• The Erechtheum Temple, the Acropolis of Athens in Greece.
  • Odeon of Herodes Atticus, amphitheater on the slopes of the Acropolis, Athens Greece
  • The ancient Doric Greek  temple of Athena of Pastrum built in about 500 BC.  Paestrum archaeological site, Italy.
  • The Parthenon Temple, the Acropolis of Athens in Greece.
  • The Parthenon Temple, the Acropolis of Athens in Greece.
  • The Parthenon Temple, the Acropolis of Athens in Greece.
  • The Parthenon Temple, the Acropolis of Athens in Greece.
  • The Parthenon Temple, the Acropolis of Athens in Greece.
  • The Parthenon Temple, the Acropolis of Athens in Greece.
  • The Erechtheum Temple, the Acropolis of Athens in Greece.
  • Odeon of Herodes Atticus, amphitheater on the slopes of the Acropolis, Athens Greece
  • Odeon of Herodes Atticus, amphitheater on the slopes of the Acropolis, Athens Greece
  • The Erechtheum Temple, the Acropolis of Athens in Greece.
  • The Erechtheum Temple, the Acropolis of Athens in Greece.
  • The Erechtheum Temple, the Acropolis of Athens in Greece.
  • The Erechtheum Temple, the Acropolis of Athens in Greece.
  • The Erechtheum Temple, the Acropolis of Athens in Greece.
  • The Porch of the Caryatids.  The Erechtheum, the Acropolis of Athens in Greece.
  • The Porch of the Caryatids.  The Erechtheum, the Acropolis of Athens in Greece.
  • The Porch of the Caryatids.  The Erechtheum, the Acropolis of Athens in Greece.
  • The Porch of the Caryatids.  The Erechtheum, the Acropolis of Athens in Greece.
  • The Parthenon Temple, the Acropolis of Athens in Greece.
  • The Parthenon Temple, the Acropolis of Athens in Greece.
  • The Erechtheum Temple, the Acropolis of Athens in Greece.
  • The Porch of the Caryatids.  The Erechtheum, the Acropolis of Athens in Greece.
  • The Porch of the Caryatids.  The Erechtheum, the Acropolis of Athens in Greece.
  • The Propylaea, The monumental gateway to the Acropolis, Athens, Greece
  • The Propylaea, The monumental gateway to the Acropolis, Athens, Greece
  • The Parthenon Temple, the Acropolis of Athens in Greece.
  • The Parthenon Temple, the Acropolis of Athens in Greece.
  • The Parthenon Temple, the Acropolis of Athens in Greece.
  • Odeon of Herodes Atticus, amphitheater on the slopes of the Acropolis, Athens Greece
  • The Erechtheum Temple, the Acropolis of Athens in Greece.
  • The Erechtheum Temple, the Acropolis of Athens in Greece.
  • The Erechtheum Temple, the Acropolis of Athens in Greece.
  • The Erechtheum Temple, the Acropolis of Athens in Greece.
  • The Porch of the Caryatids.  The Erechtheum, the Acropolis of Athens in Greece.
  • The Porch of the Caryatids.  The Erechtheum, the Acropolis of Athens in Greece.
  • The Propylaea, The monumental gateway to the Acropolis, Athens, Greece
  • The Propylaea, The monumental gateway to the Acropolis, Athens, Greece
  • The Parthenon Temple, the Acropolis of Athens in Greece.
  • The Parthenon Temple, the Acropolis of Athens in Greece.
  • The Erechtheum Temple, the Acropolis of Athens in Greece.
  • The Erechtheum Temple, the Acropolis of Athens in Greece.
  • The Erechtheum Temple, the Acropolis of Athens in Greece.
  • The Parthenon Temple, the Acropolis of Athens in Greece.
  • The Parthenon Temple, the Acropolis of Athens in Greece.
  • The Parthenon Temple, the Acropolis of Athens in Greece.
  • The Erechtheum Temple, the Acropolis of Athens in Greece.
  • The Erechtheum Temple, the Acropolis of Athens in Greece.
  • The Erechtheum Temple, the Acropolis of Athens in Greece.
  • A Lycian  marble pillar tomb from 480-470 B.C.  Xanthos UNESCO World Heritage Archaeological Site, Turkey
  • A Lycian  marble pillar tomb from 480-470 B.C.  Xanthos UNESCO World Heritage Archaeological Site, Turkey
  • A Lycian  marble pillar tomb from 480-470 B.C.  Xanthos UNESCO World Heritage Archaeological Site, Turkey
  • A Lycian  marble pillar tomb from 480-470 B.C.  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 of Tomb Tomb 114 "tomb of curses" of the North Necropolis. Hierapolis archaeological site near Pamukkale in Turkey.<br />
<br />
TOMB 114 (Second half of the 2nd century AD) <br />
<br />
The tomb lies on the left hand side of the road and is enclosed by a perimeter wall; it rests on a base withifiree steps, with a bench piked(1 front of it. Inside are three beds and the ossuary. On the roof, a sarcophagus, broken as result of an <br />
earthquake, bears an inscription mentioning the occupant Aelios Apollinarios and his wife Neratia Apollonis. On the facade is an inscription of great interest which refers to the punishment inflicted on those who violate the sepulchre: as well as the usual fines, it invokes diseases, misfortunes and punishments in the next world. This inscription has led to the building being named the Tomb of the Curses.
  • Pictures of the statues of around the tomb of Commagene King Antochus 1 on the top of Mount Nemrut, Turkey. Stock photos & Photo art prints. In 62 BC, King Antiochus I Theos of Commagene built on the mountain top a tomb-sanctuary flanked by huge statues (8–9 m/26–30 ft high) of himself, two lions, two eagles and various Greek, Armenian, and Iranian gods. The photos show the broken statues on the  2,134 m (7,001 ft)  mountain. 1
  • Pictures of the statues of around the tomb of Commagene King Antochus 1 on the top of Mount Nemrut, Turkey. Stock photos & Photo art prints. In 62 BC, King Antiochus I Theos of Commagene built on the mountain top a tomb-sanctuary flanked by huge statues (8–9 m/26–30 ft high) of himself, two lions, two eagles and various Greek, Armenian, and Iranian gods. The photos show the broken statues on the  2,134 m (7,001 ft)  mountain. 5
  • Ancient corbel arch tunnel under the acropolis of Tiryns (  or ) Mycenaean city archaeological site,  Peloponnesos, Greece. A UNESCO World Heritage Site
  • Ancient corbel arch tunnel under the acropolis of Tiryns (  or ) Mycenaean city archaeological site,  Peloponnesos, Greece. A UNESCO World Heritage Site
  • Palace of Acropolis area of Tiryns (  or ) Mycenaean city archaeological site,  Peloponnesos, Greece. A UNESCO World Heritage Site
  • "Gigantic" stone wall & gate to Tiryns (  or ) Mycenaean city archaeological site,  Peloponnesos, Greece. A UNESCO World Heritage Site
  • "Gigantic" stone wall & gate to Tiryns (  or ) Mycenaean city archaeological site,  Peloponnesos, Greece. A UNESCO World Heritage Site
  • "Gigantic" stone wall & gate to Tiryns (  or ) Mycenaean city archaeological site,  Peloponnesos, Greece. A UNESCO World Heritage Site
  • "Gigantic" stone wall & gate to Tiryns (  or ) Mycenaean city archaeological site,  Peloponnesos, Greece. A UNESCO World Heritage Site
  • Ancient corbel arch gate in the walls of Tiryns (  or ) Mycenaean city archaeological site,  Peloponnesos, Greece. A UNESCO World Heritage Site
  • Tiryns (  or ) Mycenaean city archaeological site,  Peloponnesos, Greece. A UNESCO World Heritage Site
  • Ancient corbel arch tunnel under the acropolis of Tiryns (  or ) Mycenaean city archaeological site,  Peloponnesos, Greece. A UNESCO World Heritage Site
  • Ancient corbel arch tunnel under the acropolis of Tiryns (  or ) Mycenaean city archaeological site,  Peloponnesos, Greece. A UNESCO World Heritage Site
  • Ancient corbel arch tunnel under the acropolis of Tiryns (  or ) Mycenaean city archaeological site,  Peloponnesos, Greece. A UNESCO World Heritage Site
  • Ancient corbel arch tunnel under the acropolis of Tiryns (  or ) Mycenaean city archaeological site,  Peloponnesos, Greece. A UNESCO World Heritage Site
  • Ancient corbel arch tunnel under the acropolis of Tiryns (  or ) Mycenaean city archaeological site,  Peloponnesos, Greece. A UNESCO World Heritage Site
  • Ancient corbel arch tunnel under the acropolis of Tiryns (  or ) Mycenaean city archaeological site,  Peloponnesos, Greece. A UNESCO World Heritage Site
  • Ancient corbel arch tunnel under the acropolis of Tiryns (  or ) Mycenaean city archaeological site,  Peloponnesos, Greece. A UNESCO World Heritage Site
  • Palace of Acropolis area of Tiryns (  or ) Mycenaean city archaeological site,  Peloponnesos, Greece. A UNESCO World Heritage Site
  • "Gigantic" stone wall & gate to Tiryns (  or ) Mycenaean city archaeological site,  Peloponnesos, Greece. A UNESCO World Heritage Site
  • "Gigantic" stone wall & gate to Tiryns (  or ) Mycenaean city archaeological site,  Peloponnesos, Greece. A UNESCO World Heritage Site
  • Ancient corbel arch gate in the walls of Tiryns (  or ) Mycenaean city archaeological site,  Peloponnesos, Greece. A UNESCO World Heritage Site
  • Walls of Tiryns (  or ) Mycenaean city archaeological site overlooking the fertile valley of the  Peloponnesos, Greece. A UNESCO World Heritage Site
  • Tiryns (  or ) Mycenaean city archaeological site,  Peloponnesos, Greece. A UNESCO World Heritage Site
  • Tiryns (  or ) Mycenaean city archaeological site,  Peloponnesos, Greece. A UNESCO World Heritage Site
  • Tiryns (  or ) Mycenaean city archaeological site,  Peloponnesos, Greece. A UNESCO World Heritage Site
  • "Gigantic" stone wall & gate to Tiryns (  or ) Mycenaean city archaeological site,  Peloponnesos, Greece. A UNESCO World Heritage Site
  • "Gigantic" stone wall & gate to Tiryns (  or ) Mycenaean city archaeological site,  Peloponnesos, Greece. A UNESCO World Heritage Site
  • "Gigantic" stone wall & gate to Tiryns (  or ) Mycenaean city archaeological site,  Peloponnesos, Greece. A UNESCO World Heritage Site
  • Ancient corbel arch gate in the walls of Tiryns (  or ) Mycenaean city archaeological site,  Peloponnesos, Greece. A UNESCO World Heritage Site
  • The Canopus, an elongated canal imitating the famous sanctuary of Serapis near Alexandria. The semi-circular exedra of the Serapeum is located at its southern end, dedicated to the gods Isis and Serpis which was probably used as a banqueting hall. Hadrian’s Villa ( Villa Adriana ) built during the second and third decades of the 2nd century AD, Tivoli, Italy. A UNESCO World Heritage Site.
  • The Canopus, an elongated canal imitating the famous sanctuary of Serapis near Alexandria. The semi-circular exedra of the Serapeum is located at its southern end, dedicated to the gods Isis and Serpis which was probably used as a banqueting hall. Hadrian’s Villa ( Villa Adriana ) built during the second and third decades of the 2nd century AD, Tivoli, Italy. A UNESCO World Heritage Site.
  • The Canopus, an elongated canal imitating the famous sanctuary of Serapis near Alexandria. The semi-circular exedra of the Serapeum is located at its southern end, dedicated to the gods Isis and Serpis which was probably used as a banqueting hall. Hadrian’s Villa ( Villa Adriana ) built during the second and third decades of the 2nd century AD, Tivoli, Italy. A UNESCO World Heritage Site.
  • The Canopus, an elongated canal imitating the famous sanctuary of Serapis near Alexandria. The semi-circular exedra of the Serapeum is located at its southern end, dedicated to the gods Isis and Serpis which was probably used as a banqueting hall. Hadrian’s Villa ( Villa Adriana ) built during the second and third decades of the 2nd century AD, Tivoli, Italy. A UNESCO World Heritage Site.
  • The Canopus, an elongated canal imitating the famous sanctuary of Serapis near Alexandria. The semi-circular exedra of the Serapeum is located at its southern end, dedicated to the gods Isis and Serpis which was probably used as a banqueting hall. Hadrian’s Villa ( Villa Adriana ) built during the second and third decades of the 2nd century AD, Tivoli, Italy. A UNESCO World Heritage Site.
  • Picture & image of the Hittite Relief sculpture of the God of War of the Kings Gate. Hattusa (also Ḫattuša or Hattusas) late Anatolian Bronze Age capital of the Hittite Empire. Hittite archaeological site and ruins, Boğazkale, Turkey.
  • Hattusa city walls & towers reconstruction. Pictures of Hattusa Hittite Archaeological Site, Turkey
  • Picture & image of the Hittite Relief sculpture of the God of War of the Kings Gate. Hattusa (also Ḫattuša or Hattusas) late Anatolian Bronze Age capital of the Hittite Empire. Hittite archaeological site and ruins, Boğazkale, Turkey.
  • Picture & image of the Hittite Relief sculpture of the God of War of the Kings Gate. Hattusa (also Ḫattuša or Hattusas) late Anatolian Bronze Age capital of the Hittite Empire. Hittite archaeological site and ruins, Boğazkale, Turkey.
  • The Arch of Caracalla, built in 217 by the city's governor, Marcus Aurelius Sebastenus, to honour the emperor Caracalla and his mother Julia Domna.Volubilis Archaeological Site, near Meknes, Morocco
  • The Corintian columns of Capitoline Temple dedicated to the three chief divinities of the Roman state, Jupiter, Juno and Minerva.  Volubilis Archaeological Site, near Meknes, Morocco
  • The Corintian columns of Capitoline Temple dedicated to the three chief divinities of the Roman state, Jupiter, Juno and Minerva.  Volubilis Archaeological Site, near Meknes, Morocco
  • Tiwsted Corintian Roman column and capital. Volubilis Archaeological Site, near Meknes, Morocco
  • The Corintian columns of Capitoline Temple dedicated to the three chief divinities of the Roman state, Jupiter, Juno and Minerva.  Volubilis Archaeological Site, near Meknes, Morocco
  • Geometric designed Roman floor mosaic. Volubilis Archaeological Site, near Meknes, Morocco
  • Roman mosaic of a hunter. Volubilis Archaeological Site, near Meknes, Morocco
  • Latin Inscription on a Roman stone. Volubilis Archaeological Site, near Meknes, Morocco
  • The Arch of Caracalla, built in 217 by the city's governor, Marcus Aurelius Sebastenus, to honour the emperor Caracalla and his mother Julia Domna.Volubilis Archaeological Site, near Meknes, Morocco
  • The Corintian columns of Capitoline Temple dedicated to the three chief divinities of the Roman state, Jupiter, Juno and Minerva.  Volubilis Archaeological Site, near Meknes, Morocco
  • The Corintian columns of Capitoline Temple dedicated to the three chief divinities of the Roman state, Jupiter, Juno and Minerva.  Volubilis Archaeological Site, near Meknes, Morocco
  • Exterior of the Basilica at Volubilis.  Completed during the reign of Macrinus in the early 3rd century, it is one of the finest Roman basilicas in Africa and is probably modelled on the one at Leptis Magna in Libya, Volubilis Archaeological Site, near Meknes, Morocco
  • Exterior of the Basilica at Volubilis.  Completed during the reign of Macrinus in the early 3rd century, it is one of the finest Roman basilicas in Africa and is probably modelled on the one at Leptis Magna in Libya, Volubilis Archaeological Site, near Meknes, Morocco
  • Latin Inscription on a Roman stone. Volubilis Archaeological Site, near Meknes, Morocco
  • The Corintian columns of Capitoline Temple dedicated to the three chief divinities of the Roman state, Jupiter, Juno and Minerva.  Volubilis Archaeological Site, near Meknes, Morocco
  • The Corintian columns of Capitoline Temple dedicated to the three chief divinities of the Roman state, Jupiter, Juno and Minerva.  Volubilis Archaeological Site, near Meknes, Morocco
  • Exterior of the Basilica at Volubilis.  Completed during the reign of Macrinus in the early 3rd century, it is one of the finest Roman basilicas in Africa and is probably modelled on the one at Leptis Magna in Libya, Volubilis Archaeological Site, near Meknes, Morocco
  • Exterior of the Basilica at Volubilis.  Completed during the reign of Macrinus in the early 3rd century, it is one of the finest Roman basilicas in Africa and is probably modelled on the one at Leptis Magna in Libya, Volubilis Archaeological Site, near Meknes, Morocco
  • Exterior of the Basilica at Volubilis.  Completed during the reign of Macrinus in the early 3rd century, it is one of the finest Roman basilicas in Africa and is probably modelled on the one at Leptis Magna in Libya, Volubilis Archaeological Site, near Meknes, Morocco
  • Exterior of the Basilica at Volubilis.  Completed during the reign of Macrinus in the early 3rd century, it is one of the finest Roman basilicas in Africa and is probably modelled on the one at Leptis Magna in Libya, Volubilis Archaeological Site, near Meknes, Morocco
  • Roman mosaic of a fish. Volubilis Archaeological Site, near Meknes, Morocco
  • Roman Mosaics of Bacchus encountering the sleeping Ariadne from the House of the Ephebe.  Volubilis Archaeological Site, near Meknes, Morocco
  • Roman mosaics of Dolphins, a Roman good luck symbol from The House of Orpheus. Volubilis Archaeological Site, near Meknes, Morocco
  • Roman Mosaics of Bacchus encountering the sleeping Ariadne from the House of the Ephebe.  Volubilis Archaeological Site, near Meknes, Morocco
  • Roman mosaic from The House of Orpheus showing Orpheus playing a lute in the centre with wild African animals surrounding him. From the triclinium or the dining room of the villa. Volubilis Archaeological Site, near Meknes, Morocco
  • Roman mosaic from The House of Orpheus showing Orpheus playing a lute in the centre with wild African animals surrounding him. From the triclinium or the dining room of the villa. Volubilis Archaeological Site, near Meknes, Morocco
  • Roman mosaic from The House of Orpheus showing Orpheus playing a lute in the centre with wild African animals surrounding him. From the triclinium or the dining room of the villa. Volubilis Archaeological Site, near Meknes, Morocco
  • Roman mosaic from The House of Orpheus showing Orpheus playing a lute in the centre with wild African animals surrounding him. From the triclinium or the dining room of the villa. Volubilis Archaeological Site, near Meknes, Morocco
  • The Arch of Caracalla, built in 217 by the city's governor, Marcus Aurelius Sebastenus, to honour the emperor Caracalla and his mother Julia Domna.Volubilis Archaeological Site, near Meknes, Morocco
  • Latin Inscription on a Roman stone. Volubilis Archaeological Site, near Meknes, Morocco
  • The Corintian columns of Capitoline Temple dedicated to the three chief divinities of the Roman state, Jupiter, Juno and Minerva.  Volubilis Archaeological Site, near Meknes, Morocco
  • The Corintian columns of Capitoline Temple dedicated to the three chief divinities of the Roman state, Jupiter, Juno and Minerva.  Volubilis Archaeological Site, near Meknes, Morocco
  • Exterior of the Basilica at Volubilis.  Completed during the reign of Macrinus in the early 3rd century, it is one of the finest Roman basilicas in Africa and is probably modelled on the one at Leptis Magna in Libya, Volubilis Archaeological Site, near Meknes, Morocco
  • Roman mosaic in the House of the Athlete or Desultor, located near the forum, contains a humorous mosaic of an athlete or acrobat riding a donkey back to front while holding a cup in his outstretched hand. It may possibly represent Silenus also known as the wine God Dionysus or Bacchus. Volubilis Archaeological Site, near Meknes, Morocco
  • Reconstruction of  the inside of the Greek Tomb of  the Diver  [La Tomba del Truffatore]. The rear panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables.  The men on the couches are playing the song of Eros the liar and the flute to distract the deceased from worldly thoughts so he can enter the next world. The fresco on the lid of the tomb and shows a  diving from a column into water. The column represents the border of thye known world and therefore the limit of man's knowledge.  The dive represents the passage form this world to the next. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Reconstruction of  the inside of the Greek Tomb of  the Diver  [La Tomba del Truffatore]. The rear panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables.  The men on the couches are playing the song of Eros the liar and the flute to distract the deceased from worldly thoughts so he can enter the next world. The fresco on the lid of the tomb and shows a  diving from a column into water. The column represents the border of thye known world and therefore the limit of man's knowledge.  The dive represents the passage form this world to the next. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Reconstruction of  the inside of the Greek Tomb of  the Diver  [La Tomba del Truffatore]. The rear panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables.  The men on the couches are playing the song of Eros the liar and the flute to distract the deceased from worldly thoughts so he can enter the next world. The fresco on the lid of the tomb and shows a  diving from a column into water. The column represents the border of thye known world and therefore the limit of man's knowledge.  The dive represents the passage form this world to the next. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Reconstruction of  the inside of the Greek Tomb of  the Diver  [La Tomba del Truffatore]. The rear panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables.  The men on the couches are playing the song of Eros the liar and the flute to distract the deceased from worldly thoughts so he can enter the next world. The fresco on the lid of the tomb and shows a  diving from a column into water. The column represents the border of thye known world and therefore the limit of man's knowledge.  The dive represents the passage form this world to the next. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Reconstruction of  the inside of the Greek Tomb of  the Diver  [La Tomba del Truffatore] from the Greek city of Poseidonia which became Roman Paestum. .   The rear panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables on which goblets have been placed.  The abondon experienced at the Synposium was one way in which the dead could access the next world .  The fresco on the lid of the tomb and shows a  diving from a column into water. The column represents the border of thye known world and therefore the limit of man's knowledge.  The dive represents the passage form this world to the next. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Reconstruction of  the inside of the Greek Tomb of  the Diver  [La Tomba del Truffatore] from the Greek city of Poseidonia which became Roman Paestum. .   The rear panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables on which goblets have been placed.  The abondon experienced at the Synposium was one way in which the dead could access the next world .  The fresco on the lid of the tomb and shows a  diving from a column into water. The column represents the border of thye known world and therefore the limit of man's knowledge.  The dive represents the passage form this world to the next. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Reconstruction of  the inside of the Greek Tomb of  the Diver  [La Tomba del Truffatore]. The rear panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables.  The men on the couches are playing the song of Eros the liar and the flute to distract the deceased from worldly thoughts so he can enter the next world. The fresco on the lid of the tomb and shows a  diving from a column into water. The column represents the border of thye known world and therefore the limit of man's knowledge.  The dive represents the passage form this world to the next. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Reconstruction of  the inside of the Greek Tomb of  the Diver  [La Tomba del Truffatore] from the Greek city of Poseidonia which became Roman Paestum. .   The rear panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables on which goblets have been placed.  The abondon experienced at the Synposium was one way in which the dead could access the next world .  The fresco on the lid of the tomb and shows a  diving from a column into water. The column represents the border of thye known world and therefore the limit of man's knowledge.  The dive represents the passage form this world to the next. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Reconstruction of  the inside of the Greek Tomb of  the Diver  [La Tomba del Truffatore] from the Greek city of Poseidonia which became Roman Paestum. .   The rear panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables on which goblets have been placed.  The abondon experienced at the Synposium was one way in which the dead could access the next world .  The fresco on the lid of the tomb and shows a  diving from a column into water. The column represents the border of thye known world and therefore the limit of man's knowledge.  The dive represents the passage form this world to the next. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Greek Fresco on the inside of Tomb of  the Diver  [La Tomba del Truffatore]. This panel is from the lid of the tomb and shows a  diving from a column into water. The column represents the border of thye known world and therefore the limit of man's knowledge.  The dive represents the passage form this world to the next. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety.  Paestrum, Andriuolo.  (480-470 BC  )
  • Greek Fresco on the inside of Tomb of  the Diver  [La Tomba del Truffatore]. This panel is from the lid of the tomb and shows a  diving from a column into water. The column represents the border of thye known world and therefore the limit of man's knowledge.  The dive represents the passage form this world to the next. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety.  Paestrum, Andriuolo.  (480-470 BC  )
  • Image of the statues of around the tomb of Commagene King Antochus 1 on the top of Mount Nemrut, Turkey. Stock photos & Photo art prints. In 62 BC, King Antiochus I Theos of Commagene built on the mountain top a tomb-sanctuary flanked by huge statues (8–9 m/26–30 ft high) of himself, two lions, two eagles and various Greek, Armenian, and Iranian gods. The photos show the broken statues on the  2,134 m (7,001 ft)  mountain. 2
  • Pictures of the statues of around the tomb of Commagene King Antochus 1 on the top of Mount Nemrut, Turkey. Stock photos & Photo art prints. In 62 BC, King Antiochus I Theos of Commagene built on the mountain top a tomb-sanctuary flanked by huge statues (8–9 m/26–30 ft high) of himself, two lions, two eagles and various Greek, Armenian, and Iranian gods. The photos show the broken statues on the  2,134 m (7,001 ft)  mountain.
  • The Avenue of the lions in t he ruins of the Greek city of Delos, the birthplace of the twin gods Apollo and Artemis. Greek Cyclades Islands.
  • Pictures of the statues of around the tomb of Commagene King Antochus 1 on the top of Mount Nemrut, Turkey. Stock photos & Photo art prints. In 62 BC, King Antiochus I Theos of Commagene built on the mountain top a tomb-sanctuary flanked by huge statues (8–9 m/26–30 ft high) of himself, two lions, two eagles and various Greek, Armenian, and Iranian gods. The photos show the broken statues on the  2,134 m (7,001 ft)  mountain. 7
  • Pictures of the statues of around the tomb of Commagene King Antochus 1 on the top of Mount Nemrut, Turkey. Stock photos & Photo art prints. In 62 BC, King Antiochus I Theos of Commagene built on the mountain top a tomb-sanctuary flanked by huge statues (8–9 m/26–30 ft high) of himself, two lions, two eagles and various Greek, Armenian, and Iranian gods. The photos show the broken statues on the  2,134 m (7,001 ft)  mountain. 6
  • Pictures of the statues of around the tomb of Commagene King Antochus 1 on the top of Mount Nemrut, Turkey. Stock photos & Photo art prints. In 62 BC, King Antiochus I Theos of Commagene built on the mountain top a tomb-sanctuary flanked by huge statues (8–9 m/26–30 ft high) of himself, two lions, two eagles and various Greek, Armenian, and Iranian gods. The photos show the broken statues on the  2,134 m (7,001 ft)  mountain. 5
  • Lucanian fresco tomb painting of the deceased on a mythical horse being offered food for the journey to the next world . Paestrum, Andriuolo. Tomb 84.  (350-340 )
  • Lucanian fresco tomb painting of the deceased on a mythical horse being offered food for the journey to the next world . Paestrum, Andriuolo. Tomb 84.  (350-340 )
  • Lucanian fresco tomb painting of the deceased on a mythical horse being offered food for the journey to the next world . Paestrum, Andriuolo. Tomb 84.  (350-340 )
  • Greek Fresco on the inside of Tomb of  the Diver  [La Tomba del Truffatore]. This panel is from the lid of the tomb and shows a  diving from a column into water. The column represents the border of thye known world and therefore the limit of man's knowledge.  The dive represents the passage form this world to the next. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety.  Paestrum, Andriuolo.  (480-470 BC  )
  • Greek Fresco on the inside of Tomb of  the Diver  [La Tomba del Truffatore]. The dead man is depicted listenening to the flute of Eros which causes him to be distracted from the real world so being able to enter the next The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety .Paestrum, Andriuolo.  (480-470 BC  )
  • Greek Fresco on the inside of Tomb of  the Diver  [La Tomba del Truffatore]. The dead man is depicted listenening to the flute of Eros which causes him to be distracted from the real world so being able to enter the next The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety .Paestrum, Andriuolo.  (480-470 BC  )
  • Greek Fresco on the inside of Tomb of  the Diver  [La Tomba del Truffatore]. This panel is from the lid of the tomb and shows a  diving from a column into water. The column represents the border of thye known world and therefore the limit of man's knowledge.  The dive represents the passage form this world to the next. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety.  Paestrum, Andriuolo.  (480-470 BC  )
  • Greek Fresco on the inside of Tomb of  the Diver  [La Tomba del Truffatore] from the Greek city of Poseidonia which became Roman Paestum. This panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables.  The men on the couches are playing the song of Eros the liar and the flute to distract the deceased from worldly thoughts so he can enter the next world. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Greek Fresco on the inside of Tomb of  the Diver  [La Tomba del Truffatore] from the Greek city of Poseidonia which became Roman Paestum. This panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables.  The men on the couches are playing the song of Eros the liar and the flute to distract the deceased from worldly thoughts so he can enter the next world. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Greek Fresco on the inside of Tomb of  the Diver  [La Tomba del Truffatore] from the Greek city of Poseidonia which became Roman Paestum. This panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables.  The men on the couches are playing the song of Eros the liar and the flute to distract the deceased from worldly thoughts so he can enter the next world. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Greek Fresco on the inside of Tomb of  the Diver  [La Tomba del Truffatore] from the Greek city of Poseidonia which became Roman Paestum. This panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables.  The men on the couches are playing the song of Eros the liar and the flute to distract the deceased from worldly thoughts so he can enter the next world. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Lucanian fresco tomb painting of the deceased on a mythical horse being offered food for the journey to the next world . Paestrum, Andriuolo. Tomb 84.  (350-340 )
  • Greek Fresco on the inside of Tomb of  the Diver  [La Tomba del Truffatore]. This panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables on which goblets have been placed.  The abondon experienced at the Synposium was one way in which the dead could access the next world . The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Greek Fresco on the inside of Tomb of  the Diver  [La Tomba del Truffatore]. This panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables on which goblets have been placed.  The abondon experienced at the Synposium was one way in which the dead could access the next world . The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Greek Fresco on the inside of Tomb of  the Diver  [La Tomba del Truffatore]. This panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables on which goblets have been placed.  The abondon experienced at the Synposium was one way in which the dead could access the next world . The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Greek Fresco on the inside of Tomb of  the Diver  [La Tomba del Truffatore]. The dead man is depicted listenening to the flute of Eros which causes him to be distracted from the real world so being able to enter the next The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety .Paestrum, Andriuolo.  (480-470 BC  )
  • Greek Fresco on the inside of Tomb of  the Diver  [La Tomba del Truffatore]. The dead man is depicted listenening to the flute of Eros which causes him to be distracted from the real world so being able to enter the next The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety .Paestrum, Andriuolo.  (480-470 BC  )
  • Greek Fresco on the inside of Tomb of  the Diver  [La Tomba del Truffatore]. This panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables on which goblets have been placed.  The abondon experienced at the Synposium was one way in which the dead could access the next world . The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Picture of The north  gate forms part of a fortification system built at Hierapolis in late 4th century Theodosian times. Hierapolis archaeological site near Pamukkale in Turkey.
  • Picture of St Philip Gate ruins.  Hierapolis archaeological site near Pamukkale in Turkey.<br />
<br />
The St. Philip Gate <br />
The gate is situated on the north-eastern side of the defensive walls built under the Emperor Theodosius in the late 4th century. Its importance is indicated by the presence of the two towers that flank the opening The gate was used by pilgrims heading for the summit of the hill on which stood the sanctuary of St. Philip, one of the twelve apostles of Christ. According to tradition the Saint was martyred in Hierapolis.
  • Picture of The north  gate forms part of a fortification system built at Hierapolis in late 4th century Theodosian times. Hierapolis archaeological site near Pamukkale in Turkey.
  • Picture of the Roman North Gate built by Domitian. Hierapolis archaeological site near Pamukkale in Turkey.
  • Picture of St Philip Gate road.  Hierapolis archaeological site near Pamukkale in Turkey.
  • Picture of the Roman North Gate built by Domitian. Hierapolis archaeological site near Pamukkale in Turkey.
  • Picture of St Philip Gate ruins.  Hierapolis archaeological site near Pamukkale in Turkey.<br />
<br />
The St. Philip Gate <br />
The gate is situated on the north-eastern side of the defensive walls built under the Emperor Theodosius in the late 4th century. Its importance is indicated by the presence of the two towers that flank the opening The gate was used by pilgrims heading for the summit of the hill on which stood the sanctuary of St. Philip, one of the twelve apostles of Christ. According to tradition the Saint was martyred in Hierapolis.
  • Picture of The north Byzantine gate forms part of a fortification system built at Hierapolis in late 4th century Theodosian times. Hierapolis archaeological site near Pamukkale in Turkey.
  • Picture of the Roman North Gate built by Domitian. Hierapolis archaeological site near Pamukkale in Turkey.
  • Pictures & Images of the statues of around the tomb of Commagene King Antochus 1 on the top of Mount Nemrut, Turkey. Stock photos & Photo art prints. In 62 BC, King Antiochus I Theos of Commagene built on the mountain top a tomb-sanctuary flanked by huge statues (8–9 m/26–30 ft high) of himself, two lions, two eagles and various Greek, Armenian, and Iranian gods. The photos show the broken statues on the  2,134 m (7,001 ft)  mountain. 2
  • Pictures & Images of the statues of around the tomb of Commagene King Antochus 1 on the top of Mount Nemrut, Turkey. Stock photos & Photo art prints. In 62 BC, King Antiochus I Theos of Commagene built on the mountain top a tomb-sanctuary flanked by huge statues (8–9 m/26–30 ft high) of himself, two lions, two eagles and various Greek, Armenian, and Iranian gods. The photos show the broken statues on the  2,134 m (7,001 ft)  mountain. 1
  • Pictures of the statues of around the tomb of Commagene King Antochus 1 on the top of Mount Nemrut, Turkey. Stock photos & Photo art prints. In 62 BC, King Antiochus I Theos of Commagene built on the mountain top a tomb-sanctuary flanked by huge statues (8–9 m/26–30 ft high) of himself, two lions, two eagles and various Greek, Armenian, and Iranian gods. The photos show the broken statues on the  2,134 m (7,001 ft)  mountain. 4
  • Pictures of the statues of around the tomb of Commagene King Antochus 1 on the top of Mount Nemrut, Turkey. Stock photos & Photo art prints. In 62 BC, King Antiochus I Theos of Commagene built on the mountain top a tomb-sanctuary flanked by huge statues (8–9 m/26–30 ft high) of himself, two lions, two eagles and various Greek, Armenian, and Iranian gods. The photos show the broken statues on the  2,134 m (7,001 ft)  mountain. 3
  • Image of the statues of around the tomb of Commagene King Antochus 1 on the top of Mount Nemrut, Turkey. Stock photos & Photo art prints. In 62 BC, King Antiochus I Theos of Commagene built on the mountain top a tomb-sanctuary flanked by huge statues (8–9 m/26–30 ft high) of himself, two lions, two eagles and various Greek, Armenian, and Iranian gods. The photos show the broken statues on the  2,134 m (7,001 ft)  mountain. 5
  • Image of the statues of around the tomb of Commagene King Antochus 1 on the top of Mount Nemrut, Turkey. Stock photos & Photo art prints. In 62 BC, King Antiochus I Theos of Commagene built on the mountain top a tomb-sanctuary flanked by huge statues (8–9 m/26–30 ft high) of himself, two lions, two eagles and various Greek, Armenian, and Iranian gods. The photos show the broken statues on the  2,134 m (7,001 ft)  mountain. 3
  • Image of the statues of around the tomb of Commagene King Antochus 1 on the top of Mount Nemrut, Turkey. Stock photos & Photo art prints. In 62 BC, King Antiochus I Theos of Commagene built on the mountain top a tomb-sanctuary flanked by huge statues (8–9 m/26–30 ft high) of himself, two lions, two eagles and various Greek, Armenian, and Iranian gods. The photos show the broken statues on the  2,134 m (7,001 ft)  mountain. 2
  • Pictures of the statues of around the tomb of Commagene King Antochus 1 on the top of Mount Nemrut, Turkey. Stock photos & Photo art prints. In 62 BC, King Antiochus I Theos of Commagene built on the mountain top a tomb-sanctuary flanked by huge statues (8–9 m/26–30 ft high) of himself, two lions, two eagles and various Greek, Armenian, and Iranian gods. The photos show the broken statues on the  2,134 m (7,001 ft)  mountain. 4
  • Pictures of the statues of around the tomb of Commagene King Antochus 1 on the top of Mount Nemrut, Turkey. Stock photos & Photo art prints. In 62 BC, King Antiochus I Theos of Commagene built on the mountain top a tomb-sanctuary flanked by huge statues (8–9 m/26–30 ft high) of himself, two lions, two eagles and various Greek, Armenian, and Iranian gods. The photos show the broken statues on the  2,134 m (7,001 ft)  mountain. 1
  • Pictures & Images of the statues of around the tomb of Commagene King Antochus 1 on the top of Mount Nemrut, Turkey. Stock photos & Photo art prints. In 62 BC, King Antiochus I Theos of Commagene built on the mountain top a tomb-sanctuary flanked by huge statues (8–9 m/26–30 ft high) of himself, two lions, two eagles and various Greek, Armenian, and Iranian gods. The photos show the broken statues on the  2,134 m (7,001 ft)  mountain. 3
  • Pictures of the statues of around the tomb of Commagene King Antochus 1 on the top of Mount Nemrut, Turkey. Stock photos & Photo art prints. In 62 BC, King Antiochus I Theos of Commagene built on the mountain top a tomb-sanctuary flanked by huge statues (8–9 m/26–30 ft high) of himself, two lions, two eagles and various Greek, Armenian, and Iranian gods. The photos show the broken statues on the  2,134 m (7,001 ft)  mountain. 6
  • Pictures of the statues of around the tomb of Commagene King Antochus 1 on the top of Mount Nemrut, Turkey. Stock photos & Photo art prints. In 62 BC, King Antiochus I Theos of Commagene built on the mountain top a tomb-sanctuary flanked by huge statues (8–9 m/26–30 ft high) of himself, two lions, two eagles and various Greek, Armenian, and Iranian gods. The photos show the broken statues on the  2,134 m (7,001 ft)  mountain. 2
  • Pictures of the statues of around the tomb of Commagene King Antochus 1 on the top of Mount Nemrut, Turkey. Stock photos & Photo art prints. In 62 BC, King Antiochus I Theos of Commagene built on the mountain top a tomb-sanctuary flanked by huge statues (8–9 m/26–30 ft high) of himself, two lions, two eagles and various Greek, Armenian, and Iranian gods. The photos show the broken statues on the  2,134 m (7,001 ft)  mountain. 1
  • Image of the statues of around the tomb of Commagene King Antochus 1 on the top of Mount Nemrut, Turkey. Stock photos & Photo art prints. In 62 BC, King Antiochus I Theos of Commagene built on the mountain top a tomb-sanctuary flanked by huge statues (8–9 m/26–30 ft high) of himself, two lions, two eagles and various Greek, Armenian, and Iranian gods. The photos show the broken statues on the  2,134 m (7,001 ft)  mountain. 4
  • Pictures of the statues of around the tomb of Commagene King Antochus 1 on the top of Mount Nemrut, Turkey. Stock photos & Photo art prints. In 62 BC, King Antiochus I Theos of Commagene built on the mountain top a tomb-sanctuary flanked by huge statues (8–9 m/26–30 ft high) of himself, two lions, two eagles and various Greek, Armenian, and Iranian gods. The photos show the broken statues on the  2,134 m (7,001 ft)  mountain. 3
  • Pictures of the statues of around the tomb of Commagene King Antochus 1 on the top of Mount Nemrut, Turkey. Stock photos & Photo art prints. In 62 BC, King Antiochus I Theos of Commagene built on the mountain top a tomb-sanctuary flanked by huge statues (8–9 m/26–30 ft high) of himself, two lions, two eagles and various Greek, Armenian, and Iranian gods. The photos show the broken statues on the  2,134 m (7,001 ft)  mountain. 2
  • Picture of the Roman Basilica Baths. Hierapolis archaeological site near Pamukkale in Turkey.
  • Picture of Roman sacrcophagi on a Tomb North Necropolis. Hierapolis archaeological site near Pamukkale in Turkey.
  • Picture of Tombs on the edge of the white travatines of the  North Necropolis. Hierapolis archaeological site near Pamukkale in Turkey.
  • Picture of Tomb North Necropolis  main road . Hierapolis archaeological site near Pamukkale in Turkey.
  • Picture of a Tomb North Necropolis. Hierapolis archaeological site near Pamukkale in Turkey.
  • Picture of a Tomb A6  and Sarcophagus of the North Necropolis. Hierapolis archaeological site near Pamukkale in Turkey.
  • Picture of  A18 of the Tomb North Necropolis. Hierapolis archaeological site near Pamukkale in Turkey.<br />
<br />
Tomb A 18 ( 1st century AD) <br />
<br />
The building, one of the most representative and best conserved of the North Necropolis, has the shape of a small temple, built to a square plan with regular walls. The facade is framed by projecting pilasters; the roofing slabs rest on the, two frontons and the lateral cornices.- Beneath the base is a subterranean chamber partially carved into of the rock. The two chambers have sepulchral beds along the walls.
  • Picture of Tomb  81 of North Necropolis. Hierapolis archaeological site near Pamukkale in Turkey.<br />
<br />
Tomb 81 (2nd - 3rd centuries AD)<br />
The tomb is built on a high platform that compensates for <br />
difference in level of the land behind it. Inside the <br />
chamber are three sepulchre beds, arranged along the walls, an a very deep ossuary. On the roof slabs, which jut out a long way, are two sarcophagi. Two inscriptions beside the door end the inscription on the slab that closed it (now in the museum ) refer to the successive occupants, including Eutyches Pompeios, who left 100 denari to the association of wool washers for the periodic decoration of  <br />
the tomb.
  • Picture of Tombs North Necropolis. Hierapolis archaeological site near Pamukkale in Turkey.
  • Picture of a Roman raised sarcophagus of the North Necropolis. Hierapolis archaeological site near Pamukkale in Turkey.
  • Picture of a Roman raised sarcophagus of the North Necropolis. Hierapolis archaeological site near Pamukkale in Turkey.
  • Picture of a Roman raised sarcophagus of the North Necropolis. Hierapolis archaeological site near Pamukkale in Turkey.
  • Picture of  A18 of the Tomb North Necropolis. Hierapolis archaeological site near Pamukkale in Turkey.<br />
<br />
Tomb A 18 ( 1st century AD) <br />
<br />
The building, one of the most representative and best conserved of the North Necropolis, has the shape of a small temple, built to a square plan with regular walls. The facade is framed by projecting pilasters; the roofing slabs rest on the, two frontons and the lateral cornices.- Beneath the base is a subterranean chamber partially carved into of the rock. The two chambers have sepulchral beds along the walls.
  • Picture of a Tomb  North Necropolis. Hierapolis archaeological site near Pamukkale in Turkey.
  • Picture of Tomb A2 of the North Necropolis. Hierapolis archaeological site near Pamukkale in Turkey.
  • Picture of Tomb A2 of the North Necropolis. Hierapolis archaeological site near Pamukkale in Turkey.
  • Photo of the Hittite releif sculpture on the Kings gate to the Hittite capital Hattusa 11
  • Photo of the Hittite releif sculpture on the Lion gate to the Hittite capital Hattusa 2
  • Photo of the Hittite releif sculpture on the Lion gate to the Hittite capital Hattusa 3
  • Photo of the Hittite  Palace Walls to the Hittite capital Hattusa 1
  • Photo of the Hittite releif sculpture on the Kings gate to the Hittite capital Hattusa 14
  • Photo of  the  Palace Walls to the Hittite capital Hattusa 2
  • Photo of  the  Palace Walls to the Hittite capital Hattusa 3
  • Photo of  the  Palace Walls to the Hittite capital Hattusa 4
  • Photo of the gates which led to tunnels under the walls of the Hittite capital Hattusa 2
  • Photo of the gates which led to tunnels under the walls of the Hittite capital Hattusa 5
  • Photo of the Hittite releif sculpture on the Lion gate to the Hittite capital Hattusa 2
  • Photo of the Hittite releif sculpture on the Kings gate to the Hittite capital Hattusa 12
  • Photo of the Hittite releif sculpture on the Lion gate to the Hittite capital Hattusa 7
  • Photo of the Hittite releif sculpture on the Lion gate to the Hittite capital Hattusa 8
  • Photo of the Hittite releif sculpture on the Kings gate to the Hittite capital Hattusa.1
  • Photo of the Hittite releif sculpture on the Kings gate to the Hittite capital Hattusa 6
  • Photo of the Hittite releif sculpture on the Lion gate to the Hittite capital Hattusa 14
  • Photo of the  gates which led to tunnels under the walls of the Hittite capital Hattusa 4
  • Photo of the Hittite releif sculpture on the Kings gate to the Hittite capital Hattusa 6
  • Photo of the Hittite releif sculpture on the Sphinx  gate to the Hittite capital Hattusa
  • Photo of the Hittite the Hittite capital Hattusa
  • Photo of  the  Palace Walls to the Hittite capital Hattusa 5
  • Photo of the Hittite releif sculpture on the Lion gate to the Hittite capital Hattusa
  • Photo of the a building chamber of the Hittite capital Hattusa 3
  • Photo of the Hittite releif sculpture on the Lion gate to the Hittite capital Hattusa 5
  • Photo of the rconstruction to the Hittite capital Hattusa 3
  • Photo of the Hittite releif sculpture on the Lion gate to the Hittite capital Hattusa 6
  • Photo of the rconstruction to the Hittite capital Hattusa  4
  • Upper Temple, Hattusa (also Ḫattuša or Hattusas) late Anatolian Bronze Age capital of the Hittite Empire. Hittite archaeological site and ruins, Boğazkale, Turkey.
  • Upper Temple, Hattusa (also Ḫattuša or Hattusas) late Anatolian Bronze Age capital of the Hittite Empire. Hittite archaeological site and ruins, Boğazkale, Turkey.
  • Hieroglyphics on rock face, Hattusa (also Ḫattuša or Hattusas) late Anatolian Bronze Age capital of the Hittite Empire. Hittite archaeological site and ruins, Boğazkale, Turkey.
  • Dressed stone blocks of Temple I store room walls, Hattusa (also Ḫattuša or Hattusas) late Anatolian Bronze Age capital of the Hittite Empire. Hittite archaeological site and ruins, Boğazkale, Turkey.
  • Ruins of walls of Temple I, Hattusa (also Ḫattuša or Hattusas) late Anatolian Bronze Age capital of the Hittite Empire. Hittite archaeological site and ruins, Boğazkale, Turkey.
  • Stone wall of temple, Hattusa (also Ḫattuša or Hattusas) late Anatolian Bronze Age capital of the Hittite Empire. Hittite archaeological site and ruins, Boğazkale, Turkey.
  • A cult chamber built by Suiluliuma II, 1200 BC, with Hieroglyphic stone panelled walls. Hattusa (also Ḫattuša or Hattusas) late Anatolian Bronze Age capital of the Hittite Empire. Hittite archaeological site and ruins, Boğazkale, Turkey.
  • Green polished cult stone of temple I, Hattusa (also Ḫattuša or Hattusas) late Anatolian Bronze Age capital of the Hittite Empire. Hittite archaeological site and ruins, Boğazkale, Turkey.
  • A cult chamber built by Suiluliuma II, 1200 BC, with Hieroglyphic stone panelled walls. Hattusa (also Ḫattuša or Hattusas) late Anatolian Bronze Age capital of the Hittite Empire. Hittite archaeological site and ruins, Boğazkale, Turkey.
  • A cult chamber built by Suiluliuma II, 1200 BC, with Hieroglyphic stone panelled walls. Hattusa (also Ḫattuša or Hattusas) late Anatolian Bronze Age capital of the Hittite Empire. Hittite archaeological site and ruins, Boğazkale, Turkey.
  • Picture & image of the Hittite Relief sculpture of the God of War of the Kings Gate. Hattusa (also Ḫattuša or Hattusas) late Anatolian Bronze Age capital of the Hittite Empire. Hittite archaeological site and ruins, Boğazkale, Turkey.
  • Picture & image of the Hittite Relief sculpture of the God of War of the Kings Gate. Hattusa (also Ḫattuša or Hattusas) late Anatolian Bronze Age capital of the Hittite Empire. Hittite archaeological site and ruins, Boğazkale, Turkey.
  • Picture & image of the Hittite lion sculpture of the Lion Gate. Hattusa (also Ḫattuša or Hattusas) late Anatolian Bronze Age capital of the Hittite Empire. Hittite archaeological site and ruins, Boğazkale, Turkey.
  • Picture & image of the Hittite lion sculpture of the Lion Gate. Hattusa (also Ḫattuša or Hattusas) late Anatolian Bronze Age capital of the Hittite Empire. Hittite archaeological site and ruins, Boğazkale, Turkey.
  • Picture & image of the Hittite lion sculpture of the Lion Gate. Hattusa (also Ḫattuša or Hattusas) late Anatolian Bronze Age capital of the Hittite Empire. Hittite archaeological site and ruins, Boğazkale, Turkey.
  • Picture & image of the Hittite lion sculpture of the Lion Gate. Hattusa (also Ḫattuša or Hattusas) late Anatolian Bronze Age capital of the Hittite Empire. Hittite archaeological site and ruins, Boğazkale, Turkey.

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