• Assyrian relief sculpture panel  of an eagle headed protective spirit  from Nimrud, Iraq.  The spirit is holding a symbolic fir cone and is sprinkling holy water. 865-860 B.C North West Palace, Room F, panel 3.  British Museum Assyrian  Archaeological exhibit  ref WA 124584-5
  • Assyrian relief sculpture panel  of a female protective spirit  from Nimrud, Iraq.  865-860 B.C North West Palace, Room I.  British Museum Assyrian  Archaeological exhibit  ref WA 124581
  • Assyrian relief sculpture panel of a protective spirit holdingpomegrantes from Nimrud, Iraq.  865-860 B.C North West Palace, Room Z.  ref: British Museum Assyrian  Archaeological exhibit WA 118874
  • Assyrian relief sculpture panel  from Nimrud, Iraq.  865-860 B.C North West Palace.  British Museum Assyrian  Archaeological exhibit.
  • Assyrian relief sculpture panel of a protective spirit with an eagles Head from Nimrud, Iraq. The spirit is holding a symbolic fir cone and is sprinkling holy water from the bucket it is holding.  865-860 B.C North West Palace, Room G, panelled d1. ref: British Museum Assyrian  Archaeological exhibit WA 124576
  • Assyrian relief sculpture panel of a protective spirit with an eagles Head from Nimrud, Iraq.  The spirit is holding a symbolic fir cone and is sprinkling holy water from the bucket it is holding. The rosette bracelet worn around the wrist symbolises divine power. 865-860 B.C North West Palace, Room I. ref: British Museum Assyrian  Archaeological exhibit WA 118921
  • Assyrian relief sculpture panel of a protective spirit with an eagles Head from Nimrud, Iraq.  The spirit is holding a symbolic fir cone and is sprinkling holy water from the bucket it is holding. The rosette bracelet worn around the wrist symbolises divine power. 865-860 B.C North West Palace, Room I. ref: British Museum Assyrian  Archaeological exhibit WA 118921
  • Assyrian relief sculpture panel of a protective spirit with an eagles Head from Nimrud, Iraq.  The spirit is holding a symbolic fir cone and is sprinkling holy water from the bucket it is holding. The rosette bracelet worn around the wrist symbolises divine power. 865-860 B.C North West Palace, Room I. ref: British Museum Assyrian  Archaeological exhibit WA 118921
  • Assyrian relief sculpture panel  of a female protective spirit  from Nimrud, Iraq.  865-860 B.C North West Palace, Room I.  British Museum Assyrian  Archaeological exhibit  ref WA 124581
  • Assyrian relief sculpture panel of a protective spirit from Nimrud, Iraq.  865-860 B.C North West Palace, Room Z.  ref: British Museum Assyrian  Archaeological exhibit WA 118874
  • Assyrian relief sculpture panel of a protective spirit with an eagles Head from Nimrud, Iraq. The spirit is holding a symbolic fir cone and is sprinkling holy water from the bucket it is holding.  865-860 B.C North West Palace, Room G, panelled d1. ref: British Museum Assyrian  Archaeological exhibit WA 124576
  • Assyrian relief sculpture panel  from Nimrud, Iraq.  865-860 B.C North West Palace.  British Museum Assyrian  Archaeological exhibit.
  • Assyrian relief sculpture panel of a protective spirit with an eagles Head from Nimrud, Iraq.  The spirit is holding a symbolic fir cone and is sprinkling holy water from the bucket it is holding. The rosette bracelet worn around the wrist symbolises divine power. 865-860 B.C North West Palace, Room I. ref: British Museum Assyrian  Archaeological exhibit WA 118921
  • Assyrian relief sculpture panel of a protective spirit with an eagles Head from Nimrud, Iraq.  The spirit is holding a symbolic fir cone and is sprinkling holy water from the bucket it is holding. The rosette bracelet worn around the wrist symbolises divine power. 865-860 B.C North West Palace, Room G, panelled d1. ref: British Museum Assyrian  Archaeological exhibit WA 124576
  • Assyrian relief sculpture panel of a protective spirit with an eagles Head from Nimrud, Iraq.  The spirit is holding a symbolic fir cone and is sprinkling holy water from the bucket it is holding. The rosette bracelet worn around the wrist symbolises divine power. 865-860 B.C North West Palace, Room G, panelled d1. ref: British Museum Assyrian  Archaeological exhibit WA 124576
  • Assyrian relief sculpture panel of a protective spirit with an eagles Head from Nimrud, Iraq.  The spirit is holding a symbolic fir cone and is sprinkling holy water from the bucket it is holding. The rosette bracelet worn around the wrist symbolises divine power. 865-860 B.C North West Palace, Room G, panelled d1. ref: British Museum Assyrian  Archaeological exhibit WA 124576
  • Assyrian relief sculpture panel of a protective spirit with an eagles Head from Nimrud, Iraq.  The spirit is holding a symbolic fir cone and is sprinkling holy water from the bucket it is holding. The rosette bracelet worn around the wrist symbolises divine power. 865-860 B.C North West Palace, Room G, panelled d1. ref: British Museum Assyrian  Archaeological exhibit WA 124576
  • Ancient Egyptian house altar relief sculpture of Akhenaten, Nefrertiti and their three daughters. 18th Dynasty 1345 BC . Neues Museum Berlin AM 14145.
  • Quartz ancient Egyptian relief sculpture of Queen Tiy from the funerary temple of Amenohis III, West Thebes. 18th Dynasty Ancient Egypt, 1375 BC . Neues Museum Berlin Cat No: AM 23270.
  • Quartz ancient Egyptian relief sculpture of Queen Tiy from the funerary temple of Amenohis III, West Thebes. 18th Dynasty Ancient Egypt, 1375 BC . Neues Museum Berlin Cat No: AM 23270.
  • Ancient Egyptian house altar relief sculpture of Akhenaten, Nefrertiti and their three daughters. 18th Dynasty 1345 BC . Neues Museum Berlin AM 14145.
  • Ancient Egyptian house altar relief sculpture of Akhenaten, Nefrertiti and their three daughters. 18th Dynasty 1345 BC . Neues Museum Berlin AM 14145.
  • Ancient Egyptian house altar relief sculpture of Akhenaten, Nefrertiti and their three daughters. 18th Dynasty 1345 BC . Neues Museum Berlin AM 14145.
  • Ancient Egyptian house altar relief sculpture of Akhenaten, Nefrertiti and their three daughters. 18th Dynasty 1345 BC . Neues Museum Berlin AM 14145.
  • Quartz ancient Egyptian relief sculpture of Queen Tiy from the funerary temple of Amenohis III, West Thebes. 18th Dynasty Ancient Egypt, 1375 BC . Neues Museum Berlin Cat No: AM 23270.
  • Quartz ancient Egyptian relief sculpture of Queen Tiy from the funerary temple of Amenohis III, West Thebes. 18th Dynasty Ancient Egypt, 1375 BC . Neues Museum Berlin Cat No: AM 23270.
  • Quartz ancient Egyptian relief sculpture of Queen Tiy from the funerary temple of Amenohis III, West Thebes. 18th Dynasty Ancient Egypt, 1375 BC . Neues Museum Berlin Cat No: AM 23270.
  • Ancient Egyptian tomb relief sculpture of King Amenhotep III from the grave of Chaemhat, Thebes West. 18th Dynasty 1360 BC. Neues Museum Berlin AM 14503.
  • Ancient Egyptian tomb relief sculpture of King Amenhotep III from the grave of Chaemhat, Thebes West. 18th Dynasty 1360 BC. Neues Museum Berlin AM 14503.
  • Ancient Egyptian tomb relief sculpture of King Amenhotep III from the grave of Chaemhat, Thebes West. 18th Dynasty 1360 BC. Neues Museum Berlin AM 14503.
  • Ancient Egyptian tomb relief sculpture of King Amenhotep III from the grave of Chaemhat, Thebes West. 18th Dynasty 1360 BC. Neues Museum Berlin AM 14503.
  • Ancient Egyptian tomb relief sculpture of King Amenhotep III from the grave of Chaemhat, Thebes West. 18th Dynasty 1360 BC. Neues Museum Berlin AM 14503.
  • Ancient Egyptian tomb relief sculpture depicting the scribe and judge Ankhirptah. Middle Kingdom Egypt, 2170 BC. Neues Museum Berlin Cat No: AM 7337.
  • Ancient Egyptian tomb relief sculpture depicting the scribe and judge Ankhirptah. Middle Kingdom Egypt, 2170 BC. Neues Museum Berlin Cat No: AM 7337.
  • Ancient Egyptian tomb relief sculpture depicting the scribe and judge Ankhirptah. Middle Kingdom Egypt, 2170 BC. Neues Museum Berlin Cat No: AM 7337.
  • Ancient Egyptian tomb relief sculpture depicting the scribe and judge Ankhirptah. Middle Kingdom Egypt, 2170 BC. Neues Museum Berlin Cat No: AM 7337.
  • Ancient Egyptian tomb relief sculpture depicting the scribe and judge Ankhirptah. Middle Kingdom Egypt, 2170 BC. Neues Museum Berlin Cat No: AM 7337.
  • Ancient Egyptian relief study of a foot. 18th Dynasty 1345 BC . Neues Museum Berlin AM 20672.
  • Ancient Egyptian relief portrait of King Akhenaten from Amarna. 18th Dynasty 1340 BC . Neues Museum Berlin Cat No: AM 14512.
  • Ancient Egyptian relief portrait fragment of King Akhenaten from Amarna. 18th Dynasty 1345 BC . Neues Museum Berlin 1985.328.3: Gift from New York Metropolitan Museum, Norbert Schimmel.
  • Ancient Egyptian relief portrait fragment of King Akhenaten from Amarna. 18th Dynasty 1345 BC . Neues Museum Berlin 1985.328.3: Gift from New York Metropolitan Museum, Norbert Schimmel.
  • Ancient Egyptian relief portrait fragment of King Akhenaten from Amarna. 18th Dynasty 1345 BC . Neues Museum Berlin 1985.328.3: Gift from New York Metropolitan Museum, Norbert Schimmel.
  • Ancient Egyptian relief portrait fragment of King Akhenaten from Amarna. 18th Dynasty 1345 BC . Neues Museum Berlin 1985.328.3: Gift from New York Metropolitan Museum, Norbert Schimmel.
  • Ancient Egyptian relief portrait fragment of King Akhenaten from Amarna. 18th Dynasty 1345 BC . Neues Museum Berlin 1985.328.3: Gift from New York Metropolitan Museum, Norbert Schimmel.
  • Ancient Egyptian relief study of a foot. 18th Dynasty 1345 BC . Neues Museum Berlin AM 20672.
  • Ancient Egyptian relief study of a foot. 18th Dynasty 1345 BC . Neues Museum Berlin AM 20672.
  • Ancient Egyptian relief study of a foot. 18th Dynasty 1345 BC . Neues Museum Berlin AM 20672.
  • Ancient Egyptian relief portrait of King Akhenaten from Amarna. 18th Dynasty 1340 BC . Neues Museum Berlin Cat No: AM 14512.
  • Ancient Egyptian relief portrait of King Akhenaten from Amarna. 18th Dynasty 1340 BC . Neues Museum Berlin Cat No: AM 14512.
  • Ancient Egyptian relief portrait of King Akhenaten from Amarna. 18th Dynasty 1340 BC . Neues Museum Berlin Cat No: AM 14512.
  • Ancient Egyptian relief portrait of King Akhenaten from Amarna. 18th Dynasty 1340 BC . Neues Museum Berlin Cat No: AM 21683.
  • Ancient Egyptian relief portrait of King Akhenaten from Amarna. 18th Dynasty 1340 BC . Neues Museum Berlin Cat No: AM 21683.
  • Ancient Egyptian relief portrait of King Akhenaten from Amarna. 18th Dynasty 1340 BC . Neues Museum Berlin Cat No: AM 21683.
  • Ancient Egyptian relief study of a foot. 18th Dynasty 1345 BC . Neues Museum Berlin AM 20672.
  • Ancient Egyptian relief portrait of King Akhenaten from Amarna. 18th Dynasty 1340 BC . Neues Museum Berlin Cat No: AM 14512.
  • Ancient Egyptian relief portrait of King Akhenaten from Amarna. 18th Dynasty 1340 BC . Neues Museum Berlin Cat No: AM 21683.
  • Ancient Egyptian relief portrait of King Akhenaten from Amarna. 18th Dynasty 1340 BC . Neues Museum Berlin Cat No: AM 21683.
  • Late  Greek Archaic relief sculpture in Proconnesian Marble of a charioteer ( Last quarter 6th Cent. B.C) From Cyzicus, ( Erdek formerly Artàke, Αρτάκη in Greek) on the southern shore of the sea of Marmara, Turkey. Istanbul Archaeological Museum Inv. 2813T Cat. Bursa M.1.
  • Late  Greek Archaic relief sculpture in Proconnesian Marble of a charioteer ( Last quarter 6th Cent. B.C) From Cyzicus, ( Erdek formerly Artàke, Αρτάκη in Greek) on the southern shore of the sea of Marmara, Turkey. Istanbul Archaeological Museum Inv. 2813T Cat. Bursa M.1.
  • Late  Greek Archaic relief sculpture in Proconnesian Marble of a charioteer ( Last quarter 6th Cent. B.C) From Cyzicus, ( Erdek formerly Artàke, Αρτάκη in Greek) on the southern shore of the sea of Marmara, Turkey. Istanbul Archaeological Museum Inv. 2813T Cat. Bursa M.1.
  • 2nd Cent. AD Roman relief sculpture depicting the struggle of Athena ( the goddess of wisdom, skill & warfare) fighting the Gigantes ( Giants) . From Aphrodisias (Geyne, Ayden) Turkey. Istanbul Archaeological Museum, Turkey, Inv. 1613aT , Cat. Mendel 512.
  • 2nd Cent. AD Roman relief sculpture depicting the struggle of Athena ( the goddess of wisdom, skill & warfare) fighting the Gigantes ( Giants) . From Aphrodisias (Geyne, Ayden). Istanbul Archaeological Museum, Turkey, Inv. 1613aT , Cat. Mendel 512.
  • 2nd Cent. AD Roman relief sculpture depicting the struggle of Athena ( the goddess of wisdom, skill & warfare) fighting the Gigantes ( Giants) . From Aphrodisias (Geyne, Ayden) Turkey. Istanbul Archaeological Museum, Turkey, Inv. 1613aT , Cat. Mendel 512.
  • 2nd Cent. AD Roman relief sculpture depicting Gigantomachy, the battle between the gods & the giants. From Aphrodisias (Geyne, Ayden), Turkey. Istanbul Archaeological Museum, Turkey, Inv. 1613T , Cat. Mendel 511.
  • 2nd Cent. AD Roman relief sculpture depicting Gigantomachy, the battle between the gods & the giants. From Aphrodisias (Geyne, Ayden), Turkey. Istanbul Archaeological Museum, Turkey, Inv. 1613T , Cat. Mendel 511.
  • 2nd Cent. AD Roman relief sculpture depicting Gigantomachy, the battle between the gods & the giants. From Aphrodisias (Geyne, Ayden), Turkey. Istanbul Archaeological Museum, Turkey, Inv. 1613T , Cat. Mendel 511.
  • Late  Greek Archaic relief sculpture in Proconnesian Marble of a charioteer ( Last quarter 6th Cent. B.C) From Cyzicus, ( Erdek formerly Artàke, Αρτάκη in Greek) on the southern shore of the sea of Marmara, Turkey. Istanbul Archaeological Museum Inv. 2813T Cat. Bursa M.1.
  • 2nd Cent. AD Roman relief sculpture depicting the struggle of Athena ( the goddess of wisdom, skill & warfare) fighting the Gigantes ( Giants) . From Aphrodisias (Geyne, Ayden) Turkey. Istanbul Archaeological Museum, Turkey, Inv. 1613aT , Cat. Mendel 512.
  • 2nd Cent. AD Roman relief sculpture depicting the struggle of Athena ( the goddess of wisdom, skill & warfare) fighting the Gigantes ( Giants) . From Aphrodisias (Geyne, Ayden) Turkey. Istanbul Archaeological Museum, Turkey, Inv. 1613aT , Cat. Mendel 512.
  • 2nd Cent. AD Roman relief sculpture depicting the struggle of Athena ( the goddess of wisdom, skill & warfare) fighting the Gigantes ( Giants) . From Aphrodisias (Geyne, Ayden) Turkey. Istanbul Archaeological Museum, Turkey, Inv. 1613aT , Cat. Mendel 512.
  • 2nd Cent. AD Roman relief sculpture depicting Gigantomachy, the battle between the gods & the giants. From Aphrodisias (Geyne, Ayden), Turkey. Istanbul Archaeological Museum, Turkey, Inv. 1613T , Cat. Mendel 511.
  • 2nd Cent. AD Roman relief sculpture depicting the struggle of Athena ( the goddess of wisdom, skill & warfare) fighting the Gigantes ( Giants) . From Aphrodisias (Geyne, Ayden) Turkey. Istanbul Archaeological Museum, Turkey, Inv. 1613aT , Cat. Mendel 512.
  • 2nd Cent. AD Roman relief sculpture depicting the struggle of Athena ( the goddess of wisdom, skill & warfare) fighting the Gigantes ( Giants) . From Aphrodisias (Geyne, Ayden) Turkey. Istanbul Archaeological Museum, Turkey, Inv. 1613aT , Cat. Mendel 512.
  • 2nd Cent. AD Roman relief sculpture depicting Gigantomachy, the battle between the gods & the giants. From Aphrodisias (Geyne, Ayden), Turkey. Istanbul Archaeological Museum, Turkey, Inv. 1613T , Cat. Mendel 511.
  • 810-783 B.C Neo-Assyrian Stele with relief sculpture & inscription to King Adad-Nirari III (son of Samsi-Adad V, King of Assyria) praying to the gods. The inscription reports King Adad-Nirari III's campaign against Palestine in which he marched on Damascus and caused such terror that King Mari I surrendered the Royal city of Damascus paying a tribute of 100 talents of gold.  Istanbul Archaeological Museum Inv. No 2828.
  • Limestone Sculpted relief Stele with inscription to King Sennacherib. The relief shows Assyrian King Sennacherib  praying in front of divine symbols. 705 - 681 B.C Nineveh ( Kuyunjik ) . The inscription tells of King Sennacherib's great feats of war and the building works in Nineveh. It starts " Sennacheribs, the great king, mighty king, king of the universe, king of the Assyria, king of the four regions of the wold, favourite of the great gods". It continues " I led my armies from one end of the earth to the other and brought in submission at my feet all princes, dwelling in palaces, of the four quarters of the world". of his great worked " I enlarged the site of Nineveh, my royal city, I made its market streets wider". further " The wall and outer wall I caused skilfully constructed and raised them mountain high. I widened them to 100 cubits ( 50m )". Istanbul Archaeological Exhibit no. 1.
  • Ancient Egyptian house altar relief sculpture of Akhenaten, Nefrertiti and their three daughters. 18th Dynasty 1345 BC . Neues Museum Berlin AM 14145.
  • Hittite bas relief sculpture orthostat panels from the Sphinx Gate of Alaca Hoyuk Archaeological site, Turkey.
  • Hittite bas relief sculpture orthostat panels from the Sphinx Gate of Alaca Hoyuk Archaeological site, Turkey.
  • Quartz ancient Egyptian relief sculpture of Queen Tiy from the funerary temple of Amenohis III, West Thebes. 18th Dynasty Ancient Egypt, 1375 BC . Neues Museum Berlin Cat No: AM 23270.
  • Picture of the Ivriz Hittite rock relief sculpture monument  dedicated to King Warpalawas in which he talks to Tarhundas the God of Thunder. The king is positioned in the opposite of god, smaller and in a praying position. Warpalawas is saying "1 am Warpalawas the king of Tuwana, the ruler and a hero. I planted these grapes while I was a young prince in the palace. Let the god Tarhundas give plenitude and fertility.” Ivriz, Turkey
  • Picture of the Ivriz Hittite rock relief sculpture monument  dedicated to King Warpalawas in which he talks to Tarhundas the God of Thunder. The king is positioned in the opposite of god, smaller and in a praying position. Warpalawas is saying "1 am Warpalawas the king of Tuwana, the ruler and a hero. I planted these grapes while I was a young prince in the palace. Let the god Tarhundas give plenitude and fertility.” Ivriz, Turkey
  • Close up picture of Tarhundas the God of Thunder talking to king Warpalawas. Ivriz Hittite rock relief sculpture monument dedicated to King Warpalawas. Ivriz, Turkey
  • Picture of the Ivriz Hittite rock relief sculpture monument  dedicated to King Warpalawas in which he talks to Tarhundas the God of Thunder. The king is positioned in the opposite of god, smaller and in a praying position. Warpalawas is saying "1 am Warpalawas the king of Tuwana, the ruler and a hero. I planted these grapes while I was a young prince in the palace. Let the god Tarhundas give plenitude and fertility.” Ivriz, Turkey
  • Picture of the Ivriz Hittite rock relief sculpture monument  dedicated to King Warpalawas in which he talks to Tarhundas the God of Thunder. The king is positioned in the opposite of god, smaller and in a praying position. Warpalawas is saying "1 am Warpalawas the king of Tuwana, the ruler and a hero. I planted these grapes while I was a young prince in the palace. Let the god Tarhundas give plenitude and fertility.” Ivriz, Turkey
  • Picture of the Ivriz Hittite rock relief sculpture monument  dedicated to King Warpalawas in which he talks to Tarhundas the God of Thunder. The king is positioned in the opposite of god, smaller and in a praying position. Warpalawas is saying "1 am Warpalawas the king of Tuwana, the ruler and a hero. I planted these grapes while I was a young prince in the palace. Let the god Tarhundas give plenitude and fertility.” Ivriz, Turkey
  • Bas relief sculpture decoration on the 12th century Romanesque facade of the Chiesa di San Pietro extra moenia (St Peters), Spoletto, Italy
  • Bas relief sculpture decoration on the 12th century Romanesque facade of the Chiesa di San Pietro extra moenia (St Peters), Spoletto, Italy
  • Roman Sarcophagus with detailed relief sculptured panels with battle scenes. This large sarcophagus which was found in 1931 near the Tiburtina, in the eastern suburbs of the ancient city, shows on its front a symbolic battle, staged on two levels. This composition focuses on the progress of the Roman horseman, depicted in the guise of a universal victor, in a melee of soldiers, spears and horses; the Romans are delivering savage blows, devastating their enemies. The bloody scenes are framed by two pairs of enslaved barbarians, whose afflicted demeanour expresses the suffering which comes to those who rebel against the dominion of Rome. The dramatic animation of the combat emphasised by the deep chiaroscuro obtained by a skilful feat of carving. The low relief on the sides of the sarcophagus shows events subsequent to the encounter; on one side barbarian prisoners cross the river on the other chiefs submit to the Roman officials. The freeze on the lid, between two corner masks, celebrates the dead man and his wife, presented in the centre is the act of ‘dextarum iunctio’; on the left, the women exercises her ‘virtue’ in the house, educating her children; on the right, the, after his warlike activities, receives his 'clementia'. The faces of the principle characters remain incomplete, awaiting the carving of the features of the dead people. The decoration of the sarcophagus, inspired by many scenes on the Antonine Column, can be dated to around 180AD. The military insignia represented on the upper edge of the casket - the eagle of the Legio III Flavia and the boar of the Legio I Itlaica - enable us perhaps to identify the dead man as Aurelius Iulius Pompilius, an official of Marcus Aurelius in command of two cavalry squadron on detachment to those two legions during the war against Marcomanni (1720-175AD). National Roman Museum, Rome, Italy
  • Roman Sarcophagus with detailed relief sculptured panels with battle scenes. This large sarcophagus which was found in 1931 near the Tiburtina, in the eastern suburbs of the ancient city, shows on its front a symbolic battle, staged on two levels. This composition focuses on the progress of the Roman horseman, depicted in the guise of a universal victor, in a melee of soldiers, spears and horses; the Romans are delivering savage blows, devastating their enemies. The bloody scenes are framed by two pairs of enslaved barbarians, whose afflicted demeanour expresses the suffering which comes to those who rebel against the dominion of Rome. The dramatic animation of the combat emphasised by the deep chiaroscuro obtained by a skilful feat of carving. The low relief on the sides of the sarcophagus shows events subsequent to the encounter; on one side barbarian prisoners cross the river on the other chiefs submit to the Roman officials. The freeze on the lid, between two corner masks, celebrates the dead man and his wife, presented in the centre is the act of ‘dextarum iunctio’; on the left, the women exercises her ‘virtue’ in the house, educating her children; on the right, the, after his warlike activities, receives his 'clementia'. The faces of the principle characters remain incomplete, awaiting the carving of the features of the dead people. The decoration of the sarcophagus, inspired by many scenes on the Antonine Column, can be dated to around 180AD. The military insignia represented on the upper edge of the casket - the eagle of the Legio III Flavia and the boar of the Legio I Itlaica - enable us perhaps to identify the dead man as Aurelius Iulius Pompilius, an official of Marcus Aurelius in command of two cavalry squadron on detachment to those two legions during the war against Marcomanni (1720-175AD). National Roman Museum, Rome, Italy
  • Roman Sarcophagus with detailed relief sculptured panels with battle scenes. This large sarcophagus which was found in 1931 near the Tiburtina, in the eastern suburbs of the ancient city, shows on its front a symbolic battle, staged on two levels. This composition focuses on the progress of the Roman horseman, depicted in the guise of a universal victor, in a melee of soldiers, spears and horses; the Romans are delivering savage blows, devastating their enemies. The bloody scenes are framed by two pairs of enslaved barbarians, whose afflicted demeanour expresses the suffering which comes to those who rebel against the dominion of Rome. The dramatic animation of the combat emphasised by the deep chiaroscuro obtained by a skilful feat of carving. The low relief on the sides of the sarcophagus shows events subsequent to the encounter; on one side barbarian prisoners cross the river on the other chiefs submit to the Roman officials. The freeze on the lid, between two corner masks, celebrates the dead man and his wife, presented in the centre is the act of ‘dextarum iunctio’; on the left, the women exercises her ‘virtue’ in the house, educating her children; on the right, the, after his warlike activities, receives his 'clementia'. The faces of the principle characters remain incomplete, awaiting the carving of the features of the dead people. The decoration of the sarcophagus, inspired by many scenes on the Antonine Column, can be dated to around 180AD. The military insignia represented on the upper edge of the casket - the eagle of the Legio III Flavia and the boar of the Legio I Itlaica - enable us perhaps to identify the dead man as Aurelius Iulius Pompilius, an official of Marcus Aurelius in command of two cavalry squadron on detachment to those two legions during the war against Marcomanni (1720-175AD). National Roman Museum, Rome, Italy
  • Roman Sarcophagus with detailed relief sculptured panels with battle scenes. This large sarcophagus which was found in 1931 near the Tiburtina, in the eastern suburbs of the ancient city, shows on its front a symbolic battle, staged on two levels. This composition focuses on the progress of the Roman horseman, depicted in the guise of a universal victor, in a melee of soldiers, spears and horses; the Romans are delivering savage blows, devastating their enemies. The bloody scenes are framed by two pairs of enslaved barbarians, whose afflicted demeanour expresses the suffering which comes to those who rebel against the dominion of Rome. The dramatic animation of the combat emphasised by the deep chiaroscuro obtained by a skilful feat of carving. The low relief on the sides of the sarcophagus shows events subsequent to the encounter; on one side barbarian prisoners cross the river on the other chiefs submit to the Roman officials. The freeze on the lid, between two corner masks, celebrates the dead man and his wife, presented in the centre is the act of ‘dextarum iunctio’; on the left, the women exercises her ‘virtue’ in the house, educating her children; on the right, the, after his warlike activities, receives his 'clementia'. The faces of the principle characters remain incomplete, awaiting the carving of the features of the dead people. The decoration of the sarcophagus, inspired by many scenes on the Antonine Column, can be dated to around 180AD. The military insignia represented on the upper edge of the casket - the eagle of the Legio III Flavia and the boar of the Legio I Itlaica - enable us perhaps to identify the dead man as Aurelius Iulius Pompilius, an official of Marcus Aurelius in command of two cavalry squadron on detachment to those two legions during the war against Marcomanni (1720-175AD). National Roman Museum, Rome, Italy
  • Roman Sarcophagus with detailed relief sculptured panels with battle scenes. This large sarcophagus which was found in 1931 near the Tiburtina, in the eastern suburbs of the ancient city, shows on its front a symbolic battle, staged on two levels. This composition focuses on the progress of the Roman horseman, depicted in the guise of a universal victor, in a melee of soldiers, spears and horses; the Romans are delivering savage blows, devastating their enemies. The bloody scenes are framed by two pairs of enslaved barbarians, whose afflicted demeanour expresses the suffering which comes to those who rebel against the dominion of Rome. The dramatic animation of the combat emphasised by the deep chiaroscuro obtained by a skilful feat of carving. The low relief on the sides of the sarcophagus shows events subsequent to the encounter; on one side barbarian prisoners cross the river on the other chiefs submit to the Roman officials. The freeze on the lid, between two corner masks, celebrates the dead man and his wife, presented in the centre is the act of ‘dextarum iunctio’; on the left, the women exercises her ‘virtue’ in the house, educating her children; on the right, the, after his warlike activities, receives his 'clementia'. The faces of the principle characters remain incomplete, awaiting the carving of the features of the dead people. The decoration of the sarcophagus, inspired by many scenes on the Antonine Column, can be dated to around 180AD. The military insignia represented on the upper edge of the casket - the eagle of the Legio III Flavia and the boar of the Legio I Itlaica - enable us perhaps to identify the dead man as Aurelius Iulius Pompilius, an official of Marcus Aurelius in command of two cavalry squadron on detachment to those two legions during the war against Marcomanni (1720-175AD). National Roman Museum, Rome, Italy
  • Roman Sarcophagus with detailed relief sculptured panels with battle scenes. This large sarcophagus which was found in 1931 near the Tiburtina, in the eastern suburbs of the ancient city, shows on its front a symbolic battle, staged on two levels. This composition focuses on the progress of the Roman horseman, depicted in the guise of a universal victor, in a melee of soldiers, spears and horses; the Romans are delivering savage blows, devastating their enemies. The bloody scenes are framed by two pairs of enslaved barbarians, whose afflicted demeanour expresses the suffering which comes to those who rebel against the dominion of Rome. The dramatic animation of the combat emphasised by the deep chiaroscuro obtained by a skilful feat of carving. The low relief on the sides of the sarcophagus shows events subsequent to the encounter; on one side barbarian prisoners cross the river on the other chiefs submit to the Roman officials. The freeze on the lid, between two corner masks, celebrates the dead man and his wife, presented in the centre is the act of ‘dextarum iunctio’; on the left, the women exercises her ‘virtue’ in the house, educating her children; on the right, the, after his warlike activities, receives his 'clementia'. The faces of the principle characters remain incomplete, awaiting the carving of the features of the dead people. The decoration of the sarcophagus, inspired by many scenes on the Antonine Column, can be dated to around 180AD. The military insignia represented on the upper edge of the casket - the eagle of the Legio III Flavia and the boar of the Legio I Itlaica - enable us perhaps to identify the dead man as Aurelius Iulius Pompilius, an official of Marcus Aurelius in command of two cavalry squadron on detachment to those two legions during the war against Marcomanni (1720-175AD). National Roman Museum, Rome, Italy
  • Roman Sarcophagus with detailed relief sculptured panels with battle scenes. This large sarcophagus which was found in 1931 near the Tiburtina, in the eastern suburbs of the ancient city, shows on its front a symbolic battle, staged on two levels. This composition focuses on the progress of the Roman horseman, depicted in the guise of a universal victor, in a melee of soldiers, spears and horses; the Romans are delivering savage blows, devastating their enemies. The bloody scenes are framed by two pairs of enslaved barbarians, whose afflicted demeanour expresses the suffering which comes to those who rebel against the dominion of Rome. The dramatic animation of the combat emphasised by the deep chiaroscuro obtained by a skilful feat of carving. The low relief on the sides of the sarcophagus shows events subsequent to the encounter; on one side barbarian prisoners cross the river on the other chiefs submit to the Roman officials. The freeze on the lid, between two corner masks, celebrates the dead man and his wife, presented in the centre is the act of ‘dextarum iunctio’; on the left, the women exercises her ‘virtue’ in the house, educating her children; on the right, the, after his warlike activities, receives his 'clementia'. The faces of the principle characters remain incomplete, awaiting the carving of the features of the dead people. The decoration of the sarcophagus, inspired by many scenes on the Antonine Column, can be dated to around 180AD. The military insignia represented on the upper edge of the casket - the eagle of the Legio III Flavia and the boar of the Legio I Itlaica - enable us perhaps to identify the dead man as Aurelius Iulius Pompilius, an official of Marcus Aurelius in command of two cavalry squadron on detachment to those two legions during the war against Marcomanni (1720-175AD). National Roman Museum, Rome, Italy
  • Griffin sculpture on the 12th century Romanesque facade of the Chiesa di San Pietro extra moenia (St Peters), Spoletto, Italy
  • Sculpture of the Last Judgement, doom day,  on the 12th century Romanesque facade of the Chiesa di San Pietro extra moenia (St Peters), Spoletto, Italy
  • Sculpture of the Last Judgement, doom day,  on the 12th century Romanesque facade of the Chiesa di San Pietro extra moenia (St Peters), Spoletto, Italy
  • Sculpture of a man with two cows on the 12th century Romanesque facade of the Chiesa di San Pietro extra moenia (St Peters), Spoletto, Italy
  • Sculpture of a man with two cows on the 12th century Romanesque facade of the Chiesa di San Pietro extra moenia (St Peters), Spoletto, Italy
  • Sculpture of St Peter on the 12th century Romanesque facade of the Chiesa di San Pietro extra moenia (St Peters), Spoletto, Italy
  • Sculpture of Christ  on the 12th century Romanesque facade of the Chiesa di San Pietro extra moenia (St Peters), Spoletto, Italy
  • Sculpture St. Peter on the 12th century Romanesque facade of the Chiesa di San Pietro extra moenia (St Peters), Spoletto, Italy
  • Sculpture of a lion and a griffen on the 12th century Romanesque facade of the Chiesa di San Pietro extra moenia (St Peters), Spoletto, Italy
  • Roman relief sculpture on the Christian sarcophagus side od Marcus Claudianus depicting scenes from  the new testament , circa 330 - 335 AD from the via della Lungara near S.Giacomo in Settimiana, Rome, Italy. National Roman Musuem, Rome.
  • Roman relief sculpture on a sarcophagus side depiction the Muses, circa 280 - 290 AD from the Villa Celimontana. National Roman Musuem, Rome.
  • Roman relief sculpture on a sarcophagus side showing a married couple with pagan deities, circa 270 - 280 AD from the via Latina, Rome, Italy. National Roman Musuem, Rome.
  • Roman relief sculpture panel decorated on both sides with masks from the second half of the 1st cent. AD excavated from the Valle Giardino, Nemi, Italy. The panel is sculpted on both sides; the front side depicts the half moon shaped face of a deity wearing a crown.  Inv 112158, The National Roman Museum, Rome, Italy
  • The Sidamara Sarcophagus, with 3rd Cent. AD Roman relief sculptures. Ambararasi (Konya) Turkey. Istanbul Archaeological Museum, Turkey, Inv. 1179 T , Cat. Mendel 112.
  • Greek relief sculpture of a hunt  on Alexander The Great ( Alexander III of Macedon )4th Cent BC. Sarcophagus calved from Pentelic Marble from the Royal Necropolis of Sidon, Chamber no.III, Lebanon. Istanbul Archaeological Museum Inv. 370T Cat. Mendel 68
  • The Sidamara Sarcophagus, with 3rd Cent. AD Roman relief sculptures. Ambararasi (Konya) Turkey. Istanbul Archaeological Museum, Turkey, Inv. 1179 T , Cat. Mendel 112.
  • The Sidamara Sarcophagus, with 3rd Cent. AD Roman relief sculptures. Ambararasi (Konya) Turkey. Istanbul Archaeological Museum, Turkey, Inv. 1179 T , Cat. Mendel 112.
  • Greek relief sculpture of a lion hunt  on Alexander The Great ( Alexander III of Macedon )4th Cent BC. Sarcophagus calved from Pentelic Marble from the Royal Necropolis of Sidon, Chamber no.III, Lebanon. Istanbul Archaeological Museum Inv. 370T Cat. Mendel 68
  • Geometric relief decoration around the south proch of the 12the century early transitional Norman architecture of the parish church of St Peter & St Paul part of Malmesbury Abbey, Wiltshire, England
  • Geometric relief decoration around the south proch of the 12the century early transitional Norman architecture of the parish church of St Peter & St Paul part of Malmesbury Abbey, Wiltshire, England
  • Roman relief sculpture, Aphrodisias, Turkey, Images of Roman art bas reliefs.  Nero supports a slumping naked Armenia. She wears a soft eastern hat.
  • Roman relief sculpture, Aphrodisias, Turkey, Images of Roman art bas reliefs.  Achilles supports the dying Amazon queen Penthesilea whom he has mortally wounded. Her double headed axe slips from her hands. The queen had come to fight against the Greeks in the Trojan war and Achilles fell in love with her.
  • Picture of the Sphinx gate Hittite sculpture, Alaca Hoyuk (Alacahoyuk) Hittite archaeological site Alaca, Corum Province, Turkey,
  • Pictures & Images of the Sphinx gate Hittite sculpture, Alaca Hoyuk (Alacahoyuk) Hittite archaeological site Alaca, Çorum Province, Turkey, Also known as Alacahüyük, Aladja-Hoyuk, Euyuk, or Evuk
  • Pictures & Images of the Sphinx gate Hittite sculpture, Alaca Hoyuk (Alacahoyuk) Hittite archaeological site  Alaca, Çorum Province, Turkey,
  • Pictures & Images of the Sphinx gate Hittite sculpture, Alaca Hoyuk (Alacahoyuk) Hittite archaeological site Alaca, Çorum Province, Turkey, Also known as Alacahüyük, Aladja-Hoyuk, Euyuk, or Evuk
  • Pictures & Images of the Sphinx gate Hittite sculpture, Alaca Hoyuk (Alacahoyuk) Hittite archaeological site Alaca, Çorum Province, Turkey, Also known as Alacahüyük, Aladja-Hoyuk, Euyuk, or Evuk
  • Pictures & Images of the Sphinx gate Hittite sculpture, Alaca Hoyuk (Alacahoyuk) Hittite archaeological site  Alaca, Çorum Province, Turkey,
  • Picture of the Sphinx gate Hittite sculpture, Alaca Hoyuk (Alacahoyuk) Hittite archaeological site Alaca, Corum Province, Turkey,
  • Sculptures on the 12th century Romanesque facade of the Chiesa di San Pietro extra moenia (St Peters), Spoletto, Italy
  • Roman relief panel showing a Barbarian, circa 98-117 AD from the Palace of Montecitorio, Rome. This  relief panel is part of a larger work. It represents a battle and the figure can be identified as a barbarian by his eastern style tunic and thick beard. Judging by the quality of the execution, the relief must have belonged to an important public monument situated in the area of the Campus Martius .  Inv 39163, National Roman Museum, Rome.
  • Sculptures on the 12th century Romanesque facade of the Chiesa di San Pietro extra moenia (St Peters), Spoletto, Italy
  • Sculptures on the 12th century Romanesque facade of the Chiesa di San Pietro extra moenia (St Peters), Spoletto, Italy
  • Sculptures on the 12th century Romanesque facade of the Chiesa di San Pietro extra moenia (St Peters), Spoletto, Italy
  • Sculptures on the 12th century Romanesque facade of the Chiesa di San Pietro extra moenia (St Peters), Spoletto, Italy
  • Sculptures on the 12th century Romanesque facade of the Chiesa di San Pietro extra moenia (St Peters), Spoletto, Italy
  • Sculptures on the 12th century Romanesque facade of the Chiesa di San Pietro extra moenia (St Peters), Spoletto, Italy
  • Sculptures on the 12th century Romanesque facade of the Chiesa di San Pietro extra moenia (St Peters), Spoletto, Italy
  • Sculptures on the 12th century Romanesque facade of the Chiesa di San Pietro extra moenia (St Peters), Spoletto, Italy
  • Sculptures on the 12th century Romanesque facade of the Chiesa di San Pietro extra moenia (St Peters), Spoletto, Italy
  • Sculptures on the 12th century Romanesque facade of the Chiesa di San Pietro extra moenia (St Peters), Spoletto, Italy
  • Sculptures on the 12th century Romanesque facade of the Chiesa di San Pietro extra moenia (St Peters), Spoletto, Italy
  • Photo of Roman relief sculpture, Aphrodisias, Turkey, Images of Roman art bas reliefs.  Unknown hero holding a sword gazes at an unknown young heroine.
  • Photo of Roman relief sculpture, Aphrodisias, Turkey, Images of Roman art bas reliefs from the mauseleum of Julius Zoilus.
  • Photo of Roman relief sculpture, Aphrodisias, Turkey, Images of Roman art bas reliefs.  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.
  • Photo of Roman relief sculpture, Aphrodisias, Turkey, Images of Roman art bas reliefs.  Achilles supports the dying Amazon queen Penthesilea whom he has mortally wounded. Her double headed axe slips from her hands. The queen had come to fight against the Greeks in the Trojan war and Achilles fell in love with her.
  • Photo of Roman relief sculpture, Aphrodisias, Turkey, Images of Roman art bas reliefs.  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.
  • Photo of Roman relief sculpture, Aphrodisias, Turkey, Images of Roman art bas reliefs.  Nero supports a slumping naked Armenia. She wears a soft eastern hat.
  • Photo of Roman relief sculpture, Aphrodisias, Turkey, Images of Roman art bas reliefs.  Meleager sits on a rock tying his sandal. Below him lies a fierce hunting dog with a wide collar. On one side a god or another hero wearing a rounded hat  crowning Meleager ( arm missing). On the other side stands the huntress Atalante, Meleager's lover: she wears a short dress and quiver,
  • Photo of Roman relief sculpture, Aphrodisias, Turkey, Images of Roman art bas reliefs.  Herakles is preparing to wrestle the Libyan giant Antaios. Herakles (left) is taking off his bow case to hang it on a pillar statue. Antaios (right) is binding up his head with ear protectors, next to him stands an oil basin used in the palaistra (wrestling ground). Antaios was a famous wrestler who challenged and killed all visitors to his country, until he was defeated by Herakles.
  • Norman Romanesque relief sculptures of dragons and mythical creatures from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of mythical dragon and a man from the south doorway of the Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of fish the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of mythical dragon from the south doorway of the Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of a Green Man with decorative columns from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140.
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of mythical dragon from the south doorway of the Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of fish the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of mythical dragon from the south doorway of the Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of mythical dragon from the south doorway of the Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of mythical dragon from the south doorway of the Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of a Green Man with decorative columns from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140.
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of fish the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Early Anglo Saxon sulptures of the Apostles now part of the south porch of Malmesbury Abbey, Wiltshire, England. The apostles, apart from Peter who holds a crude key, have no distinguishing feature to allow identification. Some are holding books, none have halos and some hold their heads at awkward angles. These three styles are typical of Anglo Saxon art. The two panels are 10 ft long and 4ft 6" high are date from the original Ango Saxon church of 705. They were probablbly built into the proch during the Norman rebuilding. The style of these sculptures is of the Roman Byzantine style and were probably sculpted by masions from Gaul.  Malmesbury Abbey, Wiltshire, England
  • Early Anglo Saxon sulptures of Christ and the  Apostles now part of the south porch of Malmesbury Abbey, Wiltshire, England. The apostles, apart from Peter who holds a crude key, have no distinguishing feature to allow identification. Some are holding books, none have halos and some hold their heads at awkward angles. These three styles are typical of Anglo Saxon art. The two panels are 10 ft long and 4ft 6" high are date from the original Ango Saxon church of 705. They were probablbly built into the proch during the Norman rebuilding. The style of these sculptures is of the Roman Byzantine style and were probably sculpted by masions from Gaul.  Malmesbury Abbey, Wiltshire, England
  • Early Anglo Saxon sulptures of Christ and the  Apostles now part of the south porch of Malmesbury Abbey, Wiltshire, England. The apostles, apart from Peter who holds a crude key, have no distinguishing feature to allow identification. Some are holding books, none have halos and some hold their heads at awkward angles. These three styles are typical of Anglo Saxon art. The two panels are 10 ft long and 4ft 6" high are date from the original Ango Saxon church of 705. They were probablbly built into the proch during the Norman rebuilding. The style of these sculptures is of the Roman Byzantine style and were probably sculpted by masions from Gaul.  Malmesbury Abbey, Wiltshire, England
  • Early Anglo Saxon sulptures of an Apostle holding a book now part of the south porch of Malmesbury Abbey, Wiltshire, England. The apostles, apart from Peter who holds a crude key, have no distinguishing feature to allow identification. Some are holding books, none have halos and some hold their heads at awkward angles. These three styles are typical of Anglo Saxon art. The two panels are 10 ft long and 4ft 6" high are date from the original Ango Saxon church of 705. They were probablbly built into the proch during the Norman rebuilding. The style of these sculptures is of the Roman Byzantine style and were probably sculpted by masions from Gaul.  Malmesbury Abbey, Wiltshire, England
  • Early Anglo Saxon sulptures of an Apostle holding a book now part of the south porch of Malmesbury Abbey, Wiltshire, England. The apostles, apart from Peter who holds a crude key, have no distinguishing feature to allow identification. Some are holding books, none have halos and some hold their heads at awkward angles. These three styles are typical of Anglo Saxon art. The two panels are 10 ft long and 4ft 6" high are date from the original Ango Saxon church of 705. They were probablbly built into the proch during the Norman rebuilding. The style of these sculptures is of the Roman Byzantine style and were probably sculpted by masions from Gaul.  Malmesbury Abbey, Wiltshire, England
  • Early Anglo Saxon sulptures of an Apostle holding a book now part of the south porch of Malmesbury Abbey, Wiltshire, England. The apostles, apart from Peter who holds a crude key, have no distinguishing feature to allow identification. Some are holding books, none have halos and some hold their heads at awkward angles. These three styles are typical of Anglo Saxon art. The two panels are 10 ft long and 4ft 6" high are date from the original Ango Saxon church of 705. They were probablbly built into the proch during the Norman rebuilding. The style of these sculptures is of the Roman Byzantine style and were probably sculpted by masions from Gaul.  Malmesbury Abbey, Wiltshire, England
  • Early Anglo Saxon sulptures of the Apostles now part of the south porch of Malmesbury Abbey, Wiltshire, England. The apostles, apart from Peter who holds a crude key, have no distinguishing feature to allow identification. Some are holding books, none have halos and some hold their heads at awkward angles. These three styles are typical of Anglo Saxon art. The two panels are 10 ft long and 4ft 6" high are date from the original Ango Saxon church of 705. They were probablbly built into the proch during the Norman rebuilding. The style of these sculptures is of the Roman Byzantine style and were probably sculpted by masions from Gaul.  Malmesbury Abbey, Wiltshire, England
  • Early Anglo Saxon sulptures of the Apostles now part of the south porch of Malmesbury Abbey, Wiltshire, England. The apostles, apart from Peter who holds a crude key, have no distinguishing feature to allow identification. Some are holding books, none have halos and some hold their heads at awkward angles. These three styles are typical of Anglo Saxon art. The two panels are 10 ft long and 4ft 6" high are date from the original Ango Saxon church of 705. They were probablbly built into the proch during the Norman rebuilding. The style of these sculptures is of the Roman Byzantine style and were probably sculpted by masions from Gaul.  Malmesbury Abbey, Wiltshire, England
  • Medieval sculptures of the south porch of the 12the century early transitional Norman architecture of the parish church of St Peter & St Paul part of Malmesbury Abbey, Wiltshire, England
  • Medieval sculptures of the south porch of the 12the century early transitional Norman architecture of the parish church of St Peter & St Paul part of Malmesbury Abbey, Wiltshire, England
  • Medieval sculptures of the south porch of the 12the century early transitional Norman architecture of the parish church of St Peter & St Paul part of Malmesbury Abbey, Wiltshire, England
  • Medieval sculptures of the south porch of the 12the century early transitional Norman architecture of the parish church of St Peter & St Paul part of Malmesbury Abbey, Wiltshire, England
  • Medieval sculptures of the south porch of the 12the century early transitional Norman architecture of the parish church of St Peter & St Paul part of Malmesbury Abbey, Wiltshire, England
  • Medieval sculptures of the south porch of the 12the century early transitional Norman architecture of the parish church of St Peter & St Paul part of Malmesbury Abbey, Wiltshire, England
  • Medieval sculptures of the south porch of the 12the century early transitional Norman architecture of the parish church of St Peter & St Paul part of Malmesbury Abbey, Wiltshire, England
  • Medieval sculptures of the south porch of the 12the century early transitional Norman architecture of the parish church of St Peter & St Paul part of Malmesbury Abbey, Wiltshire, England
  • Medieval sculptures of the south porch of the 12the century early transitional Norman architecture of the parish church of St Peter & St Paul part of Malmesbury Abbey, Wiltshire, England
  • Early Anglo Saxon sulptures of the Apostles now part of the south porch of Malmesbury Abbey, Wiltshire, England. The apostles, apart from Peter who holds a crude key, have no distinguishing feature to allow identification. Some are holding books, none have halos and some hold their heads at awkward angles. These three styles are typical of Anglo Saxon art. The two panels are 10 ft long and 4ft 6" high are date from the original Ango Saxon church of 705. They were probablbly built into the proch during the Norman rebuilding. The style of these sculptures is of the Roman Byzantine style and were probably sculpted by masions from Gaul.  Malmesbury Abbey, Wiltshire, England
  • Medieval sculptures of the south porch of the 12the century early transitional Norman architecture of the parish church of St Peter & St Paul part of Malmesbury Abbey, Wiltshire, England
  • Roman Sebasteion relief sculpture personifing a Balkan Warrior  Aphrodisias Museum, Aphrodisias, Turkey.  Against a white background.<br />
<br />
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 personifing a Balkan Warrior  Aphrodisias Museum, Aphrodisias, Turkey.  Against a black background.<br />
<br />
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 personifing a Balkan Warrior  Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
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 personifing a Balkan Warrior  Aphrodisias Museum, Aphrodisias, Turkey.  Against an art background.<br />
<br />
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

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