• Autumn Sale now on
  • Falling autumn leaves against a sunset cloudy sky with a sign with Autumn sale now on. For retail discount or sales publicity.
  • Falling autumn leaves against a sunset cloudy sky with a sign with Autumn sale now on. For retail discount or sales publicity.
  • Falling autumn leaves against a sunset cloudy sky with a sign with Autumn sale now on. For retail discount or sales publicity.
  • Autumn Sale
  • Autumn Sale
  • Autumn Sign
  • Autumn discount
  • Autumn discount
  • Autumn discount
  • 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
  • Neolithic Marble Female Figurine grave offering of the early Cycladic II period from the Chalandriani, from Syros. 2800-2300BC. Athens Archaeological Museum Ref No 6169.
  • Neolithic Marble Female Figurine grave offering of the early Cycladic II period from the Chalandriani, from Syros. 2800-2300BC. Athens Archaeological Museum Ref No 6169.
  • Neolithic Marble Female Figurine grave offering of the early Cycladic II period from the Chalandriani, from Syros. 2800-2300BC. Athens Archaeological Museum Ref No 6169.
  • Neolithic Marble Female Figurine grave offering of the early Cycladic II period from the Chalandriani, from Syros. 2800-2300BC. Athens Archaeological Museum Ref No 6169.
  • Ancient Greek Cycladic statue torso fragment: Canonical spedos variety , Early Cycladic period II, Syros phase 2800-2300 BC. Cycladic Museum of Art, Athens.   Against black<br />
<br />
Arrtibuted to 'Goulandris Master'.  A very rare unique example of a canonical Spedos variety Cycladic statue of a male. The genetals are carved in the round in a naturalistic manner and unusually the forearms dont touch as in the female figures. This is a totaly unique example of a Cycladic canonical male figure of monumental dimensions.
  • Ancient Greek Cycladic statue torso fragment: Canonical spedos variety , Early Cycladic period II, Syros phase 2800-2300 BC. Cycladic Museum of Art, Athens. Female figurine statuette : Cycladic Canonical type, Kapsala variety. Against white.<br />
<br />
Arrtibuted to 'Goulandris Master'.  A very rare unique example of a canonical Spedos variety Cycladic statue of a male. The genetals are carved in the round in a naturalistic manner and unusually the forearms dont touch as in the female figures. This is a totaly unique example of a Cycladic canonical male figure of monumental dimensions.
  • Ancient Greek Cycladic statue torso fragment: Canonical spedos variety , Early Cycladic period II, Syros phase 2800-2300 BC. Cycladic Museum of Art, Athens.  Grey Background. <br />
<br />
Arrtibuted to 'Goulandris Master'.  A very rare unique example of a canonical Spedos variety Cycladic statue of a male. The genetals are carved in the round in a naturalistic manner and unusually the forearms dont touch as in the female figures. This is a totaly unique example of a Cycladic canonical male figure of monumental dimensions.
  • Ancient Greek Cycladic statue torso fragment: Canonical spedos variety , Early Cycladic period II, Syros phase 2800-2300 BC. Cycladic Museum of Art, Athens. <br />
<br />
Arrtibuted to 'Goulandris Master'.  A very rare unique example of a canonical Spedos variety Cycladic statue of a male. The genetals are carved in the round in a naturalistic manner and unusually the forearms dont touch as in the female figures. This is a totaly unique example of a Cycladic canonical male figure of monumental dimensions.
  • Ancient Greek Cycladic statue torso fragment: Canonical spedos variety , Early Cycladic period II, Syros phase 2800-2300 BC. Cycladic Museum of Art, Athens.  Grey Background. <br />
<br />
Arrtibuted to 'Goulandris Master'.  A very rare unique example of a canonical Spedos variety Cycladic statue of a male. The genetals are carved in the round in a naturalistic manner and unusually the forearms dont touch as in the female figures. This is a totaly unique example of a Cycladic canonical male figure of monumental dimensions.
  • Ancient Greek Cycladic female figurine of the canonical type, Dokathismata and Spedos variety, Early Cycladic period II, Syros phase, 2800-2300 BC, Museum of Cycladic Art, Athens. Grey Background. <br />
<br />
Considered to be an intermediate or transitional form between the Dokathismata and Spedos varieties/
  • Ancient Greek Cycladic female figurine of the canonical type, Dokathismata and Spedos variety, Early Cycladic period II, Syros phase, 2800-2300 BC, Museum of Cycladic Art, Athens. Against white.<br />
<br />
Considered to be an intermediate or transitional form between the Dokathismata and Spedos varieties/
  • Ancient Greek Cycladic female figurine of the canonical type, Dokathismata and Spedos variety, Early Cycladic period II, Syros phase, 2800-2300 BC, Museum of Cycladic Art, Athens.   Against black<br />
<br />
Considered to be an intermediate or transitional form between the Dokathismata and Spedos varieties/
  • Ancient Greek Cycladic female figurine of the canonical type, Dokathismata and Spedos variety, Early Cycladic period II, Syros phase, 2800-2300 BC, Museum of Cycladic Art, Athens. Grey Background. <br />
<br />
Considered to be an intermediate or transitional form between the Dokathismata and Spedos varieties/
  • Ancient Greek Cycladic female figurine of the canonical type, Dokathismata and Spedos variety, Early Cycladic period II, Syros phase, 2800-2300 BC, Museum of Cycladic Art, Athens.<br />
<br />
Considered to be an intermediate or transitional form between the Dokathismata and Spedos varieties/
  • Post canonical female ancient Greek Cycladic figurine, Late Ccladic priod  II to Cycladic period III (2500-2000 BC)Museum of Cycladic Art Athens, cat no 312,  Against white.
  • Post canonical female ancient Greek Cycladic figurine, Late Ccladic priod II to Cycladic period III (2500-2000 BC)Museum of Cycladic Art Athens, cat no 312.   Against black
  • Post canonical female ancient Greek Cycladic figurine, Late Ccladic priod II to Cycladic period III (2500-2000 BC)Museum of Cycladic Art Athens, cat no 312.  Grey Background.
  • Post canonical female ancient Greek Cycladic figurine, Late Ccladic priod II to Cycladic period III (2500-2000 BC)Museum of Cycladic Art Athens, cat no 312.  Grey Background.
  • Post canonical female ancient Greek Cycladic figurine, Late Ccladic priod II to Cycladic period III (2500-2000 BC)Museum of Cycladic Art Athens, cat no 312
  • Female figurine statuette : Cycladic Canonical type, Kapsala variety. Early Cycladic Period II, (2800-2300 BC), ' Museum of Cycladic Art Athens. Against white.
  • Female figurine statuette : Cycladic Canonical type, Kapsala variety. Early Cycladic Period II, (2800-2300 BC), ' Museum of Cycladic Art Athens.
  • Female figurine statuette : Cycladic Canonical type, Kapsala variety. Early Cycladic Period II, (2800-2300 BC), ' Museum of Cycladic Art Athens. Grey Background.
  • Female figurine statuette : Cycladic Canonical type, Kapsala variety. Early Cycladic Period II, (2800-2300 BC), ' Museum of Cycladic Art Athens.
  • Female figurine statuette : Cycladic Canonical type, Kapsala variety. Early Cycladic Period II, (2800-2300 BC), ' Museum of Cycladic Art Athens. Grey Background.
  • Female figurine statuette : Cycladic Canonical type, Spedos variety. Early Cycladic Period II, (2800-2300 BC), ' Museum of Cycladic Art Athens. Against white.<br />
<br />
The cycaldic figurine has its facial features preserved in relief. The eyes, eye brows and hair was probably painted which subsequently protected theses areas of the marble from erosion. Red pigment was found on the cheek and thighs. This is a mature work of the Spedos variety
  • Female figurine statuette : Cycladic Canonical type, Spedos variety. Early Cycladic Period II, (2800-2300 BC), ' Museum of Cycladic Art Athens.  Against black<br />
<br />
<br />
The cycaldic figurine has its facial features preserved in relief. The eyes, eye brows and hair was probably painted which subsequently protected theses areas of the marble from erosion. Red pigment was found on the cheek and thighs. This is a mature work of the Spedos variety
  • Female figurine statuette : Cycladic Canonical type, Spedos variety. Early Cycladic Period II, (2800-2300 BC), ' Museum of Cycladic Art Athens. Grey Background. <br />
<br />
The cycaldic figurine has its facial features preserved in relief. The eyes, eye brows and hair was probably painted which subsequently protected theses areas of the marble from erosion. Red pigment was found on the cheek and thighs. This is a mature work of the Spedos variety
  • Female figurine statuette : Cycladic Canonical type, Spedos variety. Early Cycladic Period II, (2800-2300 BC), ' Museum of Cycladic Art Athens.<br />
<br />
The cycaldic figurine has its facial features preserved in relief. The eyes, eye brows and hair was probably painted which subsequently protected theses areas of the marble from erosion. Red pigment was found on the cheek and thighs. This is a mature work of the Spedos variety
  • Female figurine statuette : Cycladic Canonical type, Spedos variety. Early Cycladic Period II, (2800-2300 BC), ' Museum of Cycladic Art Athens. Grey Background. <br />
<br />
The cycaldic figurine has its facial features preserved in relief. The eyes, eye brows and hair was probably painted which subsequently protected theses areas of the marble from erosion. Red pigment was found on the cheek and thighs. This is a mature work of the Spedos variety
  • Ancient Greek Cycladic female figurine of the canonical type, Dokathismata variety, Early Cycladic period II, Syros phase, 2800-2300 BC, Museum of Cycladic Art, Athens. Against white.<br />
<br />
Attributed to the 'Ashmolean Museum Master'
  • Ancient Greek Cycladic female figurine of the canonical type, Dokathismata variety, Early Cycladic period II, Syros phase, 2800-2300 BC, Museum of Cycladic Art, Athens. Grey Background. <br />
<br />
Attributed to the 'Ashmolean Museum Master'
  • Ancient Greek Cycladic female figurine of the canonical type, Dokathismata variety, Early Cycladic period II, Syros phase, 2800-2300 BC, Museum of Cycladic Art, Athens.<br />
<br />
Attributed to the 'Ashmolean Museum Master'
  • Ancient Greek Cycladic female figurine of the canonical type, Dokathismata variety, Early Cycladic period II, Syros phase, 2800-2300 BC, Museum of Cycladic Art, Athens.  Against black<br />
<br />
Attributed to the 'Ashmolean Museum Master'
  • Ancient Greek Cycladic female figurine of the canonical type, Dokathismata variety, Early Cycladic period II, Syros phase, 2800-2300 BC, Museum of Cycladic Art, Athens. Grey Background. <br />
<br />
Attributed to the 'Ashmolean Museum Master'
  • Ancient violin shaped schematic figure from the Pelos phase,  'Kusura type', probably from Asia Minor. Early Cycladic period I 3200-2800 BC. Museum of Cycladic Art Athens, Cat no 961.  Against white.
  • Ancient violin shaped schematic figure from the Pelos phase,  'Kusura type', probably from Asia Minor. Early Cycladic period I 3200-2800 BC. Museum of Cycladic Art Athens, Cat no 961.   Against black
  • Ancient violin shaped schematic figure from the Pelos phase,  'Kusura type', probably from Asia Minor. Early Cycladic period I 3200-2800 BC. Museum of Cycladic Art Athens, Cat no 961. Grey Background.
  • Ancient violin shaped schematic figure from the Pelos phase,  'Kusura type', probably from Asia Minor. Early Cycladic period I 3200-2800 BC. Museum of Cycladic Art Athens, Cat no 961
  • Ancient violin shaped schematic figure from the Pelos phase,  'Kusura type', probably from Asia Minor. Early Cycladic period I 3200-2800 BC. Museum of Cycladic Art Athens, Cat no 961. Grey Background.
  • Ancient spade shaped schematic figure from the Pelos phase,   probably from Asia Minor. Early Cycladic period I 3200-2800 BC. Museum of Cycladic Art Athens, Cat no 333.  Against white.
  • Ancient spade shaped schematic figure from the Pelos phase,   probably from Asia Minor. Early Cycladic period I 3200-2800 BC. Museum of Cycladic Art Athens, Cat no 333. Grey Background.
  • Ancient spade shaped schematic figure from the Pelos phase,   probably from Asia Minor. Early Cycladic period I 3200-2800 BC. Museum of Cycladic Art Athens, Cat no 333
  • Ancient spade shaped schematic figure from the Pelos phase,   probably from Asia Minor. Early Cycladic period I 3200-2800 BC. Museum of Cycladic Art Athens, Cat no 333
  • Ancient spade shaped schematic figure from the Pelos phase,   probably from Asia Minor. Early Cycladic period I 3200-2800 BC. Museum of Cycladic Art Athens, Cat no 333. Grey Background.
  • Ancient Greek Cycladic figurine, Kilia type ('stargazer'). Kilia, Gallipoli, Turkey, Circa 4360-3500 BC. Museum of Cycladic Art Athens,  Against white.
  • Ancient Greek Cycladic figurine, Kilia type ('stargazer'). Kilia, Gallipoli, Turkey, Circa 4360-3500 BC. Museum of Cycladic Art Athens, Grey Background.
  • Ancient Greek Cycladic figurine, Kilia type ('stargazer'). Kilia, Gallipoli, Turkey, Circa 4360-3500 BC. Museum of Cycladic Art Athens,   Against black
  • Ancient Greek Cycladic figurine, Kilia type ('stargazer'). Kilia, Gallipoli, Turkey, Circa 4360-3500 BC. Museum of Cycladic Art Athens,
  • Ancient Greek Cycladic figurine, Kilia type ('stargazer'). Kilia, Gallipoli, Turkey, Circa 4360-3500 BC. Museum of Cycladic Art Athens, Grey Background.
  • Marble ancient Greek Cycladic figurine wearing a conical pilos, early Plastiras type, Early Cycladic Period I, circal 2800 BC, Museum of Cycladic Art Athens, cat no 1111.  Against white.
  • Marble ancient Greek Cycladic figurine wearing a conical pilos, early Plastiras type, Early Cycladic Period I, circal 2800 BC, Museum of Cycladic Art Athens, cat no 1111.   Against black
  • Marble ancient Greek Cycladic figurine wearing a conical pilos, early Plastiras type, Early Cycladic Period I, circal 2800 BC, Museum of Cycladic Art Athens, cat no 1111.  Grey Background.
  • Marble ancient Greek Cycladic figurine wearing a conical pilos, early Plastiras type, Early Cycladic Period I, circal 2800 BC, Museum of Cycladic Art Athens, cat no 1111
  • Marble ancient Greek Cycladic figurine wearing a conical pilos, early Plastiras type, Early Cycladic Period I, circal 2800 BC, Museum of Cycladic Art Athens, cat no 1111.  Against Grey Background.
  • Abstract Cycladic figurine , Louris type, from Naxos, 2800-2500 BC, Museum of Cycladic Art Athens,  Against white.<br />
<br />
The figurine has no facial features and is of no determinable sex. The figureine is of the Louros typle, named after a site in Naxos and with stuby arms is considered to be an abstract development of the Plastiras type, of which it retains such traits and naturalistically separated legs and horizontal feet. The arms have been reduced to two protuberances at shoulder level and all anitomical features have virtually disappeared.
  • Abstract Cycladic figurine , Louris type, from Naxos, 2800-2500 BC, Museum of Cycladic Art Athens,   Against black<br />
<br />
The figurine has no facial features and is of no determinable sex. The figureine is of the Louros typle, named after a site in Naxos and with stuby arms is considered to be an abstract development of the Plastiras type, of which it retains such traits and naturalistically separated legs and horizontal feet. The arms have been reduced to two protuberances at shoulder level and all anitomical features have virtually disappeared.
  • Abstract Cycladic figurine , Louris type, from Naxos, 2800-2500 BC, Museum of Cycladic Art Athens,  Against Grey Background. <br />
<br />
The figurine has no facial features and is of no determinable sex. The figureine is of the Louros typle, named after a site in Naxos and with stuby arms is considered to be an abstract development of the Plastiras type, of which it retains such traits and naturalistically separated legs and horizontal feet. The arms have been reduced to two protuberances at shoulder level and all anitomical features have virtually disappeared.
  • Abstract Cycladic figurine , Louris type, from Naxos, 2800-2500 BC, Museum of Cycladic Art Athens, <br />
<br />
The figurine has no facial features and is of no determinable sex. The figureine is of the Louros typle, named after a site in Naxos and with stuby arms is considered to be an abstract development of the Plastiras type, of which it retains such traits and naturalistically separated legs and horizontal feet. The arms have been reduced to two protuberances at shoulder level and all anitomical features have virtually disappeared.
  • Abstract Cycladic figurine , Louris type, from Naxos, 2800-2500 BC, Museum of Cycladic Art Athens,  Against Grey Background. <br />
<br />
The figurine has no facial features and is of no determinable sex. The figureine is of the Louros typle, named after a site in Naxos and with stuby arms is considered to be an abstract development of the Plastiras type, of which it retains such traits and naturalistically separated legs and horizontal feet. The arms have been reduced to two protuberances at shoulder level and all anitomical features have virtually disappeared.
  • Post canonical ancient Greek Cycladic warrior or hunter figurine, Late Ccladic prioc II to Cycladic period II (2500-2000 BC)Museum of Cycladic Art Athens, cat no 308. Against white.<br />
<br />
The relif of a baldric crossing the body left to righ suggest the figure was of a warrior or hunter. A small triangular dagger is incised as if hanging from the baldric.
  • Post canonical ancient Greek Cycladic warrior or hunter figurine, Late Ccladic prioc II to Cycladic period II (2500-2000 BC)Museum of Cycladic Art Athens, cat no 308.  Against black<br />
<br />
The relif of a baldric crossing the body left to righ suggest the figure was of a warrior or hunter. A small triangular dagger is incised as if hanging from the baldric.
  • Post canonical ancient Greek Cycladic warrior or hunter figurine, Late Ccladic prioc II to Cycladic period II (2500-2000 BC)Museum of Cycladic Art Athens, cat no 308. Against Grey Background. <br />
<br />
The relif of a baldric crossing the body left to righ suggest the figure was of a warrior or hunter. A small triangular dagger is incised as if hanging from the baldric.
  • Post canonical ancient Greek Cycladic warrior or hunter figurine, Late Ccladic prioc II to Cycladic period II (2500-2000 BC)Museum of Cycladic Art Athens, cat no 308.<br />
<br />
The relif of a baldric crossing the body left to righ suggest the figure was of a warrior or hunter. A small triangular dagger is incised as if hanging from the baldric.
  • Post canonical ancient Greek Cycladic warrior or hunter figurine, Late Ccladic prioc II to Cycladic period II (2500-2000 BC)Museum of Cycladic Art Athens, cat no 308. Against Grey Background. <br />
<br />
The relif of a baldric crossing the body left to righ suggest the figure was of a warrior or hunter. A small triangular dagger is incised as if hanging from the baldric.
  • Female figurine statuette : Cycladic Canonical type, Spedos variety f. Early Cycladic Period II, (2800-2300 BC), ' Museum of Cycladic Art Athens, cat no 207. Against white.
  • Female figurine statuette : Cycladic Canonical type, Spedos variety f. Early Cycladic Period II, (2800-2300 BC), ' Museum of Cycladic Art Athens, cat no 207.  Against black
  • Female figurine statuette : Cycladic Canonical type, Spedos variety f. Early Cycladic Period II, (2800-2300 BC), ' Museum of Cycladic Art Athens, cat no 207. Against Grey Background.
  • Female figurine statuette : Cycladic Canonical type, Spedos variety f. Early Cycladic Period II, (2800-2300 BC), ' Museum of Cycladic Art Athens, cat no 207.
  • Female figurine statuette : Cycladic Canonical type, Spedos variety f. Early Cycladic Period II, (2800-2300 BC), ' Museum of Cycladic Art Athens, cat no 207. Against Grey Background.
  • Female figurine statuette: Cycladic Canonical type, combining Dokathismata and Spedos variety. Early Cycladic Period II, (2800-2300 BC), 'Steiner Master'.  Museum of Cycladic Art Athens, cat no 283.  Against white.
  • Female figurine statuette: Cycladic Canonical type, combining Dokathismata and Spedos variety. Early Cycladic Period II, (2800-2300 BC), 'Steiner Master'.  Museum of Cycladic Art Athens, cat no 283.   Against black
  • Female figurine statuette: Cycladic Canonical type, combining Dokathismata and Spedos variety. Early Cycladic Period II, (2800-2300 BC), 'Steiner Master'.  Museum of Cycladic Art Athens, cat no 283.  Against Grey Background.
  • Female figurine statuette: Cycladic Canonical type, combining Dokathismata and Spedos variety. Early Cycladic Period II, (2800-2300 BC), 'Steiner Master'.  Museum of Cycladic Art Athens, cat no 283
  • Female figurine statuette: Cycladic Canonical type, combining Dokathismata and Spedos variety. Early Cycladic Period II, (2800-2300 BC), 'Steiner Master'.  Museum of Cycladic Art Athens, cat no 283.  Against Grey Background.
  • Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II, (2800-2300 BC), 'Steiner Master'.  Museum of Cycladic Art Athens, cat no 654.  Against white.
  • Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II, (2800-2300 BC), 'Steiner Master'.  Museum of Cycladic Art Athens, cat no 654.   Against black
  • Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II, (2800-2300 BC), 'Steiner Master'.  Museum of Cycladic Art Athens, cat no 654.  Against Grey Background.
  • Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II, (2800-2300 BC), 'Steiner Master'.  Museum of Cycladic Art Athens, cat no 654
  • Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II, (2800-2300 BC), 'Steiner Master'.  Museum of Cycladic Art Athens, cat no 654.  Against Grey Background.
  • Cycladic Post Canonical type, Chalandrian variety female figurine statuette. Early Cycladic Period II Late Syros phase, (2500-2300 BC), Museum of Cycladic Art Athens, cat no 102.  Against white.
  • Cycladic Post Canonical type, Chalandrian variety female figurine statuette. Early Cycladic Period II Late Syros phase, (2500-2300 BC), Museum of Cycladic Art Athens, cat no 102.   Against black
  • Cycladic Post Canonical type, Chalandrian variety female figurine statuette. Early Cycladic Period II Late Syros phase, (2500-2300 BC), Museum of Cycladic Art Athens, cat no 102.  Against Grey Background.
  • Cycladic Post Canonical type, Chalandrian variety female figurine statuette. Early Cycladic Period II Late Syros phase, (2500-2300 BC), Museum of Cycladic Art Athens, cat no 102
  • Cycladic Post Canonical type, Chalandrian variety female figurine statuette. Early Cycladic Period II Late Syros phase, (2500-2300 BC), Museum of Cycladic Art Athens, cat no 102.  Against Grey Background.
  • Rare male Cycladic statue of a seated warrior or hunter holding a cup. Early Cycladic Period II, (2800-2300 BC), Museum of Cycladic Art Athens,  Against white.<br />
<br />
Male Cycladic figures are rare and are usually of musicians or hunters and warriors.
  • Rare male Cycladic statue of a seated warrior or hunter holding a cup. Early Cycladic Period II, (2800-2300 BC), Museum of Cycladic Art Athens, <br />
<br />
Male Cycladic figures are rare and are usually of musicians or hunters and warriors.
  • Rare male Cycladic statue of a seated warrior or hunter holding a cup. Early Cycladic Period II, (2800-2300 BC), Museum of Cycladic Art Athens,  Against Grey Background. <br />
<br />
Male Cycladic figures are rare and are usually of musicians or hunters and warriors.
  • Rare male Cycladic statue of a seated warrior or hunter holding a cup. Early Cycladic Period II, (2800-2300 BC), Museum of Cycladic Art Athens,   Against black<br />
<br />
Male Cycladic figures are rare and are usually of musicians or hunters and warriors.
  • Rare male Cycladic statue of a seated warrior or hunter holding a cup. Early Cycladic Period II, (2800-2300 BC), Museum of Cycladic Art Athens,  Against Grey Background. <br />
<br />
Male Cycladic figures are rare and are usually of musicians or hunters and warriors.
  • Cycladic Canonical type, Spedos variety female figurine statuette from Naxos or Keros. Early Cycladic Period II, (2800-2300 BC), 'Goulandris Master'.  Museum of Cycladic Art Athens,   Against black<br />
<br />
The 'Goulandris Master' was named because of the N.P Goulandris collection which had a significat number of Cycladic figureines attributed to one sculptor. The characteristic traits of his work are : statues of 32 to 98 cm tall, precise incisions demarcating the neck, the abdomen and pubic triangle asv well as knees and spinal column, the statues have a rounded outline. Traces of colour were found on the statue.
  • Cycladic Canonical type, Spedos variety female figurine statuette from Naxos or Keros. Early Cycladic Period II, (2800-2300 BC), 'Goulandris Master'.  Museum of Cycladic Art Athens,  Against white.<br />
<br />
The 'Goulandris Master' was named because of the N.P Goulandris collection which had a significat number of Cycladic figureines attributed to one sculptor. The characteristic traits of his work are : statues of 32 to 98 cm tall, precise incisions demarcating the neck, the abdomen and pubic triangle asv well as knees and spinal column, the statues have a rounded outline. Traces of colour were found on the statue.
  • Cycladic Canonical type, Spedos variety female figurine statuette from Naxos or Keros. Early Cycladic Period II, (2800-2300 BC), 'Goulandris Master'.  Museum of Cycladic Art Athens,  Against Grey Background. <br />
<br />
<br />
The 'Goulandris Master' was named because of the N.P Goulandris collection which had a significat number of Cycladic figureines attributed to one sculptor. The characteristic traits of his work are : statues of 32 to 98 cm tall, precise incisions demarcating the neck, the abdomen and pubic triangle asv well as knees and spinal column, the statues have a rounded outline. Traces of colour were found on the statue.
  • Cycladic Canonical type, Spedos variety female figurine statuette from Naxos or Keros. Early Cycladic Period II, (2800-2300 BC), 'Goulandris Master'.  Museum of Cycladic Art Athens, <br />
<br />
The 'Goulandris Master' was named because of the N.P Goulandris collection which had a significat number of Cycladic figureines attributed to one sculptor. The characteristic traits of his work are : statues of 32 to 98 cm tall, precise incisions demarcating the neck, the abdomen and pubic triangle asv well as knees and spinal column, the statues have a rounded outline. Traces of colour were found on the statue.
  • Cycladic Canonical type, Spedos variety female figurine statuette from Naxos or Keros. Early Cycladic Period II, (2800-2300 BC), 'Goulandris Master'.  Museum of Cycladic Art Athens,  Against Grey Background. <br />
<br />
The 'Goulandris Master' was named because of the N.P Goulandris collection which had a significat number of Cycladic figureines attributed to one sculptor. The characteristic traits of his work are : statues of 32 to 98 cm tall, precise incisions demarcating the neck, the abdomen and pubic triangle asv well as knees and spinal column, the statues have a rounded outline. Traces of colour were found on the statue.
  • Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II from Syros phase , (2800-2300 BC). Attributed to the 'Copenhagen Master' Museum of Cycladic Art Athens,  Against white.<br />
<br />
The short legs have no knees and end in rudimentary feet. The legs probably broke at the knees and an artists remodelled  the truncated legs with toes. It is a rare example of remodelling in Cycladic art
  • Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II from Syros phase , (2800-2300 BC). Attributed to the 'Copenhagen Master' Museum of Cycladic Art Athens,  Against Grey Background. <br />
<br />
The short legs have no knees and end in rudimentary feet. The legs probably broke at the knees and an artists remodelled  the truncated legs with toes. It is a rare example of remodelling in Cycladic art
  • Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II from Syros phase , (2800-2300 BC). Attributed to the 'Copenhagen Master' Museum of Cycladic Art Athens,   Against black<br />
<br />
The short legs have no knees and end in rudimentary feet. The legs probably broke at the knees and an artists remodelled  the truncated legs with toes. It is a rare example of remodelling in Cycladic art
  • Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II from Syros phase , (2800-2300 BC). Attributed to the 'Copenhagen Master' Museum of Cycladic Art Athens, <br />
<br />
The short legs have no knees and end in rudimentary feet. The legs probably broke at the knees and an artists remodelled  the truncated legs with toes. It is a rare example of remodelling in Cycladic art
  • Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II from Syros phase , (2800-2300 BC). Attributed to the 'Copenhagen Master' Museum of Cycladic Art Athens,  Against Grey Background. <br />
<br />
The short legs have no knees and end in rudimentary feet. The legs probably broke at the knees and an artists remodelled  the truncated legs with toes. It is a rare example of remodelling in Cycladic art
  • Large Cycladic Canonical type, Spedos variety female figurine head. Early Cycladic Period II from Syros phase , (2800-2300 BC). Museum of Cycladic Art Athens, cat no 284.  Against white.
  • Large Cycladic Canonical type, Spedos variety female figurine head. Early Cycladic Period II from Syros phase , (2800-2300 BC). Museum of Cycladic Art Athens, cat no 284.   Against black
  • Large Cycladic Canonical type, Spedos variety female figurine head. Early Cycladic Period II from Syros phase , (2800-2300 BC). Museum of Cycladic Art Athens, cat no 284.  Against Grey Background.
  • Large Cycladic Canonical type, Spedos variety female figurine head. Early Cycladic Period II from Syros phase , (2800-2300 BC). Museum of Cycladic Art Athens, cat no 284
  • Large Cycladic Canonical type, Spedos variety female figurine head. Early Cycladic Period II from Syros phase , (2800-2300 BC). Museum of Cycladic Art Athens, cat no 284.  Against Grey Background.
  • Female Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II from Syros phase , (2800-2300 BC). Museum of Cycladic Art Athens,  Against white.<br />
<br />
Traces of painted decoration in red were found on the face and trunk. The nose was painted completely and four verticle bands are visible in the forehead, three on the neck and traces of bands on the chest and oblique bands on the forearms, seven on the left four on the right.
  • Female Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II from Syros phase , (2800-2300 BC). Museum of Cycladic Art Athens,  Against Grey Background. <br />
<br />
Traces of painted decoration in red were found on the face and trunk. The nose was painted completely and four verticle bands are visible in the forehead, three on the neck and traces of bands on the chest and oblique bands on the forearms, seven on the left four on the right.
  • Female Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II from Syros phase , (2800-2300 BC). Museum of Cycladic Art Athens,  Against black<br />
<br />
Traces of painted decoration in red were found on the face and trunk. The nose was painted completely and four verticle bands are visible in the forehead, three on the neck and traces of bands on the chest and oblique bands on the forearms, seven on the left four on the right.
  • Female Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II from Syros phase , (2800-2300 BC). Museum of Cycladic Art Athens, <br />
<br />
Traces of painted decoration in red were found on the face and trunk. The nose was painted completely and four verticle bands are visible in the forehead, three on the neck and traces of bands on the chest and oblique bands on the forearms, seven on the left four on the right.
  • Female Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II from Syros phase , (2800-2300 BC). Museum of Cycladic Art Athens,  Against Grey Background. <br />
<br />
Traces of painted decoration in red were found on the face and trunk. The nose was painted completely and four verticle bands are visible in the forehead, three on the neck and traces of bands on the chest and oblique bands on the forearms, seven on the left four on the right.
  • Large Female Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II from Syros phase , 1.4m high (2800-2300 BC). Museum of Cycladic Art Athens,  Against Grey Background. <br />
<br />
This impressive Cycladic statue is distinguished by its clear outlines and perfect proportions as well as plasticity of form. A sense of movement is introduced into the staue by its left hip being raised and a slight inclination of the head to the right. This movement gives the statue an air of mysetery and makes it a precursor of the later Archaic statue forms. This sense of movement also sets this Cycladic statue apart from other of the period. It was probably a cult statue and stood at the shrine of a cult goddess.
  • Large Female Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II from Syros phase , 1.4m high (2800-2300 BC). Museum of Cycladic Art Athens,  Against white.<br />
<br />
This impressive Cycladic statue is distinguished by its clear outlines and perfect proportions as well as plasticity of form. A sense of movement is introduced into the staue by its left hip being raised and a slight inclination of the head to the right. This movement gives the statue an air of mysetery and makes it a precursor of the later Archaic statue forms. This sense of movement also sets this Cycladic statue apart from other of the period. It was probably a cult statue and stood at the shrine of a cult goddess.
  • Large Female Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II from Syros phase , 1.4m high (2800-2300 BC). Museum of Cycladic Art Athens,  Against Grey Background. <br />
<br />
This impressive Cycladic statue is distinguished by its clear outlines and perfect proportions as well as plasticity of form. A sense of movement is introduced into the staue by its left hip being raised and a slight inclination of the head to the right. This movement gives the statue an air of mysetery and makes it a precursor of the later Archaic statue forms. This sense of movement also sets this Cycladic statue apart from other of the period. It was probably a cult statue and stood at the shrine of a cult goddess.
  • Large Female Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II from Syros phase , 1.4m high (2800-2300 BC). Museum of Cycladic Art Athens, <br />
<br />
This impressive Cycladic statue is distinguished by its clear outlines and perfect proportions as well as plasticity of form. A sense of movement is introduced into the staue by its left hip being raised and a slight inclination of the head to the right. This movement gives the statue an air of mysetery and makes it a precursor of the later Archaic statue forms. This sense of movement also sets this Cycladic statue apart from other of the period. It was probably a cult statue and stood at the shrine of a cult goddess.
  • Large Female Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II from Syros phase , 1.4m high (2800-2300 BC). Museum of Cycladic Art Athens,  Against black<br />
<br />
This impressive Cycladic statue is distinguished by its clear outlines and perfect proportions as well as plasticity of form. A sense of movement is introduced into the staue by its left hip being raised and a slight inclination of the head to the right. This movement gives the statue an air of mysetery and makes it a precursor of the later Archaic statue forms. This sense of movement also sets this Cycladic statue apart from other of the period. It was probably a cult statue and stood at the shrine of a cult goddess.
  • Female Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II from Syros phase (2800-2300 BC). Museum of Cycladic Art Athens, cat no 282.  Against black
  • Female Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II from Syros phase (2800-2300 BC). Museum of Cycladic Art Athens, cat no 282.  Against white.
  • Female Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II from Syros phase (2800-2300 BC). Museum of Cycladic Art Athens, cat no 282.  Against Grey Background.
  • Female Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II from Syros phase (2800-2300 BC). Museum of Cycladic Art Athens, cat no 282.  Against Grey Background.
  • Female Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II from Syros phase (2800-2300 BC). Museum of Cycladic Art Athens, cat no 282
  • Female Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II from Syros phase (2800-2300 BC). Museum of Cycladic Art Athens,  Against white.<br />
<br />
The cycladic figurine has a band etched high on its forehead and a large area on the back of the head of spiralling curls. The surface has probably been protected by paint and the outline of the left eye paint is still detectable as a greyish tinge. It can be assumed that both hair and eyes were painted. Canonical type, Spedos variety
  • Female Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II from Syros phase (2800-2300 BC). Museum of Cycladic Art Athens,  Against black.<br />
<br />
The cycladic figurine has a band etched high on its forehead and a large area on the back of the head of spiralling curls. The surface has probably been protected by paint and the outline of the left eye paint is still detectable as a greyish tinge. It can be assumed that both hair and eyes were painted. Canonical type, Spedos variety
  • Female Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II from Syros phase (2800-2300 BC). Museum of Cycladic Art Athens,  Against Grey Background. <br />
<br />
The cycladic figurine has a band etched high on its forehead and a large area on the back of the head of spiralling curls. The surface has probably been protected by paint and the outline of the left eye paint is still detectable as a greyish tinge. It can be assumed that both hair and eyes were painted. Canonical type, Spedos variety
  • Female Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II from Syros phase (2800-2300 BC). Museum of Cycladic Art Athens,<br />
<br />
The cycladic figurine has a band etched high on its forehead and a large area on the back of the head of spiralling curls. The surface has probably been protected by paint and the outline of the left eye paint is still detectable as a greyish tinge. It can be assumed that both hair and eyes were painted. Canonical type, Spedos variety
  • Female Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II from Syros phase (2800-2300 BC). Museum of Cycladic Art Athens,  Against Grey Background. <br />
<br />
The cycladic figurine has a band etched high on its forehead and a large area on the back of the head of spiralling curls. The surface has probably been protected by paint and the outline of the left eye paint is still detectable as a greyish tinge. It can be assumed that both hair and eyes were painted. Canonical type, Spedos variety
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-2300 BC) from Stavros cemetery, Amorgos, grave 5, Cat No 4719. National Archaeological Museum, Athens.   White background.<br />
<br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-2300 BC) from Stavros cemetery, Amorgos, grave 5, Cat No 4719. National Archaeological Museum, Athens. <br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-2300 BC) from Stavros cemetery, Amorgos, grave 5, Cat No 4719. National Archaeological Museum, Athens.   Grey background.<br />
<br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-2300 BC) from Stavros cemetery, Amorgos, grave 5, Cat No 4719. National Archaeological Museum, Athens. <br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-2300 BC) from Stavros cemetery, Amorgos, grave 5, Cat No 4719. National Archaeological Museum, Athens.   Gray background.<br />
<br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised.
  • The 'Harpist of Keros' a seated parian marble female Cycladic figurine. Early Cycladic Period II (2800-2300 BC) from Keros, Cat no 3908. National Archaeological Museum, Athens.   White background.<br />
<br />
<br />
This elaborate three dimesional Cyladic statue known as the 'Harpist of Keros' depicts a seated figure plaung a harp. Its execution required an experienced workshop that could file away the parian marble with gronze tools.
  • The 'Harpist of Keros' a seated parian marble female Cycladic figurine. Early Cycladic Period II (2800-2300 BC) from Keros, Cat no 3908. National Archaeological Museum, Athens. Black background.<br />
<br />
This elaborate three dimesional Cyladic statue known as the 'Harpist of Keros' depicts a seated figure plaung a harp. Its execution required an experienced workshop that could file away the parian marble with gronze tools.
  • The 'Harpist of Keros' a seated parian marble female Cycladic figurine. Early Cycladic Period II (2800-2300 BC) from Keros, Cat no 3908. National Archaeological Museum, Athens.   Grey background.<br />
<br />
<br />
This elaborate three dimesional Cyladic statue known as the 'Harpist of Keros' depicts a seated figure plaung a harp. Its execution required an experienced workshop that could file away the parian marble with gronze tools.
  • The 'Harpist of Keros' a seated parian marble female Cycladic figurine. Early Cycladic Period II (2800-2300 BC) from Keros, Cat no 3908. National Archaeological Museum, Athens. <br />
<br />
This elaborate three dimesional Cyladic statue known as the 'Harpist of Keros' depicts a seated figure plaung a harp. Its execution required an experienced workshop that could file away the parian marble with gronze tools.
  • The 'Harpist of Keros' a seated parian marble female Cycladic figurine. Early Cycladic Period II (2800-2300 BC) from Keros, Cat no 3908. National Archaeological Museum, Athens.   Gray background.<br />
<br />
<br />
This elaborate three dimesional Cyladic statue known as the 'Harpist of Keros' depicts a seated figure plaung a harp. Its execution required an experienced workshop that could file away the parian marble with gronze tools.
  • The 'Harpist of Keros' a seated parian marble female Cycladic figurine. Early Cycladic Period II (2800-2300 BC) from Keros, Cat no 3908. National Archaeological Museum, Athens.   White background.<br />
<br />
<br />
This elaborate three dimesional Cyladic statue known as the 'Harpist of Keros' depicts a seated figure plaung a harp. Its execution required an experienced workshop that could file away the parian marble with gronze tools.
  • The 'Harpist of Keros' a seated parian marble female Cycladic figurine. Early Cycladic Period II (2800-2300 BC) from Keros, Cat no 3908. National Archaeological Museum, Athens. Black background.<br />
<br />
This elaborate three dimesional Cyladic statue known as the 'Harpist of Keros' depicts a seated figure plaung a harp. Its execution required an experienced workshop that could file away the parian marble with gronze tools.
  • The 'Harpist of Keros' a seated parian marble female Cycladic figurine. Early Cycladic Period II (2800-2300 BC) from Keros, Cat no 3908. National Archaeological Museum, Athens.   Grey background.<br />
<br />
<br />
This elaborate three dimesional Cyladic statue known as the 'Harpist of Keros' depicts a seated figure plaung a harp. Its execution required an experienced workshop that could file away the parian marble with gronze tools.
  • The 'Harpist of Keros' a seated parian marble female Cycladic figurine. Early Cycladic Period II (2800-2300 BC) from Keros, Cat no 3908. National Archaeological Museum, Athens. <br />
<br />
This elaborate three dimesional Cyladic statue known as the 'Harpist of Keros' depicts a seated figure plaung a harp. Its execution required an experienced workshop that could file away the parian marble with gronze tools.
  • The 'Harpist of Keros' a seated parian marble female Cycladic figurine. Early Cycladic Period II (2800-2300 BC) from Keros, Cat no 3908. National Archaeological Museum, Athens. <br />
<br />
This elaborate three dimesional Cyladic statue known as the 'Harpist of Keros' depicts a seated figure plaung a harp. Its execution required an experienced workshop that could file away the parian marble with gronze tools.
  • Marble female Cycladic statue figurine with folded arms. Early Cycladic Period II (2800-2300 BC) from Chalandriani, Syros. National Archaeological Museum, Athens.   White background.
  • Marble female Cycladic statue figurine with folded arms. Early Cycladic Period II (2800-2300 BC) from Chalandriani, Syros. National Archaeological Museum, Athens.   Grey background.
  • Marble female Cycladic statue figurine with folded arms. Early Cycladic Period II (2800-2300 BC) from Chalandriani, Syros. National Archaeological Museum, Athens. Black background.
  • Marble female Cycladic statue figurine with folded arms. Early Cycladic Period II (2800-2300 BC) from Chalandriani, Syros. National Archaeological Museum, Athens.
  • Marble female Cycladic statue figurine with folded arms. Early Cycladic Period II (2800-2300 BC) from Chalandriani, Syros. National Archaeological Museum, Athens.   Gray background.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-2300 BC) from Naxos, Cat No 6195. National Archaeological Museum, Athens.   White background.<br />
<br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-2300 BC) from Naxos, Cat No 6195. National Archaeological Museum, Athens.   Grey background.<br />
<br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-2300 BC) from Naxos, Cat No 6195. National Archaeological Museum, Athens. Black background.<br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-2300 BC) from Naxos, Cat No 6195. National Archaeological Museum, Athens. <br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-2300 BC) from Naxos, Cat No 6195. National Archaeological Museum, Athens.   Gray background.<br />
<br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-2300 BC) from Naxos, Cat No 6195. National Archaeological Museum, Athens.   White background.<br />
<br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-2300 BC) from Naxos, Cat No 6195. National Archaeological Museum, Athens. Black background.<br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-2300 BC) from Naxos, Cat No 6195. National Archaeological Museum, Athens. <br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-2300 BC) from Naxos, Cat No 6195. National Archaeological Museum, Athens.   Grey background.<br />
<br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-2300 BC) from Naxos, Cat No 6195. National Archaeological Museum, Athens.   Gray background.<br />
<br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised.
  • Cycladic statue figurine of the naturalistic 'Plastira' type of Paros from Glypha cemetery, grave 23, Cat no 4762. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens.   White background.<br />
<br />
<br />
This type of Cycladic figurine stand with feet lat to the ground with detailed facial features and ears to make a more realistic statue.
  • Cycladic statue figurine of the naturalistic 'Plastira' type of Paros from Glypha cemetery, grave 23, Cat no 4762. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens. Black background.<br />
<br />
This type of Cycladic figurine stand with feet lat to the ground with detailed facial features and ears to make a more realistic statue.
  • Cycladic statue figurine of the naturalistic 'Plastira' type of Paros from Glypha cemetery, grave 23, Cat no 4762. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens. <br />
<br />
This type of Cycladic figurine stand with feet lat to the ground with detailed facial features and ears to make a more realistic statue.
  • Cycladic statue figurine of the naturalistic 'Plastira' type of Paros from Glypha cemetery, grave 23, Cat no 4762. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens. <br />
<br />
This type of Cycladic figurine stand with feet lat to the ground with detailed facial features and ears to make a more realistic statue.
  • Cycladic statue figurine of the naturalistic 'Plastira' type of Paros from Glypha cemetery, grave 23, Cat no 4762. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens.   Gray background.<br />
<br />
<br />
This type of Cycladic figurine stand with feet lat to the ground with detailed facial features and ears to make a more realistic statue.
  • Cycladic statue figurine of the naturalistic 'Plastira' type of Paros. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens.   White background.<br />
<br />
<br />
This type of Cycladic figurine stand with feet lat to the ground with detailed facial features and ears to make a more realistic statue.
  • Cycladic statue figurine of the naturalistic 'Plastira' type of Paros. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens. Black background.<br />
<br />
This type of Cycladic figurine stand with feet lat to the ground with detailed facial features and ears to make a more realistic statue.
  • Cycladic statue figurine of the naturalistic 'Plastira' type of Paros. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens.   Grey background.<br />
<br />
<br />
This type of Cycladic figurine stand with feet lat to the ground with detailed facial features and ears to make a more realistic statue.
  • Cycladic statue figurine of the naturalistic 'Plastira' type of Paros. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens. <br />
<br />
This type of Cycladic figurine stand with feet lat to the ground with detailed facial features and ears to make a more realistic statue.
  • Cycladic statue figurine of the naturalistic 'Plastira' type of Paros. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens.   Gray background.<br />
<br />
<br />
This type of Cycladic figurine stand with feet lat to the ground with detailed facial features and ears to make a more realistic statue.
  • Cycladic statue figurine of the naturalistic 'Plastira' type of Paros. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens.   White background.<br />
<br />
<br />
This type of Cycladic figurine stand with feet lat to the ground with detailed facial features and ears to make a more realistic statue. This statue is of a hunter or warrior as it bears an incised weapon strap across its chest and holds a knife.
  • Cycladic statue figurine of the naturalistic 'Plastira' type of Paros. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens. Black background.<br />
This type of Cycladic figurine stand with feet lat to the ground with detailed facial features and ears to make a more realistic statue. This statue is of a hunter or warrior as it bears an incised weapon strap across its chest and holds a knife.
  • Cycladic statue figurine of the naturalistic 'Plastira' type of Paros. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens.   Grey background.<br />
<br />
<br />
This type of Cycladic figurine stand with feet lat to the ground with detailed facial features and ears to make a more realistic statue. This statue is of a hunter or warrior as it bears an incised weapon strap across its chest and holds a knife.
  • Cycladic statue figurine of the naturalistic 'Plastira' type of Paros. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens. <br />
<br />
This type of Cycladic figurine stand with feet lat to the ground with detailed facial features and ears to make a more realistic statue. This statue is of a hunter or warrior as it bears an incised weapon strap across its chest and holds a knife.
  • Cycladic statue figurine of the naturalistic 'Plastira' type of Paros. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens.   Gray background.<br />
<br />
<br />
This type of Cycladic figurine stand with feet lat to the ground with detailed facial features and ears to make a more realistic statue. This statue is of a hunter or warrior as it bears an incised weapon strap across its chest and holds a knife.
  • Cycladic violin shaped figurine. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens.   White background.
  • Cycladic violin shaped figurine. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens.   Grey background.
  • Cycladic violin shaped figurine. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens.
  • Cycladic violin shaped figurine. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens. Black background.
  • Cycladic violin shaped figurine. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens.   White background.
  • Cycladic violin shaped figurine. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens.   Gray background.
  • Cycladic violin shaped figurine. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens. Black background.
  • Cycladic violin shaped figurine. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens.   Grey background.
  • Cycladic violin shaped figurine. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens.
  • Cycladic violin shaped figurine. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens.   Gray background.
  • Cycladic violin shaped figurine. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800). National Archaeological Museum, Athens. Black background.<br />
<br />
This Cycladic violin shaped figurine has two holes in its neck which were provavly used to hold its broken neck together with wire or cord.
  • Cycladic violin shaped figurine. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800). National Archaeological Museum, Athens.   White background.<br />
<br />
<br />
This Cycladic violin shaped figurine has two holes in its neck which were provavly used to hold its broken neck together with wire or cord.
  • Cycladic violin shaped figurine. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800). National Archaeological Museum, Athens.   Grey background.<br />
<br />
<br />
This Cycladic violin shaped figurine has two holes in its neck which were provavly used to hold its broken neck together with wire or cord.
  • Cycladic violin shaped figurine. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800). National Archaeological Museum, Athens. <br />
<br />
This Cycladic violin shaped figurine has two holes in its neck which were provavly used to hold its broken neck together with wire or cord.
  • Cycladic violin shaped figurine. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800). National Archaeological Museum, Athens.   Gray background.<br />
<br />
<br />
This Cycladic violin shaped figurine has two holes in its neck which were provavly used to hold its broken neck together with wire or cord.
  • Female Cycladic statue figurine with folded arms of the Spedos and Dokathismata type. Early Cycladic Period II (2800-3200) from Naxos. National Archaeological Museum, Athens.   White background.<br />
<br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised.
  • Female Cycladic statue figurine with folded arms of the Spedos and Dokathismata type. Early Cycladic Period II (2800-3200) from Naxos. National Archaeological Museum, Athens. Black background.<br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised.
  • Female Cycladic statue figurine with folded arms of the Spedos and Dokathismata type. Early Cycladic Period II (2800-3200) from Naxos. National Archaeological Museum, Athens. <br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised.
  • Female Cycladic statue figurine with folded arms of the Spedos and Dokathismata type. Early Cycladic Period II (2800-3200) from Naxos. National Archaeological Museum, Athens.   Grey background.<br />
<br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised.
  • Female Cycladic statue figurine with folded arms of the Spedos and Dokathismata type. Early Cycladic Period II (2800-3200) from Naxos. National Archaeological Museum, Athens.   Gray background.<br />
<br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised.
  • Female Cycladic statue figurine with folded arms of the Spedos and Dokathismata type. Early Cycladic Period II (2800-3200) from Amorgos. National Archaeological Museum, Athens.   White background.<br />
<br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised. This staue belongs to the Dokathismata type of Amorgos with an angular face, wide chest and slender outline.
  • Female Cycladic statue figurine with folded arms of the Spedos and Dokathismata type. Early Cycladic Period II (2800-3200) from Amorgos. National Archaeological Museum, Athens. Black background.<br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised. This staue belongs to the Dokathismata type of Amorgos with an angular face, wide chest and slender outline.
  • Female Cycladic statue figurine with folded arms of the Spedos and Dokathismata type. Early Cycladic Period II (2800-3200) from Amorgos. National Archaeological Museum, Athens. <br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised. This staue belongs to the Dokathismata type of Amorgos with an angular face, wide chest and slender outline.
  • Female Cycladic statue figurine with folded arms of the Spedos and Dokathismata type. Early Cycladic Period II (2800-3200) from Amorgos. National Archaeological Museum, Athens. <br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised. This staue belongs to the Dokathismata type of Amorgos with an angular face, wide chest and slender outline.
  • Female Cycladic statue figurine with folded arms of the Spedos and Dokathismata type. Early Cycladic Period II (2800-3200) from Amorgos. National Archaeological Museum, Athens.   Grey background.<br />
<br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised. This staue belongs to the Dokathismata type of Amorgos with an angular face, wide chest and slender outline.
  • Female Cycladic statue figurine with folded arms of the Spedos and Dokathismata type. Early Cycladic Period II (2800-3200) from Amorgos. National Archaeological Museum, Athens.   Gray background.<br />
<br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised. This staue belongs to the Dokathismata type of Amorgos with an angular face, wide chest and slender outline.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-3200) from Naxos, Cat No 20934. National Archaeological Museum, Athens.   White background.<br />
<br />
<br />
One of the largest known Cycladic statues at 89CM tall this figurine still has traces of a colour on the hair and eyes.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-3200) from Naxos, Cat No 20934. National Archaeological Museum, Athens. Black background.<br />
<br />
One of the largest known Cycladic statues at 89CM tall this figurine still has traces of a colour on the hair and eyes.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-3200) from Naxos, Cat No 20934. National Archaeological Museum, Athens.   Grey background.<br />
<br />
<br />
One of the largest known Cycladic statues at 89CM tall this figurine still has traces of a colour on the hair and eyes.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-3200) from Naxos, Cat No 20934. National Archaeological Museum, Athens. <br />
<br />
One of the largest known Cycladic statues at 89CM tall this figurine still has traces of a colour on the hair and eyes.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-3200) from Naxos, Cat No 20934. National Archaeological Museum, Athens.   Gray background.<br />
<br />
<br />
One of the largest known Cycladic statues at 89CM tall this figurine still has traces of a colour on the hair and eyes.
  • Head of a Cycladic statue with remnants of painted eyes and right cheek, Parian Marble, Amorgos, Early Cycladic II period (2800-3200BC). National Archaeological Museum, Athens. Black background.
  • Head of a Cycladic statue with remnants of painted eyes and right cheek, Parian Marble, Amorgos, Early Cycladic II period (2800-3200BC). National Archaeological Museum, Athens.   White background.
  • Head of a Cycladic statue with remnants of painted eyes and right cheek, Parian Marble, Amorgos, Early Cycladic II period (2800-3200BC). National Archaeological Museum, Athens.   Gray background.
  • Head of a Cycladic statue with remnants of painted eyes and right cheek, Parian Marble, Amorgos, Early Cycladic II period (2800-3200BC). National Archaeological Museum, Athens.   Grey background.
  • Head of a Cycladic statue with remnants of painted eyes and right cheek, Parian Marble, Amorgos, Early Cycladic II period (2800-3200BC). National Archaeological Museum, Athens.
  • Small Alabaster Statue head grave stone from the Yemen, 1st cent. B.C . Istanbul Archaeological Museum, Inv. 7670.
  • Small Alabaster Statue head grave stone from the Yemen, 1st cent. B.C . Istanbul Archaeological Museum, Inv. 7670.
  • Small Alabaster Statue head grave stone from the Yemen, 1st cent. B.C . Istanbul Archaeological Museum, Inv. 7670.
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Abraham about to offer his son Isaac as a sacrifice<br />
  - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia.  Against a white background.
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Abraham about to offer his son Isaac as a sacrifice<br />
  - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia.  Against a black background.
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Abraham about to offer his son Isaac as a sacrifice<br />
  - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia.   Against a grey background.
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Abraham about to offer his son Isaac as a sacrifice<br />
  - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Abraham about to offer his son Isaac as a sacrifice<br />
  - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia. Against a grey art background.
  • South Porch, Right Portal, Left Jambs. Cathedral of Chartres, France. Gothic statue of the four ?Confessors? important intellectual and spiritual leaders, most of whom lived during the early centuries of the Church. They stand on historiated socles- there are canopies offer their heads with architectural motifs. From left to right they are .1) Laumer (also called Lomer or Laudomarus), a local saint who was founder and Abbot of the nearby monastery of Corbion in the 6th century..2) Pope Leo I, an influential early Pope.3) a figure that is either Ambrose or Thomas Becket .4) Nicholas, bishop of Myra (two of his miracles appear in the tympanum).The figure of Laumer was added after the rest of the portal was created. . A UNESCO World Heritage Site.
  • South Porch, Right Portal, Left Jambs. Cathedral of Chartres, France. Gothic statue of the four ?Confessors? important intellectual and spiritual leaders, most of whom lived during the early centuries of the Church. They stand on historiated socles- there are canopies offer their heads with architectural motifs. From left to right they are .1) Laumer (also called Lomer or Laudomarus), a local saint who was founder and Abbot of the nearby monastery of Corbion in the 6th century..2) Pope Leo I, an influential early Pope.3) a figure that is either Ambrose or Thomas Becket .4) Nicholas, bishop of Myra (two of his miracles appear in the tympanum).The figure of Laumer was added after the rest of the portal was created. . A UNESCO World Heritage Site.
  • South Porch, Right Portal, Left Jambs. Cathedral of Chartres, France. Gothic statue of the four ?Confessors? important intellectual and spiritual leaders, most of whom lived during the early centuries of the Church. They stand on historiated socles- there are canopies offer their heads with architectural motifs. From left to right they are .1) Laumer (also called Lomer or Laudomarus), a local saint who was founder and Abbot of the nearby monastery of Corbion in the 6th century..2) Pope Leo I, an influential early Pope.3) a figure that is either Ambrose or Thomas Becket .4) Nicholas, bishop of Myra (two of his miracles appear in the tympanum).The figure of Laumer was added after the rest of the portal was created. . A UNESCO World Heritage Site.
  • Naxian marble Ancient Greek Archaic statue of a kouros, found in Sounion, circa 600 BC, Athens National Archaeological Museum. Cat no 2720.  Against grey.<br />
<br />
The stature is a voitive offering to Poseidon and stood before his temple. Its over lifesize scale is striking and testifies to the tendency of early Archaic sculptirs to create impressive colossal statues
  • Naxian marble Ancient Greek Archaic statue of a kouros, found in Sounion, circa 600 BC, Athens National Archaeological Museum. Cat no 2720.   Against white.<br />
<br />
The stature is a voitive offering to Poseidon and stood before his temple. Its over lifesize scale is striking and testifies to the tendency of early Archaic sculptirs to create impressive colossal statues
  • Naxian marble Ancient Greek Archaic statue of a kouros, found in Sounion, circa 600 BC, Athens National Archaeological Museum. Cat no 2720.    Against black.<br />
<br />
The stature is a voitive offering to Poseidon and stood before his temple. Its over lifesize scale is striking and testifies to the tendency of early Archaic sculptirs to create impressive colossal statues
  • Naxian marble Ancient Greek Archaic statue of a kouros, found in Sounion, circa 600 BC, Athens National Archaeological Museum. Cat no 2720.  <br />
<br />
The stature is a voitive offering to Poseidon and stood before his temple. Its over lifesize scale is striking and testifies to the tendency of early Archaic sculptirs to create impressive colossal statues
  • Naxian marble Ancient Greek Archaic statue of a kouros, found in Sounion, circa 600 BC, Athens National Archaeological Museum. Cat no 2720.  Against grey.<br />
<br />
The stature is a voitive offering to Poseidon and stood before his temple. Its over lifesize scale is striking and testifies to the tendency of early Archaic sculptirs to create impressive colossal statues
  • Terra cotta Mycenaean cult figurines with raised arms found at Delphi,  1400-1050 BC, Delphi National Archaeological Museum.   Against black<br />
<br />
Stylised female figurines were common in the Mycenaean world and may have represented deities , divine nurses or worshipers. these Mycenaean female figurines were probably used as voitive offering and maybe as childrens toys.
  • Terra cotta Mycenaean cult figurines with raised arms found at Delphi,  1400-1050 BC, Delphi National Archaeological Museum.  Against white.<br />
<br />
Stylised female figurines were common in the Mycenaean world and may have represented deities , divine nurses or worshipers. these Mycenaean female figurines were probably used as voitive offering and maybe as childrens toys.
  • Terra cotta Mycenaean cult figurines with raised arms found at Delphi,  1400-1050 BC, Delphi National Archaeological Museum.   Against grey.<br />
<br />
Stylised female figurines were common in the Mycenaean world and may have represented deities , divine nurses or worshipers. these Mycenaean female figurines were probably used as voitive offering and maybe as childrens toys.
  • Terra cotta Mycenaean cult figurines with raised arms found at Delphi,  1400-1050 BC, Delphi National Archaeological Museum. <br />
<br />
Stylised female figurines were common in the Mycenaean world and may have represented deities , divine nurses or worshipers. these Mycenaean female figurines were probably used as voitive offering and maybe as childrens toys.
  • Terra cotta Mycenaean cult figurines with raised arms found at Delphi,  1400-1050 BC, Delphi National Archaeological Museum.   Against grey.<br />
<br />
Stylised female figurines were common in the Mycenaean world and may have represented deities , divine nurses or worshipers. these Mycenaean female figurines were probably used as voitive offering and maybe as childrens toys.

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