• 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.
  • 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.
  • Autumn Sign
  • 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 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
  • 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 discount
  • 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 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
  • 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.
  • Close up detail picture of the Roman mosaics of the small hunt depicting offerings being made at an altar, room no 24 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Small Hunt room was used as a living room for guests of the Villa Romana del Casale. The Small hunt mosaic design has 4 registers running across the mosaic depicting hunting scenes. In the first register two servants are handling hunting dogs. In the second register figures are depicted burning incense at an altar to Diana, the goddess of hunting, before the hunt starts. The offering is being made by Constantius Clorus , the Caesar of Emperor Maximianus who owned the Villa Romana del Casale. Behind him is his son the future Emperor Constantine. To the right of the altar is a figure holding the reins of a horse dressed in a clavi decorated with ivy leaves indicating that he belongs to the family of Maximianus.
  • Close up detail picture of the Roman mosaics of the small hunt depicting offerings being made at an altar, room no 24 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Small Hunt room was used as a living room for guests of the Villa Romana del Casale. The Small hunt mosaic design has 4 registers running across the mosaic depicting hunting scenes. In the first register two servants are handling hunting dogs. In the second register figures are depicted burning incense at an altar to Diana, the goddess of hunting, before the hunt starts. The offering is being made by Constantius Clorus , the Caesar of Emperor Maximianus who owned the Villa Romana del Casale. Behind him is his son the future Emperor Constantine. To the right of the altar is a figure holding the reins of a horse dressed in a clavi decorated with ivy leaves indicating that he belongs to the family of Maximianus.
  • Hittite sculpted Orthostats panel from the  Long Wall.  Limestone, Kargarmis, Gaziantep, 900 - 700 BC,  Hieroglyph. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
In the epigraph with hieroglyph, he narrates that the gods were provoked against him, the account of the cities conquered and the spoils of war; that he allocated a share for the gods, and that he instigated the mighty king Tarhunza and the other gods. In the other lines, he demands that people should present offerings to statues but should evil-intentioned people be among them, such person individuals be punished by the gods.  <br />
<br />
On a black background.
  • Picture & image of Hittite sculpted Orthostats panel from the  Long Wall.  Limestone, Kargarmis, Gaziantep, 900 - 700 BC,  Hieroglyph. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
In the epigraph with hieroglyph, he narrates that the gods were provoked against him, the account of the cities conquered and the spoils of war; that he allocated a share for the gods, and that he instigated the mighty king Tarhunza and the other gods. In the other lines, he demands that people should present offerings to statues but should evil-intentioned people be among them, such person individuals be punished by the gods.  <br />
<br />
On a gray background.
  • Pictures & Images Hittite relief sculpted orthostat panels of the Sphinx Gate. Panel depicts a procession making offerings to a lion god. Alaca Hoyuk (Alacahoyuk) Hittite archaeological site  Alaca, Çorum Province, Turkey, Also known as Alacahüyük, Aladja-Hoyuk, Euyuk, or Evuk
  • Pictures & Images Hittite relief sculpted orthostat panels of the Sphinx Gate. Left panel depicts a man leading goats to be sacrificed (right) a king and Queen make offerings to a Bull God.  Alaca Hoyuk (Alacahoyuk) Hittite archaeological site  Alaca, Çorum Province, Turkey, Also known as Alacahüyük, Aladja-Hoyuk, Euyuk, or Evuk
  • Pictures & Images Hittite relief sculpted orthostat panels of the Sphinx Gate. A king and Queen make offerings to a Bull God.  Alaca Hoyuk (Alacahoyuk) Hittite archaeological site  Alaca, Çorum Province, Turkey, Also known as Alacahüyük, Aladja-Hoyuk, Euyuk, or Evuk
  • Pictures & Images Hittite relief sculpted orthostat panels of the Sphinx Gate. A king and Queen make offerings to a Bull God.  Alaca Hoyuk (Alacahoyuk) Hittite archaeological site  Alaca, Çorum Province, Turkey, Also known as Alacahüyük, Aladja-Hoyuk, Euyuk, or Evuk
  • Pictures & Images Hittite relief sculpted orthostat panels of the Sphinx Gate. A king and Queen make offerings to a Bull God.  Alaca Hoyuk (Alacahoyuk) Hittite archaeological site  Alaca, Çorum Province, Turkey, Also known as Alacahüyük, Aladja-Hoyuk, Euyuk, or Evuk
  • Hittite sculpted Orthostats panel from the  Long Wall.  Limestone, Kargarmis, Gaziantep, 900 - 700 BC,  Hieroglyph. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
In the epigraph with hieroglyph, he narrates that the gods were provoked against him, the account of the cities conquered and the spoils of war; that he allocated a share for the gods, and that he instigated the mighty king Tarhunza and the other gods. In the other lines, he demands that people should present offerings to statues but should evil-intentioned people be among them, such person individuals be punished by the gods.
  • Hittite sculpted Orthostats panel from the  Long Wall.  Limestone, Kargarmis, Gaziantep, 900 - 700 BC,  Hieroglyph. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
In the epigraph with hieroglyph, he narrates that the gods were provoked against him, the account of the cities conquered and the spoils of war; that he allocated a share for the gods, and that he instigated the mighty king Tarhunza and the other gods. In the other lines, he demands that people should present offerings to statues but should evil-intentioned people be among them, such person individuals be punished by the gods. <br />
<br />
On a White Background.
  • Photo of Hittite sculpted Orthostats panel from the  Long Wall.  Limestone, Kargarmis, Gaziantep, 900 - 700 BC,  Hieroglyph. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
In the epigraph with hieroglyph, he narrates that the gods were provoked against him, the account of the cities conquered and the spoils of war; that he allocated a share for the gods, and that he instigated the mighty king Tarhunza and the other gods. In the other lines, he demands that people should present offerings to statues but should evil-intentioned people be among them, such person individuals be punished by the gods.  <br />
<br />
On a brown art background.
  • Hittite sculpted Orthostats panel from the  Long Wall.  Limestone, Kargarmis, Gaziantep, 900 - 700 BC,  Hieroglyph. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
In the epigraph with hieroglyph, he narrates that the gods were provoked against him, the account of the cities conquered and the spoils of war; that he allocated a share for the gods, and that he instigated the mighty king Tarhunza and the other gods. In the other lines, he demands that people should present offerings to statues but should evil-intentioned people be among them, such person individuals be punished by the gods.  <br />
<br />
On a grey art background.
  • Medieval Windows of the Gothic Cathedral of Chartres, France, dedicated to the life of the Virgin Mary.  The bottom centre oval panel shows Anna and Joachim meet at the Golden Gate, below The high priest refuses the offerings of Joachim, left Annunciation to Joachim , right Annunciation to Anna .  . A UNESCO World Heritage Site.
  • Medieval Windows of the Gothic Cathedral of Chartres, France, dedicated to the life of the Virgin Mary.  Bottom Left pruning of the vines, right Count Thibault VI. The top centre oval panel shows Anna and Joachim meet at the Golden Gate, below The high priest refuses the offerings of Joachim, left Annunciation to Joachim , right Annunciation to Anna . A UNESCO World Heritage Site.
  • Aslantepe Monumental Hittite relief sculpted orthostat stone panel.  Limestone, Aslantepe, Malatya, 1200-700 B.C. <br />
<br />
Scene of the king's offering drink and sacrifice to the gods. The king offers to the winged god of the moon who stands across and holds a lightning bundle in his hand. Behind the king is the queen, who also offers to goddess of the sun holding a sceptre in his hand. King's left hand is in a position to worship. <br />
<br />
Against a white background.
  • Aslantepe Monumental Hittite relief sculpted orthostat stone panel.  Limestone, Aslantepe, Malatya, 1200-700 B.C. <br />
<br />
<br />
Scene of the king's offering drink and sacrifice to the gods. The king offers to the winged god of the moon who stands across and holds a lightning bundle in his hand. Behind the king is the queen, who also offers to goddess of the sun holding a sceptre in his hand. King's left hand is in a position to worship. <br />
<br />
Against a black background.
  • Aslantepe Monumental Hittite relief sculpted orthostat stone panel.  Limestone, Aslantepe, Malatya, 1200-700 B.C. <br />
Scene of the king's offering drink and sacrifice to the gods. The king offers to the winged god of the moon who stands across and holds a lightning bundle in his hand. Behind the king is the queen, who also offers to goddess of the sun holding a sceptre in his hand. King's left hand is in a position to worship. <br />
<br />
Against a grey art background.
  • Egyptian funerary Stele from the New Kingdom Period, 1550-1070 B.C, from Thebes (Luxor). The stele is from a carpenters grave a shows at the top left sitting with his wife Amon-Mose holding a chisel between 2 wheat heads. Opposite them their son Honsu is offering a present to both. On the right Neferonpet is making an offering to his parents. At the bottom a sitting couple are offered presents by their sons & daughters. Istanbul Archaeological Museum Inv. no 10865
  • Aslantepe Monumental Hittite relief sculpted orthostat stone panel.  Limestone, Aslantepe, Malatya, 1200-700 B.C. <br />
<br />
Scene of the king's offering drink and sacrifice to the gods. The king offers to the winged god of the moon who stands across and holds a lightning bundle in his hand. Behind the king is the queen, who also offers to goddess of the sun holding a sceptre in his hand. King's left hand is in a position to worship. <br />
<br />
Against a gray background.
  • Aslantepe Monumental Hittite relief sculpted orthostat stone panel.  Limestone, Aslantepe, Malatya, 1200-700 B.C. <br />
Scene of the king's offering drink and sacrifice to the gods. The king offers to the winged god of the moon who stands across and holds a lightning bundle in his hand. Behind the king is the queen, who also offers to goddess of the sun holding a sceptre in his hand. King's left hand is in a position to worship.
  • Egyptian funerary Stele from the New Kingdom Period, 1550-1070 B.C, from Thebes (Luxor). The stele is from a carpenters grave a shows at the top left sitting with his wife Amon-Mose holding a chisel between 2 wheat heads. Opposite them their son Honsu is offering a present to both. On the right Neferonpet is making an offering to his parents. At the bottom a sitting couple are offered presents by their sons & daughters. Istanbul Archaeological Museum Inv. no 10865
  • 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.
  • 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.
  • Close up detail picture of the Roman mosaics of the small hunt depicting hunters with a dead boar and hunters making an offering at an altar, room no 24 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Small Hunt room was used as a living room for guests of the Villa Romana del Casale. The Small hunt mosaic design has 4 registers running across the mosaic depicting hunting scenes. In the first register two servants are handling hunting dogs. In the second register figures are depicted burning incense at an altar to Diana, the goddess of hunting, before the hunt starts. The offering is being made by Constantius Clorus , the Caesar of Emperor Maximianus who owned the Villa Romana del Casale. Behind him is his son the future Emperor Constantine. To the right of the altar is a figure holding the reins of a horse dressed in a clavi decorated with ivy leaves indicating that he belongs to the family of Maximianus.
  • Aslantepe Hittite Orthostat. Limestone, Aslantepe, Malatya, 1200-700 BC. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Scene of offering drink and sacrifice. The god, with a symbol of divinity above, is in the chariot while holding a boomerang in his hand and a sword at his waist. The same god holds a lightning bundle in the middle. On the right, the king offers a drink to god. The inscription above reads "Great, powerful King Sulumeli". A servant stands behind holding a bull for sacrifice to the gods. <br />
<br />
Against a gray background.
  • Aslantepe Hittite Orthostat. Limestone, Aslantepe, Malatya, 1200-700 B.C. <br />
<br />
Scene of offering drink and sacrifice. The god, with a symbol of divinity above, is in the chariot while holding a boomerang in his hand and a sword at his waist. The same god holds a lightning bundle in the middle. On the right, the king offers a drink to god. The inscription above reads "Great, powerful King Sulumeli". A servant stands behind holding a bull for sacrifice to the gods. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Against a brown art 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.
  • Etruscan bronze statue portraying a nearly life size young warrior dressed in armour, offering a libation of wine to a divinity ( patera style cup missing) Made in the 5th century BC in Orvieto and excavated from Todi where it had been buried after being struck by lightening, which was the custom at the time.  Inv 13886, The Vatican Museums Rome. Black Background. For use in non editorial advertising apply to the Vatican Museums for a license.
  • Etruscan bronze statue portraying a nearly life size young warrior dressed in armour, offering a libation of wine to a divinity ( patera style cup missing) Made in the 5th century BC in Orvieto and excavated from Todi where it had been buried after being struck by lightening, which was the custom at the time.  Inv 13886, The Vatican Museums Rome. White Background. For use in non editorial advertising apply to the Vatican Museums for a license.
  • Etruscan bronze statue portraying a nearly life size young warrior dressed in armour, offering a libation of wine to a divinity ( patera style cup missing) Made in the 5th century BC in Orvieto and excavated from Todi where it had been buried after being struck by lightening, which was the custom at the time.  Inv 13886, The Vatican Museums Rome. Art Background. For use in non editorial advertising apply to the Vatican Museums for a license.
  • Etruscan bronze statue portraying a nearly life size young warrior dressed in armour, offering a libation of wine to a divinity ( patera style cup missing) Made in the 5th century BC in Orvieto and excavated from Todi where it had been buried after being struck by lightening, which was the custom at the time.  Inv 13886, The Vatican Museums Rome. Grey Art Background. For use in non editorial advertising apply to the Vatican Museums for a license.
  • 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.
  • Lucanian fresco tomb painting of the deceased on a mythical horse being offered food for the journey to the next world . Paestrum, Andriuolo. Tomb 84.  (350-340 )
  • Aslantepe Hittite Orthostat. Limestone, Aslantepe, Malatya, 1200-700 B.C. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Scene of offering drink and sacrifice. The god, with a symbol of divinity above, is in the chariot while holding a boomerang in his hand and a sword at his waist. The same god holds a lightning bundle in the middle. On the right, the king offers a drink to god. The inscription above reads "Great, powerful King Sulumeli". A servant stands behind holding a bull for sacrifice to the gods. Anatolian Civilizations Museum, Ankara, Turkey<br />
<br />
Against a black background.
  • Aslantepe Hittite Orthostat. Limestone, Aslantepe, Malatya, 1200-700 BC. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Scene of offering drink and sacrifice. The god, with a symbol of divinity above, is in the chariot while holding a boomerang in his hand and a sword at his waist. The same god holds a lightning bundle in the middle. On the right, the king offers a drink to god. The inscription above reads "Great, powerful King Sulumeli". A servant stands behind holding a bull for sacrifice to the gods. <br />
<br />
Against a white background.
  • Aslantepe Hittite Orthostat. Limestone, Aslantepe, Malatya, 1200-700 B.C. <br />
<br />
Scene of offering drink and sacrifice. The god, with a symbol of divinity above, is in the chariot while holding a boomerang in his hand and a sword at his waist. The same god holds a lightning bundle in the middle. On the right, the king offers a drink to god. The inscription above reads "Great, powerful King Sulumeli". A servant stands behind holding a bull for sacrifice to the gods. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Against a grey art 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 white background.
  • Etruscan bronze statue portraying a nearly life size young warrior dressed in armour, offering a libation of wine to a divinity ( patera style cup missing) Made in the 5th century BC in Orvieto and excavated from Todi where it had been buried after being struck by lightening, which was the custom at the time.  Inv 13886, The Vatican Museums Rome. Grey Background. For use in non editorial advertising apply to the Vatican Museums for a license.
  • Lucanian fresco tomb painting of the deceased on a mythical horse being offered food for the journey to the next world . Paestrum, Andriuolo. Tomb 84.  (350-340 )
  • Lucanian fresco tomb painting of the deceased on a mythical horse being offered food for the journey to the next world . Paestrum, Andriuolo. Tomb 84.  (350-340 )
  • Roman Sebasteion relief  sculpture of Aineas’ arrival in Italy Aphrodisias Museum, Aphrodisias, Turkey.   Against a white background.<br />
<br />
Poseidon stands naked over a sea going ship stopped at a short column. SA dolphin jumps between his legs. Aineas, his head veiled in the Roman manner, pours a libation, a thanks offering for his safe arrival in Italy. Behing Poseidon’s shoulders, a separately worked young male head was inserted into the background, maybe a deceased companion of Aineas.
  • Roman Sebasteion relief  sculpture of Aineas’ arrival in Italy Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.<br />
<br />
Poseidon stands naked over a sea going ship stopped at a short column. SA dolphin jumps between his legs. Aineas, his head veiled in the Roman manner, pours a libation, a thanks offering for his safe arrival in Italy. Behing Poseidon’s shoulders, a separately worked young male head was inserted into the background, maybe a deceased companion of Aineas.
  • Roman Sebasteion relief  sculpture of Aineas’ arrival in Italy Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
Poseidon stands naked over a sea going ship stopped at a short column. SA dolphin jumps between his legs. Aineas, his head veiled in the Roman manner, pours a libation, a thanks offering for his safe arrival in Italy. Behing Poseidon’s shoulders, a separately worked young male head was inserted into the background, maybe a deceased companion of Aineas.
  • Roman Sebasteion relief  sculpture of Aineas’ arrival in Italy Aphrodisias Museum, Aphrodisias, Turkey.  Against an art background.<br />
<br />
Poseidon stands naked over a sea going ship stopped at a short column. SA dolphin jumps between his legs. Aineas, his head veiled in the Roman manner, pours a libation, a thanks offering for his safe arrival in Italy. Behing Poseidon’s shoulders, a separately worked young male head was inserted into the background, maybe a deceased companion of Aineas.
  • Roman Sebasteion relief  sculpture of Aineas’ arrival in Italy Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
Poseidon stands naked over a sea going ship stopped at a short column. SA dolphin jumps between his legs. Aineas, his head veiled in the Roman manner, pours a libation, a thanks offering for his safe arrival in Italy. Behing Poseidon’s shoulders, a separately worked young male head was inserted into the background, maybe a deceased companion of Aineas.
  • Wide picture of the Roman mosaics of Circus Maximus from the Palaestra depicting a chariot race at the Circus Maximus, room no 15 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Small Hunt room was used as a living room for guests of the Villa Romana del Casale. The Small hunt mosaic design has 4 registers running across the mosaic depicting hunting scenes. In the first register two servants are handling hunting dogs. In the second register figures are depicted burning incense at an altar to Diana, the goddess of hunting, before the hunt starts. The offering is being made by Constantius Clorus , the Caesar of Emperor Maximianus who owned the Villa Romana del Casale. Behind him is his son the future Emperor Constantine. To the right of the altar is a figure holding the reins of a horse dressed in a clavi decorated with ivy leaves indicating that he belongs to the family of Maximianus.
  • Wide picture of the Roman mosaics of the small hunt, room no 24 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Small Hunt room was used as a living room for guests of the Villa Romana del Casale. The Small hunt mosaic design has 4 registers running across the mosaic depicting hunting scenes. In the first register two servants are handling hunting dogs. In the second register figures are depicted burning incense at an altar to Diana, the goddess of hunting, before the hunt starts. The offering is being made by Constantius Clorus , the Caesar of Emperor Maximianus who owned the Villa Romana del Casale. Behind him is his son the future Emperor Constantine. To the right of the altar is a figure holding the reins of a horse dressed in a clavi decorated with ivy leaves indicating that he belongs to the family of Maximianus.
  • Wide picture of the Roman mosaics of the small hunt, room no 24 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Small Hunt room was used as a living room for guests of the Villa Romana del Casale. The Small hunt mosaic design has 4 registers running across the mosaic depicting hunting scenes. In the first register two servants are handling hunting dogs. In the second register figures are depicted burning incense at an altar to Diana, the goddess of hunting, before the hunt starts. The offering is being made by Constantius Clorus , the Caesar of Emperor Maximianus who owned the Villa Romana del Casale. Behind him is his son the future Emperor Constantine. To the right of the altar is a figure holding the reins of a horse dressed in a clavi decorated with ivy leaves indicating that he belongs to the family of Maximianus.
  • Wide picture of the Roman mosaics of the small hunt, room no 24 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Small Hunt room was used as a living room for guests of the Villa Romana del Casale. The Small hunt mosaic design has 4 registers running across the mosaic depicting hunting scenes. In the first register two servants are handling hunting dogs. In the second register figures are depicted burning incense at an altar to Diana, the goddess of hunting, before the hunt starts. The offering is being made by Constantius Clorus , the Caesar of Emperor Maximianus who owned the Villa Romana del Casale. Behind him is his son the future Emperor Constantine. To the right of the altar is a figure holding the reins of a horse dressed in a clavi decorated with ivy leaves indicating that he belongs to the family of Maximianus.
  • Wide picture of the Roman mosaics of the small hunt, room no 24 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Small Hunt room was used as a living room for guests of the Villa Romana del Casale. The Small hunt mosaic design has 4 registers running across the mosaic depicting hunting scenes. In the first register two servants are handling hunting dogs. In the second register figures are depicted burning incense at an altar to Diana, the goddess of hunting, before the hunt starts. The offering is being made by Constantius Clorus , the Caesar of Emperor Maximianus who owned the Villa Romana del Casale. Behind him is his son the future Emperor Constantine. To the right of the altar is a figure holding the reins of a horse dressed in a clavi decorated with ivy leaves indicating that he belongs to the family of Maximianus.
  • Close up detail picture of the Roman mosaics of the small hunt depicting deer being caught in a net trap, room no 24 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Small Hunt room was used as a living room for guests of the Villa Romana del Casale. The Small hunt mosaic design has 4 registers running across the mosaic depicting hunting scenes. In the first register two servants are handling hunting dogs. In the second register figures are depicted burning incense at an altar to Diana, the goddess of hunting, before the hunt starts. The offering is being made by Constantius Clorus , the Caesar of Emperor Maximianus who owned the Villa Romana del Casale. Behind him is his son the future Emperor Constantine. To the right of the altar is a figure holding the reins of a horse dressed in a clavi decorated with ivy leaves indicating that he belongs to the family of Maximianus.
  • Close up detail picture of the Roman mosaics of the small hunt depicting boys hunting a song bird in a tree, room no 24 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Small Hunt room was used as a living room for guests of the Villa Romana del Casale. The Small hunt mosaic design has 4 registers running across the mosaic depicting hunting scenes. In the first register two servants are handling hunting dogs. In the second register figures are depicted burning incense at an altar to Diana, the goddess of hunting, before the hunt starts. The offering is being made by Constantius Clorus , the Caesar of Emperor Maximianus who owned the Villa Romana del Casale. Behind him is his son the future Emperor Constantine. To the right of the altar is a figure holding the reins of a horse dressed in a clavi decorated with ivy leaves indicating that he belongs to the family of Maximianus.
  • Close up detail picture of the Roman mosaics of the small hunt depicting a dead boar being carried by hunters, room no 24 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Small Hunt room was used as a living room for guests of the Villa Romana del Casale. The Small hunt mosaic design has 4 registers running across the mosaic depicting hunting scenes. In the first register two servants are handling hunting dogs. In the second register figures are depicted burning incense at an altar to Diana, the goddess of hunting, before the hunt starts. The offering is being made by Constantius Clorus , the Caesar of Emperor Maximianus who owned the Villa Romana del Casale. Behind him is his son the future Emperor Constantine. To the right of the altar is a figure holding the reins of a horse dressed in a clavi decorated with ivy leaves indicating that he belongs to the family of Maximianus.
  • Close up detail picture of the Roman mosaics of the small hunt depicting dogs chasing a fox, room no 24 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Small Hunt room was used as a living room for guests of the Villa Romana del Casale. The Small hunt mosaic design has 4 registers running across the mosaic depicting hunting scenes. In the first register two servants are handling hunting dogs. In the second register figures are depicted burning incense at an altar to Diana, the goddess of hunting, before the hunt starts. The offering is being made by Constantius Clorus , the Caesar of Emperor Maximianus who owned the Villa Romana del Casale. Behind him is his son the future Emperor Constantine. To the right of the altar is a figure holding the reins of a horse dressed in a clavi decorated with ivy leaves indicating that he belongs to the family of Maximianus.
  • Close up detail picture of the Roman mosaics of the small hunt depicting a hare about to be speared,  room no 24 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Small Hunt room was used as a living room for guests of the Villa Romana del Casale. The Small hunt mosaic design has 4 registers running across the mosaic depicting hunting scenes. In the first register two servants are handling hunting dogs. In the second register figures are depicted burning incense at an altar to Diana, the goddess of hunting, before the hunt starts. The offering is being made by Constantius Clorus , the Caesar of Emperor Maximianus who owned the Villa Romana del Casale. Behind him is his son the future Emperor Constantine. To the right of the altar is a figure holding the reins of a horse dressed in a clavi decorated with ivy leaves indicating that he belongs to the family of Maximianus.
  • Close up detail picture of the Roman mosaics of the small hunt depicting food being cooked, room no 24 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
The Small Hunt room was used as a living room for guests of the Villa Romana del Casale. The Small hunt mosaic design has 4 registers running across the mosaic depicting hunting scenes. In the first register two servants are handling hunting dogs. In the second register figures are depicted burning incense at an altar to Diana, the goddess of hunting, before the hunt starts. The offering is being made by Constantius Clorus , the Caesar of Emperor Maximianus who owned the Villa Romana del Casale. Behind him is his son the future Emperor Constantine. To the right of the altar is a figure holding the reins of a horse dressed in a clavi decorated with ivy leaves indicating that he belongs to the family of Maximianus.
  • Close up detail picture of the Roman mosaics of the small hunt, room no 24 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Small Hunt room was used as a living room for guests of the Villa Romana del Casale. The Small hunt mosaic design has 4 registers running across the mosaic depicting hunting scenes. In the first register two servants are handling hunting dogs. In the second register figures are depicted burning incense at an altar to Diana, the goddess of hunting, before the hunt starts. The offering is being made by Constantius Clorus , the Caesar of Emperor Maximianus who owned the Villa Romana del Casale. Behind him is his son the future Emperor Constantine. To the right of the altar is a figure holding the reins of a horse dressed in a clavi decorated with ivy leaves indicating that he belongs to the family of Maximianus.
  • Terra cotta ritual bull pots, probably of Hurri & Serri, the bulls of Teshup the Storm God. produced as pairs only differing in the direction of their tails, the spouts on their backs indicate that they were offering vessels- 16th century BC - Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey . Against white background
  • Terra cotta ritual bull pots, probably of Hurri & Serri, the bulls of Teshup the Storm God. produced as pairs only differing in the direction of their tails, the spouts on their backs indicate that they were offering vessels- 16th century BC - Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey . Against gray background
  • Terra cotta ritual bull pots, probably of Hurri & Serri, the bulls of Teshup the Storm God. produced as pairs only differing in the direction of their tails, the spouts on their backs indicate that they were offering vessels- 16th century BC - Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey . Against black background
  • Terra cotta ritual bull pots, probably of Hurri & Serri, the bulls of Teshup the Storm God. produced as pairs only differing in the direction of their tails, the spouts on their backs indicate that they were offering vessels- 16th century BC - Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey . Against grey art background
  • Terra cotta ritual bull pots, probably of Hurri & Serri, the bulls of Teshup the Storm God. produced as pairs only differing in the direction of their tails, the spouts on their backs indicate that they were offering vessels- 16th century BC - Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey
  • Terra cotta ritual bull pots, probably of Hurri & Serri, the bulls of Teshup the Storm God. produced as pairs only differing in the direction of their tails, the spouts on their backs indicate that they were offering vessels- 16th century BC - Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey . Against white background
  • Terra cotta ritual bull pots, probably of Hurri & Serri, the bulls of Teshup the Storm God. produced as pairs only differing in the direction of their tails, the spouts on their backs indicate that they were offering vessels- 16th century BC - Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey . Against black background
  • Terra cotta ritual bull pots, probably of Hurri & Serri, the bulls of Teshup the Storm God. produced as pairs only differing in the direction of their tails, the spouts on their backs indicate that they were offering vessels- 16th century BC - Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey
  • Terra cotta ritual bull pots, probably of Hurri & Serri, the bulls of Teshup the Storm God. produced as pairs only differing in the direction of their tails, the spouts on their backs indicate that they were offering vessels- 16th century BC - Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey
  • Terra cotta ritual bull pots, probably of Hurri & Serri, the bulls of Teshup the Storm God. produced as pairs only differing in the direction of their tails, the spouts on their backs indicate that they were offering vessels- 16th century BC - Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey . Against grey art background
  • Aslantepe Hittite relief sculpted orthostat stone panel. Limestone, Aslantepe, Malatya, 1200-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Scene of king's offering drink and sacrifice to the god. The god is on the deer, with the bow attached to his shoulder and with a triple bundle of lightning in his hand. The king looks at the god, and makes the libation to the god while carrying a scepter with a curled end - lituus. Behind the king is a servant holding a goat for sacrifice to the god. Hieroglyphs read; "God Parata, Strong King... ". <br />
<br />
Anatolian Civilizations Museum, Ankara, Turkey
  • Aslantepe Hittite relief sculpted orthostat stone panel. Limestone, Aslantepe, Malatya, 1200-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Scene of king's offering drink and sacrifice to the god. The god is on the deer, with the bow attached to his shoulder and with a triple bundle of lightning in his hand. The king looks at the god, and makes the libation to the god while carrying a scepter with a curled end - lituus. Behind the king is a servant holding a goat for sacrifice to the god. Hieroglyphs read; "God Parata, Strong King... ". <br />
<br />
Against a gray background.
  • Aslantepe Hittite relief sculpted orthostat stone panel. Limestone, Aslantepe, Malatya, 1200-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Scene of king's offering drink and sacrifice to the god. The god is on the deer, with the bow attached to his shoulder and with a triple bundle of lightning in his hand. The king looks at the god, and makes the libation to the god while carrying a scepter with a curled end - lituus. Behind the king is a servant holding a goat for sacrifice to the god. Hieroglyphs read; "God Parata, Strong King... ". <br />
<br />
Against a black background.
  • Aslantepe Hittite relief sculpted orthostat stone panel. Limestone, Aslantepe, Malatya, 1200-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Scene of king's offering drink and sacrifice to the god. The god is on the deer, with the bow attached to his shoulder and with a triple bundle of lightning in his hand. The king looks at the god, and makes the libation to the god while carrying a scepter with a curled end - lituus. Behind the king is a servant holding a goat for sacrifice to the god. Hieroglyphs read; "God Parata, Strong King... ". <br />
<br />
Against a brown art background.
  • Aslantepe Hittite relief sculpted orthostat stone panel. Limestone, Aslantepe, Malatya, 1200-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Scene of king's offering drink and sacrifice to the god. The god is on the deer, with the bow attached to his shoulder and with a triple bundle of lightning in his hand. The king looks at the god, and makes the libation to the god while carrying a scepter with a curled end - lituus. Behind the king is a servant holding a goat for sacrifice to the god. Hieroglyphs read; "God Parata, Strong King... ". <br />
<br />
Against a grey art background.
  • Aslantepe Hittite relief sculpted orthostat stone panel. Limestone, Aslantepe, Malatya, 1200-700 B.C.  Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Scene of the king's offering drink and sacrifice to the gods. King pours from the pitcher to the vessel (libation); behind the king is a servant bringing a sacrifice. Storm God across the king holds Teshup, a triple lightning bundle - sickle, and a spear-mace set in the other orthostat; the goddess Ishtar holds weapon in both. All six figures have shoes with the curled ends. <br />
<br />
Against a white background.
  • Aslantepe Hittite relief sculpted orthostat stone panel. Limestone, Aslantepe, Malatya, 1200-700 B.C. . Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Scene of the king's offering drink and sacrifice to the gods. King pours from the pitcher to the vessel (libation); behind the king is a servant bringing a sacrifice. Storm God across the king holds Teshup, a triple lightning bundle - sickle, and a spear-mace set in the other orthostat; the goddess Ishtar holds weapon in both. All six figures have shoes with the curled ends. <br />
<br />
Against a black background.
  • Aslantepe Hittite relief sculpted orthostat stone panel. Limestone, Aslantepe, Malatya, 1200-700 B.C. . Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Scene of the king's offering drink and sacrifice to the gods. King pours from the pitcher to the vessel (libation); behind the king is a servant bringing a sacrifice. Storm God across the king holds Teshup, a triple lightning bundle - sickle, and a spear-mace set in the other orthostat; the goddess Ishtar holds weapon in both. All six figures have shoes with the curled ends. <br />
<br />
Against a gray background.
  • Aslantepe Hittite relief sculpted orthostat stone panel. Limestone, Aslantepe, Malatya, 1200-700 B.C. . Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Scene of the king's offering drink and sacrifice to the gods. King pours from the pitcher to the vessel (libation); behind the king is a servant bringing a sacrifice. Storm God across the king holds Teshup, a triple lightning bundle - sickle, and a spear-mace set in the other orthostat; the goddess Ishtar holds weapon in both. All six figures have shoes with the curled ends. <br />
<br />
Against a brown art background.
  • Aslantepe Hittite relief sculpted orthostat stone panel. Limestone, Aslantepe, Malatya, 1200-700 B.C. . Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Scene of the king's offering drink and sacrifice to the gods. King pours from the pitcher to the vessel (libation); behind the king is a servant bringing a sacrifice. Storm God across the king holds Teshup, a triple lightning bundle - sickle, and a spear-mace set in the other orthostat; the goddess Ishtar holds weapon in both. All six figures have shoes with the curled ends. <br />
<br />
Against a grey art background.
  • Picture and image of the late borgeoise realistic style stone sculpture of the Gallino tomb sculpted by  G. Moreno 1894.  In the tomb, the bust that portrays the deceased Carolina receives the kiss of a child, probably the niece, supported by a young woman - the mother, or perhaps the elder sister - whose face is marked by pain; on the right an older man, presumably her husband, stands aside, almost absent, looking down at the ground. The most intimate tones and psychological introspection are grafted here in the language of bourgeois Realism: with undoubted technical virtuosity Moreno offers a rigorous "quantitative" description of reality, dwelling on every single detail of faces, clothing, accessories and hairstyles . Section A, no 54, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the late borgeoise realistic style stone sculpture of the Gallino tomb sculpted by  G. Moreno 1894.  In the tomb, the bust that portrays the deceased Carolina receives the kiss of a child, probably the niece, supported by a young woman - the mother, or perhaps the elder sister - whose face is marked by pain; on the right an older man, presumably her husband, stands aside, almost absent, looking down at the ground. The most intimate tones and psychological introspection are grafted here in the language of bourgeois Realism: with undoubted technical virtuosity Moreno offers a rigorous "quantitative" description of reality, dwelling on every single detail of faces, clothing, accessories and hairstyles . Section A, no 54, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the late borgeoise realistic style stone sculpture of the Gallino tomb sculpted by  G. Moreno 1894.  In the tomb, the bust that portrays the deceased Carolina receives the kiss of a child, probably the niece, supported by a young woman - the mother, or perhaps the elder sister - whose face is marked by pain; on the right an older man, presumably her husband, stands aside, almost absent, looking down at the ground. The most intimate tones and psychological introspection are grafted here in the language of bourgeois Realism: with undoubted technical virtuosity Moreno offers a rigorous "quantitative" description of reality, dwelling on every single detail of faces, clothing, accessories and hairstyles . Section A, no 54, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the late borgeoise realistic style stone sculpture of the Gallino tomb sculpted by  G. Moreno 1894.  In the tomb, the bust that portrays the deceased Carolina receives the kiss of a child, probably the niece, supported by a young woman - the mother, or perhaps the elder sister - whose face is marked by pain; on the right an older man, presumably her husband, stands aside, almost absent, looking down at the ground. The most intimate tones and psychological introspection are grafted here in the language of bourgeois Realism: with undoubted technical virtuosity Moreno offers a rigorous "quantitative" description of reality, dwelling on every single detail of faces, clothing, accessories and hairstyles . Section A, no 54, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the late borgeoise realistic style stone sculpture of the Gallino tomb sculpted by  G. Moreno 1894.  In the tomb, the bust that portrays the deceased Carolina receives the kiss of a child, probably the niece, supported by a young woman - the mother, or perhaps the elder sister - whose face is marked by pain; on the right an older man, presumably her husband, stands aside, almost absent, looking down at the ground. The most intimate tones and psychological introspection are grafted here in the language of bourgeois Realism: with undoubted technical virtuosity Moreno offers a rigorous "quantitative" description of reality, dwelling on every single detail of faces, clothing, accessories and hairstyles . Section A, no 54, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the late borgeoise realistic style stone sculpture of the Gallino tomb sculpted by  G. Moreno 1894.  In the tomb, the bust that portrays the deceased Carolina receives the kiss of a child, probably the niece, supported by a young woman - the mother, or perhaps the elder sister - whose face is marked by pain; on the right an older man, presumably her husband, stands aside, almost absent, looking down at the ground. The most intimate tones and psychological introspection are grafted here in the language of bourgeois Realism: with undoubted technical virtuosity Moreno offers a rigorous "quantitative" description of reality, dwelling on every single detail of faces, clothing, accessories and hairstyles . Section A, no 54, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the late borgeoise realistic style stone sculpture of the Gallino tomb sculpted by  G. Moreno 1894.  In the tomb, the bust that portrays the deceased Carolina receives the kiss of a child, probably the niece, supported by a young woman - the mother, or perhaps the elder sister - whose face is marked by pain; on the right an older man, presumably her husband, stands aside, almost absent, looking down at the ground. The most intimate tones and psychological introspection are grafted here in the language of bourgeois Realism: with undoubted technical virtuosity Moreno offers a rigorous "quantitative" description of reality, dwelling on every single detail of faces, clothing, accessories and hairstyles . Section A, no 54, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures of the stone sculptured monumental tomb erected in memory of the Marquis Gio.Carlo Di Negro, one of the most famous personalities of nineteenth-century Genoa, refined man of the world, friend and protector of writers and artists, cosmopolitan intellectual and poet. On the sarcophagus, decorated with the emblem and emblems of intellectual and poetic activity (zither, books, laurel crowns), a bas-relief depicts a biblical episode of Genesis, the welcome offered by Abraham to the three angels, probable allusion to the virtue of hospitality, practiced in life by the deceased. Sculptor Carlo Rubatto 1861. Section A, no 5, The Staglieno Monumental Cemetery, Genoa, Italy
  • Hunters making an offering at an altar. Roman mosaic floor of the Room of The Small Hunt, no 25 - Roman mosaics at the Villa Romana del Casale ,  circa the first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.
  • Hunters making an offering at an altar. Roman mosaic floor of the Room of The Small Hunt, no 25 - Roman mosaics at the Villa Romana del Casale ,  circa the first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.
  • 6th century Inscription of the great hall of the synagogue of Nam-Ham-mam-Lif in the Roman province of Africa Proconsularis, present day Tunisia. The mosaic floor of the vestibule (porticus) was an offering from Asterius son of Rusticus, the Head of the Jewish community who was working in the Naro jewellers trade. The mosaic reads in Latin  "Asterius, filius Rustici, arcosinagogi, margaritari, (de d(onis) dei partemporticites-selavit".  The Bardo National Museum, Tunis Tunisia.  Against a white background.<br />
<br />
The so called synagogue of Naro (Hammam-Lif, Tunisia), discovered in 1883, is a square buil-ding (20 by 20 m), consisting of several rooms and hallways communicating with an inner courtyard. The plan is inspired by traditional domestic architecture of Roman Africa. The room, dedicated to religious ceremonies, was paved with a magnificent mosaic of several figured panels with an iconography highlighting Judaeo-Christian concepts, attesting a proselyte attitude addressing a local Judaic community, who was very active between the late fifth c. and the early sixth century AD.
  • 6th century Inscription of the great hall of the synagogue of Nam-Ham-mam-Lif in the Roman province of Africa Proconsularis, present day Tunisia. The mosaic floor of the vestibule (porticus) was an offering from Asterius son of Rusticus, the Head of the Jewish community who was working in the Naro jewellers trade. The mosaic reads in Latin  "Asterius, filius Rustici, arcosinagogi, margaritari, (de d(onis) dei partemporticites-selavit".  The Bardo National Museum, Tunis Tunisia.  Against a black background.<br />
<br />
The so called synagogue of Naro (Hammam-Lif, Tunisia), discovered in 1883, is a square buil-ding (20 by 20 m), consisting of several rooms and hallways communicating with an inner courtyard. The plan is inspired by traditional domestic architecture of Roman Africa. The room, dedicated to religious ceremonies, was paved with a magnificent mosaic of several figured panels with an iconography highlighting Judaeo-Christian concepts, attesting a proselyte attitude addressing a local Judaic community, who was very active between the late fifth c. and the early sixth century AD.
  • 6th century Inscription of the great hall of the synagogue of Nam-Ham-mam-Lif in the Roman province of Africa Proconsularis, present day Tunisia. The mosaic floor of the vestibule (porticus) was an offering from Asterius son of Rusticus, the Head of the Jewish community who was working in the Naro jewellers trade. The mosaic reads in Latin  "Asterius, filius Rustici, arcosinagogi, margaritari, (de d(onis) dei partemporticites-selavit".  The Bardo National Museum, Tunis Tunisia.   Against a grey background.<br />
<br />
The so called synagogue of Naro (Hammam-Lif, Tunisia), discovered in 1883, is a square buil-ding (20 by 20 m), consisting of several rooms and hallways communicating with an inner courtyard. The plan is inspired by traditional domestic architecture of Roman Africa. The room, dedicated to religious ceremonies, was paved with a magnificent mosaic of several figured panels with an iconography highlighting Judaeo-Christian concepts, attesting a proselyte attitude addressing a local Judaic community, who was very active between the late fifth c. and the early sixth century AD.
  • 6th century Inscription of the great hall of the synagogue of Nam-Ham-mam-Lif in the Roman province of Africa Proconsularis, present day Tunisia. The mosaic floor of the vestibule (porticus) was an offering from Asterius son of Rusticus, the Head of the Jewish community who was working in the Naro jewellers trade. The mosaic reads in Latin  "Asterius, filius Rustici, arcosinagogi, margaritari, (de d(onis) dei partemporticites-selavit".  The Bardo National Museum, Tunis Tunisia<br />
<br />
The so called synagogue of Naro (Hammam-Lif, Tunisia), discovered in 1883, is a square buil-ding (20 by 20 m), consisting of several rooms and hallways communicating with an inner courtyard. The plan is inspired by traditional domestic architecture of Roman Africa. The room, dedicated to religious ceremonies, was paved with a magnificent mosaic of several figured panels with an iconography highlighting Judaeo-Christian concepts, attesting a proselyte attitude addressing a local Judaic community, who was very active between the late fifth c. and the early sixth century AD.
  • 6th century Inscription of the great hall of the synagogue of Nam-Ham-mam-Lif in the Roman province of Africa Proconsularis, present day Tunisia. The mosaic floor of the vestibule (porticus) was an offering from Asterius son of Rusticus, the Head of the Jewish community who was working in the Naro jewellers trade. The mosaic reads in Latin  "Asterius, filius Rustici, arcosinagogi, margaritari, (de d(onis) dei partemporticites-selavit".  The Bardo National Museum, Tunis Tunisia. Against a grey art background.<br />
<br />
The so called synagogue of Naro (Hammam-Lif, Tunisia), discovered in 1883, is a square buil-ding (20 by 20 m), consisting of several rooms and hallways communicating with an inner courtyard. The plan is inspired by traditional domestic architecture of Roman Africa. The room, dedicated to religious ceremonies, was paved with a magnificent mosaic of several figured panels with an iconography highlighting Judaeo-Christian concepts, attesting a proselyte attitude addressing a local Judaic community, who was very active between the late fifth c. and the early sixth century AD.
  • Rock Relief From Firaktin near the village of Gümüsören, Turkey.   king Hattusili III is also pouring a libation, a drink offering, to the Storm God god on the far left. 1275BC. A plaster cast from the Vorderasiatisches Museum, Pergamon Museum, Berlin
  • Ancient Egyptian limestone funerary stele showing Akhenaten and Nefertiti in front of an offering table. Ancient Egypt 18th Dynasty, 1345 BC. Neues Museum Berlin Cat No: AM 17813.
  • Ancient Egyptian limestone funerary stele showing Akhenaten and Nefertiti in front of an offering table. Ancient Egypt 18th Dynasty, 1345 BC. Neues Museum Berlin Cat No: AM 17813.
  • Ancient Egyptian limestone funerary stele showing Akhenaten and Nefertiti in front of an offering table. Ancient Egypt 18th Dynasty, 1345 BC. Neues Museum Berlin Cat No: AM 17813.
  • Ancient Egyptian limestone funerary stele showing Akhenaten and Nefertiti in front of an offering table. Ancient Egypt 18th Dynasty, 1345 BC. Neues Museum Berlin Cat No: AM 17813.
  • Lucanian fresco tomb painting of the deceased on a mythical horse being offered food for the journey to the next world . Paestrum, Andriuolo. Tomb 84.  (350-340 )
  • The base of the Egyptian Obelisk of Thutmosis III, (Dikilitas) a centre piece of the Roman Hippadrome, showing Roman Emperor Theodosius offering a laurel wreath to the victor from the Kathisma. Istanbul Turkey
  • The base of the Egyptian Obelisk of Thutmosis III, (Dikilitas) a centre piece of the Roman Hippadrome, showing Roman Emperor Theodosius offering a laurel wreath to the victor from the Kathisma. Istanbul Turkey
  • The base of the Egyptian Obelisk of Thutmosis III, (Dikilitas) a centre piece of the Roman Hippadrome, showing Roman Emperor Theodosius offering a laurel wreath to the victor from the Kathisma. Istanbul Turkey
  • The base of the Egyptian Obelisk of Thutmosis III, (Dikilitas) a centre piece of the Roman Hippadrome, showing Roman Emperor Theodosius offering a laurel wreath to the victor from the Kathisma. Istanbul Turkey
  • 12th Century Byzantine mosaic of  Empress Irene  (Eirene) making an offering as symbolised by the scroll. Hagia Sophia, Istanbul, Turkey
  • 11th Century Byzantine mosaic of Christ Pantocrator with (left) Emperor Constantine IX Monmachus making an offering of money and (right) Empress Zoe. Hagia Sophia, Istanbul, Turkey
  • 11th Century Byzantine mosaic of  Emperor Constantine IX Monmachus making an offering of money . Hagia Sophia, Istanbul, Turkey
  • Women offering food to the Buso's on the Monady house visits of  the Busojaras Spring  festival 2010 Mohacs Hungary - Stock photos
  • Strasburg, Alsace, France. Traditional restaurant window with a sign offering : Specialites '
  • Strasburg, Alsace, France. Traditional restaurant window with a sign offering : Specialites '
  • Strasburg, Alsace, France. Traditional restaurant window with a sign offering : Specialites '
  • Strasburg, Alsace, France. Traditional restaurant window with a sign offering : Specialites '

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