• Whole pepperoni & cheese pizzas with a slice being taken out
  • Whole pepperoni & cheese pizzas with a slice being taken out
  • Italian mushroom and cheese Pizza slice photo. Funky Stock pizzas photos
  • Han & Salad Baguette
  • Whole Cheese and Tomato thin crust pizza
  • Whole Cheese and Tomato thin crust pizza
  • Whole prosciutto pizza
  • Whole prosciutto pizza
  • Whole Cheese and Tomato thin crust pizza
  • Bread baguettes filled with mozerella & tomatoes, ham & salad, Prcutto ham & rocket.
  • Bread baguettes filled with mozerella & tomatoes, ham & salad, Prcutto ham & rocket.
  • Bread baguettes filled with mozerella & tomatoes, and cheddar ploughmans with chutney
  • Bread baguettes filled with mozerella & tomatoes, and cheddar ploughmans with chutney
  • BBQ spare ribs in an american diner setting
  • BBQ spare ribs in an american diner setting
  • Lamb Keema Curry and pilau rice Indian food stock pictures, photos fotos & images
  • Tandoori chicken masala  Indian food stock pictures, photos fotos & images
  • Photo of classic hamburger in sesame bun with Ketchup & Salad. Funky Stock Photos.
  • Traditional Chicken Biryani  Indian food recipe pictures, stock  photos fotos & images
  • Roman Sculpture of a Nymph pusing a Satyr away, 1st century AD, Herculaneum, Secret Museum or Secret Cabinet,  Naples National Archaeological Museum , black background
  • Roman decoration panels that covered the end of the beams from a Roman ship, from the age of Calligula, 37-41 AD, made from bronze. The forearms were used to ward off evil the extended gesture was meant to keep danger away.  The National Roman Museum, Rome, Italy
  • 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 cut away jug with floral and net pattern.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens. Cat no 5757<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 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 cut away jug with floral and net pattern.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens. Cat no 5757<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.
  • Roman Sculpture of a Nymph pusing a Satyr away, 1st century AD, Herculaneum,  Secret Museum or Secret Cabinet, Naples National Archaeological Museum , grey art background
  • Roman Sculpture of a Nymph pusing a Satyr away, 1st century AD, Herculaneum,  Secret Museum or Secret Cabinet, Naples National Archaeological Museum , art background
  • Roman Sculpture of a Nymph pusing a Satyr away, 1st century AD, Herculaneum,  Secret Museum or Secret Cabinet, Naples National Archaeological Museum ,
  • Roman decoration panels that covered the end of the beams from a Roman ship, from the age of Calligula, 37-41 AD, made from bronze. The forearms were used to ward off evil the extended gesture was meant to keep danger away.  The National Roman Museum, Rome, Italy
  • Roman decoration panels that covered the end of the beams from a Roman ship, from the age of Calligula, 37-41 AD, made from bronze. The forearms were used to ward off evil the extended gesture was meant to keep danger away.  The National Roman Museum, Rome, Italy
  • Roman decoration panels that covered the end of the beams from a Roman ship, from the age of Calligula, 37-41 AD, made from bronze. The forearms were used to ward off evil the extended gesture was meant to keep danger away.  The National Roman Museum, Rome, Italy
  • Roman decoration panels that covered the end of the beams from a Roman ship, from the age of Calligula, 37-41 AD, made from bronze. The forearms were used to ward off evil the extended gesture was meant to keep danger away.  The National Roman Museum, Rome, Italy
  • Roman decoration panels that covered the end of the beams from a Roman ship, from the age of Calligula, 37-41 AD, made from bronze. The forearms were used to ward off evil the extended gesture was meant to keep danger away.  The National Roman Museum, Rome, Italy
  • Roman decoration panels that covered the end of the beams from a Roman ship, from the age of Calligula, 37-41 AD, made from bronze. The forearms were used to ward off evil the extended gesture was meant to keep danger away.  The National Roman Museum, Rome, Italy
  • Roman decoration panels that covered the end of the beams from a Roman ship, from the age of Calligula, 37-41 AD, made from bronze. The forearms were used to ward off evil the extended gesture was meant to keep danger away.  The National Roman Museum, Rome, Italy
  • Silenus (Faune to the Romans) and The Child ( Dionysus, Bacchus to the Romans). A 1st - 2nd century Roman statue in marble discovered in the gardens of the Salluste in Rome, Italy. Silenus was ordered by Zeus to take his illegitimate son son Dionysus away from the wrath of Hera to the nymphs. This staue is a Roman copy of a lost bronze Greek original by the 4th century BC Greek sculptor  Lysippos.  From the Borghese collection, Inv MR 346   (or Ma 922), The Louvre Mueum, Paris.
  • Silenus (Faune to the Romans) and The Child ( Dionysus, Bacchus to the Romans). A 1st - 2nd century Roman statue in marble discovered in the gardens of the Salluste in Rome, Italy. Silenus was ordered by Zeus to take his illegitimate son son Dionysus away from the wrath of Hera to the nymphs. This staue is a Roman copy of a lost bronze Greek original by the 4th century BC Greek sculptor  Lysippos.  From the Borghese collection, Inv MR 346   (or Ma 922), The Louvre Mueum, Paris.
  • Silenus (Faune to the Romans) and The Child ( Dionysus, Bacchus to the Romans). A 1st - 2nd century Roman statue in marble discovered in the gardens of the Salluste in Rome, Italy. Silenus was ordered by Zeus to take his illegitimate son son Dionysus away from the wrath of Hera to the nymphs. This staue is a Roman copy of a lost bronze Greek original by the 4th century BC Greek sculptor  Lysippos.  From the Borghese collection, Inv MR 346   (or Ma 922), The Louvre Mueum, Paris.
  • Silenus (Faune to the Romans) and The Child ( Dionysus, Bacchus to the Romans). A 1st - 2nd century Roman statue in marble discovered in the gardens of the Salluste in Rome, Italy. Silenus was ordered by Zeus to take his illegitimate son son Dionysus away from the wrath of Hera to the nymphs. This staue is a Roman copy of a lost bronze Greek original by the 4th century BC Greek sculptor  Lysippos.  From the Borghese collection, Inv MR 346   (or Ma 922), The Louvre Mueum, Paris.
  • Roman decoration panels that covered the end of the beams from a Roman ship, from the age of Calligula, 37-41 AD, made from bronze. The forearms were used to ward off evil the extended gesture was meant to keep danger away.  The National Roman Museum, Rome, Italy
  • Roman decoration panels that covered the end of the beams from a Roman ship, from the age of Calligula, 37-41 AD, made from bronze. The forearms were used to ward off evil the extended gesture was meant to keep danger away.  The National Roman Museum, Rome, Italy
  • Roman decoration panels that covered the end of the beams from a Roman ship, from the age of Calligula, 37-41 AD, made from bronze. The forearms were used to ward off evil the extended gesture was meant to keep danger away.  The National Roman Museum, Rome, Italy
  • Roman decoration panels that covered the end of the beams from a Roman ship, from the age of Calligula, 37-41 AD, made from bronze. The forearms were used to ward off evil the extended gesture was meant to keep danger away.  The National Roman Museum, Rome, Italy
  • Roman decoration panels that covered the end of the beams from a Roman ship, from the age of Calligula, 37-41 AD, made from bronze. The forearms were used to ward off evil the extended gesture was meant to keep danger away.  The National Roman Museum, Rome, Italy
  • Roman decoration panels that covered the end of the beams from a Roman ship, from the age of Calligula, 37-41 AD, made from bronze. The forearms were used to ward off evil the extended gesture was meant to keep danger away.  The National Roman Museum, Rome, Italy
  • Roman decoration panels that covered the end of the beams from a Roman ship, from the age of Calligula, 37-41 AD, made from bronze. The forearms were used to ward off evil the extended gesture was meant to keep danger away.  The National Roman Museum, Rome, Italy
  • Roman decoration panels that covered the end of the beams from a Roman ship, from the age of Calligula, 37-41 AD, made from bronze. The forearms were used to ward off evil the extended gesture was meant to keep danger away.  The National Roman Museum, Rome, Italy
  • Roman decoration panels that covered the end of the beams from a Roman ship, from the age of Calligula, 37-41 AD, made from bronze. The forearms were used to ward off evil the extended gesture was meant to keep danger away.  The National Roman Museum, Rome, Italy
  • Silenus (Faune to the Romans) and The Child ( Dionysus, Bacchus to the Romans). A 1st - 2nd century Roman statue in marble discovered in the gardens of the Salluste in Rome, Italy. Silenus was ordered by Zeus to take his illegitimate son son Dionysus away from the wrath of Hera to the nymphs. This staue is a Roman copy of a lost bronze Greek original by the 4th century BC Greek sculptor  Lysippos.  From the Borghese collection, Inv MR 346   (or Ma 922), The Louvre Mueum, Paris.
  • Silenus (Faune to the Romans) and The Child ( Dionysus, Bacchus to the Romans). A 1st - 2nd century Roman statue in marble discovered in the gardens of the Salluste in Rome, Italy. Silenus was ordered by Zeus to take his illegitimate son son Dionysus away from the wrath of Hera to the nymphs. This staue is a Roman copy of a lost bronze Greek original by the 4th century BC Greek sculptor  Lysippos.  From the Borghese collection, Inv MR 346   (or Ma 922), The Louvre Mueum, Paris.
  • Silenus (Faune to the Romans) and The Child ( Dionysus, Bacchus to the Romans). A 1st - 2nd century Roman statue in marble discovered in the gardens of the Salluste in Rome, Italy. Silenus was ordered by Zeus to take his illegitimate son son Dionysus away from the wrath of Hera to the nymphs. This staue is a Roman copy of a lost bronze Greek original by the 4th century BC Greek sculptor  Lysippos.  From the Borghese collection, Inv MR 346   (or Ma 922), The Louvre Mueum, Paris.
  • Cycladic cut away jug with floral and net pattern.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens. Cat no 5757.   Gray 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.
  • Roman Sculpture of a Nymph pusing a Satyr away, 1st century AD, Herculaneum, Secret Museum or Secret Cabinet,  Naples National Archaeological Museum , grey background
  • Silenus (Faune to the Romans) and The Child ( Dionysus, Bacchus to the Romans). A 1st - 2nd century Roman statue in marble discovered in the gardens of the Salluste in Rome, Italy. Silenus was ordered by Zeus to take his illegitimate son son Dionysus away from the wrath of Hera to the nymphs. This staue is a Roman copy of a lost bronze Greek original by the 4th century BC Greek sculptor  Lysippos.  From the Borghese collection, Inv MR 346   (or Ma 922), The Louvre Mueum, Paris.
  • Ancient Egyptian stele of s standard bearer Maienhekau, limestone, New Kingdom, 18th Dynasty, (1458-1425 BC), DAbydos,  Egyptian Museum, Turin. Grey background.<br />
<br />
In the top registerMaienhekau makes offerings to Ptah, Osiris and Horus. In the middle he is shown with his wife reveiving offerings from his 2 sons. In the lower register another son with 3 gaughters is offering a formula to Maienhekau, also listing his titles. He was standard bearer (captain) on several warships and the "bearer of arms " of Thutmosis II. The current depictions are over an earlier relief which can be seen in places where the later stucco has come away.
  • Ancient Egyptian Book of the Dead papyrus - Spell 33 for keeping snakes away, Iufankh's Book of the Dead, Ptolomaic period (332-30BC).Turin Egyptian Museum. Grey Background<br />
<br />
the spell reads ' O Rerek! Move not! Behold Geb and Shu have risen against you, for you have eaten a mouse, the abomination of Re" you have crunched the bones of a putrified cat"<br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 33 for keeping snakes away, Iufankh's Book of the Dead, Ptolomaic period (332-30BC).Turin Egyptian Museum<br />
<br />
the spell reads ' O Rerek! Move not! Behold Geb and Shu have risen against you, for you have eaten a mouse, the abomination of Re" you have crunched the bones of a putrified cat"<br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 33 for keeping snakes away, Iufankh's Book of the Dead, Ptolomaic period (332-30BC).Turin Egyptian Museum. Grey Background<br />
<br />
the spell reads ' O Rerek! Move not! Behold Geb and Shu have risen against you, for you have eaten a mouse, the abomination of Re" you have crunched the bones of a putrified cat"<br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 105 for gratifying the deceased with Ka, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum.  Black background<br />
<br />
The spell is " Hail to thee, my spirit, my lifetime. Behold I am come unto thee risen, powerful, posessed of a soul, mighty.<br />
<br />
You who weighs in the balance. may truth rise to the nose of Ra, on that day of judgement, ley not my head be taken away from me."<br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 105 for gratifying the deceased with Ka, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. White Background<br />
<br />
The spell is " Hail to thee, my spirit, my lifetime. Behold I am come unto thee risen, powerful, posessed of a soul, mighty.<br />
<br />
You who weighs in the balance. may truth rise to the nose of Ra, on that day of judgement, ley not my head be taken away from me."<br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 105 for gratifying the deceased with Ka, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum<br />
<br />
The spell is " Hail to thee, my spirit, my lifetime. Behold I am come unto thee risen, powerful, posessed of a soul, mighty.<br />
<br />
You who weighs in the balance. may truth rise to the nose of Ra, on that day of judgement, ley not my head be taken away from me."<br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 105 for gratifying the deceased with Ka, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum.  Black background<br />
<br />
The spell is " Hail to thee, my spirit, my lifetime. Behold I am come unto thee risen, powerful, posessed of a soul, mighty.<br />
<br />
You who weighs in the balance. may truth rise to the nose of Ra, on that day of judgement, ley not my head be taken away from me."<br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 105 for gratifying the deceased with Ka, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum <br />
<br />
The spell is " Hail to thee, my spirit, my lifetime. Behold I am come unto thee risen, powerful, posessed of a soul, mighty.<br />
<br />
You who weighs in the balance. may truth rise to the nose of Ra, on that day of judgement, ley not my head be taken away from me."<br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 105 for gratifying the deceased with Ka, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. Black background<br />
<br />
The spell is " Hail to thee, my spirit, my lifetime. Behold I am come unto thee risen, powerful, posessed of a soul, mighty.<br />
<br />
You who weighs in the balance. may truth rise to the nose of Ra, on that day of judgement, ley not my head be taken away from me."<br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 105 for gratifying the deceased with Ka, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum White Background<br />
<br />
The spell is " Hail to thee, my spirit, my lifetime. Behold I am come unto thee risen, powerful, posessed of a soul, mighty.<br />
<br />
You who weighs in the balance. may truth rise to the nose of Ra, on that day of judgement, ley not my head be taken away from me."<br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 105 for gratifying the deceased with Ka, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. Grey Background<br />
<br />
The spell is " Hail to thee, my spirit, my lifetime. Behold I am come unto thee risen, powerful, posessed of a soul, mighty.<br />
<br />
You who weighs in the balance. may truth rise to the nose of Ra, on that day of judgement, ley not my head be taken away from me."<br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • 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.   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. 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. <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.
  • Gothic painted Panel Altarpiece of Saint Barbara by Goncal Peris Sarria. Tempera and gold leaf on wood. Date Circa 1410-1425. Dimesions 278 x 207.7 x 17 cm. At the beginning of the 20th century, the altarpiece was kept in the parish church of Puertomingalvo (Teruel), but it could originally have come from the chapel of Santa Bárbara near this town. This altarpiece is attributed to the painter Gonçal Peris Sarrià, one of the chief representatives of Valencian International Gothic. His style is marked by expressive and picturesque elements, the flowing line and the charm of the colour. The main compartment of the altarpiece represents the titular saint with her distinctive attributes –the tower, in allusion to her imprisonment, and the palm, as she is considered a martyr-- and above her the Calvary. On either side are depicted various episodes from the life of Saint Barbara, who was called on to keep away lightning and storms. . National Museum of Catalan Art, Barcelona, Spain, inv no: 035672-CJT
  • Gothic painted Panel Altarpiece of Saint Barbara by Goncal Peris Sarria. Tempera and gold leaf on wood. Date Circa 1410-1425. Dimesions 278 x 207.7 x 17 cm. At the beginning of the 20th century, the altarpiece was kept in the parish church of Puertomingalvo (Teruel), but it could originally have come from the chapel of Santa Bárbara near this town. This altarpiece is attributed to the painter Gonçal Peris Sarrià, one of the chief representatives of Valencian International Gothic. His style is marked by expressive and picturesque elements, the flowing line and the charm of the colour. The main compartment of the altarpiece represents the titular saint with her distinctive attributes –the tower, in allusion to her imprisonment, and the palm, as she is considered a martyr-- and above her the Calvary. On either side are depicted various episodes from the life of Saint Barbara, who was called on to keep away lightning and storms. . National Museum of Catalan Art, Barcelona, Spain, inv no: 035672-CJT
  • The Three Graces (  Les Trois Grâces ) A 1.19 metres high 2nd century Imperial Roman copy of a circa 330 BC Hellanistic Greek statue.  Found in the Villa Cornovaglia in Rome. Louvre Museum, Paris. Catalogue Number: Louvre Ma 287.<br />
The Three Graces are three nude females that in classic Hellanistic art they are depicted with two facing forward and the middle one facing away. The Three Graces, or Three Charities, of Greek mythology were Aglaia, Euphrosyne, and Thalia. They were the goddesses who symbolised joy, pleasure, grace, beauty, festivity, adornment, dance, and song. Daughters of Zeus and the sea-nymph Eurynome, they were also the attendants, or handmaidens, of Aphrodite and Hera and protectors of vegetation.

  • The Three Graces (  Les Trois Grâces ) A 1.19 metres high 2nd century Imperial Roman copy of a circa 330 BC Hellanistic Greek statue.  Found in the Villa Cornovaglia in Rome. Louvre Museum, Paris. Catalogue Number: Louvre Ma 287.<br />
The Three Graces are three nude females that in classic Hellanistic art they are depicted with two facing forward and the middle one facing away. The Three Graces, or Three Charities, of Greek mythology were Aglaia, Euphrosyne, and Thalia. They were the goddesses who symbolised joy, pleasure, grace, beauty, festivity, adornment, dance, and song. Daughters of Zeus and the sea-nymph Eurynome, they were also the attendants, or handmaidens, of Aphrodite and Hera and protectors of vegetation.

  • Silenus (Faune to the Romans) and The Child ( Dionysus, Bacchus to the Romans). A 1st - 2nd century Roman statue in marble discovered in the gardens of the Salluste in Rome, Italy. Silenus was ordered by Zeus to take his illegitimate son son Dionysus away from the wrath of Hera to the nymphs. This staue is a Roman copy of a lost bronze Greek original by the 4th century BC Greek sculptor  Lysippos.  From the Borghese collection, Inv MR 346   (or Ma 922), The Louvre Mueum, Paris.
  • The Three Graces (  Les Trois Grâces ) A 1.19 metres high 2nd century Imperial Roman copy of a circa 330 BC Hellanistic Greek statue.  Found in the Villa Cornovaglia in Rome. Louvre Museum, Paris. Catalogue Number: Louvre Ma 287.<br />
The Three Graces are three nude females that in classic Hellanistic art they are depicted with two facing forward and the middle one facing away. The Three Graces, or Three Charities, of Greek mythology were Aglaia, Euphrosyne, and Thalia. They were the goddesses who symbolised joy, pleasure, grace, beauty, festivity, adornment, dance, and song. Daughters of Zeus and the sea-nymph Eurynome, they were also the attendants, or handmaidens, of Aphrodite and Hera and protectors of vegetation.

  • The Three Graces (  Les Trois Grâces ) A 1.19 metres high 2nd century Imperial Roman copy of a circa 330 BC Hellanistic Greek statue.  Found in the Villa Cornovaglia in Rome. Louvre Museum, Paris. Catalogue Number: Louvre Ma 287.<br />
The Three Graces are three nude females that in classic Hellanistic art they are depicted with two facing forward and the middle one facing away. The Three Graces, or Three Charities, of Greek mythology were Aglaia, Euphrosyne, and Thalia. They were the goddesses who symbolised joy, pleasure, grace, beauty, festivity, adornment, dance, and song. Daughters of Zeus and the sea-nymph Eurynome, they were also the attendants, or handmaidens, of Aphrodite and Hera and protectors of vegetation.

  • The Three Graces (  Les Trois Grâces ) A 1.19 metres high 2nd century Imperial Roman copy of a circa 330 BC Hellanistic Greek statue.  Found in the Villa Cornovaglia in Rome. Louvre Museum, Paris. Catalogue Number: Louvre Ma 287.<br />
The Three Graces are three nude females that in classic Hellanistic art they are depicted with two facing forward and the middle one facing away. The Three Graces, or Three Charities, of Greek mythology were Aglaia, Euphrosyne, and Thalia. They were the goddesses who symbolised joy, pleasure, grace, beauty, festivity, adornment, dance, and song. Daughters of Zeus and the sea-nymph Eurynome, they were also the attendants, or handmaidens, of Aphrodite and Hera and protectors of vegetation.

  • The Three Graces (  Les Trois Grâces ) A 1.19 metres high 2nd century Imperial Roman copy of a circa 330 BC Hellanistic Greek statue.  Found in the Villa Cornovaglia in Rome. Louvre Museum, Paris. Catalogue Number: Louvre Ma 287.<br />
The Three Graces are three nude females that in classic Hellanistic art they are depicted with two facing forward and the middle one facing away. The Three Graces, or Three Charities, of Greek mythology were Aglaia, Euphrosyne, and Thalia. They were the goddesses who symbolised joy, pleasure, grace, beauty, festivity, adornment, dance, and song. Daughters of Zeus and the sea-nymph Eurynome, they were also the attendants, or handmaidens, of Aphrodite and Hera and protectors of vegetation.

  • The Three Graces (  Les Trois Grâces ) A 1.19 metres high 2nd century Imperial Roman copy of a circa 330 BC Hellanistic Greek statue.  Found in the Villa Cornovaglia in Rome. Louvre Museum, Paris. Catalogue Number: Louvre Ma 287.<br />
The Three Graces are three nude females that in classic Hellanistic art they are depicted with two facing forward and the middle one facing away. The Three Graces, or Three Charities, of Greek mythology were Aglaia, Euphrosyne, and Thalia. They were the goddesses who symbolised joy, pleasure, grace, beauty, festivity, adornment, dance, and song. Daughters of Zeus and the sea-nymph Eurynome, they were also the attendants, or handmaidens, of Aphrodite and Hera and protectors of vegetation.

  • The Three Graces (  Les Trois Grâces ) A 1.19 metres high 2nd century Imperial Roman copy of a circa 330 BC Hellanistic Greek statue.  Found in the Villa Cornovaglia in Rome. Louvre Museum, Paris. Catalogue Number: Louvre Ma 287.<br />
The Three Graces are three nude females that in classic Hellanistic art they are depicted with two facing forward and the middle one facing away. The Three Graces, or Three Charities, of Greek mythology were Aglaia, Euphrosyne, and Thalia. They were the goddesses who symbolised joy, pleasure, grace, beauty, festivity, adornment, dance, and song. Daughters of Zeus and the sea-nymph Eurynome, they were also the attendants, or handmaidens, of Aphrodite and Hera and protectors of vegetation.

  • Gothic painted Panel Altarpiece of Saint Barbara by Goncal Peris Sarria. Tempera and gold leaf on wood. Date Circa 1410-1425. Dimesions 278 x 207.7 x 17 cm. At the beginning of the 20th century, the altarpiece was kept in the parish church of Puertomingalvo (Teruel), but it could originally have come from the chapel of Santa Bárbara near this town. This altarpiece is attributed to the painter Gonçal Peris Sarrià, one of the chief representatives of Valencian International Gothic. His style is marked by expressive and picturesque elements, the flowing line and the charm of the colour. The main compartment of the altarpiece represents the titular saint with her distinctive attributes –the tower, in allusion to her imprisonment, and the palm, as she is considered a martyr-- and above her the Calvary. On either side are depicted various episodes from the life of Saint Barbara, who was called on to keep away lightning and storms. . National Museum of Catalan Art, Barcelona, Spain, inv no: 035672-CJT
  • Gothic painted Panel Altarpiece of Saint Barbara by Goncal Peris Sarria. Tempera and gold leaf on wood. Date Circa 1410-1425. Dimesions 278 x 207.7 x 17 cm. At the beginning of the 20th century, the altarpiece was kept in the parish church of Puertomingalvo (Teruel), but it could originally have come from the chapel of Santa Bárbara near this town. This altarpiece is attributed to the painter Gonçal Peris Sarrià, one of the chief representatives of Valencian International Gothic. His style is marked by expressive and picturesque elements, the flowing line and the charm of the colour. The main compartment of the altarpiece represents the titular saint with her distinctive attributes –the tower, in allusion to her imprisonment, and the palm, as she is considered a martyr-- and above her the Calvary. On either side are depicted various episodes from the life of Saint Barbara, who was called on to keep away lightning and storms. . National Museum of Catalan Art, Barcelona, Spain, inv no: 035672-CJT
  • Quite square away from the tourists, Syracuse ( Siracusa) , Sicily
  • Ancient Egyptian stele of s standard bearer Maienhekau, limestone, New Kingdom, 18th Dynasty, (1458-1425 BC), DAbydos,  Egyptian Museum, Turin. white background,<br />
<br />
In the top registerMaienhekau makes offerings to Ptah, Osiris and Horus. In the middle he is shown with his wife reveiving offerings from his 2 sons. In the lower register another son with 3 gaughters is offering a formula to Maienhekau, also listing his titles. He was standard bearer (captain) on several warships and the "bearer of arms " of Thutmosis II. The current depictions are over an earlier relief which can be seen in places where the later stucco has come away.
  • Ancient Egyptian stele of s standard bearer Maienhekau, limestone, New Kingdom, 18th Dynasty, (1458-1425 BC), DAbydos,  Egyptian Museum, Turin. black background,<br />
<br />
In the top registerMaienhekau makes offerings to Ptah, Osiris and Horus. In the middle he is shown with his wife reveiving offerings from his 2 sons. In the lower register another son with 3 gaughters is offering a formula to Maienhekau, also listing his titles. He was standard bearer (captain) on several warships and the "bearer of arms " of Thutmosis II. The current depictions are over an earlier relief which can be seen in places where the later stucco has come away.
  • Ancient Egyptian stele of s standard bearer Maienhekau, limestone, New Kingdom, 18th Dynasty, (1458-1425 BC), DAbydos,  Egyptian Museum, Turin. Grey background.<br />
<br />
In the top registerMaienhekau makes offerings to Ptah, Osiris and Horus. In the middle he is shown with his wife reveiving offerings from his 2 sons. In the lower register another son with 3 gaughters is offering a formula to Maienhekau, also listing his titles. He was standard bearer (captain) on several warships and the "bearer of arms " of Thutmosis II. The current depictions are over an earlier relief which can be seen in places where the later stucco has come away.
  • Ancient Egyptian stele of s standard bearer Maienhekau, limestone, New Kingdom, 18th Dynasty, (1458-1425 BC), DAbydos,  Egyptian Museum, Turin. <br />
<br />
In the top registerMaienhekau makes offerings to Ptah, Osiris and Horus. In the middle he is shown with his wife reveiving offerings from his 2 sons. In the lower register another son with 3 gaughters is offering a formula to Maienhekau, also listing his titles. He was standard bearer (captain) on several warships and the "bearer of arms " of Thutmosis II. The current depictions are over an earlier relief which can be seen in places where the later stucco has come away.
  • Ancient Egyptian Book of the Dead papyrus - Spell 33 for keeping snakes away, Iufankh's Book of the Dead, Ptolomaic period (332-30BC).Turin Egyptian Museum. White Background<br />
<br />
the spell reads ' O Rerek! Move not! Behold Geb and Shu have risen against you, for you have eaten a mouse, the abomination of Re" you have crunched the bones of a putrified cat"<br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 33 for keeping snakes away, Iufankh's Book of the Dead, Ptolomaic period (332-30BC).Turin Egyptian Museum.  Black background<br />
<br />
the spell reads ' O Rerek! Move not! Behold Geb and Shu have risen against you, for you have eaten a mouse, the abomination of Re" you have crunched the bones of a putrified cat"<br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 105 for gratifying the deceased with Ka, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. Grey Background<br />
<br />
The spell is " Hail to thee, my spirit, my lifetime. Behold I am come unto thee risen, powerful, posessed of a soul, mighty.<br />
<br />
You who weighs in the balance. may truth rise to the nose of Ra, on that day of judgement, ley not my head be taken away from me."<br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 105 for gratifying the deceased with Ka, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. White Background<br />
<br />
The spell is " Hail to thee, my spirit, my lifetime. Behold I am come unto thee risen, powerful, posessed of a soul, mighty.<br />
<br />
You who weighs in the balance. may truth rise to the nose of Ra, on that day of judgement, ley not my head be taken away from me."<br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 105 for gratifying the deceased with Ka, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. Grey Background<br />
<br />
The spell is " Hail to thee, my spirit, my lifetime. Behold I am come unto thee risen, powerful, posessed of a soul, mighty.<br />
<br />
You who weighs in the balance. may truth rise to the nose of Ra, on that day of judgement, ley not my head be taken away from me."<br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 105 for gratifying the deceased with Ka, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. Grey Background<br />
<br />
The spell is " Hail to thee, my spirit, my lifetime. Behold I am come unto thee risen, powerful, posessed of a soul, mighty.<br />
<br />
You who weighs in the balance. may truth rise to the nose of Ra, on that day of judgement, ley not my head be taken away from me."<br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 105 for gratifying the deceased with Ka, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. Grey Background<br />
<br />
The spell is " Hail to thee, my spirit, my lifetime. Behold I am come unto thee risen, powerful, posessed of a soul, mighty.<br />
<br />
You who weighs in the balance. may truth rise to the nose of Ra, on that day of judgement, ley not my head be taken away from me."<br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 105 for gratifying the deceased with Ka, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum<br />
<br />
The spell is " Hail to thee, my spirit, my lifetime. Behold I am come unto thee risen, powerful, posessed of a soul, mighty.<br />
<br />
You who weighs in the balance. may truth rise to the nose of Ra, on that day of judgement, ley not my head be taken away from me."<br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • 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.   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.   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.   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.
  • Gothic painted Panel Altarpiece of Saint Barbara by Goncal Peris Sarria. Tempera and gold leaf on wood. Date Circa 1410-1425. Dimensions 278 x 207.7 x 17 cm. At the beginning of the 20th century, the altarpiece was kept in the parish church of Puertomingalvo (Teruel), but it could originally have come from the chapel of Santa Bárbara near this town. This altarpiece is attributed to the painter Gonçal Peris Sarrià, one of the chief representatives of Valencian International Gothic. His style is marked by expressive and picturesque elements, the flowing line and the charm of the colour. The main compartment of the altarpiece represents the titular saint with her distinctive attributes –the tower, in allusion to her imprisonment, and the palm, as she is considered a martyr-- and above her the Calvary. On either side are depicted various episodes from the life of Saint Barbara, who was called on to keep away lightning and storms. . National Museum of Catalan Art, Barcelona, Spain, inv no: 035672-CJT
  • Roman decoration panels that covered the end of the beams from a Roman ship, from the age of Calligula, 37-41 AD, made from bronze. The forearms were used to ward off evil the extended gesture was meant to keep danger away.  The National Roman Museum, Rome, Italy
  • Roman decoration panels that covered the end of the beams from a Roman ship, from the age of Calligula, 37-41 AD, made from bronze. The forearms were used to ward off evil the extended gesture was meant to keep danger away.  The National Roman Museum, Rome, Italy
  • Gothic painted Panel Altarpiece of Saint Barbara by Goncal Peris Sarria. Tempera and gold leaf on wood. Date Circa 1410-1425. Dimesions 278 x 207.7 x 17 cm. At the beginning of the 20th century, the altarpiece was kept in the parish church of Puertomingalvo (Teruel), but it could originally have come from the chapel of Santa Bárbara near this town. This altarpiece is attributed to the painter Gonçal Peris Sarrià, one of the chief representatives of Valencian International Gothic. His style is marked by expressive and picturesque elements, the flowing line and the charm of the colour. The main compartment of the altarpiece represents the titular saint with her distinctive attributes –the tower, in allusion to her imprisonment, and the palm, as she is considered a martyr-- and above her the Calvary. On either side are depicted various episodes from the life of Saint Barbara, who was called on to keep away lightning and storms. . National Museum of Catalan Art, Barcelona, Spain, inv no: 035672-CJT
  • Gothic painted Panel Altarpiece of Saint Barbara by Goncal Peris Sarria. Tempera and gold leaf on wood. Date Circa 1410-1425. Dimesions 278 x 207.7 x 17 cm. At the beginning of the 20th century, the altarpiece was kept in the parish church of Puertomingalvo (Teruel), but it could originally have come from the chapel of Santa Bárbara near this town. This altarpiece is attributed to the painter Gonçal Peris Sarrià, one of the chief representatives of Valencian International Gothic. His style is marked by expressive and picturesque elements, the flowing line and the charm of the colour. The main compartment of the altarpiece represents the titular saint with her distinctive attributes –the tower, in allusion to her imprisonment, and the palm, as she is considered a martyr-- and above her the Calvary. On either side are depicted various episodes from the life of Saint Barbara, who was called on to keep away lightning and storms. . National Museum of Catalan Art, Barcelona, Spain, inv no: 035672-CJT
  • Silenus (Faune to the Romans) and The Child ( Dionysus, Bacchus to the Romans). A 1st - 2nd century Roman statue in marble discovered in the gardens of the Salluste in Rome, Italy. Silenus was ordered by Zeus to take his illegitimate son son Dionysus away from the wrath of Hera to the nymphs. This staue is a Roman copy of a lost bronze Greek original by the 4th century BC Greek sculptor  Lysippos.  From the Borghese collection, Inv MR 346   (or Ma 922), The Louvre Mueum, Paris.
  • The Three Graces (  Les Trois Grâces ) A 1.19 metres high 2nd century Imperial Roman copy of a circa 330 BC Hellanistic Greek statue.  Found in the Villa Cornovaglia in Rome. Louvre Museum, Paris. Catalogue Number: Louvre Ma 287.<br />
The Three Graces are three nude females that in classic Hellanistic art they are depicted with two facing forward and the middle one facing away. The Three Graces, or Three Charities, of Greek mythology were Aglaia, Euphrosyne, and Thalia. They were the goddesses who symbolised joy, pleasure, grace, beauty, festivity, adornment, dance, and song. Daughters of Zeus and the sea-nymph Eurynome, they were also the attendants, or handmaidens, of Aphrodite and Hera and protectors of vegetation.

  • The Three Graces (  Les Trois Grâces ) A 1.19 metres high 2nd century Imperial Roman copy of a circa 330 BC Hellanistic Greek statue.  Found in the Villa Cornovaglia in Rome. Louvre Museum, Paris. Catalogue Number: Louvre Ma 287.<br />
The Three Graces are three nude females that in classic Hellanistic art they are depicted with two facing forward and the middle one facing away. The Three Graces, or Three Charities, of Greek mythology were Aglaia, Euphrosyne, and Thalia. They were the goddesses who symbolised joy, pleasure, grace, beauty, festivity, adornment, dance, and song. Daughters of Zeus and the sea-nymph Eurynome, they were also the attendants, or handmaidens, of Aphrodite and Hera and protectors of vegetation.

  • The Three Graces (  Les Trois Grâces ) A 1.19 metres high 2nd century Imperial Roman copy of a circa 330 BC Hellanistic Greek statue.  Found in the Villa Cornovaglia in Rome. Louvre Museum, Paris. Catalogue Number: Louvre Ma 287.<br />
The Three Graces are three nude females that in classic Hellanistic art they are depicted with two facing forward and the middle one facing away. The Three Graces, or Three Charities, of Greek mythology were Aglaia, Euphrosyne, and Thalia. They were the goddesses who symbolised joy, pleasure, grace, beauty, festivity, adornment, dance, and song. Daughters of Zeus and the sea-nymph Eurynome, they were also the attendants, or handmaidens, of Aphrodite and Hera and protectors of vegetation.

  • The Three Graces (  Les Trois Grâces ) A 1.19 metres high 2nd century Imperial Roman copy of a circa 330 BC Hellanistic Greek statue.  Found in the Villa Cornovaglia in Rome. Louvre Museum, Paris. Catalogue Number: Louvre Ma 287.<br />
The Three Graces are three nude females that in classic Hellanistic art they are depicted with two facing forward and the middle one facing away. The Three Graces, or Three Charities, of Greek mythology were Aglaia, Euphrosyne, and Thalia. They were the goddesses who symbolised joy, pleasure, grace, beauty, festivity, adornment, dance, and song. Daughters of Zeus and the sea-nymph Eurynome, they were also the attendants, or handmaidens, of Aphrodite and Hera and protectors of vegetation.

  • The Three Graces (  Les Trois Grâces ) A 1.19 metres high 2nd century Imperial Roman copy of a circa 330 BC Hellanistic Greek statue.  Found in the Villa Cornovaglia in Rome. Louvre Museum, Paris. Catalogue Number: Louvre Ma 287.<br />
The Three Graces are three nude females that in classic Hellanistic art they are depicted with two facing forward and the middle one facing away. The Three Graces, or Three Charities, of Greek mythology were Aglaia, Euphrosyne, and Thalia. They were the goddesses who symbolised joy, pleasure, grace, beauty, festivity, adornment, dance, and song. Daughters of Zeus and the sea-nymph Eurynome, they were also the attendants, or handmaidens, of Aphrodite and Hera and protectors of vegetation.

  • The Three Graces (  Les Trois Grâces ) A 1.19 metres high 2nd century Imperial Roman copy of a circa 330 BC Hellanistic Greek statue.  Found in the Villa Cornovaglia in Rome. Louvre Museum, Paris. Catalogue Number: Louvre Ma 287.<br />
The Three Graces are three nude females that in classic Hellanistic art they are depicted with two facing forward and the middle one facing away. The Three Graces, or Three Charities, of Greek mythology were Aglaia, Euphrosyne, and Thalia. They were the goddesses who symbolised joy, pleasure, grace, beauty, festivity, adornment, dance, and song. Daughters of Zeus and the sea-nymph Eurynome, they were also the attendants, or handmaidens, of Aphrodite and Hera and protectors of vegetation.

  • Roman decoration panels that covered the end of the beams from a Roman ship, from the age of Calligula, 37-41 AD, made from bronze. The forearms were used to ward off evil the extended gesture was meant to keep danger away.  The National Roman Museum, Rome, Italy
  • The Three Graces (  Les Trois Grâces ) A 1.19 metres high 2nd century Imperial Roman copy of a circa 330 BC Hellanistic Greek statue.  Found in the Villa Cornovaglia in Rome. Louvre Museum, Paris. Catalogue Number: Louvre Ma 287.<br />
The Three Graces are three nude females that in classic Hellanistic art they are depicted with two facing forward and the middle one facing away. The Three Graces, or Three Charities, of Greek mythology were Aglaia, Euphrosyne, and Thalia. They were the goddesses who symbolised joy, pleasure, grace, beauty, festivity, adornment, dance, and song. Daughters of Zeus and the sea-nymph Eurynome, they were also the attendants, or handmaidens, of Aphrodite and Hera and protectors of vegetation.

  • The Three Graces (  Les Trois Grâces ) A 1.19 metres high 2nd century Imperial Roman copy of a circa 330 BC Hellanistic Greek statue.  Found in the Villa Cornovaglia in Rome. Louvre Museum, Paris. Catalogue Number: Louvre Ma 287.<br />
The Three Graces are three nude females that in classic Hellanistic art they are depicted with two facing forward and the middle one facing away. The Three Graces, or Three Charities, of Greek mythology were Aglaia, Euphrosyne, and Thalia. They were the goddesses who symbolised joy, pleasure, grace, beauty, festivity, adornment, dance, and song. Daughters of Zeus and the sea-nymph Eurynome, they were also the attendants, or handmaidens, of Aphrodite and Hera and protectors of vegetation.

  • Gothic painted Panel Altarpiece of Saint Barbara by Goncal Peris Sarria. Tempera and gold leaf on wood. Date Circa 1410-1425. Dimesions 278 x 207.7 x 17 cm. At the beginning of the 20th century, the altarpiece was kept in the parish church of Puertomingalvo (Teruel), but it could originally have come from the chapel of Santa Bárbara near this town. This altarpiece is attributed to the painter Gonçal Peris Sarrià, one of the chief representatives of Valencian International Gothic. His style is marked by expressive and picturesque elements, the flowing line and the charm of the colour. The main compartment of the altarpiece represents the titular saint with her distinctive attributes –the tower, in allusion to her imprisonment, and the palm, as she is considered a martyr-- and above her the Calvary. On either side are depicted various episodes from the life of Saint Barbara, who was called on to keep away lightning and storms. . National Museum of Catalan Art, Barcelona, Spain, inv no: 035672-CJT
  • Gothic painted Panel Altarpiece of Saint Barbara by Goncal Peris Sarria. Tempera and gold leaf on wood. Date Circa 1410-1425. Dimesions 278 x 207.7 x 17 cm. At the beginning of the 20th century, the altarpiece was kept in the parish church of Puertomingalvo (Teruel), but it could originally have come from the chapel of Santa Bárbara near this town. This altarpiece is attributed to the painter Gonçal Peris Sarrià, one of the chief representatives of Valencian International Gothic. His style is marked by expressive and picturesque elements, the flowing line and the charm of the colour. The main compartment of the altarpiece represents the titular saint with her distinctive attributes –the tower, in allusion to her imprisonment, and the palm, as she is considered a martyr-- and above her the Calvary. On either side are depicted various episodes from the life of Saint Barbara, who was called on to keep away lightning and storms. . National Museum of Catalan Art, Barcelona, Spain, inv no: 035672-CJT
  • Medieval stained glass Window of the Gothic Cathedral of Chartres, France - dedicated to the life of Eustace . Central panel shows act 2 ?the Tragedy and Exile? , central diamond -   The sailors kidnap Eustace's wife, casting him overboard , below left - possibly Eustace negotiating passage to Egypt, below right Eustace and his family board a boat to Egypt . Above left - Before Eustace can reach land, a lion snatches away his eldest son, above right -  Shepherds rescue Eustace's younger son from the jaws of a wolf. A UNESCO World Heritage Site.
  • The Hellenistic temple fronted Tombs of Kaunos,  4th - 2nd cent. B.C , just outside the archaeological site of Kounos on the oposite side of the Calbys river from Dalyan, Turkey. Kaunos is on the border of Lycia & Caria and the Kaunos rock tombs differ slightly form Lycian tombs in that the rock surrounding them has been carved away to maje almost free standing temple buildings.
  • The Hellenistic temple fronted Tombs of Kaunos,  4th - 2nd cent. B.C , just outside the archaeological site of Kounos on the oposite side of the Calbys river from Dalyan, Turkey. Kaunos is on the border of Lycia & Caria and the Kaunos rock tombs differ slightly form Lycian tombs in that the rock surrounding them has been carved away to maje almost free standing temple buildings.
  • The Hellenistic temple fronted Tombs of Kaunos,  4th - 2nd cent. B.C , just outside the archaeological site of Kounos on the oposite side of the Calbys river from Dalyan, Turkey. Kaunos is on the border of Lycia & Caria and the Kaunos rock tombs differ slightly form Lycian tombs in that the rock surrounding them has been carved away to maje almost free standing temple buildings.
  • The Hellenistic temple fronted Tombs of Kaunos,  4th - 2nd cent. B.C , just outside the archaeological site of Kounos on the oposite side of the Calbys river from Dalyan, Turkey. Kaunos is on the border of Lycia & Caria and the Kaunos rock tombs differ slightly form Lycian tombs in that the rock surrounding them has been carved away to maje almost free standing temple buildings.
  • The Hellenistic temple fronted Tombs of Kaunos,  4th - 2nd cent. B.C , just outside the archaeological site of Kounos on the oposite side of the Calbys river from Dalyan, Turkey. Kaunos is on the border of Lycia & Caria and the Kaunos rock tombs differ slightly form Lycian tombs in that the rock surrounding them has been carved away to maje almost free standing temple buildings.
  • The Hellenistic temple fronted Tombs of Kaunos,  4th - 2nd cent. B.C , just outside the archaeological site of Kounos on the oposite side of the Calbys river from Dalyan, Turkey. Kaunos is on the border of Lycia & Caria and the Kaunos rock tombs differ slightly form Lycian tombs in that the rock surrounding them has been carved away to maje almost free standing temple buildings.
  • The Hellenistic temple fronted Tombs of Kaunos,  4th - 2nd cent. B.C , just outside the archaeological site of Kounos on the oposite side of the Calbys river from Dalyan, Turkey. Kaunos is on the border of Lycia & Caria and the Kaunos rock tombs differ slightly form Lycian tombs in that the rock surrounding them has been carved away to maje almost free standing temple buildings.
  • The Hellenistic temple fronted Tombs of Kaunos,  4th - 2nd cent. B.C , just outside the archaeological site of Kounos on the oposite side of the Calbys river from Dalyan, Turkey. Kaunos is on the border of Lycia & Caria and the Kaunos rock tombs differ slightly form Lycian tombs in that the rock surrounding them has been carved away to maje almost free standing temple buildings.
  • The Hellenistic temple fronted Tombs of Kaunos,  4th - 2nd cent. B.C , just outside the archaeological site of Kounos on the oposite side of the Calbys river from Dalyan, Turkey. Kaunos is on the border of Lycia & Caria and the Kaunos rock tombs differ slightly form Lycian tombs in that the rock surrounding them has been carved away to maje almost free standing temple buildings.
  • The Hellenistic temple fronted Tombs of Kaunos,  4th - 2nd cent. B.C , just outside the archaeological site of Kounos on the oposite side of the Calbys river from Dalyan, Turkey. Kaunos is on the border of Lycia & Caria and the Kaunos rock tombs differ slightly form Lycian tombs in that the rock surrounding them has been carved away to maje almost free standing temple buildings.
  • The Hellenistic temple fronted Tombs of Kaunos,  4th - 2nd cent. B.C , just outside the archaeological site of Kounos on the oposite side of the Calbys river from Dalyan, Turkey. Kaunos is on the border of Lycia & Caria and the Kaunos rock tombs differ slightly form Lycian tombs in that the rock surrounding them has been carved away to maje almost free standing temple buildings.
  • The Hellenistic temple fronted Tombs of Kaunos,  4th - 2nd cent. B.C , just outside the archaeological site of Kounos on the oposite side of the Calbys river from Dalyan, Turkey. Kaunos is on the border of Lycia & Caria and the Kaunos rock tombs differ slightly form Lycian tombs in that the rock surrounding them has been carved away to maje almost free standing temple buildings.
  • The Hellenistic temple fronted Tombs of Kaunos,  4th - 2nd cent. B.C , just outside the archaeological site of Kounos on the oposite side of the Calbys river from Dalyan, Turkey. Kaunos is on the border of Lycia & Caria and the Kaunos rock tombs differ slightly form Lycian tombs in that the rock surrounding them has been carved away to maje almost free standing temple buildings.
  • The Hellenistic temple fronted Tombs of Kaunos,  4th - 2nd cent. B.C , just outside the archaeological site of Kounos on the oposite side of the Calbys river from Dalyan, Turkey. Kaunos is on the border of Lycia & Caria and the Kaunos rock tombs differ slightly form Lycian tombs in that the rock surrounding them has been carved away to maje almost free standing temple buildings.
  • The Hellenistic temple fronted Tombs of Kaunos,  4th - 2nd cent. B.C , just outside the archaeological site of Kounos on the oposite side of the Calbys river from Dalyan, Turkey. Kaunos is on the border of Lycia & Caria and the Kaunos rock tombs differ slightly form Lycian tombs in that the rock surrounding them has been carved away to maje almost free standing temple buildings.
  • The Hellenistic temple fronted Tombs of Kaunos,  4th - 2nd cent. B.C , just outside the archaeological site of Kounos on the oposite side of the Calbys river from Dalyan, Turkey. Kaunos is on the border of Lycia & Caria and the Kaunos rock tombs differ slightly form Lycian tombs in that the rock surrounding them has been carved away to maje almost free standing temple buildings.
  • The Hellenistic temple fronted Tombs of Kaunos,  4th - 2nd cent. B.C , just outside the archaeological site of Kounos on the oposite side of the Calbys river from Dalyan, Turkey. Kaunos is on the border of Lycia & Caria and the Kaunos rock tombs differ slightly form Lycian tombs in that the rock surrounding them has been carved away to maje almost free standing temple buildings.
  • The Hellenistic temple fronted Tombs of Kaunos,  4th - 2nd cent. B.C , just outside the archaeological site of Kounos on the oposite side of the Calbys river from Dalyan, Turkey. Kaunos is on the border of Lycia & Caria and the Kaunos rock tombs differ slightly form Lycian tombs in that the rock surrounding them has been carved away to maje almost free standing temple buildings.
  • The Hellenistic temple fronted Tombs of Kaunos,  4th - 2nd cent. B.C , just outside the archaeological site of Kounos on the oposite side of the Calbys river from Dalyan, Turkey. Kaunos is on the border of Lycia & Caria and the Kaunos rock tombs differ slightly form Lycian tombs in that the rock surrounding them has been carved away to maje almost free standing temple buildings.
  • The Hellenistic temple fronted Tombs of Kaunos,  4th - 2nd cent. B.C , just outside the archaeological site of Kounos on the oposite side of the Calbys river from Dalyan, Turkey. Kaunos is on the border of Lycia & Caria and the Kaunos rock tombs differ slightly form Lycian tombs in that the rock surrounding them has been carved away to maje almost free standing temple buildings.
  • The Hellenistic temple fronted Tombs of Kaunos,  4th - 2nd cent. B.C , just outside the archaeological site of Kounos on the oposite side of the Calbys river from Dalyan, Turkey. Kaunos is on the border of Lycia & Caria and the Kaunos rock tombs differ slightly form Lycian tombs in that the rock surrounding them has been carved away to maje almost free standing temple buildings.
  • The Hellenistic temple fronted Tombs of Kaunos,  4th - 2nd cent. B.C , just outside the archaeological site of Kounos on the oposite side of the Calbys river from Dalyan, Turkey. Kaunos is on the border of Lycia & Caria and the Kaunos rock tombs differ slightly form Lycian tombs in that the rock surrounding them has been carved away to maje almost free standing temple buildings.
  • The Hellenistic temple fronted Tombs of Kaunos,  4th - 2nd cent. B.C , just outside the archaeological site of Kounos on the oposite side of the Calbys river from Dalyan, Turkey. Kaunos is on the border of Lycia & Caria and the Kaunos rock tombs differ slightly form Lycian tombs in that the rock surrounding them has been carved away to maje almost free standing temple buildings.
  • The Hellenistic temple fronted Tombs of Kaunos,  4th - 2nd cent. B.C , just outside the archaeological site of Kounos on the oposite side of the Calbys river from Dalyan, Turkey. Kaunos is on the border of Lycia & Caria and the Kaunos rock tombs differ slightly form Lycian tombs in that the rock surrounding them has been carved away to maje almost free standing temple buildings.
  • The Hellenistic temple fronted Tombs of Kaunos,  4th - 2nd cent. B.C , just outside the archaeological site of Kounos on the oposite side of the Calbys river from Dalyan, Turkey. Kaunos is on the border of Lycia & Caria and the Kaunos rock tombs differ slightly form Lycian tombs in that the rock surrounding them has been carved away to maje almost free standing temple buildings.
  • The Hellenistic temple fronted Tombs of Kaunos,  4th - 2nd cent. B.C , just outside the archaeological site of Kounos on the oposite side of the Calbys river from Dalyan, Turkey. Kaunos is on the border of Lycia & Caria and the Kaunos rock tombs differ slightly form Lycian tombs in that the rock surrounding them has been carved away to maje almost free standing temple buildings.
  • The Hellenistic temple fronted Tombs of Kaunos,  4th - 2nd cent. B.C , just outside the archaeological site of Kounos on the oposite side of the Calbys river from Dalyan, Turkey. Kaunos is on the border of Lycia & Caria and the Kaunos rock tombs differ slightly form Lycian tombs in that the rock surrounding them has been carved away to maje almost free standing temple buildings.
  • The Hellenistic temple fronted Tombs of Kaunos,  4th - 2nd cent. B.C , just outside the archaeological site of Kounos on the oposite side of the Calbys river from Dalyan, Turkey. Kaunos is on the border of Lycia & Caria and the Kaunos rock tombs differ slightly form Lycian tombs in that the rock surrounding them has been carved away to maje almost free standing temple buildings.
  • The Hellenistic temple fronted Tombs of Kaunos,  4th - 2nd cent. B.C , just outside the archaeological site of Kounos on the oposite side of the Calbys river from Dalyan, Turkey. Kaunos is on the border of Lycia & Caria and the Kaunos rock tombs differ slightly form Lycian tombs in that the rock surrounding them has been carved away to maje almost free standing temple buildings.
  • The Hellenistic temple fronted Tombs of Kaunos,  4th - 2nd cent. B.C , just outside the archaeological site of Kounos on the oposite side of the Calbys river from Dalyan, Turkey. Kaunos is on the border of Lycia & Caria and the Kaunos rock tombs differ slightly form Lycian tombs in that the rock surrounding them has been carved away to maje almost free standing temple buildings.
  • The Hellenistic temple fronted Tombs of Kaunos,  4th - 2nd cent. B.C , just outside the archaeological site of Kounos on the oposite side of the Calbys river from Dalyan, Turkey. Kaunos is on the border of Lycia & Caria and the Kaunos rock tombs differ slightly form Lycian tombs in that the rock surrounding them has been carved away to maje almost free standing temple buildings.
  • The Hellenistic temple fronted Tombs of Kaunos,  4th - 2nd cent. B.C , just outside the archaeological site of Kounos on the oposite side of the Calbys river from Dalyan, Turkey. Kaunos is on the border of Lycia & Caria and the Kaunos rock tombs differ slightly form Lycian tombs in that the rock surrounding them has been carved away to maje almost free standing temple buildings.
  • The Hellenistic temple fronted Tombs of Kaunos,  4th - 2nd cent. B.C , just outside the archaeological site of Kounos on the oposite side of the Calbys river from Dalyan, Turkey. Kaunos is on the border of Lycia & Caria and the Kaunos rock tombs differ slightly form Lycian tombs in that the rock surrounding them has been carved away to maje almost free standing temple buildings.
  • The Hellenistic temple fronted Tombs of Kaunos,  4th - 2nd cent. B.C , just outside the archaeological site of Kounos on the oposite side of the Calbys river from Dalyan, Turkey. Kaunos is on the border of Lycia & Caria and the Kaunos rock tombs differ slightly form Lycian tombs in that the rock surrounding them has been carved away to maje almost free standing temple buildings.
  • The Hellenistic temple fronted Tombs of Kaunos,  4th - 2nd cent. B.C , just outside the archaeological site of Kounos on the oposite side of the Calbys river from Dalyan, Turkey. Kaunos is on the border of Lycia & Caria and the Kaunos rock tombs differ slightly form Lycian tombs in that the rock surrounding them has been carved away to maje almost free standing temple buildings.
  • The Hellenistic temple fronted Tombs of Kaunos,  4th - 2nd cent. B.C , just outside the archaeological site of Kounos on the oposite side of the Calbys river from Dalyan, Turkey. Kaunos is on the border of Lycia & Caria and the Kaunos rock tombs differ slightly form Lycian tombs in that the rock surrounding them has been carved away to maje almost free standing temple buildings.
  • The Hellenistic temple fronted Tombs of Kaunos,  4th - 2nd cent. B.C , just outside the archaeological site of Kounos on the oposite side of the Calbys river from Dalyan, Turkey. Kaunos is on the border of Lycia & Caria and the Kaunos rock tombs differ slightly form Lycian tombs in that the rock surrounding them has been carved away to maje almost free standing temple buildings.
  • The Hellenistic temple fronted Tombs of Kaunos,  4th - 2nd cent. B.C , just outside the archaeological site of Kounos on the oposite side of the Calbys river from Dalyan, Turkey. Kaunos is on the border of Lycia & Caria and the Kaunos rock tombs differ slightly form Lycian tombs in that the rock surrounding them has been carved away to maje almost free standing temple buildings.
  • The Hellenistic temple fronted Tombs of Kaunos,  4th - 2nd cent. B.C , just outside the archaeological site of Kounos on the oposite side of the Calbys river from Dalyan, Turkey. Kaunos is on the border of Lycia & Caria and the Kaunos rock tombs differ slightly form Lycian tombs in that the rock surrounding them has been carved away to maje almost free standing temple buildings.
  • The Hellenistic temple fronted Tombs of Kaunos,  4th - 2nd cent. B.C , just outside the archaeological site of Kounos on the oposite side of the Calbys river from Dalyan, Turkey. Kaunos is on the border of Lycia & Caria and the Kaunos rock tombs differ slightly form Lycian tombs in that the rock surrounding them has been carved away to maje almost free standing temple buildings.
  • The Hellenistic temple fronted Tombs of Kaunos,  4th - 2nd cent. B.C , just outside the archaeological site of Kounos on the oposite side of the Calbys river from Dalyan, Turkey. Kaunos is on the border of Lycia & Caria and the Kaunos rock tombs differ slightly form Lycian tombs in that the rock surrounding them has been carved away to maje almost free standing temple buildings.
  • The Hellenistic temple fronted Tombs of Kaunos,  4th - 2nd cent. B.C , just outside the archaeological site of Kounos on the oposite side of the Calbys river from Dalyan, Turkey. Kaunos is on the border of Lycia & Caria and the Kaunos rock tombs differ slightly form Lycian tombs in that the rock surrounding them has been carved away to maje almost free standing temple buildings.
  • The Hellenistic temple fronted Tombs of Kaunos,  4th - 2nd cent. B.C , just outside the archaeological site of Kounos on the oposite side of the Calbys river from Dalyan, Turkey. Kaunos is on the border of Lycia & Caria and the Kaunos rock tombs differ slightly form Lycian tombs in that the rock surrounding them has been carved away to maje almost free standing temple buildings.
  • The Hellenistic temple fronted Tombs of Kaunos,  4th - 2nd cent. B.C , just outside the archaeological site of Kounos on the oposite side of the Calbys river from Dalyan, Turkey. Kaunos is on the border of Lycia & Caria and the Kaunos rock tombs differ slightly form Lycian tombs in that the rock surrounding them has been carved away to maje almost free standing temple buildings.
  • The Hellenistic temple fronted Tombs of Kaunos,  4th - 2nd cent. B.C , just outside the archaeological site of Kounos on the oposite side of the Calbys river from Dalyan, Turkey. Kaunos is on the border of Lycia & Caria and the Kaunos rock tombs differ slightly form Lycian tombs in that the rock surrounding them has been carved away to maje almost free standing temple buildings.
  • The Hellenistic temple fronted Tombs of Kaunos,  4th - 2nd cent. B.C , just outside the archaeological site of Kounos on the oposite side of the Calbys river from Dalyan, Turkey. Kaunos is on the border of Lycia & Caria and the Kaunos rock tombs differ slightly form Lycian tombs in that the rock surrounding them has been carved away to maje almost free standing temple buildings.
  • The Hellenistic temple fronted Tombs of Kaunos,  4th - 2nd cent. B.C , just outside the archaeological site of Kounos on the oposite side of the Calbys river from Dalyan, Turkey. Kaunos is on the border of Lycia & Caria and the Kaunos rock tombs differ slightly form Lycian tombs in that the rock surrounding them has been carved away to maje almost free standing temple buildings.
  • The Hellenistic temple fronted Tombs of Kaunos,  4th - 2nd cent. B.C , just outside the archaeological site of Kounos on the oposite side of the Calbys river from Dalyan, Turkey. Kaunos is on the border of Lycia & Caria and the Kaunos rock tombs differ slightly form Lycian tombs in that the rock surrounding them has been carved away to maje almost free standing temple buildings.

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