• Spicy BBQ Chicken wings and thights on a plate with a blue edge and stars
  • Hittite relief sculpted orthostat stone panel of Herald's Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
On the right is a bearded human figure with a short skirt; with the dagger in his right hand, he is stabbing the lion standing on his front legs while holding the lion's tail with his left hand. On the left is a bearded god figure with a horned-headdress, who grasps the lion's hind leg while holding the ax over his head with his right hand. <br />
<br />
Against a brown art background.
  • Picture & image of Hittite relief sculpted orthostat stone panel of Herald's Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
On the right is a bearded human figure with a short skirt; with the dagger in his right hand, he is stabbing the lion standing on his front legs while holding the lion's tail with his left hand. On the left is a bearded god figure with a horned-headdress, who grasps the lion's hind leg while holding the ax over his head with his right hand. <br />
<br />
Against a white background.
  • Hittite relief sculpted orthostat stone panel of Herald's Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
On the right is a bearded human figure with a short skirt; with the dagger in his right hand, he is stabbing the lion standing on his front legs while holding the lion's tail with his left hand. On the left is a bearded god figure with a horned-headdress, who grasps the lion's hind leg while holding the ax over his head with his right hand. <br />
<br />
Against a brown art background.
  • Hittite relief sculpted orthostat stone panel of Herald's Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
On the right is a bearded human figure with a short skirt; with the dagger in his right hand, he is stabbing the lion standing on his front legs while holding the lion's tail with his left hand. On the left is a bearded god figure with a horned-headdress, who grasps the lion's hind leg while holding the ax over his head with his right hand.
  • Hittite relief sculpted orthostat stone panel of Herald's Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
On the right is a bearded human figure with a short skirt; with the dagger in his right hand, he is stabbing the lion standing on his front legs while holding the lion's tail with his left hand. On the left is a bearded god figure with a horned-headdress, who grasps the lion's hind leg while holding the ax over his head with his right hand. <br />
<br />
Against a grey art background.
  • Hittite relief sculpted orthostat stone panel of Herald's Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
On the right is a bearded human figure with a short skirt; with the dagger in his right hand, he is stabbing the lion standing on his front legs while holding the lion's tail with his left hand. On the left is a bearded god figure with a horned-headdress, who grasps the lion's hind leg while holding the ax over his head with his right hand.
  • Photo of Hittite relief sculpted orthostat stone panel of Herald's Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
On the right is a bearded human figure with a short skirt; with the dagger in his right hand, he is stabbing the lion standing on his front legs while holding the lion's tail with his left hand. On the left is a bearded god figure with a horned-headdress, who grasps the lion's hind leg while holding the ax over his head with his right hand. <br />
<br />
Against a black background.
  • Picture & image of Hittite relief sculpted orthostat stone panel of Herald's Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
On the right is a bearded human figure with a short skirt; with the dagger in his right hand, he is stabbing the lion standing on his front legs while holding the lion's tail with his left hand. On the left is a bearded god figure with a horned-headdress, who grasps the lion's hind leg while holding the ax over his head with his right hand. <br />
<br />
Against a white background.
  • Photo of Hittite relief sculpted orthostat stone panel of Herald's Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
On the right is a bearded human figure with a short skirt; with the dagger in his right hand, he is stabbing the lion standing on his front legs while holding the lion's tail with his left hand. On the left is a bearded god figure with a horned-headdress, who grasps the lion's hind leg while holding the ax over his head with his right hand. <br />
<br />
Against a black background.
  • Hittite relief sculpted orthostat stone panel of Herald's Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
On the right is a bearded human figure with a short skirt; with the dagger in his right hand, he is stabbing the lion standing on his front legs while holding the lion's tail with his left hand. On the left is a bearded god figure with a horned-headdress, who grasps the lion's hind leg while holding the ax over his head with his right hand. <br />
<br />
Against a grey art background.
  • Colossal ancient Egyptian statue of Sethy II, sandstone, New Kingdom, 19th Dynasty, (1202-1198 BC), Karnak Temple of Amon. Egyptian Museum, Turin. black background.<br />
<br />
A striking monumental sculpture expresses the strength of Sethy II who is depicted with his muscular left leg forward to express jis capability. He holds the standard of Amon depicted on it. It stood in the courtyard of the temple at Karnak along with a sister statue, now in the Louvre.Drovetti Collection. C 1383
  • Roman Sebasteion relief  sculpture of the goddess Victory, Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
A winged goddess Victory( Nike) flies past carrying a military trophy. She wears a long light dress and has one breast and one leg exposed. Her clothing is set in motion by her swift flight.
  • Heyl Statue of Aphrodite, Greek goddess of love. 2nd century terracotta from the Heyl collection. This statuette is one of the most beautiful examples of ancient terracotta statues in existence. The close fitting robe or the goddess of love has slipped from her shoulders, her raised left leg perhaps stood on a pillar. The front of the figure, which was shaped in a mould, was carved using a modelling scraper and finally painted. Altes Museum Berlin
  • Heyl Statue of Aphrodite, Greek goddess of love. 2nd century terracotta from the Heyl collection. This statuette is one of the most beautiful examples of ancient terracotta statues in existence. The close fitting robe or the goddess of love has slipped from her shoulders, her raised left leg perhaps stood on a pillar. The front of the figure, which was shaped in a mould, was carved using a modelling scraper and finally painted. Altes Museum Berlin
  • Picture & Image of  Neo-Hittite orthostat describing the legend of Gilgamesh from Karkamis,, Turkey. Museum of Anatolian Civilisations, Ankara. To the left a bearded deity with a horned helmet is holding a lions back leg and is about to strike it with an axe. To the right a man is stabbing the lion with a dagger. 5
  • Picture of Phrygian releif sculpture Orthostat of a horse from Kucukevier, Turkey.  7th century BC. Note the stylised leg muscles. An Ankara Museum of Anatolian Civilizations exhibit.
  • Colossal ancient Egyptian statue of Sethy II, sandstone, New Kingdom, 19th Dynasty, (1202-1198 BC), Karnak Temple of Amon. Egyptian Museum, Turin. white background.<br />
<br />
A striking monumental sculpture expresses the strength of Sethy II who is depicted with his muscular left leg forward to express jis capability. He holds the standard of Amon depicted on it. It stood in the courtyard of the temple at Karnak along with a sister statue, now in the Louvre.Drovetti Collection. C 1383
  • Colossal ancient Egyptian statue of Sethy II, sandstone, New Kingdom, 19th Dynasty, (1202-1198 BC), Karnak Temple of Amon. Egyptian Museum, Turin. black background.<br />
<br />
A striking monumental sculpture expresses the strength of Sethy II who is depicted with his muscular left leg forward to express jis capability. He holds the standard of Amon depicted on it. It stood in the courtyard of the temple at Karnak along with a sister statue, now in the Louvre.Drovetti Collection. C 1383
  • Colossal ancient Egyptian statue of Sethy II, sandstone, New Kingdom, 19th Dynasty, (1202-1198 BC), Karnak Temple of Amon. Egyptian Museum, Turin. Grey background.<br />
<br />
A striking monumental sculpture expresses the strength of Sethy II who is depicted with his muscular left leg forward to express jis capability. He holds the standard of Amon depicted on it. It stood in the courtyard of the temple at Karnak along with a sister statue, now in the Louvre.Drovetti Collection. C 1383
  • Colossal ancient Egyptian statue of Sethy II, sandstone, New Kingdom, 19th Dynasty, (1202-1198 BC), Karnak Temple of Amon. Egyptian Museum, Turin. Grey background.<br />
<br />
A striking monumental sculpture expresses the strength of Sethy II who is depicted with his muscular left leg forward to express jis capability. He holds the standard of Amon depicted on it. It stood in the courtyard of the temple at Karnak along with a sister statue, now in the Louvre.Drovetti Collection. C 1383
  • Colossal ancient Egyptian statue of Sethy II, sandstone, New Kingdom, 19th Dynasty, (1202-1198 BC), Karnak Temple of Amon. Egyptian Museum, Turin. Grey background.<br />
<br />
A striking monumental sculpture expresses the strength of Sethy II who is depicted with his muscular left leg forward to express jis capability. He holds the standard of Amon depicted on it. It stood in the courtyard of the temple at Karnak along with a sister statue, now in the Louvre.Drovetti Collection. C 1383
  • Colossal ancient Egyptian statue of Sethy II, sandstone, New Kingdom, 19th Dynasty, (1202-1198 BC), Karnak Temple of Amon. Egyptian Museum, Turin. Grey background.<br />
<br />
A striking monumental sculpture expresses the strength of Sethy II who is depicted with his muscular left leg forward to express jis capability. He holds the standard of Amon depicted on it. It stood in the courtyard of the temple at Karnak along with a sister statue, now in the Louvre.Drovetti Collection. C 1383
  • Colossal ancient Egyptian statue of Sethy II, sandstone, New Kingdom, 19th Dynasty, (1202-1198 BC), Karnak Temple of Amon. Egyptian Museum, Turin. white background.<br />
<br />
A striking monumental sculpture expresses the strength of Sethy II who is depicted with his muscular left leg forward to express jis capability. He holds the standard of Amon depicted on it. It stood in the courtyard of the temple at Karnak along with a sister statue, now in the Louvre.Drovetti Collection. C 1383
  • Colossal ancient Egyptian statue of Sethy II, sandstone, New Kingdom, 19th Dynasty, (1202-1198 BC), Karnak Temple of Amon. Egyptian Museum, Turin. Grey background.<br />
<br />
A striking monumental sculpture expresses the strength of Sethy II who is depicted with his muscular left leg forward to express jis capability. He holds the standard of Amon depicted on it. It stood in the courtyard of the temple at Karnak along with a sister statue, now in the Louvre.Drovetti Collection. C 1383
  • Colossal ancient Egyptian statue of Sethy II, sandstone, New Kingdom, 19th Dynasty, (1202-1198 BC), Karnak Temple of Amon. Egyptian Museum, Turin. Grey background.<br />
<br />
A striking monumental sculpture expresses the strength of Sethy II who is depicted with his muscular left leg forward to express jis capability. He holds the standard of Amon depicted on it. It stood in the courtyard of the temple at Karnak along with a sister statue, now in the Louvre.Drovetti Collection. C 1383
  • Colossal ancient Egyptian statue of Sethy II, sandstone, New Kingdom, 19th Dynasty, (1202-1198 BC), Karnak Temple of Amon. Egyptian Museum, Turin. black background.<br />
<br />
A striking monumental sculpture expresses the strength of Sethy II who is depicted with his muscular left leg forward to express jis capability. He holds the standard of Amon depicted on it. It stood in the courtyard of the temple at Karnak along with a sister statue, now in the Louvre.Drovetti Collection. C 1383
  • Colossal ancient Egyptian statue of Sethy II, sandstone, New Kingdom, 19th Dynasty, (1202-1198 BC), Karnak Temple of Amon. Egyptian Museum, Turin. Grey background.<br />
<br />
A striking monumental sculpture expresses the strength of Sethy II who is depicted with his muscular left leg forward to express jis capability. He holds the standard of Amon depicted on it. It stood in the courtyard of the temple at Karnak along with a sister statue, now in the Louvre.Drovetti Collection. C 1383
  • Roman Sebasteion relief  sculpture of the goddess Victory, Aphrodisias Museum, Aphrodisias, Turkey.   Against a white background.<br />
<br />
A winged goddess Victory( Nike) flies past carrying a military trophy. She wears a long light dress and has one breast and one leg exposed. Her clothing is set in motion by her swift flight.
  • Roman Sebasteion relief  sculpture of the goddess Victory, Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.<br />
<br />
A winged goddess Victory( Nike) flies past carrying a military trophy. She wears a long light dress and has one breast and one leg exposed. Her clothing is set in motion by her swift flight.
  • Roman Sebasteion relief  sculpture of the goddess Victory, Aphrodisias Museum, Aphrodisias, Turkey.  Against an art background.<br />
<br />
A winged goddess Victory( Nike) flies past carrying a military trophy. She wears a long light dress and has one breast and one leg exposed. Her clothing is set in motion by her swift flight.
  • Roman Sebasteion relief  sculpture of the goddess Victory, Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
A winged goddess Victory( Nike) flies past carrying a military trophy. She wears a long light dress and has one breast and one leg exposed. Her clothing is set in motion by her swift flight.
  • Picture & image of Hittite relief sculpted orthostat stone panel of Herald's Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
In the middle is a kneeling bearded figure holding the bull's horn with his left hand and the lion's hind leg with his right hand. Below this lion is another lion whose chest and the head are missing, and below this second lion is another small lion. A deer stands behind his head. It is thought that this relief depicts Gilgamesh, the master of animals. <br />
<br />
Against a white background.
  • Photo of Hittite relief sculpted orthostat stone panel of Herald's Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
In the middle is a kneeling bearded figure holding the bull's horn with his left hand and the lion's hind leg with his right hand. Below this lion is another lion whose chest and the head are missing, and below this second lion is another small lion. A deer stands behind his head. It is thought that this relief depicts Gilgamesh, the master of animals. <br />
<br />
Against a black background.
  • Hittite relief sculpted orthostat stone panel of Herald's Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
In the middle is a kneeling bearded figure holding the bull's horn with his left hand and the lion's hind leg with his right hand. Below this lion is another lion whose chest and the head are missing, and below this second lion is another small lion. A deer stands behind his head. It is thought that this relief depicts Gilgamesh, the master of animals.
  • Hittite relief sculpted orthostat stone panel of Herald's Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
In the middle is a kneeling bearded figure holding the bull's horn with his left hand and the lion's hind leg with his right hand. Below this lion is another lion whose chest and the head are missing, and below this second lion is another small lion. A deer stands behind his head. It is thought that this relief depicts Gilgamesh, the master of animals. <br />
<br />
Against a grey art background.
  • Heyl Statue of Aphrodite, Greek goddess of love. 2nd century terracotta from the Heyl collection. This statuette is one of the most beautiful examples of ancient terracotta statues in existence. The close fitting robe or the goddess of love has slipped from her shoulders, her raised left leg perhaps stood on a pillar. The front of the figure, which was shaped in a mould, was carved using a modelling scraper and finally painted. Altes Museum Berlin
  • Heyl Statue of Aphrodite, Greek goddess of love. 2nd century terracotta from the Heyl collection. This statuette is one of the most beautiful examples of ancient terracotta statues in existence. The close fitting robe or the goddess of love has slipped from her shoulders, her raised left leg perhaps stood on a pillar. The front of the figure, which was shaped in a mould, was carved using a modelling scraper and finally painted. Altes Museum Berlin
  • Heyl Statue of Aphrodite, Greek goddess of love. 2nd century terracotta from the Heyl collection. This statuette is one of the most beautiful examples of ancient terracotta statues in existence. The close fitting robe or the goddess of love has slipped from her shoulders, her raised left leg perhaps stood on a pillar. The front of the figure, which was shaped in a mould, was carved using a modelling scraper and finally painted. Altes Museum Berlin
  • Heyl Statue of Aphrodite, Greek goddess of love. 2nd century terracotta from the Heyl collection. This statuette is one of the most beautiful examples of ancient terracotta statues in existence. The close fitting robe or the goddess of love has slipped from her shoulders, her raised left leg perhaps stood on a pillar. The front of the figure, which was shaped in a mould, was carved using a modelling scraper and finally painted. Altes Museum Berlin
  • Heyl Statue of Aphrodite, Greek goddess of love. 2nd century terracotta from the Heyl collection. This statuette is one of the most beautiful examples of ancient terracotta statues in existence. The close fitting robe or the goddess of love has slipped from her shoulders, her raised left leg perhaps stood on a pillar. The front of the figure, which was shaped in a mould, was carved using a modelling scraper and finally painted. Altes Museum Berlin
  • Heyl Statue of Aphrodite, Greek goddess of love. 2nd century terracotta from the Heyl collection. This statuette is one of the most beautiful examples of ancient terracotta statues in existence. The close fitting robe or the goddess of love has slipped from her shoulders, her raised left leg perhaps stood on a pillar. The front of the figure, which was shaped in a mould, was carved using a modelling scraper and finally painted. Altes Museum Berlin
  • Picture of Phrygian releif sculpture Orthostat of a horse from Kucukevier, Ankara, Turkey. Ancora Archaeological Museum. 7th century BC. Note the stylised leg muscels. 5
  • Picture of Phrygian releif sculpture Orthostat of a horse from Kucukevier, Ankara, Turkey. Museum of Anatolian Civilisations, Ankara. 7th century BC. Note the stylised leg muscels. 3
  • Picture of Phrygian releif sculpture Orthostat of a horse from Kucukevier, Ankara, Turkey. Museum of Anatolian Civilisations, Ankara. 7th century BC. Note the stylised leg muscels. 1
  • Picture & image of a Neo-Hittite orthostat with a releif sculpture of A Winged God from Aslantepe ,  Malatya, Turkey. Museum of Anatolian Civilisations, Ankara.  The God holds a branch of fruit in his left hand and a single fruit in the right hand. The First beared god is holding out a 3 pronged object to the king and has a boomerang in his other hand. Behind him is a 2 winged Godess with a  bare leg showing from her tunic. She is carrying a double headed axe. Behind her is another dearded God with a bore tusk helmet holding a spear. On the far right is another Godess, bare headed holding a double headed axe. On the far right is an attendant holding a bull. Above him the epographs indicate the name of the King & Gods. 2
  • Picture & image of a Neo-Hittite orthostat with a releif sculpture of A Winged God from Aslantepe ,  Malatya, Turkey. Ancora Archaeological Museum.  The God holds a branch of fruit in his left hand and a single fruit in the right hand. The First beared god is holding out a 3 pronged object to the king and has a boomerang in his other hand. Behind him is a 2 winged Godess with a  bare leg showing from her tunic. She is carrying a double headed axe. Behind her is another dearded God with a bore tusk helmet holding a spear. On the far right is another Godess, bare headed holding a double headed axe. On the far right is an attendant holding a bull. Above him the epographs indicate the name of the King & Gods.
  • Picture & Image of  Neo-Hittite orthostat describing the legend of Gilgamesh from Karkamis,, Turkey. Ancora Archaeological Museum. To the left a bearded deity with a horned helmet is holding a lions back leg and is about to strike it with an axe. To the right a man is stabbing the lion with a dagger. 6
  • Picture & Image of  Neo-Hittite orthostat describing the legend of Gilgamesh from Karkamis,, Turkey. Museum of Anatolian Civilisations, Ankara. To the left a bearded deity with a horned helmet is holding a lions back leg and is about to strike it with an axe. To the right a man is stabbing the lion with a dagger. 2
  • Picture & Image of  Neo-Hittite orthostat describing the legend of Gilgamesh from Karkamis,, Turkey. Museum of Anatolian Civilisations, Ankara. To the left a bearded deity with a horned helmet is holding a lions back leg and is about to strike it with an axe. To the right a man is stabbing the lion with a dagger. 4
  • Picture & Image of  Neo-Hittite orthostat describing the legend of Gilgamesh from Karkamis,, Turkey. Museum of Anatolian Civilisations, Ankara.  To the left a bearded deity with a horned helmet is holding a lions back leg and is about to strike it with an axe. To the right a man is stabbing the lion with a dagger.
  • Picture & Image of  Neo-Hittite orthostat describing the legend of Gilgamesh from Karkamis,, Turkey. Museum of Anatolian Civilisations, Ankara. To the left a bearded deity with a horned helmet is holding a lions back leg and is about to strike it with an axe. To the right a man is stabbing the lion with a dagger. 3
  • Picture & Image of  Neo-Hittite orthostat describing the legend of Gilgamesh from Karkamis,, Turkey. To the left a bearded deity with a horned helmet is holding a lions back leg and is about to strike it with an axe. To the right a man is stabbing the lion with a dagger. An Ankara Museum of Anatolian Civilizations exhibit.
  • Picture & Image of  Neo-Hittite orthostat describing the legend of Gilgamesh from Karkamis.  To the left a bearded deity with a horned helmet is holding a lions back leg and is about to strike it with an axe. To the right a man is stabbing the lion with a dagger. An Ankara Museum of Anatolian Civilizations exhibit.
  • Colossal ancient Egyptian statue of Sethy II, sandstone, New Kingdom, 19th Dynasty, (1202-1198 BC), Karnak Temple of Amon. Egyptian Museum, Turin. Grey background.<br />
<br />
A striking monumental sculpture expresses the strength of Sethy II who is depicted with his muscular left leg forward to express jis capability. He holds the standard of Amon depicted on it. It stood in the courtyard of the temple at Karnak along with a sister statue, now in the Louvre.Drovetti Collection. C 1383
  • Colossal ancient Egyptian statue of Sethy II, sandstone, New Kingdom, 19th Dynasty, (1202-1198 BC), Karnak Temple of Amon. Egyptian Museum, Turin. white background.<br />
<br />
A striking monumental sculpture expresses the strength of Sethy II who is depicted with his muscular left leg forward to express jis capability. He holds the standard of Amon depicted on it. It stood in the courtyard of the temple at Karnak along with a sister statue, now in the Louvre.Drovetti Collection. C 1383
  • Colossal ancient Egyptian statue of Sethy II, sandstone, New Kingdom, 19th Dynasty, (1202-1198 BC), Karnak Temple of Amon. Egyptian Museum, Turin. Grey background.<br />
<br />
A striking monumental sculpture expresses the strength of Sethy II who is depicted with his muscular left leg forward to express jis capability. He holds the standard of Amon depicted on it. It stood in the courtyard of the temple at Karnak along with a sister statue, now in the Louvre.Drovetti Collection. C 1383
  • Hittite relief sculpted orthostat stone panel of Herald's Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
In the middle is a kneeling bearded figure holding the bull's horn with his left hand and the lion's hind leg with his right hand. Below this lion is another lion whose chest and the head are missing, and below this second lion is another small lion. A deer stands behind his head. It is thought that this relief depicts Gilgamesh, the master of animals. <br />
<br />
Against a brown art background.
  • Ancient Egyptian statue of Iteti, sandstone, Old Kingdom, 5th Dynasty, (2500-2400 BC), Mastaba. Egyptian Museum, Turin. Grey background.<br />
<br />
Fragmentary sandstone statue inscribed for Iteti, identified as "inspector of wab-priests of the pyramid of Khufu"; Iteti, wearing curly wig and moustache (engraved on face), seated on chair with bull's legs.
  • Ancient Egyptian statue of a Ram protecting King Amenhotep III, granite, New Kingdom, early 18th Dynasty (1390-1353), Karnak, Temple of Mut. Egyptian Museum, Turin. Black background<br />
<br />
a figure of Amenhotep III as Osiris stands between the legs of the Ram. there is a hole in the top of the rams head for the insertion of a solar disk associating it to the god Amon, whose animal form is the ram, and with the sun god Re. The statue may have stood in the Soleb of Nubia. Drovetti Collection. C 836
  • Ancient Egyptian statue of a Ram protecting King Amenhotep III, granite, New Kingdom, early 18th Dynasty (1390-1353), Karnak, Temple of Mut. Egyptian Museum, Turin. white background<br />
<br />
a figure of Amenhotep III as Osiris stands between the legs of the Ram. there is a hole in the top of the rams head for the insertion of a solar disk associating it to the god Amon, whose animal form is the ram, and with the sun god Re. The statue may have stood in the Soleb of Nubia. Drovetti Collection. C 836
  • Ancient Egyptian statue of a Ram protecting King Amenhotep III, granite, New Kingdom, early 18th Dynasty (1390-1353), Karnak, Temple of Mut. Egyptian Museum, Turin. <br />
<br />
a figure of Amenhotep III as Osiris stands between the legs of the Ram. there is a hole in the top of the rams head for the insertion of a solar disk associating it to the god Amon, whose animal form is the ram, and with the sun god Re. The statue may have stood in the Soleb of Nubia. Drovetti Collection. C 836
  • Ancient Egyptian statue of a Ram protecting King Amenhotep III, granite, New Kingdom, early 18th Dynasty (1390-1353), Karnak, Temple of Mut. Egyptian Museum, Turin. Grey background<br />
<br />
a figure of Amenhotep III as Osiris stands between the legs of the Ram. there is a hole in the top of the rams head for the insertion of a solar disk associating it to the god Amon, whose animal form is the ram, and with the sun god Re. The statue may have stood in the Soleb of Nubia. Drovetti Collection. C 836
  • Ancient Egyptian statue of a Ram proytecting King Amenhotep III, granite, New Kingdom, early 18th Dynasty (1390-1353), Karnak, Temple of Mut. Egyptian Museum, Turin. black background<br />
<br />
a figure of Amenhotep III as Osiris stands between the legs of the Ram. there is a hole in the top of the rams head for the insertion of a solar disk associating it to the god Amon, whose animal form is the ram, and with the sun god Re. The statue may have stood in the Soleb of Nubia. Drovetti Collection. C 836
  • Ancient Egyptian statue of Tuthmosis II, granodorite, New Kingdom, 18th Dynasty, (1479-1425 BC), Karnak, Temple of Amun. Egyptian Museum, Turin. white background<br />
<br />
Tuthmosis II is shown wearing Royal regalia including the shendyt kilt, the nemes headdress and the uraeus cobra on his forehead. Between his legs in a bulls tail, the symbol of power. On the sides of the throne is the sema-tawy, a sign composed of a lotus and papyrus, the symbols od Upper and Lower Egypt. Under the feet of the king are the Nine Bows, the enemies of Egypt. Together these symbolise that the pharaoh keeps the two halves of Egypt together and protects them against her enemies. Drovetti Collection. C 1376
  • Ancient Egyptian statue of Tuthmosis II, granodorite, New Kingdom, 18th Dynasty, (1479-1425 BC), Karnak, Temple of Amun. Egyptian Museum, Turin. black background.<br />
<br />
Tuthmosis II is shown wearing Royal regalia including the shendyt kilt, the nemes headdress and the uraeus cobra on his forehead. Between his legs in a bulls tail, the symbol of power. On the sides of the throne is the sema-tawy, a sign composed of a lotus and papyrus, the symbols od Upper and Lower Egypt. Under the feet of the king are the Nine Bows, the enemies of Egypt. Together these symbolise that the pharaoh keeps the two halves of Egypt together and protects them against her enemies. Drovetti Collection. C 1376
  • Ancient Egyptian statue of Tuthmosis II, granodorite, New Kingdom, 18th Dynasty, (1479-1425 BC), Karnak, Temple of Amun. Egyptian Museum, Turin. Grey background.<br />
<br />
Tuthmosis II is shown wearing Royal regalia including the shendyt kilt, the nemes headdress and the uraeus cobra on his forehead. Between his legs in a bulls tail, the symbol of power. On the sides of the throne is the sema-tawy, a sign composed of a lotus and papyrus, the symbols od Upper and Lower Egypt. Under the feet of the king are the Nine Bows, the enemies of Egypt. Together these symbolise that the pharaoh keeps the two halves of Egypt together and protects them against her enemies. Drovetti Collection. C 1376
  • Ancient Egyptian statue of Tuthmosis II, granodorite, New Kingdom, 18th Dynasty, (1479-1425 BC), Karnak, Temple of Amun. Egyptian Museum, Turin. black background.<br />
<br />
Tuthmosis II is shown wearing Royal regalia including the shendyt kilt, the nemes headdress and the uraeus cobra on his forehead. Between his legs in a bulls tail, the symbol of power. On the sides of the throne is the sema-tawy, a sign composed of a lotus and papyrus, the symbols od Upper and Lower Egypt. Under the feet of the king are the Nine Bows, the enemies of Egypt. Together these symbolise that the pharaoh keeps the two halves of Egypt together and protects them against her enemies. Drovetti Collection. C 1376
  • Ancient Egyptian statue of Tuthmosis II, granodorite, New Kingdom, 18th Dynasty, (1479-1425 BC), Karnak, Temple of Amun. Egyptian Museum, Turin. white background<br />
<br />
Tuthmosis II is shown wearing Royal regalia including the shendyt kilt, the nemes headdress and the uraeus cobra on his forehead. Between his legs in a bulls tail, the symbol of power. On the sides of the throne is the sema-tawy, a sign composed of a lotus and papyrus, the symbols od Upper and Lower Egypt. Under the feet of the king are the Nine Bows, the enemies of Egypt. Together these symbolise that the pharaoh keeps the two halves of Egypt together and protects them against her enemies. Drovetti Collection. C 1376
  • Ancient Egyptian statue of Tuthmosis II, granodorite, New Kingdom, 18th Dynasty, (1479-1425 BC), Karnak, Temple of Amun. Egyptian Museum, Turin. Grey background.<br />
<br />
Tuthmosis II is shown wearing Royal regalia including the shendyt kilt, the nemes headdress and the uraeus cobra on his forehead. Between his legs in a bulls tail, the symbol of power. On the sides of the throne is the sema-tawy, a sign composed of a lotus and papyrus, the symbols od Upper and Lower Egypt. Under the feet of the king are the Nine Bows, the enemies of Egypt. Together these symbolise that the pharaoh keeps the two halves of Egypt together and protects them against her enemies. Drovetti Collection. C 1376
  • Abstract Cycladic figurine , Louris type, from Naxos, 2800-2500 BC, Museum of Cycladic Art Athens,  Against Grey Background. <br />
<br />
The figurine has no facial features and is of no determinable sex. The figureine is of the Louros typle, named after a site in Naxos and with stuby arms is considered to be an abstract development of the Plastiras type, of which it retains such traits and naturalistically separated legs and horizontal feet. The arms have been reduced to two protuberances at shoulder level and all anitomical features have virtually disappeared.
  • Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II from Syros phase , (2800-2300 BC). Attributed to the 'Copenhagen Master' Museum of Cycladic Art Athens, <br />
<br />
The short legs have no knees and end in rudimentary feet. The legs probably broke at the knees and an artists remodelled  the truncated legs with toes. It is a rare example of remodelling in Cycladic art
  • Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II from Syros phase , (2800-2300 BC). Attributed to the 'Copenhagen Master' Museum of Cycladic Art Athens,  Against Grey Background. <br />
<br />
The short legs have no knees and end in rudimentary feet. The legs probably broke at the knees and an artists remodelled  the truncated legs with toes. It is a rare example of remodelling in Cycladic art
  • Marble statue of Pan found in Sparta, Pelopenese, 1st Cent AD copy of 4th Cent BC Greek original. Athens Archaeological Museum Cat No 252. Against white, <br />
<br />
Pan, the goat footed god wears an animal pelt from which protrude only his jhairy legs. In his left hand he is holding pan pipes. The expression on his bestial featured face is softened by a broad smile.
  • Marble statue of Pan found in Sparta, Pelopenese, 1st Cent AD copy of 4th Cent BC Greek original. Athens Archaeological Museum Cat No 252. Against grey<br />
<br />
Pan, the goat footed god wears an animal pelt from which protrude only his jhairy legs. In his left hand he is holding pan pipes. The expression on his bestial featured face is softened by a broad smile.
  • Alaca Hoyuk - Hittite lion sculpture corner Stone . Andesite. Alacahoyuk, 1399 - 1301 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Corner stone with sculpted lion, bull and winged sun disk. It was discovered at the right side of the Alacahoyuk sphinx door. The lion puts his front legs on a small bull. There is a Hittite winged sun disk on the abdomen of the lion, which can be seen from a lower location. The position of the sun course indicates that the stone is situated in a high place.<br />
<br />
Against a brown gray background.
  • Close up of a Roman Sebasteion relief  sculpture of a prisoner of  Emperor Claudius as God of sea and land,  Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
The Emperor as god Claudius strides forward in a divine epiphany, drapery billowing around his head. He receives a cornucopia with fruits of the earth from a figure emerging from the ground, anda ship’s steering oar from a marine tritoness with fish legs. The idea is clear: the god-emperor guarantees the prosperity of land and sea. The relief is a remarkable local visualisation - elevated and panegyrical - of the emperor’s role as a universal saviour and divine protector.
  • Close up of a Roman Sebasteion relief  sculpture of a prisoner of  Emperor Claudius as God of sea and land,  Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
The Emperor as god Claudius strides forward in a divine epiphany, drapery billowing around his head. He receives a cornucopia with fruits of the earth from a figure emerging from the ground, anda ship’s steering oar from a marine tritoness with fish legs. The idea is clear: the god-emperor guarantees the prosperity of land and sea. The relief is a remarkable local visualisation - elevated and panegyrical - of the emperor’s role as a universal saviour and divine protector.
  • Roman Sebasteion relief  sculpture of Poseidon and Amphitrite,  Aphrodisias Museum, Aphrodisias, Turkey.   Against a white background.<br />
<br />
The two god-like tritons, Poseidon and Amphitrite, are seated on two sea horses accompanied by two fish legged tritons below. Between the tritons sits a sea-putto of baby triton. The male god is in the form of Poseidon crowned by his wife Amphitrite. Unusually he wears a military cloak and they might be an emperor and his wife (such as Claudius and Agrippina) in the guise of Poseidon and Amphitrite
  • Roman Sebasteion relief  sculpture of Poseidon and Amphitrite,  Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
The two god-like tritons, Poseidon and Amphitrite, are seated on two sea horses accompanied by two fish legged tritons below. Between the tritons sits a sea-putto of baby triton. The male god is in the form of Poseidon crowned by his wife Amphitrite. Unusually he wears a military cloak and they might be an emperor and his wife (such as Claudius and Agrippina) in the guise of Poseidon and Amphitrite
  • Close up of a Roman Sebasteion relief  sculpture of Emperor Claudius as God of sea and land,  Aphrodisias Museum, Aphrodisias, Turkey.   Against a white background.<br />
<br />
The Emperor as god Claudius strides forward in a divine epiphany, drapery billowing around his head. He receives a cornucopia with fruits of the earth from a figure emerging from the ground, anda ship’s steering oar from a marine tritoness with fish legs. The idea is clear: the god-emperor guarantees the prosperity of land and sea. The relief is a remarkable local visualisation - elevated and panegyrical - of the emperor’s role as a universal saviour and divine protector.
  • Close up of a Roman Sebasteion relief  sculpture of Emperor Claudius as God of sea and land,  Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.<br />
<br />
The Emperor as god Claudius strides forward in a divine epiphany, drapery billowing around his head. He receives a cornucopia with fruits of the earth from a figure emerging from the ground, anda ship’s steering oar from a marine tritoness with fish legs. The idea is clear: the god-emperor guarantees the prosperity of land and sea. The relief is a remarkable local visualisation - elevated and panegyrical - of the emperor’s role as a universal saviour and divine protector.
  • Roman Sebasteion relief  sculpture of Emperor Claudius as God of sea and land,  Aphrodisias Museum, Aphrodisias, Turkey.   Against a white background.<br />
<br />
The Emperor as god Claudius strides forward in a divine epiphany, drapery billowing around his head. He receives a cornucopia with fruits of the earth from a figure emerging from the ground, anda ship’s steering oar from a marine tritoness with fish legs. The idea is clear: the god-emperor guarantees the prosperity of land and sea. The relief is a remarkable local visualisation - elevated and panegyrical - of the emperor’s role as a universal saviour and divine protector.
  • Roman Sebasteion relief  sculpture of Emperor Claudius as God of sea and land,  Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
The Emperor as god Claudius strides forward in a divine epiphany, drapery billowing around his head. He receives a cornucopia with fruits of the earth from a figure emerging from the ground, anda ship’s steering oar from a marine tritoness with fish legs. The idea is clear: the god-emperor guarantees the prosperity of land and sea. The relief is a remarkable local visualisation - elevated and panegyrical - of the emperor’s role as a universal saviour and divine protector.
  • Roman Sebasteion rrelief  sculpture of Emperor Claudius as God of sea and land,  Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
The Emperor as god Claudius strides forward in a divine epiphany, drapery billowing around his head. He receives a cornucopia with fruits of the earth from a figure emerging from the ground, anda ship’s steering oar from a marine tritoness with fish legs. The idea is clear: the god-emperor guarantees the prosperity of land and sea. The relief is a remarkable local visualisation - elevated and panegyrical - of the emperor’s role as a universal saviour and divine protector.
  • Roman Sebasteion rrelief  sculpture of Emperor Claudius as God of sea and land,  Aphrodisias Museum, Aphrodisias, Turkey.  Against an art background.<br />
<br />
The Emperor as god Claudius strides forward in a divine epiphany, drapery billowing around his head. He receives a cornucopia with fruits of the earth from a figure emerging from the ground, anda ship’s steering oar from a marine tritoness with fish legs. The idea is clear: the god-emperor guarantees the prosperity of land and sea. The relief is a remarkable local visualisation - elevated and panegyrical - of the emperor’s role as a universal saviour and divine protector.
  • Roman Sebasteion rrelief  sculpture of Emperor Claudius as God of sea and land,  Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
The Emperor as god Claudius strides forward in a divine epiphany, drapery billowing around his head. He receives a cornucopia with fruits of the earth from a figure emerging from the ground, anda ship’s steering oar from a marine tritoness with fish legs. The idea is clear: the god-emperor guarantees the prosperity of land and sea. The relief is a remarkable local visualisation - elevated and panegyrical - of the emperor’s role as a universal saviour and divine protector.
  • Roman Sebasteion relief  sculpture of Aineas’ arrival in Italy Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.<br />
<br />
Poseidon stands naked over a sea going ship stopped at a short column. SA dolphin jumps between his legs. Aineas, his head veiled in the Roman manner, pours a libation, a thanks offering for his safe arrival in Italy. Behing Poseidon’s shoulders, a separately worked young male head was inserted into the background, maybe a deceased companion of Aineas.
  • Roman Sebasteion relief  sculpture of Aineas’ arrival in Italy Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
Poseidon stands naked over a sea going ship stopped at a short column. SA dolphin jumps between his legs. Aineas, his head veiled in the Roman manner, pours a libation, a thanks offering for his safe arrival in Italy. Behing Poseidon’s shoulders, a separately worked young male head was inserted into the background, maybe a deceased companion of Aineas.
  • Roman Sebasteion relief  sculpture of Polyphemos and Galatea Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
Another mythological love story affirms the power of Aphrodite. The sea nymph Galatea resists the lustful advances of the beastly cycolps Polyphemas in his cave. Polyphemos sits on a rock and tries to pull Galatea between his legs. His right arm is round her back: note the huge hand on her backside.
  • Picture of a Roman mosaics design depicting Silenus and Cupids, from the House of Sienus, ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
<br />
The Silenus Roman mosaic depicts multiple scenes : the tying up of Silenus, who is permanently drunk, and is depicted in the middle of the mosaic lying on a bed of leaves. Around him children are trying to tie his hands and legs with garlands of flowers.
  • Picture of a Roman mosaics design depicting Silenus and Cupids, from the House of Sienus, ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against a white background<br />
<br />
The Silenus Roman mosaic depicts multiple scenes : the tying up of Silenus, who is permanently drunk, and is depicted in the middle of the mosaic lying on a bed of leaves. Around him children are trying to tie his hands and legs with garlands of flowers.
  • Picture of a Roman mosaics design depicting Silenus and Cupids, from the House of Sienus, ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
<br />
The Silenus Roman mosaic depicts multiple scenes : the tying up of Silenus, who is permanently drunk, and is depicted in the middle of the mosaic lying on a bed of leaves. Around him children are trying to tie his hands and legs with garlands of flowers.
  • Picture of a Roman mosaics design depicting Silenus and Cupids, from the House of Sienus, ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
<br />
The Silenus Roman mosaic depicts multiple scenes : the tying up of Silenus, who is permanently drunk, and is depicted in the middle of the mosaic lying on a bed of leaves. Around him children are trying to tie his hands and legs with garlands of flowers.
  • Hittite terra cotta pot on trident legs. Hittite Old Period, 1650 - 1450 BC.  Hattusa Boğazkale. Çorum Archaeological Museum, Corum, Turkey. Against a white bacground.
  • Hittite terra cotta pot on trident legs. Hittite Old Period, 1650 - 1450 BC.  Hattusa Boğazkale. Çorum Archaeological Museum, Corum, Turkey
  • Hittite terra cotta pot on trident legs. Hittite Old Period, 1650 - 1450 BC.  Hattusa Boğazkale. Çorum Archaeological Museum, Corum, Turkey. Against a grey bacground.
  • Terra cotta Hittite beaker shaped side spouted teapot and three legged stand - 1700 BC to 1500BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey
  • Phrygian relief sculpted orthostat stone panel. Andesite, Kucukevler, Ankara., 1200-700 B.C. Walking horse. Muscles in the legs of the figure are schematic. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Against a black background.
  • Phygian relief sculpted orthostat stone panel. Andesite, Etimesgut, Ankara. Phrygian. 1200-700 BC. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Figure of a roaring lion. The cross mark on the chest draws attention. The muscles in his legs are schematic. There are frame edges in front and behind the lion. <br />
<br />
Against a grey art background.
  • Phrygian relief sculpted orthostat stone panel Andesite, Atateirk Orman ciftligi, Ankara, 12OO-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Winged griffin with a bird's head and a lion's body. There is a bird's head at the end of its tail. The chest was processed like fish scales. Its wing extends along the body. Muscles in its legs are schematic. <br />
<br />
Against a black background.
  • Photo of Phrygian relief sculpted orthostat stone panel Andesite, Atateirk Orman ciftligi, Ankara, 12OO-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Winged griffin with a bird's head and a lion's body. There is a bird's head at the end of its tail. The chest was processed like fish scales. Its wing extends along the body. Muscles in its legs are schematic. <br />
<br />
Against a brown art background.
  • Phrygian relief sculpted orthostat stone panel. Andesite, Ahiyakup, Ankara Phrygian, 1200-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Sphinx. Curly-haired and bearded, the figure has the head of a human and the body of a lion, with its wings extending down to its tail. Muscles in its legs are schematic. There is a band on its head. <br />
<br />
Against a grey art background.
  • Photo of Phrygian relief sculpted orthostat stone panel. Andesite, Ahiyakup, Ankara Phrygian, 1200-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Sphinx. Curly-haired and bearded, the figure has the head of a human and the body of a lion, with its wings extending down to its tail. Muscles in its legs are schematic. There is a band on its head. <br />
<br />
Against a brown art background.
  • Phygian relief sculpted orthostat stone panel. Andesite, Etimesgut, Ankara. Phrygian. 1200-700 BC. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Figure of a roaring lion. The cross mark on the chest draws attention. The muscles in his legs are schematic. There are frame edges in front and behind the lion. <br />
<br />
Against a white background.
  • Pictures & images of Phrygian relief sculpted orthostat stone panel Andesite, Kalaba Village, Ankara, , 1200-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Figure of a roaring lion. The cross mark on his chest draws attention. The muscles in his legs are schematic. <br />
<br />
Against a gray background.
  • Phrygian relief sculpted orthostat stone panel Andesite, Kalaba Village, Ankara, , 1200-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Figure of a roaring lion. The cross mark on his chest draws attention. The muscles in his legs are schematic. <br />
<br />
Against a white background.
  • Phrygian relief sculpted orthostat stone panel Andesite, Kalaba Village, Ankara, , 1200-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Figure of a roaring lion. The cross mark on his chest draws attention. The muscles in his legs are schematic.<br />
<br />
Against a grey art background.
  • Hittite monumental relief sculpted orthostat stone panel from Water Gate Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C.  Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Two bull-men holding the trunk of the tree in the middle. The faces of the figures, having tufts in both temples over the chain, have been depicted from the front direction. The horned figures with bull-like ears and legs have human bodies. <br />
<br />
On a white background.
  • Hittite monumental relief sculpted orthostat stone panel of Water Gate. Basalt, 900 - 700 BC. Anatolian Civilisations Museum. Ankara. Turkey.<br />
<br />
Fragment of Two bull men holding the trunk of the tree in the middle. The faces of the figures, having tufts in both temples over the chain, have been depicted from the front direction. The horned figures with bull like ears and legs have human bodies. <br />
<br />
On a black background.
  • Hittite monumental relief sculpted orthostat stone panel from Water Gate Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C.  Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Two bull-men holding the trunk of the tree in the middle. The faces of the figures, having tufts in both temples over the chain, have been depicted from the front direction. The horned figures with bull-like ears and legs have human bodies. <br />
<br />
On a grey art background.
  • Photo of Hittite monumental relief sculpted orthostat stone panel from Water Gate Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C.  Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Two bull-men holding the trunk of the tree in the middle. The faces of the figures, having tufts in both temples over the chain, have been depicted from the front direction. The horned figures with bull-like ears and legs have human bodies. <br />
<br />
On a brown art background.
  • Hittite monumental relief sculpted orthostat stone panel Orthostats of a Procession. Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 700 BC. Griffin. Anatolian Civilisations Museum. Ankara. Bird - headed lions standing opposite on their hind legs (griffin). It is symmetric. <br />
<br />
Against a white background.
  • Photo of Hittite monumental relief sculpted orthostat stone panel Orthostats of a Procession. Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 700 BC. Griffin. Anatolian Civilisations Museum. Ankara. Bird - headed lions standing opposite on their hind legs (griffin). It is symmetric. <br />
<br />
Against a brown art background.
  • Hittite monumental relief sculpted orthostat stone panel Orthostats of a Procession. Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 700 BC. Griffin. Anatolian Civilisations Museum. Ankara. Bird - headed lions standing opposite on their hind legs (griffin). It is symmetric. <br />
<br />
Against a grey art background.
  • Picture & image of Hittite monumental relief sculpted orthostat stone panel. Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Hunting carriage.  Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Two human figures; one handling the carriage, the other throwing arrows. Both figures are wearing a headdress shaped like a skullcap. The dagger at the waist of the figure throwing arrow draws attention. There is an animal between the legs of the horse having an aigrette over its head. <br />
<br />
Against a gray background.
  • Hittite relief sculpted orthostat stone panel of Herald's Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Two sphinxes standing on their hind legs on both sides attack to the winged horse standing on its hind legs in the middle.
  • Photo of Hittite relief sculpted orthostat stone panel of Herald's Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Two sphinxes standing on their hind legs on both sides attack to the winged horse standing on its hind legs in the middle.  <br />
<br />
Against a black background.
  • Hittite relief sculpted orthostat stone panel of Herald's Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Two sphinxes standing on their hind legs on both sides attack to the winged horse standing on its hind legs in the middle.  <br />
<br />
Against a grey art background.
  • Hittite relief sculpted orthostat stone panel of Herald's Wall. Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
On the left is a winged mixed creature with a human head and body who has a scorpion tail and bird legs; on the right is a human-like god. The figures fight with a winged bull standing on its hind legs. The scorpion-man is known as Girtablull. <br />
<br />
Against a grey art background.
  • Hittite relief sculpted orthostat stone panel of Herald's Wall. Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
On the left is a winged mixed creature with a human head and body who has a scorpion tail and bird legs; on the right is a human-like god. The figures fight with a winged bull standing on its hind legs. The scorpion-man is known as Girtablull. <br />
<br />
Against a brown art background.
  • Alaca Hoyuk - Hittite lion sculptures corner Stone. . Andesite. Alacahoyuk, 1399 - 1301 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Corner stone decorated by lion, bull and winged sun disk. It was discovered at the right side of the Alacahoyuk sphinx door. The lion puts his front legs on a small bull. There is a Hittite winged sun disk on the abdomen of the lion, which can be seen from a lower location. The position of the sun course indicates that the stone is situated in a high place. <br />
<br />
Against a brown gray background.
  • Alaca Hoyuk - Hittite lion sculpture corner Stone . Andesite. Alacahoyuk, 1399 - 1301 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Corner stone with sculpted lion, bull and winged sun disk. It was discovered at the right side of the Alacahoyuk sphinx door. The lion puts his front legs on a small bull. There is a Hittite winged sun disk on the abdomen of the lion, which can be seen from a lower location. The position of the sun course indicates that the stone is situated in a high place.<br />
<br />
Against a black background.
  • Upper torso of the Riace bronze Greek statue B cast about 460 - 450 BC. statue B was probably sculpted by Phidias. There is a sense of movement in the statues their legs being bent as if they are about to take a step. Their heads are turned which accentuates a sense of anticipation as if they are looking for something. The anatomical detail is extraordinary which gives a startling realism to the statue and demonstarte the high level of skill of the Greek sculptors of this peiod. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • Full length side view of the Riace bronze Greek statue B cast about 460 - 450 BC. statue B was probably sculpted by Phidias. There is a sense of movement in the statues their legs being bent as if they are about to take a step. Their heads are turned which accentuates a sense of anticipation as if they are looking for something. The anatomical detail is extraordinary which gives a startling realism to the statue and demonstarte the high level of skill of the Greek sculptors of this peiod. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • Torso of the Riace bronze Greek statue B cast about 460 - 450 BC. statue B was probably sculpted by Phidias. There is a sense of movement in the statues their legs being bent as if they are about to take a step. Their heads are turned which accentuates a sense of anticipation as if they are looking for something. The anatomical detail is extraordinary which gives a startling realism to the statue and demonstarte the high level of skill of the Greek sculptors of this period. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • Original Roman bronze statue of Emperor Marcus Aurelius on horseback. 175 AD. Marcus Aurelus was the last of the Five Good Emperors, and is also considered one of the most important Stoic philosophers. In 1979 it was discovered that the the equestrian statue of Marcus Aurelius, in the courtyard of the Capitline Museum, had suffered badly from corrosion, particularly in its legs. The staue was removed from Michael Angelo’s plinth and was transferred to the National Instution for the Restoration of works of art for preservation. On the 11th of April 1990 the restored statue was returned to the Cpitaline courtyard and covered with a glass protective casing. The glass box ruined the design of Michael Angelo’s courtyard and it was decided to make a copy to display in the courted and move the original into the Capitoiline Musuem. This is a rare example of a bronze equestrian statue as it became common practice for the Romans in the late empire to melt down bronze statues to mint coins. The Capitoline Museums, Rome
  • Original Roman bronze statue of Emperor Marcus Aurelius on horseback. 175 AD. Marcus Aurelus was the last of the Five Good Emperors, and is also considered one of the most important Stoic philosophers. In 1979 it was discovered that the the equestrian statue of Marcus Aurelius, in the courtyard of the Capitline Museum, had suffered badly from corrosion, particularly in its legs. The staue was removed from Michael Angelo’s plinth and was transferred to the National Instution for the Restoration of works of art for preservation. On the 11th of April 1990 the restored statue was returned to the Cpitaline courtyard and covered with a glass protective casing. The glass box ruined the design of Michael Angelo’s courtyard and it was decided to make a copy to display in the courted and move the original into the Capitoiline Musuem. This is a rare example of a bronze equestrian statue as it became common practice for the Romans in the late empire to melt down bronze statues to mint coins. The Capitoline Museums, Rome
  • Norman Romanesque exterior corbel no 47  - sculpture of a a bald dancing female dressed in a tight filling tunic. The image is probably a warning against the sexual senses that can be aroused by dancing. The figure has her legs crossed and appears to be recoiling from an impending violation. The Norman Romanesque Church of St Mary and St David, Kilpeck Herefordshire, England. Built around 1140
  • Coloured glazed brick panels of the facade of the  first smaller Ishtar Gate, Babylon, dating from 604-562 BC. Babylon (present day Iraq). The Ishtar Gate, Babylon, was situated in the northern wall of the city and was named after the goddess Ishtar. The gate was decorated with reprentations of bulls, the symbol of the weather god Adad, and dragons (Babylonian Mushhushu), the symbol of the city God Marduk. The mythical composite animal has the head and the body of a snake, the front legs of a lion, the hind legs of a bird and a scorpion sting in the tail. The ground plan and debris of the gate buildings were uncovered during the German excavation from 1899-1917 directed by Robert Koldewey. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed brick panels of the facade of the  first smaller Ishtar Gate, Babylon, dating from 604-562 BC. Babylon (present day Iraq). The Ishtar Gate, Babylon, was situated in the northern wall of the city and was named after the goddess Ishtar. The gate was decorated with reprentations of bulls, the symbol of the weather god Adad, and dragons (Babylonian Mushhushu), the symbol of the city God Marduk. The mythical composite animal has the head and the body of a snake, the front legs of a lion, the hind legs of a bird and a scorpion sting in the tail. The ground plan and debris of the gate buildings were uncovered during the German excavation from 1899-1917 directed by Robert Koldewey. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed brick panels depicting the mythical composite animal has the head and the body of a snake, the front legs of a lion, the hind legs of a bird and a scorpion sting in the tail the symbol of the city God Marduk. From the facade of the  first smaller Ishtar Gate, Babylon, dating from 604-562 BC. Babylon (present day Iraq). The Ishtar Gate, Babylon, was situated in the northern wall of the city and was named after the goddess Ishtar. The ground plan and debris of the gate buildings were uncovered during the German excavation from 1899-1917 directed by Robert Koldewey. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed brick panels of the facade of the  first smaller Ishtar Gate, Babylon, dating from 604-562 BC. Babylon (present day Iraq). The Ishtar Gate, Babylon, was situated in the northern wall of the city and was named after the goddess Ishtar. The gate was decorated with reprentations of bulls, the symbol of the weather god Adad, and dragons (Babylonian Mushhushu), the symbol of the city God Marduk. The mythical composite animal has the head and the body of a snake, the front legs of a lion, the hind legs of a bird and a scorpion sting in the tail. The ground plan and debris of the gate buildings were uncovered during the German excavation from 1899-1917 directed by Robert Koldewey. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed brick panels of the facade of the  first smaller Ishtar Gate, Babylon, dating from 604-562 BC. Babylon (present day Iraq). The Ishtar Gate, Babylon, was situated in the northern wall of the city and was named after the goddess Ishtar. The gate was decorated with reprentations of bulls, the symbol of the weather god Adad, and dragons (Babylonian Mushhushu), the symbol of the city God Marduk. The mythical composite animal has the head and the body of a snake, the front legs of a lion, the hind legs of a bird and a scorpion sting in the tail. The ground plan and debris of the gate buildings were uncovered during the German excavation from 1899-1917 directed by Robert Koldewey. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed brick panels of the facade of the  first smaller Ishtar Gate, Babylon, dating from 604-562 BC. Babylon (present day Iraq). The Ishtar Gate, Babylon, was situated in the northern wall of the city and was named after the goddess Ishtar. The gate was decorated with reprentations of bulls, the symbol of the weather god Adad, and dragons (Babylonian Mushhushu), the symbol of the city God Marduk. The mythical composite animal has the head and the body of a snake, the front legs of a lion, the hind legs of a bird and a scorpion sting in the tail. The ground plan and debris of the gate buildings were uncovered during the German excavation from 1899-1917 directed by Robert Koldewey. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed brick panels of the facade of the  first smaller Ishtar Gate, Babylon, dating from 604-562 BC. Babylon (present day Iraq). The Ishtar Gate, Babylon, was situated in the northern wall of the city and was named after the goddess Ishtar. The gate was decorated with reprentations of bulls, the symbol of the weather god Adad, and dragons (Babylonian Mushhushu), the symbol of the city God Marduk. The mythical composite animal has the head and the body of a snake, the front legs of a lion, the hind legs of a bird and a scorpion sting in the tail. The ground plan and debris of the gate buildings were uncovered during the German excavation from 1899-1917 directed by Robert Koldewey. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed brick panels of the facade of the  first smaller Ishtar Gate, Babylon, dating from 604-562 BC. Babylon (present day Iraq). The Ishtar Gate, Babylon, was situated in the northern wall of the city and was named after the goddess Ishtar. The gate was decorated with reprentations of bulls, the symbol of the weather god Adad, and dragons (Babylonian Mushhushu), the symbol of the city God Marduk. The mythical composite animal has the head and the body of a snake, the front legs of a lion, the hind legs of a bird and a scorpion sting in the tail. The ground plan and debris of the gate buildings were uncovered during the German excavation from 1899-1917 directed by Robert Koldewey. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Roman Portrait statue of the so-called General Tivoli a Roman commander circa 70-70BC made in Greek marble and found in the excavation of the Temple of Hercules, Tivoli, Italy. A masterpiece of hoary sculpture from the late Republican period, this statue portrays an elderly person with a young, nude body. The cape (paludamentum) which covers part of the stomach and legs, and the cuirass embossed with the head of Medusa (lorica) which functions as a support, identify it as a high-ranking soldier. It can be presumed that the right arm is raised, as suggested by the chest muscles holdingg the shoulder, and that the figure was leaning on a lance. The style derives from Hellenistic designs pf ‘hero nudity’ (effigies schilleae) used, starting in the 2nd century BC, by members of the Roman ruling class which has a strong political need of self-representation. The authoritarian, imposing stance together with the marked realism of the facial features, is one of the best examples of Hellenistic bravura combined with realistic Italic tradition. Stylistic considerations and the fact that the statue was found in the excavation of the Temple of Hercules which was built during the dictatorship of Cornelius Sulla, date the statue to between 90 and 70 BC. Its commemoration in Tivoli leads us to believe that it may have been someone from the area, probably a lieutenant of Sulla who paid for the portrait himself, or that it was a public honour, in the most important shrine in the city, dedicated to the god-hero called ‘Victor’, i.e, the protector of military expeditions. The National Roman Museum, Rome, Italy
  • Roman Portrait statue of the so-called General Tivoli a Roman commander circa 70-70BC made in Greek marble and found in the excavation of the Temple of Hercules, Tivoli, Italy. A masterpiece of hoary sculpture from the late Republican period, this statue portrays an elderly person with a young, nude body. The cape (paludamentum) which covers part of the stomach and legs, and the cuirass embossed with the head of Medusa (lorica) which functions as a support, identify it as a high-ranking soldier. It can be presumed that the right arm is raised, as suggested by the chest muscles holdingg the shoulder, and that the figure was leaning on a lance. The style derives from Hellenistic designs pf ‘hero nudity’ (effigies schilleae) used, starting in the 2nd century BC, by members of the Roman ruling class which has a strong political need of self-representation. The authoritarian, imposing stance together with the marked realism of the facial features, is one of the best examples of Hellenistic bravura combined with realistic Italic tradition. Stylistic considerations and the fact that the statue was found in the excavation of the Temple of Hercules which was built during the dictatorship of Cornelius Sulla, date the statue to between 90 and 70 BC. Its commemoration in Tivoli leads us to believe that it may have been someone from the area, probably a lieutenant of Sulla who paid for the portrait himself, or that it was a public honour, in the most important shrine in the city, dedicated to the god-hero called ‘Victor’, i.e, the protector of military expeditions. The National Roman Museum, Rome, Italy
  • Statue of Eros known as The Genie of Borghese - a  Roman copy of a 4th century BC Greek original from Rome, Monte Cavallo. The statue belonged to Domenico Biondo, employee of Pope Paul V Borghese. The statue joined in 1608 in the collection of Scipio Borghese. Wings, arms and legs of Eros, formerly called Genie Borghese, are modern. In the 18th century it was much admired, especially in France, as one of the seven most important parts of the collection Borghese. The Borghese Collection Inv No. MR 207 or Ma 435, Louvre Museum, Paris.
  • Statue of Eros known as The Genie of Borghese - a  Roman copy of a 4th century BC Greek original from Rome, Monte Cavallo. The statue belonged to Domenico Biondo, employee of Pope Paul V Borghese. The statue joined in 1608 in the collection of Scipio Borghese. Wings, arms and legs of Eros, formerly called Genie Borghese, are modern. In the 18th century it was much admired, especially in France, as one of the seven most important parts of the collection Borghese. The Borghese Collection Inv No. MR 207 or Ma 435, Louvre Museum, Paris.
  • Statue of Eros known as The Genie of Borghese - a  Roman copy of a 4th century BC Greek original from Rome, Monte Cavallo. The statue belonged to Domenico Biondo, employee of Pope Paul V Borghese. The statue joined in 1608 in the collection of Scipio Borghese. Wings, arms and legs of Eros, formerly called Genie Borghese, are modern. In the 18th century it was much admired, especially in France, as one of the seven most important parts of the collection Borghese. The Borghese Collection Inv No. MR 207 or Ma 435, Louvre Museum, Paris.
  • Statue of Eros known as The Genie of Borghese - a  Roman copy of a 4th century BC Greek original from Rome, Monte Cavallo. The statue belonged to Domenico Biondo, employee of Pope Paul V Borghese. The statue joined in 1608 in the collection of Scipio Borghese. Wings, arms and legs of Eros, formerly called Genie Borghese, are modern. In the 18th century it was much admired, especially in France, as one of the seven most important parts of the collection Borghese. The Borghese Collection Inv No. MR 207 or Ma 435, Louvre Museum, Paris.
  • Original Roman bronze statue of Emperor Marcus Aurelius on horseback. 175 AD. Marcus Aurelus was the last of the Five Good Emperors, and is also considered one of the most important Stoic philosophers. In 1979 it was discovered that the the equestrian statue of Marcus Aurelius, in the courtyard of the Capitline Museum, had suffered badly from corrosion, particularly in its legs. The staue was removed from Michael Angelo’s plinth and was transferred to the National Instution for the Restoration of works of art for preservation. On the 11th of April 1990 the restored statue was returned to the Cpitaline courtyard and covered with a glass protective casing. The glass box ruined the design of Michael Angelo’s courtyard and it was decided to make a copy to display in the courted and move the original into the Capitoiline Musuem. This is a rare example of a bronze equestrian statue as it became common practice for the Romans in the late empire to melt down bronze statues to mint coins. The Capitoline Museums, Rome
  • Roman Portrait statue of the so-called General Tivoli a Roman commander circa 70-70BC made in Greek marble and found in the excavation of the Temple of Hercules, Tivoli, Italy. A masterpiece of hoary sculpture from the late Republican period, this statue portrays an elderly person with a young, nude body. The cape (paludamentum) which covers part of the stomach and legs, and the cuirass embossed with the head of Medusa (lorica) which functions as a support, identify it as a high-ranking soldier. It can be presumed that the right arm is raised, as suggested by the chest muscles holdingg the shoulder, and that the figure was leaning on a lance. The style derives from Hellenistic designs pf ‘hero nudity’ (effigies schilleae) used, starting in the 2nd century BC, by members of the Roman ruling class which has a strong political need of self-representation. The authoritarian, imposing stance together with the marked realism of the facial features, is one of the best examples of Hellenistic bravura combined with realistic Italic tradition. Stylistic considerations and the fact that the statue was found in the excavation of the Temple of Hercules which was built during the dictatorship of Cornelius Sulla, date the statue to between 90 and 70 BC. Its commemoration in Tivoli leads us to believe that it may have been someone from the area, probably a lieutenant of Sulla who paid for the portrait himself, or that it was a public honour, in the most important shrine in the city, dedicated to the god-hero called ‘Victor’, i.e, the protector of military expeditions. The National Roman Museum, Rome, Italy
  • Statue of Eros known as The Genie of Borghese - a  Roman copy of a 4th century BC Greek original from Rome, Monte Cavallo. The statue belonged to Domenico Biondo, employee of Pope Paul V Borghese. The statue joined in 1608 in the collection of Scipio Borghese. Wings, arms and legs of Eros, formerly called Genie Borghese, are modern. In the 18th century it was much admired, especially in France, as one of the seven most important parts of the collection Borghese. The Borghese Collection Inv No. MR 207 or Ma 435, Louvre Museum, Paris.
  • Statue of Eros known as The Genie of Borghese - a  Roman copy of a 4th century BC Greek original from Rome, Monte Cavallo. The statue belonged to Domenico Biondo, employee of Pope Paul V Borghese. The statue joined in 1608 in the collection of Scipio Borghese. Wings, arms and legs of Eros, formerly called Genie Borghese, are modern. In the 18th century it was much admired, especially in France, as one of the seven most important parts of the collection Borghese. The Borghese Collection Inv No. MR 207 or Ma 435, Louvre Museum, Paris.
  • Statue of Eros known as The Genie of Borghese - a  Roman copy of a 4th century BC Greek original from Rome, Monte Cavallo. The statue belonged to Domenico Biondo, employee of Pope Paul V Borghese. The statue joined in 1608 in the collection of Scipio Borghese. Wings, arms and legs of Eros, formerly called Genie Borghese, are modern. In the 18th century it was much admired, especially in France, as one of the seven most important parts of the collection Borghese. The Borghese Collection Inv No. MR 207 or Ma 435, Louvre Museum, Paris.
  • Anglo Saxon sandstone cross shaft fragment, 775-840. The complicated pattern depicts ribbon shaped animals with long thin bodies and legs. An animals face can be seen in the bottom right in profile with one eye and a mouth .Lindisfarne Abbey Museum, Northumbria, England
  • Picture of a Neo-Hittite orthostat describing the legend of Gilgamesh from Karkamis, Turkey. Museum of Anatolian Civilisations, Ankara. Mythological Scene of 2 Spinxes standing on their back legs either side of a winged horse which is also standing on its rear legs. 3
  • Picture of a Neo-Hittite orthostat describing the legend of Gilgamesh from Karkamis, Turkey. Museum of Anatolian Civilisations, Ankara. Mythological Scene of 2 Spinxes standing on their back legs either side of a winged horse which is also standing on its rear legs. 4
  • Picture of a Neo-Hittite orthostat describing the legend of Gilgamesh from Karkamis, Turkey. Ankara Museum of Anatolian Civilizations. Mythological Scene of 2 Spinxes standing on their back legs either side of a winged horse which is also standing on its rear legs. 1
  • Barbecue chicken legs & thighs on a barbecue grill and bbq sauce
  • Ancient Egyptian statue of Iteti, sandstone, Old Kingdom, 5th Dynasty, (2500-2400 BC), Mastaba. Egyptian Museum, Turin. white background.<br />
<br />
Fragmentary sandstone statue inscribed for Iteti, identified as "inspector of wab-priests of the pyramid of Khufu"; Iteti, wearing curly wig and moustache (engraved on face), seated on chair with bull's legs.
  • Ancient Egyptian statue of Iteti, sandstone, Old Kingdom, 5th Dynasty, (2500-2400 BC), Mastaba. Egyptian Museum, Turin. black background.<br />
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Fragmentary sandstone statue inscribed for Iteti, identified as "inspector of wab-priests of the pyramid of Khufu"; Iteti, wearing curly wig and moustache (engraved on face), seated on chair with bull's legs.
  • Ancient Egyptian statue of Iteti, sandstone, Old Kingdom, 5th Dynasty, (2500-2400 BC), Mastaba. Egyptian Museum, Turin. Grey background.<br />
<br />
Fragmentary sandstone statue inscribed for Iteti, identified as "inspector of wab-priests of the pyramid of Khufu"; Iteti, wearing curly wig and moustache (engraved on face), seated on chair with bull's legs.
  • Ancient Egyptian statue of Iteti, sandstone, Old Kingdom, 5th Dynasty, (2500-2400 BC), Mastaba. Egyptian Museum, Turin. <br />
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Fragmentary sandstone statue inscribed for Iteti, identified as "inspector of wab-priests of the pyramid of Khufu"; Iteti, wearing curly wig and moustache (engraved on face), seated on chair with bull's legs.
  • Ancient Egyptian statue of a Ram protecting King Amenhotep III, granite, New Kingdom, early 18th Dynasty (1390-1353), Karnak, Temple of Mut. Egyptian Museum, Turin. Grey background<br />
<br />
a figure of Amenhotep III as Osiris stands between the legs of the Ram. there is a hole in the top of the rams head for the insertion of a solar disk associating it to the god Amon, whose animal form is the ram, and with the sun god Re. The statue may have stood in the Soleb of Nubia. Drovetti Collection. C 836
  • Ancient Egyptian statue of a Ram proytecting King Amenhotep III, granite, New Kingdom, early 18th Dynasty (1390-1353), Karnak, Temple of Mut. Egyptian Museum, Turin. white background<br />
<br />
a figure of Amenhotep III as Osiris stands between the legs of the Ram. there is a hole in the top of the rams head for the insertion of a solar disk associating it to the god Amon, whose animal form is the ram, and with the sun god Re. The statue may have stood in the Soleb of Nubia. Drovetti Collection. C 836
  • Ancient Egyptian statue of a Ram proytecting King Amenhotep III, granite, New Kingdom, early 18th Dynasty (1390-1353), Karnak, Temple of Mut. Egyptian Museum, Turin. <br />
<br />
a figure of Amenhotep III as Osiris stands between the legs of the Ram. there is a hole in the top of the rams head for the insertion of a solar disk associating it to the god Amon, whose animal form is the ram, and with the sun god Re. The statue may have stood in the Soleb of Nubia. Drovetti Collection. C 836
  • Ancient Egyptian statue of a Ram proytecting King Amenhotep III, granite, New Kingdom, early 18th Dynasty (1390-1353), Karnak, Temple of Mut. Egyptian Museum, Turin. Grey background<br />
<br />
a figure of Amenhotep III as Osiris stands between the legs of the Ram. there is a hole in the top of the rams head for the insertion of a solar disk associating it to the god Amon, whose animal form is the ram, and with the sun god Re. The statue may have stood in the Soleb of Nubia. Drovetti Collection. C 836
  • Ancient Egyptian statue of a Ram proytecting King Amenhotep III, granite, New Kingdom, early 18th Dynasty (1390-1353), Karnak, Temple of Mut. Egyptian Museum, Turin. Grey background<br />
<br />
a figure of Amenhotep III as Osiris stands between the legs of the Ram. there is a hole in the top of the rams head for the insertion of a solar disk associating it to the god Amon, whose animal form is the ram, and with the sun god Re. The statue may have stood in the Soleb of Nubia. Drovetti Collection. C 836
  • Ancient Egyptian statue of Tuthmosis II, granodorite, New Kingdom, 18th Dynasty, (1479-1425 BC), Karnak, Temple of Amun. Egyptian Museum, Turin. Grey background.<br />
<br />
Tuthmosis II is shown wearing Royal regalia including the shendyt kilt, the nemes headdress and the uraeus cobra on his forehead. Between his legs in a bulls tail, the symbol of power. On the sides of the throne is the sema-tawy, a sign composed of a lotus and papyrus, the symbols od Upper and Lower Egypt. Under the feet of the king are the Nine Bows, the enemies of Egypt. Together these symbolise that the pharaoh keeps the two halves of Egypt together and protects them against her enemies. Drovetti Collection. C 1376
  • Ancient Egyptian statue of Tuthmosis II, granodorite, New Kingdom, 18th Dynasty, (1479-1425 BC), Karnak, Temple of Amun. Egyptian Museum, Turin. Grey background.<br />
<br />
Tuthmosis II is shown wearing Royal regalia including the shendyt kilt, the nemes headdress and the uraeus cobra on his forehead. Between his legs in a bulls tail, the symbol of power. On the sides of the throne is the sema-tawy, a sign composed of a lotus and papyrus, the symbols od Upper and Lower Egypt. Under the feet of the king are the Nine Bows, the enemies of Egypt. Together these symbolise that the pharaoh keeps the two halves of Egypt together and protects them against her enemies. Drovetti Collection. C 1376
  • Ancient Egyptian statue of Tuthmosis II, granodorite, New Kingdom, 18th Dynasty, (1479-1425 BC), Karnak, Temple of Amun. Egyptian Museum, Turin. Grey background.<br />
<br />
Tuthmosis II is shown wearing Royal regalia including the shendyt kilt, the nemes headdress and the uraeus cobra on his forehead. Between his legs in a bulls tail, the symbol of power. On the sides of the throne is the sema-tawy, a sign composed of a lotus and papyrus, the symbols od Upper and Lower Egypt. Under the feet of the king are the Nine Bows, the enemies of Egypt. Together these symbolise that the pharaoh keeps the two halves of Egypt together and protects them against her enemies. Drovetti Collection. C 1376
  • Ancient Egyptian statue of Tuthmosis II, granodorite, New Kingdom, 18th Dynasty, (1479-1425 BC), Karnak, Temple of Amun. Egyptian Museum, Turin. Grey background.<br />
<br />
Tuthmosis II is shown wearing Royal regalia including the shendyt kilt, the nemes headdress and the uraeus cobra on his forehead. Between his legs in a bulls tail, the symbol of power. On the sides of the throne is the sema-tawy, a sign composed of a lotus and papyrus, the symbols od Upper and Lower Egypt. Under the feet of the king are the Nine Bows, the enemies of Egypt. Together these symbolise that the pharaoh keeps the two halves of Egypt together and protects them against her enemies. Drovetti Collection. C 1376
  • Ancient Egyptian statue of Tuthmosis II, granodorite, New Kingdom, 18th Dynasty, (1479-1425 BC), Karnak, Temple of Amun. Egyptian Museum, Turin. Grey background.<br />
<br />
Tuthmosis II is shown wearing Royal regalia including the shendyt kilt, the nemes headdress and the uraeus cobra on his forehead. Between his legs in a bulls tail, the symbol of power. On the sides of the throne is the sema-tawy, a sign composed of a lotus and papyrus, the symbols od Upper and Lower Egypt. Under the feet of the king are the Nine Bows, the enemies of Egypt. Together these symbolise that the pharaoh keeps the two halves of Egypt together and protects them against her enemies. Drovetti Collection. C 1376
  • Ancient Egyptian statue of Tuthmosis II, granodorite, New Kingdom, 18th Dynasty, (1479-1425 BC), Karnak, Temple of Amun. Egyptian Museum, Turin. white background<br />
<br />
Tuthmosis II is shown wearing Royal regalia including the shendyt kilt, the nemes headdress and the uraeus cobra on his forehead. Between his legs in a bulls tail, the symbol of power. On the sides of the throne is the sema-tawy, a sign composed of a lotus and papyrus, the symbols od Upper and Lower Egypt. Under the feet of the king are the Nine Bows, the enemies of Egypt. Together these symbolise that the pharaoh keeps the two halves of Egypt together and protects them against her enemies. Drovetti Collection. C 1376
  • Ancient Egyptian statue of Tuthmosis II, granodorite, New Kingdom, 18th Dynasty, (1479-1425 BC), Karnak, Temple of Amun. Egyptian Museum, Turin. black background.<br />
<br />
Tuthmosis II is shown wearing Royal regalia including the shendyt kilt, the nemes headdress and the uraeus cobra on his forehead. Between his legs in a bulls tail, the symbol of power. On the sides of the throne is the sema-tawy, a sign composed of a lotus and papyrus, the symbols od Upper and Lower Egypt. Under the feet of the king are the Nine Bows, the enemies of Egypt. Together these symbolise that the pharaoh keeps the two halves of Egypt together and protects them against her enemies. Drovetti Collection. C 1376
  • Ancient Egyptian statue of Tuthmosis II, granodorite, New Kingdom, 18th Dynasty, (1479-1425 BC), Karnak, Temple of Amun. Egyptian Museum, Turin. Grey background.<br />
<br />
Tuthmosis II is shown wearing Royal regalia including the shendyt kilt, the nemes headdress and the uraeus cobra on his forehead. Between his legs in a bulls tail, the symbol of power. On the sides of the throne is the sema-tawy, a sign composed of a lotus and papyrus, the symbols od Upper and Lower Egypt. Under the feet of the king are the Nine Bows, the enemies of Egypt. Together these symbolise that the pharaoh keeps the two halves of Egypt together and protects them against her enemies. Drovetti Collection. C 1376
  • Ancient Egyptian statue of Tuthmosis II, granodorite, New Kingdom, 18th Dynasty, (1479-1425 BC), Karnak, Temple of Amun. Egyptian Museum, Turin. Grey background.<br />
<br />
Tuthmosis II is shown wearing Royal regalia including the shendyt kilt, the nemes headdress and the uraeus cobra on his forehead. Between his legs in a bulls tail, the symbol of power. On the sides of the throne is the sema-tawy, a sign composed of a lotus and papyrus, the symbols od Upper and Lower Egypt. Under the feet of the king are the Nine Bows, the enemies of Egypt. Together these symbolise that the pharaoh keeps the two halves of Egypt together and protects them against her enemies. Drovetti Collection. C 1376
  • Abstract Cycladic figurine , Louris type, from Naxos, 2800-2500 BC, Museum of Cycladic Art Athens,  Against white.<br />
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The figurine has no facial features and is of no determinable sex. The figureine is of the Louros typle, named after a site in Naxos and with stuby arms is considered to be an abstract development of the Plastiras type, of which it retains such traits and naturalistically separated legs and horizontal feet. The arms have been reduced to two protuberances at shoulder level and all anitomical features have virtually disappeared.
  • Abstract Cycladic figurine , Louris type, from Naxos, 2800-2500 BC, Museum of Cycladic Art Athens,   Against black<br />
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The figurine has no facial features and is of no determinable sex. The figureine is of the Louros typle, named after a site in Naxos and with stuby arms is considered to be an abstract development of the Plastiras type, of which it retains such traits and naturalistically separated legs and horizontal feet. The arms have been reduced to two protuberances at shoulder level and all anitomical features have virtually disappeared.
  • Abstract Cycladic figurine , Louris type, from Naxos, 2800-2500 BC, Museum of Cycladic Art Athens, <br />
<br />
The figurine has no facial features and is of no determinable sex. The figureine is of the Louros typle, named after a site in Naxos and with stuby arms is considered to be an abstract development of the Plastiras type, of which it retains such traits and naturalistically separated legs and horizontal feet. The arms have been reduced to two protuberances at shoulder level and all anitomical features have virtually disappeared.
  • Abstract Cycladic figurine , Louris type, from Naxos, 2800-2500 BC, Museum of Cycladic Art Athens,  Against Grey Background. <br />
<br />
The figurine has no facial features and is of no determinable sex. The figureine is of the Louros typle, named after a site in Naxos and with stuby arms is considered to be an abstract development of the Plastiras type, of which it retains such traits and naturalistically separated legs and horizontal feet. The arms have been reduced to two protuberances at shoulder level and all anitomical features have virtually disappeared.
  • Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II from Syros phase , (2800-2300 BC). Attributed to the 'Copenhagen Master' Museum of Cycladic Art Athens,  Against white.<br />
<br />
The short legs have no knees and end in rudimentary feet. The legs probably broke at the knees and an artists remodelled  the truncated legs with toes. It is a rare example of remodelling in Cycladic art
  • Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II from Syros phase , (2800-2300 BC). Attributed to the 'Copenhagen Master' Museum of Cycladic Art Athens,  Against Grey Background. <br />
<br />
The short legs have no knees and end in rudimentary feet. The legs probably broke at the knees and an artists remodelled  the truncated legs with toes. It is a rare example of remodelling in Cycladic art
  • Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II from Syros phase , (2800-2300 BC). Attributed to the 'Copenhagen Master' Museum of Cycladic Art Athens,   Against black<br />
<br />
The short legs have no knees and end in rudimentary feet. The legs probably broke at the knees and an artists remodelled  the truncated legs with toes. It is a rare example of remodelling in Cycladic art
  • Marble statue of Pan found in Sparta, Pelopenese, 1st Cent AD copy of 4th Cent BC Greek original. Athens Archaeological Museum Cat No 252. Against black<br />
<br />
Pan, the goat footed god wears an animal pelt from which protrude only his jhairy legs. In his left hand he is holding pan pipes. The expression on his bestial featured face is softened by a broad smile.
  • Marble statue of Pan found in Sparta, Pelopenese, 1st Cent AD copy of 4th Cent BC Greek original. Athens Archaeological Museum Cat No 252. Against grey<br />
<br />
Pan, the goat footed god wears an animal pelt from which protrude only his jhairy legs. In his left hand he is holding pan pipes. The expression on his bestial featured face is softened by a broad smile.
  • Marble statue of Pan found in Sparta, Pelopenese, 1st Cent AD copy of 4th Cent BC Greek original. Athens Archaeological Museum Cat No 252.<br />
<br />
Pan, the goat footed god wears an animal pelt from which protrude only his jhairy legs. In his left hand he is holding pan pipes. The expression on his bestial featured face is softened by a broad smile.
  • Roman Sebasteion relief  sculpture of Poseidon and Amphitrite,  Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.<br />
<br />
The two god-like tritons, Poseidon and Amphitrite, are seated on two sea horses accompanied by two fish legged tritons below. Between the tritons sits a sea-putto of baby triton. The male god is in the form of Poseidon crowned by his wife Amphitrite. Unusually he wears a military cloak and they might be an emperor and his wife (such as Claudius and Agrippina) in the guise of Poseidon and Amphitrite
  • Roman Sebasteion relief  sculpture of Poseidon and Amphitrite,  Aphrodisias Museum, Aphrodisias, Turkey.  Against an art background.<br />
<br />
The two god-like tritons, Poseidon and Amphitrite, are seated on two sea horses accompanied by two fish legged tritons below. Between the tritons sits a sea-putto of baby triton. The male god is in the form of Poseidon crowned by his wife Amphitrite. Unusually he wears a military cloak and they might be an emperor and his wife (such as Claudius and Agrippina) in the guise of Poseidon and Amphitrite
  • Roman Sebasteion relief  sculpture of Poseidon and Amphitrite,  Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
The two god-like tritons, Poseidon and Amphitrite, are seated on two sea horses accompanied by two fish legged tritons below. Between the tritons sits a sea-putto of baby triton. The male god is in the form of Poseidon crowned by his wife Amphitrite. Unusually he wears a military cloak and they might be an emperor and his wife (such as Claudius and Agrippina) in the guise of Poseidon and Amphitrite
  • Close up of a Roman Sebasteion relief  sculpture of Emperor Claudius as God of sea and land,  Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
The Emperor as god Claudius strides forward in a divine epiphany, drapery billowing around his head. He receives a cornucopia with fruits of the earth from a figure emerging from the ground, anda ship’s steering oar from a marine tritoness with fish legs. The idea is clear: the god-emperor guarantees the prosperity of land and sea. The relief is a remarkable local visualisation - elevated and panegyrical - of the emperor’s role as a universal saviour and divine protector.
  • Close up of a Roman Sebasteion relief  sculpture of Emperor Claudius as God of sea and land,  Aphrodisias Museum, Aphrodisias, Turkey.  Against an art background.<br />
<br />
The Emperor as god Claudius strides forward in a divine epiphany, drapery billowing around his head. He receives a cornucopia with fruits of the earth from a figure emerging from the ground, anda ship’s steering oar from a marine tritoness with fish legs. The idea is clear: the god-emperor guarantees the prosperity of land and sea. The relief is a remarkable local visualisation - elevated and panegyrical - of the emperor’s role as a universal saviour and divine protector.
  • Close up of a Roman Sebasteion relief  sculpture of Emperor Claudius as God of sea and land,  Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
The Emperor as god Claudius strides forward in a divine epiphany, drapery billowing around his head. He receives a cornucopia with fruits of the earth from a figure emerging from the ground, anda ship’s steering oar from a marine tritoness with fish legs. The idea is clear: the god-emperor guarantees the prosperity of land and sea. The relief is a remarkable local visualisation - elevated and panegyrical - of the emperor’s role as a universal saviour and divine protector.
  • RomanSebasteion relief  sculpture of Emperor Claudius as God of sea and land,  Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.<br />
<br />
The Emperor as god Claudius strides forward in a divine epiphany, drapery billowing around his head. He receives a cornucopia with fruits of the earth from a figure emerging from the ground, anda ship’s steering oar from a marine tritoness with fish legs. The idea is clear: the god-emperor guarantees the prosperity of land and sea. The relief is a remarkable local visualisation - elevated and panegyrical - of the emperor’s role as a universal saviour and divine protector.
  • Roman Sebasteion relief  sculpture of Emperor Claudius as God of sea and land,  Aphrodisias Museum, Aphrodisias, Turkey.  Against an art background.<br />
<br />
The Emperor as god Claudius strides forward in a divine epiphany, drapery billowing around his head. He receives a cornucopia with fruits of the earth from a figure emerging from the ground, anda ship’s steering oar from a marine tritoness with fish legs. The idea is clear: the god-emperor guarantees the prosperity of land and sea. The relief is a remarkable local visualisation - elevated and panegyrical - of the emperor’s role as a universal saviour and divine protector.
  • Roman Sebasteion relief  sculpture of Emperor Claudius as God of sea and land,  Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
The Emperor as god Claudius strides forward in a divine epiphany, drapery billowing around his head. He receives a cornucopia with fruits of the earth from a figure emerging from the ground, anda ship’s steering oar from a marine tritoness with fish legs. The idea is clear: the god-emperor guarantees the prosperity of land and sea. The relief is a remarkable local visualisation - elevated and panegyrical - of the emperor’s role as a universal saviour and divine protector.
  • Roman Sebasteion rrelief  sculpture of Emperor Claudius as God of sea and land,  Aphrodisias Museum, Aphrodisias, Turkey.   Against a white background.<br />
<br />
The Emperor as god Claudius strides forward in a divine epiphany, drapery billowing around his head. He receives a cornucopia with fruits of the earth from a figure emerging from the ground, anda ship’s steering oar from a marine tritoness with fish legs. The idea is clear: the god-emperor guarantees the prosperity of land and sea. The relief is a remarkable local visualisation - elevated and panegyrical - of the emperor’s role as a universal saviour and divine protector.
  • Roman Sebasteion rrelief  sculpture of Emperor Claudius as God of sea and land,  Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.<br />
<br />
The Emperor as god Claudius strides forward in a divine epiphany, drapery billowing around his head. He receives a cornucopia with fruits of the earth from a figure emerging from the ground, anda ship’s steering oar from a marine tritoness with fish legs. The idea is clear: the god-emperor guarantees the prosperity of land and sea. The relief is a remarkable local visualisation - elevated and panegyrical - of the emperor’s role as a universal saviour and divine protector.
  • Roman Sebasteion relief  sculpture of Aineas’ arrival in Italy Aphrodisias Museum, Aphrodisias, Turkey.   Against a white background.<br />
<br />
Poseidon stands naked over a sea going ship stopped at a short column. SA dolphin jumps between his legs. Aineas, his head veiled in the Roman manner, pours a libation, a thanks offering for his safe arrival in Italy. Behing Poseidon’s shoulders, a separately worked young male head was inserted into the background, maybe a deceased companion of Aineas.
  • Roman Sebasteion relief  sculpture of Aineas’ arrival in Italy Aphrodisias Museum, Aphrodisias, Turkey.  Against an art background.<br />
<br />
Poseidon stands naked over a sea going ship stopped at a short column. SA dolphin jumps between his legs. Aineas, his head veiled in the Roman manner, pours a libation, a thanks offering for his safe arrival in Italy. Behing Poseidon’s shoulders, a separately worked young male head was inserted into the background, maybe a deceased companion of Aineas.
  • Roman Sebasteion relief  sculpture of Aineas’ arrival in Italy Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
Poseidon stands naked over a sea going ship stopped at a short column. SA dolphin jumps between his legs. Aineas, his head veiled in the Roman manner, pours a libation, a thanks offering for his safe arrival in Italy. Behing Poseidon’s shoulders, a separately worked young male head was inserted into the background, maybe a deceased companion of Aineas.
  • Roman Sebasteion relief  sculpture of Polyphemos and Galatea Aphrodisias Museum, Aphrodisias, Turkey.     Against a white background.<br />
<br />
Another mythological love story affirms the power of Aphrodite. The sea nymph Galatea resists the lustful advances of the beastly cycolps Polyphemas in his cave. Polyphemos sits on a rock and tries to pull Galatea between his legs. His right arm is round her back: note the huge hand on her backside.
  • Roman Sebasteion relief  sculpture of Polyphemos and Galatea Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
Another mythological love story affirms the power of Aphrodite. The sea nymph Galatea resists the lustful advances of the beastly cycolps Polyphemas in his cave. Polyphemos sits on a rock and tries to pull Galatea between his legs. His right arm is round her back: note the huge hand on her backside.
  • Roman Sebasteion relief  sculpture of Polyphemos and Galatea Aphrodisias Museum, Aphrodisias, Turkey.  Against an art background.<br />
<br />
Another mythological love story affirms the power of Aphrodite. The sea nymph Galatea resists the lustful advances of the beastly cycolps Polyphemas in his cave. Polyphemos sits on a rock and tries to pull Galatea between his legs. His right arm is round her back: note the huge hand on her backside.
  • Roman Sebasteion relief  sculpture of Polyphemos and Galatea Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.<br />
<br />
Another mythological love story affirms the power of Aphrodite. The sea nymph Galatea resists the lustful advances of the beastly cycolps Polyphemas in his cave. Polyphemos sits on a rock and tries to pull Galatea between his legs. His right arm is round her back: note the huge hand on her backside.
  • Picture of a Roman mosaics design depicting Silenus and Cupids, from the House of Sienus, ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
<br />
The Silenus Roman mosaic depicts multiple scenes : the tying up of Silenus, who is permanently drunk, and is depicted in the middle of the mosaic lying on a bed of leaves. Around him children are trying to tie his hands and legs with garlands of flowers.
  • Picture of a Roman mosaics design depicting Silenus and Cupids, from the House of Sienus, ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
<br />
The Silenus Roman mosaic depicts multiple scenes : the tying up of Silenus, who is permanently drunk, and is depicted in the middle of the mosaic lying on a bed of leaves. Around him children are trying to tie his hands and legs with garlands of flowers.
  • Picture of a Roman mosaics design depicting Silenus and Cupids, from the House of Sienus, ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against a black background<br />
<br />
The Silenus Roman mosaic depicts multiple scenes : the tying up of Silenus, who is permanently drunk, and is depicted in the middle of the mosaic lying on a bed of leaves. Around him children are trying to tie his hands and legs with garlands of flowers.
  • Picture of a Roman mosaics design depicting Silenus and Cupids, from the House of Sienus, ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against an art background<br />
<br />
The Silenus Roman mosaic depicts multiple scenes : the tying up of Silenus, who is permanently drunk, and is depicted in the middle of the mosaic lying on a bed of leaves. Around him children are trying to tie his hands and legs with garlands of flowers.
  • Picture of a Roman mosaics design depicting Silenus and Cupids, from the House of Sienus, ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against a grey background<br />
<br />
The Silenus Roman mosaic depicts multiple scenes : the tying up of Silenus, who is permanently drunk, and is depicted in the middle of the mosaic lying on a bed of leaves. Around him children are trying to tie his hands and legs with garlands of flowers.
  • Hittite terra cotta pot on trident legs. Hittite Old Period, 1650 - 1450 BC.  Hattusa Boğazkale. Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hittite terra cotta pot on trident legs. Hittite Old Period, 1650 - 1450 BC.  Hattusa Boğazkale. Çorum Archaeological Museum, Corum, Turkey. Against a black bacground.
  • Terra cotta Hittite beaker shaped side spouted teapot and three legged stand - 1700 BC to 1500BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey. Against a white background
  • Terra cotta Hittite beaker shaped side spouted teapot and three legged stand - 1700 BC to 1500BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey. Against a black background
  • Terra cotta Hittite beaker shaped side spouted teapot and three legged stand - 1700 BC to 1500BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey. Against a grey  background
  • Terra cotta Hittite beaker shaped side spouted teapot and three legged stand - 1700 BC to 1500BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey,  Against a warm art  background
  • Alaca Hoyuk - Hittite lion sculpture corner Stone . Andesite. Alacahoyuk, 1399 - 1301 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Corner stone with sculpted lion, bull and winged sun disk. It was discovered at the right side of the Alacahoyuk sphinx door. The lion puts his front legs on a small bull. There is a Hittite winged sun disk on the abdomen of the lion, which can be seen from a lower location. The position of the sun course indicates that the stone is situated in a high place.<br />
<br />
Against a black background.
  • Alaca Hoyuk - Hittite lion sculpture corner Stone . Andesite. Alacahoyuk, 1399 - 1301 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Corner stone with sculpted lion, bull and winged sun disk. It was discovered at the right side of the Alacahoyuk sphinx door. The lion puts his front legs on a small bull. There is a Hittite winged sun disk on the abdomen of the lion, which can be seen from a lower location. The position of the sun course indicates that the stone is situated in a high place.<br />
<br />
Against a white background.
  • Alaca Hoyuk - Hittite lion sculpture corner Stone . Andesite. Alacahoyuk, 1399 - 1301 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Corner stone with sculpted lion, bull and winged sun disk. It was discovered at the right side of the Alacahoyuk sphinx door. The lion puts his front legs on a small bull. There is a Hittite winged sun disk on the abdomen of the lion, which can be seen from a lower location. The position of the sun course indicates that the stone is situated in a high place.
  • Alaca Hoyuk - Hittite lion sculpture corner Stone . Andesite. Alacahoyuk, 1399 - 1301 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Corner stone with sculpted lion, bull and winged sun disk. It was discovered at the right side of the Alacahoyuk sphinx door. The lion puts his front legs on a small bull. There is a Hittite winged sun disk on the abdomen of the lion, which can be seen from a lower location. The position of the sun course indicates that the stone is situated in a high place.<br />
Against a grey background.
  • Alaca Hoyuk - Hittite lion sculpture corner Stone . Andesite. Alacahoyuk, 1399 - 1301 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Corner stone with sculpted lion, bull and winged sun disk. It was discovered at the right side of the Alacahoyuk sphinx door. The lion puts his front legs on a small bull. There is a Hittite winged sun disk on the abdomen of the lion, which can be seen from a lower location. The position of the sun course indicates that the stone is situated in a high place.<br />
<br />
Against a grey art background.
  • Phrygian relief sculpted orthostat stone panel. Andesite, Kucukevler, Ankara., 1200-700 B.C. Walking horse. Muscles in the legs of the figure are schematic. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Against a white background.
  • Pictures & images of Phrygian relief sculpted orthostat stone panel. Andesite, Kucukevler, Ankara., 1200-700 B.C. Walking horse. Muscles in the legs of the figure are schematic. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Against a gray background.
  • Photo of Phrygian relief sculpted orthostat stone panel. Andesite, Kucukevler, Ankara., 1200-700 B.C.  Walking horse. Muscles in the legs of the figure are schematic. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Against a brown art background.
  • Phrygian relief sculpted orthostat stone panel. Andesite, Kucukevler, Ankara., 1200-700 B.C.  Walking horse. Muscles in the legs of the figure are schematic. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Against a grey art background.
  • Phrygian relief sculpted orthostat stone panel Andesite, Atateirk Orman ciftligi, Ankara, 12OO-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Winged griffin with a bird's head and a lion's body. There is a bird's head at the end of its tail. The chest was processed like fish scales. Its wing extends along the body. Muscles in its legs are schematic. <br />
<br />
Against a white background.
  • Pictures & images of Phrygian relief sculpted orthostat stone panel Andesite, Atateirk Orman ciftligi, Ankara, 12OO-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Winged griffin with a bird's head and a lion's body. There is a bird's head at the end of its tail. The chest was processed like fish scales. Its wing extends along the body. Muscles in its legs are schematic. <br />
<br />
Against a gray background.
  • Phrygian relief sculpted orthostat stone panel Andesite, Atateirk Orman ciftligi, Ankara, 12OO-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Winged griffin with a bird's head and a lion's body. There is a bird's head at the end of its tail. The chest was processed like fish scales. Its wing extends along the body. Muscles in its legs are schematic. <br />
<br />
Against a grey art background.
  • Phrygian relief sculpted orthostat stone panel. Andesite, Ahiyakup, Ankara Phrygian, 1200-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Sphinx. Curly-haired and bearded, the figure has the head of a human and the body of a lion, with its wings extending down to its tail. Muscles in its legs are schematic. There is a band on its head. <br />
<br />
Against a white background.
  • Phrygian relief sculpted orthostat stone panel. Andesite, Ahiyakup, Ankara Phrygian, 1200-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Sphinx. Curly-haired and bearded, the figure has the head of a human and the body of a lion, with its wings extending down to its tail. Muscles in its legs are schematic. There is a band on its head. <br />
<br />
Against a black background.
  • Pictures & images of Phrygian relief sculpted orthostat stone panel. Andesite, Ahiyakup, Ankara Phrygian, 1200-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Sphinx. Curly-haired and bearded, the figure has the head of a human and the body of a lion, with its wings extending down to its tail. Muscles in its legs are schematic. There is a band on its head. <br />
<br />
Against a gray background.
  • Phygian relief sculpted orthostat stone panel. Andesite, Etimesgut, Ankara. Phrygian. 1200-700 BC. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Figure of a roaring lion. The cross mark on the chest draws attention. The muscles in his legs are schematic. There are frame edges in front and behind the lion.<br />
<br />
Against a black background.
  • Phrygian relief sculpted orthostat stone panel Andesite, Kalaba Village, Ankara, , 1200-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Figure of a roaring lion. The cross mark on his chest draws attention. The muscles in his legs are schematic. <br />
<br />
Against a black background.
  • Photo of Phygian relief sculpted orthostat stone panel. Andesite, Etimesgut, Ankara. Phrygian. 1200-700 BC. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Figure of a roaring lion. The cross mark on the chest draws attention. The muscles in his legs are schematic. There are frame edges in front and behind the lion. <br />
<br />
Against a brown art background.
  • Pictures & images of Phygian relief sculpted orthostat stone panel. Andesite, Etimesgut, Ankara. Phrygian. 1200-700 BC. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Figure of a roaring lion. The cross mark on the chest draws attention. The muscles in his legs are schematic. There are frame edges in front and behind the lion. <br />
<br />
Against a gray background.
  • Photo of Phrygian relief sculpted orthostat stone panel Andesite, Kalaba Village, Ankara, , 1200-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Figure of a roaring lion. The cross mark on his chest draws attention. The muscles in his legs are schematic. <br />
<br />
Against a brown art background.
  • Hittite monumental relief sculpted orthostat stone panel of Water Gate. Basalt, 900 - 700 BC. Anatolian Civilisations Museum. Ankara. Turkey.<br />
<br />
Fragment of Two bull men holding the trunk of the tree in the middle. The faces of the figures, having tufts in both temples over the chain, have been depicted from the front direction. The horned figures with bull like ears and legs have human bodies. <br />
<br />
On a white background.
  • Picture & image of Hittite monumental relief sculpted orthostat stone panel of Water Gate. Basalt, 900 - 700 BC. Anatolian Civilisations Museum. Ankara. Turkey.<br />
<br />
Fragment of Two bull men holding the trunk of the tree in the middle. The faces of the figures, having tufts in both temples over the chain, have been depicted from the front direction. The horned figures with bull like ears and legs have human bodies.<br />
<br />
On a gray background.
  • Photo of Hittite monumental relief sculpted orthostat stone panel of Water Gate. Basalt, 900 - 700 BC. Anatolian Civilisations Museum. Ankara. Turkey.<br />
<br />
Fragment of Two bull men holding the trunk of the tree in the middle. The faces of the figures, having tufts in both temples over the chain, have been depicted from the front direction. The horned figures with bull like ears and legs have human bodies. <br />
<br />
On a brown art background.
  • Hittite monumental relief sculpted orthostat stone panel of Water Gate. Basalt, 900 - 700 BC. Anatolian Civilisations Museum. Ankara. Turkey.<br />
<br />
Fragment of Two bull men holding the trunk of the tree in the middle. The faces of the figures, having tufts in both temples over the chain, have been depicted from the front direction. The horned figures with bull like ears and legs have human bodies. <br />
<br />
On a grey art background.
  • Picture & image of Hittite monumental relief sculpted orthostat stone panel from Water Gate Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C.  Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Two bull-men holding the trunk of the tree in the middle. The faces of the figures, having tufts in both temples over the chain, have been depicted from the front direction. The horned figures with bull-like ears and legs have human bodies. <br />
<br />
On a gray background.
  • Hittite monumental relief sculpted orthostat stone panel from Water Gate Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C.  Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Two bull-men holding the trunk of the tree in the middle. The faces of the figures, having tufts in both temples over the chain, have been depicted from the front direction. The horned figures with bull-like ears and legs have human bodies. <br />
<br />
On a black background.
  • Hittite monumental relief sculpted orthostat stone panel Orthostats of a Procession. Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 700 BC. Griffin. Anatolian Civilizations Museum. Ankara.<br />
<br />
Bird - headed lions standing opposite on their hind legs (griffin). It is symmetric. <br />
<br />
Against a black background.
  • Picture & image of Hittite monumental relief sculpted orthostat stone panel Orthostats of a Procession. Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 700 BC. Griffin. Anatolian Civilisations Museum. Ankara. Bird - headed lions standing opposite on their hind legs (griffin). It is symmetric. <br />
<br />
Against a gray background.
  • Hittite monumental relief sculpted orthostat stone panel. Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Hunting carriage. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Two human figures; one handling the carriage, the other throwing arrows. Both figures are wearing a headdress shaped like a skullcap. The dagger at the waist of the figure throwing arrow draws attention. There is an animal between the legs of the horse having an aigrette over its head.  <br />
<br />
Against a grey art background.
  • Hittite monumental relief sculpted orthostat stone panel. Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Hunting carriage. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Two human figures; one handling the carriage, the other throwing arrows. Both figures are wearing a headdress shaped like a skullcap. The dagger at the waist of the figure throwing arrow draws attention. There is an animal between the legs of the horse having an aigrette over its head.  <br />
<br />
Against a white background.
  • Hittite monumental relief sculpted orthostat stone panel. Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Hunting carriage. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Two human figures; one handling the carriage, the other throwing arrows. Both figures are wearing a headdress shaped like a skullcap. The dagger at the waist of the figure throwing arrow draws attention. There is an animal between the legs of the horse having an aigrette over its head.  <br />
<br />
Against a black background.
  • Picture & image of Hittite monumental relief sculpted orthostat stone panel. Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Hunting carriage. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Two human figures; one handling the carriage, the other throwing arrows. Both figures are wearing a headdress shaped like a skullcap. The dagger at the waist of the figure throwing arrow draws attention. There is an animal between the legs of the horse having an aigrette over its head.  <br />
<br />
Against a gray background.
  • Photo of Hittite monumental relief sculpted orthostat stone panel. Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Hunting carriage. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Two human figures; one handling the carriage, the other throwing arrows. Both figures are wearing a headdress shaped like a skullcap. The dagger at the waist of the figure throwing arrow draws attention. There is an animal between the legs of the horse having an aigrette over its head.  <br />
<br />
Against a brown art background.
  • Hittite monumental relief sculpted orthostat stone panel. Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Hunting carriage.  Anatolian Civilisations Museum, Ankara, Turkey.<br />
Two human figures; one handling the carriage, the other throwing arrows. Both figures are wearing a headdress shaped like a skullcap. The dagger at the waist of the figure throwing arrow draws attention. There is an animal between the legs of the horse having an aigrette over its head. Anatolian Civilizations Museum, Ankara, Turkey
  • Photo of Hittite monumental relief sculpted orthostat stone panel. Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Hunting carriage.  Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Two human figures; one handling the carriage, the other throwing arrows. Both figures are wearing a headdress shaped like a skullcap. The dagger at the waist of the figure throwing arrow draws attention. There is an animal between the legs of the horse having an aigrette over its head. <br />
<br />
Against a brown art background.
  • Hittite monumental relief sculpted orthostat stone panel. Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Hunting carriage.  Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Two human figures; one handling the carriage, the other throwing arrows. Both figures are wearing a headdress shaped like a skullcap. The dagger at the waist of the figure throwing arrow draws attention. There is an animal between the legs of the horse having an aigrette over its head. <br />
<br />
Against a grey art background.
  • Hittite monumental relief sculpted orthostat stone panel. Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Hunting carriage.  Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Two human figures; one handling the carriage, the other throwing arrows. Both figures are wearing a headdress shaped like a skullcap. The dagger at the waist of the figure throwing arrow draws attention. There is an animal between the legs of the horse having an aigrette over its head. <br />
<br />
Against a white background.
  • Hittite relief sculpted orthostat stone panel of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 - 700 B.C. Anatolian Civilizations Museum, Ankara, Turkey. The short-skirted figure with a dagger at the waist holds the gazelle from its hind legs.<br />
<br />
On a black background.
  • Hittite relief sculpted orthostat stone panel of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 - 700 B.C. Anatolian Civilizations Museum, Ankara, Turkey. The short-skirted figure with a dagger at the waist holds the gazelle from its hind legs.<br />
<br />
On a White Background.
  • Picture & image of Hittite relief sculpted orthostat stone panel of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 - 700 B.C. Anatolian Civilizations Museum, Ankara, Turkey. The short-skirted figure with a dagger at the waist holds the gazelle from its hind legs<br />
<br />
On a gray background.

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