• Topless young Women from behing wearing a pair of boxer pants with the Union Jack on it. Attached to it is a ticket with the words Sale
  • Close up of a  card with the words sale on it in the back pocket of blue jeans being worn by a women showing her bare waiste.
  • Close up of young women wearing a dress with a  ticket tucked into its pocket with the word sale on it
  • Close up of young women wearing pink  pants with a  ticket with the word sale on it.
  • Close up of young women from behind lifting her mini skirt to scratch ber bare bottom. There is a  ticket attached to the skirt with the word Sale on it.
  • Close up of young women from behind lifting her mini skirt to scratch ber bare bottom. There is a  ticket attached to the skirt with the word Sale on it.
  • Close up of young women from behind lifting her mini skirt to scratch ber bare bottom. There is a  ticket attached to the skirt with the word Sale on it.
  • Close up of a  ticket tucked into a bra top being worn by a young women, with the words Sale on it
  • Close up of a ticketwith the words sale on it attached to a black bikini being worn by a women
  • Close up of a  card with the words sale on it in the back pocket of blue jeans being worn by a women showing her bare waiste.
  • Close up of  card with the words Sale on it in the back pocket of blue jeans being worn by a women showing her bare waiste. For over printing Sale, discount or business name.
  • Close up of Sale  etched into the leather swatch on a pair of blue jeans being worn by a women showing her bare waiste
  • Close up of leather swatch on a pair of blue jeans being worn by a women showing her bare waiste. For overlaying Sale, discount or business name.
  • Close up of Sale  etched into the leather swatch on a pair of blue jeans being worn by a women showing her bare waiste
  • Echinopsis oxygona growing outdoors on the Cyclades Islad of Ios, Greece
  • Echinopsis oxygona growing outdoors on the Cyclades Islad of Ios, Greece
  • Echinopsis oxygona growing outdoors on the Cyclades Islad of Ios, Greece
  • South Porch, Right Portal, Tympanum- General View.This portal is dedicated to the Confessors. Cathedral of Chartres, France. Tympanum and Lintel: Miracles by two very popular saints, Martin and Nicholas, are shown on the tympanum and lintel. Both saints have figures on the jambs below and several windows in the interior lower level and clerestory..On the left is the Miracle of Martin's cloak. In the lower left panel, Martin, a young Roman stationed in Amiens, met a beggar at the city gate one cold day. Moved by the man's suffering, Martin cut his cloak in half and gave him one of the pieces. In the upper left panel, Martin is shown sleeping. His dream is shown on the tympanum; Christ appears wearing the piece of the cloak he gave to the beggar, who had really been Christ..On the right are miracles of Nicholas. In the bottom panel, Nicholas anonymously gives dowries to three indigent girls. On the upper right, pilgrims at Nicholas's tomb, which supposedly gave off a miraculous healing fluid. .Archivolts: .On the lower register of archivolts are miracles of Gilles, including the Mass of St. Gilles (right). The other archivolts show various Confessors.A UNESCO World Heritage Site.
  • South Porch, Right Portal, Tympanum- General View.This portal is dedicated to the Confessors. Cathedral of Chartres, France. Tympanum and Lintel: Miracles by two very popular saints, Martin and Nicholas, are shown on the tympanum and lintel. Both saints have figures on the jambs below and several windows in the interior lower level and clerestory..On the left is the Miracle of Martin's cloak. In the lower left panel, Martin, a young Roman stationed in Amiens, met a beggar at the city gate one cold day. Moved by the man's suffering, Martin cut his cloak in half and gave him one of the pieces. In the upper left panel, Martin is shown sleeping. His dream is shown on the tympanum; Christ appears wearing the piece of the cloak he gave to the beggar, who had really been Christ..On the right are miracles of Nicholas. In the bottom panel, Nicholas anonymously gives dowries to three indigent girls. On the upper right, pilgrims at Nicholas's tomb, which supposedly gave off a miraculous healing fluid. .Archivolts: .On the lower register of archivolts are miracles of Gilles, including the Mass of St. Gilles (right). The other archivolts show various Confessors.A UNESCO World Heritage Site.
  • South Porch, Right Portal, Tympanum- General View.This portal is dedicated to the Confessors. Cathedral of Chartres, France. Tympanum and Lintel: Miracles by two very popular saints, Martin and Nicholas, are shown on the tympanum and lintel. Both saints have figures on the jambs below and several windows in the interior lower level and clerestory..On the left is the Miracle of Martin's cloak. In the lower left panel, Martin, a young Roman stationed in Amiens, met a beggar at the city gate one cold day. Moved by the man's suffering, Martin cut his cloak in half and gave him one of the pieces. In the upper left panel, Martin is shown sleeping. His dream is shown on the tympanum; Christ appears wearing the piece of the cloak he gave to the beggar, who had really been Christ..On the right are miracles of Nicholas. In the bottom panel, Nicholas anonymously gives dowries to three indigent girls. On the upper right, pilgrims at Nicholas's tomb, which supposedly gave off a miraculous healing fluid. .Archivolts: .On the lower register of archivolts are miracles of Gilles, including the Mass of St. Gilles (right). The other archivolts show various Confessors.A UNESCO World Heritage Site.
  • South Porch, Right Portal, Tympanum- General View.This portal is dedicated to the Confessors. Cathedral of Chartres, France. Tympanum and Lintel: Miracles by two very popular saints, Martin and Nicholas, are shown on the tympanum and lintel. Both saints have figures on the jambs below and several windows in the interior lower level and clerestory..On the left is the Miracle of Martin's cloak. In the lower left panel, Martin, a young Roman stationed in Amiens, met a beggar at the city gate one cold day. Moved by the man's suffering, Martin cut his cloak in half and gave him one of the pieces. In the upper left panel, Martin is shown sleeping. His dream is shown on the tympanum; Christ appears wearing the piece of the cloak he gave to the beggar, who had really been Christ..On the right are miracles of Nicholas. In the bottom panel, Nicholas anonymously gives dowries to three indigent girls. On the upper right, pilgrims at Nicholas's tomb, which supposedly gave off a miraculous healing fluid. .Archivolts: .On the lower register of archivolts are miracles of Gilles, including the Mass of St. Gilles (right). The other archivolts show various Confessors.A UNESCO World Heritage Site.
  • Picture and image of the stone sculptured monumental tombs of lower arcade of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculptured monumental tombs of lower arcade of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculptured monumental tombs of lower arcade of the Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures of the stone sculptured monumental tombs of the lower arcade of the Staglieno Monumental Cemetery, Genoa, Italy
  • Underground Etruscan tomb "Tomba dei Caronti" made about 150-125 BC. This tomb has a higher level with 2 painted false doors that was furnished with seats as was probably used for religious functions, steps lead down to a lower burial chamber. Excavated 1960 , Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb "Tomba dei Caronti" made about 150-125 BC. This tomb has a higher level with 2 painted false doors that was furnished with seats as was probably used for religious functions, steps lead down to a lower burial chamber. Excavated 1960 , Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb "Tomba dei Caronti" made about 150-125 BC. This tomb has a higher level with 2 painted false doors that was furnished with seats as was probably used for religious functions, steps lead down to a lower burial chamber. Excavated 1960 , Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb "Tomba dei Caronti" made about 150-125 BC. This tomb has a higher level with 2 painted false doors that was furnished with seats as was probably used for religious functions, steps lead down to a lower burial chamber. Excavated 1960 , Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb "Tomba dei Caronti" made about 150-125 BC. This tomb has a higher level with 2 painted false doors that was furnished with seats as was probably used for religious functions, steps lead down to a lower burial chamber. Excavated 1960 , Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb "Tomba dei Caronti" made about 150-125 BC. This tomb has a higher level with 2 painted false doors that was furnished with seats as was probably used for religious functions, steps lead down to a lower burial chamber. Excavated 1960 , Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb "Tomba dei Caronti" made about 150-125 BC. This tomb has a higher level with 2 painted false doors that was furnished with seats as was probably used for religious functions, steps lead down to a lower burial chamber. Excavated 1960 , Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • 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.
  • Wide picture of the Roman mosaics of the Room of the Chidrens's Hunt depicting children hunting animals, room no 44 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Roman mosaic on the floor of the cubicle of the Child Hunt in the Villa Romana del Casale is divided into three registers with a floral theme.<br />
<br />
In the first register boys are spearing a hare with a venabulum ( spear) while to their right another boy has trapped a duckling. <br />
<br />
In the second register tree young hunters are portrayed being attacked by animals, one boy has fallen down having been bitten on the calf by a weasel. The boy in the middle has his hands raised calling for help and to his right a boy is about to be attacked bu a cockerel.<br />
<br />
In the lower register a boy is holding a raised club about to hit a peacock while another boy is spearing a goat and another is using a shield to protect himself from a Great Bustard.
  • Close up detail picture of the Roman mosaics of the Room of the Chidrens's Hunt depicting children hunting animals, room no 44 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Roman mosaic on the floor of the cubicle of the Child Hunt in the Villa Romana del Casale is divided into three registers with a floral theme.<br />
<br />
In the first register boys are spearing a hare with a venabulum ( spear) while to their right another boy has trapped a duckling. <br />
<br />
In the second register tree young hunters are portrayed being attacked by animals, one boy has fallen down having been bitten on the calf by a weasel. The boy in the middle has his hands raised calling for help and to his right a boy is about to be attacked bu a cockerel.<br />
<br />
In the lower register a boy is holding a raised club about to hit a peacock while another boy is spearing a goat and another is using a shield to protect himself from a Great Bustard.
  • Close up detail picture of the Roman mosaics of the Room of the Chidrens's Hunt depicting children hunting animals, room no 44 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Roman mosaic on the floor of the cubicle of the Child Hunt in the Villa Romana del Casale is divided into three registers with a floral theme.<br />
<br />
In the first register boys are spearing a hare with a venabulum ( spear) while to their right another boy has trapped a duckling. <br />
<br />
In the second register tree young hunters are portrayed being attacked by animals, one boy has fallen down having been bitten on the calf by a weasel. The boy in the middle has his hands raised calling for help and to his right a boy is about to be attacked bu a cockerel.<br />
<br />
In the lower register a boy is holding a raised club about to hit a peacock while another boy is spearing a goat and another is using a shield to protect himself from a Great Bustard.
  • Close up detail picture of the Roman mosaics of the Room of the Chidrens's Hunt depicting children hunting animals, room no 44 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Roman mosaic on the floor of the cubicle of the Child Hunt in the Villa Romana del Casale is divided into three registers with a floral theme.<br />
<br />
In the first register boys are spearing a hare with a venabulum ( spear) while to their right another boy has trapped a duckling. <br />
<br />
In the second register tree young hunters are portrayed being attacked by animals, one boy has fallen down having been bitten on the calf by a weasel. The boy in the middle has his hands raised calling for help and to his right a boy is about to be attacked bu a cockerel.<br />
<br />
In the lower register a boy is holding a raised club about to hit a peacock while another boy is spearing a goat and another is using a shield to protect himself from a Great Bustard.
  • Close up detail picture of the Roman mosaics of the Room of the Chidrens's Hunt depicting children hunting animals, room no 44 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Roman mosaic on the floor of the cubicle of the Child Hunt in the Villa Romana del Casale is divided into three registers with a floral theme.<br />
<br />
In the first register boys are spearing a hare with a venabulum ( spear) while to their right another boy has trapped a duckling. <br />
<br />
In the second register tree young hunters are portrayed being attacked by animals, one boy has fallen down having been bitten on the calf by a weasel. The boy in the middle has his hands raised calling for help and to his right a boy is about to be attacked bu a cockerel.<br />
<br />
In the lower register a boy is holding a raised club about to hit a peacock while another boy is spearing a goat and another is using a shield to protect himself from a Great Bustard.
  • Close up detail picture of the Roman mosaics of the Room of the Chidrens's Hunt depicting children hunting animals, room no 44 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Roman mosaic on the floor of the cubicle of the Child Hunt in the Villa Romana del Casale is divided into three registers with a floral theme.<br />
<br />
In the first register boys are spearing a hare with a venabulum ( spear) while to their right another boy has trapped a duckling. <br />
<br />
In the second register tree young hunters are portrayed being attacked by animals, one boy has fallen down having been bitten on the calf by a weasel. The boy in the middle has his hands raised calling for help and to his right a boy is about to be attacked bu a cockerel.<br />
<br />
In the lower register a boy is holding a raised club about to hit a peacock while another boy is spearing a goat and another is using a shield to protect himself from a Great Bustard.
  • Close up detail picture of the Roman mosaics of the Room of the Chidrens's Hunt depicting children hunting animals, room no 44 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Roman mosaic on the floor of the cubicle of the Child Hunt in the Villa Romana del Casale is divided into three registers with a floral theme.<br />
<br />
In the first register boys are spearing a hare with a venabulum ( spear) while to their right another boy has trapped a duckling. <br />
<br />
In the second register tree young hunters are portrayed being attacked by animals, one boy has fallen down having been bitten on the calf by a weasel. The boy in the middle has his hands raised calling for help and to his right a boy is about to be attacked bu a cockerel.<br />
<br />
In the lower register a boy is holding a raised club about to hit a peacock while another boy is spearing a goat and another is using a shield to protect himself from a Great Bustard.
  • Roman mosaics - Seasons  Mosaic. Telete Villa.  2nd - 3rd century AD . Zeugma Mosaic Museum, Gaziantep, Turkey.<br />
<br />
Seasons mosaic Telete, was unearthed during the rescue excavations y Gaziantep Museum in 1994 when it was about to be stolen by the traffickers. It is the floor mosaic of a villa terrace located on the western skins of Zeugma hill <br />
<br />
The pane% consists of nine parts. At the central panel, Eros, who Is a mythological character and who has a crown on his head, sits side by side with Telete, the daughter of Dionysus. This representation symbolises the preparation of a young woman who is just about to taste the love and to become mature. There are busts of seasonal gods In the square panels at the corners. The crowned head of the Spring Goddess Ear Is slightly towards right. She wears a floral necklace. Her righr shoulder is naked and the crimps of her cloak are seen on her left shoulder. There is the bust of the river god on the top-right of the Telete panel. A kid lying on the grass and a bucket are pictured in the lower rectangular panel. In the western-side rectangular panel, on the other hand, there are four fish going in and out of a game basket. There is a rabbit figure within the rectangular panel on the right. Mythical narrations and natural life are intertwined in this mosaic.
  • Roman mosaics - Seasons  Mosaic. Telete Villa.  2nd - 3rd century AD . Zeugma Mosaic Museum, Gaziantep, Turkey.  Against a white background.<br />
<br />
Seasons mosaic Telete, was unearthed during the rescue excavations y Gaziantep Museum in 1994 when it was about to be stolen by the traffickers. It is the floor mosaic of a villa terrace located on the western skins of Zeugma hill <br />
<br />
The pane% consists of nine parts. At the central panel, Eros, who Is a mythological character and who has a crown on his head, sits side by side with Telete, the daughter of Dionysus. This representation symbolises the preparation of a young woman who is just about to taste the love and to become mature. There are busts of seasonal gods In the square panels at the corners. The crowned head of the Spring Goddess Ear Is slightly towards right. She wears a floral necklace. Her righr shoulder is naked and the crimps of her cloak are seen on her left shoulder. There is the bust of the river god on the top-right of the Telete panel. A kid lying on the grass and a bucket are pictured in the lower rectangular panel. In the western-side rectangular panel, on the other hand, there are four fish going in and out of a game basket. There is a rabbit figure within the rectangular panel on the right. Mythical narrations and natural life are intertwined in this mosaic.
  • Roman mosaics - Seasons  Mosaic. Telete Villa.  2nd - 3rd century AD . Zeugma Mosaic Museum, Gaziantep, Turkey.   Against a black background.<br />
<br />
Seasons mosaic Telete, was unearthed during the rescue excavations y Gaziantep Museum in 1994 when it was about to be stolen by the traffickers. It is the floor mosaic of a villa terrace located on the western skins of Zeugma hill <br />
<br />
The pane% consists of nine parts. At the central panel, Eros, who Is a mythological character and who has a crown on his head, sits side by side with Telete, the daughter of Dionysus. This representation symbolises the preparation of a young woman who is just about to taste the love and to become mature. There are busts of seasonal gods In the square panels at the corners. The crowned head of the Spring Goddess Ear Is slightly towards right. She wears a floral necklace. Her righr shoulder is naked and the crimps of her cloak are seen on her left shoulder. There is the bust of the river god on the top-right of the Telete panel. A kid lying on the grass and a bucket are pictured in the lower rectangular panel. In the western-side rectangular panel, on the other hand, there are four fish going in and out of a game basket. There is a rabbit figure within the rectangular panel on the right. Mythical narrations and natural life are intertwined in this mosaic.
  • Roman mosaics - Seasons  Mosaic. Telete Villa.  2nd - 3rd century AD . Zeugma Mosaic Museum, Gaziantep, Turkey.   Against an art background.<br />
<br />
Seasons mosaic Telete, was unearthed during the rescue excavations y Gaziantep Museum in 1994 when it was about to be stolen by the traffickers. It is the floor mosaic of a villa terrace located on the western skins of Zeugma hill <br />
<br />
The pane% consists of nine parts. At the central panel, Eros, who Is a mythological character and who has a crown on his head, sits side by side with Telete, the daughter of Dionysus. This representation symbolises the preparation of a young woman who is just about to taste the love and to become mature. There are busts of seasonal gods In the square panels at the corners. The crowned head of the Spring Goddess Ear Is slightly towards right. She wears a floral necklace. Her righr shoulder is naked and the crimps of her cloak are seen on her left shoulder. There is the bust of the river god on the top-right of the Telete panel. A kid lying on the grass and a bucket are pictured in the lower rectangular panel. In the western-side rectangular panel, on the other hand, there are four fish going in and out of a game basket. There is a rabbit figure within the rectangular panel on the right. Mythical narrations and natural life are intertwined in this mosaic.
  • Roman mosaics - Seasons  Mosaic. Telete Villa.  2nd - 3rd century AD . Zeugma Mosaic Museum, Gaziantep, Turkey.<br />
<br />
Seasons mosaic Telete, was unearthed during the rescue excavations y Gaziantep Museum in 1994 when it was about to be stolen by the traffickers. It is the floor mosaic of a villa terrace located on the western skins of Zeugma hill <br />
<br />
The pane% consists of nine parts. At the central panel, Eros, who Is a mythological character and who has a crown on his head, sits side by side with Telete, the daughter of Dionysus. This representation symbolises the preparation of a young woman who is just about to taste the love and to become mature. There are busts of seasonal gods In the square panels at the corners. The crowned head of the Spring Goddess Ear Is slightly towards right. She wears a floral necklace. Her righr shoulder is naked and the crimps of her cloak are seen on her left shoulder. There is the bust of the river god on the top-right of the Telete panel. A kid lying on the grass and a bucket are pictured in the lower rectangular panel. In the western-side rectangular panel, on the other hand, there are four fish going in and out of a game basket. There is a rabbit figure within the rectangular panel on the right. Mythical narrations and natural life are intertwined in this mosaic.
  • 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.
  • Close up of lower relief sculptures of Hittite gods at Eflatun Pınar ( Eflatunpınar) Ancient Hittite relief sculpture monument and sacred pool.  Between 15th to 13th centuries BC. Lake Beysehir National Park, Konya, Turkey.
  • Close up of lower relief sculptures of Hittite gods at Eflatun Pınar ( Eflatunpınar) Ancient Hittite relief sculpture monument and sacred pool.  Between 15th to 13th centuries BC. Lake Beysehir National Park, Konya, Turkey.
  • Close up of lower relief sculptures of Hittite gods at Eflatun Pınar ( Eflatunpınar) Ancient Hittite relief sculpture monument and sacred pool.  Between 15th to 13th centuries BC. Lake Beysehir National Park, Konya, Turkey.
  • Close up of lower relief sculptures of Hittite gods at Eflatun Pınar ( Eflatunpınar) Ancient Hittite relief sculpture monument and sacred pool.  Between 15th to 13th centuries BC. Lake Beysehir National Park, Konya, Turkey.
  • Hittite relief sculpted orthostat stone panel of Long Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 - 700 B.C. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Goddess Kubaba. Goddess is depicted from the profile. The part below the chest of the relief is broken. She holds a pomegranate in her hands on her chest. She carries a one-horned headdress on her head. Her braided hair hangs down to her shoulder. The text in the hieroglyphics is not understood. The lower part of the relief has been restored. <br />
<br />
On a grey art background.
  • Hittite relief sculpted orthostat stone panel of Long Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 - 700 B.C. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Goddess Kubaba. Goddess is depicted from the profile. The part below the chest of the relief is broken. She holds a pomegranate in her hands on her chest. She carries a one-horned headdress on her head. Her braided hair hangs down to her shoulder. The text in the hieroglyphics is not understood. The lower part of the relief has been restored. <br />
<br />
On a White Background.
  • Hittite relief sculpted orthostat stone panel of Long Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 - 700 B.C. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Goddess Kubaba. Goddess is depicted from the profile. The part below the chest of the relief is broken. She holds a pomegranate in her hands on her chest. She carries a one-horned headdress on her head. Her braided hair hangs down to her shoulder. The text in the hieroglyphics is not understood. The lower part of the relief has been restored. <br />
<br />
On a black background.
  • Picture & image of Hittite relief sculpted orthostat stone panel of Long Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 - 700 B.C. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Goddess Kubaba. Goddess is depicted from the profile. The part below the chest of the relief is broken. She holds a pomegranate in her hands on her chest. She carries a one-horned headdress on her head. Her braided hair hangs down to her shoulder. The text in the hieroglyphics is not understood. The lower part of the relief has been restored. <br />
<br />
On a gray background.
  • Photo of Hittite relief sculpted orthostat stone panel of Long Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 - 700 B.C. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Goddess Kubaba. Goddess is depicted from the profile. The part below the chest of the relief is broken. She holds a pomegranate in her hands on her chest. She carries a one-horned headdress on her head. Her braided hair hangs down to her shoulder. The text in the hieroglyphics is not understood. The lower part of the relief has been restored. <br />
<br />
On a brown art background.
  • Hittite relief sculpted orthostat stone panel of Long Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Goddess Kubaba. Goddess is depicted from the profile. The part below the chest of the relief is broken. She holds a pomegranate in her hands on her chest. She carries a one-horned headdress on her head. Her braided hair hangs down to her shoulder. The text in the hieroglyphics is not understood. The lower part of the relief has been restored. <br />
<br />
On a White Background.
  • Hittite relief sculpted orthostat stone panel of Long Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Goddess Kubaba. Goddess is depicted from the profile. The part below the chest of the relief is broken. She holds a pomegranate in her hands on her chest. She carries a one-horned headdress on her head. Her braided hair hangs down to her shoulder. The text in the hieroglyphics is not understood. The lower part of the relief has been restored. <br />
<br />
On a black background.
  • Hittite relief sculpted orthostat stone panel of Long Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Goddess Kubaba. Goddess is depicted from the profile. The part below the chest of the relief is broken. She holds a pomegranate in her hands on her chest. She carries a one-horned headdress on her head. Her braided hair hangs down to her shoulder. The text in the hieroglyphics is not understood. The lower part of the relief has been restored. <br />
<br />
On a grey art background.
  • Picture & image of Hittite relief sculpted orthostat stone panel of Long Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Goddess Kubaba. Goddess is depicted from the profile. The part below the chest of the relief is broken. She holds a pomegranate in her hands on her chest. She carries a one-horned headdress on her head. Her braided hair hangs down to her shoulder. The text in the hieroglyphics is not understood. The lower part of the relief has been restored. <br />
<br />
On a gray background.
  • Photo of Hittite relief sculpted orthostat stone panel of Long Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Goddess Kubaba. Goddess is depicted from the profile. The part below the chest of the relief is broken. She holds a pomegranate in her hands on her chest. She carries a one-horned headdress on her head. Her braided hair hangs down to her shoulder. The text in the hieroglyphics is not understood. The lower part of the relief has been restored. <br />
<br />
On a brown art background.
  • 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 />
Chariot. One of the two figures in the chariot holds the horse's headstall while the other throws arrows. There is a naked enemy with an arrow in his hip lying face down under the horse's feet. It is thought that this figure is depicted smaller than the other figures since it is an enemy soldier. The lower part of the orthostat is decorated with braiding motifs.<br />
<br />
On a White Background.
  • 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 />
Chariot. One of the two figures in the chariot holds the horse's headstall while the other throws arrows. There is a naked enemy with an arrow in his hip lying face down under the horse's feet It is thought that this figure is depicted smaller than the other figures since it is an enemy soldier. The lower part of the orthostat is decorated with braiding motifs. . <br />
<br />
On a White Background.
  • 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 />
Chariot. One of the two figures in the chariot holds the horse's headstall while the other throws arrows. There is a naked enemy with an arrow in his hip lying face down under the horse's feet. It is thought that this figure is depicted smaller than the other figures since it is an enemy soldier. The lower part of the orthostat is decorated with braiding motifs.<br />
<br />
On a black 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 />
Chariot. One of the two figures in the chariot holds the horse's headstall while the other throws arrows. There is a naked enemy with an arrow in his hip lying face down under the horse's feet. It is thought that this figure is depicted smaller than the other figures since it is an enemy soldier. The lower part of the orthostat is decorated with braiding motifs.<br />
<br />
On a gray background.
  • Photo 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 />
Chariot. One of the two figures in the chariot holds the horse's headstall while the other throws arrows. There is a naked enemy with an arrow in his hip lying face down under the horse's feet. It is thought that this figure is depicted smaller than the other figures since it is an enemy soldier. The lower part of the orthostat is decorated with braiding motifs.<br />
<br />
On a brown art background.
  • 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 />
Chariot. One of the two figures in the chariot holds the horse's headstall while the other throws arrows. There is a naked enemy with an arrow in his hip lying face down under the horse's feet. It is thought that this figure is depicted smaller than the other figures since it is an enemy soldier. The lower part of the orthostat is decorated with braiding motifs.<br />
<br />
On a grey art background.
  • 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 />
Chariot. One of the two figures in the chariot holds the horse's headstall while the other throws arrows. There is a naked enemy with an arrow in his hip lying face down under the horse's feet It is thought that this figure is depicted smaller than the other figures since it is an enemy soldier. The lower part of the orthostat is decorated with braiding motifs.<br />
<br />
On a black 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 />
Chariot. One of the two figures in the chariot holds the horse's headstall while the other throws arrows. There is a naked enemy with an arrow in his hip lying face down under the horse's feet It is thought that this figure is depicted smaller than the other figures since it is an enemy soldier. The lower part of the orthostat is decorated with braiding motifs. <br />
<br />
On a gray background.
  • Hittite relief sculpted orthostat stone panel of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 - 700 B.C. Chariot. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
One of the two figures in the chariot holds the horse's headstall while the other throws arrows. There is a naked enemy with an arrow in his hip lying face down under the horse's feet It is thought that this figure is depicted smaller than the other figures since it is an enemy soldier. The lower part of the orthostat is decorated with braiding motifs. . <br />
<br />
On a White Background.
  • Photo 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 />
Chariot. One of the two figures in the chariot holds the horse's headstall while the other throws arrows. There is a naked enemy with an arrow in his hip lying face down under the horse's feet It is thought that this figure is depicted smaller than the other figures since it is an enemy soldier. The lower part of the orthostat is decorated with braiding motifs. <br />
<br />
On a brown art background.
  • 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 />
Chariot. One of the two figures in the chariot holds the horse's headstall while the other throws arrows. There is a naked enemy with an arrow in his hip lying face down under the horse's feet It is thought that this figure is depicted smaller than the other figures since it is an enemy soldier. The lower part of the orthostat is decorated with braiding motifs. <br />
<br />
On a grey art background.
  • Hittite relief sculpted orthostat stone panel of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 - 700 B.C. Chariot. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
One of the two figures in the chariot holds the horse's headstall while the other throws arrows. There is a naked enemy with an arrow in his hip lying face down under the horse's feet It is thought that this figure is depicted smaller than the other figures since it is an enemy soldier. The lower part of the orthostat is decorated with braiding motifs. <br />
<br />
On a gray background.
  • Hittite relief sculpted orthostat stone panel of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 - 700 B.C. Chariot. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
One of the two figures in the chariot holds the horse's headstall while the other throws arrows. There is a naked enemy with an arrow in his hip lying face down under the horse's feet It is thought that this figure is depicted smaller than the other figures since it is an enemy soldier. The lower part of the orthostat is decorated with braiding motifs. . <br />
<br />
On a black background.
  • Photo of Hittite relief sculpted orthostat stone panel of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 - 700 B.C. Chariot. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
One of the two figures in the chariot holds the horse's headstall while the other throws arrows. There is a naked enemy with an arrow in his hip lying face down under the horse's feet It is thought that this figure is depicted smaller than the other figures since it is an enemy soldier. The lower part of the orthostat is decorated with braiding motifs. <br />
<br />
On a brown art background.
  • Hittite relief sculpted orthostat stone panel of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 - 700 B.C. Chariot. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
One of the two figures in the chariot holds the horse's headstall while the other throws arrows. There is a naked enemy with an arrow in his hip lying face down under the horse's feet It is thought that this figure is depicted smaller than the other figures since it is an enemy soldier. The lower part of the orthostat is decorated with braiding motifs. <br />
<br />
On a grey art background.
  • Picture & image of Hittite sculpted orthostats panels of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Soldiers. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Figures of helmeted warriors. They have their shield in their back and their spear in their hand. The prisoner in their front is depicted as small. The lower part of the orthostat is decorated with braiding motifs. <br />
<br />
On a gray background.
  • Hittite sculpted orthostats panels of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Soldiers. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Figures of helmeted warriors. They have their shield in their back and their spear in their hand. The prisoner in their front is depicted as small. The lower part of the orthostat is decorated with braiding motifs. <br />
<br />
On a White Background.
  • Hittite sculpted orthostats panels of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Soldiers. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Figures of helmeted warriors. They have their shield in their back and their spear in their hand. The prisoner in their front is depicted as small. The lower part of the orthostat is decorated with braiding motifs. <br />
<br />
On a black background.
  • Hittite sculpted orthostats panels of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Soldiers. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Figures of helmeted warriors. They have their shield in their back and their spear in their hand. The prisoner in their front is depicted as small. The lower part of the orthostat is decorated with braiding motifs. <br />
<br />
On a grey art background.
  • Photo of Hittite sculpted orthostats panels of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Soldiers. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Figures of helmeted warriors. They have their shield in their back and their spear in their hand. The prisoner in their front is depicted as small. The lower part of the orthostat is decorated with braiding motifs. <br />
<br />
On a brown art background.
  • Hittite sculpted orthostats of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 BC. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Soldiers. Figure of three helmeted warriors. They have their shield in their back and their spear in their hand. The prisoners in their front are depicted as small. The lower part of the orthostat is decorated with wring / braiding motifs.<br />
<br />
On a White Background.
  • Hittite sculpted orthostats panels of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Soldiers. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Figure of two helmeted warriors. They have their shield in their back and their spear in their hand. The prisoner in their front is depicted as small. The lower part of the orthostat is decorated with braiding motifs. <br />
<br />
On a White Background.
  • Hittite sculpted orthostats of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 BC. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Soldiers. Figure of three helmeted warriors. They have their shield in their back and their spear in their hand. The prisoners in their front are depicted as small. The lower part of the orthostat is decorated with wring / braiding motifs.<br />
<br />
On a black background.
  • Picture & image of Hittite sculpted orthostats of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 BC. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Soldiers. Figure of three helmeted warriors. They have their shield in their back and their spear in their hand. The prisoners in their front are depicted as small. The lower part of the orthostat is decorated with wring / braiding motifs.<br />
<br />
On a gray background.
  • Photo of Hittite sculpted orthostats of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 BC. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Soldiers. Figure of three helmeted warriors. They have their shield in their back and their spear in their hand. The prisoners in their front are depicted as small. The lower part of the orthostat is decorated with wring / braiding motifs.<br />
<br />
On a brown art background.
  • Hittite sculpted orthostats of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 BC. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Soldiers. Figure of three helmeted warriors. They have their shield in their back and their spear in their hand. The prisoners in their front are depicted as small. The lower part of the orthostat is decorated with wring / braiding motifs.<br />
<br />
On a grey art background.
  • Picture & image of Hittite sculpted orthostats panels of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Soldiers. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Figure of two helmeted warriors. They have their shield in their back and their spear in their hand. The prisoner in their front is depicted as small. The lower part of the orthostat is decorated with braiding motifs. <br />
<br />
On a gray background.
  • Hittite sculpted orthostats panels of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Soldiers. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Figure of two helmeted warriors. They have their shield in their back and their spear in their hand. The prisoner in their front is depicted as small. The lower part of the orthostat is decorated with braiding motifs. <br />
<br />
On a black background.
  • Photo of Hittite sculpted orthostats panels of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Soldiers. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Figure of two helmeted warriors. They have their shield in their back and their spear in their hand. The prisoner in their front is depicted as small. The lower part of the orthostat is decorated with braiding motifs. <br />
<br />
On a brown art background.
  • Hittite sculpted orthostats panels of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Soldiers. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Figure of two helmeted warriors. They have their shield in their back and their spear in their hand. The prisoner in their front is depicted as small. The lower part of the orthostat is decorated with braiding motifs. <br />
<br />
On a grey art background.
  • Alaca Hoyuk Hittite monumental relief sculpted orthostat stone panel. Andesite, Alaca, Corum, 1399-1301 B.C. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Four deer figures are depicted in various positions with a flower in the lower right corner and a tree in the upper left corner. A faded human figure and an animal figure in the upper section are noteworthy. <br />
<br />
Against a brown gray background.
  • Alaca Hoyuk Hittite monumental relief sculpted orthostat stone panel. Andesite, Alaca, Corum, 1399-1301 B.C. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Four deer figures are depicted in various positions with a flower in the lower right corner and a tree in the upper left corner. A faded human figure and an animal figure in the upper section are noteworthy.
  • Alaca Hoyuk Hittite monumental relief sculpted orthostat stone panel. Andesite, Alaca, Corum, 1399-1301 B.C. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Four deer figures are depicted in various positions with a flower in the lower right corner and a tree in the upper left corner. A faded human figure and an animal figure in the upper section are noteworthy. <br />
<br />
Against a white background.
  • Alaca Hoyuk Hittite monumental relief sculpted orthostat stone panel. Andesite, Alaca, Corum, 1399-1301 B.C. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Four deer figures are depicted in various positions with a flower in the lower right corner and a tree in the upper left corner. A faded human figure and an animal figure in the upper section are noteworthy. <br />
<br />
Against a black background.
  • Alaca Hoyuk Hittite monumental relief sculpted orthostat stone panel. Andesite, Alaca, Corum, 1399-1301 B.C. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Four deer figures are depicted in various positions with a flower in the lower right corner and a tree in the upper left corner. A faded human figure and an animal figure in the upper section are noteworthy. <br />
<br />
Against a brown art background.
  • Alaca Hoyuk Hittite monumental relief sculpted orthostat stone panel. Andesite, Alaca, Corum, 1399-1301 B.C. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Four deer figures are depicted in various positions with a flower in the lower right corner and a tree in the upper left corner. A faded human figure and an animal figure in the upper section are noteworthy. <br />
<br />
Against a grey 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 white 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 black 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 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 grey 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 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 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.<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 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 brown 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 grey art background.
  • Coloured glazed brick panels depicting Lions stiding from the facade of the Throne Room dating from 604-562 BC. Babylon (present day Iraq). The throne room is situated in the third courtyard of the complex of the royal palace. Its 56 meters wide facade was decorated with coloured glazed bricks. A tentative reconstruction shows the composition of the upper part of the facade, including the stylised palms and geometric patterned registers. Two original sections are displayed on the left next to the Ishtar Gate. The lower part f the facade with representations of the striding lions was predominantly reconstructed from the original baked brick fragments. The frieze of lions was presumably arranged symmetrically so the animals faced towards the central main entrance to the Throne room. The throne room was excavated by Robert Koldewey between 1899 and 1917. It was used as an official reception room. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed brick panels depicting Lions stiding from the facade of the Throne Room dating from 604-562 BC. Babylon (present day Iraq). The throne room is situated in the third courtyard of the complex of the royal palace. Its 56 meters wide facade was decorated with coloured glazed bricks. A tentative reconstruction shows the composition of the upper part of the facade, including the stylised palms and geometric patterned registers. Two original sections are displayed on the left next to the Ishtar Gate. The lower part f the facade with representations of the striding lions was predominantly reconstructed from the original baked brick fragments. The frieze of lions was presumably arranged symmetrically so the animals faced towards the central main entrance to the Throne room. The throne room was excavated by Robert Koldewey between 1899 and 1917. It was used as an official reception room. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed brick panels depicting Lions stiding from the facade of the Throne Room dating from 604-562 BC. Babylon (present day Iraq). The throne room is situated in the third courtyard of the complex of the royal palace. Its 56 meters wide facade was decorated with coloured glazed bricks. A tentative reconstruction shows the composition of the upper part of the facade, including the stylised palms and geometric patterned registers. Two original sections are displayed on the left next to the Ishtar Gate. The lower part f the facade with representations of the striding lions was predominantly reconstructed from the original baked brick fragments. The frieze of lions was presumably arranged symmetrically so the animals faced towards the central main entrance to the Throne room. The throne room was excavated by Robert Koldewey between 1899 and 1917. It was used as an official reception room. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed brick panels depicting Lions stiding from the facade of the Throne Room dating from 604-562 BC. Babylon (present day Iraq). The throne room is situated in the third courtyard of the complex of the royal palace. Its 56 meters wide facade was decorated with coloured glazed bricks. A tentative reconstruction shows the composition of the upper part of the facade, including the stylised palms and geometric patterned registers. Two original sections are displayed on the left next to the Ishtar Gate. The lower part f the facade with representations of the striding lions was predominantly reconstructed from the original baked brick fragments. The frieze of lions was presumably arranged symmetrically so the animals faced towards the central main entrance to the Throne room. The throne room was excavated by Robert Koldewey between 1899 and 1917. It was used as an official reception room. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed brick panels depicting Lions stiding from the facade of the Throne Room dating from 604-562 BC. Babylon (present day Iraq). The throne room is situated in the third courtyard of the complex of the royal palace. Its 56 meters wide facade was decorated with coloured glazed bricks. A tentative reconstruction shows the composition of the upper part of the facade, including the stylised palms and geometric patterned registers. Two original sections are displayed on the left next to the Ishtar Gate. The lower part f the facade with representations of the striding lions was predominantly reconstructed from the original baked brick fragments. The frieze of lions was presumably arranged symmetrically so the animals faced towards the central main entrance to the Throne room. The throne room was excavated by Robert Koldewey between 1899 and 1917. It was used as an official reception room. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed brick panels depicting Lions stiding from the facade of the Throne Room dating from 604-562 BC. Babylon (present day Iraq). The throne room is situated in the third courtyard of the complex of the royal palace. Its 56 meters wide facade was decorated with coloured glazed bricks. A tentative reconstruction shows the composition of the upper part of the facade, including the stylised palms and geometric patterned registers. Two original sections are displayed on the left next to the Ishtar Gate. The lower part f the facade with representations of the striding lions was predominantly reconstructed from the original baked brick fragments. The frieze of lions was presumably arranged symmetrically so the animals faced towards the central main entrance to the Throne room. The throne room was excavated by Robert Koldewey between 1899 and 1917. It was used as an official reception room. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed brick panels depicting Lions stiding from the facade of the Throne Room dating from 604-562 BC. Babylon (present day Iraq). The throne room is situated in the third courtyard of the complex of the royal palace. Its 56 meters wide facade was decorated with coloured glazed bricks. A tentative reconstruction shows the composition of the upper part of the facade, including the stylised palms and geometric patterned registers. Two original sections are displayed on the left next to the Ishtar Gate. The lower part f the facade with representations of the striding lions was predominantly reconstructed from the original baked brick fragments. The frieze of lions was presumably arranged symmetrically so the animals faced towards the central main entrance to the Throne room. The throne room was excavated by Robert Koldewey between 1899 and 1917. It was used as an official reception room. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed brick panels depicting Lions stiding from the facade of the Throne Room dating from 604-562 BC. Babylon (present day Iraq). The throne room is situated in the third courtyard of the complex of the royal palace. Its 56 meters wide facade was decorated with coloured glazed bricks. A tentative reconstruction shows the composition of the upper part of the facade, including the stylised palms and geometric patterned registers. Two original sections are displayed on the left next to the Ishtar Gate. The lower part f the facade with representations of the striding lions was predominantly reconstructed from the original baked brick fragments. The frieze of lions was presumably arranged symmetrically so the animals faced towards the central main entrance to the Throne room. The throne room was excavated by Robert Koldewey between 1899 and 1917. It was used as an official reception room. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • The Sword God from the Sancutary of Yazilikaza, Hattusha, Turkey. Probably the weirdest representation of the rock sanctuary Yazilikaza, shows a sword God. He is waering a high pointed cap, whose ornamented with horns showing he is a divine character. The lower part of his body is formed of two hanging lions that merge into a sword blade . The body of God seems to form the sword handle and the sword being stuck into the ground could indicate that there is a god of the underworld. Cast from the original. Vorderasiatisches Museum, Pergamon Museum, Berlin
  • The sword of God from the Sancutary of Yazilikaza, Hattusha, Turkey. Probably the weirdest representation of the rock sanctuary Yazilikaza, shows a sword God. He is waering a high pointed cap, whose ornamented with horns showing he is a divine character. The lower part of his body is formed of two hanging lions that merge into a sword blade . The body of God seems to form the sword handle and the sword being stuck into the ground could indicate that there is a god of the underworld. Cast from the original. Vorderasiatisches Museum, Pergamon Museum, Berlin
  • The sword of God from the Sancutary of Yazilikaza, Hattusha, Turkey. Probably the weirdest representation of the rock sanctuary Yazilikaza, shows a sword God. He is waering a high pointed cap, whose ornamented with horns showing he is a divine character. The lower part of his body is formed of two hanging lions that merge into a sword blade . The body of God seems to form the sword handle and the sword being stuck into the ground could indicate that there is a god of the underworld. Cast from the original. Vorderasiatisches Museum, Pergamon Museum, Berlin
  • The sword of God from the Sancutary of Yazilikaza, Hattusha, Turkey. Probably the weirdest representation of the rock sanctuary Yazilikaza, shows a sword God. He is waering a high pointed cap, whose ornamented with horns showing he is a divine character. The lower part of his body is formed of two hanging lions that merge into a sword blade . The body of God seems to form the sword handle and the sword being stuck into the ground could indicate that there is a god of the underworld. Cast from the original. Vorderasiatisches Museum, Pergamon Museum, Berlin
  • The sword of God from the Sancutary of Yazilikaza, Hattusha, Turkey. Probably the weirdest representation of the rock sanctuary Yazilikaza, shows a sword God. He is waering a high pointed cap, whose ornamented with horns showing he is a divine character. The lower part of his body is formed of two hanging lions that merge into a sword blade . The body of God seems to form the sword handle and the sword being stuck into the ground could indicate that there is a god of the underworld. Cast from the original. Vorderasiatisches Museum, Pergamon Museum, Berlin
  • A Colossal Statue of the Weather God Hadad found near Gerdshin near Sam'al / Zincirli , Turkey. The lower part of the body of the statue has Aramaic text which starts " I am Panamuwa, the son of QRL, the king of Ja'udi, I have erected this statue of Hadad, at my eternal grave.  Originally the statue would have held lightening rods and an axe. On his round cap are bull horns known as the symbols of divinity. The weather God brought the rains which in the dry areas of Mesopotamia was all important. The inscription goes on to read " May the soul of Panamuwa eat with Hadad, May the soul of Panamuwa drink with Hadad". Basalt 775 BC, Pergamon Museum Berlin, inv no VA 2882.
  • A Colossal Statue of the Weather God Hadad found near Gerdshin near Sam'al / Zincirli , Turkey. The lower part of the body of the statue has Aramaic text which starts " I am Panamuwa, the son of QRL, the king of Ja'udi, I have erected this statue of Hadad, at my eternal grave.  Originally the statue would have held lightening rods and an axe. On his round cap are bull horns known as the symbols of divinity. The weather God brought the rains which in the dry areas of Mesopotamia was all important. The inscription goes on to read " May the soul of Panamuwa eat with Hadad, May the soul of Panamuwa drink with Hadad". Basalt 775 BC, Pergamon Museum Berlin, inv no VA 2882.
  • A Colossal Statue of the Weather God Hadad found near Gerdshin near Sam'al / Zincirli , Turkey. The lower part of the body of the statue has Aramaic text which starts " I am Panamuwa, the son of QRL, the king of Ja'udi, I have erected this statue of Hadad, at my eternal grave.  Originally the statue would have held lightening rods and an axe. On his round cap are bull horns known as the symbols of divinity. The weather God brought the rains which in the dry areas of Mesopotamia was all important. The inscription goes on to read " May the soul of Panamuwa eat with Hadad, May the soul of Panamuwa drink with Hadad". Basalt 775 BC, Pergamon Museum Berlin, inv no VA 2882.
  • A Colossal Statue of the Weather God Hadad found near Gerdshin near Sam'al / Zincirli , Turkey. The lower part of the body of the statue has Aramaic text which starts " I am Panamuwa, the son of QRL, the king of Ja'udi, I have erected this statue of Hadad, at my eternal grave.  Originally the statue would have held lightening rods and an axe. On his round cap are bull horns known as the symbols of divinity. The weather God brought the rains which in the dry areas of Mesopotamia was all important. The inscription goes on to read " May the soul of Panamuwa eat with Hadad, May the soul of Panamuwa drink with Hadad". Basalt 775 BC, Pergamon Museum Berlin, inv no VA 2882.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • Court of the Main Canal in the Moorish Generalife's Lower Gardens, Alhambra. Granada, Andalusia, Spain.
  • Fountain in the Moorish Generalife's Lower Gardens, Alhambra. Granada, Andalusia, Spain.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • North Porch, Left Portal (Incarnation Portal), Tympanum- Gifts of the Magi and Dream of the Magi c 1194-1230, from the Cathedral of Chartres, France. At left is the Adoration of the Magi (Matthew 2:1)..Two Magi (crowned) stand at left, holding jars. One has a beard and the other is clean-shaven. The third Magus (bearded) kneels, handing a round object to the Christ Child, who sits on Mary's lap in the middle of the composition. Above them is the star of Bethlehem between two angels holding scrolls..At right is the Dream of the Magi. (Matthew 2:12).Two of the Magi (bearded, still crowned) lie sleeping on a bed at the lower right. The third Magus (beardless) appears behind them, with his eyes closed and his head propped up in his hand. Above is an angel with a scroll, one of the pair of angels who flank the star of Bethlehem at the top of the tympanum..Surrounding the central scene is the Inner archivolt. It contains angels holding candlesticks standing on clouds. Below The Virgin Mary (veiled) lies on a bed that is parallel to the panel plane. She raises one hand. The Christ Child (in swaddling clothes) is in a manger above the bed. Above him are the heads of the ox and the ass. They are probably a reference to Old Testament verses thought to be prophecies of the coming of the Messiah. Isaiah 1:3 says, "The ox knows his owner and the ass his maker's crib." There is a similar verse in Habakkuk. The apocryphal Protevangelium of James mentions only the ass. The Gospel of Pseudo-Matthew also says that an ox and an ass worshiped the Christ Child in the manger..Above are angels leaning out of a cloud and holding a long scroll.. A UNESCO World Heritage Site. .
  • .South Porch, Right Portal archivolts c. 1145. Cathedral of Chartres, France. Gothic statues of the archivolts on the lower register of archivolts are miracles of Gilles, including the Mass of St. Gilles (right). The other archivolts show various Confessors.. A UNESCO World Heritage Site. .
  • .South Porch, Right Portal archivolts c. 1145. Cathedral of Chartres, France. Gothic statues of the archivolts on the lower register of archivolts are miracles of Gilles, including the Mass of St. Gilles (right). The other archivolts show various Confessors.. A UNESCO World Heritage Site. .
  • West Facade, right Royal Portal - General View of Tympanum c. 1145. Cathedral of Chartres, France . Tympanum - Virgin and Child enthroned, flanked by angels..Upper Lintel - the Presentation at the Temple.Lower Lintel - Nativity Scenes (The Annunciation to the Virgin, the Visitation, the Nativity, Annunciation to the Shepherds).Inner archivolt - angels..Outer archivolts - Liberal Arts and their associated scribes. (See discussion in Katzenellenbogen, pp. 15-21 and in Kidson, pp. 20-1). On the bottom left are the Zodiac signs of Pisces and Gemini . A UNESCO World Heritage Site. .
  • West Facade, right Royal Portal - General View of Tympanum c. 1145. Cathedral of Chartres, France . Tympanum - Virgin and Child enthroned, flanked by angels..Upper Lintel - the Presentation at the Temple.Lower Lintel - Nativity Scenes (The Annunciation to the Virgin, the Visitation, the Nativity, Annunciation to the Shepherds).Inner archivolt - angels..Outer archivolts - Liberal Arts and their associated scribes. (See discussion in Katzenellenbogen, pp. 15-21 and in Kidson, pp. 20-1). On the bottom left are the Zodiac signs of Pisces and Gemini . A UNESCO World Heritage Site. .
  • West Facade, right Royal Portal - General View of Tympanum c. 1145. Cathedral of Chartres, France . Tympanum - Virgin and Child enthroned, flanked by angels..Upper Lintel - the Presentation at the Temple.Lower Lintel - Nativity Scenes (The Annunciation to the Virgin, the Visitation, the Nativity, Annunciation to the Shepherds).Inner archivolt - angels..Outer archivolts - Liberal Arts and their associated scribes. (See discussion in Katzenellenbogen, pp. 15-21 and in Kidson, pp. 20-1). On the bottom left are the Zodiac signs of Pisces and Gemini . A UNESCO World Heritage Site. .
  • West Facade, right Royal Portal - General View of Tympanum c. 1145. Cathedral of Chartres, France . Tympanum - Virgin and Child enthroned, flanked by angels..Upper Lintel - the Presentation at the Temple.Lower Lintel - Nativity Scenes (The Annunciation to the Virgin, the Visitation, the Nativity, Annunciation to the Shepherds).Inner archivolt - angels..Outer archivolts - Liberal Arts and their associated scribes. (See discussion in Katzenellenbogen, pp. 15-21 and in Kidson, pp. 20-1). On the bottom left are the Zodiac signs of Pisces and Gemini . A UNESCO World Heritage Site. .
  • South Porch, left Portal, Tympanum- General View.This portal is dedicated to the Confessors. Cathedral of Chartres, France. The tympanum, lintel and lower archivolts contain depictions of episodes in the martyrdom of Stephen. Christ between two kneeling angels. This is usually identified as the vision that Stephen saw during his martyrdom. Stephen saw Christ "standing at the right hand of God", and in this depiction, Christ is standing. .Lintel: Stephen led to his martyrdom (left) and the Stoning of Stephen (right). Archivolts: .Lowest register - More incidents in the Martyrdom of Stephen. A UNESCO World Heritage Site. ..
  • Medieval Windows of the Gothic Cathedral of Chartres, France- dedicated to Joseph the Patriach .  Bottom central panel - bottom Joseph dreams the sun, moon and stars make obeisance to him (Gen.37:9)?left - Jacob sends Joseph to Shechem to take supplies to his brothers, right - Joseph's brothers tending their flocks in Dothan (Gen.37:18) , top - Joseph's brothers lower him into an old well (Gen.37:24) . Top central panel - bottom Angry that Joseph spurned her, Potiphar's wife accuses him of attempted rape , left - Convinced by his wife's calumny, Potiphar has Joseph arrested , right - Joseph is thrown into prison , top - Pharaoh asleep in his palace, dreaming . A UNESCO World Heritage Site..
  • Medieval Windows of the Gothic Cathedral of Chartres, France- dedicated to Joseph the Patriach .  Bottom central panel - bottom Joseph dreams the sun, moon and stars make obeisance to him (Gen.37:9)?left - Jacob sends Joseph to Shechem to take supplies to his brothers, right - Joseph's brothers tending their flocks in Dothan (Gen.37:18) , top - Joseph's brothers lower him into an old well (Gen.37:24) . Top central panel - bottom Angry that Joseph spurned her, Potiphar's wife accuses him of attempted rape , left - Convinced by his wife's calumny, Potiphar has Joseph arrested , right - Joseph is thrown into prison , top - Pharaoh asleep in his palace, dreaming . A UNESCO World Heritage Site..
  • Medieval Windows of the Gothic Cathedral of Chartres, France- dedicated to Joseph the Patriach .  Central panel - bottom Joseph dreams the sun, moon and stars make obeisance to him (Gen.37:9)?left - Jacob sends Joseph to Shechem to take supplies to his brothers, right - Joseph's brothers tending their flocks in Dothan (Gen.37:18) , top - Joseph's brothers lower him into an old well (Gen.37:24) . A UNESCO World Heritage Site.
  • A detail crop of the lunette, pediment and tondo and the 14th c. sculptures. Note the file size. The lunette sculpture set is a ?Virgin and Child with Two Angels? by Lorenzo di Giovanni d'Ambroglio. In the tondo are two figures wrapping Christ in his shroud, supported by two angels in the lower spaces. The Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ).  Built between 1293 & 1436. Italy
  • Monemvasia (  ), main square of the lower town with the bell tower of the Byzantine IGreek Orthodox Church of Christ Elkomenos.  Peloponnese, Greece
  • Monemvasia (  ), main square of the lower town with the bell tower of the Byzantine IGreek Orthodox Church of Christ Elkomenos.  Peloponnese, Greece
  • Monemvasia (  ), main square of the lower town with the bell tower of the Byzantine IGreek Orthodox Church of Christ Elkomenos.  Peloponnese, Greece
  • Monemvasia (  ), main square of the lower town with the bell tower of the Byzantine IGreek Orthodox Church of Christ Elkomenos.  Peloponnese, Greece
  • Monemvasia (  ), main square of the lower town with the bell tower of the Byzantine IGreek Orthodox Church of Christ Elkomenos.  Peloponnese, Greece
  • Monemvasia (  ), main square of the lower town with the bell tower of the Byzantine IGreek Orthodox Church of Christ Elkomenos.  Peloponnese, Greece
  • Monemvasia (  ), main square of the lower town with the bell tower of the Byzantine IGreek Orthodox Church of Christ Elkomenos.  Peloponnese, Greece
  • Monemvasia (  ), main square of the lower town with the bell tower of the Byzantine IGreek Orthodox Church of Christ Elkomenos.  Peloponnese, Greece
  • Monemvasia (  ), main square of the lower town with the bell tower of the Byzantine IGreek Orthodox Church of Christ Elkomenos.  Peloponnese, Greece
  • Monemvasia (  ), main square of the lower town with the bell tower of the Byzantine IGreek Orthodox Church of Christ Elkomenos.  Peloponnese, Greece
  • Monemvasia (  ), main square of the lower town with the bell tower of the Byzantine IGreek Orthodox Church of Christ Elkomenos.  Peloponnese, Greece
  • Monemvasia (  ), main square of the lower town with the bell tower of the Byzantine IGreek Orthodox Church of Christ Elkomenos.  Peloponnese, Greece
  • Wood Church of  the orthodox  Cuvioasa Paraschiva , Poienile Izei, Maramures, Northern Transylvania, Romania. Romania. UNESCO World Heritage Site.  The Church of the Holy Parasceve (Poienile Izei) is one of the oldest of the wooden churches of Maramure? (1604), and reveals two phases in the development of such buildings. The first can be seen in the lower part of the walls with a sanctuary based on a square plan, a typical feature of the oldest wooden buildings. In the 18th century, the walls were raised, the naos was covered by a semi-circular vault, and the interior was decorated with paintings. The portico was added during the first half of the 19th century.
  • Aphrodite of Fréjus in the style known as "Venus Genetrix". A 1.64m high Roman statue, dating from the end of the 1st century BC to the start of the 1st century AD, in Parian marble, was discovered at Fréjus (Forum Julii) in 1650. It is considered as the best Roman copy of the lost Greek work. Louvre Museum, Paris<br />
<br />
The Venus Genetrix style of statue depicts Aphrodite (Venus to the Romans) as Genetrix ( Latin for Mother). This sculptural type was adopted by the Julia-Claudian dynasty after Julius Caesar claimed that he was defended from Venus herself.  The original lost Greek statue is attributed to Greek sculpture Callimachus who created a Bronze Aphrodite in 420-410. According to Pliny's Natural History showing her dressed in a light but clinging chiton or peplos, which was lowered on the left shoulder to reveal her left breast and hung down in a sheer face and decoratively carved so as not to hide the outlines of the woman's body. Venus was depicted holding the apple won in the Judgement of Paris in her left hand, whilst her right hand moved to cover her head. From the lost bronze original are derived all surviving copies. The composition was frontal, the body's form monumental, and in the surviving Roman replicas its proportions are close to the Polyclitean, an ancient Greek sculptor in bronze of the fifth century BC.
  • Aphrodite of Fréjus in the style known as "Venus Genetrix". A 1.64m high Roman statue, dating from the end of the 1st century BC to the start of the 1st century AD, in Parian marble, was discovered at Fréjus (Forum Julii) in 1650. It is considered as the best Roman copy of the lost Greek work. Louvre Museum, Paris<br />
<br />
The Venus Genetrix style of statue depicts Aphrodite (Venus to the Romans) as Genetrix ( Latin for Mother). This sculptural type was adopted by the Julia-Claudian dynasty after Julius Caesar claimed that he was defended from Venus herself.  The original lost Greek statue is attributed to Greek sculpture Callimachus who created a Bronze Aphrodite in 420-410. According to Pliny's Natural History showing her dressed in a light but clinging chiton or peplos, which was lowered on the left shoulder to reveal her left breast and hung down in a sheer face and decoratively carved so as not to hide the outlines of the woman's body. Venus was depicted holding the apple won in the Judgement of Paris in her left hand, whilst her right hand moved to cover her head. From the lost bronze original are derived all surviving copies. The composition was frontal, the body's form monumental, and in the surviving Roman replicas its proportions are close to the Polyclitean, an ancient Greek sculptor in bronze of the fifth century BC.
  • Aphrodite of Fréjus in the style known as "Venus Genetrix". A 1.64m high Roman statue, dating from the end of the 1st century BC to the start of the 1st century AD, in Parian marble, was discovered at Fréjus (Forum Julii) in 1650. It is considered as the best Roman copy of the lost Greek work. Louvre Museum, Paris<br />
<br />
The Venus Genetrix style of statue depicts Aphrodite (Venus to the Romans) as Genetrix ( Latin for Mother). This sculptural type was adopted by the Julia-Claudian dynasty after Julius Caesar claimed that he was defended from Venus herself.  The original lost Greek statue is attributed to Greek sculpture Callimachus who created a Bronze Aphrodite in 420-410. According to Pliny's Natural History showing her dressed in a light but clinging chiton or peplos, which was lowered on the left shoulder to reveal her left breast and hung down in a sheer face and decoratively carved so as not to hide the outlines of the woman's body. Venus was depicted holding the apple won in the Judgement of Paris in her left hand, whilst her right hand moved to cover her head. From the lost bronze original are derived all surviving copies. The composition was frontal, the body's form monumental, and in the surviving Roman replicas its proportions are close to the Polyclitean, an ancient Greek sculptor in bronze of the fifth century BC.
  • Aphrodite of Fréjus in the style known as "Venus Genetrix". A 1.64m high Roman statue, dating from the end of the 1st century BC to the start of the 1st century AD, in Parian marble, was discovered at Fréjus (Forum Julii) in 1650. It is considered as the best Roman copy of the lost Greek work. Louvre Museum, Paris<br />
<br />
The Venus Genetrix style of statue depicts Aphrodite (Venus to the Romans) as Genetrix ( Latin for Mother). This sculptural type was adopted by the Julia-Claudian dynasty after Julius Caesar claimed that he was defended from Venus herself.  The original lost Greek statue is attributed to Greek sculpture Callimachus who created a Bronze Aphrodite in 420-410. According to Pliny's Natural History showing her dressed in a light but clinging chiton or peplos, which was lowered on the left shoulder to reveal her left breast and hung down in a sheer face and decoratively carved so as not to hide the outlines of the woman's body. Venus was depicted holding the apple won in the Judgement of Paris in her left hand, whilst her right hand moved to cover her head. From the lost bronze original are derived all surviving copies. The composition was frontal, the body's form monumental, and in the surviving Roman replicas its proportions are close to the Polyclitean, an ancient Greek sculptor in bronze of the fifth century BC.
  • Aphrodite of Fréjus in the style known as "Venus Genetrix". A 1.64m high Roman statue, dating from the end of the 1st century BC to the start of the 1st century AD, in Parian marble, was discovered at Fréjus (Forum Julii) in 1650. It is considered as the best Roman copy of the lost Greek work. Louvre Museum, Paris<br />
<br />
The Venus Genetrix style of statue depicts Aphrodite (Venus to the Romans) as Genetrix ( Latin for Mother). This sculptural type was adopted by the Julia-Claudian dynasty after Julius Caesar claimed that he was defended from Venus herself.  The original lost Greek statue is attributed to Greek sculpture Callimachus who created a Bronze Aphrodite in 420-410. According to Pliny's Natural History showing her dressed in a light but clinging chiton or peplos, which was lowered on the left shoulder to reveal her left breast and hung down in a sheer face and decoratively carved so as not to hide the outlines of the woman's body. Venus was depicted holding the apple won in the Judgement of Paris in her left hand, whilst her right hand moved to cover her head. From the lost bronze original are derived all surviving copies. The composition was frontal, the body's form monumental, and in the surviving Roman replicas its proportions are close to the Polyclitean, an ancient Greek sculptor in bronze of the fifth century BC.
  • Aphrodite of Fréjus in the style known as "Venus Genetrix". A 1.64m high Roman statue, dating from the end of the 1st century BC to the start of the 1st century AD, in Parian marble, was discovered at Fréjus (Forum Julii) in 1650. It is considered as the best Roman copy of the lost Greek work. Louvre Museum, Paris<br />
<br />
The Venus Genetrix style of statue depicts Aphrodite (Venus to the Romans) as Genetrix ( Latin for Mother). This sculptural type was adopted by the Julia-Claudian dynasty after Julius Caesar claimed that he was defended from Venus herself.  The original lost Greek statue is attributed to Greek sculpture Callimachus who created a Bronze Aphrodite in 420-410. According to Pliny's Natural History showing her dressed in a light but clinging chiton or peplos, which was lowered on the left shoulder to reveal her left breast and hung down in a sheer face and decoratively carved so as not to hide the outlines of the woman's body. Venus was depicted holding the apple won in the Judgement of Paris in her left hand, whilst her right hand moved to cover her head. From the lost bronze original are derived all surviving copies. The composition was frontal, the body's form monumental, and in the surviving Roman replicas its proportions are close to the Polyclitean, an ancient Greek sculptor in bronze of the fifth century BC.
  • Aphrodite of Fréjus in the style known as "Venus Genetrix". A 1.64m high Roman statue, dating from the end of the 1st century BC to the start of the 1st century AD, in Parian marble, was discovered at Fréjus (Forum Julii) in 1650. It is considered as the best Roman copy of the lost Greek work. Louvre Museum, Paris<br />
<br />
The Venus Genetrix style of statue depicts Aphrodite (Venus to the Romans) as Genetrix ( Latin for Mother). This sculptural type was adopted by the Julia-Claudian dynasty after Julius Caesar claimed that he was defended from Venus herself.  The original lost Greek statue is attributed to Greek sculpture Callimachus who created a Bronze Aphrodite in 420-410. According to Pliny's Natural History showing her dressed in a light but clinging chiton or peplos, which was lowered on the left shoulder to reveal her left breast and hung down in a sheer face and decoratively carved so as not to hide the outlines of the woman's body. Venus was depicted holding the apple won in the Judgement of Paris in her left hand, whilst her right hand moved to cover her head. From the lost bronze original are derived all surviving copies. The composition was frontal, the body's form monumental, and in the surviving Roman replicas its proportions are close to the Polyclitean, an ancient Greek sculptor in bronze of the fifth century BC.
  • Aphrodite of Fréjus in the style known as "Venus Genetrix". A 1.64m high Roman statue, dating from the end of the 1st century BC to the start of the 1st century AD, in Parian marble, was discovered at Fréjus (Forum Julii) in 1650. It is considered as the best Roman copy of the lost Greek work. Louvre Museum, Paris<br />
<br />
The Venus Genetrix style of statue depicts Aphrodite (Venus to the Romans) as Genetrix ( Latin for Mother). This sculptural type was adopted by the Julia-Claudian dynasty after Julius Caesar claimed that he was defended from Venus herself.  The original lost Greek statue is attributed to Greek sculpture Callimachus who created a Bronze Aphrodite in 420-410. According to Pliny's Natural History showing her dressed in a light but clinging chiton or peplos, which was lowered on the left shoulder to reveal her left breast and hung down in a sheer face and decoratively carved so as not to hide the outlines of the woman's body. Venus was depicted holding the apple won in the Judgement of Paris in her left hand, whilst her right hand moved to cover her head. From the lost bronze original are derived all surviving copies. The composition was frontal, the body's form monumental, and in the surviving Roman replicas its proportions are close to the Polyclitean, an ancient Greek sculptor in bronze of the fifth century BC.

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