• Deep fried camembert
  • Chinese breaded and battered deep fried tiger prawns
  • Deep fried Camembert in bread crumbs with cranberry sauce
  • Deep fried camembert in bread crumbs with salad
  • Deep fried camembert in bread crumbs with salad
  • Deep fried camembert in bread crumbs with salad
  • Deep fried camembert in bread crumbs with salad
  • chinese starters - deep fried breaded prawns. spring rolls, dim sum, and samosas
  • chinese starters - deep fried breaded prawns. spring rolls, dim sum, and samosas
  • chinese starters - deep fried breaded prawns. spring rolls, dim sum, and samosas
  • chinese starters - deep fried breaded prawns. spring rolls, dim sum, and samosas
  • chinese starters - deep fried breaded prawns. spring rolls, dim sum, and samosas
  • chinese starters - deep fried breaded prawns. spring rolls, dim sum, and samosas
  • chinese starters - deep fried breaded prawns. spring rolls, dim sum, and samosas
  • Deep Fried battered onion rings with a chilli sauce & salad
  • Schilthorn Berneses Alps Switzerland - View
  • Traditional barbecue Chicken wings
  • Chicken nuggets in an American diner
  • Chicken nuggets in an American diner
  • Barbecue chicken  in an American diner
  • Jungfrau from Kleine Scheidegg - Grindelwald Switzerland
  • Jungfrau from Kleine Scheidegg - Grindelwald Switzerland
  • Jungfrau from Kleine Scheidegg - Grindelwald Switzerland
  • Jungfrau from Kleine Scheidegg - Grindelwald Switzerland
  • Jungfrau from Kleine Scheidegg - Grindelwald Switzerland
  • Jungfrau from Kleine Scheidegg - Grindelwald Switzerland
  • Jungfrau from Kleine Scheidegg - Grindelwald Switzerland
  • Jungfrau from Kleine Scheidegg - Grindelwald Switzerland
  • Jungfrau Glaciers  - Bernese Oberland Alps - Switzerland
  • Schilthorn Berneses Alps Switzerland - Climbers & Walkers
  • Schilthorn Berneses Alps Switzerland - View
  • Schilthorn Berneses Alps Switzerland - View
  • Jungfrau Summit in snow  - Bernese Oberland Alps - Switzerland
  • Jungfrau Glaciers in snow  - Bernese Oberland Alps - Switzerland
  • Jungfraujoch Top Of Europe - Bernese Oberland Alps - Switzerland
  • Jungfrau Summit in snow  - Bernese Oberland Alps - Switzerland
  • Jungfrau Summit in snow  - Bernese Oberland Alps - Switzerland
  • Eiger Summit in snow  - Bernese Oberland Alps - Switzerland
  • Jungfrau Summit in snow  - Bernese Oberland Alps - Switzerland
  • Eiger Summit in snow  - Bernese Oberland Alps - Switzerland
  • Eiger Summit in snow  - Bernese Oberland Alps - Switzerland
  • Eiger Summit in snow  - Bernese Oberland Alps - Switzerland
  • Eiger Summit in snow  - Bernese Oberland Alps - Switzerland
  • Eiger Summit in snow  - Bernese Oberland Alps - Switzerland
  • Eiger Summit in snow  - Bernese Oberland Alps - Switzerland
  • Jungfrau Summit in snow  - Bernese Oberland Alps - Switzerland
  • Jungfrau Glaciers  - Bernese Oberland Alps - Switzerland
  • Jungfrau Glaciers  - Bernese Oberland Alps - Switzerland
  • Jungfrau Glaciers  - Bernese Oberland Alps - Switzerland
  • Jungfrau Glaciers  - Bernese Oberland Alps - Switzerland
  • Jungfrau Summit in snow  - Bernese Oberland Alps - Switzerland
  • Jungfrau Glaciers  - Bernese Oberland Alps - Switzerland
  • Jungfrau Glaciers  - Bernese Oberland Alps - Switzerland
  • Jungfrau Glaciers  - Bernese Oberland Alps - Switzerland
  • Jungfrau Summit in snow  - Bernese Oberland Alps - Switzerland
  • Oriental selection with bread coated and battered prawns, spring rolls,  dim sum & samosas with a chilli  dipping sauce
  • Oriental selection with bread coated and battered prawns with a chilli  dipping sauce
  • Oriental selection with dim sum,  spring rollswith chicken & vegetables and vegetable samosas with a chilli  dipping sauce
  • Oriental selection with dim sum,  spring rollswith chicken & vegetables and vegetable samosas with a chilli  dipping sauce
  • Oriental dim sum with chicken &vegetables with a hoisin dipping sauce
  • Oriental spring rolls filled with chicken &b vegetables with a chilli dipping sauce
  • Traditional chinese samosas
  • Traditional chinese samosas
  • Traditional chinese samosas
  • Traditional chinese samosas
  • Traditional chinese spring rolls
  • Traditional chinese spring rolls
  • Traditional chinese spring rolls
  • Traditional chinese dim sum with a chilli dipping sauce
  • Traditional chinese dim sum with a chilli dipping sauce
  • Traditional chinese dim sum with a chilli dipping sauce
  • Traditional chinese Spring rolls, samosas and dim sum
  • Traditional chinese Spring rolls, samosas and dim sum
  • upright close up of a jam donut broken in half with fruit jam pouring out
  • Pictures & Images of the Tortum Water Falls, Coruh Valley, Erzurum in the Eastern Anatolia, Turkey.<br />
<br />
The Tortum water falls are the largest in turkey with a drop of 164 feet (50 m) and 15 meters wide. Geologists believe they were formed in the Quaternary period by a massive landslide which blocked the deep steep sided Tortum Valley. This resulted in the formation of Tortum Lake which is 8 km long, 1 km wide and 100 meters deep.
  • Pictures & Images of the Tortum Water Falls, Coruh Valley, Erzurum in the Eastern Anatolia, Turkey.<br />
<br />
The Tortum water falls are the largest in turkey with a drop of 164 feet (50 m) and 15 meters wide. Geologists believe they were formed in the Quaternary period by a massive landslide which blocked the deep steep sided Tortum Valley. This resulted in the formation of Tortum Lake which is 8 km long, 1 km wide and 100 meters deep.
  • Pictures & Images of the Tortum Water Falls, Coruh Valley, Erzurum in the Eastern Anatolia, Turkey.<br />
<br />
The Tortum water falls are the largest in turkey with a drop of 164 feet (50 m) and 15 meters wide. Geologists believe they were formed in the Quaternary period by a massive landslide which blocked the deep steep sided Tortum Valley. This resulted in the formation of Tortum Lake which is 8 km long, 1 km wide and 100 meters deep.
  • Pictures & Images of the Tortum Water Falls, Coruh Valley, Erzurum in the Eastern Anatolia, Turkey.<br />
<br />
The Tortum water falls are the largest in turkey with a drop of 164 feet (50 m) and 15 meters wide. Geologists believe they were formed in the Quaternary period by a massive landslide which blocked the deep steep sided Tortum Valley. This resulted in the formation of Tortum Lake which is 8 km long, 1 km wide and 100 meters deep.
  • Pictures & Images of the Tortum Water Falls, Coruh Valley, Erzurum in the Eastern Anatolia, Turkey.<br />
<br />
The Tortum water falls are the largest in turkey with a drop of 164 feet (50 m) and 15 meters wide. Geologists believe they were formed in the Quaternary period by a massive landslide which blocked the deep steep sided Tortum Valley. This resulted in the formation of Tortum Lake which is 8 km long, 1 km wide and 100 meters deep.
  • Pictures & Images of the Tortum Water Falls, Coruh Valley, Erzurum in the Eastern Anatolia, Turkey.<br />
<br />
The Tortum water falls are the largest in turkey with a drop of 164 feet (50 m) and 15 meters wide. Geologists believe they were formed in the Quaternary period by a massive landslide which blocked the deep steep sided Tortum Valley. This resulted in the formation of Tortum Lake which is 8 km long, 1 km wide and 100 meters deep.
  • Pictures & Images of the Tortum Water Falls, Coruh Valley, Erzurum in the Eastern Anatolia, Turkey.<br />
<br />
The Tortum water falls are the largest in turkey with a drop of 164 feet (50 m) and 15 meters wide. Geologists believe they were formed in the Quaternary period by a massive landslide which blocked the deep steep sided Tortum Valley. This resulted in the formation of Tortum Lake which is 8 km long, 1 km wide and 100 meters deep.
  • Pictures & Images of the Tortum Water Falls, Coruh Valley, Erzurum in the Eastern Anatolia, Turkey.<br />
<br />
The Tortum water falls are the largest in turkey with a drop of 164 feet (50 m) and 15 meters wide. Geologists believe they were formed in the Quaternary period by a massive landslide which blocked the deep steep sided Tortum Valley. This resulted in the formation of Tortum Lake which is 8 km long, 1 km wide and 100 meters deep.
  • steps amd paths leading to the Phrygian water cistern of Midas city cut deep into the underground rock. 8th - 6th century BC . Midas City, Yazilikaya, Eskisehir, Turkey.
  • steps amd paths leading to the Phrygian water cistern of Midas city cut deep into the underground rock. 8th - 6th century BC . Midas City, Yazilikaya, Eskisehir, Turkey.
  • steps amd paths leading to the Phrygian water cistern of Midas city cut deep into the underground rock. 8th - 6th century BC . Midas City, Yazilikaya, Eskisehir, Turkey.
  • 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.
  • looking up hill of the south area across square Neolithic remains of mud brick houses walls. In the centre it can be seen how deep the excavation has gone so far. The sand bags proetct the highest mud brick walls in this area. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • looking up hill of the south area across square Neolithic remains of mud brick houses walls. In the centre it can be seen how deep the excavation has gone so far. The sand bags proetct the highest mud brick walls in this area. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • looking up hill of the south area across square Neolithic remains of mud brick houses walls. In the centre it can be seen how deep the excavation has gone so far. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • looking across the south area across the Neolithic remains of mud brick houses walls. In the centre it can be seen how deep the excavation has gone so far. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • looking down from the highest point of the south area across the Neolithic remains of mud brick houses walls. In the centre it can be seen how deep the excavation has gone so far. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • looking down from the highest point of the south area across the Neolithic remains of mud brick houses walls. In the centre it can be seen how deep the excavation has gone so far. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • looking down from the highest point of the south area across the Neolithic remains of mud brick houses walls. In the centre it can be seen how deep the excavation has gone so far. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • looking down from the highest point of the south area across the Neolithic remains of mud brick houses walls. In the centre it can be seen how deep the excavation has gone so far. 7500 BC to 5700 BC. Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • looking down from the highest point of the south area across the Neolithic remains of mud brick houses walls. In the centre it can be seen how deep the excavation has gone so far. 7500 BC to 5700 BC. Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • Detail of the Roman fresco wall painting of a Dionysus accompanied by Silenius and two cupids finds Ariadne in a deep sleep, he takes her to Olympus and marries her so giving her immortality ,Pompeii House of the Tragic Poet, inv 9271, Naples National Archaeological Museum,
  • Roman fresco wall painting of Dionysus who, with the aid of a cupid, discovers Ariadne in a deep sleep at the foot of Hypnos, Pompeii VI 14,30, inv 111210, Naples National Archaeological Museum
  • The Broch of Gurness is a rare example of a well preserved brooch village. Dating from 500 to 200BC the central round tower probably reached 10 meters. This was surrounded by thatched roofed houses. The settlement was surrounded by walls and two deep ditches. Gurness was probably the most important settlement on Orkney 2000 years ago. Mainland Orkney, Scotland.
  • The Broch of Gurness is a rare example of a well preserved brooch village. Dating from 500 to 200BC the central round tower probably reached 10 meters. This was surrounded by thatched roofed houses. The settlement was surrounded by walls and two deep ditches. Gurness was probably the most important settlement on Orkney 2000 years ago. Mainland Orkney, Scotland.
  • The Broch of Gurness is a rare example of a well preserved brooch village. Dating from 500 to 200BC the central round tower probably reached 10 meters. This was surrounded by thatched roofed houses. The settlement was surrounded by walls and two deep ditches. Gurness was probably the most important settlement on Orkney 2000 years ago. Mainland Orkney, Scotland.
  • The Broch of Gurness is a rare example of a well preserved brooch village. Dating from 500 to 200BC the central round tower probably reached 10 meters. This was surrounded by thatched roofed houses. The settlement was surrounded by walls and two deep ditches. Gurness was probably the most important settlement on Orkney 2000 years ago. Mainland Orkney, Scotland.
  • The Broch of Gurness is a rare example of a well preserved brooch village. Dating from 500 to 200BC the central round tower probably reached 10 meters. This was surrounded by thatched roofed houses. The settlement was surrounded by walls and two deep ditches. Gurness was probably the most important settlement on Orkney 2000 years ago. Mainland Orkney, Scotland.
  • The Broch of Gurness is a rare example of a well preserved brooch village. Dating from 500 to 200BC the central round tower probably reached 10 meters. This was surrounded by thatched roofed houses. The settlement was surrounded by walls and two deep ditches. Gurness was probably the most important settlement on Orkney 2000 years ago. Mainland Orkney, Scotland.
  • The Broch of Gurness is a rare example of a well preserved brooch village. Dating from 500 to 200BC the central round tower probably reached 10 meters. This was surrounded by thatched roofed houses. The settlement was surrounded by walls and two deep ditches. Gurness was probably the most important settlement on Orkney 2000 years ago. Mainland Orkney, Scotland.
  • The Broch of Gurness is a rare example of a well preserved brooch village. Dating from 500 to 200BC the central round tower probably reached 10 meters. This was surrounded by thatched roofed houses. The settlement was surrounded by walls and two deep ditches. Gurness was probably the most important settlement on Orkney 2000 years ago. Mainland Orkney, Scotland.
  • The Broch of Gurness is a rare example of a well preserved brooch village. Dating from 500 to 200BC the central round tower probably reached 10 meters. This was surrounded by thatched roofed houses. The settlement was surrounded by walls and two deep ditches. Gurness was probably the most important settlement on Orkney 2000 years ago. Mainland Orkney, Scotland.
  • The Broch of Gurness is a rare example of a well preserved brooch village. Dating from 500 to 200BC the central round tower probably reached 10 meters. This was surrounded by thatched roofed houses. The settlement was surrounded by walls and two deep ditches. Gurness was probably the most important settlement on Orkney 2000 years ago. Mainland Orkney, Scotland.
  • The Broch of Gurness is a rare example of a well preserved brooch village. Dating from 500 to 200BC the central round tower probably reached 10 meters. This was surrounded by thatched roofed houses. The settlement was surrounded by walls and two deep ditches. Gurness was probably the most important settlement on Orkney 2000 years ago. Mainland Orkney, Scotland.
  • The Broch of Gurness is a rare example of a well preserved brooch village. Dating from 500 to 200BC the central round tower probably reached 10 meters. This was surrounded by thatched roofed houses. The settlement was surrounded by walls and two deep ditches. Gurness was probably the most important settlement on Orkney 2000 years ago. Mainland Orkney, Scotland.
  • The Broch of Gurness is a rare example of a well preserved brooch village. Dating from 500 to 200BC the central round tower probably reached 10 meters. This was surrounded by thatched roofed houses. The settlement was surrounded by walls and two deep ditches. Gurness was probably the most important settlement on Orkney 2000 years ago. Mainland Orkney, Scotland.
  • Gypsum, schist, shells and lapis lazuli statue of Ebih-Il, early Dynastic; Shakkanakku (military governor) of the ancient city-state of Mari in present day eastern Syria, dating from circa 2340 BC or from the Akkadian period of rule Circa 2250 BC.. The statue carries a cuneiform inscription in Akkadian. Excavated from; the temple of Ishtar at Mari by André Parrot in 1934-1935 the statue measures; 52.5 cm (20.7 in) high; 20.6 cm (8.1 in) wide and 30 cm (11.8 in) deep. Department of Oriental Antiquities; Richelieu; ground floor; room 1b; inv AO 17551; Louvre Museum; Paris
  • Gypsum, schist, shells and lapis lazuli statue of Ebih-Il, early Dynastic; Shakkanakku (military governor) of the ancient city-state of Mari in present day eastern Syria, dating from circa 2340 BC or from the Akkadian period of rule Circa 2250 BC.. The statue carries a cuneiform inscription in Akkadian. Excavated from; the temple of Ishtar at Mari by André Parrot in 1934-1935 the statue measures; 52.5 cm (20.7 in) high; 20.6 cm (8.1 in) wide and 30 cm (11.8 in) deep. Department of Oriental Antiquities; Richelieu; ground floor; room 1b; inv AO 17551; Louvre Museum; Paris
  • Gypsum, schist, shells and lapis lazuli statue of Ebih-Il, early Dynastic; Shakkanakku (military governor) of the ancient city-state of Mari in present day eastern Syria, dating from circa 2340 BC or from the Akkadian period of rule Circa 2250 BC.. The statue carries a cuneiform inscription in Akkadian. Excavated from; the temple of Ishtar at Mari by André Parrot in 1934-1935 the statue measures; 52.5 cm (20.7 in) high; 20.6 cm (8.1 in) wide and 30 cm (11.8 in) deep. Department of Oriental Antiquities; Richelieu; ground floor; room 1b; inv AO 17551; Louvre Museum; Paris
  • Gypsum, schist, shells and lapis lazuli statue of Ebih-Il, early Dynastic; Shakkanakku (military governor) of the ancient city-state of Mari in present day eastern Syria, dating from circa 2340 BC or from the Akkadian period of rule Circa 2250 BC.. The statue carries a cuneiform inscription in Akkadian. Excavated from; the temple of Ishtar at Mari by André Parrot in 1934-1935 the statue measures; 52.5 cm (20.7 in) high; 20.6 cm (8.1 in) wide and 30 cm (11.8 in) deep. Department of Oriental Antiquities; Richelieu; ground floor; room 1b; inv AO 17551; Louvre Museum; Paris
  • Gypsum, schist, shells and lapis lazuli statue of Ebih-Il, early Dynastic; Shakkanakku (military governor) of the ancient city-state of Mari in present day eastern Syria, dating from circa 2340 BC or from the Akkadian period of rule Circa 2250 BC.. The statue carries a cuneiform inscription in Akkadian. Excavated from; the temple of Ishtar at Mari by André Parrot in 1934-1935 the statue measures; 52.5 cm (20.7 in) high; 20.6 cm (8.1 in) wide and 30 cm (11.8 in) deep. Department of Oriental Antiquities; Richelieu; ground floor; room 1b; inv AO 17551; Louvre Museum; Paris
  • Gypsum, schist, shells and lapis lazuli statue of Ebih-Il, early Dynastic; Shakkanakku (military governor) of the ancient city-state of Mari in present day eastern Syria, dating from circa 2340 BC or from the Akkadian period of rule Circa 2250 BC.. The statue carries a cuneiform inscription in Akkadian. Excavated from; the temple of Ishtar at Mari by André Parrot in 1934-1935 the statue measures; 52.5 cm (20.7 in) high; 20.6 cm (8.1 in) wide and 30 cm (11.8 in) deep. Department of Oriental Antiquities; Richelieu; ground floor; room 1b; inv AO 17551; Louvre Museum; Paris
  • Gypsum, schist, shells and lapis lazuli statue of Ebih-Il, early Dynastic; Shakkanakku (military governor) of the ancient city-state of Mari in present day eastern Syria, dating from circa 2340 BC or from the Akkadian period of rule Circa 2250 BC.. The statue carries a cuneiform inscription in Akkadian. Excavated from; the temple of Ishtar at Mari by André Parrot in 1934-1935 the statue measures; 52.5 cm (20.7 in) high; 20.6 cm (8.1 in) wide and 30 cm (11.8 in) deep. Department of Oriental Antiquities; Richelieu; ground floor; room 1b; inv AO 17551; Louvre Museum; Paris
  • Gypsum, schist, shells and lapis lazuli statue of Ebih-Il, early Dynastic; Shakkanakku (military governor) of the ancient city-state of Mari in present day eastern Syria, dating from circa 2340 BC or from the Akkadian period of rule Circa 2250 BC.. The statue carries a cuneiform inscription in Akkadian. Excavated from; the temple of Ishtar at Mari by André Parrot in 1934-1935 the statue measures; 52.5 cm (20.7 in) high; 20.6 cm (8.1 in) wide and 30 cm (11.8 in) deep. Department of Oriental Antiquities; Richelieu; ground floor; room 1b; inv AO 17551; Louvre Museum; Paris
  • Gypsum, schist, shells and lapis lazuli statue of Ebih-Il, early Dynastic; Shakkanakku (military governor) of the ancient city-state of Mari in present day eastern Syria, dating from circa 2340 BC or from the Akkadian period of rule Circa 2250 BC.. The statue carries a cuneiform inscription in Akkadian. Excavated from; the temple of Ishtar at Mari by André Parrot in 1934-1935 the statue measures; 52.5 cm (20.7 in) high; 20.6 cm (8.1 in) wide and 30 cm (11.8 in) deep. Department of Oriental Antiquities; Richelieu; ground floor; room 1b; inv AO 17551; Louvre Museum; Paris
  • Gypsum, schist, shells and lapis lazuli statue of Ebih-Il, early Dynastic; Shakkanakku (military governor) of the ancient city-state of Mari in present day eastern Syria, dating from circa 2340 BC or from the Akkadian period of rule Circa 2250 BC.. The statue carries a cuneiform inscription in Akkadian. Excavated from; the temple of Ishtar at Mari by André Parrot in 1934-1935 the statue measures; 52.5 cm (20.7 in) high; 20.6 cm (8.1 in) wide and 30 cm (11.8 in) deep. Department of Oriental Antiquities; Richelieu; ground floor; room 1b; inv AO 17551; Louvre Museum; Paris
  • Gypsum, schist, shells and lapis lazuli statue of Ebih-Il, early Dynastic; Shakkanakku (military governor) of the ancient city-state of Mari in present day eastern Syria, dating from circa 2340 BC or from the Akkadian period of rule Circa 2250 BC.. The statue carries a cuneiform inscription in Akkadian. Excavated from; the temple of Ishtar at Mari by André Parrot in 1934-1935 the statue measures; 52.5 cm (20.7 in) high; 20.6 cm (8.1 in) wide and 30 cm (11.8 in) deep. Department of Oriental Antiquities; Richelieu; ground floor; room 1b; inv AO 17551; Louvre Museum; Paris
  • Gypsum, schist, shells and lapis lazuli statue of Ebih-Il, early Dynastic; Shakkanakku (military governor) of the ancient city-state of Mari in present day eastern Syria, dating from circa 2340 BC or from the Akkadian period of rule Circa 2250 BC.. The statue carries a cuneiform inscription in Akkadian. Excavated from; the temple of Ishtar at Mari by André Parrot in 1934-1935 the statue measures; 52.5 cm (20.7 in) high; 20.6 cm (8.1 in) wide and 30 cm (11.8 in) deep. Department of Oriental Antiquities; Richelieu; ground floor; room 1b; inv AO 17551; Louvre Museum; Paris
  • Gypsum, schist, shells and lapis lazuli statue of Ebih-Il, early Dynastic; Shakkanakku (military governor) of the ancient city-state of Mari in present day eastern Syria, dating from circa 2340 BC or from the Akkadian period of rule Circa 2250 BC.. The statue carries a cuneiform inscription in Akkadian. Excavated from; the temple of Ishtar at Mari by André Parrot in 1934-1935 the statue measures; 52.5 cm (20.7 in) high; 20.6 cm (8.1 in) wide and 30 cm (11.8 in) deep. Department of Oriental Antiquities; Richelieu; ground floor; room 1b; inv AO 17551; Louvre Museum; Paris
  • Gypsum, schist, shells and lapis lazuli statue of Ebih-Il, early Dynastic; Shakkanakku (military governor) of the ancient city-state of Mari in present day eastern Syria, dating from circa 2340 BC or from the Akkadian period of rule Circa 2250 BC.. The statue carries a cuneiform inscription in Akkadian. Excavated from; the temple of Ishtar at Mari by André Parrot in 1934-1935 the statue measures; 52.5 cm (20.7 in) high; 20.6 cm (8.1 in) wide and 30 cm (11.8 in) deep. Department of Oriental Antiquities; Richelieu; ground floor; room 1b; inv AO 17551; Louvre Museum; Paris
  • Gypsum, schist, shells and lapis lazuli statue of Ebih-Il, early Dynastic; Shakkanakku (military governor) of the ancient city-state of Mari in present day eastern Syria, dating from circa 2340 BC or from the Akkadian period of rule Circa 2250 BC.. The statue carries a cuneiform inscription in Akkadian. Excavated from; the temple of Ishtar at Mari by André Parrot in 1934-1935 the statue measures; 52.5 cm (20.7 in) high; 20.6 cm (8.1 in) wide and 30 cm (11.8 in) deep. Department of Oriental Antiquities; Richelieu; ground floor; room 1b; inv AO 17551; Louvre Museum; Paris
  • Roman Sarcophagus with detailed relief sculptured panels with battle scenes. This large sarcophagus which was found in 1931 near the Tiburtina, in the eastern suburbs of the ancient city, shows on its front a symbolic battle, staged on two levels. This composition focuses on the progress of the Roman horseman, depicted in the guise of a universal victor, in a melee of soldiers, spears and horses; the Romans are delivering savage blows, devastating their enemies. The bloody scenes are framed by two pairs of enslaved barbarians, whose afflicted demeanour expresses the suffering which comes to those who rebel against the dominion of Rome. The dramatic animation of the combat emphasised by the deep chiaroscuro obtained by a skilful feat of carving. The low relief on the sides of the sarcophagus shows events subsequent to the encounter; on one side barbarian prisoners cross the river on the other chiefs submit to the Roman officials. The freeze on the lid, between two corner masks, celebrates the dead man and his wife, presented in the centre is the act of ‘dextarum iunctio’; on the left, the women exercises her ‘virtue’ in the house, educating her children; on the right, the, after his warlike activities, receives his 'clementia'. The faces of the principle characters remain incomplete, awaiting the carving of the features of the dead people. The decoration of the sarcophagus, inspired by many scenes on the Antonine Column, can be dated to around 180AD. The military insignia represented on the upper edge of the casket - the eagle of the Legio III Flavia and the boar of the Legio I Itlaica - enable us perhaps to identify the dead man as Aurelius Iulius Pompilius, an official of Marcus Aurelius in command of two cavalry squadron on detachment to those two legions during the war against Marcomanni (1720-175AD). National Roman Museum, Rome, Italy
  • Roman Sarcophagus with detailed relief sculptured panels with battle scenes. This large sarcophagus which was found in 1931 near the Tiburtina, in the eastern suburbs of the ancient city, shows on its front a symbolic battle, staged on two levels. This composition focuses on the progress of the Roman horseman, depicted in the guise of a universal victor, in a melee of soldiers, spears and horses; the Romans are delivering savage blows, devastating their enemies. The bloody scenes are framed by two pairs of enslaved barbarians, whose afflicted demeanour expresses the suffering which comes to those who rebel against the dominion of Rome. The dramatic animation of the combat emphasised by the deep chiaroscuro obtained by a skilful feat of carving. The low relief on the sides of the sarcophagus shows events subsequent to the encounter; on one side barbarian prisoners cross the river on the other chiefs submit to the Roman officials. The freeze on the lid, between two corner masks, celebrates the dead man and his wife, presented in the centre is the act of ‘dextarum iunctio’; on the left, the women exercises her ‘virtue’ in the house, educating her children; on the right, the, after his warlike activities, receives his 'clementia'. The faces of the principle characters remain incomplete, awaiting the carving of the features of the dead people. The decoration of the sarcophagus, inspired by many scenes on the Antonine Column, can be dated to around 180AD. The military insignia represented on the upper edge of the casket - the eagle of the Legio III Flavia and the boar of the Legio I Itlaica - enable us perhaps to identify the dead man as Aurelius Iulius Pompilius, an official of Marcus Aurelius in command of two cavalry squadron on detachment to those two legions during the war against Marcomanni (1720-175AD). National Roman Museum, Rome, Italy
  • Roman Sarcophagus with detailed relief sculptured panels with battle scenes. This large sarcophagus which was found in 1931 near the Tiburtina, in the eastern suburbs of the ancient city, shows on its front a symbolic battle, staged on two levels. This composition focuses on the progress of the Roman horseman, depicted in the guise of a universal victor, in a melee of soldiers, spears and horses; the Romans are delivering savage blows, devastating their enemies. The bloody scenes are framed by two pairs of enslaved barbarians, whose afflicted demeanour expresses the suffering which comes to those who rebel against the dominion of Rome. The dramatic animation of the combat emphasised by the deep chiaroscuro obtained by a skilful feat of carving. The low relief on the sides of the sarcophagus shows events subsequent to the encounter; on one side barbarian prisoners cross the river on the other chiefs submit to the Roman officials. The freeze on the lid, between two corner masks, celebrates the dead man and his wife, presented in the centre is the act of ‘dextarum iunctio’; on the left, the women exercises her ‘virtue’ in the house, educating her children; on the right, the, after his warlike activities, receives his 'clementia'. The faces of the principle characters remain incomplete, awaiting the carving of the features of the dead people. The decoration of the sarcophagus, inspired by many scenes on the Antonine Column, can be dated to around 180AD. The military insignia represented on the upper edge of the casket - the eagle of the Legio III Flavia and the boar of the Legio I Itlaica - enable us perhaps to identify the dead man as Aurelius Iulius Pompilius, an official of Marcus Aurelius in command of two cavalry squadron on detachment to those two legions during the war against Marcomanni (1720-175AD). National Roman Museum, Rome, Italy
  • Roman Sarcophagus with detailed relief sculptured panels with battle scenes. This large sarcophagus which was found in 1931 near the Tiburtina, in the eastern suburbs of the ancient city, shows on its front a symbolic battle, staged on two levels. This composition focuses on the progress of the Roman horseman, depicted in the guise of a universal victor, in a melee of soldiers, spears and horses; the Romans are delivering savage blows, devastating their enemies. The bloody scenes are framed by two pairs of enslaved barbarians, whose afflicted demeanour expresses the suffering which comes to those who rebel against the dominion of Rome. The dramatic animation of the combat emphasised by the deep chiaroscuro obtained by a skilful feat of carving. The low relief on the sides of the sarcophagus shows events subsequent to the encounter; on one side barbarian prisoners cross the river on the other chiefs submit to the Roman officials. The freeze on the lid, between two corner masks, celebrates the dead man and his wife, presented in the centre is the act of ‘dextarum iunctio’; on the left, the women exercises her ‘virtue’ in the house, educating her children; on the right, the, after his warlike activities, receives his 'clementia'. The faces of the principle characters remain incomplete, awaiting the carving of the features of the dead people. The decoration of the sarcophagus, inspired by many scenes on the Antonine Column, can be dated to around 180AD. The military insignia represented on the upper edge of the casket - the eagle of the Legio III Flavia and the boar of the Legio I Itlaica - enable us perhaps to identify the dead man as Aurelius Iulius Pompilius, an official of Marcus Aurelius in command of two cavalry squadron on detachment to those two legions during the war against Marcomanni (1720-175AD). National Roman Museum, Rome, Italy
  • Roman Sarcophagus with detailed relief sculptured panels with battle scenes. This large sarcophagus which was found in 1931 near the Tiburtina, in the eastern suburbs of the ancient city, shows on its front a symbolic battle, staged on two levels. This composition focuses on the progress of the Roman horseman, depicted in the guise of a universal victor, in a melee of soldiers, spears and horses; the Romans are delivering savage blows, devastating their enemies. The bloody scenes are framed by two pairs of enslaved barbarians, whose afflicted demeanour expresses the suffering which comes to those who rebel against the dominion of Rome. The dramatic animation of the combat emphasised by the deep chiaroscuro obtained by a skilful feat of carving. The low relief on the sides of the sarcophagus shows events subsequent to the encounter; on one side barbarian prisoners cross the river on the other chiefs submit to the Roman officials. The freeze on the lid, between two corner masks, celebrates the dead man and his wife, presented in the centre is the act of ‘dextarum iunctio’; on the left, the women exercises her ‘virtue’ in the house, educating her children; on the right, the, after his warlike activities, receives his 'clementia'. The faces of the principle characters remain incomplete, awaiting the carving of the features of the dead people. The decoration of the sarcophagus, inspired by many scenes on the Antonine Column, can be dated to around 180AD. The military insignia represented on the upper edge of the casket - the eagle of the Legio III Flavia and the boar of the Legio I Itlaica - enable us perhaps to identify the dead man as Aurelius Iulius Pompilius, an official of Marcus Aurelius in command of two cavalry squadron on detachment to those two legions during the war against Marcomanni (1720-175AD). National Roman Museum, Rome, Italy
  • Roman Sarcophagus with detailed relief sculptured panels with battle scenes. This large sarcophagus which was found in 1931 near the Tiburtina, in the eastern suburbs of the ancient city, shows on its front a symbolic battle, staged on two levels. This composition focuses on the progress of the Roman horseman, depicted in the guise of a universal victor, in a melee of soldiers, spears and horses; the Romans are delivering savage blows, devastating their enemies. The bloody scenes are framed by two pairs of enslaved barbarians, whose afflicted demeanour expresses the suffering which comes to those who rebel against the dominion of Rome. The dramatic animation of the combat emphasised by the deep chiaroscuro obtained by a skilful feat of carving. The low relief on the sides of the sarcophagus shows events subsequent to the encounter; on one side barbarian prisoners cross the river on the other chiefs submit to the Roman officials. The freeze on the lid, between two corner masks, celebrates the dead man and his wife, presented in the centre is the act of ‘dextarum iunctio’; on the left, the women exercises her ‘virtue’ in the house, educating her children; on the right, the, after his warlike activities, receives his 'clementia'. The faces of the principle characters remain incomplete, awaiting the carving of the features of the dead people. The decoration of the sarcophagus, inspired by many scenes on the Antonine Column, can be dated to around 180AD. The military insignia represented on the upper edge of the casket - the eagle of the Legio III Flavia and the boar of the Legio I Itlaica - enable us perhaps to identify the dead man as Aurelius Iulius Pompilius, an official of Marcus Aurelius in command of two cavalry squadron on detachment to those two legions during the war against Marcomanni (1720-175AD). National Roman Museum, Rome, Italy
  • Roman Sarcophagus with detailed relief sculptured panels with battle scenes. This large sarcophagus which was found in 1931 near the Tiburtina, in the eastern suburbs of the ancient city, shows on its front a symbolic battle, staged on two levels. This composition focuses on the progress of the Roman horseman, depicted in the guise of a universal victor, in a melee of soldiers, spears and horses; the Romans are delivering savage blows, devastating their enemies. The bloody scenes are framed by two pairs of enslaved barbarians, whose afflicted demeanour expresses the suffering which comes to those who rebel against the dominion of Rome. The dramatic animation of the combat emphasised by the deep chiaroscuro obtained by a skilful feat of carving. The low relief on the sides of the sarcophagus shows events subsequent to the encounter; on one side barbarian prisoners cross the river on the other chiefs submit to the Roman officials. The freeze on the lid, between two corner masks, celebrates the dead man and his wife, presented in the centre is the act of ‘dextarum iunctio’; on the left, the women exercises her ‘virtue’ in the house, educating her children; on the right, the, after his warlike activities, receives his 'clementia'. The faces of the principle characters remain incomplete, awaiting the carving of the features of the dead people. The decoration of the sarcophagus, inspired by many scenes on the Antonine Column, can be dated to around 180AD. The military insignia represented on the upper edge of the casket - the eagle of the Legio III Flavia and the boar of the Legio I Itlaica - enable us perhaps to identify the dead man as Aurelius Iulius Pompilius, an official of Marcus Aurelius in command of two cavalry squadron on detachment to those two legions during the war against Marcomanni (1720-175AD). National Roman Museum, Rome, Italy
  • Roman Sarcophagus with detailed relief sculptured panels with battle scenes. This large sarcophagus which was found in 1931 near the Tiburtina, in the eastern suburbs of the ancient city, shows on its front a symbolic battle, staged on two levels. This composition focuses on the progress of the Roman horseman, depicted in the guise of a universal victor, in a melee of soldiers, spears and horses; the Romans are delivering savage blows, devastating their enemies. The bloody scenes are framed by two pairs of enslaved barbarians, whose afflicted demeanour expresses the suffering which comes to those who rebel against the dominion of Rome. The dramatic animation of the combat emphasised by the deep chiaroscuro obtained by a skilful feat of carving. The low relief on the sides of the sarcophagus shows events subsequent to the encounter; on one side barbarian prisoners cross the river on the other chiefs submit to the Roman officials. The freeze on the lid, between two corner masks, celebrates the dead man and his wife, presented in the centre is the act of ‘dextarum iunctio’; on the left, the women exercises her ‘virtue’ in the house, educating her children; on the right, the, after his warlike activities, receives his 'clementia'. The faces of the principle characters remain incomplete, awaiting the carving of the features of the dead people. The decoration of the sarcophagus, inspired by many scenes on the Antonine Column, can be dated to around 180AD. The military insignia represented on the upper edge of the casket - the eagle of the Legio III Flavia and the boar of the Legio I Itlaica - enable us perhaps to identify the dead man as Aurelius Iulius Pompilius, an official of Marcus Aurelius in command of two cavalry squadron on detachment to those two legions during the war against Marcomanni (1720-175AD). National Roman Museum, Rome, Italy
  • Roman Sarcophagus with detailed relief sculptured panels with battle scenes. This large sarcophagus which was found in 1931 near the Tiburtina, in the eastern suburbs of the ancient city, shows on its front a symbolic battle, staged on two levels. This composition focuses on the progress of the Roman horseman, depicted in the guise of a universal victor, in a melee of soldiers, spears and horses; the Romans are delivering savage blows, devastating their enemies. The bloody scenes are framed by two pairs of enslaved barbarians, whose afflicted demeanour expresses the suffering which comes to those who rebel against the dominion of Rome. The dramatic animation of the combat emphasised by the deep chiaroscuro obtained by a skilful feat of carving. The low relief on the sides of the sarcophagus shows events subsequent to the encounter; on one side barbarian prisoners cross the river on the other chiefs submit to the Roman officials. The freeze on the lid, between two corner masks, celebrates the dead man and his wife, presented in the centre is the act of ‘dextarum iunctio’; on the left, the women exercises her ‘virtue’ in the house, educating her children; on the right, the, after his warlike activities, receives his 'clementia'. The faces of the principle characters remain incomplete, awaiting the carving of the features of the dead people. The decoration of the sarcophagus, inspired by many scenes on the Antonine Column, can be dated to around 180AD. The military insignia represented on the upper edge of the casket - the eagle of the Legio III Flavia and the boar of the Legio I Itlaica - enable us perhaps to identify the dead man as Aurelius Iulius Pompilius, an official of Marcus Aurelius in command of two cavalry squadron on detachment to those two legions during the war against Marcomanni (1720-175AD). National Roman Museum, Rome, Italy
  • Roman Sarcophagus with detailed relief sculptured panels with battle scenes. This large sarcophagus which was found in 1931 near the Tiburtina, in the eastern suburbs of the ancient city, shows on its front a symbolic battle, staged on two levels. This composition focuses on the progress of the Roman horseman, depicted in the guise of a universal victor, in a melee of soldiers, spears and horses; the Romans are delivering savage blows, devastating their enemies. The bloody scenes are framed by two pairs of enslaved barbarians, whose afflicted demeanour expresses the suffering which comes to those who rebel against the dominion of Rome. The dramatic animation of the combat emphasised by the deep chiaroscuro obtained by a skilful feat of carving. The low relief on the sides of the sarcophagus shows events subsequent to the encounter; on one side barbarian prisoners cross the river on the other chiefs submit to the Roman officials. The freeze on the lid, between two corner masks, celebrates the dead man and his wife, presented in the centre is the act of ‘dextarum iunctio’; on the left, the women exercises her ‘virtue’ in the house, educating her children; on the right, the, after his warlike activities, receives his 'clementia'. The faces of the principle characters remain incomplete, awaiting the carving of the features of the dead people. The decoration of the sarcophagus, inspired by many scenes on the Antonine Column, can be dated to around 180AD. The military insignia represented on the upper edge of the casket - the eagle of the Legio III Flavia and the boar of the Legio I Itlaica - enable us perhaps to identify the dead man as Aurelius Iulius Pompilius, an official of Marcus Aurelius in command of two cavalry squadron on detachment to those two legions during the war against Marcomanni (1720-175AD). National Roman Museum, Rome, Italy
  • Roman Sarcophagus with detailed relief sculptured panels with battle scenes. This large sarcophagus which was found in 1931 near the Tiburtina, in the eastern suburbs of the ancient city, shows on its front a symbolic battle, staged on two levels. This composition focuses on the progress of the Roman horseman, depicted in the guise of a universal victor, in a melee of soldiers, spears and horses; the Romans are delivering savage blows, devastating their enemies. The bloody scenes are framed by two pairs of enslaved barbarians, whose afflicted demeanour expresses the suffering which comes to those who rebel against the dominion of Rome. The dramatic animation of the combat emphasised by the deep chiaroscuro obtained by a skilful feat of carving. The low relief on the sides of the sarcophagus shows events subsequent to the encounter; on one side barbarian prisoners cross the river on the other chiefs submit to the Roman officials. The freeze on the lid, between two corner masks, celebrates the dead man and his wife, presented in the centre is the act of ‘dextarum iunctio’; on the left, the women exercises her ‘virtue’ in the house, educating her children; on the right, the, after his warlike activities, receives his 'clementia'. The faces of the principle characters remain incomplete, awaiting the carving of the features of the dead people. The decoration of the sarcophagus, inspired by many scenes on the Antonine Column, can be dated to around 180AD. The military insignia represented on the upper edge of the casket - the eagle of the Legio III Flavia and the boar of the Legio I Itlaica - enable us perhaps to identify the dead man as Aurelius Iulius Pompilius, an official of Marcus Aurelius in command of two cavalry squadron on detachment to those two legions during the war against Marcomanni (1720-175AD). National Roman Museum, Rome, Italy
  • Wooden Gothic sculpture of the Virgin and Child attributeed to Martin Hoffman from the city of Basle, 1507, Switzerland. From the Commandry of Isenheim, Haut Rhin. This sculpture is probably the "big and ancient wooden statue of the Virgin” cited in 1793 in the inventory of the property of the Commandry of Isenheim.  The vervatious deep folds in the Virgins dress, the laughing child Jesus  and the style of Mary were repeatedly imitated in Basel at the beginning of the sixteenth century. This masterpiece of the German late Gothic sculpture was executed in a Basel workshop and can be attributed to Martin Hoffman. Expressive and enigmatic, the style of this masterpiece is the heir of the sculpture schools of Stragbourg and Veit Stoss Franconian art.  Inv RF 1833 The Louvre Museum, Paris.
  • Wooden Gothic sculpture of the Virgin and Child attributeed to Martin Hoffman from the city of Basle, 1507, Switzerland. From the Commandry of Isenheim, Haut Rhin. This sculpture is probably the "big and ancient wooden statue of the Virgin” cited in 1793 in the inventory of the property of the Commandry of Isenheim.  The vervatious deep folds in the Virgins dress, the laughing child Jesus  and the style of Mary were repeatedly imitated in Basel at the beginning of the sixteenth century. This masterpiece of the German late Gothic sculpture was executed in a Basel workshop and can be attributed to Martin Hoffman. Expressive and enigmatic, the style of this masterpiece is the heir of the sculpture schools of Stragbourg and Veit Stoss Franconian art.  Inv RF 1833 The Louvre Museum, Paris.
  • Wooden Gothic sculpture of the Virgin and Child attributeed to Martin Hoffman from the city of Basle, 1507, Switzerland. From the Commandry of Isenheim, Haut Rhin. This sculpture is probably the "big and ancient wooden statue of the Virgin” cited in 1793 in the inventory of the property of the Commandry of Isenheim.  The vervatious deep folds in the Virgins dress, the laughing child Jesus  and the style of Mary were repeatedly imitated in Basel at the beginning of the sixteenth century. This masterpiece of the German late Gothic sculpture was executed in a Basel workshop and can be attributed to Martin Hoffman. Expressive and enigmatic, the style of this masterpiece is the heir of the sculpture schools of Stragbourg and Veit Stoss Franconian art.  Inv RF 1833 The Louvre Museum, Paris.
  • Wooden Gothic sculpture of the Virgin and Child attributeed to Martin Hoffman from the city of Basle, 1507, Switzerland. From the Commandry of Isenheim, Haut Rhin. This sculpture is probably the "big and ancient wooden statue of the Virgin” cited in 1793 in the inventory of the property of the Commandry of Isenheim.  The vervatious deep folds in the Virgins dress, the laughing child Jesus  and the style of Mary were repeatedly imitated in Basel at the beginning of the sixteenth century. This masterpiece of the German late Gothic sculpture was executed in a Basel workshop and can be attributed to Martin Hoffman. Expressive and enigmatic, the style of this masterpiece is the heir of the sculpture schools of Stragbourg and Veit Stoss Franconian art.  Inv RF 1833 The Louvre Museum, Paris.
  • Wooden Gothic sculpture of the Virgin and Child attributeed to Martin Hoffman from the city of Basle, 1507, Switzerland. From the Commandry of Isenheim, Haut Rhin. This sculpture is probably the "big and ancient wooden statue of the Virgin” cited in 1793 in the inventory of the property of the Commandry of Isenheim.  The vervatious deep folds in the Virgins dress, the laughing child Jesus  and the style of Mary were repeatedly imitated in Basel at the beginning of the sixteenth century. This masterpiece of the German late Gothic sculpture was executed in a Basel workshop and can be attributed to Martin Hoffman. Expressive and enigmatic, the style of this masterpiece is the heir of the sculpture schools of Stragbourg and Veit Stoss Franconian art.  Inv RF 1833 The Louvre Museum, Paris.
  • The Broch of Gurness is a rare example of a well preserved brooch village. Dating from 500 to 200BC the central round tower probably reached 10 meters. This was surrounded by thatched roofed houses. The settlement was surrounded by walls and two deep ditches. Gurness was probably the most important settlement on Orkney 2000 years ago. Mainland Orkney, Scotland.
  • The Broch of Gurness is a rare example of a well preserved brooch village. Dating from 500 to 200BC the central round tower probably reached 10 meters. This was surrounded by thatched roofed houses. The settlement was surrounded by walls and two deep ditches. Gurness was probably the most important settlement on Orkney 2000 years ago. Mainland Orkney, Scotland.
  • The Broch of Gurness is a rare example of a well preserved brooch village. Dating from 500 to 200BC the central round tower probably reached 10 meters. This was surrounded by thatched roofed houses. The settlement was surrounded by walls and two deep ditches. Gurness was probably the most important settlement on Orkney 2000 years ago. Mainland Orkney, Scotland.
  • The Broch of Gurness is a rare example of a well preserved brooch village. Dating from 500 to 200BC the central round tower probably reached 10 meters. This was surrounded by thatched roofed houses. The settlement was surrounded by walls and two deep ditches. Gurness was probably the most important settlement on Orkney 2000 years ago. Mainland Orkney, Scotland.
  • The Broch of Gurness is a rare example of a well preserved brooch village. Dating from 500 to 200BC the central round tower probably reached 10 meters. This was surrounded by thatched roofed houses. The settlement was surrounded by walls and two deep ditches. Gurness was probably the most important settlement on Orkney 2000 years ago. Mainland Orkney, Scotland.
  • The Broch of Gurness is a rare example of a well preserved brooch village. Dating from 500 to 200BC the central round tower probably reached 10 meters. This was surrounded by thatched roofed houses. The settlement was surrounded by walls and two deep ditches. Gurness was probably the most important settlement on Orkney 2000 years ago. Mainland Orkney, Scotland.
  • The Broch of Gurness is a rare example of a well preserved brooch village. Dating from 500 to 200BC the central round tower probably reached 10 meters. This was surrounded by thatched roofed houses. The settlement was surrounded by walls and two deep ditches. Gurness was probably the most important settlement on Orkney 2000 years ago. Mainland Orkney, Scotland.
  • The Broch of Gurness is a rare example of a well preserved brooch village. Dating from 500 to 200BC the central round tower probably reached 10 meters. This was surrounded by thatched roofed houses. The settlement was surrounded by walls and two deep ditches. Gurness was probably the most important settlement on Orkney 2000 years ago. Mainland Orkney, Scotland.
  • The Broch of Gurness is a rare example of a well preserved brooch village. Dating from 500 to 200BC the central round tower probably reached 10 meters. This was surrounded by thatched roofed houses. The settlement was surrounded by walls and two deep ditches. Gurness was probably the most important settlement on Orkney 2000 years ago. Mainland Orkney, Scotland.
  • The Broch of Gurness is a rare example of a well preserved brooch village. Dating from 500 to 200BC the central round tower probably reached 10 meters. This was surrounded by thatched roofed houses. The settlement was surrounded by walls and two deep ditches. Gurness was probably the most important settlement on Orkney 2000 years ago. Mainland Orkney, Scotland.
  • The Broch of Gurness is a rare example of a well preserved brooch village. Dating from 500 to 200BC the central round tower probably reached 10 meters. This was surrounded by thatched roofed houses. The settlement was surrounded by walls and two deep ditches. Gurness was probably the most important settlement on Orkney 2000 years ago. Mainland Orkney, Scotland.
  • The Broch of Gurness is a rare example of a well preserved iron age Broch village. Dating from 500 to 200BC the central round tower probably reached 10 meters (30ft). This was surrounded by thatched roofed houses. The settlement was surrounded by walls and two deep ditches. Gurness was probably the most important settlement on Orkney 2000 years ago.
  • The Broch of Gurness is a rare example of a well preserved iron age Broch village. Dating from 500 to 200BC the central round tower probably reached 10 meters (30ft). This was surrounded by thatched roofed houses. The settlement was surrounded by walls and two deep ditches. Gurness was probably the most important settlement on Orkney 2000 years ago.
  • The Broch of Gurness is a rare example of a well preserved iron age Broch village. Dating from 500 to 200BC the central round tower probably reached 10 meters (30ft). This was surrounded by thatched roofed houses. The settlement was surrounded by walls and two deep ditches. Gurness was probably the most important settlement on Orkney 2000 years ago.
  • The Broch of Gurness is a rare example of a well preserved iron age Broch village. Dating from 500 to 200BC the central round tower probably reached 10 meters (30ft). This was surrounded by thatched roofed houses. The settlement was surrounded by walls and two deep ditches. Gurness was probably the most important settlement on Orkney 2000 years ago.
  • The Broch of Gurness is a rare example of a well preserved iron age Broch village. Dating from 500 to 200BC the central round tower probably reached 10 meters (30ft). This was surrounded by thatched roofed houses. The settlement was surrounded by walls and two deep ditches. Gurness was probably the most important settlement on Orkney 2000 years ago.
  • The Broch of Gurness is a rare example of a well preserved iron age Broch village. Dating from 500 to 200BC the central round tower probably reached 10 meters (30ft). This was surrounded by thatched roofed houses. The settlement was surrounded by walls and two deep ditches. Gurness was probably the most important settlement on Orkney 2000 years ago.
  • The Broch of Gurness is a rare example of a well preserved iron age Broch village. Dating from 500 to 200BC the central round tower probably reached 10 meters (30ft). This was surrounded by thatched roofed houses. The settlement was surrounded by walls and two deep ditches. Gurness was probably the most important settlement on Orkney 2000 years ago.
  • The Broch of Gurness is a rare example of a well preserved iron age Broch village. Dating from 500 to 200BC the central round tower probably reached 10 meters (30ft). This was surrounded by thatched roofed houses. The settlement was surrounded by walls and two deep ditches. Gurness was probably the most important settlement on Orkney 2000 years ago.
  • The Broch of Gurness is a rare example of a well preserved iron age Broch village. Dating from 500 to 200BC the central round tower probably reached 10 meters (30ft). This was surrounded by thatched roofed houses. The settlement was surrounded by walls and two deep ditches. Gurness was probably the most important settlement on Orkney 2000 years ago.
  • The Broch of Gurness is a rare example of a well preserved iron age Broch village. Dating from 500 to 200BC the central round tower probably reached 10 meters (30ft). This was surrounded by thatched roofed houses. The settlement was surrounded by walls and two deep ditches. Gurness was probably the most important settlement on Orkney 2000 years ago.
  • The Broch of Gurness is a rare example of a well preserved iron age Broch village. Dating from 500 to 200BC the central round tower probably reached 10 meters (30ft). This was surrounded by thatched roofed houses. The settlement was surrounded by walls and two deep ditches. Gurness was probably the most important settlement on Orkney 2000 years ago.
  • Wooden Gothic sculpture of the Virgin and Child attributeed to Martin Hoffman from the city of Basle, 1507, Switzerland. From the Commandry of Isenheim, Haut Rhin. This sculpture is probably the "big and ancient wooden statue of the Virgin” cited in 1793 in the inventory of the property of the Commandry of Isenheim.  The vervatious deep folds in the Virgins dress, the laughing child Jesus  and the style of Mary were repeatedly imitated in Basel at the beginning of the sixteenth century. This masterpiece of the German late Gothic sculpture was executed in a Basel workshop and can be attributed to Martin Hoffman. Expressive and enigmatic, the style of this masterpiece is the heir of the sculpture schools of Stragbourg and Veit Stoss Franconian art.  Inv RF 1833 The Louvre Museum, Paris.
  • Wooden Gothic sculpture of the Virgin and Child attributeed to Martin Hoffman from the city of Basle, 1507, Switzerland. From the Commandry of Isenheim, Haut Rhin. This sculpture is probably the "big and ancient wooden statue of the Virgin” cited in 1793 in the inventory of the property of the Commandry of Isenheim.  The vervatious deep folds in the Virgins dress, the laughing child Jesus  and the style of Mary were repeatedly imitated in Basel at the beginning of the sixteenth century. This masterpiece of the German late Gothic sculpture was executed in a Basel workshop and can be attributed to Martin Hoffman. Expressive and enigmatic, the style of this masterpiece is the heir of the sculpture schools of Stragbourg and Veit Stoss Franconian art.  Inv RF 1833 The Louvre Museum, Paris.
  • Wooden Gothic sculpture of the Virgin and Child attributeed to Martin Hoffman from the city of Basle, 1507, Switzerland. From the Commandry of Isenheim, Haut Rhin. This sculpture is probably the "big and ancient wooden statue of the Virgin” cited in 1793 in the inventory of the property of the Commandry of Isenheim.  The vervatious deep folds in the Virgins dress, the laughing child Jesus  and the style of Mary were repeatedly imitated in Basel at the beginning of the sixteenth century. This masterpiece of the German late Gothic sculpture was executed in a Basel workshop and can be attributed to Martin Hoffman. Expressive and enigmatic, the style of this masterpiece is the heir of the sculpture schools of Stragbourg and Veit Stoss Franconian art.  Inv RF 1833 The Louvre Museum, Paris.
  • Wooden Gothic sculpture of the Virgin and Child attributeed to Martin Hoffman from the city of Basle, 1507, Switzerland. From the Commandry of Isenheim, Haut Rhin. This sculpture is probably the "big and ancient wooden statue of the Virgin” cited in 1793 in the inventory of the property of the Commandry of Isenheim.  The vervatious deep folds in the Virgins dress, the laughing child Jesus  and the style of Mary were repeatedly imitated in Basel at the beginning of the sixteenth century. This masterpiece of the German late Gothic sculpture was executed in a Basel workshop and can be attributed to Martin Hoffman. Expressive and enigmatic, the style of this masterpiece is the heir of the sculpture schools of Stragbourg and Veit Stoss Franconian art.  Inv RF 1833 The Louvre Museum, Paris.
  • Wooden Gothic sculpture of the Virgin and Child attributeed to Martin Hoffman from the city of Basle, 1507, Switzerland. From the Commandry of Isenheim, Haut Rhin. This sculpture is probably the "big and ancient wooden statue of the Virgin” cited in 1793 in the inventory of the property of the Commandry of Isenheim.  The vervatious deep folds in the Virgins dress, the laughing child Jesus  and the style of Mary were repeatedly imitated in Basel at the beginning of the sixteenth century. This masterpiece of the German late Gothic sculpture was executed in a Basel workshop and can be attributed to Martin Hoffman. Expressive and enigmatic, the style of this masterpiece is the heir of the sculpture schools of Stragbourg and Veit Stoss Franconian art.  Inv RF 1833 The Louvre Museum, Paris.
  • Party buffet food with southern fried chicken, bhajis, mini quiche and deep fried camembert
  • Party buffet food with southern fried chicken, bhajis, mini quiche and deep fried camembert
  • Mountains; mountain; Jungfrau; Bernese; Oberland; Alps; Switzerland; summit; top; peak; snow; snowy; drifts; deep; glacier; landscape; ice; cold; freeze; frost; freezing; natural; nature; tourist; travel; hostile; inhositibable; high; altitude; 13000; feet climbers; climb; dangerous; clean; refreshing; exhilerating; Top; Of; Europe; Jungfraujoch; Alpine ; Swiss ;

FunkyStock Picture Library Resource

Picture The Past

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FunkyStock Picture Library free resource for professional editorial picture editors, picture researchers, historical scholars and students and enthusiasts who want to browse some of the best pictures and images of historic countries, historical places, archaeological sites and the very best museum antiquities and artefacts exhibits in Europe and the Middle East.

Pictures and Images can be downloaded or bought as stock photos or photo art prints.

COUNTRIES

Browse travel pictures and images of historic places and archaeological sites of countries in Europe and the Middle East.

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HISTORICAL

Explore the past through pictures and images of its historic places. See the great palaces, castles and cities of antiquity as well as the great archaeological sites where our ancestors made history.

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MUSEUMS

Browse pictures & images the treasured artefacts and antiquities exhibits from the great Museum of Europe and the Middle East. See the art and objects made by our ancestors.

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