• The interior of the Bapistry of Florence  Duomo ( Battistero di San Giovanni ) with the altar and  medieval ceiling mosaics of Christ and the last judgement . Florence Italy
  • Scenes from the early Renaissance " Gates of Paradise" door of the Baptistry of Florence ( Battistero di San Giovanni ) made by Ghiberti in 1425 , made in bronze and guilded in gold. The Bapistry of the Duomo, Florence Italy
  • The interior of the Bapistry of Florence  Duomo ( Battistero di San Giovanni ) with the altar and  medieval ceiling mosaics of Christ and the last judgement . Florence Italy
  • Scenes from the early Renaissance " Gates of Paradise" door of the Baptistry of Florence ( Battistero di San Giovanni ) made by Ghiberti in 1425 , made in bronze and guilded in gold. The Bapistry of the Duomo, Florence Italy
  • The Medieval mosaics of the ceiling of The Baptistry of Florence Duomo ( Battistero di San Giovanni ) started in 1225 by Venetian craftsmen in a Byzantine style and completed in the 14th century. Florence Italy
  • The Medieval mosaics of the ceiling of The Baptistry of Florence Duomo ( Battistero di San Giovanni ) started in 1225 by Venetian craftsmen in a Byzantine style and completed in the 14th century. Florence Italy
  • The Medieval mosaics of the ceiling of The Baptistry of Florence Duomo ( Battistero di San Giovanni ), showing Christ between angels. This panel is strongly influenced by Byxantine style probably through the Venetian craftsmen who made them. The angels are made to a typical Byzantine style and Christ is making the Orthododox blessing of the Eastern church with his hand.  Started in 1225 by Venetian craftsmen in a Byzantine style and completed in the 14th century. Florence Italy
  • The Medieval mosaics of the ceiling of The Baptistry of Florence Duomo ( Battistero di San Giovanni ) showing the profits,  Mary and the baby Jesus on a donkey travelling to Egypt,  started in 1225 by Venetian craftsmen in a Byzantine style and completed in the 14th century. Florence Italy
  • The Medieval mosaics of the ceiling of The Baptistry of Florence Duomo ( Battistero di San Giovanni ) showing an Angel telling Joseph in his dreams to take Mary and the baby Jesus to Egypt,  started in 1225 by Venetian craftsmen in a Byzantine style and completed in the 14th century. Florence Italy
  • The Medieval mosaics of the ceiling of The Baptistry of Florence Duomo ( Battistero di San Giovanni ) showing the Apostles seated above scenes from the Last Judgement,  started in 1225 by Venetian craftsmen in a Byzantine style and completed in the 14th century. Florence Italy
  • The interior of the Bapistry of Florence  Duomo ( Battistero di San Giovanni ) with the medieval ceiling mosaics. Florence Italy
  • The interior of the Bapistry of Florence  Duomo ( Battistero di San Giovanni ) with the altar and  medieval ceiling mosaics of Christ and the last judgement . Florence Italy
  • The interior of the Bapistry of Florence  Duomo ( Battistero di San Giovanni ) with the medieval ceiling mosaics. Florence Italy
  • The interior of the Bapistry of Florence  Duomo ( Battistero di San Giovanni ) with the medieval ceiling mosaics. Florence Italy
  • The Medieval mosaics of the ceiling of The Baptistry of Florence Duomo ( Battistero di San Giovanni ) started in 1225 by Venetian craftsmen in a Byzantine style and completed in the 14th century. Florence Italy
  • Scenes from the early Renaissance south door of the Baptistry of Florence ( Battistero di San Giovanni ) made by Andrea Pisano in 1329 showing scenes from the life of John The Baptist , made in bronze and guilded in gold. The Bapistry of the Duomo, Florence Italy
  • Scenes from the early Renaissance south door of the Baptistry of Florence ( Battistero di San Giovanni ) made by Andrea Pisano in 1329 showing scenes from the life of John The Baptist , made in bronze and guilded in gold. The Bapistry of the Duomo, Florence Italy
  • Scenes from the early Renaissance " Gates of Paradise" door of the Baptistry of Florence ( Battistero di San Giovanni ) made by Ghiberti in 1425 , made in bronze and guilded in gold. The Bapistry of the Duomo, Florence Italy
  • Scenes from the early Renaissance " Gates of Paradise" door of the Baptistry of Florence ( Battistero di San Giovanni ) made by Ghiberti in 1425 , made in bronze and guilded in gold. The Bapistry of the Duomo, Florence Italy
  • The interior of the Bapistry of Florence  Duomo ( Battistero di San Giovanni ) with the medieval ceiling mosaics. Florence Italy
  • Scenes from the early Renaissance " Gates of Paradise" door of the Baptistry of Florence ( Battistero di San Giovanni ) made by Ghiberti in 1425 , made in bronze and guilded in gold. The Bapistry of the Duomo, Florence Italy
  • Scenes from the early Renaissance south door of the Baptistry of Florence ( Battistero di San Giovanni ) made by Andrea Pisano in 1329 showing scenes from the life of John The Baptist , made in bronze and guilded in gold. The Bapistry of the Duomo, Florence Italy
  • Scenes from the early Renaissance south door of the Baptistry of Florence ( Battistero di San Giovanni ) made by Andrea Pisano in 1329 showing scenes from the life of John The Baptist , made in bronze and guilded in gold. The Bapistry of the Duomo, Florence Italy
  • Scenes from the early Renaissance " Gates of Paradise" door of the Baptistry of Florence ( Battistero di San Giovanni ) made by Ghiberti in 1425 , made in bronze and guilded in gold. The Bapistry of the Duomo, Florence Italy
  • Scenes from the early Renaissance " Gates of Paradise" door of the Baptistry of Florence ( Battistero di San Giovanni ) made by Ghiberti in 1425 , made in bronze and guilded in gold. The Bapistry of the Duomo, Florence Italy
  • Scenes from the early Renaissance south door of the Baptistry of Florence ( Battistero di San Giovanni ) made by Andrea Pisano in 1329 showing scenes from the life of John The Baptist , made in bronze and guilded in gold. The Bapistry of the Duomo, Florence Italy
  • The Medieval mosaics of the ceiling of The Baptistry of Florence Duomo ( Battistero di San Giovanni ) showing Joseph,  Mary and the baby Jesus on a donkey travelling to Egypt,  started in 1225 by Venetian craftsmen in a Byzantine style and completed in the 14th century. Florence Italy
  • The Medieval mosaics of the ceiling of The Baptistry of Florence Duomo ( Battistero di San Giovanni ) showing the Apostles seated,  started in 1225 by Venetian craftsmen in a Byzantine style and completed in the 14th century. Florence Italy
  • The Medieval mosaics of the ceiling of The Baptistry of Florence Duomo ( Battistero di San Giovanni ) showing the Devil in scenes from the Last Judgement Day started in 1225 by Venetian craftsmen in a Byzantine style and completed in the 14th century. Florence Italy
  • The Medieval mosaics of the ceiling of The Baptistry of Florence Duomo ( Battistero di San Giovanni ) showing Angels,  started in 1225 by Venetian craftsmen in a Byzantine style and completed in the 14th century. Florence Italy
  • The Medieval mosaics of the ceiling of The Baptistry of Florence Duomo ( Battistero di San Giovanni ) showing Jesus Christ with arms stretched revealing the stigmata,  started in 1225 by Venetian craftsmen in a Byzantine style and completed in the 14th century. Florence Italy
  • The Medieval mosaics of the ceiling of The Baptistry of Florence Duomo ( Battistero di San Giovanni ) showing Christ and the Last Judgement Day started in 1225 by Venetian craftsmen in a Byzantine style and completed in the 14th century. Florence Italy
  • The interior of the Bapistry of Florence  Duomo ( Battistero di San Giovanni ) with the medieval ceiling mosaics. Florence Italy
  • The interior of the Bapistry of Florence  Duomo ( Battistero di San Giovanni ) with the medieval ceiling mosaics. Florence Italy
  • The Medieval mosaics of the ceiling of The Baptistry of Florence Duomo ( Battistero di San Giovanni ) started in 1225 by Venetian craftsmen in a Byzantine style and completed in the 14th century. Florence Italy
  • The Medieval mosaics of the ceiling of The Baptistry of Florence Duomo ( Battistero di San Giovanni ) showing the three wise men on their way to visit the baby Jesus,  started in 1225 by Venetian craftsmen in a Byzantine style and completed in the 14th century. Florence Italy
  • The Medieval mosaics of the ceiling of The Baptistry of Florence Duomo ( Battistero di San Giovanni ) showing Adam & Eve being tempted by Satin in the form of a snake and being expelled from the Garden of Eden by the Archangel Gabriel ( top panel from left to right),  Started in 1225 by Venetian craftsmen in a Byzantine style and completed in the 14th century. Florence Italy
  • The Medieval mosaics of the ceiling of The Baptistry of Florence Duomo ( Battistero di San Giovanni ) showing Joseph,  Mary and the baby Jesus on a donkey travelling to Egypt,  started in 1225 by Venetian craftsmen in a Byzantine style and completed in the 14th century. Florence Italy
  • The Medieval mosaics of the ceiling of The Baptistry of Florence Duomo ( Battistero di San Giovanni ) started in 1225 by Venetian craftsmen in a Byzantine style and completed in the 14th century. Florence Italy
  • The Medieval mosaics of the ceiling of The Baptistry of Florence Duomo ( Battistero di San Giovanni ) started in 1225 by Venetian craftsmen in a Byzantine style and completed in the 14th century. Florence Italy
  • The Medieval mosaics of the ceiling of The Baptistry of Florence Duomo ( Battistero di San Giovanni ) started in 1225 by Venetian craftsmen in a Byzantine style and completed in the 14th century. Florence Italy
  • The Medieval mosaics of the ceiling of The Baptistry of Florence Duomo ( Battistero di San Giovanni ) started in 1225 by Venetian craftsmen in a Byzantine style and completed in the 14th century. Florence Italy
  • The Medieval mosaics of the ceiling of The Baptistry of Florence Duomo ( Battistero di San Giovanni ) started in 1225 by Venetian craftsmen in a Byzantine style and completed in the 14th century. Florence Italy
  • The Medieval mosaics of the ceiling of The Baptistry of Florence Duomo ( Battistero di San Giovanni ) showing Jesus Christ ,  started in 1225 by Venetian craftsmen in a Byzantine style and completed in the 14th century. Florence Italy
  • The Medieval mosaics of the ceiling of The Baptistry of Florence Duomo ( Battistero di San Giovanni ) showing Jesus Christ on the cross,  started in 1225 by Venetian craftsmen in a Byzantine style and completed in the 14th century. Florence Italy
  • The Medieval mosaics of the ceiling of The Baptistry of Florence Duomo ( Battistero di San Giovanni ) started in 1225 by Venetian craftsmen in a Byzantine style and completed in the 14th century. Florence Italy
  • The Medieval mosaics of the ceiling of The Baptistry of Florence Duomo ( Battistero di San Giovanni ) started in 1225 by Venetian craftsmen in a Byzantine style and completed in the 14th century. Florence Italy
  • The Medieval mosaics of the ceiling of The Baptistry of Florence Duomo ( Battistero di San Giovanni ) started in 1225 by Venetian craftsmen in a Byzantine style and completed in the 14th century. Florence Italy
  • The Medieval mosaics of the ceiling of The Baptistry of Florence Duomo ( Battistero di San Giovanni ) showing the Adan & Eve being expelled from the Garden of Eden by the Archangel Gabriel (left) and starting to work on barren rocky land ,  started in 1225 by Venetian craftsmen in a Byzantine style and completed in the 14th century. Florence Italy
  • The Medieval mosaics of the ceiling of The Baptistry of Florence Duomo ( Battistero di San Giovanni ) showing probably showing the arch angel Gabriel Gabriel revealing the coming of the Messaiah to Jon the Baptist ,  started in 1225 by Venetian craftsmen in a Byzantine style and completed in the 14th century. Florence Italy
  • The Medieval mosaics of the ceiling of The Baptistry of Florence Duomo ( Battistero di San Giovanni ) showing the Three Wise Men giving gifts to the Baby Jesus ,  started in 1225 by Venetian craftsmen in a Byzantine style and completed in the 14th century. Florence Italy
  • The Medieval mosaics of the ceiling of The Baptistry of Florence Duomo ( Battistero di San Giovanni ) showing a scene from the life of Mary,  started in 1225 by Venetian craftsmen in a Byzantine style and completed in the 14th century. Florence Italy
  • The Medieval mosaics of the ceiling of The Baptistry of Florence Duomo ( Battistero di San Giovanni ) showing Mary having given birth to Jesus who is lying in a manger which shows the influence of the Franciscan Friar who oversaw the mosic work,  Jacopo da Torrita, who was following the tradition of Christ being born in a stable invented by St. Francis,  started in 1225 by Venetian craftsmen in a Byzantine style and completed in the 14th century. Florence Italy
  • The Medieval mosaics of the ceiling of The Baptistry of Florence Duomo ( Battistero di San Giovanni ) showing Christ and the Apostles,  started in 1225 by Venetian craftsmen in a Byzantine style and completed in the 14th century. Florence Italy
  • The Medieval mosaics of the ceiling of The Baptistry of Florence Duomo ( Battistero di San Giovanni ) started in 1225 by Venetian craftsmen in a Byzantine style and completed in the 14th century. Florence Italy
  • The Medieval mosaics of the ceiling of The Baptistry of Florence Duomo ( Battistero di San Giovanni ) started in 1225 by Venetian craftsmen in a Byzantine style and completed in the 14th century. Florence Italy
  • The Medieval mosaics of the ceiling of The Baptistry of Florence Duomo ( Battistero di San Giovanni ) started in 1225 by Venetian craftsmen in a Byzantine style and completed in the 14th century. Florence Italy
  • The Medieval mosaics of the ceiling of The Baptistry of Florence Duomo ( Battistero di San Giovanni ) started in 1225 by Venetian craftsmen in a Byzantine style and completed in the 14th century. Florence Italy
  • The  monumental Tomb of Antipope John XXIII by Donatello and Michelozzo Michelozzi (1420s). The Bapistry of the Duomo, Florence Italy
  • The Medieval mosaics of the ceiling of The Baptistry of Florence Duomo ( Battistero di San Giovanni ) started in 1225 by Venetian craftsmen in a Byzantine style and completed in the 14th century. Florence Italy
  • The Medieval mosaics of the ceiling of The Baptistry of Florence Duomo ( Battistero di San Giovanni ) started in 1225 by Venetian craftsmen in a Byzantine style and completed in the 14th century. Florence Italy
  • The Medieval mosaics of the ceiling of The Baptistry of Florence Duomo ( Battistero di San Giovanni ) showing an Anel telling the sleeping three wise men to travel and find the baby Jesus ,  started in 1225 by Venetian craftsmen in a Byzantine style and completed in the 14th century. Florence Italy
  • The Medieval mosaics of the ceiling of The Baptistry of Florence Duomo ( Battistero di San Giovanni ) started in 1225 by Venetian craftsmen in a Byzantine style and completed in the 14th century. Florence Italy
  • Painted Gothic gilded wooden statue altarpiece of Saint Catherine, circa 1520-1525 by Niklaus Weckmann from Ulm, Germany. The young Christian martyr is represented with his usual attributes, crown, book, wheel, sword, which make reference to her legendary life and her martyrdom. The bas-relief of Saint Catherine was originally part of an altarpiece. The treatment  and refined painted facial highlights executed the prettiness of the saint. The style is typical of  Niklaus Weckmann, one great masters of late Gothic Swabian art . Inv RF 2207.6,  The Louvre Museum, Paris.
  • Roman mosaic of an early Christian Basilica from the Eastern Mediterranean, late 5th century AD. Marble blocks, limestone, sandstone and terracotta. The church has three naves and is represented in a 'flattened Perspective’ as can be seen by the facade and along sides forming a straight continuous line. The side wall is deliberately open to make the interior visible . Inv 3677, Louvre Museum, Paris
  • Eastern Mediterranean Roman mosaics of Animals, late 5th - 6th century. Marble cubes, and limestone. Three animals are in the race, a dog, a lion and a pheasant. They belonged perhaps to a hunting scene which was a popular floor decoration in houses or they may illustrate the biblical theme of 'Peace of animals', found on the floors of the churches of the Eastern Roman provinces. inv 3672, Louvre Museum, Paris
  • Photo of a late Helladic jug decorated with serpentine bands showing Cycladic and Minoan influences.   Mycenae Shaft Grave V, Greece. 16th to early 15th century BC,  cat no: 950,  National Archaeological Museum, Athens.
  • Photo of a late Helladic jug decorated with serpentine bands showing Cycladic and Minoan influences.   Mycenae Shaft Grave V, Greece. 16th to early 15th century BC,  cat no: 950,  National Archaeological Museum, Athens.
  • Ancient Egyptian god Bes jar, Late Period, 5th century BC.  Egyptian Museum, Turin. Drovetti collection cat 2553. Grey background;
  • Ancient Egyptian pylon (gateway) shaped Canopic chest for internal organs, wood, Late  to Ptolemaic Period(722-40 BC), Egyptian Museum, Turin. Old Fund Cat 2427. <br />
<br />
Canopic chests are cases used by Ancient Egyptians to contain the internal organs removed during the process of mummification.
  • Ancient Egyptian pylon (gateway) shaped Canopic chest for internal organs, wood, Late  to Ptolemaic Period(722-40 BC), Egyptian Museum, Turin. Old Fund Cat 2427. Grey background.<br />
<br />
Canopic chests are cases used by Ancient Egyptians to contain the internal organs removed during the process of mummification.
  • Ancient Egyptian stele dedicated to Re-Harakhty by Irtiertjay,  Late Period, 25th Dynasty, (7620-580 BC), Thebes, Cat 1530. Egyptian Museum, Turin. Grey background.<br />
<br />
The round topped stele dedicated by Irtiertjay to Re-Harakhty , Isis and the 4 sons of Horus. Gifted by the Cairo Museum
  • Ancient Egyptian stele dedicated to Re-Harakhty by Irtiertjay,  Late Period, 25th Dynasty, (7620-580 BC), Thebes, Cat 1530. Egyptian Museum, Turin. Grey background.<br />
<br />
The round topped stele dedicated by Irtiertjay to Re-Harakhty , Isis and the 4 sons of Horus. Gifted by the Cairo Museum
  • Ancient Egyptian stele dedicated to Ra-Harakhty & Atum by Psetjerfi, Late Period 26th Dynasty, (590-525 BC), Cat 1568. Egyptian Museum, Turin. white background, <br />
<br />
Gifted by the Cairo Museum
  • Ancient Egyptian stele dedicated to Osiris by Neskhonsu,  Late Period, 25th Dynasty, (722-664 BC), Thebes, Cat 1596. Egyptian Museum, Turin. Grey background.<br />
<br />
The round topped stele dedicated by Osiris to Neskhonsu, daaughter of Nespernebu, "gogs father" of Amon. Gifted by the Cairo Museum
  • Ancient Egyptian stele dedicated to Ra-Harakhty & Atum by Psetjerfi, Late Period 26th Dynasty, (590-525 BC), Cat 1568. Egyptian Museum, Turin. black background,<br />
<br />
Gifted by the Cairo Museum
  • Ancient Egyptian stele dedicated to Ra-Harakhty & Atum by Psetjerfi, Late Period 26th Dynasty, (590-525 BC), Cat 1568. Egyptian Museum, Turin. Grey background.<br />
<br />
Gifted by the Cairo Museum
  • Ancient Egyptian stele dedicated by high priest Padiamenemipet to Ra-Harakhty, limestone, Late Period, 26th Dynasty, (580-520 BC), Deir el-Medina, Cat 1574. Egyptian Museum, Turin. black background,<br />
<br />
the round topped stele is dedicated by high priest Padiamenemipet to Ra-Harakht, Isis and the 4 sons of Horus. It was gifted by the Cairo Museum.
  • Ancient Egyptian Cat Sarcophagus conating cat mummy, Late to Plolomaic Period, (722-30 BC), Egyptian Museum, Turin.Old Fund Cat 2361. Grey background. <br />
<br />
Animal mummification was common in ancient Egypt. They mummified various animals. It was an enormous part of Egyptian culture, not only in their role as food and pets, but also for religious reasons. They were typically mummified for four main purposes—to allow beloved pets to go on to the afterlife, to provide food in the afterlife, to act as offerings to a particular god, and because some were seen as physical manifestations of specific deities that the Egyptians worshipped. Bast, the cat goddess is an example of one such deity.
  • Ancient Egyptian statuette of Ptah Sokar Osiris, Late Period 25-26th Dynasty, (722-525 BC). Egyptian Museum, Turin. Grey background. Old Fund Cat 2466.
  • Ancient Egyptian wooden statue of osiris weeping, Late Period (664-332 BC). Egyptian Museum, Turin. Drovetti Cat 203.  white background.
  • Ancient Egyptian wooden falcon bird, Late Period (722-322 BC), Egyptian Museum, Turin. Cat 986. <br />
<br />
Wooden tomb models were an Egyptian funerary custom from the Middle Kingdom in which wooden figurines and sets were constructed to be placed in the tombs of Egyptian royalty. These wooden models represented the work of servants, farmers, other skilled craftsman, armies, and religious rituals
  • Ancient Egyptian wooden falcon bird, Late Period (722-322 BC). Egyptian Museum, Turin. Grey background. <br />
<br />
Wooden tomb models were an Egyptian funerary custom from the Middle Kingdom in which wooden figurines and sets were constructed to be placed in the tombs of Egyptian royalty. These wooden models represented the work of servants, farmers, other skilled craftsman, armies, and religious rituals
  • Ancient Egyptian statue bust of a male, graanodiorite, Late Period, (722-322 BC). Egyptian Museum, Turin. Grey background.  Grey background. Drovetti collection. Cat 3139
  • Ancient Egyptian statue of Hel, limestone, New Kingdom, late 18th Dynasty, (1320-1280 BC), Saqqara. Egyptian Museum, Turin. <br />
<br />
The women is seated on a cushioned stool. On her head is a lotus flower. In her left hand she holds a cloth in her right a counterweight for a meant necklace, a ritual instrument used in the cult of the goddess Hathor. the statue probably stood in a tomb in Saqqara necropolis of Memphis, where the Egyptian eletes of the time had splendid tombs with statues of s similar style. The inscription evokes the deceased "everything that comes forth in the presence of the gods of Memphis for Osiris, the lady of Hel..."
  • Ancient Egyptian bust of a man and women, serpentine, Middle Kingdom, late 12th-13th Dynasty (1800-1700 BC). Egyptian Museum, Turin. black background<br />
<br />
An example of Egyptian private statues, probably low ranking officials, inv 1222 &1233
  • Ancient Egyptian mummy of a canid, linen, Late Period, Ptolomaic Perios (722-30BC). Egyptian Museum, Turin. Grey background<br />
<br />
A canid is a member of the dog family.
  • Ancient Egyptian mummy of a baby and painted cartonnage funereal mask- Late Ptolomaic Roman Period, 1at cent BC to 2 cent AD. Egyptian Museum, Turin. black background
  • Ancient Egyptian mummy of a baby and painted cartonnage funereal mask- Late Ptolomaic Roman Period, 1at cent BC to 2 cent AD. Egyptian Museum, Turin.
  • Ancient Egyptian pseudo mummy of a bull, painted linen, Late Period (722-332 BC. Egyptian Museum, Turin. Grey background<br />
<br />
The pseudo mummy contains only part of a bulls remains the missing parts being replaced with vegetable matter
  • Ancient Egyptian sarcophagus inner coffin of  singer Tabakenkhonsu, Temple of Hatshepsut at Deir el-Bahri. Thebes, 2nd half of 21st Dynasty, 680–670 B.C. Egyptian Museum, Turin. Grey background.<br />
<br />
The deceased is depicted with her hands rendered in high relief on top of a wesekh collar. a stylistic trait that allows the coffin to be dated from the late 21st Dynsaty. the inner coffin is of great quality depicting mythological scenes derived from the Book of the Dead spells.
  • Ancient Egyptian sarcophagus outer coffin of singer Tabakenkhonsu, Temple of Hatshepsut at Deir el-Bahri, Thebes, 2nd half of 21st Dynasty, 680–670 B.C. Egyptian Museum, Turin. Grey background.<br />
<br />
The deceased is depicted with her hands rendered in high relief on top of a wesekh collar. a stylistic trait that allows the coffin to be dated from the late 21st Dynsaty. the outer coffin is of great quality depicting mythological scenes derived from the Book of the Dead spells.
  • Ancient Egyptian sarcophagus, Thebes, Late 21st Dynasty, Egyptian Museum, Turin.  black background
  • Ancient Egyptian sarcophagus, Thebes, Late 21st Dynasty, Egyptian Museum, Turin. Grey background
  • Ancient Egyptian greywacke sarcophagus lid of Ibi - late Period, 26th Dynasty (664-610BC). Egyptian Museum, Turin. Grey background<br />
<br />
Ibi was overseer of the priests of Thebes and chief steward of Nitocris, Divine Adoratrice of Amon during the reign of Psamtek I. The sarcophagus lid shows his hands emerging from a shroud to grasp the dfed-pillar, which allows him to rise to his feet again after resurrection. The lid weighs more than a ton and is finely sculpted. Despite the hardness of the greywacke stone the sarcophagus is made from, its makers have shown incredible skill creating a sarcophagus with intricate detail and a highly polished finish.
  • Ancient Egyptian greywacke sarcophagus lid of Ibi - late Period, 26th Dynasty (664-610BC). Egyptian Museum, Turin. Grey background<br />
<br />
Ibi was overseer of the priests of Thebes and chief steward of Nitocris, Divine Adoratrice of Amon during the reign of Psamtek I. The sarcophagus lid shows his hands emerging from a shroud to grasp the dfed-pillar, which allows him to rise to his feet again after resurrection. The lid weighs more than a ton and is finely sculpted. Despite the hardness of the greywacke stone the sarcophagus is made from, its makers have shown incredible skill creating a sarcophagus with intricate detail and a highly polished finish.
  • Ancient Egyptian greywacke sarcophagus of Vizier Gemenefherbak - late Period, 26th Dynasty (664-525BC). Egyptian Museum, Turin. Grey background<br />
<br />
Gemenefherbak was a vizier, minister, as indicated by a pendant picturing the goddess Maat hanging around his neck in the shadow of his beard. Despite the hardness of the greywacke stone the sarcophagus is made from, its makers have shown incredible skill creating a sarcophagus with intricate detail and a highly polished finish.
  • Ancient Egyptian greywacke sarcophagus of Vizier Gemenefherbak - late Period, 26th Dynasty (664-525BC). Egyptian Museum, Turin. Grey background<br />
<br />
Gemenefherbak was a vizier, minister, as indicated by a pendant picturing the goddess Maat hanging around his neck in the shadow of his beard. Despite the hardness of the greywacke stone the sarcophagus is made from, its makers have shown incredible skill creating a sarcophagus with intricate detail and a highly polished finish.
  • Ancient Egyptian god Bes jar, Late Period, 5th century BC.  Egyptian Museum, Turin. Drovetti collection cat 2553.
  • Ancient Egyptian god Bes jar, Late Period, 5th century BC.  Egyptian Museum, Turin. Drovetti collection cat 2553. Grey background;
  • Ancient Egyptian Canopic chest for internal organs. showing deceased worshiping Osiris, wood, Late Period(722-332 BC), Egyptian Museum, Turin. Old Fund Cat 2424. Black background,<br />
<br />
Canopic chests are cases used by Ancient Egyptians to contain the internal organs removed during the process of mummification.
  • Ancient Egyptian Canopic chest for internal organs. showing deceased worshiping Osiris, wood, Late Period(722-332 BC), Egyptian Museum, Turin. Old Fund Cat 2424. White background,<br />
<br />
Canopic chests are cases used by Ancient Egyptians to contain the internal organs removed during the process of mummification.
  • Ancient Egyptian Canopic chest for internal organs. showing deceased worshiping Osiris, wood, Late Period(722-332 BC), Egyptian Museum, Turin. Old Fund Cat 2424. Grey background.<br />
<br />
Canopic chests are cases used by Ancient Egyptians to contain the internal organs removed during the process of mummification.
  • Ancient Egyptian Canopic chest for internal organs. showing deceased worshiping Osiris, wood, Late Period(722-332 BC), Egyptian Museum, Turin. Old Fund Cat 2424. <br />
<br />
Canopic chests are cases used by Ancient Egyptians to contain the internal organs removed during the process of mummification.
  • Ancient Egyptian Canopic chest for internal organs. showing deceased worshiping Osiris, wood, Late Period(722-332 BC), Egyptian Museum, Turin. Old Fund Cat 2424. Grey background.<br />
<br />
Canopic chests are cases used by Ancient Egyptians to contain the internal organs removed during the process of mummification.
  • Ancient Egyptian pylon (gateway) shaped Canopic chest for internal organs, wood, Late  to Ptolemaic Period(722-40 BC), Egyptian Museum, Turin. Old Fund Cat 2427. White background,<br />
<br />
Canopic chests are cases used by Ancient Egyptians to contain the internal organs removed during the process of mummification.
  • Ancient Egyptian pylon (gateway) shaped Canopic chest for internal organs, wood, Late  to Ptolemaic Period(722-40 BC), Egyptian Museum, Turin. Old Fund Cat 2427.  Black background,<br />
<br />
Canopic chests are cases used by Ancient Egyptians to contain the internal organs removed during the process of mummification.
  • Ancient Egyptian stele dedicated to Re-Harakhty by Irtiertjay,  Late Period, 25th Dynasty, (7620-580 BC), Thebes, Cat 1530. Egyptian Museum, Turin. Grey background.<br />
<br />
The round topped stele dedicated by Irtiertjay to Re-Harakhty , Isis and the 4 sons of Horus. Gifted by the Cairo Museum
  • Ancient Egyptian stele dedicated to Re-Harakhty by Irtiertjay,  Late Period, 25th Dynasty, (7620-580 BC), Thebes, Cat 1530. Egyptian Museum, Turin. black background,<br />
<br />
The round topped stele dedicated by Irtiertjay to Re-Harakhty , Isis and the 4 sons of Horus. Gifted by the Cairo Museum
  • Ancient Egyptian stele dedicated to Re-Harakhty by Irtiertjay,  Late Period, 25th Dynasty, (7620-580 BC), Thebes, Cat 1530. Egyptian Museum, Turin. <br />
<br />
The round topped stele dedicated by Irtiertjay to Re-Harakhty , Isis and the 4 sons of Horus. Gifted by the Cairo Museum
  • Ancient Egyptian stele dedicated to Osiris by Neskhonsu,  Late Period, 25th Dynasty, (722-664 BC), Thebes, Cat 1596. Egyptian Museum, Turin. black background,<br />
<br />
The round topped stele dedicated by Osiris to Neskhonsu, daaughter of Nespernebu, "gogs father" of Amon. Gifted by the Cairo Museum
  • Ancient Egyptian stele dedicated to Osiris by Neskhonsu,  Late Period, 25th Dynasty, (722-664 BC), Thebes, Cat 1596. Egyptian Museum, Turin. <br />
<br />
The round topped stele dedicated by Osiris to Neskhonsu, daaughter of Nespernebu, "gogs father" of Amon. Gifted by the Cairo Museum
  • Ancient Egyptian stele dedicated to Ra-Harakhty & Atum by Psetjerfi, Late Period 26th Dynasty, (590-525 BC), Cat 1568. Egyptian Museum, Turin. Grey background.<br />
<br />
Gifted by the Cairo Museum
  • Ancient Egyptian stele dedicated by high priest Padiamenemipet to Ra-Harakhty, limestone, Late Period, 26th Dynasty, (580-520 BC), Deir el-Medina, Cat 1574. Egyptian Museum, Turin. Grey background.<br />
<br />
the round topped stele is dedicated by high priest Padiamenemipet to Ra-Harakht, Isis and the 4 sons of Horus. It was gifted by the Cairo Museum.
  • Ancient Egyptian stele dedicated by high priest Padiamenemipet to Ra-Harakhty, limestone, Late Period, 26th Dynasty, (580-520 BC), Deir el-Medina, Cat 1574. Egyptian Museum, Turin. <br />
<br />
the round topped stele is dedicated by high priest Padiamenemipet to Ra-Harakht, Isis and the 4 sons of Horus. It was gifted by the Cairo Museum.
  • Ancient Egyptian stele dedicated by high priest Padiamenemipet to Ra-Harakhty, limestone, Late Period, 26th Dynasty, (580-520 BC), Deir el-Medina, Cat 1574. Egyptian Museum, Turin. Grey background.<br />
<br />
the round topped stele is dedicated by high priest Padiamenemipet to Ra-Harakht, Isis and the 4 sons of Horus. It was gifted by the Cairo Museum.
  • Ancient Egyptian Cat Sarcophagus conating cat mummy, Late to Plolomaic Period, (722-30 BC), Egyptian Museum, Turin.Old Fund Cat 2361. black background<br />
<br />
Animal mummification was common in ancient Egypt. They mummified various animals. It was an enormous part of Egyptian culture, not only in their role as food and pets, but also for religious reasons. They were typically mummified for four main purposes—to allow beloved pets to go on to the afterlife, to provide food in the afterlife, to act as offerings to a particular god, and because some were seen as physical manifestations of specific deities that the Egyptians worshipped. Bast, the cat goddess is an example of one such deity.
  • Ancient Egyptian Cat Sarcophagus conating cat mummy, Late to Plolomaic Period, (722-30 BC), Egyptian Museum, Turin.Old Fund Cat 2361. white background<br />
<br />
Animal mummification was common in ancient Egypt. They mummified various animals. It was an enormous part of Egyptian culture, not only in their role as food and pets, but also for religious reasons. They were typically mummified for four main purposes—to allow beloved pets to go on to the afterlife, to provide food in the afterlife, to act as offerings to a particular god, and because some were seen as physical manifestations of specific deities that the Egyptians worshipped. Bast, the cat goddess is an example of one such deity.
  • Ancient Egyptian Cat Sarcophagus conating cat mummy, Late to Plolomaic Period, (722-30 BC), Egyptian Museum, Turin.Old Fund Cat 2361. Grey background. <br />
<br />
Animal mummification was common in ancient Egypt. They mummified various animals. It was an enormous part of Egyptian culture, not only in their role as food and pets, but also for religious reasons. They were typically mummified for four main purposes—to allow beloved pets to go on to the afterlife, to provide food in the afterlife, to act as offerings to a particular god, and because some were seen as physical manifestations of specific deities that the Egyptians worshipped. Bast, the cat goddess is an example of one such deity.
  • Ancient Egyptian Cat Sarcophagus conating cat mummy, Late to Plolomaic Period, (722-30 BC), Egyptian Museum, Turin.Old Fund Cat 2361.<br />
<br />
Animal mummification was common in ancient Egypt. They mummified various animals. It was an enormous part of Egyptian culture, not only in their role as food and pets, but also for religious reasons. They were typically mummified for four main purposes—to allow beloved pets to go on to the afterlife, to provide food in the afterlife, to act as offerings to a particular god, and because some were seen as physical manifestations of specific deities that the Egyptians worshipped. Bast, the cat goddess is an example of one such deity.
  • Ancient Egyptian statuette of Ptah Sokar Osiris, Late Period 25-26th Dynasty, (722-525 BC). Egyptian Museum, Turin. Grey background. Old Fund Cat 2466.
  • Ancient Egyptian statuette of Ptah Sokar Osiris, Late Period 25-26th Dynasty, (722-525 BC). Egyptian Museum, Turin. black background. Old Fund Cat 2466.
  • Ancient Egyptian statuette of Ptah Sokar Osiris, Late Period 25-26th Dynasty, (722-525 BC). Egyptian Museum, Turin. Old Fund Cat 2466.
  • Ancient Egyptian wooden statue of osiris weeping, Late Period (664-332 BC). Egyptian Museum, Turin. Drovetti Cat 203.  Grey background.
  • Ancient Egyptian wooden statue of osiris weeping, Late Period (664-332 BC). Egyptian Museum, Turin. Drovetti Cat 203.
  • Ancient Egyptian wooden statue of osiris weeping, Late Period (664-332 BC). Egyptian Museum, Turin. Drovetti Cat 203.  Grey background.
  • Ancient Egyptian wooden statue of osiris weeping, Late Period (664-332 BC). Egyptian Museum, Turin. Drovetti Cat 203.  Grey background.
  • Ancient Egyptian wooden falcon bird, Late Period (722-322 BC), Egyptian Museum, Turin. Cat 986. white background <br />
<br />
Wooden tomb models were an Egyptian funerary custom from the Middle Kingdom in which wooden figurines and sets were constructed to be placed in the tombs of Egyptian royalty. These wooden models represented the work of servants, farmers, other skilled craftsman, armies, and religious rituals
  • Ancient Egyptian wooden falcon bird, Late Period (722-322 BC), Egyptian Museum, Turin. Cat 986. Grey background. <br />
<br />
Wooden tomb models were an Egyptian funerary custom from the Middle Kingdom in which wooden figurines and sets were constructed to be placed in the tombs of Egyptian royalty. These wooden models represented the work of servants, farmers, other skilled craftsman, armies, and religious rituals
  • Ancient Egyptian wooden falcon bird, Late Period (722-322 BC), Egyptian Museum, Turin. Cat 986. black background <br />
<br />
Wooden tomb models were an Egyptian funerary custom from the Middle Kingdom in which wooden figurines and sets were constructed to be placed in the tombs of Egyptian royalty. These wooden models represented the work of servants, farmers, other skilled craftsman, armies, and religious rituals
  • Ancient Egyptian wooden falcon bird, Late Period (722-322 BC), Egyptian Museum, Turin. Cat 986. Grey background. <br />
<br />
Wooden tomb models were an Egyptian funerary custom from the Middle Kingdom in which wooden figurines and sets were constructed to be placed in the tombs of Egyptian royalty. These wooden models represented the work of servants, farmers, other skilled craftsman, armies, and religious rituals
  • Ancient Egyptian wooden falcon bird, Late Period (722-322 BC). Egyptian Museum, Turin. white background. <br />
<br />
Wooden tomb models were an Egyptian funerary custom from the Middle Kingdom in which wooden figurines and sets were constructed to be placed in the tombs of Egyptian royalty. These wooden models represented the work of servants, farmers, other skilled craftsman, armies, and religious rituals
  • Ancient Egyptian wooden falcon bird, Late Period (722-322 BC). Egyptian Museum, Turin. black background. <br />
<br />
Wooden tomb models were an Egyptian funerary custom from the Middle Kingdom in which wooden figurines and sets were constructed to be placed in the tombs of Egyptian royalty. These wooden models represented the work of servants, farmers, other skilled craftsman, armies, and religious rituals
  • Ancient Egyptian wooden falcon bird, Late Period (722-322 BC). Egyptian Museum, Turin. Grey background. <br />
<br />
Wooden tomb models were an Egyptian funerary custom from the Middle Kingdom in which wooden figurines and sets were constructed to be placed in the tombs of Egyptian royalty. These wooden models represented the work of servants, farmers, other skilled craftsman, armies, and religious rituals
  • Ancient Egyptian wooden falcon bird, Late Period (722-322 BC). Egyptian Museum, Turin. <br />
<br />
Wooden tomb models were an Egyptian funerary custom from the Middle Kingdom in which wooden figurines and sets were constructed to be placed in the tombs of Egyptian royalty. These wooden models represented the work of servants, farmers, other skilled craftsman, armies, and religious rituals
  • Ancient Egyptian statue bust of a male, graanodiorite, Late Period, (722-322 BC). Egyptian Museum, Turin. Grey background.  Drovetti collection. Cat 3139
  • Ancient Egyptian statue bust of a male, graanodiorite, Late Period, (722-322 BC). Egyptian Museum, Turin. Grey background.  Grey background. Drovetti collection. Cat 3139
  • Ancient Egyptian statue bust of a male, graanodiorite, Late Period, (722-322 BC). Egyptian Museum, Turin. Grey background.  white background. Drovetti collection. Cat 3139
  • Ancient Egyptian statue bust of a male, graywacke,  Late Period, (722-322 BC), . Egyptian Museum, Turin. Grey background. Old Fund. Cat 3078.
  • Ancient Egyptian statue bust of a male, graywacke,  Late Period, (722-322 BC), . Egyptian Museum, Turin. Grey background. Old Fund. Cat 3078.
  • Ancient Egyptian statue bust of a male, graywacke,  Late Period, (722-322 BC), . Egyptian Museum, Turin. Grey background. Old Fund. Cat 3078.
  • Ancient Egyptian statue bust of a male, graywacke,  Late Period, (722-322 BC), . Egyptian Museum, Turin. Grey background. Old Fund. Cat 3078.
  • Ancient Egyptian statue bust of a male, graywacke,  Late Period, (722-322 BC), . Egyptian Museum, Turin. Grey background. Old Fund. Cat 3078.
  • Ancient Egyptian Sphinx statue, sandstone, New Kingdom, early 19th Dynasty (1292-1250), Karnak, Temple of Amon. Egyptian Museum, Turin. white background<br />
<br />
This sphinx statue show signs of remodelling. the accentuated curves of the eyebrows, the almond shaped eyes and the wide mouth with fleshy lips are still influenced by the late 18th Dynasty style. The long aquiline nose however is typical of Ramesside. The lappets of the nemes headdress and the beard show clear traces of unfinished re-carving. Drovetti Collection. C1409
  • Ancient Egyptian Sphinx statue, sandstone, New Kingdom, early 19th Dynasty (1292-1250), Karnak, Temple of Amon. Egyptian Museum, Turin. black background<br />
<br />
This sphinx statue show signs of remodelling. the accentuated curves of the eyebrows, the almond shaped eyes and the wide mouth with fleshy lips are still influenced by the late 18th Dynasty style. The long aquiline nose however is typical of Ramesside. The lappets of the nemes headdress and the beard show clear traces of unfinished re-carving. Drovetti Collection. C1409
  • Ancient Egyptian Sphinx statue, sandstone, New Kingdom, early 19th Dynasty (1292-1250), Karnak, Temple of Amon. Egyptian Museum, Turin. Grey background<br />
<br />
This sphinx statue show signs of remodelling. the accentuated curves of the eyebrows, the almond shaped eyes and the wide mouth with fleshy lips are still influenced by the late 18th Dynasty style. The long aquiline nose however is typical of Ramesside. The lappets of the nemes headdress and the beard show clear traces of unfinished re-carving. Drovetti Collection. C1409
  • Ancient Egyptian Sphinx statue, sandstone, New Kingdom, early 19th Dynasty (1292-1250), Karnak, Temple of Amon. Egyptian Museum, Turin. <br />
<br />
This sphinx statue show signs of remodelling. the accentuated curves of the eyebrows, the almond shaped eyes and the wide mouth with fleshy lips are still influenced by the late 18th Dynasty style. The long aquiline nose however is typical of Ramesside. The lappets of the nemes headdress and the beard show clear traces of unfinished re-carving. Drovetti Collection. C1409
  • Ancient Egyptian Sphinx statue, sandstone, New Kingdom, early 19th Dynasty (1292-1250), Karnak, Temple of Amon. Egyptian Museum, Turin. Grey background<br />
<br />
This sphinx statue show signs of remodelling. the accentuated curves of the eyebrows, the almond shaped eyes and the wide mouth with fleshy lips are still influenced by the late 18th Dynasty style. The long aquiline nose however is typical of Ramesside. The lappets of the nemes headdress and the beard show clear traces of unfinished re-carving. Drovetti Collection. C1409
  • Ancient Egyptian statue of Hel, limestone, New Kingdom, late 18th Dynasty, (1320-1280 BC), Saqqara. Egyptian Museum, Turin. white background.<br />
<br />
The women is seated on a cushioned stool. On her head is a lotus flower. In her left hand she holds a cloth in her right a counterweight for a meant necklace, a ritual instrument used in the cult of the goddess Hathor. the statue probably stood in a tomb in Saqqara necropolis of Memphis, where the Egyptian eletes of the time had splendid tombs with statues of s similar style. The inscription evokes the deceased "everything that comes forth in the presence of the gods of Memphis for Osiris, the lady of Hel..."
  • Ancient Egyptian statue of Hel, limestone, New Kingdom, late 18th Dynasty, (1320-1280 BC), Saqqara. Egyptian Museum, Turin. black background.<br />
<br />
The women is seated on a cushioned stool. On her head is a lotus flower. In her left hand she holds a cloth in her right a counterweight for a meant necklace, a ritual instrument used in the cult of the goddess Hathor. the statue probably stood in a tomb in Saqqara necropolis of Memphis, where the Egyptian eletes of the time had splendid tombs with statues of s similar style. The inscription evokes the deceased "everything that comes forth in the presence of the gods of Memphis for Osiris, the lady of Hel..."
  • Ancient Egyptian statue of Hel, limestone, New Kingdom, late 18th Dynasty, (1320-1280 BC), Saqqara. Egyptian Museum, Turin. Grey background.<br />
<br />
The women is seated on a cushioned stool. On her head is a lotus flower. In her left hand she holds a cloth in her right a counterweight for a meant necklace, a ritual instrument used in the cult of the goddess Hathor. the statue probably stood in a tomb in Saqqara necropolis of Memphis, where the Egyptian eletes of the time had splendid tombs with statues of s similar style. The inscription evokes the deceased "everything that comes forth in the presence of the gods of Memphis for Osiris, the lady of Hel..."
  • Ancient Egyptian statue of Hel, limestone, New Kingdom, late 18th Dynasty, (1320-1280 BC), Saqqara. Egyptian Museum, Turin. Grey background.<br />
<br />
The women is seated on a cushioned stool. On her head is a lotus flower. In her left hand she holds a cloth in her right a counterweight for a meant necklace, a ritual instrument used in the cult of the goddess Hathor. the statue probably stood in a tomb in Saqqara necropolis of Memphis, where the Egyptian eletes of the time had splendid tombs with statues of s similar style. The inscription evokes the deceased "everything that comes forth in the presence of the gods of Memphis for Osiris, the lady of Hel..."
  • Ancient Egyptian statue of Hel, limestone, New Kingdom, late 18th Dynasty, (1320-1280 BC), Saqqara. Egyptian Museum, Turin. Grey background.<br />
<br />
The women is seated on a cushioned stool. On her head is a lotus flower. In her left hand she holds a cloth in her right a counterweight for a meant necklace, a ritual instrument used in the cult of the goddess Hathor. the statue probably stood in a tomb in Saqqara necropolis of Memphis, where the Egyptian eletes of the time had splendid tombs with statues of s similar style. The inscription evokes the deceased "everything that comes forth in the presence of the gods of Memphis for Osiris, the lady of Hel..."
  • Ancient Egyptian statue of Hel, limestone, New Kingdom, late 18th Dynasty, (1320-1280 BC), Saqqara. Egyptian Museum, Turin. black background.<br />
<br />
The women is seated on a cushioned stool. On her head is a lotus flower. In her left hand she holds a cloth in her right a counterweight for a meant necklace, a ritual instrument used in the cult of the goddess Hathor. the statue probably stood in a tomb in Saqqara necropolis of Memphis, where the Egyptian eletes of the time had splendid tombs with statues of s similar style. The inscription evokes the deceased "everything that comes forth in the presence of the gods of Memphis for Osiris, the lady of Hel..."
  • Ancient Egyptian statue of Hel, limestone, New Kingdom, late 18th Dynasty, (1320-1280 BC), Saqqara. Egyptian Museum, Turin. Grey background.<br />
<br />
The women is seated on a cushioned stool. On her head is a lotus flower. In her left hand she holds a cloth in her right a counterweight for a meant necklace, a ritual instrument used in the cult of the goddess Hathor. the statue probably stood in a tomb in Saqqara necropolis of Memphis, where the Egyptian eletes of the time had splendid tombs with statues of s similar style. The inscription evokes the deceased "everything that comes forth in the presence of the gods of Memphis for Osiris, the lady of Hel..."
  • Ancient Egyptian statue of Hel, limestone, New Kingdom, late 18th Dynasty, (1320-1280 BC), Saqqara. Egyptian Museum, Turin. <br />
<br />
The women is seated on a cushioned stool. On her head is a lotus flower. In her left hand she holds a cloth in her right a counterweight for a meant necklace, a ritual instrument used in the cult of the goddess Hathor. the statue probably stood in a tomb in Saqqara necropolis of Memphis, where the Egyptian eletes of the time had splendid tombs with statues of s similar style. The inscription evokes the deceased "everything that comes forth in the presence of the gods of Memphis for Osiris, the lady of Hel..."
  • Ancient Egyptian bust of a man and women, serpentine, Middle Kingdom, late 12th-13th Dynasty (1800-1700 BC). Egyptian Museum, Turin. white background,<br />
<br />
An example of Egyptian private statues, probably low ranking officials, inv 1222 &1233
  • Ancient Egyptian bust of a man and women, serpentine, Middle Kingdom, late 12th-13th Dynasty (1800-1700 BC). Egyptian Museum, Turin. black background<br />
<br />
An example of Egyptian private statues, probably low ranking officials, inv 1222 &1233
  • Ancient Egyptian bust of a man and women, serpentine, Middle Kingdom, late 12th-13th Dynasty (1800-1700 BC). Egyptian Museum, Turin. Grey background<br />
<br />
An example of Egyptian private statues, probably low ranking officials, inv 1222 &1233
  • Ancient Egyptian bust of a man and women, serpentine, Middle Kingdom, late 12th-13th Dynasty (1800-1700 BC). Egyptian Museum, Turin. Grey background<br />
<br />
An example of Egyptian private statues, probably low ranking officials, inv 1222 &1233
  • Ancient Egyptian mummy of a canid, linen, Late Period, Ptolomaic Perios (722-30BC). Egyptian Museum, Turin. Grey background<br />
<br />
A canid is a member of the dog family.
  • Ancient Egyptian mummy of a canid, linen, Late Period, Ptolomaic Perios (722-30BC). Egyptian Museum, Turin. white background<br />
<br />
A canid is a member of the dog family.
  • Ancient Egyptian mummy of a canid, linen, Late Period, Ptolomaic Perios (722-30BC). Egyptian Museum, Turin. Grey background<br />
<br />
A canid is a member of the dog family.
  • Ancient Egyptian mummy of a baby and painted cartonnage funereal mask- Late Ptolomaic Roman Period, 1at cent BC to 2 cent AD. Egyptian Museum, Turin. white background
  • Ancient Egyptian mummy of a baby and painted cartonnage funereal mask- Late Ptolomaic Roman Period, 1at cent BC to 2 cent AD. Egyptian Museum, Turin. Grey background
  • Ancient Egyptian pseudo mummy of a bull, painted linen, Late Period (722-332 BC. Egyptian Museum, Turin. white background<br />
<br />
The pseudo mummy contains only part of a bulls remains the missing parts being replaced with vegetable matter
  • Ancient Egyptian pseudo mummy of a bull, painted linen, Late Period (722-332 BC. Egyptian Museum, Turin. Grey background<br />
<br />
The pseudo mummy contains only part of a bulls remains the missing parts being replaced with vegetable matter
  • Ancient Egyptian pseudo mummy of a bull, painted linen, Late Period (722-332 BC. Egyptian Museum, Turin. black background<br />
<br />
The pseudo mummy contains only part of a bulls remains the missing parts being replaced with vegetable matter
  • Ancient Egyptian sarcophagus inner coffin of  singer Tabakenkhonsu, Temple of Hatshepsut at Deir el-Bahri. Thebes, 2nd half of 21st Dynasty, 680–670 B.C. Egyptian Museum, Turin. black background.<br />
<br />
The deceased is depicted with her hands rendered in high relief on top of a wesekh collar. a stylistic trait that allows the coffin to be dated from the late 21st Dynsaty. the inner coffin is of great quality depicting mythological scenes derived from the Book of the Dead spells.
  • Ancient Egyptian sarcophagus inner coffin of  singer Tabakenkhonsu, Temple of Hatshepsut at Deir el-Bahri. Thebes, 2nd half of 21st Dynasty, 680–670 B.C. Egyptian Museum, Turin. Grey background.<br />
<br />
The deceased is depicted with her hands rendered in high relief on top of a wesekh collar. a stylistic trait that allows the coffin to be dated from the late 21st Dynsaty. the inner coffin is of great quality depicting mythological scenes derived from the Book of the Dead spells.
  • Ancient Egyptian sarcophagus inner coffin of  singer Tabakenkhonsu, Temple of Hatshepsut at Deir el-Bahri. Thebes, 2nd half of 21st Dynasty, 680–670 B.C. Egyptian Museum, Turin. Grey background.<br />
<br />
The deceased is depicted with her hands rendered in high relief on top of a wesekh collar. a stylistic trait that allows the coffin to be dated from the late 21st Dynsaty. the inner coffin is of great quality depicting mythological scenes derived from the Book of the Dead spells.
  • Ancient Egyptian sarcophagus outer coffin of singer Tabakenkhonsu, Temple of Hatshepsut at Deir el-Bahri, Thebes, 2nd half of 21st Dynasty, 680–670 B.C. Egyptian Museum, Turin. white background.<br />
<br />
The deceased is depicted with her hands rendered in high relief on top of a wesekh collar. a stylistic trait that allows the coffin to be dated from the late 21st Dynsaty. the outer coffin is of great quality depicting mythological scenes derived from the Book of the Dead spells.
  • Ancient Egyptian sarcophagus outer coffin of singer Tabakenkhonsu, Temple of Hatshepsut at Deir el-Bahri, Thebes, 2nd half of 21st Dynasty, 680–670 B.C. Egyptian Museum, Turin. black background.<br />
<br />
The deceased is depicted with her hands rendered in high relief on top of a wesekh collar. a stylistic trait that allows the coffin to be dated from the late 21st Dynsaty. the outer coffin is of great quality depicting mythological scenes derived from the Book of the Dead spells.
  • Ancient Egyptian sarcophagus outer coffin of singer Tabakenkhonsu, Temple of Hatshepsut at Deir el-Bahri, Thebes, 2nd half of 21st Dynasty, 680–670 B.C. Egyptian Museum, Turin. Grey background.<br />
<br />
The deceased is depicted with her hands rendered in high relief on top of a wesekh collar. a stylistic trait that allows the coffin to be dated from the late 21st Dynsaty. the outer coffin is of great quality depicting mythological scenes derived from the Book of the Dead spells.
  • Ancient Egyptian sarcophagus, Thebes, Late 21st Dynasty, Egyptian Museum, Turin.  white background
  • Ancient Egyptian sarcophagus, Thebes, Late 21st Dynasty, Egyptian Museum, Turin. Grey background
  • Ancient Egyptian sarcophagus, Thebes, Late 21st Dynasty, Egyptian Museum, Turin. Grey background
  • Ancient Egyptian greywacke sarcophagus lid of Ibi - late Period, 26th Dynasty (664-610BC). Egyptian Museum, Turin. white background<br />
<br />
Ibi was overseer of the priests of Thebes and chief steward of Nitocris, Divine Adoratrice of Amon during the reign of Psamtek I. The sarcophagus lid shows his hands emerging from a shroud to grasp the dfed-pillar, which allows him to rise to his feet again after resurrection. The lid weighs more than a ton and is finely sculpted. Despite the hardness of the greywacke stone the sarcophagus is made from, its makers have shown incredible skill creating a sarcophagus with intricate detail and a highly polished finish.
  • Ancient Egyptian greywacke sarcophagus lid of Ibi - late Period, 26th Dynasty (664-610BC). Egyptian Museum, Turin. black background<br />
<br />
Ibi was overseer of the priests of Thebes and chief steward of Nitocris, Divine Adoratrice of Amon during the reign of Psamtek I. The sarcophagus lid shows his hands emerging from a shroud to grasp the dfed-pillar, which allows him to rise to his feet again after resurrection. The lid weighs more than a ton and is finely sculpted. Despite the hardness of the greywacke stone the sarcophagus is made from, its makers have shown incredible skill creating a sarcophagus with intricate detail and a highly polished finish.
  • Ancient Egyptian greywacke sarcophagus lid of Ibi - late Period, 26th Dynasty (664-610BC). Egyptian Museum, Turin. Grey background<br />
<br />
Ibi was overseer of the priests of Thebes and chief steward of Nitocris, Divine Adoratrice of Amon during the reign of Psamtek I. The sarcophagus lid shows his hands emerging from a shroud to grasp the dfed-pillar, which allows him to rise to his feet again after resurrection. The lid weighs more than a ton and is finely sculpted. Despite the hardness of the greywacke stone the sarcophagus is made from, its makers have shown incredible skill creating a sarcophagus with intricate detail and a highly polished finish.
  • Ancient Egyptian greywacke sarcophagus lid of Ibi - late Period, 26th Dynasty (664-610BC). Egyptian Museum, Turin. Grey background<br />
<br />
Ibi was overseer of the priests of Thebes and chief steward of Nitocris, Divine Adoratrice of Amon during the reign of Psamtek I. The sarcophagus lid shows his hands emerging from a shroud to grasp the dfed-pillar, which allows him to rise to his feet again after resurrection. The lid weighs more than a ton and is finely sculpted. Despite the hardness of the greywacke stone the sarcophagus is made from, its makers have shown incredible skill creating a sarcophagus with intricate detail and a highly polished finish.
  • Ancient Egyptian greywacke sarcophagus lid of Ibi - late Period, 26th Dynasty (664-610BC). Egyptian Museum, Turin. white background<br />
<br />
Ibi was overseer of the priests of Thebes and chief steward of Nitocris, Divine Adoratrice of Amon during the reign of Psamtek I. The sarcophagus lid shows his hands emerging from a shroud to grasp the dfed-pillar, which allows him to rise to his feet again after resurrection. The lid weighs more than a ton and is finely sculpted. Despite the hardness of the greywacke stone the sarcophagus is made from, its makers have shown incredible skill creating a sarcophagus with intricate detail and a highly polished finish.
  • Ancient Egyptian greywacke sarcophagus lid of Ibi - late Period, 26th Dynasty (664-610BC). Egyptian Museum, Turin. black background<br />
<br />
Ibi was overseer of the priests of Thebes and chief steward of Nitocris, Divine Adoratrice of Amon during the reign of Psamtek I. The sarcophagus lid shows his hands emerging from a shroud to grasp the dfed-pillar, which allows him to rise to his feet again after resurrection. The lid weighs more than a ton and is finely sculpted. Despite the hardness of the greywacke stone the sarcophagus is made from, its makers have shown incredible skill creating a sarcophagus with intricate detail and a highly polished finish.
  • Ancient Egyptian greywacke sarcophagus lid of Ibi - late Period, 26th Dynasty (664-610BC). Egyptian Museum, Turin. Grey background<br />
<br />
Ibi was overseer of the priests of Thebes and chief steward of Nitocris, Divine Adoratrice of Amon during the reign of Psamtek I. The sarcophagus lid shows his hands emerging from a shroud to grasp the dfed-pillar, which allows him to rise to his feet again after resurrection. The lid weighs more than a ton and is finely sculpted. Despite the hardness of the greywacke stone the sarcophagus is made from, its makers have shown incredible skill creating a sarcophagus with intricate detail and a highly polished finish.
  • Ancient Egyptian greywacke sarcophagus of Vizier Gemenefherbak - late Period, 26th Dynasty (664-525BC). Egyptian Museum, Turin. white background<br />
<br />
Gemenefherbak was a vizier, minister, as indicated by a pendant picturing the goddess Maat hanging around his neck in the shadow of his beard. Despite the hardness of the greywacke stone the sarcophagus is made from, its makers have shown incredible skill creating a sarcophagus with intricate detail and a highly polished finish.
  • Ancient Egyptian greywacke sarcophagus of Vizier Gemenefherbak - late Period, 26th Dynasty (664-525BC). Egyptian Museum, Turin. black background<br />
<br />
Gemenefherbak was a vizier, minister, as indicated by a pendant picturing the goddess Maat hanging around his neck in the shadow of his beard. Despite the hardness of the greywacke stone the sarcophagus is made from, its makers have shown incredible skill creating a sarcophagus with intricate detail and a highly polished finish.
  • Ancient Egyptian greywacke sarcophagus of Vizier Gemenefherbak - late Period, 26th Dynasty (664-525BC). Egyptian Museum, Turin. Grey background<br />
<br />
Gemenefherbak was a vizier, minister, as indicated by a pendant picturing the goddess Maat hanging around his neck in the shadow of his beard. Despite the hardness of the greywacke stone the sarcophagus is made from, its makers have shown incredible skill creating a sarcophagus with intricate detail and a highly polished finish.
  • Ancient Egyptian greywacke sarcophagus of Vizier Gemenefherbak - late Period, 26th Dynasty (664-525BC). Egyptian Museum, Turin. <br />
<br />
Gemenefherbak was a vizier, minister, as indicated by a pendant picturing the goddess Maat hanging around his neck in the shadow of his beard. Despite the hardness of the greywacke stone the sarcophagus is made from, its makers have shown incredible skill creating a sarcophagus with intricate detail and a highly polished finish.
  • Ancient Egyptian greywacke sarcophagus of Vizier Gemenefherbak - late Period, 26th Dynasty (664-525BC). Egyptian Museum, Turin. white background<br />
<br />
Gemenefherbak was a vizier, minister, as indicated by a pendant picturing the goddess Maat hanging around his neck in the shadow of his beard. Despite the hardness of the greywacke stone the sarcophagus is made from, its makers have shown incredible skill creating a sarcophagus with intricate detail and a highly polished finish.
  • Ancient Egyptian greywacke sarcophagus of Vizier Gemenefherbak - late Period, 26th Dynasty (664-525BC). Egyptian Museum, Turin. black background<br />
<br />
Gemenefherbak was a vizier, minister, as indicated by a pendant picturing the goddess Maat hanging around his neck in the shadow of his beard. Despite the hardness of the greywacke stone the sarcophagus is made from, its makers have shown incredible skill creating a sarcophagus with intricate detail and a highly polished finish.
  • Ancient Egyptian greywacke sarcophagus of Vizier Gemenefherbak - late Period, 26th Dynasty (664-525BC). Egyptian Museum, Turin. Grey background<br />
<br />
Gemenefherbak was a vizier, minister, as indicated by a pendant picturing the goddess Maat hanging around his neck in the shadow of his beard. Despite the hardness of the greywacke stone the sarcophagus is made from, its makers have shown incredible skill creating a sarcophagus with intricate detail and a highly polished finish.
  • Ancient Egyptian greywacke sarcophagus of Vizier Gemenefherbak - late Period, 26th Dynasty (664-525BC). Egyptian Museum, Turin. <br />
<br />
Gemenefherbak was a vizier, minister, as indicated by a pendant picturing the goddess Maat hanging around his neck in the shadow of his beard. Despite the hardness of the greywacke stone the sarcophagus is made from, its makers have shown incredible skill creating a sarcophagus with intricate detail and a highly polished finish.
  • Ancient Egyptian pylon (gateway) shaped Canopic chest for internal organs, wood, Late  to Ptolemaic Period(722-40 BC), Egyptian Museum, Turin. Old Fund Cat 2427. Grey background.<br />
<br />
Canopic chests are cases used by Ancient Egyptians to contain the internal organs removed during the process of mummification.
  • Ancient Egyptian stele dedicated to Osiris by Neskhonsu,  Late Period, 25th Dynasty, (722-664 BC), Thebes, Cat 1596. Egyptian Museum, Turin. white background, <br />
<br />
The round topped stele dedicated by Osiris to Neskhonsu, daaughter of Nespernebu, "gogs father" of Amon. Gifted by the Cairo Museum
  • Ancient Egyptian stele dedicated to Osiris by Neskhonsu,  Late Period, 25th Dynasty, (722-664 BC), Thebes, Cat 1596. Egyptian Museum, Turin. Grey background.<br />
<br />
The round topped stele dedicated by Osiris to Neskhonsu, daaughter of Nespernebu, "gogs father" of Amon. Gifted by the Cairo Museum
  • Ancient Egyptian stele dedicated to Ra-Harakhty & Atum by Psetjerfi, Late Period 26th Dynasty, (590-525 BC), Cat 1568. Egyptian Museum, Turin. <br />
<br />
Gifted by the Cairo Museum
  • Ancient Egyptian stele dedicated by high priest Padiamenemipet to Ra-Harakhty, limestone, Late Period, 26th Dynasty, (580-520 BC), Deir el-Medina, Cat 1574. Egyptian Museum, Turin. white background, <br />
<br />
the round topped stele is dedicated by high priest Padiamenemipet to Ra-Harakht, Isis and the 4 sons of Horus. It was gifted by the Cairo Museum.
  • Ancient Egyptian statuette of Ptah Sokar Osiris, Late Period 25-26th Dynasty, (722-525 BC). Egyptian Museum, Turin. white background. Old Fund Cat 2466.
  • Ancient Egyptian statue bust of a male, graanodiorite, Late Period, (722-322 BC). Egyptian Museum, Turin. Grey background.  black background. Drovetti collection. Cat 3139
  • Ancient Egyptian statue of Hel, limestone, New Kingdom, late 18th Dynasty, (1320-1280 BC), Saqqara. Egyptian Museum, Turin. white background.<br />
<br />
The women is seated on a cushioned stool. On her head is a lotus flower. In her left hand she holds a cloth in her right a counterweight for a meant necklace, a ritual instrument used in the cult of the goddess Hathor. the statue probably stood in a tomb in Saqqara necropolis of Memphis, where the Egyptian eletes of the time had splendid tombs with statues of s similar style. The inscription evokes the deceased "everything that comes forth in the presence of the gods of Memphis for Osiris, the lady of Hel..."
  • Ancient Egyptian mummy of a canid, linen, Late Period, Ptolomaic Perios (722-30BC). Egyptian Museum, Turin.  black background<br />
<br />
A canid is a member of the dog family.
  • Ancient Egyptian mummy of a baby and painted cartonnage funereal mask- Late Ptolomaic Roman Period, 1at cent BC to 2 cent AD. Egyptian Museum, Turin. Grey background
  • Ancient Egyptian pseudo mummy of a bull, painted linen, Late Period (722-332 BC. Egyptian Museum, Turin. <br />
<br />
The pseudo mummy contains only part of a bulls remains the missing parts being replaced with vegetable matter
  • Ancient Egyptian sarcophagus inner coffin of  singer Tabakenkhonsu, Temple of Hatshepsut at Deir el-Bahri. Thebes, 2nd half of 21st Dynasty, 680–670 B.C. Egyptian Museum, Turin. white background.<br />
<br />
The deceased is depicted with her hands rendered in high relief on top of a wesekh collar. a stylistic trait that allows the coffin to be dated from the late 21st Dynsaty. the inner coffin is of great quality depicting mythological scenes derived from the Book of the Dead spells.
  • Ancient Egyptian sarcophagus outer coffin of singer Tabakenkhonsu, Temple of Hatshepsut at Deir el-Bahri, Thebes, 2nd half of 21st Dynasty, 680–670 B.C. Egyptian Museum, Turin. Grey background.<br />
<br />
The deceased is depicted with her hands rendered in high relief on top of a wesekh collar. a stylistic trait that allows the coffin to be dated from the late 21st Dynsaty. the outer coffin is of great quality depicting mythological scenes derived from the Book of the Dead spells.
  • Ancient Egyptian greywacke sarcophagus lid of Ibi - late Period, 26th Dynasty (664-610BC). Egyptian Museum, Turin. Grey background<br />
<br />
Ibi was overseer of the priests of Thebes and chief steward of Nitocris, Divine Adoratrice of Amon during the reign of Psamtek I. The sarcophagus lid shows his hands emerging from a shroud to grasp the dfed-pillar, which allows him to rise to his feet again after resurrection. The lid weighs more than a ton and is finely sculpted. Despite the hardness of the greywacke stone the sarcophagus is made from, its makers have shown incredible skill creating a sarcophagus with intricate detail and a highly polished finish.
  • Hittite baslat sculptute of a male, late Hittite Period - 900-700 BC. Adana Archaeology Museum, Turkey. Against a white background
  • Hittite baslat sculptute of a male, late Hittite Period - 900-700 BC. Adana Archaeology Museum, Turkey. Against a black background
  • Hittite baslat sculptute of a male, late Hittite Period - 900-700 BC. Adana Archaeology Museum, Turkey. Against a grey art background
  • Hittite baslat sculptute of a male, late Hittite Period - 900-700 BC. Adana Archaeology Museum, Turkey. Against a white background
  • Hittite baslat sculptute of a male, late Hittite Period - 900-700 BC. Adana Archaeology Museum, Turkey. Against a grey background
  • 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.
  • 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.
  • 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.
  • 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 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.
  • 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 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 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 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.
  • 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.
  • Hittite baslat sculptute of a male, late Hittite Period - 900-700 BC. Adana Archaeology Museum, Turkey. Against a grey background
  • Hittite baslat sculptute of a male, late Hittite Period - 900-700 BC. Adana Archaeology Museum, Turkey.
  • Hittite baslat sculptute of a male, late Hittite Period - 900-700 BC. Adana Archaeology Museum, Turkey. Against a grey art background
  • Hittite baslat sculptute of a male, late Hittite Period - 900-700 BC. Adana Archaeology Museum, Turkey.
  • 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 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.
  • 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.
  • 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.
  • 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 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.
  • 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.
  • 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.
  • 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 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 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 (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 (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 (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 (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 (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.
  • 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.
  • 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.

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