background.<br />
<br />
<br />
During this Cycladic period the pottery designs were heavily influenced by Cretean minoan with pottery.
  • Bridge spouted jug bird decorated. Early Cycladic I (1650-1550 BC); Phylakopi; Melos. National Archaeological Museum Athens. Cat No 5768. Black background.<br />
<br />
<br />
During this Cycladic period the pottery designs were heavily influenced by Cretean minoan with pottery like this using bird patterns.
  • Bridge spouted jug bird decorated. Early Cycladic I (1650-1550 BC); Phylakopi; Melos. National Archaeological Museum Athens. Cat No 5768.  Grey background.<br />
<br />
<br />
During this Cycladic period the pottery designs were heavily influenced by Cretean minoan with pottery like this using bird patterns.
  • Bridge spouted jug bird decorated. Early Cycladic I (1650-1550 BC); Phylakopi; Melos. National Archaeological Museum Athens. Cat No 5768.<br />
<br />
During this Cycladic period the pottery designs were heavily influenced by Cretean minoan with pottery like this using bird patterns.
  • Bridge spouted jug bird decorated. Early Cycladic I (1650-1550 BC); Phylakopi; Melos. National Archaeological Museum Athens. Cat No 5768.  Gray background.<br />
<br />
<br />
During this Cycladic period the pottery designs were heavily influenced by Cretean minoan with pottery like this using bird patterns.
  • Beak spouted jug decorated with flowering crocus. Early Cycladic I (1650-1550 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5769.  White background.<br />
<br />
<br />
During this Cycladic period the pottery designs were heavily influenced by Cretean minoan with pottery like this using floral patterns.
  • Beak spouted jug decorated with flowering crocus. Early Cycladic I (1650-1550 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5769. Black background.<br />
<br />
During this Cycladic period the pottery designs were heavily influenced by Cretean minoan with pottery like this using floral patterns.
  • Beak spouted jug decorated with flowering crocus. Early Cycladic I (1650-1550 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5769.  Gray background.<br />
<br />
<br />
During this Cycladic period the pottery designs were heavily influenced by Cretean minoan with pottery like this using floral patterns.
  • Cycladic terracotta 'frying pan' with incied decoration from  Syros. Early found  at Phylakopi, Melos. Cycladic period III 2300-2000 BC), National Archaeological Museum Athens, Cat No 6172.  White background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied decoration from  Syros. Early found  at Phylakopi, Melos. Cycladic period III 2300-2000 BC), National Archaeological Museum Athens, Cat No 6172.<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied star decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5153.  Grey background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied star decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5153.  White background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied star decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5164.<br />
<br />
In the middle of the decoration is a disc surrounded by a triangle motif. Above the handle is incised a pubic triangle.<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied linear decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5012. Black background.<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied linear decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5012.  Grey background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied linear decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5012.  Gray background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5058. Black background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5058.  Grey background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5058.<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5058.  Gray background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Black background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens,  White background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens,<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied boat and spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5053.  White background.<br />
<br />
<br />
The incisions depict a boat below spiral patternes. <br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied boat and spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5053.  Grey background.<br />
<br />
<br />
The incisions depict a boat below spiral patternes. <br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied boat and spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5053.  Gray background.<br />
<br />
<br />
The incisions depict a boat below spiral patternes. <br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 6177.  White background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 6177.  Grey background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied boat and spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 4974. Black background.<br />
<br />
Yje incised decorations depict a boat amongst spiral formed waves. The boats is of a Ctcladic design  found throughout the Aegean.<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied boat and spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 4974.   White background.<br />
<br />
<br />
Yje incised decorations depict a boat amongst spiral formed waves. The boats is of a Ctcladic design  found throughout the Aegean.<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied boat and spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 4974.   Grey background.<br />
<br />
<br />
Yje incised decorations depict a boat amongst spiral formed waves. The boats is of a Ctcladic design  found throughout the Aegean.<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied boat and spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 4974<br />
<br />
Yje incised decorations depict a boat amongst spiral formed waves. The boats is of a Ctcladic design  found throughout the Aegean.<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied boat and spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 4974.   Gray background.<br />
<br />
<br />
Yje incised decorations depict a boat amongst spiral formed waves. The boats is of a Ctcladic design  found throughout the Aegean.<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-2300 BC) from Stavros cemetery, Amorgos, grave 5, Cat No 4719. National Archaeological Museum, Athens.   White background.<br />
<br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-2300 BC) from Stavros cemetery, Amorgos, grave 5, Cat No 4719. National Archaeological Museum, Athens. <br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-2300 BC) from Stavros cemetery, Amorgos, grave 5, Cat No 4719. National Archaeological Museum, Athens. <br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-2300 BC) from Stavros cemetery, Amorgos, grave 5, Cat No 4719. National Archaeological Museum, Athens.   Gray background.<br />
<br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised.
  • The 'Harpist of Keros' a seated parian marble female Cycladic figurine. Early Cycladic Period II (2800-2300 BC) from Keros, Cat no 3908. National Archaeological Museum, Athens.   White background.<br />
<br />
<br />
This elaborate three dimesional Cyladic statue known as the 'Harpist of Keros' depicts a seated figure plaung a harp. Its execution required an experienced workshop that could file away the parian marble with gronze tools.
  • The 'Harpist of Keros' a seated parian marble female Cycladic figurine. Early Cycladic Period II (2800-2300 BC) from Keros, Cat no 3908. National Archaeological Museum, Athens. Black background.<br />
<br />
This elaborate three dimesional Cyladic statue known as the 'Harpist of Keros' depicts a seated figure plaung a harp. Its execution required an experienced workshop that could file away the parian marble with gronze tools.
  • The 'Harpist of Keros' a seated parian marble female Cycladic figurine. Early Cycladic Period II (2800-2300 BC) from Keros, Cat no 3908. National Archaeological Museum, Athens.   Grey background.<br />
<br />
<br />
This elaborate three dimesional Cyladic statue known as the 'Harpist of Keros' depicts a seated figure plaung a harp. Its execution required an experienced workshop that could file away the parian marble with gronze tools.
  • The 'Harpist of Keros' a seated parian marble female Cycladic figurine. Early Cycladic Period II (2800-2300 BC) from Keros, Cat no 3908. National Archaeological Museum, Athens. <br />
<br />
This elaborate three dimesional Cyladic statue known as the 'Harpist of Keros' depicts a seated figure plaung a harp. Its execution required an experienced workshop that could file away the parian marble with gronze tools.
  • The 'Harpist of Keros' a seated parian marble female Cycladic figurine. Early Cycladic Period II (2800-2300 BC) from Keros, Cat no 3908. National Archaeological Museum, Athens.   Gray background.<br />
<br />
<br />
This elaborate three dimesional Cyladic statue known as the 'Harpist of Keros' depicts a seated figure plaung a harp. Its execution required an experienced workshop that could file away the parian marble with gronze tools.
  • The 'Harpist of Keros' a seated parian marble female Cycladic figurine. Early Cycladic Period II (2800-2300 BC) from Keros, Cat no 3908. National Archaeological Museum, Athens. Black background.<br />
<br />
This elaborate three dimesional Cyladic statue known as the 'Harpist of Keros' depicts a seated figure plaung a harp. Its execution required an experienced workshop that could file away the parian marble with gronze tools.
  • The 'Harpist of Keros' a seated parian marble female Cycladic figurine. Early Cycladic Period II (2800-2300 BC) from Keros, Cat no 3908. National Archaeological Museum, Athens.   Grey background.<br />
<br />
<br />
This elaborate three dimesional Cyladic statue known as the 'Harpist of Keros' depicts a seated figure plaung a harp. Its execution required an experienced workshop that could file away the parian marble with gronze tools.
  • The 'Harpist of Keros' a seated parian marble female Cycladic figurine. Early Cycladic Period II (2800-2300 BC) from Keros, Cat no 3908. National Archaeological Museum, Athens. <br />
<br />
This elaborate three dimesional Cyladic statue known as the 'Harpist of Keros' depicts a seated figure plaung a harp. Its execution required an experienced workshop that could file away the parian marble with gronze tools.
  • Marble female Cycladic statue figurine with folded arms. Early Cycladic Period II (2800-2300 BC) from Chalandriani, Syros. National Archaeological Museum, Athens.   White background.
  • Marble female Cycladic statue figurine with folded arms. Early Cycladic Period II (2800-2300 BC) from Chalandriani, Syros. National Archaeological Museum, Athens.   Grey background.
  • Marble female Cycladic statue figurine with folded arms. Early Cycladic Period II (2800-2300 BC) from Chalandriani, Syros. National Archaeological Museum, Athens.   Gray background.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-2300 BC) from Naxos, Cat No 6195. National Archaeological Museum, Athens.   Grey background.<br />
<br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-2300 BC) from Naxos, Cat No 6195. National Archaeological Museum, Athens. Black background.<br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-2300 BC) from Naxos, Cat No 6195. National Archaeological Museum, Athens.   Gray background.<br />
<br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-2300 BC) from Naxos, Cat No 6195. National Archaeological Museum, Athens. Black background.<br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-2300 BC) from Naxos, Cat No 6195. National Archaeological Museum, Athens.   Grey background.<br />
<br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-2300 BC) from Naxos, Cat No 6195. National Archaeological Museum, Athens.   Gray background.<br />
<br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised.
  • Cycladic statue figurine of the naturalistic 'Plastira' type of Paros from Glypha cemetery, grave 23, Cat no 4762. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens. Black background.<br />
<br />
This type of Cycladic figurine stand with feet lat to the ground with detailed facial features and ears to make a more realistic statue.
  • Cycladic statue figurine of the naturalistic 'Plastira' type of Paros from Glypha cemetery, grave 23, Cat no 4762. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens. <br />
<br />
This type of Cycladic figurine stand with feet lat to the ground with detailed facial features and ears to make a more realistic statue.
  • Cycladic statue figurine of the naturalistic 'Plastira' type of Paros. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens. Black background.<br />
<br />
This type of Cycladic figurine stand with feet lat to the ground with detailed facial features and ears to make a more realistic statue.
  • Cycladic statue figurine of the naturalistic 'Plastira' type of Paros. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens.   White background.<br />
<br />
<br />
This type of Cycladic figurine stand with feet lat to the ground with detailed facial features and ears to make a more realistic statue. This statue is of a hunter or warrior as it bears an incised weapon strap across its chest and holds a knife.
  • Cycladic statue figurine of the naturalistic 'Plastira' type of Paros. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens. <br />
<br />
This type of Cycladic figurine stand with feet lat to the ground with detailed facial features and ears to make a more realistic statue. This statue is of a hunter or warrior as it bears an incised weapon strap across its chest and holds a knife.
  • Cycladic statue figurine of the naturalistic 'Plastira' type of Paros. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens.   Gray background.<br />
<br />
<br />
This type of Cycladic figurine stand with feet lat to the ground with detailed facial features and ears to make a more realistic statue. This statue is of a hunter or warrior as it bears an incised weapon strap across its chest and holds a knife.
  • Cycladic violin shaped figurine. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens.   White background.
  • Cycladic violin shaped figurine. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens.   White background.
  • Cycladic violin shaped figurine. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens.   Gray background.
  • Cycladic violin shaped figurine. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens.   Grey background.
  • Cycladic violin shaped figurine. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens.
  • Cycladic violin shaped figurine. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens.   Gray background.
  • Cycladic violin shaped figurine. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800). National Archaeological Museum, Athens. Black background.<br />
<br />
This Cycladic violin shaped figurine has two holes in its neck which were provavly used to hold its broken neck together with wire or cord.
  • Cycladic violin shaped figurine. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800). National Archaeological Museum, Athens. <br />
<br />
This Cycladic violin shaped figurine has two holes in its neck which were provavly used to hold its broken neck together with wire or cord.
  • Female Cycladic statue figurine with folded arms of the Spedos and Dokathismata type. Early Cycladic Period II (2800-3200) from Naxos. National Archaeological Museum, Athens.   Grey background.<br />
<br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised.
  • Female Cycladic statue figurine with folded arms of the Spedos and Dokathismata type. Early Cycladic Period II (2800-3200) from Naxos. National Archaeological Museum, Athens.   Gray background.<br />
<br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised.
  • Female Cycladic statue figurine with folded arms of the Spedos and Dokathismata type. Early Cycladic Period II (2800-3200) from Amorgos. National Archaeological Museum, Athens.   White background.<br />
<br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised. This staue belongs to the Dokathismata type of Amorgos with an angular face, wide chest and slender outline.
  • Female Cycladic statue figurine with folded arms of the Spedos and Dokathismata type. Early Cycladic Period II (2800-3200) from Amorgos. National Archaeological Museum, Athens. Black background.<br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised. This staue belongs to the Dokathismata type of Amorgos with an angular face, wide chest and slender outline.
  • Female Cycladic statue figurine with folded arms of the Spedos and Dokathismata type. Early Cycladic Period II (2800-3200) from Amorgos. National Archaeological Museum, Athens. <br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised. This staue belongs to the Dokathismata type of Amorgos with an angular face, wide chest and slender outline.
  • Female Cycladic statue figurine with folded arms of the Spedos and Dokathismata type. Early Cycladic Period II (2800-3200) from Amorgos. National Archaeological Museum, Athens.   Grey background.<br />
<br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised. This staue belongs to the Dokathismata type of Amorgos with an angular face, wide chest and slender outline.
  • Female Cycladic statue figurine with folded arms of the Spedos and Dokathismata type. Early Cycladic Period II (2800-3200) from Amorgos. National Archaeological Museum, Athens.   Gray background.<br />
<br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised. This staue belongs to the Dokathismata type of Amorgos with an angular face, wide chest and slender outline.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-3200) from Naxos, Cat No 20934. National Archaeological Museum, Athens. Black background.<br />
<br />
One of the largest known Cycladic statues at 89CM tall this figurine still has traces of a colour on the hair and eyes.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-3200) from Naxos, Cat No 20934. National Archaeological Museum, Athens.   Grey background.<br />
<br />
<br />
One of the largest known Cycladic statues at 89CM tall this figurine still has traces of a colour on the hair and eyes.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-3200) from Naxos, Cat No 20934. National Archaeological Museum, Athens. <br />
<br />
One of the largest known Cycladic statues at 89CM tall this figurine still has traces of a colour on the hair and eyes.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-3200) from Naxos, Cat No 20934. National Archaeological Museum, Athens.   Gray background.<br />
<br />
<br />
One of the largest known Cycladic statues at 89CM tall this figurine still has traces of a colour on the hair and eyes.
  • Head of a Cycladic statue with remnants of painted eyes and right cheek, Parian Marble, Amorgos, Early Cycladic II period (2800-3200BC). National Archaeological Museum, Athens. Black background.
  • Head of a Cycladic statue with remnants of painted eyes and right cheek, Parian Marble, Amorgos, Early Cycladic II period (2800-3200BC). National Archaeological Museum, Athens.   Gray background.
  • Head of a Cycladic statue with remnants of painted eyes and right cheek, Parian Marble, Amorgos, Early Cycladic II period (2800-3200BC). National Archaeological Museum, Athens.
  • Mycenaean pots and vases depicting octopuses and Mycenaean chariots, National Archaeological Museum Athens.<br />
<br />
Left: Three handled Palace Style Mycenaean amphora with octpuses and marinescape decorations motifs, Mycenaean cemetery, Argive Prosymna, tomb 2, 15 cnt BC,  Cat no 6725. <br />
<br />
Middle: Mycenaean three handled styrup jar with painted zig zag  and double axesdesigns, Tholos tomb 2 , Myrsinochori, Messenia, 15th cent BC. Cat No 8376.<br />
<br />
Right:Mycenaean pictorial Krater decorated with a horse and chariot, Tiryns Acropolis - 12-14th cent BC.  Cat No 115.
  • Mycenaean gold death mask, Mask of Agamemnon, Grave Cicle A, Mycenae, Greece.National Archaeological Museum of Athens.  Black Background<br />
<br />
The mask from Grave V depicts an imposing face of a bearded man descovered by  Heinrich Schliemann who believed it was the body of Agamemnon, this is unproven to date.  The Mycenaean death mask belonged to a warrior and made of gold leaf it cocered the dead mans face held on by cord threaded tgrough the two sides of the mask.  The mask of Agamemnon was created from a single thick gold sheet, heated and hammered against a wooden background with the details chased on later with a sharp tool. The artifact dates from the 16th century BC.
  • Mycenaean gold death mask, Mask of Agamemnon, Grave Cicle A, Mycenae, Greece.National Archaeological Museum of Athens.   Grey Art Background<br />
<br />
The mask from Grave V depicts an imposing face of a bearded man descovered by  Heinrich Schliemann who believed it was the body of Agamemnon, this is unproven to date.  The Mycenaean death mask belonged to a warrior and made of gold leaf it cocered the dead mans face held on by cord threaded tgrough the two sides of the mask.  The mask of Agamemnon was created from a single thick gold sheet, heated and hammered against a wooden background with the details chased on later with a sharp tool. The artifact dates from the 16th century BC.
  • Mycenaean pictorial Krater decorated with a two horses and chariot, Tiryns Acropolis - 13-12th cent BC. National Archaeological Museum Athens. Cat No 1511. White Background.<br />
<br />
This larfe Mycenaean pictorial Krater depicts a two horse Mycenaean chariot with two riders. Two men holding spears and circular shields walk in front of the chariot and a dog scampers under the horse. This style is typical of the 'painter of the shiled bearers' of the Tiryns workshop from the late 13th to 12th cent BC
  • Mycenaean pictorial Krater decorated with a two horses and chariot, Tiryns Acropolis - 13-12th cent BC. National Archaeological Museum Athens. Cat No 1511. Grey Background<br />
<br />
This larfe Mycenaean pictorial Krater depicts a two horse Mycenaean chariot with two riders. Two men holding spears and circular shields walk in front of the chariot and a dog scampers under the horse. This style is typical of the 'painter of the shiled bearers' of the Tiryns workshop from the late 13th to 12th cent BC
  • Mycenaean pictorial Krater decorated with a two horses and chariot, Tiryns Acropolis - 13-12th cent BC. National Archaeological Museum Athens. Cat No 1511.<br />
<br />
This larfe Mycenaean pictorial Krater depicts a two horse Mycenaean chariot with two riders. Two men holding spears and circular shields walk in front of the chariot and a dog scampers under the horse. This style is typical of the 'painter of the shiled bearers' of the Tiryns workshop from the late 13th to 12th cent BC
  • Mycenaean pictorial Krater decorated with a two horses and chariot, Tiryns Acropolis - 13-12th cent BC. National Archaeological Museum Athens. Cat No 1511.<br />
<br />
This larfe Mycenaean pictorial Krater depicts a two horse Mycenaean chariot with two riders. Two men holding spears and circular shields walk in front of the chariot and a dog scampers under the horse. This style is typical of the 'painter of the shiled bearers' of the Tiryns workshop from the late 13th to 12th cent BC
  • Mycenaean pictorial Krater decorated with a two horses and chariot, Tiryns Acropolis - 13-12th cent BC. National Archaeological Museum Athens. Cat No 1511. Grey art Background <br />
<br />
This larfe Mycenaean pictorial Krater depicts a two horse Mycenaean chariot with two riders. Two men holding spears and circular shields walk in front of the chariot and a dog scampers under the horse. This style is typical of the 'painter of the shiled bearers' of the Tiryns workshop from the late 13th to 12th cent BC
  • The 'figure of eight shield'  Mycenaean fresco wall painting, Mycenae, Greece Cat No 11672. National Archaeological Museum, Athens. <br />
<br />
The Mycenaean 'figure of eight shield' were originaly made of cows hide and was the symbol of a goddess of war.
  • The 'figure of eight shield'  Mycenaean fresco wall painting, Mycenae, Greece Cat No 11672. National Archaeological Museum, Athens.  White Background.<br />
<br />
The Mycenaean 'figure of eight shield' were originaly made of cows hide and was the symbol of a goddess of war.
  • The 'figure of eight shield'  Mycenaean fresco wall painting, Mycenae, Greece Cat No 11672. National Archaeological Museum, Athens.  Black Background<br />
<br />
The Mycenaean 'figure of eight shield' were originaly made of cows hide and was the symbol of a goddess of war.
  • The 'figure of eight shield'  Mycenaean fresco wall painting, Mycenae Acropolis, Greece Cat No 11671. National Archaeological Museum, Athens. White Background.<br />
<br />
12th-14th cent BC.<br />
<br />
The Mycenaean 'figure of eight shield' were originaly made of cows hide and was the symbol of a goddess of war.
  • The 'figure of eight shield'  Mycenaean fresco wall painting, Mycenae Acropolis, Greece Cat No 11671. National Archaeological Museum, Athens.<br />
<br />
12th-14th cent BC.<br />
<br />
The Mycenaean 'figure of eight shield' were originaly made of cows hide and was the symbol of a goddess of war.
  • The 'figure of eight shield'  Mycenaean fresco wall painting, Mycenae Acropolis, Greece Cat No 11671. National Archaeological Museum, Athens. Black Background<br />
<br />
12th-14th cent BC.<br />
<br />
The Mycenaean 'figure of eight shield' were originaly made of cows hide and was the symbol of a goddess of war.
  • The 'figure of eight shield'  Mycenaean fresco wall painting, Mycenae Acropolis, Greece Cat No 11671. National Archaeological Museum, Athens. Grey Background<br />
<br />
12th-14th cent BC.<br />
<br />
The Mycenaean 'figure of eight shield' were originaly made of cows hide and was the symbol of a goddess of war.
  • The 'figure of eight shield'  Mycenaean fresco wall painting, Mycenae Acropolis, Greece Cat No 11671. National Archaeological Museum, Athens.<br />
<br />
12th-14th cent BC.<br />
<br />
The Mycenaean 'figure of eight shield' were originaly made of cows hide and was the symbol of a goddess of war.
  • The 'figure of eight shield'  Mycenaean fresco wall painting, Mycenae Acropolis, Greece Cat No 11671. National Archaeological Museum, Athens.<br />
<br />
12th-14th cent BC.<br />
<br />
The Mycenaean 'figure of eight shield' were originaly made of cows hide and was the symbol of a goddess of war.
  • Mycenaean ivory figure of eight shield from the Palace workshops of Mycenae. National Archaeological Museum Athens. Cat No 1027, 7102. White Background.
  • Mycenaean ivory figure of eight shield from the Palace workshops of Mycenae. National Archaeological Museum Athens. Cat No 1027, 7102.  Grey art Background
  • Mycenaean fresco wall painting of a marine scape. National Archaeological Museum Athens. Cat No 5844.<br />
<br />
The Mycenaean fresco fragments depict a marine scape with flying fish diving and swimming with sponges attached to rocks.
  • Mycenaean  Boars tusk helmet from Chamber tomb 515, Mycenae, 16th cent BC. National Archaeological Museum Athens. Cat No 6507. Grey Background<br />
<br />
Ths Mycenaean  Boars tusk helmet has cheek guards and a bone hook ontopExcavated by Christos Tsountas 1887-1898 from the tomb cemeteries that developed on the hillsides surrounding the Acropolis of Mycenae. These tombs were for high ranking officials and ordinary civilians. Most of tese graves were intact with their grave goods un touched.
  • Mycenaean  Boars tusk helmet from Chamber tomb 515, Mycenae, 16th cent BC. National Archaeological Museum Athens. Cat No 6507. Grey art Background <br />
<br />
Ths Mycenaean  Boars tusk helmet has cheek guards and a bone hook ontopExcavated by Christos Tsountas 1887-1898 from the tomb cemeteries that developed on the hillsides surrounding the Acropolis of Mycenae. These tombs were for high ranking officials and ordinary civilians. Most of tese graves were intact with their grave goods un touched.
  • Mycenaean gold death mask, Grave Cicle A, Mycenae, Greece. National Archaeological Museum of Athens.  White background.<br />
<br />
This death mask is typical of the other Mycenaean gold death masks fround in Grave V. made from a sigle sheet of gold the shape of the face would have been hammered ot against wood. two holes either side of the gold mask allowed it to be held over the dead mans face. As weapons were found in the graves of Grave Circle A at Mycenae, those buried here wer warriors and maybe kings as the grave goods buried with them were of great value. 16th century BC
  • Mycenaean gold death mask, Grave Cicle A, Mycenae, Greece. National Archaeological Museum of Athens.  Grey Background<br />
<br />
<br />
This death mask is typical of the other Mycenaean gold death masks fround in Grave V. made from a sigle sheet of gold the shape of the face would have been hammered ot against wood. two holes either side of the gold mask allowed it to be held over the dead mans face. As weapons were found in the graves of Grave Circle A at Mycenae, those buried here wer warriors and maybe kings as the grave goods buried with them were of great value. 16th century BC
  • Mycenaean gold death mask, Grave Cicle A, Mycenae, Greece. National Archaeological Museum of Athens. <br />
<br />
This death mask is typical of the other Mycenaean gold death masks fround in Grave V. made from a sigle sheet of gold the shape of the face would have been hammered ot against wood. two holes either side of the gold mask allowed it to be held over the dead mans face. As weapons were found in the graves of Grave Circle A at Mycenae, those buried here wer warriors and maybe kings as the grave goods buried with them were of great value. 16th century BC
  • Mycenaean gold death mask, Grave Cicle A, Mycenae, Greece. National Archaeological Museum of Athens.   Grey Art Background<br />
<br />
This death mask is typical of the other Mycenaean gold death masks fround in Grave V. made from a sigle sheet of gold the shape of the face would have been hammered ot against wood. two holes either side of the gold mask allowed it to be held over the dead mans face. As weapons were found in the graves of Grave Circle A at Mycenae, those buried here wer warriors and maybe kings as the grave goods buried with them were of great value. 16th century BC
  • Mycenaean gold death mask, Grave Cicle A, Mycenae, Greece. National Archaeological Museum of Athens. White background.<br />
<br />
This death mask is typical of the other Mycenaean gold death masks fround in Grave V. made from a sigle sheet of gold the shape of the face would have been hammered ot against wood. two holes either side of the gold mask allowed it to be held over the dead mans face. As weapons were found in the graves of Grave Circle A at Mycenae, those buried here wer warriors and maybe kings as the grave goods buried with them were of great value. 16th century BC
  • Mycenaean gold death mask, Grave Cicle A, Mycenae, Greece. National Archaeological Museum of Athens.  Grey Background<br />
<br />
<br />
 This death mask is typical of the other Mycenaean gold death masks fround in Grave V. made from a sigle sheet of gold the shape of the face would have been hammered ot against wood. two holes either side of the gold mask allowed it to be held over the dead mans face. As weapons were found in the graves of Grave Circle A at Mycenae, those buried here wer warriors and maybe kings as the grave goods buried with them were of great value. 16th century BC
  • Mycenaean gold death mask, Grave Cicle A, Mycenae, Greece. National Archaeological Museum of Athens. <br />
<br />
This death mask is typical of the other Mycenaean gold death masks fround in Grave V. made from a sigle sheet of gold the shape of the face would have been hammered ot against wood. two holes either side of the gold mask allowed it to be held over the dead mans face. As weapons were found in the graves of Grave Circle A at Mycenae, those buried here wer warriors and maybe kings as the grave goods buried with them were of great value. 16th century BC
  • Mycenaean gold death mask, Grave Cicle A, Mycenae, Greece. National Archaeological Museum of Athens.  Black Background<br />
<br />
This death mask is typical of the other Mycenaean gold death masks fround in Grave V. made from a sigle sheet of gold the shape of the face would have been hammered ot against wood. two holes either side of the gold mask allowed it to be held over the dead mans face. As weapons were found in the graves of Grave Circle A at Mycenae, those buried here wer warriors and maybe kings as the grave goods buried with them were of great value. 16th century BC
  • Close up of a Mycenaean Funerary Stele made of Porus stone with a relief of a chariot scene, Mycenae Grave Circle A, Grave V, Archaeological Museum Athens. Cat No 1428.16th Cent BC. Grey Background<br />
<br />
The upper panel of this Mycenaean Funerary Stele has spiral reliefs that may represent waves suggesting that the scene below is set at a coastal location. This scene shows a charioteer pulling on the reins of his chariot while a second figure in front of the chaiot hold what may be a sword.
  • Close up of a Mycenaean Funerary Stele made of Porus stone with a relief of a chariot scene, Mycenae Grave Circle A, Grave V, Archaeological Museum Athens. Cat No 1428.16th Cent BC. Black Background<br />
<br />
The upper panel of this Mycenaean Funerary Stele has spiral reliefs that may represent waves suggesting that the scene below is set at a coastal location. This scene shows a charioteer pulling on the reins of his chariot while a second figure in front of the chaiot hold what may be a sword.
  • Mycenaean fresco wall painting of three women, Ramp House, Mycenae Acropolis, Greece Cat No 1015. National Archaeological Museum, Athens. White Background.<br />
<br />
This 14th Cent BC Mycenaean fresco fragment depicts three women looking out of a window. The scene is festive and the veneration gestures of the women suggest that they are watching a religiuos procession through the window.
  • Mycenaean fresco wall painting of three women, Ramp House, Mycenae Acropolis, Greece Cat No 1015. National Archaeological Museum, Athens. Black Background<br />
<br />
This 14th Cent BC Mycenaean fresco fragment depicts three women looking out of a window. The scene is festive and the veneration gestures of the women suggest that they are watching a religiuos procession through the window.
  • Mycenaean fresco wall painting of three women, Ramp House, Mycenae Acropolis, Greece Cat No 1015. National Archaeological Museum, Athens.<br />
<br />
This 14th Cent BC Mycenaean fresco fragment depicts three women looking out of a window. The scene is festive and the veneration gestures of the women suggest that they are watching a religiuos procession through the window.
  • Mycenaean fresco wall painting of three women, Ramp House, Mycenae Acropolis, Greece Cat No 1015. National Archaeological Museum, Athens. Grey art Background <br />
<br />
This 14th Cent BC Mycenaean fresco fragment depicts three women looking out of a window. The scene is festive and the veneration gestures of the women suggest that they are watching a religiuos procession through the window.
  • Mycenaean fresco wall painting of hunting demons, Mycenae Acropolis, Greece Cat No 2665. National Archaeological Museum, Athens. White Background.<br />
<br />
The Mycenaean fresco fragment depicts three animal demons with donkey heads holding a wooden pole over their shoulders from which hangs the prey thay have been hunting. This type of demon originated in Egypt.
  • Mycenaean fresco wall painting of hunting demons, Mycenae Acropolis, Greece Cat No 2665. National Archaeological Museum, Athens.<br />
<br />
The Mycenaean fresco fragment depicts three animal demons with donkey heads holding a wooden pole over their shoulders from which hangs the prey thay have been hunting. This type of demon originated in Egypt.
  • Mycenaean fresco wall painting of hunting demons, Mycenae Acropolis, Greece Cat No 2665. National Archaeological Museum, Athens. Grey art Background <br />
<br />
The Mycenaean fresco fragment depicts three animal demons with donkey heads holding a wooden pole over their shoulders from which hangs the prey thay have been hunting. This type of demon originated in Egypt.
  • Mycenaean Fresco wall painting of a Mycanaean Women bearing offerings, Later Palace,  Tiryns, Greece.  Athens Archaeological Museum. White Background.<br />
<br />
14th  Cent BC. Cat No 15883. The Mycenaean fresco fragments depict a women in a procession bearing offerings for a deity. Their facial characteristic and elaborate hairstyles and rich garments are clearly visible.
  • Mycenaean Fresco wall painting of a Mycanaean Women bearing offerings, Later Palace,  Tiryns, Greece.  Athens Archaeological Museum. Grey Background<br />
<br />
14th  Cent BC. Cat No 15883. The Mycenaean fresco fragments depict a women in a procession bearing offerings for a deity. Their facial characteristic and elaborate hairstyles and rich garments are clearly visible.
  • Mycenaean Fresco wall painting of a Mycanaean Women bearing offerings, Later Palace,  Tiryns, Greece.  Athens Archaeological Museum. Grey art Background <br />
<br />
14th  Cent BC. Cat No 15883. The Mycenaean fresco fragments depict a women in a procession bearing offerings for a deity. Their facial characteristic and elaborate hairstyles and rich garments are clearly visible.
  • Mycenaean Fresco wall painting of a Mycanaean Women bearing offerings, Later Palace,  Tiryns, Greece.  Athens Archaeological Museum. Black Background<br />
<br />
14th  Cent BC. Cat No 15883. The Mycenaean fresco fragments depict a women in a procession bearing offerings for a deity. Their facial characteristic and elaborate hairstyles and rich garments are clearly visible.
  • Mycenaean Fresco wall painting of a Mycanaean Women bearing offerings, Later Palace,  Tiryns, Greece.  Athens Archaeological Museum. Grey Background<br />
<br />
14th  Cent BC. Cat No 15883. The Mycenaean fresco fragments depict a women in a procession bearing offerings for a deity. Their facial characteristic and elaborate hairstyles and rich garments are clearly visible.
  • Mycenaean Fresco wall painting of a Mycanaean Women bearing offerings, Later Palace,  Tiryns, Greece.  Athens Archaeological Museum.<br />
<br />
14th  Cent BC. Cat No 15883. The Mycenaean fresco fragments depict a women in a procession bearing offerings for a deity. Their facial characteristic and elaborate hairstyles and rich garments are clearly visible.
  • Mycenaean Fresco wall painting of a Mycanaean chariot, Later Palace,  Tiryns, Greece.  Athens Archaeological Museum. Black Background<br />
<br />
14th  Cent BC. Cat No 5879. Mycanaean chariots were use for hunting as well as battle.
  • Mycenaean Fresco wall painting of a Mycanaean chariot, Later Palace,  Tiryns, Greece.  Athens Archaeological Museum. White Background.<br />
<br />
14th  Cent BC. Cat No 5879. Mycanaean chariots were use for hunting as well as battle.
  • Mycenaean Fresco wall painting of a Mycanaean chariot, Later Palace,  Tiryns, Greece.  Athens Archaeological Museum.<br />
<br />
14th  Cent BC. Cat No 5879. Mycanaean chariots were use for hunting as well as battle.
  • Mycenaean Fresco wall painting of a Mycanaean chariot, Later Palace,  Tiryns, Greece.  Athens Archaeological Museum. Grey art Background <br />
<br />
14th  Cent BC. Cat No 5879. Mycanaean chariots were use for hunting as well as battle.
  • Mycenaean ovoid rhython with spiral design , Grave II, Grave Circle A, Mycenae 16-15 Cent BC. National Archaeological Museum Athens. Cat No 221.
  • Body shaped Mycenaean gold cut outs from Grave III, 'Grave of a Women', Grave Circle A, Myenae, Greece. National Archaeological Museum Athens.<br />
<br />
Cat No 146. 16th century BC.<br />
<br />
A unique gold body covering and face of an infant child mad out of pieces of gold foll<br />
<br />
Shaft Grave III, the so-called 'Grave of the Women,' contained three female and two infant interments. The women were literally covered in gold jewelry and wore massive gold diadems, while the infants were overlaid with gold foil.
  • Mycenaean Funerary Stele made of Porus stone with a chariot relief, Mycenae Grave Circle A, Grave V, Archaeological Museum Athens. Cat No 1429.16th Cent BC. White Background.<br />
<br />
The upper register of the Mycenaean Funerary Stele are filled with spiral reliefs while the central register panel has a relief of galloping horses driven by a charioteer. In front of the galloping horse stands a man with a spear who appears to attacking the chariot.
  • Body shaped Mycenaean gold cut outs from Grave III, 'Grave of a Women', Grave Circle A, Myenae, Greece. National Archaeological Museum Athens. Grey art Background <br />
<br />
Cat No 146. 16th century BC.<br />
<br />
A unique gold body covering and face of an infant child mad out of pieces of gold foll<br />
<br />
Shaft Grave III, the so-called 'Grave of the Women,' contained three female and two infant interments. The women were literally covered in gold jewelry and wore massive gold diadems, while the infants were overlaid with gold foil.
  • Mycenaean Funerary Stele made of Porus stone with a chariot relief, Mycenae Grave Circle A, Grave V, Archaeological Museum Athens. Cat No 1429.16th Cent BC.<br />
<br />
The upper register of the Mycenaean Funerary Stele are filled with spiral reliefs while the central register panel has a relief of galloping horses driven by a charioteer. In front of the galloping horse stands a man with a spear who appears to attacking the chariot.
  • Mycenaean Funerary Stele made of Porus stone with a chariot relief, Mycenae Grave Circle A, Grave V, Archaeological Museum Athens. Cat No 1429.16th Cent BC.  Grey art Background <br />
<br />
The upper register of the Mycenaean Funerary Stele are filled with spiral reliefs while the central register panel has a relief of galloping horses driven by a charioteer. In front of the galloping horse stands a man with a spear who appears to attacking the chariot.
  • Mycenaean Funerary Stele made of Porus stone with a relief of a chariot scene, Mycenae Grave Circle A, Grave V, Archaeological Museum Athens. Cat No 1428.16th Cent BC. Black Background<br />
<br />
The upper panel of this Mycenaean Funerary Stele has spiral reliefs that may represent waves suggesting that the scene below is set at a coastal location. This scene shows a charioteer pulling on the reins of his chariot while a second figure in front of the chaiot hold what may be a sword.
  • Mycenaean Funerary Stele made of Porus stone with a relief of a chariot scene, Mycenae Grave Circle A, Grave V, Archaeological Museum Athens. Cat No 1428.16th Cent BC. Grey Background<br />
<br />
The upper panel of this Mycenaean Funerary Stele has spiral reliefs that may represent waves suggesting that the scene below is set at a coastal location. This scene shows a charioteer pulling on the reins of his chariot while a second figure in front of the chaiot hold what may be a sword.
  • Mycenaean Funerary Stele made of Porus stone with a relief of a chariot scene, Mycenae Grave Circle A, Grave V, Archaeological Museum Athens. Cat No 1428.16th Cent BC.<br />
<br />
The upper panel of this Mycenaean Funerary Stele has spiral reliefs that may represent waves suggesting that the scene below is set at a coastal location. This scene shows a charioteer pulling on the reins of his chariot while a second figure in front of the chaiot hold what may be a sword.
  • Mycenaean Funerary Stele made of Porus stone with a relief of a chariot scene, Mycenae Grave Circle A, Grave V, Archaeological Museum Athens. Cat No 1428.16th Cent BC. Grey art Background <br />
<br />
The upper panel of this Mycenaean Funerary Stele has spiral reliefs that may represent waves suggesting that the scene below is set at a coastal location. This scene shows a charioteer pulling on the reins of his chariot while a second figure in front of the chaiot hold what may be a sword.
  • Mycenaean Funerary Stele with painted scenes of Mycenaean warriors, Mycenae Chamber Tomb Archaeological Museum Athens. Cat No 3256.12th Cent BC. White Background.<br />
<br />
In this Mycenaean Funerary Stele the main panel depicts Mycenaean warriors marching armed with spears and shields. In the lower panel are depictions of 4 deer and a hedgehog. In the upper panel is a badly damaged seated figure
  • Mycenaean Funerary Stele with painted scenes of Mycenaean warriors, Mycenae Chamber Tomb Archaeological Museum Athens. Cat No 3256.12th Cent BC.<br />
<br />
In this Mycenaean Funerary Stele the main panel depicts Mycenaean warriors marching armed with spears and shields. In the lower panel are depictions of 4 deer and a hedgehog. In the upper panel is a badly damaged seated figure
  • Seated Mycenaean female figurine with raies arms, from Mycenae tomb 91, Archaeological Museum Athens. Cat No 3193.  Grey Background<br />
<br />
Stylised female figurines were common in the Mycenaean world and may have represented deities , divine nurses or worshipers. these Mycenaean female figurines were probably used as voitive offering and maybe as childrens toys.

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....