• Glazed ceramic Ottoman Arabesque Iznik tiled window facade from Haseki Hürrem ( Roxelana or Alexandra Lisowska ) Sultan Medrese, a type of religious school built by Her Imperial Higness , Imperial Princess Consort of the Ottoman Empire, wife of Suleyman the Magnificent, in 1540. From the Pavillion of the Istanbul Archaeological Museum, Inv. 41/543.
  • Glazed ceramic Ottoman Arabesque Iznik tiled window facade from Haseki Hürrem ( Roxelana or Alexandra Lisowska ) Sultan Medrese, a type of religious school built by Her Imperial Higness , Imperial Princess Consort of the Ottoman Empire, wife of Suleyman the Magnificent, in 1540. From the Pavillion of the Istanbul Archaeological Museum, Inv. 41/543.
  • Glazed ceramic Ottoman Arabesque Iznik tiled window facade from Haseki Hürrem ( Roxelana or Alexandra Lisowska ) Sultan Medrese, a type of religious school built by Her Imperial Higness , Imperial Princess Consort of the Ottoman Empire, wife of Suleyman the Magnificent, in 1540. From the Pavillion of the Istanbul Archaeological Museum, Inv. 41/544.
  • Glazed ceramic Ottoman Arabesque Iznik tiled window facade from Haseki Hürrem ( Roxelana or Alexandra Lisowska ) Sultan Medrese, a type of religious school built by Her Imperial Higness , Imperial Princess Consort of the Ottoman Empire, wife of Suleyman the Magnificent, in 1540. From the Pavillion of the Istanbul Archaeological Museum, Inv. 41/544.
  • Glazed ceramic Ottoman arabesque Iznik Polychrome Lunette  tiled  window facade. In the Pavillion of the Istanbul Archaeological Museum, Inv. 41/545.
  • Tudor Window and wall of Old Town Hall Aldeurgh, Suffolk, UK
  • Tudor Window and wall of Old Town Hall Aldeurgh, Suffolk, UK
  • Colouful spainted leaf
  • Glazed ceramic Ottoman Arabesque Iznik tiled window facade from Haseki Hürrem ( Roxelana or Alexandra Lisowska ) Sultan Medrese, a type of religious school built by Her Imperial Higness , Imperial Princess Consort of the Ottoman Empire, wife of Suleyman the Magnificent, in 1540. From the Pavillion of the Istanbul Archaeological Museum, Inv. 41/543.
  • Glazed ceramic Ottoman Arabesque Iznik tiled window facade from Haseki Hürrem ( Roxelana or Alexandra Lisowska ) Sultan Medrese, a type of religious school built by Her Imperial Higness , Imperial Princess Consort of the Ottoman Empire, wife of Suleyman the Magnificent, in 1540. From the Pavillion of the Istanbul Archaeological Museum, Inv. 41/544.
  • Glazed ceramic Ottoman arabesque Iznik Polychrome Lunette  tiled  window facade. In the Pavillion of the Istanbul Archaeological Museum, Inv. 41/545.
  • Glazed ceramic Ottoman arabesque Iznik Polychrome Lunette  tiled  window facade. In the Pavillion of the Istanbul Archaeological Museum, Inv. 41/545.
  • Tudor Window and wall of Old Town Hall Aldeurgh, Suffolk, UK
  • Tudor Window on Old Town Hall Aldeurgh, Suffolk, UK
  • Emperor Moth with decorative wing pattern photo. Funky stock photos
  • Emperor Moth with decorative wing pattern photo. Funky stock photos
  • Emperor Moth with decorative wing pattern photo. Funky stock photos
  • Emperor Moth with decorative wing pattern photo. Funky stock photos
  • Emperor Moth with decorative wing pattern photo. Funky stock photos
  • Close up of an Emperor Moths wing showing its natural textures and patterns.
  • Close up of an Emperor Moths wing showing its natural textures and patterns.
  • Close up of an Emperor Moths wing showing its natural textures and patterns.
  • Butterfly
  • Butterfly
  • Butterfly
  • Butterfly
  • Butterfly
  • Butterfly
  • Butterfly
  • Butterfly
  • Butterfly
  • Butterfly
  • Butterfly
  • Butterfly
  • Butterfly
  • Butterfly
  • Butterfly
  • Butterfly
  • Brazilian Blue butterfly photo. Funky stock butterfly photos
  • A modern fruit cake with redcurrants, wild strawberries, blacberry and creme patisserie in a light sponge case in a designer dish.
  • A modern designed cake with a sponge case and chocolate filling
  • modern designed white chocolate cake with a sponge case and strawberry filling, covered with pink white chocolate powder
  • modern designed chocolate cake with a sponge case and chocolate filling, covered with cocoa powder
  • A modern fruit cake with redcurrants, wild strawberries, blacberry and creme patisserie in a light sponge case in a designer dish.
  • A modern square chocolate cake filled with chocolate truffle and topped with fresh raspberries
  • A modern Japanese cake with a pattered chocolate case and piped chestnut puree with cumquat sauce, in a modern designer dish
  • A modern designed cake with a sponge case and chocolate filling in a Traditionl black Japanese tea setting
  • modern designed chocolate cake with a sponge case and chocolate filling, covered with cocoa powder
  • modern designed chocolate cakes with a sponge case and chocolate filling, covered with cocoa powder
  • A modern designed cake with a sponge case and chocolate filling
  • modern designed chocolate cake with a sponge case and chocolate filling, covered with cocoa powder
  • A modern Japanese cake with a pattered chocolate case and piped chestnut puree with cumquat sauce, in a modern designer dish
  • Butterfly
  • Butterfly
  • Butterfly
  • Butterfly
  • Butterfly
  • Butterfly
  • Butterfly
  • Butterfly
  • Butterfly
  • Butterfly
  • Butterfly
  • Butterfly
  • Butterfly
  • Butterfly
  • Butterfly
  • Butterfly
  • Close up of the wing of a Brazilian Blue butterfly photo. Funky stock butterfly photos
  • modern designed white chocolate cake with a sponge case and strawberry filling, covered with pink white chocolate powder
  • A modern square chocolate cake filled with chocolate truffle and topped with fresh raspberries
  • modern designed chocolate cakes with a sponge case and chocolate filling, covered with cocoa powder
  • A modern designed cake with a sponge case and chocolate filling
  • A modern Japanese cake with a pattered chocolate case and piped chestnut puree with cumquat sauce, in a modern designer dish
  • modern designed white chocolate cake with a sponge case and strawberry filling, covered with pink white chocolate powder in a  Traditionl black Japanese tea setting
  • A modern fruit cake with redcurrants, wild strawberries, blacberry and creme patisserie in a light sponge case Traditionl black Japanese tea setting
  • A modern Japanese cake with a pattered chocolate case and piped chestnut puree with cumquat sauce, in a modern designer dish
  • A modern square chocolate cake filled with chocolate truffle and topped with fresh raspberries
  • A modern fruit cake with redcurrants, wild strawberries, blacberry and creme patisserie in a light sponge case in a designer dish.
  • A modern designed cake with a sponge case and chocolate filling
  • modern designed white chocolate cake with a sponge case and strawberry filling, covered with pink white chocolate powder
  • modern designed white chocolate cake with a sponge case and strawberry filling, covered with pink white chocolate powder
  • A modern Japanese cake with a pattered chocolate case and piped chestnut puree with cumquat sauce, in a modern designer dish
  • Minoan bull shaped rhython libation vessel decorated with a net pattern , Pseira  1500-1400 BC BC, Heraklion Archaeological  Museum, white background.<br />
<br />
The net pattern over the bull and its cut horns signify that it is a wild bull intended for sacrifice.
  • Minoan bull shaped rhython libation vessel decorated with a net pattern , Pseira  1500-1400 BC BC, Heraklion Archaeological  Museum, grey background.<br />
<br />
The net pattern over the bull and its cut horns signify that it is a wild bull intended for sacrifice.
  • Minoan bull shaped rhython libation vessel decorated with a net pattern , Pseira  1500-1400 BC BC, Heraklion Archaeological  Museum, black background.<br />
<br />
The net pattern over the bull and its cut horns signify that it is a wild bull intended for sacrifice.
  • Minoan bull shaped rhython libation vessel decorated with a net pattern , Pseira  1500-1400 BC BC, Heraklion Archaeological  Museum.<br />
<br />
The net pattern over the bull and its cut horns signify that it is a wild bull intended for sacrifice.
  • Minoan bull shaped rhython libation vessel decorated with a net pattern , Pseira  1500-1400 BC BC, Heraklion Archaeological  Museum, grey background.<br />
<br />
The net pattern over the bull and its cut horns signify that it is a wild bull intended for sacrifice.
  • Cycladic cut away jug with floral and net pattern.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens. Cat no 5757.  Black background.<br />
<br />
<br />
This jug has a strainer in the spout with floral patterns. Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic cut away jug with floral and net pattern.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens. Cat no 5757<br />
<br />
This jug has a strainer in the spout with floral patterns. Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic cut away jug with floral and net pattern.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens. Cat no 5757.   Grey background.<br />
<br />
<br />
This jug has a strainer in the spout with floral patterns. Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic cut away jug with floral and net pattern.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens. Cat no 5757<br />
<br />
This jug has a strainer in the spout with floral patterns. Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic cut away jug with floral and net pattern.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens. Cat no 5757.   Gray background.<br />
<br />
<br />
This jug has a strainer in the spout with floral patterns. Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic spouted cup with floral and net pattern.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens. Cat no 5755.  Black background.<br />
<br />
<br />
Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic spouted cup with floral and net pattern.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens. Cat no 5755.   White background.<br />
<br />
<br />
Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic spouted cup with floral and net pattern.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens. Cat no 5755.   Grey background.<br />
<br />
<br />
Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic spouted cup with floral and net pattern.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens. Cat no 5755. <br />
<br />
Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic spouted cup with floral and net pattern.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens. Cat no 5755.   Gray background.<br />
<br />
<br />
Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Early Minoan round bronze box with intricate pattern on lid,  George of the Dead 2600-2300 BC BC, Heraklion Archaeological  Museum,  , grey background.
  • Minoan stone ewer jug  with relief pattern from the  Knossos  Palace 1600-1450 BC, Heraklion Archaeological  Museum.
  • Minoan  pottery coffin chest coffin with gabled lid decorated with a net pattern,  Tylissos-Panokklisia 1350-1250 BC, Heraklion Archaeological  Museum.
  • Early Minoan round bronze box with intricate pattern on lid,  George of the Dead 2600-2300 BC BC, Heraklion Archaeological  Museum,, black background .
  • Early Minoan round bronze box with intricate pattern on lid,  George of the Dead 2600-2300 BC BC, Heraklion Archaeological  Museum, white background .
  • Early Minoan round bronze box with intricate pattern on lid,  George of the Dead 2600-2300 BC BC, Heraklion Archaeological  Museum,  , grey background.
  • Early Minoan round bronze box with intricate pattern on lid,  George of the Dead 2600-2300 BC BC, Heraklion Archaeological  Museum,  .
  • Minoan decorated Kamares  style jug with swirl pattern,  Poros cemetery 1800-1650 BC;  Heraklion Archaeological  Museum, black background.
  • Minoan decorated Kamares  style jug with swirl pattern,  Poros cemetery 1800-1650 BC;  Heraklion Archaeological  Museum, white background
  • Minoan decorated Kamares  style jug with swirl pattern,  Poros cemetery 1800-1650 BC;  Heraklion Archaeological  Museum, grey background.
  • Minoan decorated Kamares  style jug with swirl pattern,  Poros cemetery 1800-1650 BC;  Heraklion Archaeological  Museum.
  • Minoan decorated Kamares  style jug with swirl pattern,  Poros cemetery 1800-1650 BC;  Heraklion Archaeological  Museum, grey background.
  • Minoan stone ewer jug  with relief pattern from the  Knossos  Palace 1600-1450 BC, Heraklion Archaeological  Museum, grey background.
  • Minoan stone ewer jug  with relief pattern from the  Knossos  Palace 1600-1450 BC, Heraklion Archaeological  Museum, grey background.
  • Minoan conical rhython decorated with dolphins against a net pattern , Special Palatial Tradition, Pseira  1500-1400 BC BC, Heraklion Archaeological  Museum, white background.
  • Minoan conical rhython decorated with dolphins against a net pattern , Special Palatial Tradition, Pseira  1500-1400 BC BC, Heraklion Archaeological  Museum, grey background.
  • Minoan conical rhython decorated with dolphins against a net pattern , Special Palatial Tradition, Pseira  1500-1400 BC BC, Heraklion Archaeological  Museum, black background.
  • Minoan conical rhython decorated with dolphins against a net pattern , Special Palatial Tradition, Pseira  1500-1400 BC BC, Heraklion Archaeological  Museum.
  • Minoan conical rhython decorated with dolphins against a net pattern , Special Palatial Tradition, Pseira  1500-1400 BC BC, Heraklion Archaeological  Museum, grey background.
  • Minoan  pottery coffin chest coffin with gabled lid decorated with a net pattern,  Tylissos-Panokklisia 1350-1250 BC, Heraklion Archaeological  Museum, white background.
  • Minoan  pottery coffin chest coffin with gabled lid decorated with a net pattern,  Tylissos-Panokklisia 1350-1250 BC, Heraklion Archaeological  Museum, grey background.
  • Minoan  pottery coffin chest coffin with gabled lid decorated with a net pattern,  Tylissos-Panokklisia 1350-1250 BC, Heraklion Archaeological  Museum, black background.
  • Phrygian terracotta jug fragment decorated with concentric line pattern . 8th-7th century BC . Çorum Archaeological Museum, Corum, Turkey
  • Phrygian terracotta jug fragment decorated with concentric line pattern . 8th-7th century BC . Çorum Archaeological Museum, Corum, Turkey
  • Phrygian terracotta jug fragment decorated with concentric line pattern . 8th-7th century BC . Çorum Archaeological Museum, Corum, Turkey
  • Phrygian terracotta jug fragment decorated with concentric line pattern . 8th-7th century BC . Çorum Archaeological Museum, Corum, Turkey
  • Phrygian terracotta jug fragment decorated with concentric line pattern . 8th-7th century BC . Çorum Archaeological Museum, Corum, Turkey
  • Minoan stone ewer jug  with relief pattern from the  Knossos  Palace 1600-1450 BC, Heraklion Archaeological  Museum.
  • Minoan stone ewer jug  with relief pattern from the  Knossos  Palace 1600-1450 BC, Heraklion Archaeological  Museum, black background.
  • Minoan  pottery coffin chest coffin with gabled lid decorated with a net pattern,  Tylissos-Panokklisia 1350-1250 BC, Heraklion Archaeological  Museum, grey background.
  • Minoan decorated Kamares  style jug with comncentric ring pattern, Poros cemetery 1800-1650 BC; Heraklion Archaeological  Museum, black background.
  • Minoan decorated Kamares  style jug with swirl pattern, Poros cemetery 1800-1650 BC; Heraklion Archaeological  Museum, grey background.
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322. Against grey.<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322. Against grey.<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322.<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322. Against black<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Cycladic askos with hatched painted decoration.  Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat no 5826.  Black background.<br />
<br />
<br />
Decorated pottery is rare during this Ccladic period. This Cycladic askos has vertical handle on top with a spout. It has painted decoration of hatched bands and a lozenge pattern
  • Mycenaean silver cup from the Tomb 78 of the Mycenae chamber tombs, Greece. National Archaeological Museum Athens. Grey art Background <br />
<br />
This Mycenaean silver cup has a repousse  scale pattern with wish bone handles. Cat No 3121. 16th Cent BC
  • Wall fresco of geometric red and black triangles which appears to be a rug pattern copy. 6000 BC. . Catalhoyuk Collections. Museum of Anatolian Civilisations, Ankara. Against a grey background
  • Wall fresco of geometric red and black triangles which appears to be a rug pattern copy. 6000 BC. . Catalhoyuk Collections. Museum of Anatolian Civilisations, Ankara. Against a gray mottled background
  • Crouching Aphrodite (Venus). 2nd Century Imperial Roman Marble Statue from Italy. Louvre Museum, Paris. Cat No MR 371 
<br />
This sculpture  is a variation on the Classic Hellanistic 3rd to Ist century BC style of Aphrodite crouching to bathe. Aphrodite crouches with her right knee close to the ground, turns her head to the right and, in most versions, reaches her right arm over to her left shoulder to cover her breasts. The sculpture here changes the pattern by raising the right arm to the neck, rather than making her arm cross her chest, this flattens the composition.
  • Crouching Aphrodite (Venus). 2nd Century Imperial Roman Marble Statue from Italy. Louvre Museum, Paris. Cat No MR 371 
<br />
This sculpture  is a variation on the Classic Hellanistic 3rd to Ist century BC style of Aphrodite crouching to bathe. Aphrodite crouches with her right knee close to the ground, turns her head to the right and, in most versions, reaches her right arm over to her left shoulder to cover her breasts. The sculpture here changes the pattern by raising the right arm to the neck, rather than making her arm cross her chest, this flattens the composition.
  • Crouching Aphrodite (Venus). 2nd Century Imperial Roman Marble Statue from Italy. Louvre Museum, Paris. Cat No MR 371 
<br />
This sculpture  is a variation on the Classic Hellanistic 3rd to Ist century BC style of Aphrodite crouching to bathe. Aphrodite crouches with her right knee close to the ground, turns her head to the right and, in most versions, reaches her right arm over to her left shoulder to cover her breasts. The sculpture here changes the pattern by raising the right arm to the neck, rather than making her arm cross her chest, this flattens the composition.
  • Minoan decorated Kamares  style jug with comncentric ring pattern, Poros cemetery 1800-1650 BC; Heraklion Archaeological  Museum, grey background.
  • Minoan decorated Kamares  style jug with comncentric ring pattern, Poros cemetery 1800-1650 BC; Heraklion Archaeological  Museum, white background.
  • Minoan decorated Kamares  style jug with comncentric ring pattern, Poros cemetery 1800-1650 BC; Heraklion Archaeological  Museum.
  • Minoan decorated Kamares  style jug with comncentric ring pattern, Poros cemetery 1800-1650 BC; Heraklion Archaeological  Museum, grey background.
  • Minoan decorated Kamares  style jug with swirl pattern, Poros cemetery 1800-1650 BC; Heraklion Archaeological  Museum, white background.
  • Minoan decorated Kamares  style jug with swirl pattern, Poros cemetery 1800-1650 BC; Heraklion Archaeological  Museum, black background.
  • Minoan decorated Kamares  style jug with swirl pattern, Poros cemetery 1800-1650 BC; Heraklion Archaeological  Museum.
  • Minoan decorated Kamares  style jug with swirl pattern, Poros cemetery 1800-1650 BC; Heraklion Archaeological  Museum, grey background.
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322. Against black<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322. Against white.<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322.<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322. Against white.<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322. Against black<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322. Against grey.<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322. Against grey.<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322. Against grey.<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322.<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322. Against grey.<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Cycladic askos with hatched painted decoration.  Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat no 5826.   White background.<br />
<br />
<br />
Decorated pottery is rare during this Ccladic period. This Cycladic askos has vertical handle on top with a spout. It has painted decoration of hatched bands and a lozenge pattern
  • Cycladic askos with hatched painted decoration.  Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat no 5826. <br />
<br />
Decorated pottery is rare during this Ccladic period. This Cycladic askos has vertical handle on top with a spout. It has painted decoration of hatched bands and a lozenge pattern
  • Cycladic askos with hatched painted decoration.  Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat no 5826.   Grey background.<br />
<br />
<br />
Decorated pottery is rare during this Ccladic period. This Cycladic askos has vertical handle on top with a spout. It has painted decoration of hatched bands and a lozenge pattern
  • Cycladic askos with hatched painted decoration.  Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat no 5826.   Gray background.<br />
<br />
<br />
Decorated pottery is rare during this Ccladic period. This Cycladic askos has vertical handle on top with a spout. It has painted decoration of hatched bands and a lozenge pattern
  • Mycenaean silver cup from the Tomb 78 of the Mycenae chamber tombs, Greece. National Archaeological Museum Athens. White Background.<br />
<br />
This Mycenaean silver cup has a repousse  scale pattern with wish bone handles. Cat No 3121. 16th Cent BC
  • Mycenaean silver cup from the Tomb 78 of the Mycenae chamber tombs, Greece. National Archaeological Museum Athens.<br />
<br />
This Mycenaean silver cup has a repousse  scale pattern with wish bone handles. Cat No 3121. 16th Cent BC
  • Mycenaean silver cup from the Tomb 78 of the Mycenae chamber tombs, Greece. National Archaeological Museum Athens. Grey Background<br />
<br />
This Mycenaean silver cup has a repousse  scale pattern with wish bone handles. Cat No 3121. 16th Cent BC
  • Mycenaean silver cup from the Tomb 78 of the Mycenae chamber tombs, Greece. National Archaeological Museum Athens. Black Background<br />
<br />
This Mycenaean silver cup has a repousse  scale pattern with wish bone handles. Cat No 3121. 16th Cent BC
  • Wall fresco of geometric red and black triangles which appears to be a rug pattern copy. 6000 BC. . Catalhoyuk Collections. Museum of Anatolian Civilisations, Ankara. Against a white background
  • Wall fresco of geometric red and black triangles which appears to be a rug pattern copy. 6000 BC. . Catalhoyuk Collections. Museum of Anatolian Civilisations, Ankara. Against a black background
  • Wall fresco of geometric red and black triangles which appears to be a rug pattern copy. 6000 BC. . Catalhoyuk Collections. Museum of Anatolian Civilisations, Ankara
  • Roman fresco wall decorations of Bedroom E of the Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
Bedroom E, a private room with a bed (kline), was divided into antechamber and alcove. The room is probably a later reworking, as the doorway is off-center. The decoration of the walls, in contrast to cubicula B and D, is done in muted colors. Slender columns with a surreal superstructure frame aedicula with sacred landscapes. Three of these show travellers making a sacrifice to a herm of Athena. The images refer in various ways to the world of women. The little pictures along the walls of the antechamber show girls engaged in different activities. On the rear wall of the alcove, which has a picture with an amorous theme, the goddess Artemis is shown dressed as both huntress and moon goddess. Two Muses are on the opposite wall. The stucco decorations of the vaulted ceiling show idyllic landscapes with sacred elements and mythological scenes. In one, Phaethon asks his father Apollo to let him drive the chariot of the Sun. Other scenes show statues of Zeus, a statue probably representing Augustus as the new Mercury, disks of the sun, winged victories and grotesque figures, all done in very low relief with the elegance and delicacy of jewellery. The mosaic pavement of this room, known from a contemporary watercolor, had a pattern of squares and stars.
  • Roman fresco wall decorations of Bedroom E of the Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
Bedroom E, a private room with a bed (kline), was divided into antechamber and alcove. The room is probably a later reworking, as the doorway is off-center. The decoration of the walls, in contrast to cubicula B and D, is done in muted colors. Slender columns with a surreal superstructure frame aedicula with sacred landscapes. Three of these show travellers making a sacrifice to a herm of Athena. The images refer in various ways to the world of women. The little pictures along the walls of the antechamber show girls engaged in different activities. On the rear wall of the alcove, which has a picture with an amorous theme, the goddess Artemis is shown dressed as both huntress and moon goddess. Two Muses are on the opposite wall. The stucco decorations of the vaulted ceiling show idyllic landscapes with sacred elements and mythological scenes. In one, Phaethon asks his father Apollo to let him drive the chariot of the Sun. Other scenes show statues of Zeus, a statue probably representing Augustus as the new Mercury, disks of the sun, winged victories and grotesque figures, all done in very low relief with the elegance and delicacy of jewellery. The mosaic pavement of this room, known from a contemporary watercolor, had a pattern of squares and stars.
  • Crouching Aphrodite (Venus). 2nd Century Imperial Roman Marble Statue from Italy. Louvre Museum, Paris. Cat No MR 371 
<br />
This sculpture  is a variation on the Classic Hellanistic 3rd to Ist century BC style of Aphrodite crouching to bathe. Aphrodite crouches with her right knee close to the ground, turns her head to the right and, in most versions, reaches her right arm over to her left shoulder to cover her breasts. The sculpture here changes the pattern by raising the right arm to the neck, rather than making her arm cross her chest, this flattens the composition.
  • Crouching Aphrodite (Venus). 2nd Century Imperial Roman Marble Statue from Italy. Louvre Museum, Paris. Cat No MR 371 
<br />
This sculpture  is a variation on the Classic Hellanistic 3rd to Ist century BC style of Aphrodite crouching to bathe. Aphrodite crouches with her right knee close to the ground, turns her head to the right and, in most versions, reaches her right arm over to her left shoulder to cover her breasts. The sculpture here changes the pattern by raising the right arm to the neck, rather than making her arm cross her chest, this flattens the composition.
  • Crouching Aphrodite (Venus). 2nd Century Imperial Roman Marble Statue from Italy. Louvre Museum, Paris. Cat No MR 371 
<br />
This sculpture  is a variation on the Classic Hellanistic 3rd to Ist century BC style of Aphrodite crouching to bathe. Aphrodite crouches with her right knee close to the ground, turns her head to the right and, in most versions, reaches her right arm over to her left shoulder to cover her breasts. The sculpture here changes the pattern by raising the right arm to the neck, rather than making her arm cross her chest, this flattens the composition.
  • Crouching Aphrodite (Venus). 2nd Century Imperial Roman Marble Statue from Italy. Louvre Museum, Paris. Cat No MR 371 
<br />
This sculpture  is a variation on the Classic Hellanistic 3rd to Ist century BC style of Aphrodite crouching to bathe. Aphrodite crouches with her right knee close to the ground, turns her head to the right and, in most versions, reaches her right arm over to her left shoulder to cover her breasts. The sculpture here changes the pattern by raising the right arm to the neck, rather than making her arm cross her chest, this flattens the composition.
  • Crouching Aphrodite (Venus). 2nd Century Imperial Roman Marble Statue from Italy. Louvre Museum, Paris. Cat No MR 371 
<br />
This sculpture  is a variation on the Classic Hellanistic 3rd to Ist century BC style of Aphrodite crouching to bathe. Aphrodite crouches with her right knee close to the ground, turns her head to the right and, in most versions, reaches her right arm over to her left shoulder to cover her breasts. The sculpture here changes the pattern by raising the right arm to the neck, rather than making her arm cross her chest, this flattens the composition.
  • Anglo Saxon sandstone cross shaft fragment, 775-840. The complicated pattern depicts ribbon shaped animals with long thin bodies and legs. An animals face can be seen in the bottom right in profile with one eye and a mouth .Lindisfarne Abbey Museum, Northumbria, England
  • Anglo Saxon sandstone cross shaft fragment, 775-840. The complicated pattern depicts ribbon shaped animals with long thin bodies and legs. An animals face can be seen in the bottom right in profile with one eye and a mouth .Lindisfarne Abbey Museum, Northumbria, England
  • Anglo Saxon sandstone cross shaft fragment, 775-840. The complicated pattern depicts ribbon shaped animals with long thin bodies and legs. An animals face can be seen in the bottom right in profile with one eye and a mouth .Lindisfarne Abbey Museum, Northumbria, England
  • Anglo Saxon sandstone cross shaft fragment, 775-840. The complicated pattern depicts ribbon shaped animals with long thin bodies and legs. An animals face can be seen in the bottom right in profile with one eye and a mouth .Lindisfarne Abbey Museum, Northumbria, England
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322. Against white.<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Lely's Venus (Aphrodite). 1st or 2nd cent. AD Roman copy of a Greek original. The goddess Venus id surprised whilst bathing and she nervously turns. Her hair is in the style typical of the time and her pose has been designed to be unrevealing from any angle.  British Museum exhibit, London.<br />
<br />
This sculpture  is a variation on the Classic Hellanistic 3rd to Ist century BC style of Aphrodite crouching to bathe. Aphrodite crouches with her right knee close to the ground, turns her head to the right and, in most versions, reaches her right arm over to her left shoulder to cover her breasts. The sculpture here changes the pattern by raising the right arm to the neck, rather than making her arm cross her chest, this flattens the composition.
  • The Minoan decorated ritual Ewer From Poros with marine reliefs ,Poros Heraklion 1450 BC; Heraklion Archaeological  Museum, white background<br />
<br />
This elegant Ewer excavated from Poros is a fine example of the matute marine style of Minoan Ewer. The body is covered with  calligraphic network of dotted scale patterns, indicating the sea, in which nautili swim amongst rocks and seaweed. This style of Ewer was made in specialist workshops in the Knossos area and can be attributed to the same worksop that made ewers excavated from Zakros room IV-V. and another in Marseilles Museum
  • The Minoan decorated ritual Ewer From Poros with marine reliefs ,Poros Heraklion 1450 BC; Heraklion Archaeological  Museum, black background<br />
<br />
This elegant Ewer excavated from Poros is a fine example of the matute marine style of Minoan Ewer. The body is covered with  calligraphic network of dotted scale patterns, indicating the sea, in which nautili swim amongst rocks and seaweed. This style of Ewer was made in specialist workshops in the Knossos area and can be attributed to the same worksop that made ewers excavated from Zakros room IV-V. and another in Marseilles Museum
  • The Minoan decorated ritual Ewer From Poros with marine reliefs ,Poros Heraklion 1450 BC; Heraklion Archaeological  Museum.<br />
<br />
This elegant Ewer excavated from Poros is a fine example of the matute marine style of Minoan Ewer. The body is covered with  calligraphic network of dotted scale patterns, indicating the sea, in which nautili swim amongst rocks and seaweed. This style of Ewer was made in specialist workshops in the Knossos area and can be attributed to the same worksop that made ewers excavated from Zakros room IV-V. and another in Marseilles Museum
  • The Minoan decorated ritual Ewer From Poros with marine reliefs ,Poros Heraklion 1450 BC; Heraklion Archaeological  Museum.<br />
<br />
This elegant Ewer excavated from Poros is a fine example of the matute marine style of Minoan Ewer. The body is covered with  calligraphic network of dotted scale patterns, indicating the sea, in which nautili swim amongst rocks and seaweed. This style of Ewer was made in specialist workshops in the Knossos area and can be attributed to the same worksop that made ewers excavated from Zakros room IV-V. and another in Marseilles Museum
  • The Minoan decorated ritual Ewer From Poros with marine reliefs ,Poros Heraklion 1450 BC; Heraklion Archaeological  Museum, grey background<br />
<br />
This elegant Ewer excavated from Poros is a fine example of the matute marine style of Minoan Ewer. The body is covered with  calligraphic network of dotted scale patterns, indicating the sea, in which nautili swim amongst rocks and seaweed. This style of Ewer was made in specialist workshops in the Knossos area and can be attributed to the same worksop that made ewers excavated from Zakros room IV-V. and another in Marseilles Museum
  • Cycladic conical rhython with spiral decorations.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens.  Cat no 5791. Black background.<br />
<br />
<br />
Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic conical rhython with spiral decorations.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens.  Cat no 5791.  White background.<br />
<br />
<br />
Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic conical rhython with spiral decorations.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens.  Cat no 5791.  Grey background.<br />
<br />
<br />
Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic deep bridge spouted jar with spiral decorations.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens.  Cat no 5788.  White background.<br />
<br />
<br />
Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic deep bridge spouted jar with spiral decorations.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens.  Cat no 5788.  Grey background.<br />
<br />
<br />
Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic deep bridge spouted jar with spiral decorations.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens.  Cat no 5788.<br />
<br />
Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic deep bridge spouted jar with spiral decorations.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens.  Cat no 5788.  Gray background.<br />
<br />
<br />
Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Bridge spouted jug bird decorated. Early Cycladic I (1650-1550 BC); Phylakopi; Melos. National Archaeological Museum Athens. Cat No 5768.  White background.<br />
<br />
<br />
During this Cycladic period the pottery designs were heavily influenced by Cretean minoan with pottery like this using bird patterns.
  • Bridge spouted jug bird decorated. Early Cycladic I (1650-1550 BC); Phylakopi; Melos. National Archaeological Museum Athens. Cat No 5768.  Gray background.<br />
<br />
<br />
During this Cycladic period the pottery designs were heavily influenced by Cretean minoan with pottery like this using bird patterns.
  • Beak spouted jug decorated with flowering crocus. Early Cycladic I (1650-1550 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5769.  White background.<br />
<br />
<br />
During this Cycladic period the pottery designs were heavily influenced by Cretean minoan with pottery like this using floral patterns.
  • Beak spouted jug decorated with flowering crocus. Early Cycladic I (1650-1550 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5769. Black background.<br />
<br />
During this Cycladic period the pottery designs were heavily influenced by Cretean minoan with pottery like this using floral patterns.
  • Beak spouted jug decorated with flowering crocus. Early Cycladic I (1650-1550 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5769.  Grey background.<br />
<br />
<br />
During this Cycladic period the pottery designs were heavily influenced by Cretean minoan with pottery like this using floral patterns.
  • Beak spouted jug decorated with flowering crocus. Early Cycladic I (1650-1550 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5769.<br />
<br />
During this Cycladic period the pottery designs were heavily influenced by Cretean minoan with pottery like this using floral patterns.
  • Cycladic terracotta 'frying pan' with incied star decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5153.  White background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied star decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5164.  White background.<br />
<br />
<br />
In the middle of the decoration is a disc surrounded by a triangle motif. Above the handle is incised a pubic triangle.<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied star decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5164.  Grey background.<br />
<br />
<br />
In the middle of the decoration is a disc surrounded by a triangle motif. Above the handle is incised a pubic triangle.<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied star decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5164. Black background.<br />
<br />
<br />
In the middle of the decoration is a disc surrounded by a triangle motif. Above the handle is incised a pubic triangle.<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied linear decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5012.  White background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied linear decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5012.  Gray background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5058.  Grey background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5058.  White background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5058.  Gray background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens,  White background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens,  Grey background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens,<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied boat and spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5053.  White background.<br />
<br />
<br />
The incisions depict a boat below spiral patternes. <br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied boat and spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5053. Black background.<br />
<br />
<br />
The incisions depict a boat below spiral patternes. <br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied boat and spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5053.<br />
<br />
The incisions depict a boat below spiral patternes. <br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied boat and spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 4974.   Grey background.<br />
<br />
<br />
Yje incised decorations depict a boat amongst spiral formed waves. The boats is of a Ctcladic design  found throughout the Aegean.<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Pictures & images of Aynali Kilise (Church) cave church interior frescoes, iconoclastic period (725-842), near Goreme, Cappadocia, Nevsehir, Turkey<br />
<br />
During the iconoclastic period (725-842) it was forbidden to depict any religious figures in the Orthodox Church so interiors were decorated with simple red and white geometric patterns and crosses.
  • Phrygian temple of Aslankaya, 7th century BC. Phyrigian Valley, Emre Lake, near Döğer, Turkey.<br />
<br />
On the triangular roof over the facade are two sphinxes (winged figures with the head of a human and the body of a lion), facing one another, take place. In the main facade, below, the sphinxes in a niche, a cult statue of Kybele or the Great Mother (vandalised and destroyed) was flanked by two lions. This main facade is ornamented with relief geometrical patterns.
  • Phrygian temple of Aslankaya, 7th century BC. Phyrigian Valley, Emre Lake, near Döğer, Turkey.<br />
<br />
On the triangular roof over the facade are two sphinxes (winged figures with the head of a human and the body of a lion), facing one another, take place. In the main facade, below, the sphinxes in a niche, a cult statue of Kybele or the Great Mother (vandalised and destroyed) was flanked by two lions. This main facade is ornamented with relief geometrical patterns.
  • close up of the facade and relief sculptures of the Phrygian temple of Aslankaya, 7th century BC. Phyrigian Valley, Emre Lake, near Döğer, Turkey.<br />
<br />
<br />
On the triangular roof over the facade are two sphinxes (winged figures with the head of a human and the body of a lion), facing one another, take place. In the main facade, below, the sphinxes in a niche, a cult statue of Kybele or the Great Mother (vandalised and destroyed) was flanked by two lions. This main facade is ornamented with relief geometrical patterns.
  • Close up of two sphinxes relief scul[ptures of the Phrygian temple of Aslankaya, 7th century BC. Phyrigian Valley, Emre Lake, near Doger, Turkey.<br />
<br />
On the triangular roof over the facade are two sphinxes (winged figures with the head of a human and the body of a lion), facing one another, take place. In the main facade, below, the sphinxes in a niche, a cult statue of Kybele or the Great Mother (vandalised and destroyed) was flanked by two lions. This main facade is ornamented with relief geometrical patterns.
  • Close up of two sphinxes relief scul[ptures of the Phrygian temple of Aslankaya, 7th century BC. Phyrigian Valley, Emre Lake, near Doger, Turkey.<br />
<br />
On the triangular roof over the facade are two sphinxes (winged figures with the head of a human and the body of a lion), facing one another, take place. In the main facade, below, the sphinxes in a niche, a cult statue of Kybele or the Great Mother (vandalised and destroyed) was flanked by two lions. This main facade is ornamented with relief geometrical patterns.
  • Phrygian temple of Aslankaya, 7th century BC. Phyrigian Valley, Emre Lake, near Döğer, Turkey.<br />
<br />
On the triangular roof over the facade are two sphinxes (winged figures with the head of a human and the body of a lion), facing one another, take place. In the main facade, below, the sphinxes in a niche, a cult statue of Kybele or the Great Mother (vandalised and destroyed) was flanked by two lions. This main facade is ornamented with relief geometrical patterns.
  • Close up of 2 standing lions of the Phrygian temple of Aslankaya, 7th century BC. Phyrigian Valley, Emre Lake, near Döğer, Turkey.<br />
<br />
On the triangular roof over the facade are two sphinxes (winged figures with the head of a human and the body of a lion), facing one another, take place. In the main facade, below, the sphinxes in a niche, a cult statue of Kybele or the Great Mother (vandalised and destroyed) was flanked by two lions. This main facade is ornamented with relief geometrical patterns.
  • Close up picture of the Roman mosaics of the Room with Star Shaped Decorations depicting an octagonal rosette geometric mosaic patterns, room no 22 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.
  • Close up picture of the Roman mosaics of the Room with Star Shaped Decorations depicting an octagonal rosette geometric mosaic patterns, room no 22 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.
  • Close up picture of the Roman mosaics of the Interlying Utility Room depicting geometric mosaic patterns, room no 18 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.
  • Close up picture of the Roman mosaics of the Interlying Utility Room depicting geometric mosaic patterns, room no 18 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.
  • Coloured glazed brick panels depicting Lions stiding from the facade of the Throne Room dating from 604-562 BC. Babylon (present day Iraq). The throne room is situated in the third courtyard of the complex of the royal palace. Its 56 meters wide facade was decorated with coloured glazed bricks. A tentative reconstruction shows the composition of the upper part of the facade, including the stylised palms and geometric patterned registers. Two original sections are displayed on the left next to the Ishtar Gate. The lower part f the facade with representations of the striding lions was predominantly reconstructed from the original baked brick fragments. The frieze of lions was presumably arranged symmetrically so the animals faced towards the central main entrance to the Throne room. The throne room was excavated by Robert Koldewey between 1899 and 1917. It was used as an official reception room. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed brick panels depicting Lions stiding from the facade of the Throne Room dating from 604-562 BC. Babylon (present day Iraq). The throne room is situated in the third courtyard of the complex of the royal palace. Its 56 meters wide facade was decorated with coloured glazed bricks. A tentative reconstruction shows the composition of the upper part of the facade, including the stylised palms and geometric patterned registers. Two original sections are displayed on the left next to the Ishtar Gate. The lower part f the facade with representations of the striding lions was predominantly reconstructed from the original baked brick fragments. The frieze of lions was presumably arranged symmetrically so the animals faced towards the central main entrance to the Throne room. The throne room was excavated by Robert Koldewey between 1899 and 1917. It was used as an official reception room. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Zellij mosaics and arabesque Moorish plasterwork of the Bab Mansour gate. Named after the architect, El-Mansour, completed in 1732 the design of the gate plays with Almohad patterns. Meknes Morocco
  • Zellij mosaics and arabesque Moorish plasterwork of the Bab Mansour gate. Named after the architect, El-Mansour, completed in 1732 the design of the gate plays with Almohad patterns. Meknes Morocco
  • Zellij mosaics and arabesque Moorish plasterwork of the Bab Mansour gate. Named after the architect, El-Mansour, completed in 1732 the design of the gate plays with Almohad patterns. Meknes Morocco
  • Zellij mosaics and arabesque Moorish plasterwork of the Bab Mansour gate. Named after the architect, El-Mansour, completed in 1732 the design of the gate plays with Almohad patterns. Meknes Morocco
  • Bab Mansour gate, named after the architect, El-Mansour, completed in 1732. The design of the gate plays with Almohad patterns. It has zellij mosaics and the marble columns were taken from the Roman ruins of Volubilis. Meknes, Morocco
  • Bab Mansour gate, named after the architect, El-Mansour, completed in 1732. The design of the gate plays with Almohad patterns. It has zellij mosaics and the marble columns were taken from the Roman ruins of Volubilis. Meknes, Morocco
  • Zellij mosaics and arabesque Moorish plasterwork of the Bab Mansour gate. Named after the architect, El-Mansour, completed in 1732 the design of the gate plays with Almohad patterns. Meknes Morocco
  • Zellij mosaics and arabesque Moorish plasterwork of the Bab Mansour gate. Named after the architect, El-Mansour, completed in 1732 the design of the gate plays with Almohad patterns. Meknes Morocco
  • Anglo Saxon cross shaft fragment - 800-899. The sculptures in the sandstone cross are geomentric patterns known as interlace or knot-work. Lindisfarne Abbey Museum, Holy Island, Northumberland, England
  • A typical Anglo Saxon grave cover raised cross fragment decporated with raised interlaced patterns from 800-899. Lindisfarne Abbey Museum, Northumbria, England
  • A typical Anglo Saxon grave cover raised cross fragment decporated with raised interlaced patterns from 800-899. Lindisfarne Abbey Museum, Northumbria, England
  • Xysta on the houses of  Pygri, geometic patterned decorations in black and white that adorn the houses of the Mastic Villages of southern Chios dating back to the period Genoses rule. Mastichochoria area of Chios Island, Greece.
  • Xysta on the houses of  Pygri, geometic patterned decorations in black and white that adorn the houses of the Mastic Villages of southern Chios dating back to the period Genoses rule. Mastichochoria area of Chios Island, Greece.
  • Xysta on the houses of the main square of Pygri, geometic patterned decorations in black and white that adorn the houses of the Mastic Villages of southern Chios dating back to the period Genoses rule. Mastichochoria area of Chios Island, Greece.
  • Xysta on the houses of the main square of Pygri, geometic patterned decorations in black and white that adorn the houses of the Mastic Villages of southern Chios dating back to the period Genoses rule. Mastichochoria area of Chios Island, Greece.
  • Xysta on the houses of the main square of Pygri, geometic patterned decorations in black and white that adorn the houses of the Mastic Villages of southern Chios dating back to the period Genoses rule. Mastichochoria area of Chios Island, Greece.
  • Xysta on the houses of the main square of Pygri, geometic patterned decorations in black and white that adorn the houses of the Mastic Villages of southern Chios dating back to the period Genoses rule. Mastichochoria area of Chios Island, Greece.
  • Xysta on the houses of Pygri, geometic patterned decorations in black and white that adorn the houses of the Mastic Villages of southern Chios dating back to the period Genoses rule. Mastichochoria area of Chios Island, Greece.
  • Xysta on the houses of Pygri, geometic patterned decorations in black and white that adorn the houses of the Mastic Villages of southern Chios dating back to the period Genoses rule. Mastichochoria area of Chios Island, Greece.

FunkyStock Picture Library Resource

Picture The Past

ABOUT

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

Pictures and Images can be downloaded or bought as stock photos or photo art prints.

COUNTRIES

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

VIEW COUNTRIES INDEX....

HISTORICAL

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

EXPLORE HISTORICAL PLACES...

MUSEUMS

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

SEE MUESEUM ANTIQUITIES....