• Minoan 'Boxing Children' fresco Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens artefact. 17th-16th cent BC.<br />
<br />
The 'Boxing Children' fresco depicts two naked boys wearing belts and boxing gloves. Their heads are shaved but for two long locks at the back and two shorter ones on their forehead. Their dark complexion indicated thair gender. The boy on the left is the more reserved of the two and wears jewelry consisting of a necklace and two bracelets, one on his arm and the other around his ankle, which indicated his higher social status. From room B1 of building B.
  • Minoan 'Boxing Children' fresco Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens artefact. 17th-16th cent BC.<br />
<br />
The 'Boxing Children' fresco depicts two naked boys wearing belts and boxing gloves. Their heads are shaved but for two long locks at the back and two shorter ones on their forehead. Their dark complexion indicated thair gender. The boy on the left is the more reserved of the two and wears jewelry consisting of a necklace and two bracelets, one on his arm and the other around his ankle, which indicated his higher social status. From room B1 of building B.
  • The Spring fresco Minoan Wall painting from Akrotiri, National archaeological Musuem Athens Minoan artefact. 17th-16th cent BC.<br />
<br />
The Minoan 'Spring Fresco' is the only fresco found in situ at Akritiri covering three walls. It depicts the rocky Theran lanscape of Santorini before the volcanic eruption: clusetrs of red lilies with yellow stems dominate the red and grey volcanic rock formations. Swallows swoop above, either alone or in pairs animating the scene and announcing natures annual rebirth of Spring.<br />
<br />
The Spring fresco has an opulent use of colours and a lively movement bu the lilies swaying in the wind as well as the swallows at play. Room D2 Complex D.
  • The Spring fresco Minoan Wall painting from Akrotiri, National archaeological Musuem Athens Minoan artefact. 17th-16th cent BC.<br />
<br />
The Minoan 'Spring Fresco' is the only fresco found in situ at Akritiri covering three walls. It depicts the rocky Theran lanscape of Santorini before the volcanic eruption: clusetrs of red lilies with yellow stems dominate the red and grey volcanic rock formations. Swallows swoop above, either alone or in pairs animating the scene and announcing natures annual rebirth of Spring.<br />
<br />
The Spring fresco has an opulent use of colours and a lively movement bu the lilies swaying in the wind as well as the swallows at play. Room D2 Complex D.
  • Minoan 'Boxing Children' fresco Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens artefact. 17th-16th cent BC.<br />
<br />
The 'Boxing Children' fresco depicts two naked boys wearing belts and boxing gloves. Their heads are shaved but for two long locks at the back and two shorter ones on their forehead. Their dark complexion indicated thair gender. The boy on the left is the more reserved of the two and wears jewelry consisting of a necklace and two bracelets, one on his arm and the other around his ankle, which indicated his higher social status. From room B1 of building B.
  • Minoan 'Boxing Children' fresco Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens artefact. 17th-16th cent BC.<br />
<br />
The 'Boxing Children' fresco depicts two naked boys wearing belts and boxing gloves. Their heads are shaved but for two long locks at the back and two shorter ones on their forehead. Their dark complexion indicated thair gender. The boy on the left is the more reserved of the two and wears jewelry consisting of a necklace and two bracelets, one on his arm and the other around his ankle, which indicated his higher social status. From room B1 of building B.
  • The Spring fresco Minoan Wall painting from Akrotiri, National archaeological Musuem Athens Minoan artefact. 17th-16th cent BC.<br />
<br />
The Minoan 'Spring Fresco' is the only fresco found in situ at Akritiri covering three walls. It depicts the rocky Theran lanscape of Santorini before the volcanic eruption: clusetrs of red lilies with yellow stems dominate the red and grey volcanic rock formations. Swallows swoop above, either alone or in pairs animating the scene and announcing natures annual rebirth of Spring.<br />
<br />
The Spring fresco has an opulent use of colours and a lively movement bu the lilies swaying in the wind as well as the swallows at play. Room D2 Complex D.
  • Minoan 'Boxing Children' fresco Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens artefact. 17th-16th cent BC.<br />
<br />
The 'Boxing Children' fresco depicts two naked boys wearing belts and boxing gloves. Their heads are shaved but for two long locks at the back and two shorter ones on their forehead. Their dark complexion indicated thair gender. The boy on the left is the more reserved of the two and wears jewelry consisting of a necklace and two bracelets, one on his arm and the other around his ankle, which indicated his higher social status. From room B1 of building B.
  • Minoan 'Boxing Children' fresco Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens artefact. 17th-16th cent BC.<br />
<br />
The 'Boxing Children' fresco depicts two naked boys wearing belts and boxing gloves. Their heads are shaved but for two long locks at the back and two shorter ones on their forehead. Their dark complexion indicated thair gender. The boy on the left is the more reserved of the two and wears jewelry consisting of a necklace and two bracelets, one on his arm and the other around his ankle, which indicated his higher social status. From room B1 of building B.
  • Minoan 'Boxing Children' fresco Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens artefact. 17th-16th cent BC.<br />
<br />
The 'Boxing Children' fresco depicts two naked boys wearing belts and boxing gloves. Their heads are shaved but for two long locks at the back and two shorter ones on their forehead. Their dark complexion indicated thair gender. The boy on the left is the more reserved of the two and wears jewelry consisting of a necklace and two bracelets, one on his arm and the other around his ankle, which indicated his higher social status. From room B1 of building B.
  • Minoan 'Boxing Children' fresco Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens artefact. 17th-16th cent BC.<br />
<br />
The 'Boxing Children' fresco depicts two naked boys wearing belts and boxing gloves. Their heads are shaved but for two long locks at the back and two shorter ones on their forehead. Their dark complexion indicated thair gender. The boy on the left is the more reserved of the two and wears jewelry consisting of a necklace and two bracelets, one on his arm and the other around his ankle, which indicated his higher social status. From room B1 of building B.
  • Minoan 'Boxing Children' fresco Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens artefact. 17th-16th cent BC.<br />
<br />
The 'Boxing Children' fresco depicts two naked boys wearing belts and boxing gloves. Their heads are shaved but for two long locks at the back and two shorter ones on their forehead. Their dark complexion indicated thair gender. The boy on the left is the more reserved of the two and wears jewelry consisting of a necklace and two bracelets, one on his arm and the other around his ankle, which indicated his higher social status. From room B1 of building B.
  • Minoan 'Boxing Children' fresco Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens artefact. 17th-16th cent BC.<br />
<br />
The 'Boxing Children' fresco depicts two naked boys wearing belts and boxing gloves. Their heads are shaved but for two long locks at the back and two shorter ones on their forehead. Their dark complexion indicated thair gender. The boy on the left is the more reserved of the two and wears jewelry consisting of a necklace and two bracelets, one on his arm and the other around his ankle, which indicated his higher social status. From room B1 of building B.
  • Minoan 'Boxing Children' fresco Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens artefact. 17th-16th cent BC.<br />
<br />
The 'Boxing Children' fresco depicts two naked boys wearing belts and boxing gloves. Their heads are shaved but for two long locks at the back and two shorter ones on their forehead. Their dark complexion indicated thair gender. The boy on the left is the more reserved of the two and wears jewelry consisting of a necklace and two bracelets, one on his arm and the other around his ankle, which indicated his higher social status. From room B1 of building B.
  • Minoan 'Boxing Children' fresco Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens artefact. 17th-16th cent BC.<br />
<br />
The 'Boxing Children' fresco depicts two naked boys wearing belts and boxing gloves. Their heads are shaved but for two long locks at the back and two shorter ones on their forehead. Their dark complexion indicated thair gender. The boy on the left is the more reserved of the two and wears jewelry consisting of a necklace and two bracelets, one on his arm and the other around his ankle, which indicated his higher social status. From room B1 of building B.
  • Minoan 'Boxing Children' fresco Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens artefact. 17th-16th cent BC.<br />
<br />
The 'Boxing Children' fresco depicts two naked boys wearing belts and boxing gloves. Their heads are shaved but for two long locks at the back and two shorter ones on their forehead. Their dark complexion indicated thair gender. The boy on the left is the more reserved of the two and wears jewelry consisting of a necklace and two bracelets, one on his arm and the other around his ankle, which indicated his higher social status. From room B1 of building B.
  • The Spring fresco Minoan Wall painting from Akrotiri, National archaeological Musuem Athens Minoan artefact. 17th-16th cent BC.<br />
<br />
The Minoan 'Spring Fresco' is the only fresco found in situ at Akritiri covering three walls. It depicts the rocky Theran lanscape of Santorini before the volcanic eruption: clusetrs of red lilies with yellow stems dominate the red and grey volcanic rock formations. Swallows swoop above, either alone or in pairs animating the scene and announcing natures annual rebirth of Spring.<br />
<br />
The Spring fresco has an opulent use of colours and a lively movement bu the lilies swaying in the wind as well as the swallows at play. Room D2 Complex D.
  • The Spring fresco Minoan Wall painting from Akrotiri, National archaeological Musuem Athens Minoan artefact. 17th-16th cent BC.<br />
<br />
The Minoan 'Spring Fresco' is the only fresco found in situ at Akritiri covering three walls. It depicts the rocky Theran lanscape of Santorini before the volcanic eruption: clusetrs of red lilies with yellow stems dominate the red and grey volcanic rock formations. Swallows swoop above, either alone or in pairs animating the scene and announcing natures annual rebirth of Spring.<br />
<br />
The Spring fresco has an opulent use of colours and a lively movement bu the lilies swaying in the wind as well as the swallows at play. Room D2 Complex D.
  • The Spring fresco Minoan Wall painting from Akrotiri, National archaeological Musuem Athens Minoan artefact. 17th-16th cent BC.<br />
<br />
The Minoan 'Spring Fresco' is the only fresco found in situ at Akritiri covering three walls. It depicts the rocky Theran lanscape of Santorini before the volcanic eruption: clusetrs of red lilies with yellow stems dominate the red and grey volcanic rock formations. Swallows swoop above, either alone or in pairs animating the scene and announcing natures annual rebirth of Spring.<br />
<br />
The Spring fresco has an opulent use of colours and a lively movement bu the lilies swaying in the wind as well as the swallows at play. Room D2 Complex D.
  • Minoan 'Boxing Children' fresco Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens artefact. 17th-16th cent BC.<br />
<br />
The 'Boxing Children' fresco depicts two naked boys wearing belts and boxing gloves. Their heads are shaved but for two long locks at the back and two shorter ones on their forehead. Their dark complexion indicated thair gender. The boy on the left is the more reserved of the two and wears jewelry consisting of a necklace and two bracelets, one on his arm and the other around his ankle, which indicated his higher social status. From room B1 of building B.
  • Late Hittite (Aramaean)  Basalt relief sculptures  from 9th Cent B.C, excavated from the west side of the citadel gate of Sam'al (Hittite: Yadiya) located at Zincirli Höyük in the Anti-Taurus Mountains of modern Turkey's Gaziantep Province. Left Deer Buck, Inv no 7712, Middle Winged Lion inv no. 7706, Left Male with Axe Inv No. 7727. Istanbul Archaeological Museum.
  • 9th Cent BC Neo- Hittite basalt slabs with Hieroglyphic Inscriptions about the activities of King Urhilina & his son. from Hama, Syria. Istanbul Archaeological Museum.
  • Late Hittite (Aramaean)  Basalt Double Sphinx  sculpture from 9th Cent B.C, excavated from the entrance of Palace III Sam'al (Hittite: Yadiya) located at Zincirli Höyük in the Anti-Taurus Mountains of modern Turkey's Gaziantep Province. Istanbul Archaeological Museum Inv. No 7731.
  • Late Hittite Basalt Portal Lion sculpture from 9th Cent B.C, excavated from Palace Building P Sam'al (Hittite: Yadiya) located at Zincirli Höyük in the Anti-Taurus Mountains of modern Turkey's Gaziantep Province. Istanbul Archaeological Museum inv. No 7777.
  • Late Hittite Basalt Portal Lion sculpture from 9th Cent B.C, excavated from Palace Building P Sam'al (Hittite: Yadiya) located at Zincirli Höyük in the Anti-Taurus Mountains of modern Turkey's Gaziantep Province. Istanbul Archaeological Museum inv. No 7777.
  • Moulding of 8th Cent. BC late Hittite rock relief . Warpalas, King of Tyana land, praying in front of a plant & storm god Tarhunza. From Ivriz (Konya, Ergeli) Turkey. Istanbul Archaeological Museum Inv. No 7869.
  • Late Hittite (Aramaean)  Basalt relief sculpture of an Aslan Lion from 9th Cent B.C, excavated from the west side of the citadel gate of Sam'al (Hittite: Yadiya) located at Zincirli Höyük in the Anti-Taurus Mountains of modern Turkey's Gaziantep Province. Istanbul Archaeological Museum Inv. No 7727.
  • Late Hittite (Aramaean)  Basalt relief sculpture of a Bull from 9th Cent B.C, excavated from the west side of the citadel gate of Sam'al (Hittite: Yadiya) located at Zincirli Höyük in the Anti-Taurus Mountains of modern Turkey's Gaziantep Province. Istanbul Archaeological Museum Inv. No 7709.
  • Late Hittite (Aramaean) Basalt funereal Steel with a relief sculpture of a man from 9 - 8th Cent B.C, excavated from Um-Shershuh, Syria.  Istanbul Archaeological Museum Inv. No 7786.
  • Late Hittite Basalt funereal Steel with a relief sculpture of a warrior from 9 - 8th Cent B.C, excavated from Arslan Tash (Turkish; Arslan Lion, Taş Stone), ancient Hadātu, is an archaeological site in northern Syria 30km east of the Euphrates River and nearby the town of Ain al-Arab. Istanbul Archaeological Museum Inv. No 1981.
  • Sculpted Assyrian relief panels of mace bearers from Hadatu ( Aslantas ) around 800 B.C. Istanbul Archaeological museum Inv No. 14-10
  • Sculpted Assyrian relief panels of Royal Chariot & Guards  from Hadatu ( Aslantas ) around 800 B.C. Istanbul Archaeological museum Inv No. 1946
  • Ancient Egyptian limestone funerary stele of Ipepi with his wife, mother and sister in front of Osiris. Middle Kingdom, 11th Dynasty, 2120-1980 BC. Neues Museum Berlin Cat No: AM 24031.
  • Ancient Egyptian limestone funerary stele of Ipepi with his wife, mother and sister in front of Osiris. Middle Kingdom, 11th Dynasty, 2120-1980 BC. Neues Museum Berlin Cat No: AM 24031.
  • Ancient Egyptian limestone funerary stele of Ipepi with his wife, mother and sister in front of Osiris. Middle Kingdom, 11th Dynasty, 2120-1980 BC. Neues Museum Berlin Cat No: AM 24031.
  • Gold Death Mask Known as the "mask of Agamemnon"  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold & shows a man with a beard. 16th century BC. Cat No 624 Athens Archaeological Museum.
  • Gold Death Mask Known as the "mask of Agamemnon"  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold & shows a man with a beard. 16th century BC. Cat No 624 Athens Archaeological Museum.
  • Gold Death Mask  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold and is the only mask from grave circle A with eyes open. 16th century BC. Cat No 259 Athens Archaeological Museum.
  • Photo of a Three handles "Palace Style" amphora with three large octopuses within a marines cape of rocks and seaweed. A mycenaean copy of a Minoan Marine Style.   Mycenae tomb 2, Greece. 15th century BC,  cat no: 6725, National Archaeological Museum, Athens.
  • Three handled Mycenaean  Palace Style amphora with three large octopuses within a marinescape of rocks and seaweed. A Mycenaean imitation of Minoan Marine Style. From the Mycenaean cemetery of Argive Prosymna, tomb 2, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Ancient Egyptian limestone funerary stele of Ipepi with his wife, mother and sister in front of Osiris. Middle Kingdom, 11th Dynasty, 2120-1980 BC. Neues Museum Berlin Cat No: AM 24031.
  • Ancient Egyptian limestone funerary stele of Ipepi with his wife, mother and sister in front of Osiris. Middle Kingdom, 11th Dynasty, 2120-1980 BC. Neues Museum Berlin Cat No: AM 24031.
  • Gold Death Mask Known from Grave IV, Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC. Cat No 253 Athens Archaeological Museum.
  • Gold Death Mask Known from Grave IV, Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC. Cat No 253 Athens Archaeological Museum.
  • Gold Death Mask  from Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC.  Athens Archaeological Museum.
  • Gold Death Mask  from Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC.  Athens Archaeological Museum.
  • Boar's tusk helmet with cheek guards and double bone hook on top. Tomb 515 Mycenae, Greece. 14th-15th century BC. National Archaeological Museum, Athens.. The Boar's tusk helmet was described in the Iliad as follows "Meriones gave Odysseus a bow, a quiver and a sword, and put a cleverly made leather helmet on his head. On the inside there was a strong lining on interwoven straps, onto which a felt cap had been sewn in. The outside was cleverly adorned all around with rows of white tusks from a shiny-toothed boar, the tusks running in alternate directions in each row.<br />
—Homer, Iliad 10.260–5"
  • Boar's tusk helmet with cheek guards and double bone hook on top. Tomb 515 Mycenae, Greece. 14th-15th century BC. National Archaeological Museum, Athens.. The Boar's tusk helmet was described in the Iliad as follows "Meriones gave Odysseus a bow, a quiver and a sword, and put a cleverly made leather helmet on his head. On the inside there was a strong lining on interwoven straps, onto which a felt cap had been sewn in. The outside was cleverly adorned all around with rows of white tusks from a shiny-toothed boar, the tusks running in alternate directions in each row.<br />
—Homer, Iliad 10.260–5"
  • Three handled Mycenaean  Palace Style amphora with large palm trees symmetrically placed on the sides and smaller palm trees with floral motifs in between. This Mycenaean  vase is distinguished by the high quality of clay and paint, and by the naturalistic rendering of the decoration. From the Mycenaean cemetery at Argive Deiras, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Three handled Mycenaean  Palace Style amphora with large palm trees symmetrically placed on the sides and smaller palm trees with floral motifs in between. This Mycenaean  vase is distinguished by the high quality of clay and paint, and by the naturalistic rendering of the decoration. From the Mycenaean cemetery at Argive Deiras, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Three handled Mycenaean  Palace Style amphora with three large octopuses within a marinescape of rocks and seaweed. A Mycenaean imitation of Minoan Marine Style. From the Mycenaean cemetery of Argive Prosymna, tomb 2, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Three handled Mycenaean  Palace Style amphora with three large octopuses within a marinescape of rocks and seaweed. A Mycenaean imitation of Minoan Marine Style. From the Mycenaean cemetery of Argive Prosymna, tomb 2, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Neolithic Marble Female Figurine grave offering of the early Cycladic II period from the Chalandriani, from Syros. 2800-2300BC. Athens Archaeological Museum Ref No 6169.
  • Neolithic Marble Female Figurine grave offering of the early Cycladic II period from the Chalandriani, from Syros. 2800-2300BC. Athens Archaeological Museum Ref No 6169.
  • Gold Death Mask Known from Grave IV, Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC. Cat No 253 Athens Archaeological Museum.
  • Gold Death Mask Known from Grave IV, Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC. Cat No 253 Athens Archaeological Museum.
  • Gold Death Mask Known from Grave IV, Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC. Cat No 253 Athens Archaeological Museum.
  • Gold Death Mask  from Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC.  Athens Archaeological Museum.
  • Gold Death Mask  from Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC.  Athens Archaeological Museum.
  • Gold Death Mask  from Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC.  Athens Archaeological Museum.
  • Gold Death Mask Known as the "mask of Agamemnon"  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold & shows a man with a beard. 16th century BC. Cat No 624 Athens Archaeological Museum.
  • Gold Death Mask Known as the "mask of Agamemnon"  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold & shows a man with a beard. 16th century BC. Cat No 624 Athens Archaeological Museum.
  • Gold Death Mask Known as the "mask of Agamemnon"  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold & shows a man with a beard. 16th century BC. Cat No 624 Athens Archaeological Museum.
  • Gold Death Mask  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold and is the only mask from grave circle A with eyes open. 16th century BC. Cat No 259 Athens Archaeological Museum.
  • Gold Death Mask  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold and is the only mask from grave circle A with eyes open. 16th century BC. Cat No 259 Athens Archaeological Museum.
  • Gold Death Mask  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold and is the only mask from grave circle A with eyes open. 16th century BC. Cat No 259 Athens Archaeological Museum.
  • Gold Death Mask  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold and is the only mask from grave circle A with eyes open. 16th century BC. Cat No 259 Athens Archaeological Museum.
  • Large wine krater known as "House of the Warrior Vase", showing men in full armour ( helmet, cuirass, greaves, shield and spear ) as they depart fro war with a sack of supplies hanging from their spears. A fine example of Mycenaean Pictoral Style. Mycenae acropolis, Greece. 12th century BC, cat no: 1426 ,  National Archaeological Museum, Athens.
  • Boar's tusk helmet with cheek guards and double bone hook on top. Tomb 515 Mycenae, Greece. 14th-15th century BC. National Archaeological Museum, Athens.. The Boar's tusk helmet was described in the Iliad as follows "Meriones gave Odysseus a bow, a quiver and a sword, and put a cleverly made leather helmet on his head. On the inside there was a strong lining on interwoven straps, onto which a felt cap had been sewn in. The outside was cleverly adorned all around with rows of white tusks from a shiny-toothed boar, the tusks running in alternate directions in each row.<br />
—Homer, Iliad 10.260–5"
  • Boar's tusk helmet with cheek guards and double bone hook on top. Tomb 515 Mycenae, Greece. 14th-15th century BC. National Archaeological Museum, Athens.. The Boar's tusk helmet was described in the Iliad as follows "Meriones gave Odysseus a bow, a quiver and a sword, and put a cleverly made leather helmet on his head. On the inside there was a strong lining on interwoven straps, onto which a felt cap had been sewn in. The outside was cleverly adorned all around with rows of white tusks from a shiny-toothed boar, the tusks running in alternate directions in each row.<br />
—Homer, Iliad 10.260–5"
  • Boar's tusk helmet with cheek guards and double bone hook on top. Tomb 515 Mycenae, Greece. 14th-15th century BC. National Archaeological Museum, Athens.. The Boar's tusk helmet was described in the Iliad as follows "Meriones gave Odysseus a bow, a quiver and a sword, and put a cleverly made leather helmet on his head. On the inside there was a strong lining on interwoven straps, onto which a felt cap had been sewn in. The outside was cleverly adorned all around with rows of white tusks from a shiny-toothed boar, the tusks running in alternate directions in each row.<br />
—Homer, Iliad 10.260–5"
  • Three handled Mycenaean  Palace Style amphora with large palm trees symmetrically placed on the sides and smaller palm trees with floral motifs in between. This Mycenaean  vase is distinguished by the high quality of clay and paint, and by the naturalistic rendering of the decoration. From the Mycenaean cemetery at Argive Deiras, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Three handled Mycenaean  Palace Style amphora with large palm trees symmetrically placed on the sides and smaller palm trees with floral motifs in between. This Mycenaean  vase is distinguished by the high quality of clay and paint, and by the naturalistic rendering of the decoration. From the Mycenaean cemetery at Argive Deiras, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Photo of a Three handles "Palace Style" amphora with three large octopuses within a marines cape of rocks and seaweed. A mycenaean copy of a Minoan Marine Style.   Mycenae tomb 2, Greece. 15th century BC,  cat no: 6725, National Archaeological Museum, Athens.
  • Photo of a Three handles "Palace Style" amphora with three large octopuses within a marines cape of rocks and seaweed. A mycenaean copy of a Minoan Marine Style.   Mycenae tomb 2, Greece. 15th century BC,  cat no: 6725, National Archaeological Museum, Athens.
  • Photo of a Three handles "Palace Style" amphora with three large octopuses within a marines cape of rocks and seaweed. A mycenaean copy of a Minoan Marine Style.   Mycenae tomb 2, Greece. 15th century BC,  cat no: 6725, National Archaeological Museum, Athens.
  • Photo of a Three handles "Palace Style" amphora with three large octopuses within a marines cape of rocks and seaweed. A mycenaean copy of a Minoan Marine Style.   Mycenae tomb 2, Greece. 15th century BC,  cat no: 6725, National Archaeological Museum, Athens.
  • Three handled Mycenaean  Palace Style amphora with three large octopuses within a marinescape of rocks and seaweed. A Mycenaean imitation of Minoan Marine Style. From the Mycenaean cemetery of Argive Prosymna, tomb 2, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Neolithic Marble Female Figurine grave offering of the early Cycladic II period from the Chalandriani, from Syros. 2800-2300BC. Athens Archaeological Museum Ref No 6169.
  • Neolithic Marble Female Figurine grave offering of the early Cycladic II period from the Chalandriani, from Syros. 2800-2300BC. Athens Archaeological Museum Ref No 6169.
  • Large wine krater known as "House of the Warrior Vase", showing men in full armour ( helmet, cuirass, greaves, shield and spear ) as they depart fro war with a sack of supplies hanging from their spears. A fine example of Mycenaean Pictoral Style. Mycenae acropolis, Greece. 12th century BC, cat no: 1426 ,  National Archaeological Museum, Athens.
  • Three handled Mycenaean  Palace Style amphora with large palm trees symmetrically placed on the sides and smaller palm trees with floral motifs in between. This Mycenaean  vase is distinguished by the high quality of clay and paint, and by the naturalistic rendering of the decoration. From the Mycenaean cemetery at Argive Deiras, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Three handled Mycenaean  Palace Style amphora with three large octopuses within a marinescape of rocks and seaweed. A Mycenaean imitation of Minoan Marine Style. From the Mycenaean cemetery of Argive Prosymna, tomb 2, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Neolithic Marble Female Figurine grave offering of the early Cycladic II period from the Chalandriani, from Syros. 2800-2300BC. Athens Archaeological Museum Ref No 6169.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177. Against grey<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177. Against grey<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177. Against white, <br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • Statue of Artemis, found at the 'House of Diadoumenos' on Delos. Pariam marble, Circa 100 BC. Athens Archaeological Museum, Cat No 1829. Against white, <br />
<br />
Artemis wears a chiton, a girt and himation. The diagonal strap ocross her breast will have held the quiver full of arrows. The Goddess's beauty is stressed by her elaborate coiffure.
  • Statue of Artemis, found at the 'House of Diadoumenos' on Delos. Pariam marble, Circa 100 BC. Athens Archaeological Museum, Cat No 1829. against black<br />
Artemis wears a chiton, a girt and himation. The diagonal strap ocross her breast will have held the quiver full of arrows. The Goddess's beauty is stressed by her elaborate coiffure.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177. Against grey<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177, Against white, <br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177, Against white, <br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177. Against grey<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177. Against grey<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177. Against grey<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177. Against grey<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • Pictures of a geometric Roman mosaics with animals & fruit, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against a black background
  • Pictures of a Roman mosaics with medallions containing mosaic birds, fishes and fruit, from the ancient Roman city of Thysdrus, house in the M'Barek R'Haiem area. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against a white background
  • Picture of a Roman mosaics design depicting scenes from the Life of Dionysus, In this mosic medallion Sienus is carrying a lyre, from the ancient Roman city of Thysdrus, House of Silenus. Late 2nd to early 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
<br />
In this mosic medallion Sienus is carrying a lyre
  • Picture of a Roman mosaics design depicting scenes from the Life of Dionysus, a scene with Ichthyocentaurs, fish tailed centaurs and Nereids, from the ancient Roman city of Thysdrus, House of Silenus. Late 2nd to early 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting scenes from the Life of Dionysus, from the ancient Roman city of Thysdrus, House of Silenus. Late 2nd to early 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against a white background<br />
<br />
In the central panel of this Roman mosaic the  teacher of Dionysus, Silenus, is being carried towards a donkey.
  • Picture of a Roman mosaics design depicting the Four Seasons, from the ancient Roman city of Thysdrus. 3rd century AD, House in Jiliani Guirat area. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting the Four Seasons, from the ancient Roman city of Thysdrus. 3rd century AD, House in Jiliani Guirat area. El Djem Archaeological Museum, El Djem, Tunisia. Against an art background
  • Picture of a Roman mosaics design depicting a Satyr persuing Bacchante, from the ancient Roman city of Thysdrus. End of 2nd century AD, House in Jiliani Guirat area. El Djem Archaeological Museum, El Djem, Tunisia. Against a white background
  • Picture of a Roman mosaics design depicting the Abduction of Ganymede, from the ancient Roman city of Thysdrus. End od 2nd century AD, Sollertiana Domus. El Djem Archaeological Museum, El Djem, Tunisia.
  • Close up picture of a Roman mosaics design depicting a Nymph lying on a sea horse , from the ancient Roman city of Thysdrus. 3rd century AD, House of Dolphins. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting a Nymph lying on a sea horse with two dolphins, from the ancient Roman city of Thysdrus. 3rd century AD, House of Dolphins. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting a Nymph lying on a sea horse with two dolphins, from the ancient Roman city of Thysdrus. 3rd century AD, House of Dolphins. El Djem Archaeological Museum, El Djem, Tunisia. Against a white background
  • Picture of a Roman mosaics design depicting an owl, symbol of victory over envy. On either side of the Owl are symbols of Telegenii an North African Roman association. From the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against a black background
  • Picture of a Roman Dionysiac mosaics design depicting masks and birds, from the ancient Roman city of Thysdrus. 3rd century AD, House of Silenus. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman Dionysiac mosaics design depicting masks and birds, from the ancient Roman city of Thysdrus. 3rd century AD, House of Silenus. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman Dionysiac mosaics design depicting masks and birds, from the ancient Roman city of Thysdrus. 3rd century AD, House of Silenus. El Djem Archaeological Museum, El Djem, Tunisia. Against a white background
  • Picture of a Roman mosaics design depicting a lion attacking two onagers or Asiatic wild ass, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting Dionysus riding a lion; from the ancient Roman city of Thysdrus. 2nd century AD House of the Dionysus Proccession. El Djem Archaeological Museum; El Djem; Tunisia. Against a white background
  • Picture of a Roman mosaics design depicting Dionysus riding a lion, from the ancient Roman city of Thysdrus. 2nd century AD House of the Dionysus Proccession. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting Dionysus riding a lion; from the ancient Roman city of Thysdrus. 2nd century AD House of the Dionysus Proccession. El Djem Archaeological Museum; El Djem; Tunisia. Against a grey background
  • Picture of a Roman mosaics design depicting Lions eating a boar, from the ancient Roman city of Thysdrus. 2nd century AD, House of the Dionysus Proccession. El Djem Archaeological Museum, El Djem, Tunisia. Against a grey background
  • Picture of a Roman mosaics design depicting the Muses inside medallions, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Pictures of a Roman mosaics design depicting Dionysus Riding a Panther, from Abdel Jelil. 2nd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Pictures of a Roman mosaics design depicting Dionysus Riding a Panther, from Abdel Jelil. 2nd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against a grey background
  • Picture of a satyr wearing a panther skin playing a flute from a Roman mosaic depicting Dionysus Riding a Panther, from Abdel Jelil. 2nd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Pictures of a Roman mosaics design depicting Dionysus Riding a Panther, from Abdel Jelil. 2nd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
<br />
The Roman mosaic depicts Dionysus riding a Panther spilling a glass of wine he is holding. Behind him, a satyr wearing a panther skin plays a flute. In front of Dionysus a Bacchante is praying to Priapus,  a minor god of fertility. Surrounding the scene is a wreath designs with a medallion in each corner containing a wild boar, a panther, and lions.
  • Pictures of a Roman mosaics design depicting Dionysus Riding a Panther, from Abdel Jelil. 2nd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
<br />
The Roman mosaic depicts Dionysus riding a Panther spilling a glass of wine he is holding. Behind him, a satyr wearing a panther skin plays a flute. In front of Dionysus a Bacchante is praying to Priapus,  a minor god of fertility. Surrounding the scene is a wreath designs with a medallion in each corner containing a wild boar, a panther, and lions.
  • Pictures of the geometric border  Roman mosaic using 3d blocks and a swastica design from a Four Seasons mosaic, from the Maison de la Procession Dionysiaque, ancient Roman city of Thysdrus. 2nd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Pictures of a Roman mosaics design depicting the Four Seasons, from the Maison de la Procession Dionysiaque, ancient Roman city of Thysdrus. 2nd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Detail of a  Roman mosaics design depicting the nine muses, from the Maison du Mois, ancient Roman city of Thysdrus. 2nd half of 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
<br />
The Roman mosaic depicts the nine muses and their attributes: Clio the muse of history ; Uranie the muse of Astronomy; Melpomene, tragedy; Thalie, comedy; Terpsichore, dancing; Calliope, epic poetry; Erato, love poetry; Polymnie, religious songs and rhetoric; Euterpe, lyrical poetry and music
  • Ancient Greek Archaic statuette of a  kore, found in the Acropolis Athens, 500-490 BC, Athens National Archaeological Museum. Cat no BE 15/2009.  Against grey.<br />
<br />
The kore statues hair is adorned with a wreath and her ears by round disk earings. Traces of paint can be found on her garments and jewellery. Red paint was found on her hair and eyes. Acropolis Museum Cat no 676, 257
  • Ancient Greek Archaic statuette of a  kore, found in the Acropolis Athens, 500-490 BC, Athens National Archaeological Museum. Cat no BE 15/2009. Against black<br />
<br />
<br />
The kore statues hair is adorned with a wreath and her ears by round disk earings. Traces of paint can be found on her garments and jewellery. Red paint was found on her hair and eyes. Acropolis Museum Cat no 676, 257
  • Ancient Greek Archaic statuette of a  kore, found in the Acropolis Athens, 500-490 BC, Athens National Archaeological Museum. Cat no BE 15/2009.<br />
<br />
The kore statues hair is adorned with a wreath and her ears by round disk earings. Traces of paint can be found on her garments and jewellery. Red paint was found on her hair and eyes. Acropolis Museum Cat no 676, 257
  • Pentelic marble Ancient Greek Archaic statue of a female, found in Pyoan Apollo Sanctuart, Boeotia, end 7th cent BC, Athens National Archaeological Museum. Cat no 4.<br />
<br />
two of these staues suppoted t a perrihanterion, a shallow basin, in the snctuary of Apollo Boeotia. This style originated in Syria na dcCyprus. Sculpted in a Boeotian workshop.
  • Pentelic marble Ancient Greek Archaic statue of a female, found in Pyoan Apollo Sanctuart, Boeotia, end 7th cent BC, Athens National Archaeological Museum. Cat no 4. Against grey.<br />
<br />
two of these staues suppoted t a perrihanterion, a shallow basin, in the snctuary of Apollo Boeotia. This style originated in Syria na dcCyprus. Sculpted in a Boeotian workshop.
  • Pentelic marble Ancient Greek Archaic statue of a female, found in Pyoan Apollo Sanctuart, Boeotia, end 7th cent BC, Athens National Archaeological Museum. Cat no 4. Against white.<br />
<br />
two of these staues suppoted t a perrihanterion, a shallow basin, in the snctuary of Apollo Boeotia. This style originated in Syria na dcCyprus. Sculpted in a Boeotian workshop.
  • Pentelic marble Ancient Greek Archaic statue of a female, found in Pyoan Apollo Sanctuart, Boeotia, end 7th cent BC, Athens National Archaeological Museum. Cat no 4. Against black<br />
<br />
two of these staues suppoted t a perrihanterion, a shallow basin, in the snctuary of Apollo Boeotia. This style originated in Syria na dcCyprus. Sculpted in a Boeotian workshop.
  • Pentelic marble Ancient Greek Archaic statue of a female, found in Pyoan Apollo Sanctuart, Boeotia, end 7th cent BC, Athens National Archaeological Museum. Cat no 4. Against white.<br />
<br />
two of these staues suppoted t a perrihanterion, a shallow basin, in the snctuary of Apollo Boeotia. This style originated in Syria na dcCyprus. Sculpted in a Boeotian workshop.
  • Marble Ancient Greek Archaic statue of a Woman, found on Delos, circa 650 BC, Athens National Archaeological Museum. Cat no 1. Against black<br />
<br />
One of the earlist known monumental statues in stone this statue probably represents Artemis. According to the inscription carved on the left thigh of the statue it was dedicated to Apollo ny Naxian Nikandre. Typical Daedalic style from a Delos workshop.
  • Marble Ancient Greek Archaic statue of a Woman, found on Delos, circa 650 BC, Athens National Archaeological Museum. Cat no 1.  Against grey.<br />
<br />
One of the earlist known monumental statues in stone this statue probably represents Artemis. According to the inscription carved on the left thigh of the statue it was dedicated to Apollo ny Naxian Nikandre. Typical Daedalic style from a Delos workshop.
  • Parian marble Ancient Greek Archaic statue of a kore by Ariston of Paros, found in Merenda, Attica, Circa 540-530 BC, Athens National Archaeological Museum. Cat no 4889. Against white.<br />
<br />
This funerary statue was found in the same pit as Phrasikleia cat no 4890. The expression on the face and the rendering of the garment that follows the curves of the body underneath are remarkable. The chiton retains in many places its painted decoration with rosettes, swastikas, stars and meanders. This Kore is an extraordinary statue and is one of the most inportant of the Archaic Period. Mad by sculptor Ariston from Paros
  • Parian marble Ancient Greek Archaic statue of a kore by Ariston of Paros, found in Merenda, Attica, Circa 540-530 BC, Athens National Archaeological Museum. Cat no 4889.<br />
<br />
This funerary statue was found in the same pit as Phrasikleia cat no 4890. The expression on the face and the rendering of the garment that follows the curves of the body underneath are remarkable. The chiton retains in many places its painted decoration with rosettes, swastikas, stars and meanders. This Kore is an extraordinary statue and is one of the most inportant of the Archaic Period. Mad by sculptor Ariston from Paros
  • Parian marble Ancient Greek Archaic statue of a kore by Ariston of Paros, found in Merenda, Attica, Circa 540-530 BC, Athens National Archaeological Museum. Cat no 4889.<br />
<br />
This funerary statue was found in the same pit as Phrasikleia cat no 4890. The expression on the face and the rendering of the garment that follows the curves of the body underneath are remarkable. The chiton retains in many places its painted decoration with rosettes, swastikas, stars and meanders. This Kore is an extraordinary statue and is one of the most inportant of the Archaic Period. Mad by sculptor Ariston from Paros
  • Parian marble Ancient Greek Archaic statue of a kore by Ariston of Paros, found in Merenda, Attica, Circa 540-530 BC, Athens National Archaeological Museum. Cat no 4889. Against grey.<br />
<br />
This funerary statue was found in the same pit as Phrasikleia cat no 4890. The expression on the face and the rendering of the garment that follows the curves of the body underneath are remarkable. The chiton retains in many places its painted decoration with rosettes, swastikas, stars and meanders. This Kore is an extraordinary statue and is one of the most inportant of the Archaic Period. Mad by sculptor Ariston from Paros
  • Marble Ancient Archaic Greek statuette of a Kore, from Aleusis, C. 490-480 BC, Athens National Archaeological Museum. Cat No 24
  • Marble Ancient Archaic Greek statuette of a Kore, from Aleusis, C. 490-480 BC, Athens National Archaeological Museum. Cat No 24.  Against grey.
  • Marble Ancient Archaic Greek statuette of a Kore, from Aleusis, C. 490-480 BC, Athens National Archaeological Museum. Cat No 24.  Against grey.
  • Gronze Greek classical statue of a youth by sculptor Euphranor. from the Antikythera shipwreck, Circa 340-330 BC, Athens National Archaeological Museum. Cat No X13396. Against white.<br />
<br />
The statue has been thought to depict Perseus who would have been holding the head of Medusa, but is more probably a depiction of Paris who would have been holding the 'apple of strife', ready to award it to the most beautiful goddess, Aphrodite. Probably sculpted by Sikyonian sculptor Euphranor.
  • Hellenstic marble statue group of Aphrodite (Venus) with Pan and Eros, Circa 100 BC, House of Poseidonaistai of Beryttos, Delos, Athens National Archaeological Museum.  Cat no 3335. Against grey.<br />
<br />
The nude goddess Aphrodite (Venus) attempte to fend off goat footed Pan who make erotic advances towards her. Aphrodite holds a sandal in her right hand threatening Pan while the winged god Eros comes to her aid. According to an inscription on the statues base it was dedicated to Dionysus of Beryttos (Beirut) to hai ancestral gods.
  • Hellenstic marble statue group of Aphrodite (Venus) with Pan and Eros, Circa 100 BC, House of Poseidonaistai of Beryttos, Delos, Athens National Archaeological Museum.  Cat no 3335. Against black<br />
<br />
The nude goddess Aphrodite (Venus) attempte to fend off goat footed Pan who make erotic advances towards her. Aphrodite holds a sandal in her right hand threatening Pan while the winged god Eros comes to her aid. According to an inscription on the statues base it was dedicated to Dionysus of Beryttos (Beirut) to hai ancestral gods.
  • Hellenstic marble statue group of Aphrodite (Venus) with Pan and Eros, Circa 100 BC, House of Poseidonaistai of Beryttos, Delos, Athens National Archaeological Museum.  Cat no 3335. Against grey.<br />
<br />
The nude goddess Aphrodite (Venus) attempte to fend off goat footed Pan who make erotic advances towards her. Aphrodite holds a sandal in her right hand threatening Pan while the winged god Eros comes to her aid. According to an inscription on the statues base it was dedicated to Dionysus of Beryttos (Beirut) to hai ancestral gods.
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322.<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322. Against white.<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322. Against black<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Bronze statue of Roman empress Julia Aquilia Severa found at Sparta. circa 221-222 AD.  Athens National Archaeological Museum, Cat No X23321.<br />
<br />
The women in the Bronze statue wears a Chiton and himation and would have had a crwon on her head. The hair style is typical of the Severan dynisty. Julia Aquilia was the last wife of emperor Elagobalus (218-222 AD) and the damage to the statue is due to a building collapsing on it after a fire circa 221-222 AD
  • Statue of Artemis, found at the 'House of Diadoumenos' on Delos. Pariam marble, Circa 100 BC. Athens Archaeological Museum, Cat No 1829.<br />
<br />
Artemis wears a chiton, a girt and himation. The diagonal strap ocross her breast will have held the quiver full of arrows. The Goddess's beauty is stressed by her elaborate coiffure.
  • Statue of Artemis, found at the 'House of Diadoumenos' on Delos. Pariam marble, Circa 100 BC. Athens Archaeological Museum, Cat No 1829. Against grey<br />
<br />
Artemis wears a chiton, a girt and himation. The diagonal strap ocross her breast will have held the quiver full of arrows. The Goddess's beauty is stressed by her elaborate coiffure.
  • Statue of Artemis, found at the 'House of Diadoumenos' on Delos. Pariam marble, Circa 100 BC. Athens Archaeological Museum, Cat No 1829.<br />
<br />
Artemis wears a chiton, a girt and himation. The diagonal strap ocross her breast will have held the quiver full of arrows. The Goddess's beauty is stressed by her elaborate coiffure.
  • Ancient Greek funerary statue of a women, type Small Herculaneum Woman style. From Delos circa 2nd Cent BC. Athens National Archaeological Museum. Cat No 1827. against black<br />
<br />
This marble statue from Delos shopws a women wearing a full length chiton and a himation that covers her entire body and arms. This style of statue is known os 'Small Herculaneum Woman' and is a copy of a famous original dating from 300 BC.
  • Ancient Greek funerary statue of a women, type Small Herculaneum Woman style. From Delos circa 2nd Cent BC. Athens National Archaeological Museum. Cat No 1827. Against grey<br />
<br />
This marble statue from Delos shopws a women wearing a full length chiton and a himation that covers her entire body and arms. This style of statue is known os 'Small Herculaneum Woman' and is a copy of a famous original dating from 300 BC.
  • Ancient Greek funerary statue of a women, type Small Herculaneum Woman style. From Delos circa 2nd Cent BC. Athens National Archaeological Museum. Cat No 1827<br />
<br />
This marble statue from Delos shopws a women wearing a full length chiton and a himation that covers her entire body and arms. This style of statue is known os 'Small Herculaneum Woman' and is a copy of a famous original dating from 300 BC.
  • Ancient Greek funerary statue of a women, type Small Herculaneum Woman style. From Delos circa 2nd Cent BC. Athens National Archaeological Museum. Cat No 1827. Against grey<br />
<br />
This marble statue from Delos shopws a women wearing a full length chiton and a himation that covers her entire body and arms. This style of statue is known os 'Small Herculaneum Woman' and is a copy of a famous original dating from 300 BC.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177, Against white, <br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177, Against white, <br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177. Against grey<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177, Against white, <br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177. Against grey<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177. Against grey<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • Pictures of a geometric Roman mosaics with animals & fruit, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Pictures of a geometric Roman mosaics with animals & fruit, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against an art background
  • Pictures of a geometric Roman doorstep mosaics depicting five fishes surrounded by bars and a medallion, from the ancient Roman city of Thysdrus. 3rd century AD The Small Baths in the M'barek Rhaiem area. El Djem Archaeological Museum, El Djem, Tunisia.<br />
<br />
The mosaic depicts the emblem of the Pentasii, a powerful Nortyh African Roman association that organised and  maintained the wild animals and hired animal killers to carry on the games in ampitheatres.
  • Pictures of a geometric Roman doorstep mosaics depicting five fishes surrounded by bars and a medallion, from the ancient Roman city of Thysdrus. 3rd century AD The Small Baths in the M'barek Rhaiem area. El Djem Archaeological Museum, El Djem, Tunisia. Against a grey background<br />
<br />
The mosaic depicts the emblem of the Pentasii, a powerful Nortyh African Roman association that organised and  maintained the wild animals and hired animal killers to carry on the games in ampitheatres.
  • Pictures of a geometric Roman mosaic, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against a white background
  • Pictures of a geometric Roman mosaic, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Pictures of a geometric Roman mosaic, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against a white background
  • Pictures of a geometric Roman mosaic, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Pictures of a geometric Roman mosaics with strap work and cruciform flowers and in the centre a damaged depiction of a running deer, from the ancient Roman city of Thysdrus, Jilani Guirat area. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against a black background
  • Pictures of a geometric Roman mosaics with strap work and cruciform flowers and in the centre a damaged depiction of a running deer, from the ancient Roman city of Thysdrus, Jilani Guirat area. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Pictures of a geometric Roman mosaics with strap work and cruciform flowers and in the centre a damaged depiction of a running deer, from the ancient Roman city of Thysdrus, Jilani Guirat area. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against an art background
  • Pictures of a Roman mosaics from an apse depicting a fan of multicoloured triangles and vine foliated scrolls, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against a black background
  • Pictures of a Roman mosaics from an apse depicting a fan of multicoloured triangles and vine foliated scrolls, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against an art background
  • Pictures of a Roman mosaics from an apse depicting a fan of multicoloured triangles and vine foliated scrolls, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against a grey background
  • Pictures of a Roman mosaics with medallions containing mosaic birds, fishes and fruit, from the ancient Roman city of Thysdrus, house in the M'Barek R'Haiem area. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Pictures of a Roman mosaics with medallions containing mosaic birds, fishes and fruit, from the ancient Roman city of Thysdrus, house in the M'Barek R'Haiem area. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Pictures of a geometric Roman mosaics with a hexagon at its centre in the middle of which is a cruciform of flowers, from the ancient Roman city of Thysdrus, house in the M'Barek R'Haiem area. Begining of 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against an art background
  • Picture of a Roman mosaics design depicting Endymion sleeping while Selene, the moon goddess, admires him, from the ancient Roman city of Thysdrus House in Jilani Guirat area. End of 2nd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting scenes from mythology, from the ancient Roman city of Thysdrus House in Jilani Guirat area. End of 2nd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against a black background<br />
<br />
Detail from a mosaic which depicts Polyphene playing a lyre to charm Galate ; Dionysus drunk ; Alpheus attacking the nymph Arethusa
  • Picture of a Roman mosaics design depicting scenes from mythology, from the ancient Roman city of Thysdrus House in Jilani Guirat area. End of 2nd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against an art background<br />
<br />
Detail from a mosaic which depicts Polyphene playing a lyre to charm Galate ; Dionysus drunk ; Alpheus attacking the nymph Arethusa
  • Picture of a Roman mosaics design depicting Orpheus, god of music, playing his lyre,  from the ancient Roman city of Thysdrus, Bir Zid area. 2nd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting  a bird charmed by  music being played by Orpheus, from the ancient Roman city of Thysdrus, Bir Zid area. 2nd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting  a bird charmed by  music being played by Orpheus, from the ancient Roman city of Thysdrus, Bir Zid area. 2nd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting  animals charmed by  music being played by Orpheus, from the ancient Roman city of Thysdrus, Bir Zid area. 2nd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting Orpheus, god of music, playing his lyre,  from the ancient Roman city of Thysdrus, Bir Zid area. 2nd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against a black background
  • Picture of a Roman mosaics design depicting Orpheus, god of music, playing his lyre,  from the ancient Roman city of Thysdrus, Bir Zid area. 2nd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting Orpheus, god of music, playing his lyre,  from the ancient Roman city of Thysdrus, Bir Zid area. 2nd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against a grey background
  • Picture of a Roman mosaics design depicting scenes from the Life of Dionysus, from the ancient Roman city of Thysdrus, House of Silenus. Late 2nd to early 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
<br />
In the central panel of this Roman mosaic Dionysus is being crowned whilst his teacher, Silenus, is being carried towards a donkey.
  • Picture of a Roman mosaics design depicting scenes from the Life of Dionysus, In this mosic medallion Sienus is carrying a lyre, from the ancient Roman city of Thysdrus, House of Silenus. Late 2nd to early 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
<br />
In this mosic medallion Sienus is carrying a lyre
  • Picture of a Roman mosaics design depicting scenes from the Life of Dionysus, from the ancient Roman city of Thysdrus, House of Silenus. Late 2nd to early 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
<br />
In the central panel of this Roman mosaic the  teacher of Dionysus, Silenus, is being carried towards a donkey.
  • Picture of a Roman mosaics design depicting scenes from the Life of Dionysus, from the ancient Roman city of Thysdrus, House of Silenus. Late 2nd to early 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against a grey background<br />
<br />
In the central panel of this Roman mosaic the  teacher of Dionysus, Silenus, is being carried towards a donkey.
  • Picture of a Roman mosaics design depicting scenes from the Life of Dionysus, from the ancient Roman city of Thysdrus, House of Silenus. Late 2nd to early 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against a black background<br />
<br />
In the central panel of this Roman mosaic the  teacher of Dionysus, Silenus, is being carried towards a donkey.
  • Picture of a Roman mosaics design depicting scenes from the Life of Dionysus, from the ancient Roman city of Thysdrus, House of Silenus. Late 2nd to early 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against a white background<br />
<br />
In the central panel of this Roman mosaic the  teacher of Dionysus, Silenus, is being carried towards a donkey.
  • Picture of a Roman mosaics design depicting scenes from the Life of Dionysus, a scene with Ichthyocentaurs, fish tailed centaurs and Nereids, from the ancient Roman city of Thysdrus, House of Silenus. Late 2nd to early 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting a Nile scene with birds and pigmies, from the ancient Roman city of Thysdrus, Bir Zid area. 2nd century AD, . El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting the cupid owner of a cockerell at a cock fight, from the ancient Roman city of Thysdrus. 2nd half of the 2nd century AD, House of Tertulla. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting a Nile scene with birds and pigmies, from the ancient Roman city of Thysdrus, Bir Zid area. 2nd century AD, . El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting the cupid owner of a cockerell at a cock fight, from the ancient Roman city of Thysdrus. 2nd half of the 2nd century AD, House of Tertulla. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting Dionysus drunk being transported on a chariot pulled by a centaur, they are followed by a Bacchante, follower of Bacchus, and a Satyr, from the ancient Roman city of Thysdrus. 3rd century AD House of Tertulla. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting Dionysus drunk being transported on a chariot pulled by a centaur, from the ancient Roman city of Thysdrus. 3rd century AD House of Tertulla. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting Dionysus drunk being transported on a chariot pulled by a centaur, they are followed by a Bacchante, follower of Bacchus, and a Satyr, from the ancient Roman city of Thysdrus. 3rd century AD House of Tertulla. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting Dionysus drunk being transported on a chariot pulled by a centaur, they are followed by a Bacchante, follower of Bacchus, and a Satyr, from the ancient Roman city of Thysdrus. 3rd century AD House of Tertulla. El Djem Archaeological Museum, El Djem, Tunisia. Against a grey background
  • Picture of a Roman mosaics design depicting the Four Seasons, from the ancient Roman city of Thysdrus. 3rd century AD, House in Jiliani Guirat area. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting a fish in a medallion, from the ancient Roman city of Thysdrus. 3rd century AD, House in Jiliani Guirat area. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting a Satyr persuing Bacchante, from the ancient Roman city of Thysdrus. End of 2nd century AD, House in Jiliani Guirat area. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting a Satyr persuing Bacchante, from the ancient Roman city of Thysdrus. End of 2nd century AD, House in Jiliani Guirat area. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting a Satyr persuing Bacchante, from the ancient Roman city of Thysdrus. End of 2nd century AD, House in Jiliani Guirat area. El Djem Archaeological Museum, El Djem, Tunisia. Against an art background
  • Picture of a Roman mosaics design depicting scenes from mythology, from the ancient Roman city of Thysdrus. End of 2nd century AD, House in Jiliani Guirat area. El Djem Archaeological Museum, El Djem, Tunisia. Against a white background<br />
<br />
This Roman mosaic depicts Aurore enticing Cephane, Apollo enticing Cyrene and Apollo persuing Daphne
  • Picture of a Roman mosaics design depicting scenes from mythology, from the ancient Roman city of Thysdrus. End of 2nd century AD, House in Jiliani Guirat area. El Djem Archaeological Museum, El Djem, Tunisia. Against a black background<br />
<br />
This Roman mosaic depicts Aurore enticing Cephane, Apollo enticing Cyrene and Apollo persuing Daphne
  • Picture of a Roman mosaics design depicting scenes from mythology, from the ancient Roman city of Thysdrus. End of 2nd century AD, House in Jiliani Guirat area. El Djem Archaeological Museum, El Djem, Tunisia.<br />
<br />
This Roman mosaic depicts Aurore enticing Cephane, Apollo enticing Cyrene and Apollo persuing Daphne
  • Picture of a Dionysiac Roman mosaics design depicting a panther in front of a wine crater, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting animals killing people in an ampitheatre, from the ancient Roman city of Thysdrus. End of 2nd century AD, Sollertiana Domus. El Djem Archaeological Museum, El Djem, Tunisia. Against a black background
  • Picture of a Roman mosaics design depicting the Abduction of Ganymede, from the ancient Roman city of Thysdrus. End od 2nd century AD, Sollertiana Domus. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting the Abduction of Ganymede, from the ancient Roman city of Thysdrus. End od 2nd century AD, Sollertiana Domus. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting the Abduction of Ganymede, from the ancient Roman city of Thysdrus. End od 2nd century AD, Sollertiana Domus. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting the Abduction of Ganymede, from the ancient Roman city of Thysdrus. End od 2nd century AD, Sollertiana Domus. El Djem Archaeological Museum, El Djem, Tunisia. Against a white background
  • Picture of a Roman mosaics design depicting the Abduction of Ganymede, from the ancient Roman city of Thysdrus. End od 2nd century AD, Sollertiana Domus. El Djem Archaeological Museum, El Djem, Tunisia. Against a black background
  • Picture of a Roman mosaics design depicting the Abduction of Ganymede, from the ancient Roman city of Thysdrus. End od 2nd century AD, Sollertiana Domus. El Djem Archaeological Museum, El Djem, Tunisia. Against a grey background
  • Picture of a Roman mosaics design depicting a Nymph lying on a sea horse with two dolphins, from the ancient Roman city of Thysdrus. 3rd century AD, House of Dolphins. El Djem Archaeological Museum, El Djem, Tunisia. Against a grey background
  • Pictures of a Roman mosaics design depicting the Four Seasons, from the Maison de la Procession Dionysiaque, ancient Roman city of Thysdrus. 2nd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting a bird, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting one of the Four Seasons, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting one of the Four Seasons, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting one of the Four Seasons, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting Sileuns and two of the Four Seasons, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting Sileuns and two of the Four Seasons, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against a grey background
  • Picture of a Roman mosaics design depicting cupids picking grapes, from the ancient Roman city of Thysdrus. 3rd century AD, House of Dolphins. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting cupids picking grapes, from the ancient Roman city of Thysdrus. 3rd century AD, House of Dolphins. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting  panthers, from the ancient Roman city of Thysdrus. 3rd century AD, House of Dolphins. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a geometric Roman mosaics design using dolphins and swans designs, from the ancient Roman city of Thysdrus. 3rd century AD, House of Dolphins. El Djem Archaeological Museum, El Djem, Tunisia. Against a white background
  • Picture of a geometric Roman mosaics design using dolphins and swans designs, from the ancient Roman city of Thysdrus. 3rd century AD, House of Dolphins. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a geometric Roman mosaics design using dolphins and swans designs, from the ancient Roman city of Thysdrus. 3rd century AD, House of Dolphins. El Djem Archaeological Museum, El Djem, Tunisia. Against an art background
  • Picture of a Roman mosaics design depicting an owl, symbol of victory over envy. On either side of the Owl are symbols of Telegenii an North African Roman association. From the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting an owl, symbol of victory over envy. On either side of the Owl are symbols of Telegenii an North African Roman association. From the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against a grey background
  • Picture of a Roman mosaics design depicting Silenus and fishing cupids, from the ancient Roman city of Thysdrus. 3rd century AD, House of Silenus. El Djem Archaeological Museum, El Djem, Tunisia. Against a white background

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