• Fresh Eggs
  • Fresh Eggs
  • Fresh Eggs
  • Fresh Eggs
  • Close up of a stack egg trays stacked on top of each other. Brown eggs with one white duck egg. Individual.
  • Close up of a stack egg trays stacked on top of each other. Brown eggs with one white duck egg. Individual.
  • Fresh Eggs
  • Fresh Eggs
  • Young nude women holding an orange towel
  • Young nude women holding a turquoise towel
  • 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.
  • Alaca Hoyuk Sphinx Gate Hittite monumental relief sculpted orthostat stone panel. Andesite. Alaca, Corum, 1399 - 1301 B.C. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Left Panel - Sitting in a chair without a backrest, the head and the face of the figure are completely destroyed. She has a long veil on her head, a long dress hanging down to her ankles, and the shoes with the curved ends. The stool under her feet indicates that she is an important person. She drinks something from the vessel in her right hand and she keeps the handled goblet in her hand a little higher.  <br />
<br />
Right Panel - Three figures with short skirts have their right arms positioned ahead. They each carry a sceptre in their left hand, which they lean against their shoulder. <br />
<br />
Against a brown art background.
  • Alaca Hoyuk Sphinx Gate Hittite monumental relief sculpted orthostat stone panel. Andesite. Alaca, Corum, 1399 - 1301 B.C. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Left Panel - Sitting in a chair without a backrest, the head and the face of the figure are completely destroyed. She has a long veil on her head, a long dress hanging down to her ankles, and the shoes with the curved ends. The stool under her feet indicates that she is an important person. She drinks something from the vessel in her right hand and she keeps the handled goblet in her hand a little higher.  <br />
<br />
Right Panel - Three figures with short skirts have their right arms positioned ahead. They each carry a sceptre in their left hand, which they lean against their shoulder. <br />
<br />
Against a black background.
  • Alaca Hoyuk Sphinx Gate Hittite monumental relief sculpted orthostat stone panel. Andesite, Alaca, Corum, 1399 - 1301 B.C. Goddess. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Sitting in a chair without a backrest, the head and the face of the figure are completely destroyed. She has a long veil on her head, a long dress hanging down to her ankles, and the shoes with the curved ends. The stool under her feet indicates that she is an important person. She drinks something from the vessel in her right hand and she keeps the handled goblet in her hand a little higher.
  • Ancient Egyptian Gebelein cloth depicting a Nile boat scene, the oldest know painted fabric artefact, Predynastic Egypt, Circa 3600BC. Egyptian Museum, Turin. <br />
<br />
There are at least 4 boats depicted on this linen cloth : two small carft following behind two larger vessels. The two small boats are equipped trains with 8 to 10 oars. The bottom boat has 4 rowers with their oars but other oars hanging below the hull . The helmsman has a steering oar larger (left). Two cabins occupy the central space. Between them a person is sitting in the same position as rowers and a black line behind it may be an indication of an other oar. The upper large boat does not have rowers but a helmsman at the back. The curved stern rises high and ends with a decoration. Red and black horizontal lines appear to indicate the presence of a cabin with a flat roof. Front of the cabin a character is sitting on a kind of throne. It seems to wear something on his head while the rowers are bareheaded.
  • 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.
  • 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.
  • Alaca Hoyuk Sphinx Gate Hittite monumental relief sculpted orthostat stone panel. Andesite. Alaca, Corum, 1399 - 1301 B.C. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Left Panel - Sitting in a chair without a backrest, the head and the face of the figure are completely destroyed. She has a long veil on her head, a long dress hanging down to her ankles, and the shoes with the curved ends. The stool under her feet indicates that she is an important person. She drinks something from the vessel in her right hand and she keeps the handled goblet in her hand a little higher.  <br />
<br />
Right Panel - Three figures with short skirts have their right arms positioned ahead. They each carry a sceptre in their left hand, which they lean against their shoulder. <br />
<br />
Against a white background.
  • Alaca Hoyuk Sphinx Gate Hittite monumental relief sculpted orthostat stone panel. Andesite. Alaca, Corum, 1399 - 1301 B.C. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Left Panel - Sitting in a chair without a backrest, the head and the face of the figure are completely destroyed. She has a long veil on her head, a long dress hanging down to her ankles, and the shoes with the curved ends. The stool under her feet indicates that she is an important person. She drinks something from the vessel in her right hand and she keeps the handled goblet in her hand a little higher.  <br />
<br />
Right Panel - Three figures with short skirts have their right arms positioned ahead. They each carry a sceptre in their left hand, which they lean against their shoulder. <br />
<br />
Against a brown gray background.
  • Alaca Hoyuk Sphinx Gate Hittite monumental relief sculpted orthostat stone panel. Andesite. Alaca, Corum, 1399 - 1301 B.C. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Left Panel - Sitting in a chair without a backrest, the head and the face of the figure are completely destroyed. She has a long veil on her head, a long dress hanging down to her ankles, and the shoes with the curved ends. The stool under her feet indicates that she is an important person. She drinks something from the vessel in her right hand and she keeps the handled goblet in her hand a little higher.  <br />
<br />
Right Panel - Three figures with short skirts have their right arms positioned ahead. They each carry a sceptre in their left hand, which they lean against their shoulder. <br />
<br />
Against a grey art background.
  • Alaca Hoyuk Sphinx Gate Hittite monumental relief sculpted orthostat stone pane of Goddess. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Sitting in a chair without a backrest, the head and the face of the figure are completely destroyed. She has a long veil on her head, a long dress hanging down to her ankles, and the shoes with the curved ends. The stool under her feet indicates that she is an important person. She drinks something from the vessel in her right hand and she keeps the handled goblet in her hand a little higher.  <br />
<br />
Against a black background.
  • Alaca Hoyuk Sphinx Gate Hittite monumental relief sculpted orthostat stone pane of Goddess. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Sitting in a chair without a backrest, the head and the face of the figure are completely destroyed. She has a long veil on her head, a long dress hanging down to her ankles, and the shoes with the curved ends. The stool under her feet indicates that she is an important person. She drinks something from the vessel in her right hand and she keeps the handled goblet in her hand a little higher.  <br />
<br />
Against a white background.
  • Alaca Hoyuk Sphinx Gate Hittite monumental relief sculpted orthostat stone pane of Goddess. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Sitting in a chair without a backrest, the head and the face of the figure are completely destroyed. She has a long veil on her head, a long dress hanging down to her ankles, and the shoes with the curved ends. The stool under her feet indicates that she is an important person. She drinks something from the vessel in her right hand and she keeps the handled goblet in her hand a little higher.  <br />
<br />
Against a brown gray background.
  • Alaca Hoyuk Sphinx Gate Hittite monumental relief sculpted orthostat stone pane of Goddess. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Sitting in a chair without a backrest, the head and the face of the figure are completely destroyed. She has a long veil on her head, a long dress hanging down to her ankles, and the shoes with the curved ends. The stool under her feet indicates that she is an important person. She drinks something from the vessel in her right hand and she keeps the handled goblet in her hand a little higher.  <br />
<br />
Against a grey art background.
  • Alaca Hoyuk Sphinx Gate Hittite monumental relief sculpted orthostat stone pane of Goddess. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Sitting in a chair without a backrest, the head and the face of the figure are completely destroyed. She has a long veil on her head, a long dress hanging down to her ankles, and the shoes with the curved ends. The stool under her feet indicates that she is an important person. She drinks something from the vessel in her right hand and she keeps the handled goblet in her hand a little higher.  <br />
<br />
Against a brown art background.
  • 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
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • Statue of Artemis, found at the 'House of Diadoumenos' on Delos. Pariam marble, Circa 100 BC. Athens Archaeological Museum, Cat No 1829. Against white, <br />
<br />
Artemis wears a chiton, a girt and himation. The diagonal strap ocross her breast will have held the quiver full of arrows. The Goddess's beauty is stressed by her elaborate coiffure.
  • Statue of Artemis, found at the 'House of Diadoumenos' on Delos. Pariam marble, Circa 100 BC. Athens Archaeological Museum, Cat No 1829. against black<br />
Artemis wears a chiton, a girt and himation. The diagonal strap ocross her breast will have held the quiver full of arrows. The Goddess's beauty is stressed by her elaborate coiffure.
  • Statue of Artemis, found at the 'House of Diadoumenos' on Delos. Pariam marble, Circa 100 BC. Athens Archaeological Museum, Cat No 1829.<br />
<br />
Artemis wears a chiton, a girt and himation. The diagonal strap ocross her breast will have held the quiver full of arrows. The Goddess's beauty is stressed by her elaborate coiffure.
  • Statue of Artemis, found at the 'House of Diadoumenos' on Delos. Pariam marble, Circa 100 BC. Athens Archaeological Museum, Cat No 1829. Against grey<br />
<br />
Artemis wears a chiton, a girt and himation. The diagonal strap ocross her breast will have held the quiver full of arrows. The Goddess's beauty is stressed by her elaborate coiffure.
  • Statue of Artemis, found at the 'House of Diadoumenos' on Delos. Pariam marble, Circa 100 BC. Athens Archaeological Museum, Cat No 1829.<br />
<br />
Artemis wears a chiton, a girt and himation. The diagonal strap ocross her breast will have held the quiver full of arrows. The Goddess's beauty is stressed by her elaborate coiffure.
  • Ancient Greek funerary statue of a women, type Small Herculaneum Woman style. From Delos circa 2nd Cent BC. Athens National Archaeological Museum. Cat No 1827. against black<br />
<br />
This marble statue from Delos shopws a women wearing a full length chiton and a himation that covers her entire body and arms. This style of statue is known os 'Small Herculaneum Woman' and is a copy of a famous original dating from 300 BC.
  • Ancient Greek funerary statue of a women, type Small Herculaneum Woman style. From Delos circa 2nd Cent BC. Athens National Archaeological Museum. Cat No 1827. Against grey<br />
<br />
This marble statue from Delos shopws a women wearing a full length chiton and a himation that covers her entire body and arms. This style of statue is known os 'Small Herculaneum Woman' and is a copy of a famous original dating from 300 BC.
  • Ancient Greek funerary statue of a women, type Small Herculaneum Woman style. From Delos circa 2nd Cent BC. Athens National Archaeological Museum. Cat No 1827, Against white, <br />
<br />
This marble statue from Delos shopws a women wearing a full length chiton and a himation that covers her entire body and arms. This style of statue is known os 'Small Herculaneum Woman' and is a copy of a famous original dating from 300 BC.
  • Ancient Greek funerary statue of a women, type Small Herculaneum Woman style. From Delos circa 2nd Cent BC. Athens National Archaeological Museum. Cat No 1827<br />
<br />
This marble statue from Delos shopws a women wearing a full length chiton and a himation that covers her entire body and arms. This style of statue is known os 'Small Herculaneum Woman' and is a copy of a famous original dating from 300 BC.
  • Ancient Greek funerary statue of a women, type Small Herculaneum Woman style. From Delos circa 2nd Cent BC. Athens National Archaeological Museum. Cat No 1827. Against grey<br />
<br />
This marble statue from Delos shopws a women wearing a full length chiton and a himation that covers her entire body and arms. This style of statue is known os 'Small Herculaneum Woman' and is a copy of a famous original dating from 300 BC.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177. Against grey<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177, Against white, <br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177, Against white, <br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177, Against white, <br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177. Against grey<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177, Against white, <br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177. Against grey<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177. Against grey<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177. Against grey<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177. Against grey<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177, Against white, <br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177. Against white, <br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177. Against grey<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177. Against grey<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177. Against grey<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177. Against grey<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • The Minoan 'Dancer' fresco deicting a doddess descending from the heavens, Knossos Palace, 1600-1450 BC . Heraklion Archaeological Museum.,grey background<br />
<br />
The Dancer fresco depits a goddess descending from the heavens as indicated by her locks of hair streaming in the wind. This is a familiar convention in Minoan iconogragraphy of a goddess hovering in the air, her right arm extended in a gesture of authority. This fragment is psrt of a larger epiphony scene
  • The Minoan 'Bull leaping' fresco depicting an athlete leaping over a bulls back,  Knossos-Palace, 1600-1400 BC . Heraklion Archaeological Museum.<br />
<br />
there are 3 participants, two white skinned women and one brown skinned man. One female athele is restraining the bull ny the horns to slow it down as the male athlete performs a backward summersault ober the bulls back. The second female athlete waits to catch the leaper.<br />
<br />
The fresco was found on the east side of the palace of Knossos together with fragments depicting different stages of bull leaping.
  • Minoan fresco panel from the 'Lily Frescoes' from the 'Villa of the Lilies' Amnisos, 1600-1500 BC. Heraklion Archaeological Museum.  Grey Background. <br />
<br />
Ths freco depicts white lilies against a red background and red lilies against w white backgoround with long stems in front of a fence. The wall art uses fresco and 'in cavo' technique. Neopalatial Period.
  • The Minoan 'Saffron Gatherer' wall art fresco, from 'House of Frescoes' Knossos Palace. 1700-1450 BC. Heraklion Archaeological Museum.  Grey Background. <br />
<br />
The 'Saffron Gatherers' fresco depicts a blue monket gatering saffron crocuses and placing them in a basket. The saffron is thought to have been a gift to the 'Great Goddess'. One of the earliest frescoes from Knossos.
  • Minoan 'Prince of the Lilies' wall art freco, Knossos Palace, 1600-1450 BCHeraklion Archaeological Museum.<br />
<br />
An emblematic image of Minoan Crete this fresco was part of a larger composition in high relief. The fresco depicts a life size figure wearing a coloured kilt with a cod piece and a belt. A majestic crown on his head is adorned with papyrus lilies and peacock feathers. Neopalatial Period.
  • Minoan wall art fresco from the Throne Room of Knossos, 1450-1300 BC. Heraklion Archaeological Museum.  White Background. <br />
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This Minoan fresco depicts griffins and palm trees
  • Minoan wall art fresco of a 'figure of eight' shield from Knossos Palace, 1450-1300 BC. Heraklion Archaeological Museum.<br />
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<br />
The Final Palatial Period Minoan fresco is from the Grand Staircase of the Palace of Knossos and is a Trompe-l'œil  of minoan warriors shields covered with ox hide.
  • Minoan Bull wall art fresco , West Bastion, Knossos Palace, 1600-1450 BC. Heraklion Archaeological Museum.<br />
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The Minoan Bull fresco was part of a larger composition which probably had a hunter or bull leaper in it. It is a masterpiece of Minoan naturalism and a work of high quality and expresive power.
  • The painted Minoan Hagia Triada Sarcophagus 1370-1300 BC. Heraklion Archaeological Museum.<br />
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The limestone Hagia Triada Sarcophagus is painted with frescoes depicting the ceremonies honouring the dead.
  • Terra cotta Mycenaean cult figurines with raised arms found at Delphi,  1400-1050 BC, Delphi National Archaeological Museum. <br />
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Stylised female figurines were common in the Mycenaean world and may have represented deities , divine nurses or worshipers. these Mycenaean female figurines were probably used as voitive offering and maybe as childrens toys.
  • Theran Minoan polychrome kymbe with dolphin decorations, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
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The kymbe is a typical Theran Minoan elongated vessel whose use is unknown.
  • Theran Minoan polychrome kymbe with dolphin decorations, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
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The kymbe is a typical Theran Minoan elongated vessel whose use is unknown.
  • Minoan bridge spouted jug with spiral decorations, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.
  • Minoan clay polychrome pithoid jar with reed decoration, Akrotiri, Thira (Santorini) National Archaeological Museum Athens.
  • Tall elegant Minoan polychrome jug decorated with reeds, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.
  • Minoan polychrome amphora decorated with large circles, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
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The circle design on the pot may have been a symbol indicating its contents
  • Minoan clay polychrome pithoid jar with painted circles, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.
  • 'Flying gallop' clay vase. Minoan Polychrome arge jug with eyes on its spout and lions or panthers, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
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This fine example of Minoan Theran polychrome pottery depicts two lions or panthers in full flight with two eyes on its spout. By the same painter as the 'Dolphing Jugs'  From the French Archaeological School in Athens collection.
  • Cycladic bronze spearhead.  Early Cycladic II (2800-2300 BC) , Amorgos. National Archaeological Museum Athens.
  • Cycladic ceramic spherical pyxis with painted linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat no 5170.   Grey background.
  • Cycladic Kernos a multiple vessel in a base.  Early Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5829.  White background.<br />
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<br />
This complex vessel was used for ritual offerings. During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic ritual kernos with painted motif  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 822-833.  Gray background.<br />
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<br />
A complec ritual vessel with multiple pithos for offerings.
  • Cycladic ceramic krater with impressed  linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat No 5258.   Gray background.
  • Cycladic ceramic jug with linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat no 5147.  Black background.
  • Cycladic askos with hatched painted decoration.  Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat no 5826.  Black background.<br />
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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 footed necked jar with impressed decration.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 6168. Black background.<br />
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<br />
During this period pottery was often monochrome with polised slip finishes sometimes with incised or impressed decorations.
  • Small Cycladic amphora.  Early Cycladic III (2300-200 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5813.  Gray background.<br />
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<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Spherical jug spiral and floral decorated. Early Cycladic I (1650-1550 BC); Phylakopi; Melos. National Archaeological Museum Athens. Cat No 5818.  Gray background.<br />
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<br />
During this Cycladic period the pottery designs were heavily influenced by Cretean minoan with pottery.
  • Bridge spouted jug bird decorated. Early Cycladic I (1650-1550 BC); Phylakopi; Melos. National Archaeological Museum Athens. Cat No 5768.  Gray background.<br />
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<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. Black background.<br />
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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 />
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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 />
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<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 />
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<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 />
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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.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-2300 BC) from Stavros cemetery, Amorgos, grave 5, Cat No 4719. National Archaeological Museum, Athens. <br />
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This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised.
  • Marble female Cycladic statue figurine with folded arms. Early Cycladic Period II (2800-2300 BC) from Chalandriani, Syros. National Archaeological Museum, Athens.   Gray background.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-3200) from Naxos, Cat No 20934. National Archaeological Museum, Athens. Black background.<br />
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One of the largest known Cycladic statues at 89CM tall this figurine still has traces of a colour on the hair and eyes.
  • The 'figure of eight shield'  Mycenaean fresco wall painting, Mycenae, Greece Cat No 11672. National Archaeological Museum, Athens.  Black Background<br />
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The Mycenaean 'figure of eight shield' were originaly made of cows hide and was the symbol of a goddess of war.
  • Mycenaean fresco wall painting of a marine scape. National Archaeological Museum Athens. Cat No 5844.<br />
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The Mycenaean fresco fragments depict a marine scape with flying fish diving and swimming with sponges attached to rocks.
  • Mycenaean gold death mask, Grave Cicle A, Mycenae, Greece. National Archaeological Museum of Athens.  Grey Background<br />
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<br />
 This death mask is typical of the other Mycenaean gold death masks fround in Grave V. made from a sigle sheet of gold the shape of the face would have been hammered ot against wood. two holes either side of the gold mask allowed it to be held over the dead mans face. As weapons were found in the graves of Grave Circle A at Mycenae, those buried here wer warriors and maybe kings as the grave goods buried with them were of great value. 16th century BC
  • Mycenaean Fresco wall painting of a Mycanaean Women bearing offerings, Later Palace,  Tiryns, Greece.  Athens Archaeological Museum. Grey Background<br />
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14th  Cent BC. Cat No 15883. The Mycenaean fresco fragments depict a women in a procession bearing offerings for a deity. Their facial characteristic and elaborate hairstyles and rich garments are clearly visible.
  • Mycenaean Fresco wall painting of a Mycanaean Women bearing offerings, Later Palace,  Tiryns, Greece.  Athens Archaeological Museum. Black Background<br />
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14th  Cent BC. Cat No 15883. The Mycenaean fresco fragments depict a women in a procession bearing offerings for a deity. Their facial characteristic and elaborate hairstyles and rich garments are clearly visible.
  • Mycenaean Funerary Stele made of Porus stone with a relief of a chariot scene, Mycenae Grave Circle A, Grave V, Archaeological Museum Athens. Cat No 1428.16th Cent BC.<br />
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The upper panel of this Mycenaean Funerary Stele has spiral reliefs that may represent waves suggesting that the scene below is set at a coastal location. This scene shows a charioteer pulling on the reins of his chariot while a second figure in front of the chaiot hold what may be a sword.
  • Hollow Mycenaean female figurine, adorant, wearing a necklace, from Mycenae tomb 40, Archaeological Museum Athens. Cat No 2494. <br />
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Stylised female figurines were common in the Mycenaean world and may have represented deities , divine nurses or worshipers. these Mycenaean female figurines were probably used as voitive offering and maybe as childrens toys.
  • Mycenaean Gold circular buttons from Grave IV, Grave Circle A, Myenae, Greece. National Archaeological Museum Athens. 16th Cent BC. Grey Background
  • Mycenaean bull figurines from Prosymna and Mycenae, Archaeological Museum Athens.  White Background.<br />
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Left: Mycenaean bull figurines from Prosymna cat no 11184<br />
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Right Mycenaean bull figurine from Mycenae tomb 65 cat no 3032
  • Mycenaean silver cup from the Tomb 78 of the Mycenae chamber tombs, Greece. National Archaeological Museum Athens. Grey art Background <br />
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This Mycenaean silver cup has a repousse  scale pattern with wish bone handles. Cat No 3121. 16th Cent BC
  • Mycenaean Fresco wall painting of a Mycanaean footman leading a horse & hunting dog,  Tiryns, Greece. 14th - 13th Century BC. Athens Archaeological Museum. Cat No 5878.  Black Background
  • The 'Mycenaean Lady' fresco wall painting depicting a women in a procession, Mycenae, Greece Cat No 11670. National Archaeological Museum, Athens. White Background.<br />
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The 'Mycenaean Lady' fresco depicts a women with a serious and pensive expression of a goddess in a solemn moment during which she accepts a gift of a necklace which she hold tightly in her right hand. she wears a short sleeved bodice over a sheer blouse which deliniates her bosom. She has an  intricate hairstyle and wears rich jewellery.
  • The 'Mycenaean Lady' fresco wall painting depicting a women in a procession, Mycenae, Greece Cat No 11670. National Archaeological Museum, Athens. White Background.<br />
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The 'Mycenaean Lady' fresco depicts a women with a serious and pensive expression of a goddess in a solemn moment during which she accepts a gift of a necklace which she hold tightly in her right hand. she wears a short sleeved bodice over a sheer blouse which deliniates her bosom. She has an  intricate hairstyle and wears rich jewellery.
  • Mycenaean three handled styrrup jar with painted zig zag  and double axesdesigns, Tholos tomb 2 , Myrsinochori, Messenia, 15th cent BC. National Archaeological Museum Athens. Cat No 8376.
  • Mycenaean gold goblet with two handles ening with a dogs head biting the rim,  Acropolis Treasure of Mycenae, Greece, National Archaeological Museum of Athens.  <br />
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Black BackgroundThis goblet was found as part of a hoard looted in antiquity from Grave Circle A and buried outside the enclosure. 15th century BC
  • Mycenaean gold goblet with two handles ening with a dogs head biting the rim,  Acropolis Treasure of Mycenae, Greece, National Archaeological Museum of Athens.  This goblet was found as part of a hoard looted in antiquity from Grave Circle A and buried outside the enclosure. 15th century BC
  • Mycenaean gold goblet with two handles ening with a dogs head biting the rim,  Acropolis Treasure of Mycenae, Greece, National Archaeological Museum of Athens.  <br />
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 Grey art Background This goblet was found as part of a hoard looted in antiquity from Grave Circle A and buried outside the enclosure. 15th century BC
  • Small Mycenaean amphora decorated with large ivy leaves, Grave VI, Grave Circle A, Mycenae 16-15 Cent BC. National Archaeological Museum Athens. Cat No 192,  Grey art Background
  • Mycenaean metal rhyhon hammered into the shape of a lions head, Grave IV, Grave Circle A, Mycenae, Greece, Cat no 273, National Archaeological Museum Athens .  Grey art Background <br />
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Rytha (Rhython singular) were ritual vessels used to drink libations to the gods during religious ceremonies. 16th century BC
  • Vapheio type Mycenaean gold cup depicting a wild bull hunt side D, Vapheio Tholos Tomb, Lakonia, Greece. National Archaeological Museum of Athens. Black Background<br />
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 Two masterpieces of Creto - Mycenaean gold metalwork were excavated from a tholos tomb near Lakonia in Sparta in 1988. Made in the 15th century BC, the gold cups are heavily influenced by the Minoan style that was predominant in the Agean at the time. The bull hunt was popular with  Mycenaean  and Minoan artists and symolised power and fertility. The distinctive shape of the cup is kown as 'Vapheio type'.
  • Vapheio type Mycenaean gold cup depicting a wild bull hunt , Vapheio Tholos Tomb, Lakonia, Greece. National Archaeological Museum of Athens.  Black Background<br />
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 Two masterpieces of Creto - Mycenaean gold metalwork were excavated from a tholos tomb near Lakonia in Sparta in 1988. Made in the 15th century BC, the gold cups are heavily influenced by the Minoan style that was predominant in the Agean at the time. The bull hunt was popular with  Mycenaean  and Minoan artists and symolised power and fertility. The distinctive shape of the cup is kown as 'Vapheio type'.
  • Mycenaean gold cup with arches decoration, Grave V, Grave Circle A Mycenae, Greece. National Archaeological Museum of Athens. White background.<br />
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An elegant precious gold cup hammered from thick gold to created a simple elegant design. This Mycenaean gold cup demonstrates how advance Mycenaean metalworking was in the 16th century BC. The value of the cup would have been extermely high so must have graced the table of a Mycenaean noble perhaps even a v king.
  • Mycenaean gold cup with horizontal grroves, Grave IV, Grave Circle A, Mycenae, Greece. National Archaeological Museum of Athens.  White background.<br />
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An elegant precious gold cup hammered from thick gold to created a simple elegant design. This Mycenaean gold cup demonstrates how advance Mycenaean metalworking was in the 16th century BC. The value of the cup would have been extermely high so must have graced the table of a Mycenaean noble perhaps even a v king.
  • 'House of Warriors Vase' : Pictoral Mycenaean Krater depicting Mycenaean soldiers in full armour, Mycenae Acropolis, 12th Cent BC.  National Archaeological Museum Athens. Cat no 1426.  Black Background<br />
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This large pictoral Mycenaean Krater depicts Mycenaean soldiers full armed with helmet, cuirass, greaves, shield and spaer as they depart for war. This is a superb example of Mycenaean pictoral pottery
  • painted Mycenaean two handled jug with a tall neck, Mycenae Chamber Tomb 80, 14th-13th Cent BC.  National Archaeological Museum Athens. Cat no 3228.
  • Three handled Palace Style Mycenaean amphora with octpuses and marinescape decorations motifs, Mycenaean cemetery, Argive Prosymna, tomb 2, 15 cnt BC, National Archaeological Museum Athens. Cat no 6725.  Black Background<br />
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This Mycenaean vase is an imitation of the Minoan Marine Style
  • Three handled Palace Style  Mycenaean amphora with palm tree floral motifs, Mycenaean cemetery, Argive Deiras, 15 cnt BC, National Archaeological Museum Athens. Cat no 7107. <br />
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This Mycenaean vase is distinguished by the high quality of clay and paint as well as the naturalistic rendition of the palm tree decorations
  • Mycenaean conical rhython with an octopus design from the House of the oil merchant, Mycenae Acropolis 14-13thj Cent BC. National Archaeological Museum Athens. Cat No 7386.  Grey Background
  • Mycenaean jug with stylised snakes , Grave VI, Grave Circle A, Mycenae 16-15 Cent BC. National Archaeological Museum Athens. Cat No 946.  Black Background
  • Mycenaean jug with stylised snakes , Grave VI, Grave Circle A, Mycenae 16-15 Cent BC. National Archaeological Museum Athens. Cat No 946
  • Mycenaean spouted clay pithos decorated with spirals and bands, Grave VI, Grave Circle A, Mycenae 16-15 Cent BC. National Archaeological Museum Athens. Cat No 8580
  • Mycenaean gold death mask, Grave Cicle A, Mycenae, Greece. National Archaeological Museum of Athens.<br />
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This death mask is typical of the other Mycenaean gold death masks fround in Grave V except in this mask the eyes are open. made from a sigle sheet of gold the shape of the face would have been hammered ot against wood. two holes either side of the gold mask allowed it to be held over the dead mans face. As weapons were found in the graves of Grave Circle A at Mycenae, those buried here wer warriors and maybe kings as the grave goods buried with them were of great value. 16th century BC
  • Granite ancient Egyptian statue head of a man from Thebes. 2000 BC . Neues Reich Museum Berlin Cat No: AM 1254.
  • Quartz Ancient Egyptian Statue head of King Amenhotep II from Wad Ban Naga, Sudan . 18 th Dynasty 1425 BC . Neues Reich Museum Berlin Cat No: AM 2057.
  • Ancient Egyptian head of a statue  of king Amenhotep III. / Kopf eider statue des Königs Amenophis III. / Egypt 18. Dynasty  (1360BC) Berlin Neues Museum Cat No: VAGM 1997/118.
  • Statue Portrait head of Nefertiti. / Portratkopfe des Konigspaares Nofretete. / Egypt 18. Dynasty  (1340 BC) Berlin Neues Museum Cat No: AM 21348.
  • Ancient Egyptian granite statue of Sobekhotep V kneeling with ointment vessels. Egypt 13-14 Dynastie (1750-1700 BC) Berlin Neues Museum Cat No: AM 10645
  • 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.
  • Picture & image of Vardzia medieval cave interior of the city and monastery, Erusheti Mountain, southern Georgia (country)<br />
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Inhabited from the 5th century BC, the first identifiable phase of building took place at  Vardzia in the reign of Giorgi III (1156-1184) to be continued by his successor, Queen Tamar 1186, when the Church of the Dormition was carved out of the rock and decorated with frescoes
  • Close up of a Roman Sebasteion relief  sculpture of a prisoner of  Emperor Claudius as God of sea and land,  Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
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The Emperor as god Claudius strides forward in a divine epiphany, drapery billowing around his head. He receives a cornucopia with fruits of the earth from a figure emerging from the ground, anda ship’s steering oar from a marine tritoness with fish legs. The idea is clear: the god-emperor guarantees the prosperity of land and sea. The relief is a remarkable local visualisation - elevated and panegyrical - of the emperor’s role as a universal saviour and divine protector.
  • Close up of a Roman Sebasteion relief  sculpture of the Three Graces, Aphrodisias Museum, Aphrodisias, Turkey.  <br />
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The Three Graces stand in their familiar hellenistic composition. They were handmaids of Aphrodite and appeared in this form on the decoration of her cult statue at Aphrodisias. Their names evoked their character: Euphrosyne (joy), Aglaia (Splendour) and Thaleia (Bloom).
  • Roman Sebasteion relief sculpture personifing a Balkan Warrior  Aphrodisias Museum, Aphrodisias, Turkey.  Against a white background.<br />
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The relief figure personifies a Balkan Warrior tribe defeated by Tiberius in AD 6-8 before he became emperor. She wears a classical dress, cloak and helmet and carries a small shield and probably once a spear. A builder’s inscription, “Pirouston”, written above the shield, ensured the relief was put on the right base
  • Roman Sebasteion relief sculpture of the goddess Herma (day), Aphrodisias Museum, Aphrodisias, Turkey.  Against a white background.<br />
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Goddess  Herma or Day steadies a dramatically billowing cloak that frames her head. The motif , also visible on the Okeanos relief, indicates flying, floating and divine epiphany - the appearance of gods to mortals. Day would be paired with night : together they signify the eternity of the Roman imperial order.
  • Roman Sebasteion relief sculpture of emperor Augustus and Goddess Victory, Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
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The naked emperor Augustus stands in majesty with the winged goddess Victory(Nike). He carried a spear and has an eagle, the bird representing Zeus, at his feet. Victory is crowning a military trophy - a rough post with enemy armour attached to it. Beneath the trophy is a barbarian captive, his hands tied behind his back.
  • Roman Sebasteion relief sculpture of  an Imperial prince as Diokouros son of zeus, Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
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An imperial youth wearing a military cloak and cuirass of a commander holds the reins of hios horse. This panel is next to a Claudius panel so is probably of Britanicus or Nero the emperors son and intended successor
  • Roman Sebasteion relief sculpture of emperor Claudius and Agrippina, Aphrodisias Museum, Aphrodisias, Turkey.  Against an art background.<br />
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Claudius in heroic nudity and military cloak shakes hands with his wife Agrippina and is crowned by the Roman people or the Senate wearing a toga. The subject is imperial concord with the traditional Roman state. Agrippina holds ears of wheat: like Demeter goddess of fertility. The emperor is crowned with an oak wreath, the Corona civica or “citizen crow”, awarded to Roman leaders for saving citizens lives: the emperor id therefore represented as saviour of the people.
  • Roman Sebasteion relief sculpture of emperor Claudius and Agrippina, Aphrodisias Museum, Aphrodisias, Turkey.   Against a white background.<br />
<br />
Claudius in heroic nudity and military cloak shakes hands with his wife Agrippina and is crowned by the Roman people or the Senate wearing a toga. The subject is imperial concord with the traditional Roman state. Agrippina holds ears of wheat: like Demeter goddess of fertility. The emperor is crowned with an oak wreath, the Corona civica or “citizen crow”, awarded to Roman leaders for saving citizens lives: the emperor id therefore represented as saviour of the people.
  • Roman Sebasteion relief sculpture of emperor Claudius and Agrippina, Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.<br />
<br />
Claudius in heroic nudity and military cloak shakes hands with his wife Agrippina and is crowned by the Roman people or the Senate wearing a toga. The subject is imperial concord with the traditional Roman state. Agrippina holds ears of wheat: like Demeter goddess of fertility. The emperor is crowned with an oak wreath, the Corona civica or “citizen crow”, awarded to Roman leaders for saving citizens lives: the emperor id therefore represented as saviour of the people.
  • Roman Sebasteion relief  sculpture of the goddess Roma and Ge (Earth),  Aphrodisias Museum, Aphrodisias, Turkey.  Against a black background. <br />
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The goddess Roma holds a spear and wears a crown in the form of a city wall. Earth reclines half naked leaning on a pile of fruit. She holds a cornucopia full of more fruit. A baby child (now damaged) climbs up the horn she holds. The relief represents Earths fertility and abundance overseen by Rome.
  • Roman Sebasteion relief  sculpture of the goddess Roma and Ge (Earth),  Aphrodisias Museum, Aphrodisias, Turkey. Against an art background. <br />
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The goddess Roma holds a spear and wears a crown in the form of a city wall. Earth reclines half naked leaning on a pile of fruit. She holds a cornucopia full of more fruit. A baby child (now damaged) climbs up the horn she holds. The relief represents Earths fertility and abundance overseen by Rome.
  • Roman Sebasteion relief  sculpture of emperor Claudius and Britannia, Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.<br />
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Naked warrior emperor Claudius is about to deliver a death blow to the slumped Britannia. He wears a helmet, cloak and sword belt with a scabbard. Britannia wears a tunic with one breast exposed like the Amazon figures she was modelled on. The inscription reads: Tiberios Klaudios Kaiser - Bretannia.
  • Roman Sebasteion relief  sculpture of emperor Tiberius with a captive Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
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The naked emperor Tiberius stands frontally holding a spear and shield wearing a cloak and a sword strap. Besides him stands a barbarian
  • Roman Sebasteion relief  sculpture of the Emperor and Roman People, Aphrodisias Museum, Aphrodisias, Turkey. <br />
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The emperor is a naked warrior and is crowned by a personification of the Roman People or the Senate wearing a toga, the stately civilian dress of a Roman Citizen. The crown is an oak wreath, the corona civica or “civic crown” awarded for saving citizens lives. The emperor is setting up a battlefield trophy beneath which kneels an anguished barbarian women captive
  • Close up of a Roman Sebasteion relief  sculpture of Leda and swan, Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
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Zeus disguised as a swan assaults Spartan princess Leda. The bird stands on the tips of its outspread wings and presses its webbed foot on the thigh of modest, struggling Leda. The swan is supported from behind a small Eros. From this encounter came a large egg from which were born Helen and the Dionskouroi twins, Kastor and Polydeukes
  • Detail of a Roman Sebasteion relief  sculpture of Emperor Nero with captive, Aphrodisias Museum, Aphrodisias, Turkey.  Against an art background.<br />
<br />
Naked warrior emperor Nero holds the orb of world rule in one hand and crowns the military trophy with the other. Between the trophy and the emperor stands a bound captive boy. He wears long barbarian trousers and looks up at Nero.
  • Close up of a Roman Sebasteion relief  sculpture of Ares, Aphrodisias Museum, Aphrodisias, Turkey.  Against an art background.<br />
<br />
The nude and classically7 styled young god wears only a helmet and holds a spear (missing) in one hand and a shield in the other. At the left stands cuirass, and at the upper right corner hangs his sword. Ares was a god of war and was not later defaced by Christians probably because he so closely resembles a young emperor.
  • Roman Sebasteion relief  sculpture of Ares, Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.<br />
<br />
The nude and classically7 styled young god wears only a helmet and holds a spear (missing) in one hand and a shield in the other. At the left stands cuirass, and at the upper right corner hangs his sword. Ares was a god of war and was not later defaced by Christians probably because he so closely resembles a young emperor.
  • Close up of a Roman Sebasteion relief  sculpture of Anchises and Aphrodite Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
The Trojan shepherd Anchises gazes at the seated Aphrodite, his lover for one night on mount Ida. She hold a small Eros on her lap: this is an erotic encounter. The head of Selene (Moon) appears above the mountain rocks: she indicates night time. It was from this union that Aineas was born
  • Roman Sebasteion relief  sculpture of Aineas’ flight from Troy, Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.<br />
<br />
Aineas in armour carries his aged farther Anchises on his shoulders and leads his young son Lulus by his hand. They are fleeing from the sack of Troy. The figure floating behind is Aphrodite, Aineas’ mother: she is helping their escape. Old Anchises carries a round box that held images of Troy’s ancestral gods.
  • RomanSebasteion relief  sculpture of Royal Hero with hunting dogs,  Aphrodisias Museum, Aphrodisias, Turkey.  Against an art background.<br />
<br />
A diademed youth stands with his horse and hunting dogs. At the left an oval shield (foreign) hangs from a leafless tree, against which leans a long thin club. The Royal hero in this and the relief to the left is probably a local founder such as Assyrian King Ninos, claimed as founder of their city by the Aphrodisians.
  • Roman Sebasteion relief  sculpture of Herakles or Hercules, Nessos and Deianira Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.<br />
<br />
The centaur Nessos agreed to carry Herakles’ (Hercules) wife Deianira across the river Euenos in Aitolia but tried to rape her in mid-stream. I the struggle that followed we see Herakles about to deliver a crushing blow with his club. Nessos has been beaten to her knees but is still fighting. Behind the centaur is the partly disrobed figure of Deianira
  • Roman Sebasteion relief  sculpture of Herakles or Hercules, Nessos and Deianira Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
The centaur Nessos agreed to carry Herakles’ (Hercules) wife Deianira across the river Euenos in Aitolia but tried to rape her in mid-stream. I the struggle that followed we see Herakles about to deliver a crushing blow with his club. Nessos has been beaten to her knees but is still fighting. Behind the centaur is the partly disrobed figure of Deianira
  • Close up of a Roman Sebasteion relief  sculpture of Agon Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
The scene is an allegory of the athletic contest (or agon). The pillar was a beareded head of Hermes the god of the Gymnasium. Nearby is a palm of victory and a prize table with victory ribbon on it. Two winged baby Eros figures are struggling over a palm branch ( mostly broken): they act out the idea of contest, which is personified in the youthful figure behind. He hold another palm of victory: he is Agon himself.
  • Roman Sebasteion relief  sculpture of Agon Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
The scene is an allegory of the athletic contest (or agon). The pillar was a beareded head of Hermes the god of the Gymnasium. Nearby is a palm of victory and a prize table with victory ribbon on it. Two winged baby Eros figures are struggling over a palm branch ( mostly broken): they act out the idea of contest, which is personified in the youthful figure behind. He hold another palm of victory: he is Agon himself.
  • Roman Sebasteion relief  sculpture of Dionysus Drunk Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.<br />
<br />
A prancing woodland nymph leads drunken Dionysus who supports himself languidly on a small satyr. This is an image of Dionysian enjoyment and pleasure, hellenistic in style and fluently designed
  • Roman Sebasteion relief  sculpture of Dionysus Drunk Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
A prancing woodland nymph leads drunken Dionysus who supports himself languidly on a small satyr. This is an image of Dionysian enjoyment and pleasure, hellenistic in style and fluently designed
  • Roman Sebasteion relief  sculpture of Polyphemos and Galatea Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
Another mythological love story affirms the power of Aphrodite. The sea nymph Galatea resists the lustful advances of the beastly cycolps Polyphemas in his cave. Polyphemos sits on a rock and tries to pull Galatea between his legs. His right arm is round her back: note the huge hand on her backside.
  • Roman Sebasteion relief  sculpture of Orestes At Delphi Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.<br />
<br />
Orestes who has sought sanctuary at Delphi after murdering his mother, leaves Apollo’s shrine on his way to stand trial in Athens, The hero steps gingerly over sleeping Fury; he brandishes a sword and still hold onto Apollo’s tripod. The Fury has a snake and a burning torch with which she torments male factors. A small local nymph sits above on a rocky outcrop of Delphi’s Mt Parnossos
  • Roman Sebasteion relief  sculpture of  Three Heroes and a Dog Aphrodisias Museum, Aphrodisias, Turkey. Against an art background.<br />
<br />
Two heroes stand in front of a third hero who ia seated on a rock and pats the head of a bitch hound. They are hunters and the relief is partnered by the reliefs of Melager and Atalante and Meleaner and boar
  • Roman Sebasteion relief  sculpture of  Three Heroes and a Dog Aphrodisias Museum, Aphrodisias, Turkey. Against a grey background.<br />
<br />
Two heroes stand in front of a third hero who ia seated on a rock and pats the head of a bitch hound. They are hunters and the relief is partnered by the reliefs of Melager and Atalante and Meleaner and boar
  • Roman Sebasteion relief  sculpture of  Meleager and a boar Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
Meleager stands naked in front of a rocky outcrop. In the foreground lies a dead Calydonian boar, Above, a local nymph emerges from behind a fold in the landscape. The boar hunt took place on the imposing Mt Zygos at Calydon.
  • Detail of a Roman Sebasteion relief sculpture of Zeus and Prometheus, Aphrodisias Museum, Aphrodisias, Turkey.  <br />
<br />
Prometheus is screaming in pain. Zeus had given him a terrible punishment for giving fire to man: he was tied to the Caucasus mountains and had his liver picked out daily by an eagle. Herakles shot the eagle and is undoing the first manacle. He wears his trade mark lion-skin and thrown his club to one side. A small mountain nymph, holding a throwing stick appears amongst the rocks.
  • Detail of a Roman Sebasteion relief sculpture of Zeus and Prometheus, Aphrodisias Museum, Aphrodisias, Turkey.   Against an art background.<br />
<br />
Prometheus is screaming in pain. Zeus had given him a terrible punishment for giving fire to man: he was tied to the Caucasus mountains and had his liver picked out daily by an eagle. Herakles shot the eagle and is undoing the first manacle. He wears his trade mark lion-skin and thrown his club to one side. A small mountain nymph, holding a throwing stick appears amongst the rocks.
  • Close up of a Roman Sebasteion relief sculpture, Aphrodisias of Dionysus as a baby, Aphrodisias Museum, Aphrodisias, Turkey.  <br />
<br />
Baby Dionysus is handed from one nymph to another for suckling. A bearded Silenos gestures excitedly. The scene is set at Nysa in the Meander Valley, where Zeus had his gifted child Dionysos, born to him by Semele and brought up in the wilds out of the view of Hera.
  • Minoan 'Sacred Knot" fresco wall art depicting the religious apotropaic symbol, Nirou Chani 1600-1450 BC . Heraklion Archaeological Museum.,grey background
  • Minoan 'Sacred Knot" fresco wall art depicting the religious apotropaic symbol, Nirou Chani 1600-1450 BC . Heraklion Archaeological Museum.
  • Minoan 'Sacred Knot" fresco wall art depicting the religious apotropaic symbol, Nirou Chani 1600-1450 BC . Heraklion Archaeological Museum.,grey background
  • Minoan 'Sacred Knot" fresco wall art depicting the religious apotropaic symbol, Nirou Chani 1600-1450 BC . Heraklion Archaeological Museum.
  • Minoan 'Sacred Knot" fresco wall art depicting the religious apotropaic symbol, Nirou Chani 1600-1450 BC . Heraklion Archaeological Museum.
  • Minoan 'Sacred Knot" fresco wall art depicting the religious apotropaic symbol, Nirou Chani 1600-1450 BC . Heraklion Archaeological Museum.,grey background
  • Minoan 'Sacred Knot" fresco wall art depicting the religious apotropaic symbol, Nirou Chani 1600-1450 BC . Heraklion Archaeological Museum., black background
  • Minoan 'Sacred Knot" fresco wall art depicting the religious apotropaic symbol, Nirou Chani 1600-1450 BC . Heraklion Archaeological Museum.,white background
  • The Minoan 'Dancer' fresco deicting a doddess descending from the heavens, Knossos Palace, 1600-1450 BC . Heraklion Archaeological Museum., black background<br />
<br />
The Dancer fresco depits a goddess descending from the heavens as indicated by her locks of hair streaming in the wind. This is a familiar convention in Minoan iconogragraphy of a goddess hovering in the air, her right arm extended in a gesture of authority. This fragment is psrt of a larger epiphony scene
  • The Minoan 'Dancer' fresco deicting a doddess descending from the heavens, Knossos Palace, 1600-1450 BC . Heraklion Archaeological Museum.,grey background<br />
<br />
The Dancer fresco depits a goddess descending from the heavens as indicated by her locks of hair streaming in the wind. This is a familiar convention in Minoan iconogragraphy of a goddess hovering in the air, her right arm extended in a gesture of authority. This fragment is psrt of a larger epiphony scene
  • The Minoan runner fresco fragment wall art from the House of Frescoes, Knossos Palace, 1350-1300 BC . Heraklion Archaeological Museum.,grey background
  • The Minoan runner fresco fragment wall art from the House of Frescoes, Knossos Palace, 1350-1300 BC . Heraklion Archaeological Museum.
  • The Minoan 'Black Captain' fresco wall art from the House of Frescoes, Knossos Palace, 1350-1300 BC . Heraklion Archaeological Museum.<br />
<br />
The fresco probably depicts a running military detachment, the leader is wearing a Minoan loin cloth and holds two spears, he has been named "Captain of the Blacks" as those follwing him are probably black African soldiers in sercice of the palace<br />
<br />
This scene may be depicting an excersise or sport similar to the Greek Hoplite race
  • The Minoan 'Black Captain' fresco wall art from the House of Frescoes, Knossos Palace, 1350-1300 BC . Heraklion Archaeological Museum.<br />
<br />
The fresco probably depicts a running military detachment, the leader is wearing a Minoan loin cloth and holds two spears, he has been named "Captain of the Blacks" as those follwing him are probably black African soldiers in sercice of the palace<br />
<br />
This scene may be depicting an excersise or sport similar to the Greek Hoplite race
  • The Minoan 'Black Captain' fresco wall art from the House of Frescoes, Knossos Palace, 1350-1300 BC . Heraklion Archaeological Museum.,white background<br />
<br />
<br />
The fresco probably depicts a running military detachment, the leader is wearing a Minoan loin cloth and holds two spears, he has been named "Captain of the Blacks" as those follwing him are probably black African soldiers in sercice of the palace<br />
<br />
This scene may be depicting an excersise or sport similar to the Greek Hoplite race
  • The Minoan 'Bull leaping' fresco depicting an athlete leaping over a bulls back,  Knossos-Palace, 1600-1400 BC . Heraklion Archaeological Museum.<br />
<br />
there are 3 participants, two white skinned women and one brown skinned man. One female athele is restraining the bull ny the horns to slow it down as the male athlete performs a backward summersault ober the bulls back. The second female athlete waits to catch the leaper.<br />
<br />
The fresco was found on the east side of the palace of Knossos together with fragments depicting different stages of bull leaping.
  • The Minoan 'Black Captain' fresco wall art from the House of Frescoes, Knossos Palace, 1350-1300 BC . Heraklion Archaeological Museum.,grey background<br />
<br />
The fresco probably depicts a running military detachment, the leader is wearing a Minoan loin cloth and holds two spears, he has been named "Captain of the Blacks" as those follwing him are probably black African soldiers in sercice of the palace<br />
<br />
This scene may be depicting an excersise or sport similar to the Greek Hoplite race
  • The Minoan 'Black Captain' fresco wall art from the House of Frescoes, Knossos Palace, 1350-1300 BC . Heraklion Archaeological Museum.<br />
<br />
The fresco probably depicts a running military detachment, the leader is wearing a Minoan loin cloth and holds two spears, he has been named "Captain of the Blacks" as those follwing him are probably black African soldiers in sercice of the palace<br />
<br />
This scene may be depicting an excersise or sport similar to the Greek Hoplite race
  • The Minoan 'Black Captain' fresco wall art from the House of Frescoes, Knossos Palace, 1350-1300 BC . Heraklion Archaeological Museum.,grey background<br />
<br />
The fresco probably depicts a running military detachment, the leader is wearing a Minoan loin cloth and holds two spears, he has been named "Captain of the Blacks" as those follwing him are probably black African soldiers in sercice of the palace<br />
<br />
This scene may be depicting an excersise or sport similar to the Greek Hoplite race
  • The Minoan 'Bull leaping' fresco depicting an athlete leaping over a bulls back,  Knossos-Palace, 1600-1400 BC . Heraklion Archaeological Museum.<br />
<br />
there are 3 participants, two white skinned women and one brown skinned man. One female athele is restraining the bull ny the horns to slow it down as the male athlete performs a backward summersault ober the bulls back. The second female athlete waits to catch the leaper.<br />
<br />
The fresco was found on the east side of the palace of Knossos together with fragments depicting different stages of bull leaping.
  • The Minoan 'Bull leaping' fresco depicting an athlete leaping over a bulls back,  Knossos-Palace, 1600-1400 BC . Heraklion Archaeological Museum.,grey background<br />
<br />
there are 3 participants, two white skinned women and one brown skinned man. One female athele is restraining the bull ny the horns to slow it down as the male athlete performs a backward summersault ober the bulls back. The second female athlete waits to catch the leaper.<br />
<br />
The fresco was found on the east side of the palace of Knossos together with fragments depicting different stages of bull leaping.
  • The Minoan 'Bull leaping' fresco depicting an athlete leaping over a bulls back,  Knossos-Palace, 1600-1400 BC . Heraklion Archaeological Museum.,grey background<br />
<br />
there are 3 participants, two white skinned women and one brown skinned man. One female athele is restraining the bull ny the horns to slow it down as the male athlete performs a backward summersault ober the bulls back. The second female athlete waits to catch the leaper.<br />
<br />
The fresco was found on the east side of the palace of Knossos together with fragments depicting different stages of bull leaping.
  • The Minoan "Three columned Shrine" minture fresco Knossos-Palace, 1700-1450 BC . Heraklion Archaeological Museum. black background<br />
<br />
The freco depicts a portico with columns on which double axes are fixed, separated by horns of consecration, on a balustrade decorated with rosettes
  • The Minoan "Three columned Shrine" minture fresco Knossos-Palace, 1700-1450 BC . Heraklion Archaeological Museum.,grey background<br />
<br />
<br />
The freco depicts a portico with columns on which double axes are fixed, separated by horns of consecration, on a balustrade decorated with rosettes
  • The Minoan "Three columned Shrine" minture fresco Knossos-Palace, 1700-1450 BC . Heraklion Archaeological Museum.,grey background<br />
<br />
<br />
The freco depicts a portico with columns on which double axes are fixed, separated by horns of consecration, on a balustrade decorated with rosettes
  • Minoan wall art fresco of a 'figure of eight' shield from Knossos Palace, 1450-1300 BC. Heraklion Archaeological Museum.  Grey Background. <br />
<br />
<br />
The Final Palatial Period Minoan fresco is from the Grand Staircase of the Palace of Knossos and is a Trompe-l'œil  of minoan warriors shields covered with ox hide.
  • Minoan wall art depicting 'Blue Monkeys' from Knossos Palace, 1700-1450 BC. Heraklion Archaeological Museum.
  • Minoan 'Blue Monkey' wall art fresco from the 'House of Frescoes' Knossos Palace, 1600-1500 BC. Heraklion Archaeological Museum.
  • The Minoan 'Dolphin Fresco' wall art from the Queen's Megaron, Knossos Palace, 1600-1450 BC. Heraklion Archaeological Museum.<br />
<br />
Two dolphins are depicted swimming amongst small fish .
  • Minoan Bull wall art fresco , West Bastion, Knossos Palace, 1600-1450 BC. Heraklion Archaeological Museum.<br />
<br />
The Minoan Bull fresco was part of a larger composition which probably had a hunter or bull leaper in it. It is a masterpiece of Minoan naturalism and a work of high quality and expresive power.
  • Minoan 'Prince of the Lilies' wall art freco, Knossos Palace, 1600-1450 BCHeraklion Archaeological Museum.<br />
<br />
An emblematic image of Minoan Crete this fresco was part of a larger composition in high relief. The fresco depicts a life size figure wearing a coloured kilt with a cod piece and a belt. A majestic crown on his head is adorned with papyrus lilies and peacock feathers. Neopalatial Period.
  • Minoan wall art fresco depicting a female figure, Neopalatial Period, C.1450 BC. Pseira, Crete. Heraklion Archaeological Museum.
  • Minoan fresco panel from the 'Lily Frescoes' from the 'Villa of the Lilies' Amnisos, 1600-1500 BC. Heraklion Archaeological Museum.<br />
<br />
Ths freco depicts white lilies against a red background and red lilies against w white backgoround with long stems in front of a fence. The wall art uses fresco and 'in cavo' technique. Neopalatial Period.
  • Minoan floral wall art fresco from Knossos Palace, 1600-1300 BC. Heraklion Archaeological Museum.  Grey Background.
  • The painted Minoan Hagia Triada Sarcophagus 1370-1300 BC. Heraklion Archaeological Museum.<br />
<br />
The limestone Hagia Triada Sarcophagus is painted with frescoes depicting the ceremonies honouring the dead.
  • Minoan wall art fresco depicting a female figure, Neopalatial Period, C.1450 BC. Pseira, Crete. Heraklion Archaeological Museum.
  • The painted Minoan Hagia Triada Sarcophagus 1370-1300 BC. Heraklion Archaeological Museum.  Grey Background. <br />
<br />
The limestone Hagia Triada Sarcophagus is painted with frescoes depicting the ceremonies honouring the dead.
  • Minoan 'Papyrus wall art fresco from the 'House of Frescoes' Knossos Palace, 1600-1500 BC. Heraklion Archaeological Museum.  Grey Background.
  • The Minoan 'Procession Fresco', wall art from the South Prpylaeum, Knossos Palace, 1500-1400 BC . Heraklion Archaeological Museum.  Grey Background. <br />
<br />
This latrge Minoan fresco of many figure in procession would have decorated the corridor between the West Porch and the South Propylaeum of Knossos Palace. Both sides of the corridor were painted with hundreds of male and femal;e figures carrying precious utensils and vessels, probably depicting gift bearers to the ruler of the Palace. The composition is much like those found in the Palaces and tombs of Egypt and the near east at the time. Neopalatial final period.
  • The Minoan 'Blue Boy' or 'Saffron Gatherer' wall art fresco from Knossos Palace, 1600-1300 BC. Heraklion Archaeological Museum.  Grey Background.
  • The Minoan 'Dolphin Fresco' wall art from the Queen's Megaron, Knossos Palace, 1600-1450 BC. Heraklion Archaeological Museum.  Grey Background. <br />
<br />
Two dolphins are depicted swimming amongst small fish .
  • Minoan wall art fresco from the Throne Room of Knossos, 1450-1300 BC. Heraklion Archaeological Museum.  Grey Background. <br />
<br />
This Minoan fresco depicts griffins and palm trees
  • Minoan high relief wall art fresco of Griffins, Gret East Hall, Knossos. 1600-1450 BC. Heraklion Archaeological Museum.  Grey Background. <br />
<br />
This minoan high relief fresco decorated the Great East Hall of Knossos palace. The decoration of the hall included religious scenes depicting boxing, and bull leaping games.
  • Minoan wall art freco depicting a procession leading a goat from Agia Triada (Hagia Triada) Crete. 1450-1300 BC. Heraklion Archaeological Museum.  Grey Background. <br />
<br />
This minoan fresco found at the minoan settlement of Hagia Triada, depicts a sacrifical procession leading animals to be sacrificed.
  • Minoan wall art depicting 'Blue Monkeys' from Knossos Palace, 1700-1450 BC. Heraklion Archaeological Museum.  Grey Background.
  • The Minoan 'Partridge Fresco', wall art from the  'Guset House' Knossos Palace, 1600-140 BC. Heraklion Archaeological Museum. Black Background. <br />
<br />
This Minoan fresco was painted in vivid colours using fine brush strokes and colour gradients. It portrays partridges , commonly found in Crete, among rocks and thopical Cretian flora. It decorated the pavillion in the so called 'Guset House' or 'Caravanserai.
  • Minoan wall art fresco of a 'figure of eight' shield from Knossos Palace, 1450-1300 BC. Heraklion Archaeological Museum.<br />
<br />
<br />
The Final Palatial Period Minoan fresco is from the Grand Staircase of the Palace of Knossos and is a Trompe-l'œil  of minoan warriors shields covered with ox hide.
  • Minoan wall art depicting 'Blue Monkeys' from Knossos Palace, 1700-1450 BC. Heraklion Archaeological Museum.
  • Minoan 'Papyrus wall art fresco from the 'House of Frescoes' Knossos Palace, 1600-1500 BC. Heraklion Archaeological Museum.
  • Minoan 'Blue Monkey' wall art fresco from the 'House of Frescoes' Knossos Palace, 1600-1500 BC. Heraklion Archaeological Museum.
  • The Minoan 'Dolphin Fresco' wall art from the Queen's Megaron, Knossos Palace, 1600-1450 BC. Heraklion Archaeological Museum.<br />
<br />
Two dolphins are depicted swimming amongst small fish .
  • Minoan wall art fresco of 'Ladies in Blue' from Knossos Palace 1600-1450 BC. Heraklion Archaeological Museum.<br />
<br />
The 'Ladies in Blue' Minoan fresco depicts richy dressed female figures with opulent jewelery and clothing with flamboyant hairstyles refecting the wealth of the Palace of Knossos
  • Minoan Bull wall art fresco , West Bastion, Knossos Palace, 1600-1450 BC. Heraklion Archaeological Museum.<br />
<br />
The Minoan Bull fresco was part of a larger composition which probably had a hunter or bull leaper in it. It is a masterpiece of Minoan naturalism and a work of high quality and expresive power.
  • Minoan fresco panel from the 'Lily Frescoes' from the 'Villa of the Lilies' Amnisos, 1600-1500 BC. Heraklion Archaeological Museum.<br />
<br />
Ths freco depicts white lilies against a red background and red lilies against w white backgoround with long stems in front of a fence. The wall art uses fresco and 'in cavo' technique. Neopalatial Period.
  • Minoan floral wall art fresco from Knossos Palace, 1600-1300 BC. Heraklion Archaeological Museum.
  • Minoan floral wall art fresco from Knossos Palace, 1600-1300 BC. Heraklion Archaeological Museum.
  • Minoan Bull wall art fresco , West Bastion, Knossos Palace, 1600-1450 BC. Heraklion Archaeological Museum.<br />
<br />
The Minoan Bull fresco was part of a larger composition which probably had a hunter or bull leaper in it. It is a masterpiece of Minoan naturalism and a work of high quality and expresive power.
  • Minoan wall art fresco depicting a female figure, Neopalatial Period, C.1450 BC. Pseira, Crete. Heraklion Archaeological Museum.
  • Minoan wall art fresco depicting a female figure, Neopalatial Period, C.1450 BC. Pseira, Crete. Heraklion Archaeological Museum.
  • The painted Minoan Hagia Triada Sarcophagus 1370-1300 BC. Heraklion Archaeological Museum.<br />
<br />
The limestone Hagia Triada Sarcophagus is painted with frescoes depicting the ceremonies honouring the dead.
  • Minoan 'Papyrus wall art fresco from the 'House of Frescoes' Knossos Palace, 1600-1500 BC. Heraklion Archaeological Museum.  Grey Background.
  • The Minoan 'Procession Fresco', wall art from the South Prpylaeum, Knossos Palace, 1500-1400 BC . Heraklion Archaeological Museum.  Grey Background. <br />
<br />
This latrge Minoan fresco of many figure in procession would have decorated the corridor between the West Porch and the South Propylaeum of Knossos Palace. Both sides of the corridor were painted with hundreds of male and femal;e figures carrying precious utensils and vessels, probably depicting gift bearers to the ruler of the Palace. The composition is much like those found in the Palaces and tombs of Egypt and the near east at the time. Neopalatial final period.
  • The Minoan 'Blue Boy' or 'Saffron Gatherer' wall art fresco from Knossos Palace, 1600-1300 BC. Heraklion Archaeological Museum.  Grey Background.
  • The Minoan 'Saffron Gatherer' wall art fresco, from 'House of Frescoes' Knossos Palace. 1700-1450 BC. Heraklion Archaeological Museum.  Grey Background. <br />
<br />
The 'Saffron Gatherers' fresco depicts a blue monket gatering saffron crocuses and placing them in a basket. The saffron is thought to have been a gift to the 'Great Goddess'. One of the earliest frescoes from Knossos.
  • The Minoan 'Dolphin Fresco' wall art from the Queen's Megaron, Knossos Palace, 1600-1450 BC. Heraklion Archaeological Museum.  Grey Background. <br />
<br />
Two dolphins are depicted swimming amongst small fish .
  • Close up of The Minoan ' Camp Stool' wall art fresco from the West vwing of Knossos Palace, 1450-1300 BC. Heraklion Archaeological Museum.<br />
<br />
This Minoan fresco probably depicted a typical banquet at Knossos Palace held in the Upper Hall of the West Wing. Figures seated on 'camp stools' are raising cups and kylikes. A female figure with Mediterranean features wearing vivid make up named ' La Parisienne' by Arthur Evans, has a large 'sacred knot' bunched behind her head and maybe she was a priestess.
  • The Minoan ' Camp Stool' wall art fresco from the West vwing of Knossos Palace, 1450-1300 BC. Heraklion Archaeological Museum.  Grey Background. <br />
<br />
This Minoan fresco probably depicted a typical banquet at Knossos Palace held in the Upper Hall of the West Wing. Figures seated on 'camp stools' are raising cups and kylikes. A female figure with Mediterranean features wearing vivid make up named ' La Parisienne' by Arthur Evans, has a large 'sacred knot' bunched behind her head and maybe she was a priestess.
  • Minoan wall art fresco from the Throne Room of Knossos, 1450-1300 BC. Heraklion Archaeological Museum.  Grey Background. <br />
<br />
This Minoan fresco depicts griffins and palm trees
  • Minoan wall art freco depicting a procession leading a goat from Agia Triada (Hagia Triada) Crete. 1450-1300 BC. Heraklion Archaeological Museum.  Grey Background. <br />
<br />
This minoan fresco found at the minoan settlement of Hagia Triada, depicts a sacrifical procession leading animals to be sacrificed.
  • Minoan wall art depicting 'Blue Monkeys' from Knossos Palace, 1700-1450 BC. Heraklion Archaeological Museum.
  • The Minoan 'Procession Fresco', wall art from the South Prpylaeum, Knossos Palace, 1500-1400 BC . Heraklion Archaeological Museum.  Grey Background. <br />
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This latrge Minoan fresco of many figure in procession would have decorated the corridor between the West Porch and the South Propylaeum of Knossos Palace. Both sides of the corridor were painted with hundreds of male and femal;e figures carrying precious utensils and vessels, probably depicting gift bearers to the ruler of the Palace. The composition is much like those found in the Palaces and tombs of Egypt and the near east at the time. Neopalatial final period.
  • The Minoan 'Partridge Fresco', wall art from the  'Guset House' Knossos Palace, 1600-140 BC. Heraklion Archaeological Museum.  White Background. <br />
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This Minoan fresco was painted in vivid colours using fine brush strokes and colour gradients. It portrays partridges , commonly found in Crete, among rocks and thopical Cretian flora. It decorated the pavillion in the so called 'Guset House' or 'Caravanserai.
  • The Minoan 'Partridge Fresco', wall art from the  'Guset House' Knossos Palace, 1600-140 BC. Heraklion Archaeological Museum.  Grey Background. <br />
<br />
This Minoan fresco was painted in vivid colours using fine brush strokes and colour gradients. It portrays partridges , commonly found in Crete, among rocks and thopical Cretian flora. It decorated the pavillion in the so called 'Guset House' or 'Caravanserai.
  • Minoan wall art fresco of 'Ladies in Blue' from Knossos Palace 1600-1450 BC. Heraklion Archaeological Museum.  White Background. <br />
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The 'Ladies in Blue' Minoan fresco depicts richy dressed female figures with opulent jewelery and clothing with flamboyant hairstyles refecting the wealth of the Palace of Knossos

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