• The island of San Giorgio Maggiore lying east of the Giudecca and south of the main island group, with its church front designed by Andrea Palladio and begun in 1566.  Venice Italy
  • The Grand Canal from Ponte dell'Accademia at sunset; in the foreground Palazzo Cavalli-Franchetti
  • The Grand Canal from Ponte dell'Accademia at sunset; in the foreground Palazzo Cavalli-Franchetti
  • Gondolas on a small Canal near Rialto , Venice, Italy
  • Gondolas on the Grand Canal near St Marks Square , Venice, Italy
  • Gondolas at St Mark's Square with the island of San Giorgio Maggiore behind , with its church front designed by Andrea Palladio and begun in 1566.  Venice Italy
  • The island of San Giorgio Maggiore lying east of the Giudecca and south of the main island group, with its church front designed by Andrea Palladio and begun in 1566.  Venice Italy
  • The Grand Canal from Ponte dell'Accademia at sunset; in the foreground Palazzo Cavalli-Franchetti, in the distance Santa Maria della Salute
  • The Palazzo Cavalli-Franchetti on the Grand Canal from Ponte dell'Accademia at sunset; in the foreground
  • Venetian Gothic Palaces on the Grand Canal Venice
  • The Grand Canal and gondolas at Rialto Venice, Italy
  • Venetian Gothic Palaces on the Grand Canal Venice
  • The Grand Canal and gondolas at Rialto Venice, Italy
  • The punta della doganaand  Santa Maria della Salute on the Giudecca Canal, Venice Italy
  • The island of San Giorgio Maggiore lying east of the Giudecca and south of the main island group, with its church front designed by Andrea Palladio and begun in 1566.  Venice Italy
  • Panorama of The punta della doganaand  Santa Maria della Salute on the Giudecca Canal, Venice Italy
  • Arial view form St Mark's Campinale of St Mark's Square and the Doges with the island of San Giorgio Maggiore behind , with its church front designed by Andrea Palladio and begun in 1566.  Venice Italy
  • Palazzo Ca'Rezzonico built in 1649 by Baldassarre Longhena in a Baroque style on the Grand Canal Venice
  • Venetian Gothic Palaces on the Grand Canal Venice
  • Palazzo Ca'Rezzonico built in 1649 by Baldassarre Longhena in a Baroque style on the Grand Canal Venice
  • The Rialto Bridge, Venice Italy
  • Venetian Gothic Palaces on the Grand Canal Venice
  • Panorama of The punta della doganaand  Santa Maria della Salute on the Giudecca Canal, Venice Italy
  • The punta della doganaand  Santa Maria della Salute on the Giudecca Canal, Venice Italy
  • Gondolas on the Grand Canal near St Marks Square at sunset , Venice, Italy
  • Gondolas on the Grand Canal near St Marks Square at sunset , Venice, Italy
  • Gondolas on the Grand Canal near Rialto , Venice, Italy
  • Gondolas at St Mark's Square with the island of San Giorgio Maggiore behind , with its church front designed by Andrea Palladio and begun in 1566.  Venice Italy
  • The island of San Giorgio Maggiore lying east of the Giudecca and south of the main island group, with its church front designed by Andrea Palladio and begun in 1566.  Venice Italy
  • Sunset view of gondolas at St Mark's Square with the island of San Giorgio Maggiore behind , with its church front designed by Andrea Palladio and begun in 1566.  Venice Italy
  • The Doges Palace  and Campinale of St Mark from the Saint Mark's Basin Venice
  • Arial view form St Mark's Campinale of St Mark's Square and the Doges with the island of San Giorgio Maggiore behind , with its church front designed by Andrea Palladio and begun in 1566.  Venice Italy
  • Arial view form St Mark's Campinale of St Mark's Square and the Doges with the island of San Giorgio Maggiore behind , with its church front designed by Andrea Palladio and begun in 1566.  Venice Italy
  • The Grand Canal from Ponte dell'Accademia at sunset; in the foreground Palazzo Cavalli-Franchetti
  • Palazzo Ca'Rezzonico built in 1649 by Baldassarre Longhena in a Baroque style on the Grand Canal Venice
  • Palazzo Ca' d'Oro built in on the Grand Canal, Venice
  • Palazzo Ca' d'Oro built in on the Grand Canal, Venice
  • Venetian Gothic Palaces on the Grand Canal Venice
  • Palazio Ca' Foscari, Built by the doge Francesco Foscari in 1453, is now the main seat of Ca' Foscari University of Venice..
  • Venetian Gothic Palaces on the Grand Canal Venice
  • Venetian Gothic Palaces on the Grand Canal Venice
  • Venetian Gothic Palaces on the Grand Canal Venice
  • Venetian Gothic Palaces on the Grand Canal Venice
  • Venetian Gothic Palaces on the Grand Canal Venice
  • Palaces on the Grand Canal Venice
  • Gondolas at St Mark's Square with the island of San Giorgio Maggiore behind , with its church front designed by Andrea Palladio and begun in 1566.  Venice Italy
  • Gondolas at St Mark's Square with the island of San Giorgio Maggiore behind , with its church front designed by Andrea Palladio and begun in 1566.  Venice Italy
  • Venetian Gothic Palaces on the Grand Canal Venice
  • Panoramic of Gondolas on the Grand Canal, Venice, Italy
  • The Doges Palace  and Campinale of St Mark from the Saint Mark's Basin Venice
  • Cycladic terracotta 'frying pan' with incied decoration from  Syros. Early found  at Phylakopi, Melos. Cycladic period III 2300-2000 BC), National Archaeological Museum Athens, Cat No 6172.  Gray background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied star decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5153.  Grey background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied star decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5153.<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied star decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5164.  Gray background.<br />
<br />
<br />
In the middle of the decoration is a disc surrounded by a triangle motif. Above the handle is incised a pubic triangle.<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied linear decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5012.  Grey background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied linear decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5012.<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied linear decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5012.  Gray background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5058.  Grey background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5058.<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Black background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens,  White background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied boat and spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5053.  White background.<br />
<br />
<br />
The incisions depict a boat below spiral patternes. <br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 6177.  Grey background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 6177.<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied boat and spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 4974. Black background.<br />
<br />
Yje incised decorations depict a boat amongst spiral formed waves. The boats is of a Ctcladic design  found throughout the Aegean.<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied boat and spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 4974.   Grey background.<br />
<br />
<br />
Yje incised decorations depict a boat amongst spiral formed waves. The boats is of a Ctcladic design  found throughout the Aegean.<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied boat and spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 4974<br />
<br />
Yje incised decorations depict a boat amongst spiral formed waves. The boats is of a Ctcladic design  found throughout the Aegean.<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Hittite monumental relief sculpted orthostat stone panel of a Procession Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
It is a depiction of three marching female figures in long dress with a high headdress at their head. These women are considered to be the nuns of the Goddess Kubaba. The figures in the front and behind have a round mirror in their right hand while the figure in the middle has a bunch of spica in her right hand. Figures carry objects similar to a sceptre in their left hand.<br />
<br />
Against a white background.
  • Hittite monumental relief sculpted orthostat stone panel of a Procession Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
It is a depiction of three marching female figures in long dress with a high headdress at their head. These women are considered to be the nuns of the Goddess Kubaba. The figures in the front and behind have a round mirror in their right hand while the figure in the middle has a bunch of spica in her right hand. Figures carry objects similar to a sceptre in their left hand.  <br />
<br />
Against a black background.
  • Hittite monumental relief sculpted orthostat stone panel of a Procession Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
It is a depiction of three marching female figures in long dress with a high headdress at their head. These women are considered to be the nuns of the Goddess Kubaba. The figures in the front and behind have a round mirror in their right hand while the figure in the middle has a bunch of spica in her right hand. Figures carry objects similar to a sceptre in their left hand.  <br />
<br />
Against a grey art background.
  • Hittite monumental relief sculpted orthostat stone panel of a Procession Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 - 700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Goddess Kubaba. End of pannels. The godess is saeted on a chair which is on a lion. she hold a mirror in her right hand and a pomegranate in her left.<br />
<br />
Against a white background.
  • 5th century Roman mosaic panel of the ceremonial dressing of a lady. The lady was of the landed gentry from inland Carthage. She is sitting on a high backed armchair and is surrounded by two ornatrix, maids, whoa re helping her to apply make up and style her hair. Items related to bathing and grooming are depicted on the background of the mosaic. The maid hold a mirror for the lady in which we see her reflection The scene is an allegory of the myth of ‘Venus at her toilet’.<br />
<br />
From the floor of the changing room of the private baths of the Sidi Ghraib villa, Borj El Amre region, Tunisia. The Bardo Museum, Tunis, Tunisia.
  • 5th century Roman mosaic panel of the ceremonial dressing of a lady. The lady was of the landed gentry from inland Carthage. She is sitting on a high backed armchair and is surrounded by two ornatrix, maids, whoa re helping her to apply make up and style her hair. Items related to bathing and grooming are depicted on the background of the mosaic. The maid hold a mirror for the lady in which we see her reflection The scene is an allegory of the myth of ‘Venus at her toilet’.<br />
<br />
From the floor of the changing room of the private baths of the Sidi Ghraib villa, Borj El Amre region, Tunisia. The Bardo Museum, Tunis, Tunisia. Black background
  • 5th century Roman mosaic panel of the ceremonial dressing of a lady. The lady was of the landed gentry from inland Carthage. She is sitting on a high backed armchair and is surrounded by two ornatrix, maids, whoa re helping her to apply make up and style her hair. Items related to bathing and grooming are depicted on the background of the mosaic. The maid hold a mirror for the lady in which we see her reflection The scene is an allegory of the myth of ‘Venus at her toilet’.<br />
<br />
From the floor of the changing room of the private baths of the Sidi Ghraib villa, Borj El Amre region, Tunisia. The Bardo Museum, Tunis, Tunisia. White background
  • Aphrodite, Roman Venus, of Vienne Goddess of Love. This 1st to 2nd century Roman marble copy of a lost Greek original attributed to attibuee Doidalsas Bithynia around 250BC, is of the crouching Venus style. Excavated from the Palace of Mirrors in Saint Romain en Gal (Isere France). The Crouching Venus is a Hellenistic model of Venus surprised at her bath. Venus crouches with her right knee close to the ground, turns her head to the right and, in most versions, reaches her right arm over to her left shoulder to cover her breasts. Louvre Museum, Inv No MNB 1292 ( Usual No Ma 2240)
  • Aphrodite, Roman Venus, of Vienne Goddess of Love. This 1st to 2nd century Roman marble copy of a lost Greek original attributed to attibuee Doidalsas Bithynia around 250BC, is of the crouching Venus style. Excavated from the Palace of Mirrors in Saint Romain en Gal (Isere France). The Crouching Venus is a Hellenistic model of Venus surprised at her bath. Venus crouches with her right knee close to the ground, turns her head to the right and, in most versions, reaches her right arm over to her left shoulder to cover her breasts. Louvre Museum, Inv No MNB 1292 ( Usual No Ma 2240)
  • Aphrodite, Roman Venus, of Vienne Goddess of Love. This 1st to 2nd century Roman marble copy of a lost Greek original attributed to attibuee Doidalsas Bithynia around 250BC, is of the crouching Venus style. Excavated from the Palace of Mirrors in Saint Romain en Gal (Isere France). The Crouching Venus is a Hellenistic model of Venus surprised at her bath. Venus crouches with her right knee close to the ground, turns her head to the right and, in most versions, reaches her right arm over to her left shoulder to cover her breasts. Louvre Museum, Inv No MNB 1292 ( Usual No Ma 2240)
  • Picture & image of a Neo-Hittite orthostat with a releif sculpture a libation for the gods from Aslantepe ,  Malatya, Turkey. Ancora Archaeological Museum. The figure on the far left is beleived to be a king. He is facing a Bearded God wearing a bore tusk helmet. The God is holding a 3 pronged object and has a club resting on his shoulder. The 2 shaven characters on the right are mirror images of the two figures on the right except this time the king is on the far right waering a winged sun disc headress and holding a Lituus. The epigraphs identify the king and the cresent on the beared gods helmet identify him as Pugnus Mili The Sum and Moon God.
  • Cycladic terracotta 'frying pan' with incied decoration from  Syros. Early found  at Phylakopi, Melos. Cycladic period III 2300-2000 BC), National Archaeological Museum Athens, Cat No 6172.  White background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied decoration from  Syros. Early found  at Phylakopi, Melos. Cycladic period III 2300-2000 BC), National Archaeological Museum Athens, Cat No 6172. Black background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied decoration from  Syros. Early found  at Phylakopi, Melos. Cycladic period III 2300-2000 BC), National Archaeological Museum Athens, Cat No 6172.  Grey background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied decoration from  Syros. Early found  at Phylakopi, Melos. Cycladic period III 2300-2000 BC), National Archaeological Museum Athens, Cat No 6172.<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied star decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5153.  White background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied star decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5153. Black background.<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied star decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5153.  Gray background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied star decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5164.  White background.<br />
<br />
<br />
In the middle of the decoration is a disc surrounded by a triangle motif. Above the handle is incised a pubic triangle.<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied star decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5164.  Grey background.<br />
<br />
<br />
In the middle of the decoration is a disc surrounded by a triangle motif. Above the handle is incised a pubic triangle.<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied star decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5164.<br />
<br />
In the middle of the decoration is a disc surrounded by a triangle motif. Above the handle is incised a pubic triangle.<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied star decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5164. Black background.<br />
<br />
<br />
In the middle of the decoration is a disc surrounded by a triangle motif. Above the handle is incised a pubic triangle.<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied linear decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5012.  White background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied linear decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5012. Black background.<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5058. Black background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5058.  White background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5058.  Gray background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens,  Grey background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens,<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens,  Gray background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied boat and spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5053. Black background.<br />
<br />
<br />
The incisions depict a boat below spiral patternes. <br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied boat and spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5053.  Grey background.<br />
<br />
<br />
The incisions depict a boat below spiral patternes. <br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied boat and spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5053.  Gray background.<br />
<br />
<br />
The incisions depict a boat below spiral patternes. <br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied boat and spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5053.<br />
<br />
The incisions depict a boat below spiral patternes. <br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 6177.  White background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 6177. Black background.<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 6177.  Gray background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied boat and spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 4974.   White background.<br />
<br />
<br />
Yje incised decorations depict a boat amongst spiral formed waves. The boats is of a Ctcladic design  found throughout the Aegean.<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied boat and spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 4974.   Gray background.<br />
<br />
<br />
Yje incised decorations depict a boat amongst spiral formed waves. The boats is of a Ctcladic design  found throughout the Aegean.<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Picture & image of Hittite monumental relief sculpted orthostat stone panel of a Procession Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
It is a depiction of three marching female figures in long dress with a high headdress at their head. These women are considered to be the nuns of the Goddess Kubaba. The figures in the front and behind have a round mirror in their right hand while the figure in the middle has a bunch of spica in her right hand. Figures carry objects similar to a sceptre in their left hand.  <br />
<br />
Against a gray background.
  • Photo of Hittite monumental relief sculpted orthostat stone panel of a Procession Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
It is a depiction of three marching female figures in long dress with a high headdress at their head. These women are considered to be the nuns of the Goddess Kubaba. The figures in the front and behind have a round mirror in their right hand while the figure in the middle has a bunch of spica in her right hand. Figures carry objects similar to a sceptre in their left hand.  <br />
<br />
Against a brown art background.
  • Hittite monumental relief sculpted orthostat stone panel of a Procession Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 - 700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Goddess Kubaba. End of pannels. The godess is saeted on a chair which is on a lion. she hold a mirror in her right hand and a pomegranate in her left.<br />
<br />
Against a black background.
  • Photo of Hittite monumental relief sculpted orthostat stone panel of a Procession Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 - 700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Goddess Kubaba. End of pannels. The godess is saeted on a chair which is on a lion. she hold a mirror in her right hand and a pomegranate in her left.<br />
<br />
Against a brown art background.
  • Picture & image of Hittite monumental relief sculpted orthostat stone panel of a Procession Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 - 700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Goddess Kubaba. End of pannels. The godess is saeted on a chair which is on a lion. she hold a mirror in her right hand and a pomegranate in her left.<br />
<br />
Against a gray background.
  • Hittite monumental relief sculpted orthostat stone panel of a Procession Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 - 700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Goddess Kubaba. End of pannels. The godess is saeted on a chair which is on a lion. she hold a mirror in her right hand and a pomegranate in her left.<br />
<br />
Against a grey art background.
  • 5th century Roman mosaic panel of the ceremonial dressing of a lady. The lady was of the landed gentry from inland Carthage. She is sitting on a high backed armchair and is surrounded by two ornatrix, maids, whoa re helping her to apply make up and style her hair. Items related to bathing and grooming are depicted on the background of the mosaic. The maid hold a mirror for the lady in which we see her reflection The scene is an allegory of the myth of ‘Venus at her toilet’.<br />
<br />
From the floor of the changing room of the private baths of the Sidi Ghraib villa, Borj El Amre region, Tunisia. The Bardo Museum, Tunis, Tunisia.
  • 5th century Roman mosaic panel of the ceremonial dressing of a lady. The lady was of the landed gentry from inland Carthage. She is sitting on a high backed armchair and is surrounded by two ornatrix, maids, whoa re helping her to apply make up and style her hair. Items related to bathing and grooming are depicted on the background of the mosaic. The maid hold a mirror for the lady in which we see her reflection The scene is an allegory of the myth of ‘Venus at her toilet’.<br />
<br />
From the floor of the changing room of the private baths of the Sidi Ghraib villa, Borj El Amre region, Tunisia. The Bardo Museum, Tunis, Tunisia.
  • 5th century Roman mosaic panel of the ceremonial dressing of a lady. The lady was of the landed gentry from inland Carthage. She is sitting on a high backed armchair and is surrounded by two ornatrix, maids, whoa re helping her to apply make up and style her hair. Items related to bathing and grooming are depicted on the background of the mosaic. The maid hold a mirror for the lady in which we see her reflection The scene is an allegory of the myth of ‘Venus at her toilet’.<br />
<br />
From the floor of the changing room of the private baths of the Sidi Ghraib villa, Borj El Amre region, Tunisia. The Bardo Museum, Tunis, Tunisia.
  • Aphrodite, Roman Venus, of Vienne Goddess of Love. This 1st to 2nd century Roman marble copy of a lost Greek original attributed to attibuee Doidalsas Bithynia around 250BC, is of the crouching Venus style. Excavated from the Palace of Mirrors in Saint Romain en Gal (Isere France). The Crouching Venus is a Hellenistic model of Venus surprised at her bath. Venus crouches with her right knee close to the ground, turns her head to the right and, in most versions, reaches her right arm over to her left shoulder to cover her breasts. Louvre Museum, Inv No MNB 1292 ( Usual No Ma 2240)
  • Aphrodite, Roman Venus, of Vienne Goddess of Love. This 1st to 2nd century Roman marble copy of a lost Greek original attributed to attibuee Doidalsas Bithynia around 250BC, is of the crouching Venus style. Excavated from the Palace of Mirrors in Saint Romain en Gal (Isere France). The Crouching Venus is a Hellenistic model of Venus surprised at her bath. Venus crouches with her right knee close to the ground, turns her head to the right and, in most versions, reaches her right arm over to her left shoulder to cover her breasts. Louvre Museum, Inv No MNB 1292 ( Usual No Ma 2240)
  • Aphrodite, Roman Venus, of Vienne Goddess of Love. This 1st to 2nd century Roman marble copy of a lost Greek original attributed to attibuee Doidalsas Bithynia around 250BC, is of the crouching Venus style. Excavated from the Palace of Mirrors in Saint Romain en Gal (Isere France). The Crouching Venus is a Hellenistic model of Venus surprised at her bath. Venus crouches with her right knee close to the ground, turns her head to the right and, in most versions, reaches her right arm over to her left shoulder to cover her breasts. Louvre Museum, Inv No MNB 1292 ( Usual No Ma 2240)
  • Picture & image of a Neo-Hittite orthostat with a releif sculpture a libation for the gods from Aslantepe ,  Malatya, Turkey. Museum of Anatolian Civilisations, Ankara. The figure on the far left is beleived to be a king. He is facing a Bearded God wearing a bore tusk helmet. The God is holding a 3 pronged object and has a club resting on his shoulder. The 2 shaven characters on the right are mirror images of the two figures on the right except this time the king is on the far right waering a winged sun disc headress and holding a Lituus. The epigraphs identify the king and the cresent on the beared gods helmet identify him as Pugnus Mili The Sum and Moon God. 2
  • Picture & image of a Neo-Hittite orthostat with a releif sculpture a libation for the gods from Aslantepe ,  Malatya, Turkey.  The figure on the far left is beleived to be a king. He is facing a Bearded God wearing a bore tusk helmet. The God is holding a 3 pronged object and has a club resting on his shoulder. The 2 shaven characters on the right are mirror images of the two figures on the right except this time the king is on the far right waering a winged sun disc headress and holding a Lituus. The epigraphs identify the king and the cresent on the beared gods helmet identify him as Pugnus Mili The Sum and Moon God. An Ankara Museum of Anatolian Civilizations exhibit.
  • Severe Style Ancient Greek bronze sculpture of a charioteer, 480-460 BC, Delphi National Archaeological Museum.   Against black<br />
<br />
The Charioteer is a rare example of Severe Style bronze statue that only servived ancient looters  because it was buried by an earthquake. Plain and austere it mirrors the preveiling aestheics expected from ancient greek atheletes. The statue was probably sculpted following the teachings of Pythagoras of Samos due to its exact symetrical proportions
  • Severe Style Ancient Greek bronze sculpture of a charioteer, 480-460 BC, Delphi National Archaeological Museum.   Against white.<br />
<br />
The Charioteer is a rare example of Severe Style bronze statue that only servived ancient looters  because it was buried by an earthquake. Plain and austere it mirrors the preveiling aestheics expected from ancient greek atheletes. The statue was probably sculpted following the teachings of Pythagoras of Samos due to its exact symetrical proportions
  • Severe Style Ancient Greek bronze sculpture of a charioteer, 480-460 BC, Delphi National Archaeological Museum.   Against grey.<br />
<br />
The Charioteer is a rare example of Severe Style bronze statue that only servived ancient looters  because it was buried by an earthquake. Plain and austere it mirrors the preveiling aestheics expected from ancient greek atheletes. The statue was probably sculpted following the teachings of Pythagoras of Samos due to its exact symetrical proportions
  • Severe Style Ancient Greek bronze sculpture of a charioteer, 480-460 BC, Delphi National Archaeological Museum.   Against grey.<br />
<br />
The Charioteer is a rare example of Severe Style bronze statue that only servived ancient looters  because it was buried by an earthquake. Plain and austere it mirrors the preveiling aestheics expected from ancient greek atheletes. The statue was probably sculpted following the teachings of Pythagoras of Samos due to its exact symetrical proportions
  • Severe Style Ancient Greek bronze sculpture of a charioteer, 480-460 BC, Delphi National Archaeological Museum. <br />
<br />
The Charioteer is a rare example of Severe Style bronze statue that only servived ancient looters  because it was buried by an earthquake. Plain and austere it mirrors the preveiling aestheics expected from ancient greek atheletes. The statue was probably sculpted following the teachings of Pythagoras of Samos due to its exact symetrical proportions
  • Severe Style Ancient Greek bronze sculpture of a charioteer, 480-460 BC, Delphi National Archaeological Museum.   Against grey.<br />
<br />
The Charioteer is a rare example of Severe Style bronze statue that only servived ancient looters  because it was buried by an earthquake. Plain and austere it mirrors the preveiling aestheics expected from ancient greek atheletes. The statue was probably sculpted following the teachings of Pythagoras of Samos due to its exact symetrical proportions
  • Severe Style Ancient Greek bronze sculpture of a charioteer, 480-460 BC, Delphi National Archaeological Museum.   Against black<br />
<br />
The Charioteer is a rare example of Severe Style bronze statue that only servived ancient looters  because it was buried by an earthquake. Plain and austere it mirrors the preveiling aestheics expected from ancient greek atheletes. The statue was probably sculpted following the teachings of Pythagoras of Samos due to its exact symetrical proportions
  • Severe Style Ancient Greek bronze sculpture of a charioteer, 480-460 BC, Delphi National Archaeological Museum.   Against grey.<br />
<br />
The Charioteer is a rare example of Severe Style bronze statue that only servived ancient looters  because it was buried by an earthquake. Plain and austere it mirrors the preveiling aestheics expected from ancient greek atheletes. The statue was probably sculpted following the teachings of Pythagoras of Samos due to its exact symetrical proportions
  • Severe Style Ancient Greek bronze sculpture of a charioteer, 480-460 BC, Delphi National Archaeological Museum. <br />
<br />
The Charioteer is a rare example of Severe Style bronze statue that only servived ancient looters  because it was buried by an earthquake. Plain and austere it mirrors the preveiling aestheics expected from ancient greek atheletes. The statue was probably sculpted following the teachings of Pythagoras of Samos due to its exact symetrical proportions
  • Severe Style Ancient Greek bronze sculpture of a charioteer, 480-460 BC, Delphi National Archaeological Museum.  Against white.<br />
<br />
The Charioteer is a rare example of Severe Style bronze statue that only servived ancient looters  because it was buried by an earthquake. Plain and austere it mirrors the preveiling aestheics expected from ancient greek atheletes. The statue was probably sculpted following the teachings of Pythagoras of Samos due to its exact symetrical proportions
  • Severe Style Ancient Greek bronze sculpture of a charioteer, 480-460 BC, Delphi National Archaeological Museum.   Against black<br />
<br />
The Charioteer is a rare example of Severe Style bronze statue that only servived ancient looters  because it was buried by an earthquake. Plain and austere it mirrors the preveiling aestheics expected from ancient greek atheletes. The statue was probably sculpted following the teachings of Pythagoras of Samos due to its exact symetrical proportions
  • Severe Style Ancient Greek bronze sculpture of a charioteer, 480-460 BC, Delphi National Archaeological Museum.   Against grey.<br />
<br />
The Charioteer is a rare example of Severe Style bronze statue that only servived ancient looters  because it was buried by an earthquake. Plain and austere it mirrors the preveiling aestheics expected from ancient greek atheletes. The statue was probably sculpted following the teachings of Pythagoras of Samos due to its exact symetrical proportions
  • Severe Style Ancient Greek bronze sculpture of a charioteer, 480-460 BC, Delphi National Archaeological Museum. <br />
<br />
The Charioteer is a rare example of Severe Style bronze statue that only servived ancient looters  because it was buried by an earthquake. Plain and austere it mirrors the preveiling aestheics expected from ancient greek atheletes. The statue was probably sculpted following the teachings of Pythagoras of Samos due to its exact symetrical proportions
  • Severe Style Ancient Greek bronze sculpture of a charioteer, 480-460 BC, Delphi National Archaeological Museum.   Against grey.<br />
<br />
The Charioteer is a rare example of Severe Style bronze statue that only servived ancient looters  because it was buried by an earthquake. Plain and austere it mirrors the preveiling aestheics expected from ancient greek atheletes. The statue was probably sculpted following the teachings of Pythagoras of Samos due to its exact symetrical proportions
  • Severe Style Ancient Greek bronze sculpture of a charioteer, 480-460 BC, Delphi National Archaeological Museum.  Against white.<br />
<br />
The Charioteer is a rare example of Severe Style bronze statue that only servived ancient looters  because it was buried by an earthquake. Plain and austere it mirrors the preveiling aestheics expected from ancient greek atheletes. The statue was probably sculpted following the teachings of Pythagoras of Samos due to its exact symetrical proportions
  • Severe Style Ancient Greek bronze sculpture of a charioteer, 480-460 BC, Delphi National Archaeological Museum.   Against black<br />
<br />
The Charioteer is a rare example of Severe Style bronze statue that only servived ancient looters  because it was buried by an earthquake. Plain and austere it mirrors the preveiling aestheics expected from ancient greek atheletes. The statue was probably sculpted following the teachings of Pythagoras of Samos due to its exact symetrical proportions
  • Severe Style Ancient Greek bronze sculpture of a charioteer, 480-460 BC, Delphi National Archaeological Museum. <br />
<br />
The Charioteer is a rare example of Severe Style bronze statue that only servived ancient looters  because it was buried by an earthquake. Plain and austere it mirrors the preveiling aestheics expected from ancient greek atheletes. The statue was probably sculpted following the teachings of Pythagoras of Samos due to its exact symetrical proportions
  • Severe Style Ancient Greek bronze sculpture of a charioteer, 480-460 BC, Delphi National Archaeological Museum.   Against grey.<br />
<br />
The Charioteer is a rare example of Severe Style bronze statue that only servived ancient looters  because it was buried by an earthquake. Plain and austere it mirrors the preveiling aestheics expected from ancient greek atheletes. The statue was probably sculpted following the teachings of Pythagoras of Samos due to its exact symetrical proportions
  • Severe Style Ancient Greek bronze sculpture of a charioteer, 480-460 BC, Delphi National Archaeological Museum.  Against white.<br />
<br />
The Charioteer is a rare example of Severe Style bronze statue that only servived ancient looters  because it was buried by an earthquake. Plain and austere it mirrors the preveiling aestheics expected from ancient greek atheletes. The statue was probably sculpted following the teachings of Pythagoras of Samos due to its exact symetrical proportions
  • Severe Style Ancient Greek bronze sculpture of a charioteer, 480-460 BC, Delphi National Archaeological Museum.   Against black<br />
<br />
The Charioteer is a rare example of Severe Style bronze statue that only servived ancient looters  because it was buried by an earthquake. Plain and austere it mirrors the preveiling aestheics expected from ancient greek atheletes. The statue was probably sculpted following the teachings of Pythagoras of Samos due to its exact symetrical proportions
  • Severe Style Ancient Greek bronze sculpture of a charioteer, 480-460 BC, Delphi National Archaeological Museum.   Against grey.<br />
<br />
The Charioteer is a rare example of Severe Style bronze statue that only servived ancient looters  because it was buried by an earthquake. Plain and austere it mirrors the preveiling aestheics expected from ancient greek atheletes. The statue was probably sculpted following the teachings of Pythagoras of Samos due to its exact symetrical proportions
  • Severe Style Ancient Greek bronze sculpture of a charioteer, 480-460 BC, Delphi National Archaeological Museum.   Against grey.<br />
<br />
The Charioteer is a rare example of Severe Style bronze statue that only servived ancient looters  because it was buried by an earthquake. Plain and austere it mirrors the preveiling aestheics expected from ancient greek atheletes. The statue was probably sculpted following the teachings of Pythagoras of Samos due to its exact symetrical proportions
  • Severe Style Ancient Greek bronze sculpture of a charioteer, 480-460 BC, Delphi National Archaeological Museum. <br />
<br />
The Charioteer is a rare example of Severe Style bronze statue that only servived ancient looters  because it was buried by an earthquake. Plain and austere it mirrors the preveiling aestheics expected from ancient greek atheletes. The statue was probably sculpted following the teachings of Pythagoras of Samos due to its exact symetrical proportions
  • Aphrodite, Roman Venus, of Vienne Goddess of Love. This 1st to 2nd century Roman marble copy of a lost Greek original attributed to attibuee Doidalsas Bithynia around 250BC, is of the crouching Venus style. Excavated from the Palace of Mirrors in Saint Romain en Gal (Isere France). The Crouching Venus is a Hellenistic model of Venus surprised at her bath. Venus crouches with her right knee close to the ground, turns her head to the right and, in most versions, reaches her right arm over to her left shoulder to cover her breasts. Louvre Museum, Inv No MNB 1292 ( Usual No Ma 2240)
  • Aphrodite, Roman Venus, of Vienne Goddess of Love. This 1st to 2nd century Roman marble copy of a lost Greek original attributed to attibuee Doidalsas Bithynia around 250BC, is of the crouching Venus style. Excavated from the Palace of Mirrors in Saint Romain en Gal (Isere France). The Crouching Venus is a Hellenistic model of Venus surprised at her bath. Venus crouches with her right knee close to the ground, turns her head to the right and, in most versions, reaches her right arm over to her left shoulder to cover her breasts. Louvre Museum, Inv No MNB 1292 ( Usual No Ma 2240)
  • The workroom of the Queen Mary Caroline. Also called "the room of Mirrors" the frescoed ceiling is by Antonio de Dominici with pairs of mythical figures : Jupiter and Juno, Apollo and Minerva, Mars and the War and Mercury and Prosperpine. The Kings of Naples Royal Palace of Caserta, Italy. A UNESCO World Heritage Site
  • The Autumn Room- Frescoes on the vaulted ceiling depict the meetingbetween Bacchus and Ariadne, by Antonio de Dominici. Over the doors & mirrors are paintings by Gerolamo Starace painted between 1780-81, showing the mythical subjects of : Ceres, Allorgories of Dianna, Vulca, The Allagories of Saturn, Juno and Apollo. The Kings of Naples Royal Palace of Caserta, Italy. A UNESCO World Heritage Site
  • The Autumn Room- Frescoes on the vaulted ceiling depict the meetingbetween Bacchus and Ariadne, by Antonio de Dominici. Over the doors & mirrors are paintings by Gerolamo Starace painted between 1780-81, showing the mythical subjects of : Ceres, Allorgories of Dianna, Vulca, The Allagories of Saturn, Juno and Apollo. The Kings of Naples Royal Palace of Caserta, Italy. A UNESCO World Heritage Site
  • The Autumn Room- Frescoes on the vaulted ceiling depict the meetingbetween Bacchus and Ariadne, by Antonio de Dominici. Over the doors & mirrors are paintings by Gerolamo Starace painted between 1780-81, showing the mythical subjects of : Ceres, Allorgories of Dianna, Vulca, The Allagories of Saturn, Juno and Apollo. The Kings of Naples Royal Palace of Caserta, Italy. A UNESCO World Heritage Site
  • Ballroom of mirrors  of the Baroque Villa Palagonia - Baghera Sicily Pictures, photos, images & fotos
  • Ballroom of mirrors  of the Baroque Villa Palagonia - Baghera Sicily Pictures, photos, images & fotos
  • Ballroom of mirrors  of the Baroque Villa Palagonia - Baghera Sicily Pictures, photos, images & fotos
  • Ballroom of mirrors  of the Baroque Villa Palagonia - Baghera Sicily Pictures, photos, images & fotos
  • Ballroom of mirrors  of the Baroque Villa Palagonia - Baghera Sicily Pictures, photos, images & fotos
  • Severe Style Ancient Greek bronze sculpture of a charioteer, 480-460 BC, Delphi National Archaeological Museum.  Against white.<br />
<br />
The Charioteer is a rare example of Severe Style bronze statue that only servived ancient looters  because it was buried by an earthquake. Plain and austere it mirrors the preveiling aestheics expected from ancient greek atheletes. The statue was probably sculpted following the teachings of Pythagoras of Samos due to its exact symetrical proportions
  • Severe Style Ancient Greek bronze sculpture of a charioteer, 480-460 BC, Delphi National Archaeological Museum.   Against grey.<br />
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The Charioteer is a rare example of Severe Style bronze statue that only servived ancient looters  because it was buried by an earthquake. Plain and austere it mirrors the preveiling aestheics expected from ancient greek atheletes. The statue was probably sculpted following the teachings of Pythagoras of Samos due to its exact symetrical proportions

FunkyStock Picture Library Resource

Picture The Past

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FunkyStock Picture Library free resource for professional editorial picture editors, picture researchers, historical scholars and students and enthusiasts who want to browse some of the best pictures and images of historic countries, historical places, archaeological sites and the very best museum antiquities and artefacts exhibits in Europe and the Middle East.

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Browse travel pictures and images of historic places and archaeological sites of countries in Europe and the Middle East.

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HISTORICAL

Explore the past through pictures and images of its historic places. See the great palaces, castles and cities of antiquity as well as the great archaeological sites where our ancestors made history.

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MUSEUMS

Browse pictures & images the treasured artefacts and antiquities exhibits from the great Museum of Europe and the Middle East. See the art and objects made by our ancestors.

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