• Bridestone rock formation in Dalby forest. Formed by softer sndstone being eroded faster that the limestone that is above it. North Yorks Moors National Park
  • Bridestone rock formation in Dalby forest. Formed by softer sndstone being eroded faster that the limestone that is above it. North Yorks Moors National Park
  • Bridestone rock formation in Dalby forest. Formed by softer sndstone being eroded faster that the limestone that is above it. North Yorks Moors National Park
  • Bridestone rock formation in Dalby forest. Formed by softer sndstone being eroded faster that the limestone that is above it. North Yorks Moors National Park
  • Bridestone rock formation in Dalby forest. Formed by softer sndstone being eroded faster that the limestone that is above it. North Yorks Moors National Park
  • Bridestone rock formation in Dalby forest. Formed by softer sndstone being eroded faster that the limestone that is above it. North Yorks Moors National Park
  • Bridestone rock formation in Dalby forest. Formed by softer sndstone being eroded faster that the limestone that is above it. North Yorks Moors National Park
  • Bridestone rock formation in Dalby forest. Formed by softer sndstone being eroded faster that the limestone that is above it. North Yorks Moors National Park
  • Bridestone rock formation in Dalby forest. Formed by softer sndstone being eroded faster that the limestone that is above it. North Yorks Moors National Park
  • Bridestone rock formation in Dalby forest. Formed by softer sndstone being eroded faster that the limestone that is above it. North Yorks Moors National Park
  • Bridestone rock formation in Dalby forest. Formed by softer sndstone being eroded faster that the limestone that is above it. North Yorks Moors National Park
  • Bridestone rock formation in Dalby forest. Formed by softer sndstone being eroded faster that the limestone that is above it. North Yorks Moors National Park
  • Bridestone rock formation in Dalby forest. Formed by softer sndstone being eroded faster that the limestone that is above it. North Yorks Moors National Park
  • Bridestone rock formation in Dalby forest. Formed by softer sndstone being eroded faster that the limestone that is above it. North Yorks Moors National Park
  • Bridestone rock formation in Dalby forest. Formed by softer sndstone being eroded faster that the limestone that is above it. North Yorks Moors National Park
  • Bridestone rock formation in Dalby forest. Formed by softer sndstone being eroded faster that the limestone that is above it. North Yorks Moors National Park
  • Bridestone rock formation in Dalby forest. Formed by softer sndstone being eroded faster that the limestone that is above it. North Yorks Moors National Park
  • Bridestone rock formation in Dalby forest. Formed by softer sndstone being eroded faster that the limestone that is above it. North Yorks Moors National Park
  • Bridestone rock formation in Dalby forest. Formed by softer sndstone being eroded faster that the limestone that is above it. North Yorks Moors National Park
  • Bridestone rock formation in Dalby forest. Formed by softer sndstone being eroded faster that the limestone that is above it. North Yorks Moors National Park
  • Bridestone rock formation in Dalby forest. Formed by softer sndstone being eroded faster that the limestone that is above it. North Yorks Moors National Park
  • Sassolungo Mountain range, 3081m high, from the Sulla Pass between the Val Gardena and Val di Fassa, the Western Dolomites, Southern Tyrol; Trentino, Italy.
  • Sassolungo Mountain range, 3081m high, from the Sulla Pass between the Val Gardena and Val di Fassa, the Western Dolomites, Southern Tyrol; Trentino, Italy.
  • Sassolungo Mountain range, 3081m high, from the Sulla Pass between the Val Gardena and Val di Fassa, the Western Dolomites, Southern Tyrol; Trentino, Italy.
  • Sassolungo Mountain range, 3081m high, from the Sulla Pass between the Val Gardena and Val di Fassa, the Western Dolomites, Southern Tyrol; Trentino, Italy.
  • Sedimentary Rock formations of the cliffs of Paleokastritsa Corfu, Greek Ionian Islands
  • Sedimentary Rock formations of the cliffs of Paleokastritsa Corfu, Greek Ionian Islands
  • Sedimentary Rock formations of the cliffs of Paleokastritsa Corfu, Greek Ionian Islands
  • Sedimentary Rock formations of the cliffs of Paleokastritsa Corfu, Greek Ionian Islands
  • Sassolungo Mountain range, 3081m high, from the Sulla Pass between the Val Gardena and Val di Fassa, the Western Dolomites, Southern Tyrol; Trentino, Italy.
  • Mountains and pastures of the Sella plateau near Colfosco, 1,645 m (5,396 ft),  at the foot of the Sella group (Grup dl Sela) and Mount Sassongher, the Dolomite mountains, Alta Badia, Italy
  • Mountains and pastures of the Sella plateau near Colfosco, 1,645 m (5,396 ft),  at the foot of the Sella group (Grup dl Sela) and Mount Sassongher, the Dolomite mountains, Alta Badia, Italy
  • Sassolungo Mountain range, 3081m high, from the Sulla Pass between the Val Gardena and Val di Fassa, the Western Dolomites, Southern Tyrol; Trentino, Italy.
  • Sassolungo Mountain range, 3081m high, from the Sulla Pass between the Val Gardena and Val di Fassa, the Western Dolomites, Southern Tyrol; Trentino, Italy.
  • Sassolungo Mountain range, 3081m high, from the Sulla Pass between the Val Gardena and Val di Fassa, the Western Dolomites, Southern Tyrol; Trentino, Italy.
  • Sassolungo Mountain range, 3081m high, from the Sulla Pass between the Val Gardena and Val di Fassa, the Western Dolomites, Southern Tyrol; Trentino, Italy.
  • Sassolungo Mountain range, 3081m high, from the Sulla Pass between the Val Gardena and Val di Fassa, the Western Dolomites, Southern Tyrol; Trentino, Italy.
  • Sassolungo Mountain range, 3081m high, from the Sulla Pass between the Val Gardena and Val di Fassa, the Western Dolomites, Southern Tyrol; Trentino, Italy.
  • Sassolungo Mountain range, 3081m high, from the Sulla Pass between the Val Gardena and Val di Fassa, the Western Dolomites, Southern Tyrol; Trentino, Italy.
  • Sassolungo Mountain range, 3081m high, from the Sulla Pass between the Val Gardena and Val di Fassa, the Western Dolomites, Southern Tyrol; Trentino, Italy.
  • Sassolungo Mountain range, 3081m high, from the Sulla Pass between the Val Gardena and Val di Fassa, the Western Dolomites, Southern Tyrol; Trentino, Italy.
  • Sassolungo Mountain range, 3081m high, from the Sulla Pass between the Val Gardena and Val di Fassa, the Western Dolomites, Southern Tyrol; Trentino, Italy.
  • Sassolungo Mountain range, 3081m high, from the Sulla Pass between the Val Gardena and Val di Fassa, the Western Dolomites, Southern Tyrol; Trentino, Italy.
  • Sedimentary Rock formations of the cliffs of Paleokastritsa Corfu, Greek Ionian Islands
  • Sea Cave in the the cliffs of Paleokastritsa Corfu, Greek Ionian Islands
  • Sedimentary Rock formations of the cliffs of Paleokastritsa Corfu, Greek Ionian Islands
  • Sedimentary Rock formations of the cliffs of Paleokastritsa Corfu, Greek Ionian Islands
  • Sedimentary Rock formations of the cliffs of Paleokastritsa Corfu, Greek Ionian Islands
  • Sedimentary Rock formations of the cliffs of Paleokastritsa Corfu, Greek Ionian Islands
  • Sedimentary Rock formations of the cliffs of Paleokastritsa Corfu, Greek Ionian Islands
  • Sassolungo Mountain range, 3081m high, from the Sulla Pass between the Val Gardena and Val di Fassa, the Western Dolomites, Southern Tyrol; Trentino, Italy.
  • Sassolungo Mountain range, 3081m high, from the Sulla Pass between the Val Gardena and Val di Fassa, the Western Dolomites, Southern Tyrol; Trentino, Italy.
  • Mountains and pastures of the Sella plateau near Colfosco, 1,645 m (5,396 ft),  at the foot of the Sella group (Grup dl Sela) and Mount Sassongher, the Dolomite mountains, Alta Badia, Italy
  • Dolomite Mountain range from the Sulla Pass between the Val Gardena and Val di Fassa, the Western Dolomites, Southern Tyrol, Trentino, Italy.
  • Sassolungo Mountain range, 3081m high, from the Sulla Pass between the Val Gardena and Val di Fassa, the Western Dolomites, Southern Tyrol; Trentino, Italy.
  • Sassolungo Mountain range, 3081m high, from the Sulla Pass between the Val Gardena and Val di Fassa, the Western Dolomites, Southern Tyrol; Trentino, Italy.
  • Sassolungo Mountain range, 3081m high, from the Sulla Pass between the Val Gardena and Val di Fassa, the Western Dolomites, Southern Tyrol; Trentino, Italy.
  • Sassolungo Mountain range, 3081m high, from the Sulla Pass between the Val Gardena and Val di Fassa, the Western Dolomites, Southern Tyrol; Trentino, Italy.
  • Sassolungo Mountain range, 3081m high, from the Sulla Pass between the Val Gardena and Val di Fassa, the Western Dolomites, Southern Tyrol; Trentino, Italy.
  • Sassolungo Mountain range, 3081m high, from the Sulla Pass between the Val Gardena and Val di Fassa, the Western Dolomites, Southern Tyrol; Trentino, Italy.
  • Sassolungo Mountain range, 3081m high, from the Sulla Pass between the Val Gardena and Val di Fassa, the Western Dolomites, Southern Tyrol; Trentino, Italy.
  • Sassolungo Mountain range, 3081m high, from the Sulla Pass between the Val Gardena and Val di Fassa, the Western Dolomites, Southern Tyrol; Trentino, Italy.
  • Sassolungo Mountain range, 3081m high, from the Sulla Pass between the Val Gardena and Val di Fassa, the Western Dolomites, Southern Tyrol; Trentino, Italy.
  • Sassolungo Mountain range, 3081m high, from the Sulla Pass between the Val Gardena and Val di Fassa, the Western Dolomites, Southern Tyrol; Trentino, Italy.
  • Sassolungo Mountain range, 3081m high, from the Sulla Pass between the Val Gardena and Val di Fassa, the Western Dolomites, Southern Tyrol; Trentino, Italy.
  • Sassolungo Mountain range, 3081m high, from the Sulla Pass between the Val Gardena and Val di Fassa, the Western Dolomites, Southern Tyrol; Trentino, Italy.
  • Sassolungo Mountain range, 3081m high, from the Sulla Pass between the Val Gardena and Val di Fassa, the Western Dolomites, Southern Tyrol; Trentino, Italy.
  • Sassolungo Mountain range, 3081m high, from the Sulla Pass between the Val Gardena and Val di Fassa, the Western Dolomites, Southern Tyrol; Trentino, Italy.
  • Sassolungo Mountain range, 3081m high, from the Sulla Pass between the Val Gardena and Val di Fassa, the Western Dolomites, Southern Tyrol; Trentino, Italy.
  • Sassolungo Mountain range, 3081m high, from the Sulla Pass between the Val Gardena and Val di Fassa, the Western Dolomites, Southern Tyrol; Trentino, Italy.
  • Sassolungo Mountain range, 3081m high, from the Sulla Pass between the Val Gardena and Val di Fassa, the Western Dolomites, Southern Tyrol; Trentino, Italy.
  • Sassolungo Mountain range, 3081m high, from the Sulla Pass between the Val Gardena and Val di Fassa, the Western Dolomites, Southern Tyrol; Trentino, Italy.
  • Sea Discovery submarine off the cliffs of Paleokastritsa Corfu, Greek Ionian Islands
  • Sedimentary Rock formations of the cliffs of Paleokastritsa Corfu, Greek Ionian Islands
  • Sedimentary Rock formations of the cliffs of Paleokastritsa Corfu, Greek Ionian Islands
  • Sedimentary Rock formations of the cliffs of Paleokastritsa Corfu, Greek Ionian Islands
  • Sedimentary Rock formations of the cliffs of Paleokastritsa Corfu, Greek Ionian Islands
  • Sedimentary Rock formations of the cliffs of Paleokastritsa Corfu, Greek Ionian Islands
  • close up textures and layers of limestone  schists on the Island of Ios, Cyclades Islands, Greece
  • close up textures and layers of limestone  schists on the Island of Ios, Cyclades Islands, Greece
  • close up textures and layers of limestone  schists on the Island of Ios, Cyclades Islands, Greece
  • The layers of Limestone rock on Ios Island Greece
  • The layers of Limestone rock on Ios Island Greece
  • The layers of Limestone rock on Ios Island Greece
  • close up textures and layers of limestone  schists on the Island of Ios, Cyclades Islands, Greece
  • The layers of Limestone rock on Ios Island Greece
  • The layers of Limestone rock on Ios Island Greece
  • Ancient Roman statue of Pendua and his wife Nefertari, limestone, New Kingdom, 19th Dynasty, (1292-1186 BC),  Deir-el-Medina, Thebes. Egyptian Museum, Turin. black background.<br />
<br />
 Carved in Thebian white limestone the statue of Pendua and his wife Nefertari shows the skill and attention to details of the sculptors of Deir-el-Medina, the worker’s village of those who built the Royal Tombs at Thebes. The theme of the family is echoed by a carving of a daughter between the two figures.
  • Ancient Roman statue of Pendua and his wife Nefertari, limestone, New Kingdom, 19th Dynasty, (1292-1186 BC),  Deir-el-Medina, Thebes. Egyptian Museum, Turin. white background.<br />
<br />
 Carved in Thebian white limestone the statue of Pendua and his wife Nefertari shows the skill and attention to details of the sculptors of Deir-el-Medina, the worker’s village of those who built the Royal Tombs at Thebes. The theme of the family is echoed by a carving of a daughter between the two figures.
  • South face of Ancient Egyptian Pyramidion of Ramose with depictionof Horus, Limestone, New Kingdom, 19th Dtnasty (1292-1190 BC), Dier el-Medina. Egyptian Museum, Turin. Old Fund cat 1603. white background<br />
<br />
<br />
The South face of the Ramose Pyramidion shows Horus standing in a dipole magnetic field supporting the strong coronal electric field of the Sun. The hieroglyphs read:<br />
 "The Stellar dipole magnetic field is supported by many negative charges or electrons."<br />
The limestone Pyramidion of Ramose, from the top of the tomb of the 'Necropolis Scribe'. Scenes on all four sides depict the worship of the sun.
  • Ancient Egyptian Pyramidion of Ramose North & East sides, Limestone, New Kingdom, 19th Dtnasty (1292-1190 BC), Dier el-Medina. Egyptian Museum, Turin. Old Fund cat 1603. Grey background.<br />
<br />
The north face of the Ramose Pyramidion explains the attribute of Horus as the strong coronal electric field of the Sun gifting the Ankh as a support to Life. It reads "Strong coronal electric field supporting the Sun, negative charge induction."" Weak electric field is an attribute of the anode Sun.""Electricity supporting life to core charge store God".<br />
<br />
The east face of the Ramose Pyramidion shows the support for the structured plasma, her hands are held up representing the electric force on the perpendicular face to the North South axis of Horus, the strong coronal electric field. It reads" Structured plasma watched, attribute supporting life projecting power (negative charge) to support charge store (celestial body) electrostatic resonance."" Seek home structured plasma to land negative charge projection by God as lightning attribute support celestial body via connection giving movement and [light]."<br />
<br />
The limestone Pyramidion of Ramose, from the top of the tomb of the 'Necropolis Scribe'. Scenes on all four sides depict the worship of the sun.
  • Ancient Egyptian Pyramidion of Ramose North & East sides, Limestone, New Kingdom, 19th Dtnasty (1292-1190 BC), Dier el-Medina. Egyptian Museum, Turin. Old Fund cat 1603. black background.<br />
<br />
The north face of the Ramose Pyramidion explains the attribute of Horus as the strong coronal electric field of the Sun gifting the Ankh as a support to Life. It reads "Strong coronal electric field supporting the Sun, negative charge induction."" Weak electric field is an attribute of the anode Sun.""Electricity supporting life to core charge store God".<br />
<br />
The east face of the Ramose Pyramidion shows the support for the structured plasma, her hands are held up representing the electric force on the perpendicular face to the North South axis of Horus, the strong coronal electric field. It reads" Structured plasma watched, attribute supporting life projecting power (negative charge) to support charge store (celestial body) electrostatic resonance."" Seek home structured plasma to land negative charge projection by God as lightning attribute support celestial body via connection giving movement and [light]."<br />
<br />
The limestone Pyramidion of Ramose, from the top of the tomb of the 'Necropolis Scribe'. Scenes on all four sides depict the worship of the sun.
  • Ancient Egyptian Pyramidion of Ramose North & East sides, Limestone, New Kingdom, 19th Dtnasty (1292-1190 BC), Dier el-Medina. Egyptian Museum, Turin. Old Fund cat 1603. Grey background.<br />
<br />
The north face of the Ramose Pyramidion explains the attribute of Horus as the strong coronal electric field of the Sun gifting the Ankh as a support to Life. It reads "Strong coronal electric field supporting the Sun, negative charge induction."" Weak electric field is an attribute of the anode Sun.""Electricity supporting life to core charge store God".<br />
<br />
The east face of the Ramose Pyramidion shows the support for the structured plasma, her hands are held up representing the electric force on the perpendicular face to the North South axis of Horus, the strong coronal electric field. It reads" Structured plasma watched, attribute supporting life projecting power (negative charge) to support charge store (celestial body) electrostatic resonance."" Seek home structured plasma to land negative charge projection by God as lightning attribute support celestial body via connection giving movement and [light]."<br />
<br />
The limestone Pyramidion of Ramose, from the top of the tomb of the 'Necropolis Scribe'. Scenes on all four sides depict the worship of the sun.
  • Ancient Roman statue of Pendua and his wife Nefertari, limestone, New Kingdom, 19th Dynasty, (1292-1186 BC),  Deir-el-Medina, Thebes. Egyptian Museum, Turin. Grey background.<br />
<br />
 Carved in Thebian white limestone the statue of Pendua and his wife Nefertari shows the skill and attention to details of the sculptors of Deir-el-Medina, the worker’s village of those who built the Royal Tombs at Thebes. The theme of the family is echoed by a carving of a daughter between the two figures.
  • Ancient Roman statue of Pendua and his wife Nefertari, limestone, New Kingdom, 19th Dynasty, (1292-1186 BC),  Deir-el-Medina, Thebes. Egyptian Museum, Turin. Grey background.<br />
<br />
 Carved in Thebian white limestone the statue of Pendua and his wife Nefertari shows the skill and attention to details of the sculptors of Deir-el-Medina, the worker’s village of those who built the Royal Tombs at Thebes. The theme of the family is echoed by a carving of a daughter between the two figures.
  • South face of Ancient Egyptian Pyramidion of Ramose with depictionof Horus, Limestone, New Kingdom, 19th Dtnasty (1292-1190 BC), Dier el-Medina. Egyptian Museum, Turin. Old Fund cat 1603. Grey background.<br />
<br />
<br />
The South face of the Ramose Pyramidion shows Horus standing in a dipole magnetic field supporting the strong coronal electric field of the Sun. The hieroglyphs read:<br />
 "The Stellar dipole magnetic field is supported by many negative charges or electrons."<br />
The limestone Pyramidion of Ramose, from the top of the tomb of the 'Necropolis Scribe'. Scenes on all four sides depict the worship of the sun.
  • Ancient Egyptian Pyramidion of Ramose North & East sides, Limestone, New Kingdom, 19th Dtnasty (1292-1190 BC), Dier el-Medina. Egyptian Museum, Turin. Old Fund cat 1603. white background.<br />
<br />
The north face of the Ramose Pyramidion explains the attribute of Horus as the strong coronal electric field of the Sun gifting the Ankh as a support to Life. It reads "Strong coronal electric field supporting the Sun, negative charge induction."" Weak electric field is an attribute of the anode Sun.""Electricity supporting life to core charge store God".<br />
<br />
The east face of the Ramose Pyramidion shows the support for the structured plasma, her hands are held up representing the electric force on the perpendicular face to the North South axis of Horus, the strong coronal electric field. It reads" Structured plasma watched, attribute supporting life projecting power (negative charge) to support charge store (celestial body) electrostatic resonance."" Seek home structured plasma to land negative charge projection by God as lightning attribute support celestial body via connection giving movement and [light]."<br />
<br />
The limestone Pyramidion of Ramose, from the top of the tomb of the 'Necropolis Scribe'. Scenes on all four sides depict the worship of the sun.
  • Ancient Egyptian Pyramidion of Ramose North & East sides, Limestone, New Kingdom, 19th Dtnasty (1292-1190 BC), Dier el-Medina. Egyptian Museum, Turin. Old Fund cat 1603. <br />
<br />
The north face of the Ramose Pyramidion explains the attribute of Horus as the strong coronal electric field of the Sun gifting the Ankh as a support to Life. It reads "Strong coronal electric field supporting the Sun, negative charge induction."" Weak electric field is an attribute of the anode Sun.""Electricity supporting life to core charge store God".<br />
<br />
The east face of the Ramose Pyramidion shows the support for the structured plasma, her hands are held up representing the electric force on the perpendicular face to the North South axis of Horus, the strong coronal electric field. It reads" Structured plasma watched, attribute supporting life projecting power (negative charge) to support charge store (celestial body) electrostatic resonance."" Seek home structured plasma to land negative charge projection by God as lightning attribute support celestial body via connection giving movement and [light]."<br />
<br />
The limestone Pyramidion of Ramose, from the top of the tomb of the 'Necropolis Scribe'. Scenes on all four sides depict the worship of the sun.
  • Ancient Roman statue of Pendua and his wife Nefertari, limestone, New Kingdom, 19th Dynasty, (1292-1186 BC),  Deir-el-Medina, Thebes. Egyptian Museum, Turin. .<br />
<br />
 Carved in Thebian white limestone the statue of Pendua and his wife Nefertari shows the skill and attention to details of the sculptors of Deir-el-Medina, the worker’s village of those who built the Royal Tombs at Thebes. The theme of the family is echoed by a carving of a daughter between the two figures.
  • Ancient Roman statue of Pendua and his wife Nefertari, limestone, New Kingdom, 19th Dynasty, (1292-1186 BC),  Deir-el-Medina, Thebes. Egyptian Museum, Turin. Grey background.<br />
<br />
 Carved in Thebian white limestone the statue of Pendua and his wife Nefertari shows the skill and attention to details of the sculptors of Deir-el-Medina, the worker’s village of those who built the Royal Tombs at Thebes. The theme of the family is echoed by a carving of a daughter between the two figures.
  • South face of Ancient Egyptian Pyramidion of Ramose with depictionof Horus, Limestone, New Kingdom, 19th Dtnasty (1292-1190 BC), Dier el-Medina. Egyptian Museum, Turin. Old Fund cat 1603. black background.<br />
<br />
<br />
The South face of the Ramose Pyramidion shows Horus standing in a dipole magnetic field supporting the strong coronal electric field of the Sun. The hieroglyphs read:<br />
 "The Stellar dipole magnetic field is supported by many negative charges or electrons."<br />
The limestone Pyramidion of Ramose, from the top of the tomb of the 'Necropolis Scribe'. Scenes on all four sides depict the worship of the sun.
  • South face of Ancient Egyptian Pyramidion of Ramose with depictionof Horus, Limestone, New Kingdom, 19th Dtnasty (1292-1190 BC), Dier el-Medina. Egyptian Museum, Turin. Old Fund cat 1603. <br />
<br />
<br />
The South face of the Ramose Pyramidion shows Horus standing in a dipole magnetic field supporting the strong coronal electric field of the Sun. The hieroglyphs read:<br />
 "The Stellar dipole magnetic field is supported by many negative charges or electrons."<br />
The limestone Pyramidion of Ramose, from the top of the tomb of the 'Necropolis Scribe'. Scenes on all four sides depict the worship of the sun.
  • South face of Ancient Egyptian Pyramidion of Ramose with depictionof Horus, Limestone, New Kingdom, 19th Dtnasty (1292-1190 BC), Dier el-Medina. Egyptian Museum, Turin. Old Fund cat 1603. Grey background.<br />
<br />
<br />
The South face of the Ramose Pyramidion shows Horus standing in a dipole magnetic field supporting the strong coronal electric field of the Sun. The hieroglyphs read:<br />
 "The Stellar dipole magnetic field is supported by many negative charges or electrons."<br />
The limestone Pyramidion of Ramose, from the top of the tomb of the 'Necropolis Scribe'. Scenes on all four sides depict the worship of the sun.
  • Ancient Egyptian Pyramidion of Ramose North & East sides, Limestone, New Kingdom, 19th Dtnasty (1292-1190 BC), Dier el-Medina. Egyptian Museum, Turin. Old Fund cat 1603. white background.<br />
<br />
The north face of the Ramose Pyramidion explains the attribute of Horus as the strong coronal electric field of the Sun gifting the Ankh as a support to Life. It reads "Strong coronal electric field supporting the Sun, negative charge induction."" Weak electric field is an attribute of the anode Sun.""Electricity supporting life to core charge store God".<br />
<br />
The east face of the Ramose Pyramidion shows the support for the structured plasma, her hands are held up representing the electric force on the perpendicular face to the North South axis of Horus, the strong coronal electric field. It reads" Structured plasma watched, attribute supporting life projecting power (negative charge) to support charge store (celestial body) electrostatic resonance."" Seek home structured plasma to land negative charge projection by God as lightning attribute support celestial body via connection giving movement and [light]."<br />
<br />
The limestone Pyramidion of Ramose, from the top of the tomb of the 'Necropolis Scribe'. Scenes on all four sides depict the worship of the sun.
  • Ancient Egyptian Pyramidion of Ramose North & East sides, Limestone, New Kingdom, 19th Dtnasty (1292-1190 BC), Dier el-Medina. Egyptian Museum, Turin. Old Fund cat 1603. black background.<br />
<br />
The north face of the Ramose Pyramidion explains the attribute of Horus as the strong coronal electric field of the Sun gifting the Ankh as a support to Life. It reads "Strong coronal electric field supporting the Sun, negative charge induction."" Weak electric field is an attribute of the anode Sun.""Electricity supporting life to core charge store God".<br />
<br />
The east face of the Ramose Pyramidion shows the support for the structured plasma, her hands are held up representing the electric force on the perpendicular face to the North South axis of Horus, the strong coronal electric field. It reads" Structured plasma watched, attribute supporting life projecting power (negative charge) to support charge store (celestial body) electrostatic resonance."" Seek home structured plasma to land negative charge projection by God as lightning attribute support celestial body via connection giving movement and [light]."<br />
<br />
The limestone Pyramidion of Ramose, from the top of the tomb of the 'Necropolis Scribe'. Scenes on all four sides depict the worship of the sun.
  • Ancient Egyptian Pyramidion of Ramose North & East sides, Limestone, New Kingdom, 19th Dtnasty (1292-1190 BC), Dier el-Medina. Egyptian Museum, Turin. Old Fund cat 1603. <br />
<br />
The north face of the Ramose Pyramidion explains the attribute of Horus as the strong coronal electric field of the Sun gifting the Ankh as a support to Life. It reads "Strong coronal electric field supporting the Sun, negative charge induction."" Weak electric field is an attribute of the anode Sun.""Electricity supporting life to core charge store God".<br />
<br />
The east face of the Ramose Pyramidion shows the support for the structured plasma, her hands are held up representing the electric force on the perpendicular face to the North South axis of Horus, the strong coronal electric field. It reads" Structured plasma watched, attribute supporting life projecting power (negative charge) to support charge store (celestial body) electrostatic resonance."" Seek home structured plasma to land negative charge projection by God as lightning attribute support celestial body via connection giving movement and [light]."<br />
<br />
The limestone Pyramidion of Ramose, from the top of the tomb of the 'Necropolis Scribe'. Scenes on all four sides depict the worship of the sun.
  • Ancient Egyptian Pyramidion of Ramose North & East sides, Limestone, New Kingdom, 19th Dtnasty (1292-1190 BC), Dier el-Medina. Egyptian Museum, Turin. Old Fund cat 1603. Grey background.<br />
<br />
The north face of the Ramose Pyramidion explains the attribute of Horus as the strong coronal electric field of the Sun gifting the Ankh as a support to Life. It reads "Strong coronal electric field supporting the Sun, negative charge induction."" Weak electric field is an attribute of the anode Sun.""Electricity supporting life to core charge store God".<br />
<br />
The east face of the Ramose Pyramidion shows the support for the structured plasma, her hands are held up representing the electric force on the perpendicular face to the North South axis of Horus, the strong coronal electric field. It reads" Structured plasma watched, attribute supporting life projecting power (negative charge) to support charge store (celestial body) electrostatic resonance."" Seek home structured plasma to land negative charge projection by God as lightning attribute support celestial body via connection giving movement and [light]."<br />
<br />
The limestone Pyramidion of Ramose, from the top of the tomb of the 'Necropolis Scribe'. Scenes on all four sides depict the worship of the sun.
  • Ancient Egyptian Pyramidion of Ramose North & East sides, Limestone, New Kingdom, 19th Dtnasty (1292-1190 BC), Dier el-Medina. Egyptian Museum, Turin. Old Fund cat 1603. Grey background.<br />
<br />
The north face of the Ramose Pyramidion explains the attribute of Horus as the strong coronal electric field of the Sun gifting the Ankh as a support to Life. It reads "Strong coronal electric field supporting the Sun, negative charge induction."" Weak electric field is an attribute of the anode Sun.""Electricity supporting life to core charge store God".<br />
<br />
The east face of the Ramose Pyramidion shows the support for the structured plasma, her hands are held up representing the electric force on the perpendicular face to the North South axis of Horus, the strong coronal electric field. It reads" Structured plasma watched, attribute supporting life projecting power (negative charge) to support charge store (celestial body) electrostatic resonance."" Seek home structured plasma to land negative charge projection by God as lightning attribute support celestial body via connection giving movement and [light]."<br />
<br />
The limestone Pyramidion of Ramose, from the top of the tomb of the 'Necropolis Scribe'. Scenes on all four sides depict the worship of the sun.
  • Ancient Roman statue of Pendua and his wife Nefertari, limestone, New Kingdom, 19th Dynasty, (1292-1186 BC),  Deir-el-Medina, Thebes. Egyptian Museum, Turin. white background.<br />
<br />
 Carved in Thebian white limestone the statue of Pendua and his wife Nefertari shows the skill and attention to details of the sculptors of Deir-el-Medina, the worker’s village of those who built the Royal Tombs at Thebes. The theme of the family is echoed by a carving of a daughter between the two figures.
  • Ancient Roman statue of Pendua and his wife Nefertari, limestone, New Kingdom, 19th Dynasty, (1292-1186 BC),  Deir-el-Medina, Thebes. Egyptian Museum, Turin. black background.<br />
<br />
 Carved in Thebian white limestone the statue of Pendua and his wife Nefertari shows the skill and attention to details of the sculptors of Deir-el-Medina, the worker’s village of those who built the Royal Tombs at Thebes. The theme of the family is echoed by a carving of a daughter between the two figures.
  • Ancient Roman statue of Pendua and his wife Nefertari, limestone, New Kingdom, 19th Dynasty, (1292-1186 BC),  Deir-el-Medina, Thebes. Egyptian Museum, Turin. Grey background.<br />
<br />
 Carved in Thebian white limestone the statue of Pendua and his wife Nefertari shows the skill and attention to details of the sculptors of Deir-el-Medina, the worker’s village of those who built the Royal Tombs at Thebes. The theme of the family is echoed by a carving of a daughter between the two figures.
  • Ancient Roman statue of Pendua and his wife Nefertari, limestone, New Kingdom, 19th Dynasty, (1292-1186 BC),  Deir-el-Medina, Thebes. Egyptian Museum, Turin. .<br />
<br />
 Carved in Thebian white limestone the statue of Pendua and his wife Nefertari shows the skill and attention to details of the sculptors of Deir-el-Medina, the worker’s village of those who built the Royal Tombs at Thebes. The theme of the family is echoed by a carving of a daughter between the two figures.
  • Roman mosaic of a Young boy playing with snakes, possibly an early Christian mosaic. Syria or Lebanon, 5th century AD. Cubes of marble and limestone. Dressed in a long tunic, the child playing with two snakes could be illustrating a passage from the Book of Isai (11.6 to 8). This fragmented mosaic panel once continued in upper part, as indicated by the animal hoofs, and to the right of the mosaic are remains of a Greek inscription. inv 5094. Louvre Museum, Paris
  • Fine Minoan translucent limestone lioness head shaped rhython from the  Knossos Palace Repositories 1600-1500 BC, Heraklion Archaeological  Museum, grey background.<br />
<br />
This exquitely worked lioness head rhython has a hole in the muzzle for pouring liquid offerings. The nose and eyes were originally inlaid
  • Roman mosaic of an early Christian Basilica from the Eastern Mediterranean, late 5th century AD. Marble blocks, limestone, sandstone and terracotta. The church has three naves and is represented in a 'flattened Perspective’ as can be seen by the facade and along sides forming a straight continuous line. The side wall is deliberately open to make the interior visible . Inv 3677, Louvre Museum, Paris
  • Late 13th or 14th century Gothic Bas-relief depicting the miracle performed by St Michael at Mont St Michael. limestone with traces of polcrome from the Church of San Miguel de Canet lo Roig (Castello), by the Master of Sant Mateu. Inv MNAC 45846-45845. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Late 13th or 14th century Gothic Bas-relief depicting the miracle performed by St Michael at Mont St Michael. limestone with traces of polcrome from the Church of San Miguel de Canet lo Roig (Castello), by the Master of Sant Mateu. Inv MNAC 45846-45845. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Fine Minoan translucent limestone lioness head shaped rhython from the  Knossos Palace Repositories 1600-1500 BC, Heraklion Archaeological  Museum.<br />
<br />
This exquitely worked lioness head rhython has a hole in the muzzle for pouring liquid offerings. The nose and eyes were originally inlaid
  • Ancient Egyptian limestone funerary stele of Ipepi with his wife, mother and sister in front of Osiris. Middle Kingdom, 11th Dynasty, 2120-1980 BC. Neues Museum Berlin Cat No: AM 24031.
  • Hittite monumental relief sculpted orthostat stone panel of a Procession. Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 - 700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
It is a depiction of three marching female figures in long dress with a high headdress (photos) at their head. These women are considered to be the nuns of the Goddess Kubaba. The figure in the front has a small animal in her right hand while the figure in the middle has a glass in his right hand. The object which the figures carry in their left is not understood.  <br />
<br />
Against a black background.
  • Hittite monumental relief sculpted orthostat stone panel of a Procession. Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 - 700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
It is a depiction of three marching female figures in long dress with a high headdress (photos) at their head. These women are considered to be the nuns of the Goddess Kubaba. The figure in the front has a small animal in her right hand while the figure in the middle has a glass in his right hand. The object which the figures carry in their left is not understood.  <br />
<br />
Against a grey art background.
  • Photo of Hittite monumental relief sculpted orthostat stone panel of Procession. Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Musicians. Two musicians with short arms, wearing long dresses and wide belts; one plays a Saz (a stringed musical instrument) with tassels on the handle while the other plays the flute. The third small figure holds castanets (?) in his hands. The figure on the right wears a short skirt, contrary to the others. She dances over her finger tips with her hands over her head. <br />
<br />
Against a brown art background.
  • Hittite monumental relief sculpted orthostat stone panel of Procession. Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Musicians. Two musicians with short arms, wearing long dresses and wide belts; one plays a Saz (a stringed musical instrument) with tassels on the handle while the other plays the flute. The third small figure holds castanets (?) in his hands. The figure on the right wears a short skirt, contrary to the others. She dances over her finger tips with her hands over her head.  <br />
<br />
Against a white background.
  • Roman mosaic of a Young boy playing with snakes, possibly an early Christian mosaic. Syria or Lebanon, 5th century AD. Cubes of marble and limestone. Dressed in a long tunic, the child playing with two snakes could be illustrating a passage from the Book of Isai (11.6 to 8). This fragmented mosaic panel once continued in upper part, as indicated by the animal hoofs, and to the right of the mosaic are remains of a Greek inscription. inv 5094. Louvre Museum, Paris
  • Eastern Mediterranean Roman mosaics of Animals, late 5th - 6th century. Marble cubes, and limestone. Three animals are in the race, a dog, a lion and a pheasant. They belonged perhaps to a hunting scene which was a popular floor decoration in houses or they may illustrate the biblical theme of 'Peace of animals', found on the floors of the churches of the Eastern Roman provinces. inv 3672, Louvre Museum, Paris
  • Female Portrait (Antioch, Antakya, Turkey), 1st half of 3rd century AD. Marble cubes, limestone and glass. The mosaic bust of a female with a billowing sail that surrounds her head that it could represent the wind. The mosaic decorated the entrance of a dining room and was once flanked it with now lost representations of the marine deities Thalassa and Okeanosinv 3460, Louvre Museum, Paris
  • Gothic painted bas-relief of the Nativity by Master of Albesa, Active in Lleida. Polychrome and gilded limestone bas-relief. Second half of 14th century. Dimesions 57 x 69 x 11 cm.Compartment of a sculptural altarpiece devoted to the Virgin. From the crypt of the collegiate church of Sant Pere d'Àger (Noguera). National Museum of Catalan Art, Barcelona, Spain, inv no: 017342-000
  • Gothic painted bas-relief of the Nativity by Master of Albesa, Active in Lleida. Polychrome and gilded limestone bas-relief. Second half of 14th century. Dimesions 57 x 69 x 11 cm.Compartment of a sculptural altarpiece devoted to the Virgin. From the crypt of the collegiate church of Sant Pere d'Àger (Noguera). National Museum of Catalan Art, Barcelona, Spain, inv no: 017342-000
  • Late 13th or 14th century Gothic Bas-relief depicting the miracle performed by St Michael at Mont St Michael. limestone with traces of polcrome from the Church of San Miguel de Canet lo Roig (Castello), by the Master of Sant Mateu. Inv MNAC 45846-45845. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Late 13th or 14th century Gothic Bas-relief depicting the miracle performed by St Michael at Mont St Michael. limestone with traces of polcrome from the Church of San Miguel de Canet lo Roig (Castello), by the Master of Sant Mateu. Inv MNAC 45846-45845. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Ancient Egyptian statue of Maa, limestone, New Kingdom, 18th Dynasty, (1480-1390 BC), Thebes Necropolis. Egyptian Museum, Turin. white background. Drovetti collection. Cat 3089
  • Ancient Egyptian statue of Maa, limestone, New Kingdom, 18th Dynasty, (1480-1390 BC), Thebes Necropolis. Egyptian Museum, Turin. Grey background. Drovetti collection. Cat 3089
  • Ancient Egyptian statue of Maa, limestone, New Kingdom, 18th Dynasty, (1480-1390 BC), Thebes Necropolis. Egyptian Museum, Turin. black background. Drovetti collection. Cat 3089
  • Ancient Egyptian statue of Maa, limestone, New Kingdom, 18th Dynasty, (1480-1390 BC), Thebes Necropolis. Egyptian Museum, Turin. Drovetti collection. Cat 3089
  • Ancient Egyptian statue of Maa, limestone, New Kingdom, 18th Dynasty, (1480-1390 BC), Thebes Necropolis. Egyptian Museum, Turin. Grey background. Drovetti collection. Cat 3089
  • Fine Minoan translucent limestone lioness head shaped rhython from the  Knossos Palace Repositories 1600-1500 BC, Heraklion Archaeological  Museum, black background.<br />
<br />
This exquitely worked lioness head rhython has a hole in the muzzle for pouring liquid offerings. The nose and eyes were originally inlaid
  • Ancient Egyptian limestone funerary stele of Ipepi with his wife, mother and sister in front of Osiris. Middle Kingdom, 11th Dynasty, 2120-1980 BC. Neues Museum Berlin Cat No: AM 24031.
  • Ancient Egyptian limestone funerary stele of Ipepi with his wife, mother and sister in front of Osiris. Middle Kingdom, 11th Dynasty, 2120-1980 BC. Neues Museum Berlin Cat No: AM 24031.
  • Ancient Egyptian limestone funerary stele of Ipepi with his wife, mother and sister in front of Osiris. Middle Kingdom, 11th Dynasty, 2120-1980 BC. Neues Museum Berlin Cat No: AM 24031.
  • Ancient Egyptian limestone funerary stele of Ipepi with his wife, mother and sister in front of Osiris. Middle Kingdom, 11th Dynasty, 2120-1980 BC. Neues Museum Berlin Cat No: AM 24031.
  • Hittite monumental relief sculpted orthostat stone panel of a Procession. Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 - 700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
It is a depiction of three marching female figures in long dress with a high headdress (photos) at their head. These women are considered to be the nuns of the Goddess Kubaba. The figure in the front has a small animal in her right hand while the figure in the middle has a glass in his right hand. The object which the figures carry in their left is not understood.  <br />
<br />
Against a white background.
  • Picture & image of Hittite monumental relief sculpted orthostat stone panel of a Procession. Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 - 700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
It is a depiction of three marching female figures in long dress with a high headdress (photos) at their head. These women are considered to be the nuns of the Goddess Kubaba. The figure in the front has a small animal in her right hand while the figure in the middle has a glass in his right hand. The object which the figures carry in their left is not understood.  <br />
<br />
Against a gray background.
  • Photo of Hittite monumental relief sculpted orthostat stone panel of a Procession. Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 - 700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
It is a depiction of three marching female figures in long dress with a high headdress (photos) at their head. These women are considered to be the nuns of the Goddess Kubaba. The figure in the front has a small animal in her right hand while the figure in the middle has a glass in his right hand. The object which the figures carry in their left is not understood.  <br />
<br />
Against a brown art background.
  • Picture & image of Hittite monumental relief sculpted orthostat stone panel of Procession. Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Musicians. Two musicians with short arms, wearing long dresses and wide belts; one plays a Saz (a stringed musical instrument) with tassels on the handle while the other plays the flute. The third small figure holds castanets (?) in his hands. The figure on the right wears a short skirt, contrary to the others. She dances over her finger tips with her hands over her head. <br />
<br />
Against a gray background.
  • Hittite monumental relief sculpted orthostat stone panel of Procession. Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Musicians. Two musicians with short arms, wearing long dresses and wide belts; one plays a Saz (a stringed musical instrument) with tassels on the handle while the other plays the flute. The third small figure holds castanets (?) in his hands. The figure on the right wears a short skirt, contrary to the others. She dances over her finger tips with her hands over her head.  <br />
<br />
Against a black background.
  • Hittite relief sculpted stone panel. Lion. Aslantepe Gate Limestone, Aslantepe, Malatya, 1200-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
The lion on the left of the two lions at the gate of the palace. His head and his front part were processed as high embossing and his body as regular embossing. The signs behind the lion and over his tail read; "Halposulupis, Mighty (?) King".<br />
<br />
Against a white background.
  • Roman mosaic of an early Christian Basilica from the Eastern Mediterranean, late 5th century AD. Marble blocks, limestone, sandstone and terracotta. The church has three naves and is represented in a 'flattened Perspective’ as can be seen by the facade and along sides forming a straight continuous line. The side wall is deliberately open to make the interior visible . Inv 3677, Louvre Museum, Paris
  • Roman mosaic of an early Christian Basilica from the Eastern Mediterranean, late 5th century AD. Marble blocks, limestone, sandstone and terracotta. The church has three naves and is represented in a 'flattened Perspective’ as can be seen by the facade and along sides forming a straight continuous line. The side wall is deliberately open to make the interior visible . Inv 3677, Louvre Museum, Paris
  • Roman mosaic of a Young boy playing with snakes, possibly an early Christian mosaic. Syria or Lebanon, 5th century AD. Cubes of marble and limestone. Dressed in a long tunic, the child playing with two snakes could be illustrating a passage from the Book of Isai (11.6 to 8). This fragmented mosaic panel once continued in upper part, as indicated by the animal hoofs, and to the right of the mosaic are remains of a Greek inscription. inv 5094. Louvre Museum, Paris
  • Female Portrait (Antioch, Antakya, Turkey), 1st half of 3rd century AD. Marble cubes, limestone and glass. The mosaic bust of a female with a billowing sail that surrounds her head that it could represent the wind. The mosaic decorated the entrance of a dining room and was once flanked it with now lost representations of the marine deities Thalassa and Okeanosinv 3460, Louvre Museum, Paris
  • Female Portrait (Antioch, Antakya, Turkey), 1st half of 3rd century AD. Marble cubes, limestone and glass. The mosaic bust of a female with a billowing sail that surrounds her head that it could represent the wind. The mosaic decorated the entrance of a dining room and was once flanked it with now lost representations of the marine deities Thalassa and Okeanosinv 3460, Louvre Museum, Paris
  • Female Portrait (Antioch, Antakya, Turkey), 1st half of 3rd century AD. Marble cubes, limestone and glass. The mosaic bust of a female with a billowing sail that surrounds her head that it could represent the wind. The mosaic decorated the entrance of a dining room and was once flanked it with now lost representations of the marine deities Thalassa and Okeanosinv 3460, Louvre Museum, Paris
  • Birds around a  vase From Daphne, a suburb of Antioch, Antakya, Turkey, 1st half of 3rd century AD. Marble cubes, limestone and glass. A border of geometric perspective cubes surround a scene with one bird sitting on the vase of Daphne whilst the other surround it. The naturalistic skill of the Roman Antioch mosaic artists is so good that it is possible to tell the species of each bird. inv 3461, Louvre Museum, Paris
  • Birds around a  vase From Daphne, a suburb of Antioch, Antakya, Turkey, 1st half of 3rd century AD. Marble cubes, limestone and glass. A border of geometric perspective cubes surround a scene with one bird sitting on the vase of Daphne whilst the other surround it. The naturalistic skill of the Roman Antioch mosaic artists is so good that it is possible to tell the species of each bird. inv 3461, Louvre Museum, Paris
  • Birds around a  vase From Daphne, a suburb of Antioch, Antakya, Turkey, 1st half of 3rd century AD. Marble cubes, limestone and glass. A border of geometric perspective cubes surround a scene with one bird sitting on the vase of Daphne whilst the other surround it. The naturalistic skill of the Roman Antioch mosaic artists is so good that it is possible to tell the species of each bird. inv 3461, Louvre Museum, Paris
  • Late 13th or 14th century Gothic Bas-relief depicting the miracle performed by St Michael at Mont St Michael. limestone with traces of polcrome from the Church of San Miguel de Canet lo Roig (Castello), by the Master of Sant Mateu. Inv MNAC 45846-45845. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Gothic painted bas-relief of the Nativity by Master of Albesa, Active in Lleida. Polychrome and gilded limestone bas-relief. Second half of 14th century. Dimesions 57 x 69 x 11 cm.Compartment of a sculptural altarpiece devoted to the Virgin. From the crypt of the collegiate church of Sant Pere d'Àger (Noguera). National Museum of Catalan Art, Barcelona, Spain, inv no: 017342-000
  • Gothic painted bas-relief of the Presentation of Jesus at the Templeby Master of Albesa, Active in Lleida. Polychrome and gilded limestone bas-relief. Second half of 14th century. Dimesions 57 x 69 x 11 cm. Compartment of a sculptural altarpiece devoted to the Virgin. From the crypt of the collegiate church of Sant Pere d'Àger (Noguera). National Museum of Catalan Art, Barcelona, Spain, inv no: 017343-000
  • Gothic painted bas-relief of the Presentation of Jesus at the Templeby Master of Albesa, Active in Lleida. Polychrome and gilded limestone bas-relief. Second half of 14th century. Dimesions 57 x 69 x 11 cm. Compartment of a sculptural altarpiece devoted to the Virgin. From the crypt of the collegiate church of Sant Pere d'Àger (Noguera). National Museum of Catalan Art, Barcelona, Spain, inv no: 017343-000
  • Gothic painted bas-relief of the Presentation of Jesus at the Templeby Master of Albesa, Active in Lleida. Polychrome and gilded limestone bas-relief. Second half of 14th century. Dimesions 57 x 69 x 11 cm. Compartment of a sculptural altarpiece devoted to the Virgin. From the crypt of the collegiate church of Sant Pere d'Àger (Noguera). National Museum of Catalan Art, Barcelona, Spain, inv no: 017343-000
  • Gothic painted bas-relief of the Presentation of Jesus at the Templeby Master of Albesa, Active in Lleida. Polychrome and gilded limestone bas-relief. Second half of 14th century. Dimesions 57 x 69 x 11 cm. Compartment of a sculptural altarpiece devoted to the Virgin. From the crypt of the collegiate church of Sant Pere d'Àger (Noguera). National Museum of Catalan Art, Barcelona, Spain, inv no: 017343-000
  • Late 13th or 14th century Gothic Bas-relief depicting the miracle performed by St Michael at Mont St Michael. limestone with traces of polcrome from the Church of San Miguel de Canet lo Roig (Castello), by the Master of Sant Mateu. Inv MNAC 45846-45845. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Fine Minoan translucent limestone lioness head shaped rhython from the  Knossos Palace Repositories 1600-1500 BC, Heraklion Archaeological  Museum, grey background.<br />
<br />
This exquitely worked lioness head rhython has a hole in the muzzle for pouring liquid offerings. The nose and eyes were originally inlaid
  • Fine Minoan translucent limestone lioness head shaped rhython from the  Knossos Palace Repositories 1600-1500 BC, Heraklion Archaeological  Museum.<br />
<br />
This exquitely worked lioness head rhython has a hole in the muzzle for pouring liquid offerings. The nose and eyes were originally inlaid
  • Hittite monumental relief sculpted orthostat stone panel of Procession. Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Musicians. Two musicians with short arms, wearing long dresses and wide belts; one plays a Saz (a stringed musical instrument) with tassels on the handle while the other plays the flute. The third small figure holds castanets (?) in his hands. The figure on the right wears a short skirt, contrary to the others. She dances over her finger tips with her hands over her head.<br />
<br />
Against a grey art background.
  • Roman mosaic of an early Christian Basilica from the Eastern Mediterranean, late 5th century AD. Marble blocks, limestone, sandstone and terracotta. The church has three naves and is represented in a 'flattened Perspective’ as can be seen by the facade and along sides forming a straight continuous line. The side wall is deliberately open to make the interior visible . Inv 3677, Louvre Museum, Paris
  • Roman mosaic of a Young boy playing with snakes, possibly an early Christian mosaic. Syria or Lebanon, 5th century AD. Cubes of marble and limestone. Dressed in a long tunic, the child playing with two snakes could be illustrating a passage from the Book of Isai (11.6 to 8). This fragmented mosaic panel once continued in upper part, as indicated by the animal hoofs, and to the right of the mosaic are remains of a Greek inscription. inv 5094. Louvre Museum, Paris
  • Eastern Mediterranean Roman mosaics of Animals, late 5th - 6th century. Marble cubes, and limestone. Three animals are in the race, a dog, a lion and a pheasant. They belonged perhaps to a hunting scene which was a popular floor decoration in houses or they may illustrate the biblical theme of 'Peace of animals', found on the floors of the churches of the Eastern Roman provinces. inv 3672, Louvre Museum, Paris
  • Eastern Mediterranean Roman mosaics of Animals, late 5th - 6th century. Marble cubes, and limestone. Three animals are in the race, a dog, a lion and a pheasant. They belonged perhaps to a hunting scene which was a popular floor decoration in houses or they may illustrate the biblical theme of 'Peace of animals', found on the floors of the churches of the Eastern Roman provinces. inv 3672, Louvre Museum, Paris
  • Eastern Mediterranean Roman mosaics of Animals, late 5th - 6th century. Marble cubes, and limestone. Three animals are in the race, a dog, a lion and a pheasant. They belonged perhaps to a hunting scene which was a popular floor decoration in houses or they may illustrate the biblical theme of 'Peace of animals', found on the floors of the churches of the Eastern Roman provinces. inv 3672, Louvre Museum, Paris
  • Birds around a  vase From Daphne, a suburb of Antioch, Antakya, Turkey, 1st half of 3rd century AD. Marble cubes, limestone and glass. A border of geometric perspective cubes surround a scene with one bird sitting on the vase of Daphne whilst the other surround it. The naturalistic skill of the Roman Antioch mosaic artists is so good that it is possible to tell the species of each bird. inv 3461, Louvre Museum, Paris
  • Gothic painted bas-relief of the Nativity by Master of Albesa, Active in Lleida. Polychrome and gilded limestone bas-relief. Second half of 14th century. Dimesions 57 x 69 x 11 cm.Compartment of a sculptural altarpiece devoted to the Virgin. From the crypt of the collegiate church of Sant Pere d'Àger (Noguera). National Museum of Catalan Art, Barcelona, Spain, inv no: 017342-000
  • Gothic painted bas-relief of the Nativity by Master of Albesa, Active in Lleida. Polychrome and gilded limestone bas-relief. Second half of 14th century. Dimesions 57 x 69 x 11 cm.Compartment of a sculptural altarpiece devoted to the Virgin. From the crypt of the collegiate church of Sant Pere d'Àger (Noguera). National Museum of Catalan Art, Barcelona, Spain, inv no: 017342-000
  • Ancient Egyptian Stele of Amenemope dedicated to Amenhotep I and Ahmose-Nefertari, limestone, New Kingdom, 19th Dynasty, (1279-1213 BC), Deir el-Medina, Drovetti cat 1452. Egyptian Museum, Turin. Grey background.
  • Ancient Egyptian stele of scraftsman Minhotep in adoration of Osiris, limestone, New Kingdom, 18th Dynasty, (1336-1292 BC), Deir el-Medina, Drovetti cat 1619. Egyptian Museum, Turin. Grey background.<br />
<br />
The stele is dedicated to Osiris, Anubis and Hathor "Mistress of the World".
  • Ancient Egyptian funerary stele of painter Maya, limestone, New Kingdom, 18th Dynasty, (1336-1292 BC), Deir el-Medina,  Egyptian Museum, Turin. Drovetti cat 1579.<br />
<br />
<br />
In the upper portion Maya and his wife Tamit pay homage to Osiris and Hathor, the gods of the necropolis. In the lower register is a similar scene in which his wife recieves food offerings from their many children, as was traditional at the time.
  • Ancient Egyptian funerary stele of painter Maya, limestone, New Kingdom, 18th Dynasty, (1336-1292 BC), Deir el-Medina,  Egyptian Museum, Turin. Drovetti cat 1579.<br />
<br />
<br />
In the upper portion Maya and his wife Tamit pay homage to Osiris and Hathor, the gods of the necropolis. In the lower register is a similar scene in which his wife recieves food offerings from their many children, as was traditional at the time.
  • Ancient Egyptian funerary stele of painter Maya, limestone, New Kingdom, 18th Dynasty, (1336-1292 BC), Deir el-Medina,  Egyptian Museum, Turin. . Drovetti cat 1579. white background<br />
<br />
<br />
In the upper portion Maya and his wife Tamit pay homage to Osiris and Hathor, the gods of the necropolis. In the lower register is a similar scene in which his wife recieves food offerings from their many children, as was traditional at the time.
  • Ancient Egyptian stele of the official Saherhotep & his wife Ipet, limestone, Middle Kingdom, 19th Dynasty, (1759-1700 BC), Old Fund cat 1630. Egyptian Museum, Turin. Grey backgtound.<br />
<br />
8 mummiform figure in high relief run along the bottom of the stele.
  • Ancient Egyptian four sided capital dedicated to Hathor, limestone, Ptolomaic Period (332039 BC). Egyptian Museum, Turin. Grey background. Cat 7031. Grey background.<br />
<br />
Hathor, goddess of love and beauty and wet nurse of Horus, is often portrayed frontally with bovine ears. She was also protector of the turquoise mines in Sinai and the guardian of the 4 cardinal points awhich is why she is depicted with faces on each side of the capital, Grey background;
  • Ancient Egyptian statue head of a monarch, limestone, Middle Kingdom, mid 12th Dynasty, (1900-1850 BC), Qqw el-Kebir, tomb of Ibu. Egyptian Museum, Cat 4410 Turin. Grey Background.
  • Ancient Egyptian statue head of a monarch, limestone, Middle Kingdom, mis 12th Dynasty, (1900-1850 BC), Qqw el-Kebir, tomb of Ibu. Egyptian Museum, Turin. Grey background.<br />
<br />
Since this statue head comes from the tomb of Ibu it is likely that they depict a powerful gosvenor, although the incsription is lost. It can be dated by its style which is close to the statues of Amenemhat II and Sesostris II. Schiaparelli excavations. Cat 4410 & 4414
  • Ancient Egyptian cult statue of Amenhoptep I, limestone, New Kingdom, 19th Dynasty, (1292-1190 BC, Deir el-Medina. Egyptian Museum, Turin. Grey background.<br />
<br />
The cult of Amenhoptep I flourished during the 19th &20th Dynasties. This statue is typical of Theban sculpture of the Ramesside era : large eyes, full cheeks and aquiline nose. the kings skin colour is white rather than the more common red hue. This is typical of other Deir el-Medina statues of the era.  Drovetti collection. Cat 1372.
  • Ancient Egyptian statue of Ptah - limestone - New Kingdom. 18th Dynasty, reign of Amenhotep III (1390 - 1353 BC), Karnac. Egyptian Museum, Turin.  Grey background<br />
<br />
Large statue of Egyptian gods are rare and most of them are part of building designs. This imposing statue of Ptah was probably made for the "Temple of Millions of Years", on the west bank of Thebes, promoted by Amenhotep III . When the temple was eventually abandoned its statues were reused in other temples in the region. Drovetti collection C. 87
  • Ancient Egyptian statue of Ptah - limestone - New Kingdom. 18th Dynasty, reign of Amenhotep III (1390 - 1353 BC), Karnac. Egyptian Museum, Turin.  white background<br />
<br />
Large statue of Egyptian gods are rare and most of them are part of building designs. This imposing statue of Ptah was probably made for the "Temple of Millions of Years", on the west bank of Thebes, promoted by Amenhotep III . When the temple was eventually abandoned its statues were reused in other temples in the region. Drovetti collection C. 87
  • The painted Minoan Hagia Triada Sarcophagus 1370-1300 BC. Heraklion Archaeological Museum.  Grey Background. <br />
<br />
The limestone Hagia Triada Sarcophagus is painted with frescoes depicting the ceremonies honouring the dead.
  • 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.
  • Picture & image of Hittite relief sculpted orthostat stone panel of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Two figures lying over the lion. There is a crescent at the head of the winged god at the front. It is thought that the figure at the front is moon god and the one at the rear is sun god.
  • Picture & image of Hittite relief sculpted orthostat stone panel of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. . Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Two helmeted soldiers in short skirt carry shield on their backs and spear in their hands.<br />
<br />
On a gray background.
  • Hittite relief sculpted orthostat stone panel  of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 BC. Anatolian Civilisations Museum.<br />
<br />
 The hieroglyphics reads; "I am Win-a-tis, beloved wife of my Lord Suhi, wherever and whenever my husband honours his name, he will honour my name as well with favours". Underneath, there are two goddess figures, one is naked with a horned head, holding her breasts with her hands. Her genitalia is indicated by a triangle. <br />
<br />
On 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 />
A pair of kneeling bull on either side of the tree of life, one each foot is on the tree, the other feet are bend towards the abdomen.  <br />
<br />
Against a brown 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 />
Two sphinxes standing on their hind legs on both sides attack to the winged horse standing on its hind legs in the middle.
  • 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.
  • Aslantepe Hittite relief sculpted orthostat stone panel Limestone, Aslantepe, Malatya, 1200-700 BC. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
A short-dressed and winged demon (mixed creature), and on the third face is the Storm God. The Storm God holds a triple lightning bundle in his left hand and a hammer in his right hand. His both arms are in an upright position. <br />
<br />
Against a gray background.
  • Aslantepe Hittite relief sculpted orthostat stone panel. Limestone, Aslantepe Malatya, 1200-700 B.C. Anatolian Civilizations Museum, Ankara, Turkey. Winged protective god holds a branch with fruits. in his left hand, and a fruit in his right hand.<br />
<br />
Against a black background.
  • Picture and image of the prehistoric magalith ruins of the multi towered Nuraghe Serbissi, archaeological site, Bronze age (14 - 10 th century BC). Nuraghe Serbissi is situated at over 900 meters on a remote limestone plateau in central Sardinia.  Osini in Ogliastra, Southern Sardinia.
  • Gothic painted bas-relief of the Presentation of Jesus at the Templeby Master of Albesa, Active in Lleida. Polychrome and gilded limestone bas-relief. Second half of 14th century. Dimesions 57 x 69 x 11 cm. Compartment of a sculptural altarpiece devoted to the Virgin. From the crypt of the collegiate church of Sant Pere d'Àger (Noguera). National Museum of Catalan Art, Barcelona, Spain, inv no: 017343-000
  • Ancient Egyptian limestone funerary stele showing Akhenaten and Nefertiti in front of an offering table. Ancient Egypt 18th Dynasty, 1345 BC. Neues Museum Berlin Cat No: AM 17813.
  • Ancient Egyptian limestone funerary stele of Ipepi with his wife, mother and sister in front of Osiris. Middle Kingdom, 11th Dynasty, 2120-1980 BC. Neues Museum Berlin Cat No: AM 24031.
  • Ancient Egyptian stele depicting Sethy I adoring Amenhotep I and Nefertari, limestone, New Kingdom, 19th Dynasty, (1279-1213 BC), Deir el-Medina,  Egyptian Museum, Turin.  Schiaparelli Cat 6189.
  • Ancient Egyptian stele depicting Sethy I adoring Amenhotep I and Nefertari, limestone, New Kingdom, 19th Dynasty, (1279-1213 BC), Deir el-Medina,  Egyptian Museum, Turin. Grey background. Schiaparelli Cat 6189.
  • Ancient Egyptian stele of Djehutynefer, treasury Scribe, limestone, New Kingdom, 18th Dynasty, (1480-1400 BC), Thebes,  Egyptian Museum, Turin. Grey background. Old Fund cat 1456.<br />
<br />
The detail of the stele depicts the brothers and sisters of Djehutynefer. The inscription palces the deceased under the protection of Amon in the great temple of Karnak underlining that he is entitled to share offerings brought to the god.
  • Ancient Egyptian stele of s standard bearer Maienhekau, limestone, New Kingdom, 18th Dynasty, (1458-1425 BC), DAbydos,  Egyptian Museum, Turin. white background,<br />
<br />
In the top registerMaienhekau makes offerings to Ptah, Osiris and Horus. In the middle he is shown with his wife reveiving offerings from his 2 sons. In the lower register another son with 3 gaughters is offering a formula to Maienhekau, also listing his titles. He was standard bearer (captain) on several warships and the "bearer of arms " of Thutmosis II. The current depictions are over an earlier relief which can be seen in places where the later stucco has come away.
  • Ancient Egyptian stele of s standard bearer Maienhekau, limestone, New Kingdom, 18th Dynasty, (1458-1425 BC), DAbydos,  Egyptian Museum, Turin. Grey background.<br />
<br />
In the top registerMaienhekau makes offerings to Ptah, Osiris and Horus. In the middle he is shown with his wife reveiving offerings from his 2 sons. In the lower register another son with 3 gaughters is offering a formula to Maienhekau, also listing his titles. He was standard bearer (captain) on several warships and the "bearer of arms " of Thutmosis II. The current depictions are over an earlier relief which can be seen in places where the later stucco has come away.
  • Ancient Egyptian stele of Djehutynefer called Seshu, Scribe, limestone, New Kingdom, 18th Dynasty, (1500-14253 BC), Thebes, Old Fund cat 1638. Egyptian Museum, Turin. white background,<br />
<br />
Djehutynefer called Seshu was the accountant scribe of cattle and fowl in the temple of Amon, and his wife the house mistress Benbu
  • Ancient Egyptian stele of Djehutynefer called Seshu, Scribe, limestone, New Kingdom, 18th Dynasty, (1500-14253 BC), Thebes, Old Fund cat 1638. Egyptian Museum, Turin. Grey background.<br />
<br />
Djehutynefer called Seshu was the accountant scribe of cattle and fowl in the temple of Amon, and his wife the house mistress Benbu
  • Ancient Egyptian stele of Djehutynefer called Seshu, Scribe, limestone, New Kingdom, 18th Dynasty, (1500-14253 BC), Thebes, Old Fund cat 1638. Egyptian Museum, Turin. <br />
<br />
Djehutynefer called Seshu was the accountant scribe of cattle and fowl in the temple of Amon, and his wife the house mistress Benbu
  • Ancient Egyptian Ra stele , limestone, New Kingdom, 19th Dynasty, (1279-1190 BC), Deir el-Medina,  Egyptian Museum, Turin. black background<br />
<br />
Akh iqer en Ra " the excellent spirit of Ra' stele. The individual is smelling a lotus flower. One of three stele forund in different rooms of houses in Deir el-Medina where they stood in niches.
  • Ancient Egyptian Ra stele , limestone, New Kingdom, 19th Dynasty, (1279-1190 BC), Deir el-Medina,  Egyptian Museum, Turin. Grey background.<br />
<br />
Akh iqer en Ra " the excellent spirit of Ra' stele. The individual is smelling a lotus flower. One of three stele forund in different rooms of houses in Deir el-Medina where they stood in niches.
  • Ancient Egyptian Ra stele , limestone, New Kingdom, 19th Dynasty, (1279-1190 BC), Deir el-Medina,  Egyptian Museum, Turin. Grey background.<br />
<br />
Akh iqer en Ra " the excellent spirit of Ra' stele. The individual is smelling a lotus flower. One of three stele forund in different rooms of houses in Deir el-Medina where they stood in niches.
  • Ancient Egyptian Ra stele , limestone, New Kingdom, 19th Dynasty, (1279-1190 BC), Deir el-Medina,  Egyptian Museum, Turin. <br />
<br />
On this round-topped stele, the deceased Pashed, <br />
"excellent spirit of Ra", akh-ikr, is pictured left, <br />
seated on a chair with lion's paws, smelling the lotus <br />
flower. The offering table holds a basket containing <br />
various offerings. A large open pomegranate, containing <br />
a great quantity of seeds, appears under the chair. The <br />
colours on this stele are well preserved.<br />
<br />
Akh iqer en Ra " the excellent spirit of Ra' stele. The individual is smelling a lotus flower. One of three stele forund in different rooms of houses in Deir el-Medina where they stood in niches.
  • Ancient Egyptian Ra stele , limestone, New Kingdom, 19th Dynasty, (1279-1190 BC), Deir el-Medina,  Egyptian Museum, Turin. Grey background.<br />
<br />
Akh iqer en Ra " the excellent spirit of Ra' stele. One of three stele forund in different rooms of houses in Deir el-Medina where they stood in niches
  • Ancient Egyptian stele odedicated to Amon Re the "good Ram" by foreman Baki, limestone, New Kingdom, 19th Dynasty, (1290-1213 BC), Deir el-Medina, Drovetti cat 1549. Egyptian Museum, Turin. black background. Reign of Ramesses II.<br />
<br />
This round-topped stele is carved in low relief and painted <br />
in several colours. The pictorial plane is divided into two <br />
registers, the upper one containing two rams facing each <br />
other. The animals, with cobras rising on their foreheads, <br />
wear tall headdresses composed of two tall plumes with a <br />
solar disk at the centre. Between them is a small offering <br />
table with lotus flowers. The mirror image hieroglyphic <br />
inscription refers to the rams and reveals their divine <br />
nature as that of Amun-Ra. In the register below, <br />
foreman Baki is shown in the pose of adoration.
  • Ancient Egyptian stele dedicated to the god Re-Harakhty by sculptor Ipy, limestone, New Kingdom, 19th Dynasty, (1279-1213 BC), Deir el-Medina, Drovetti cat 7357. Egyptian Museum, Turin.
  • Ancient Egyptian stele dedicated to the god Khonsu by draftsman Pay, limestone, New Kingdom, 19th Dynasty, (1279-1213 BC), Deir el-Medina, ODrovetti cat 1553. Egyptian Museum, Turin. white background,
  • Ancient Egyptian stele dedicated to the god Khonsu by draftsman Pay, limestone, New Kingdom, 19th Dynasty, (1279-1213 BC), Deir el-Medina, Drovetti cat 1553. Egyptian Museum, Turin. Grey background
  • Ancient Egyptian stele of scraftsman Minhotep in adoration of Osiris, limestone, New Kingdom, 18th Dynasty, (1336-1292 BC), Deir el-Medina, Drovetti cat 1619. Egyptian Museum, Turin. white background<br />
<br />
The stele is dedicated to Osiris, Anubis and Hathor "Mistress of the World".
  • Ancient Egyptian stele of scraftsman Minhotep in adoration of Osiris, limestone, New Kingdom, 18th Dynasty, (1336-1292 BC), Deir el-Medina, Drovetti cat 1619. Egyptian Museum, Turin. black background,<br />
<br />
The stele is dedicated to Osiris, Anubis and Hathor "Mistress of the World".
  • Ancient Egyptian funerary stele of painter Maya, limestone, New Kingdom, 18th Dynasty, (1336-1292 BC), Deir el-Medina,  Egyptian Museum, Turin. Grey background. Drovetti cat 1579.<br />
<br />
<br />
In the upper portion Maya and his wife Tamit pay homage to Osiris and Hathor, the gods of the necropolis. In the lower register is a similar scene in which his wife recieves food offerings from their many children, as was traditional at the time.
  • Ancient Egyptian funerary stele of painter Maya, limestone, New Kingdom, 18th Dynasty, (1336-1292 BC), Deir el-Medina,  Egyptian Museum, Turin.  Drovetti cat 1579.<br />
<br />
<br />
In the upper portion Maya and his wife Tamit pay homage to Osiris and Hathor, the gods of the necropolis. In the lower register is a similar scene in which his wife recieves food offerings from their many children, as was traditional at the time.
  • Ancient Egyptian funerary stele of painter Maya, limestone, New Kingdom, 18th Dynasty, (1336-1292 BC), Deir el-Medina,  Egyptian Museum, Turin.  Drovetti cat 1579.<br />
<br />
<br />
In the upper portion Maya and his wife Tamit pay homage to Osiris and Hathor, the gods of the necropolis. In the lower register is a similar scene in which his wife recieves food offerings from their many children, as was traditional at the time.
  • Ancient Egyptian funerary stele of painter Maya, limestone, New Kingdom, 18th Dynasty, (1336-1292 BC), Deir el-Medina,  Egyptian Museum, Turin. Grey background. Drovetti cat 1579.<br />
<br />
<br />
In the upper portion Maya and his wife Tamit pay homage to Osiris and Hathor, the gods of the necropolis. In the lower register is a similar scene in which his wife recieves food offerings from their many children, as was traditional at the time.
  • Ancient Egyptian stele of ssuperintendant of chancellor Meru, limestone, Middle Kingdom, 11th Dynasty, (2009-1959 BC), Abydos or Thebes, Egyptian Museum, Turin.  Grey background. Drovetti cat 1447.<br />
<br />
The upper section of the stele is dedicated to Meru's father, the central part contains a funerary invocation to Osiris. Lower register depict offerings to the dignitary and his mother, The figures are in bas-relief whereas the main text is carved in sunken relief which is less labour intensive. The Stele may have come from Meru's tomb in Thebes.
  • Ancient Egyptian stele of ssuperintendant of chancellor Meru, limestone, Middle Kingdom, 11th Dynasty, (2009-1959 BC), Abydos or Thebes, Egyptian Museum, Turin.  Grey background. Drovetti cat 1447.<br />
<br />
The upper section of the stele is dedicated to Meru's father, the central part contains a funerary invocation to Osiris. Lower register depict offerings to the dignitary and his mother, The figures are in bas-relief whereas the main text is carved in sunken relief which is less labour intensive. The Stele may have come from Meru's tomb in Thebes.
  • Ancient Egyptian stele dedicated to Meretsesger, limestone, New Kingdom, 19th Dynasty, (1279-1213 BC), Deir el-Medina, Egyptian Museum, Turin. <br />
<br />
The stele is divided into 3 registers. In the top section 2 wedjat eyes with shen sign above 3 zigzag lines indicating water are depicted. The second, largest register, is divided into 12 horizontal strips. Each is occupied by a coloured snake facing to the right.In the bottom register 3 columns of hieroglyphic text worship the goddess Meretseger: "life, strength and health to the ka and the lady of the house Wab, the justified." To the right of the text the deceased woman is kneeling with her hands raised in adoration. She  wears a white robe. A lotus flower is placed on top of her wig. Behind her head there are 4 hieroglyphic signs that form the phrase "at peace". To the right of the scene there is an offering table with a vessel flanked by a bunch of lotus flowers. Below the table there are 2 vessels on pedestals.
  • Ancient Egyptian stele dedicated by Pendua to Meretsesger, limestone, New Kingdom, 19th Dynasty, (1279-1213 BC), Deir el-Medina, Old Fund cat 1564. Egyptian Museum, Turin. black background
  • Ancient Egyptian stele dedicated by Pendua to Meretsesger, limestone, New Kingdom, 19th Dynasty, (1279-1213 BC), Deir el-Medina, Old Fund cat 1564. Egyptian Museum, Turin. Grey background
  • Ancient Egyptian ostracon dedicated by Amenkhau to Mereteseger, limestone, New Kingdom, 20th Dynasty, (1187-1150 BC), Deir el-Medina, ODrovetti cat 1564. Egyptian Museum, Turin. Grey background
  • Ancient Egyptian stele of the official Saherhotep & his wife Ipet, limestone, Middle Kingdom, 19th Dynasty, (1759-1700 BC), Old Fund cat 1630. Egyptian Museum, Turin. Grey backgtound.<br />
<br />
8 mummiform figure in high relief run along the bottom of the stele.
  • Ancient Egyptian stele of the official Saherhotep & his wife Ipet, limestone, Middle Kingdom, 19th Dynasty, (1759-1700 BC), Old Fund cat 1630. Egyptian Museum, Turin. Grey backgtound.<br />
<br />
8 mummiform figure in high relief run along the bottom of the stele.
  • Ancient Egyptian stele of sculptor Qen, limestone, New Kingdom, 19th Dynasty, (1279-1213 BC), Deir el-Medina, Old Fund cat 1635. Egyptian Museum, Turin. black background<br />
<br />
This stele belongs to the "painter of outlines' and sculptor Qen who lived in the reign of Ramesses II. It depicrs a funeral celebration for him infront of funerary chapel with his sond Meryre and Huy, who are performing the "ceremony of Opening of the Mouth". His daughter Taqri is depicted grieving over the loss of her father. The chapel is summounted by a Pyramidion.
  • Ancient Egyptian stele of sculptor Qen, limestone, New Kingdom, 19th Dynasty, (1279-1213 BC), Deir el-Medina, Old Fund cat 1635. Egyptian Museum, Turin. Grey background<br />
<br />
This stele belongs to the "painter of outlines' and sculptor Qen who lived in the reign of Ramesses II. It depicrs a funeral celebration for him infront of funerary chapel with his sond Meryre and Huy, who are performing the "ceremony of Opening of the Mouth". His daughter Taqri is depicted grieving over the loss of her father. The chapel is summounted by a Pyramidion.
  • Ancient Egyptian statue of the goddess Meretseger, limestone, New Kingdom, 19-20th Dynasty, (1480-1390 BC), deir el Medina. Egyptian Museum, Turin. Cat 957.
  • Ancient Egyptian statue of the goddess Meretseger, limestone, New Kingdom, 19-20th Dynasty, (1480-1390 BC), deir el Medina. Egyptian Museum, Turin. Grey background. Cat 957.
  • Ancient Egyptian four sided capital dedicated to Hathor, limestone, Ptolomaic Period (332039 BC). Egyptian Museum, Turin. Grey background. Cat 7031. <br />
<br />
Hathor, goddess of love and beauty and wet nurse of Horus, is often portrayed frontally with bovine ears. She was also protector of the turquoise mines in Sinai and the guardian of the 4 cardinal points awhich is why she is depicted with faces on each side of the capital
  • Ancient Egyptian four sided capital dedicated to Hathor, limestone, Ptolomaic Period (332039 BC). Egyptian Museum, Turin. Grey background. Cat 7031. Grey background.<br />
<br />
Hathor, goddess of love and beauty and wet nurse of Horus, is often portrayed frontally with bovine ears. She was also protector of the turquoise mines in Sinai and the guardian of the 4 cardinal points awhich is why she is depicted with faces on each side of the capital, Grey background;
  • Ancient Egyptian architectonic element of the temple of Aten, Karnak, limestone, New Kingdom 18th Dynasty (1353-1336 BC). Egyptian Museum, Turin. Grey backcground.<br />
<br />
This crystaline block from the riugn of Amenhoptep IV was part of the railing of the temple of Aten in Karnak. It is os a double form cartouche, which usually enclose the name of the king. Here insted, it contains the names of the sun disk Aten, the one god of King Akhenaten : "Ra-Harakhty rising in the Horizon" "in the name as the light which is in Aten". The name of the king is carved on the sides. The objects is therefore a links god with the pharoah. Drovetti collection Cat 1378
  • Ancient Egyptian statue head of a monarch, limestone, Middle Kingdom, mid 12th Dynasty, (1900-1850 BC), Qqw el-Kebir, tomb of Ibu. Egyptian Museum, Cat 4410 Turin. Grey Background.
  • Ancient Egyptian statue head of a monarch, limestone, Middle Kingdom, mis 12th Dynasty, (1900-1850 BC), Qqw el-Kebir, tomb of Ibu. Egyptian Museum, Turin. white background.<br />
<br />
Since this statue head comes from the tomb of Ibu it is likely that they depict a powerful gosvenor, although the incsription is lost. It can be dated by its style which is close to the statues of Amenemhat II and Sesostris II. Schiaparelli excavations. Cat 4410 & 4414
  • Ancient Egyptian statue of Penmernabu, offering a naos with a rams head on top, limestone, New Kingdom, 19th Dynasty, (1292-1190 BC, Deir el-Medina. Egyptian Museum, Turin. Grey background.<br />
<br />
Penmernabu is depicted presenting a rams head ontop of a shrine. The ram is sacred to the god Amon-Re. An image of the god is also carved on the statues's right shoulder, while an image of the goddess Ahmes-Nefretari is carved on his left shoulder. . Drovetti collection. Cat 3032.
  • Ancient Egyptian statue of Hel, limestone, New Kingdom, late 18th Dynasty, (1320-1280 BC), Saqqara. Egyptian Museum, Turin. Grey background.<br />
<br />
The women is seated on a cushioned stool. On her head is a lotus flower. In her left hand she holds a cloth in her right a counterweight for a meant necklace, a ritual instrument used in the cult of the goddess Hathor. the statue probably stood in a tomb in Saqqara necropolis of Memphis, where the Egyptian eletes of the time had splendid tombs with statues of s similar style. The inscription evokes the deceased "everything that comes forth in the presence of the gods of Memphis for Osiris, the lady of Hel..."
  • Ancient Egyptian statue of pharaoh Horemheb with god Amun, limestone, New Kingdom, 18th Dynasty, (1319-1292 BC). Egyptian Museum, Turin. Grey Background.<br />
<br />
Horemheb stands beside the taller depiction of the god Amun. The statue is typical of the period following the religious and artistic revolution of King Akhenaten. The muscles are not emphasised and the contours are soft, with rounded hips and juvenile faces, the eyes are almond shaped and the cheeks and lips sensual. Some scholars believe this may have been a statue of Tutenkhamon remodelled by Horemheb. Dorvetti collection. C 768
  • Ancient Egyptian statue of pharaoh Horemheb with god Amun, limestone, New Kingdom, 18th Dynasty, (1319-1292 BC). Egyptian Museum, Turin. Grey Background.<br />
<br />
Horemheb stands beside the taller depiction of the god Amun. The statue is typical of the period following the religious and artistic revolution of King Akhenaten. The muscles are not emphasised and the contours are soft, with rounded hips and juvenile faces, the eyes are almond shaped and the cheeks and lips sensual. Some scholars believe this may have been a statue of Tutenkhamon remodelled by Horemheb. Dorvetti collection. C 768
  • Ancient Egyptian statue of Ptah - limestone - New Kingdom. 18th Dynasty, reign of Amenhotep III (1390 - 1353 BC), Karnac. Egyptian Museum, Turin.  white background<br />
<br />
Large statue of Egyptian gods are rare and most of them are part of building designs. This imposing statue of Ptah was probably made for the "Temple of Millions of Years", on the west bank of Thebes, promoted by Amenhotep III . When the temple was eventually abandoned its statues were reused in other temples in the region. Drovetti collection C. 87
  • Ancient Egyptian statue of Ptah - limestone - New Kingdom. 18th Dynasty, reign of Amenhotep III (1390 - 1353 BC), Karnac. Egyptian Museum, Turin.  Grey background<br />
<br />
Large statue of Egyptian gods are rare and most of them are part of building designs. This imposing statue of Ptah was probably made for the "Temple of Millions of Years", on the west bank of Thebes, promoted by Amenhotep III . When the temple was eventually abandoned its statues were reused in other temples in the region. Drovetti collection C. 87
  • Picture & image of Katskhi Pillar Georgian Orthodox church on a 40 m (130 ft) natural limestone rock pillar near Chiatura, Imereti Region, Georgia (country).<br />
<br />
Studies have shown that the pillar was an early medieval hermitage occupied from at least the 9th century.
  • Picture & image of Katskhi Pillar Georgian Orthodox church on a 40 m (130 ft) natural limestone rock pillar near Chiatura, Imereti Region, Georgia (country).<br />
<br />
Studies have shown that the pillar was an early medieval hermitage occupied from at least the 9th century.
  • Picture & image of Katskhi Pillar Georgian Orthodox church on a 40 m (130 ft) natural limestone rock pillar near Chiatura, Imereti Region, Georgia (country).<br />
<br />
Studies have shown that the pillar was an early medieval hermitage occupied from at least the 9th century.
  • Picture & imafe of Relief of God of War. Limestone, Kings Gate, Hattusa ( Bogazkoy ). 14th - 13th Century BC. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
The warrior depicted in high relief is dressed in a decorated skirt. The relief takes place on the interior part of the King's gate facing city, to the east of the city walls. He carries a crescent-handled short sword in his belt. The relief is identified as god depiction since the horns on the headdress are the indication of a god.  <br />
<br />
Against a gray background.
  • Relief of God of War. Limestone, Kings Gate, Hattusa ( Bogazkoy ). 14th - 13th Century BC. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
The warrior depicted in high relief is dressed in a decorated skirt. The relief takes place on the interior part of the King's gate facing city, to the east of the city walls. He carries a crescent-handled short sword in his belt. The relief is identified as god depiction since the horns on the headdress are the indication of a god.  <br />
<br />
Against a black background.

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