• Chaldean Assyrian relief sculpture slab from the northwest palace of King Ashurnasirpal II of a Genie standing. 881-859 B.C form Nimrud or Nimrut ( Kalhu or Kalah). Istanbul Archaeological exhibit Inv. No. 5.
  • Chaldean Assyrian relief sculpture slab from the northwest palace of King Ashurnasirpal II of a Genie standing. 881-859 B.C form Nimrud or Nimrut ( Kalhu or Kalah). Istanbul Archaeological exhibit Inv. No. 5.
  • Chaldean Assyrian relief sculpture slab from the northwest palace of King Ashurnasirpal II of a Genie standing. 881-859 B.C form Nimrud or Nimrut ( Kalhu or Kalah). Istanbul Archaeological exhibit Inv. No. 5.
  • Chaldean Assyrian relief sculpture slab from the northwest palace of King Ashurnasirpal II of a Genie standing. 881-859 B.C form Nimrud or Nimrut ( Kalhu or Kalah). Istanbul Archaeological exhibit Inv. No. 5.
  • Chaldean Assyrian relief sculpture slab from the northwest palace of King Ashurnasirpal II of a Genie standing. 881-859 B.C form Nimrud or Nimrut ( Kalhu or Kalah). Istanbul Archaeological exhibit Inv. No. 5.
  • Chaldean Assyrian relief sculpture slab from the northwest palace of King Ashurnasirpal II of a Genie standing in front of the tree of life. 881-859 B.C form Nimrud or Nimrut ( Kalhu or Kalah). Istanbul Archaeological exhibit Inv. No. 4.
  • Chaldean Assyrian relief sculpture slab from the northwest palace of King Ashurnasirpal II of a Genie standing. 881-859 B.C form Nimrud or Nimrut ( Kalhu or Kalah). Istanbul Archaeological exhibit Inv. No. 6.
  • Sculpted Assyrian relief panels of Royal Chariot & Guards  from Hadatu ( Aslantas ) around 800 B.C. Istanbul Archaeological museum Inv No. 1946
  • Sculpted Assyrian relief panels of mace bearers from Hadatu ( Aslantas ) around 800 B.C. Istanbul Archaeological museum Inv No. 14-10
  • 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 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 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 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 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 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 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 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 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 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 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 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
  • 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.
  • 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 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 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 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 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 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.  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
  • 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.
  • 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
  • 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.
  • 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
  • Sculptures on the 12th century Romanesque facade of the Chiesa di San Pietro extra moenia (St Peters), Spoletto, Italy
  • 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
  • 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.
  • 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.
  • 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.
  • 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 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 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 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 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 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 portrait of King Akhenaten from Amarna. 18th Dynasty 1340 BC . Neues Museum Berlin Cat No: AM 21683.
  • 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
  • close up of the facade and relief sculptures of the Phrygian temple of Aslankaya, 7th century BC. Phyrigian Valley, Emre Lake, near Döğer, Turkey.<br />
<br />
<br />
On the triangular roof over the facade are two sphinxes (winged figures with the head of a human and the body of a lion), facing one another, take place. In the main facade, below, the sphinxes in a niche, a cult statue of Kybele or the Great Mother (vandalised and destroyed) was flanked by two lions. This main facade is ornamented with relief geometrical patterns.
  • close up of the facade and relief sculptures of the Phrygian temple of Aslankaya, 7th century BC. Phyrigian Valley, Emre Lake, near Doger, Turkey.<br />
<br />
On the triangular roof over the facade are two sphinxes (winged figures with the head of a human and the body of a lion), facing one another, take place. In the main facade, below, the sphinxes in a niche, a cult statue of Kybele or the Great Mother (vandalised and destroyed) was flanked by two lions. This main facade is ornamented with relief geometrical patterns.
  • Phrygian temple of Aslankaya, 7th century BC. Phyrigian Valley, Emre Lake, near Döğer, Turkey.<br />
<br />
On the triangular roof over the facade are two sphinxes (winged figures with the head of a human and the body of a lion), facing one another, take place. In the main facade, below, the sphinxes in a niche, a cult statue of Kybele or the Great Mother (vandalised and destroyed) was flanked by two lions. This main facade is ornamented with relief geometrical patterns.
  • Greek relief sculptures 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
  • Greek relief sculptures of a battle 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
  • Greek relief sculptures 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
  • Greek relief sculptures of a battle 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
  • Greek relief sculptures of a battle 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
  • Greek relief sculptures of a battle 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
  • 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 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 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
  • 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
  • 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
  • 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
  • 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
  • Close up of two sphinxes relief scul[ptures of the Phrygian temple of Aslankaya, 7th century BC. Phyrigian Valley, Emre Lake, near Doger, Turkey.<br />
<br />
On the triangular roof over the facade are two sphinxes (winged figures with the head of a human and the body of a lion), facing one another, take place. In the main facade, below, the sphinxes in a niche, a cult statue of Kybele or the Great Mother (vandalised and destroyed) was flanked by two lions. This main facade is ornamented with relief geometrical patterns.
  • Close up of two sphinxes relief scul[ptures of the Phrygian temple of Aslankaya, 7th century BC. Phyrigian Valley, Emre Lake, near Doger, Turkey.<br />
<br />
On the triangular roof over the facade are two sphinxes (winged figures with the head of a human and the body of a lion), facing one another, take place. In the main facade, below, the sphinxes in a niche, a cult statue of Kybele or the Great Mother (vandalised and destroyed) was flanked by two lions. This main facade is ornamented with relief geometrical patterns.
  • Phrygian temple of Aslankaya, 7th century BC. Phyrigian Valley, Emre Lake, near Döğer, Turkey.<br />
<br />
On the triangular roof over the facade are two sphinxes (winged figures with the head of a human and the body of a lion), facing one another, take place. In the main facade, below, the sphinxes in a niche, a cult statue of Kybele or the Great Mother (vandalised and destroyed) was flanked by two lions. This main facade is ornamented with relief geometrical patterns.
  • Phrygian temple of Aslankaya, 7th century BC. Phyrigian Valley, Emre Lake, near Döğer, Turkey.<br />
<br />
On the triangular roof over the facade are two sphinxes (winged figures with the head of a human and the body of a lion), facing one another, take place. In the main facade, below, the sphinxes in a niche, a cult statue of Kybele or the Great Mother (vandalised and destroyed) was flanked by two lions. This main facade is ornamented with relief geometrical patterns.
  • Phrygian temple of Aslankaya, 7th century BC. Phyrigian Valley, Emre Lake, near Doger, Turkey.<br />
<br />
On the triangular roof over the facade are two sphinxes (winged figures with the head of a human and the body of a lion), facing one another, take place. In the main facade, below, the sphinxes in a niche, a cult statue of Kybele or the Great Mother (vandalised and destroyed) was flanked by two lions. This main facade is ornamented with relief geometrical patterns.
  • Phrygian temple of Aslankaya, 7th century BC. Phyrigian Valley, Emre Lake, near Döğer, Turkey.<br />
<br />
On the triangular roof over the facade are two sphinxes (winged figures with the head of a human and the body of a lion), facing one another, take place. In the main facade, below, the sphinxes in a niche, a cult statue of Kybele or the Great Mother (vandalised and destroyed) was flanked by two lions. This main facade is ornamented with relief geometrical patterns.
  • Phrygian temple of Aslankaya, 7th century BC. Phyrigian Valley, Emre Lake, near Döğer, Turkey.<br />
<br />
On the triangular roof over the facade are two sphinxes (winged figures with the head of a human and the body of a lion), facing one another, take place. In the main facade, below, the sphinxes in a niche, a cult statue of Kybele or the Great Mother (vandalised and destroyed) was flanked by two lions. This main facade is ornamented with relief geometrical patterns.
  • Phrygian temple of Aslankaya, 7th century BC. Phyrigian Valley, Emre Lake, near Döğer, Turkey.<br />
<br />
On the triangular roof over the facade are two sphinxes (winged figures with the head of a human and the body of a lion), facing one another, take place. In the main facade, below, the sphinxes in a niche, a cult statue of Kybele or the Great Mother (vandalised and destroyed) was flanked by two lions. This main facade is ornamented with relief geometrical patterns.
  • Phrygian temple of Aslankaya, 7th century BC. Phyrigian Valley, Emre Lake, near Dogerr, Turkey.<br />
<br />
On the triangular roof over the facade are two sphinxes (winged figures with the head of a human and the body of a lion), facing one another, take place. In the main facade, below, the sphinxes in a niche, a cult statue of Kybele or the Great Mother (vandalised and destroyed) was flanked by two lions. This main facade is ornamented with relief geometrical patterns.
  • Phrygian temple of Aslankaya, 7th century BC. Phyrigian Valley, Emre Lake, near Döğer, Turkey.<br />
<br />
On the triangular roof over the facade are two sphinxes (winged figures with the head of a human and the body of a lion), facing one another, take place. In the main facade, below, the sphinxes in a niche, a cult statue of Kybele or the Great Mother (vandalised and destroyed) was flanked by two lions. This main facade is ornamented with relief geometrical patterns.
  • Phrygian temple of Aslankaya, 7th century BC. Phyrigian Valley, Emre Lake, near Doger, Turkey.<br />
<br />
On the triangular roof over the facade are two sphinxes (winged figures with the head of a human and the body of a lion), facing one another, take place. In the main facade, below, the sphinxes in a niche, a cult statue of Kybele or the Great Mother (vandalised and destroyed) was flanked by two lions. This main facade is ornamented with relief geometrical patterns.
  • Phrygian temple of Aslankaya, 7th century BC. Phyrigian Valley, Emre Lake, near Doger, Turkey.<br />
<br />
On the triangular roof over the facade are two sphinxes (winged figures with the head of a human and the body of a lion), facing one another, take place. In the main facade, below, the sphinxes in a niche, a cult statue of Kybele or the Great Mother (vandalised and destroyed) was flanked by two lions. This main facade is ornamented with relief geometrical patterns.
  • Close up of 2 standing lions of the Phrygian temple of Aslankaya, 7th century BC. Phyrigian Valley, Emre Lake, near Döğer, Turkey.<br />
<br />
On the triangular roof over the facade are two sphinxes (winged figures with the head of a human and the body of a lion), facing one another, take place. In the main facade, below, the sphinxes in a niche, a cult statue of Kybele or the Great Mother (vandalised and destroyed) was flanked by two lions. This main facade is ornamented with relief geometrical patterns.
  • Phrygian temple of Aslankaya, 7th century BC. Phyrigian Valley, Emre Lake, near Doger, Turkey.<br />
<br />
On the triangular roof over the facade are two sphinxes (winged figures with the head of a human and the body of a lion), facing one another, take place. In the main facade, below, the sphinxes in a niche, a cult statue of Kybele or the Great Mother (vandalised and destroyed) was flanked by two lions. This main facade is ornamented with relief geometrical patterns.
  • 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 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 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 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
  • 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
  • Hittite monumental relief sculptures, 900 - 700 BC, from Adana Archaeology Museum, Turkey. Against a white background
  • Hittite monumental relief sculptures, 900 - 700 BC, from Adana Archaeology Museum, Turkey. Against a black background
  • Hittite monumental relief sculptures, 900 - 700 BC, from Adana Archaeology Museum, Turkey. Against a grey background
  • Hittite monumental relief sculptures, 900 - 700 BC, from Adana Archaeology Museum, Turkey.
  • Hittite monumental relief sculptures, 900 - 700 BC, from Adana Archaeology Museum, Turkey. Against a grey art background
  • 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 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
  • 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
  • Close up of 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 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 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
  • Roman Sebasteion relief  sculpture of Victory of the Emperors, Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.<br />
<br />
The inscription identifies the subject of the relief panel as the “Victory of the Emperors” (Neike Sebaston), and refers to the conquest of Armenia and Britannica in its adjacent relief panels. A half naked Victory flies diagonally across the panel, carrying a military trophy over her shoulder. A small winged Eros, now damaged was clinging to the end of the trophy pole. Victory was a key imperial attribute
  • Roman Sebasteion relief  sculpture of Victory of the Emperors, Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
The inscription identifies the subject of the relief panel as the “Victory of the Emperors” (Neike Sebaston), and refers to the conquest of Armenia and Britannica in its adjacent relief panels. A half naked Victory flies diagonally across the panel, carrying a military trophy over her shoulder. A small winged Eros, now damaged was clinging to the end of the trophy pole. Victory was a key imperial attribute
  • Roman Sebasteion relief  sculpture of Victory of the Emperors, Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
The inscription identifies the subject of the relief panel as the “Victory of the Emperors” (Neike Sebaston), and refers to the conquest of Armenia and Britannica in its adjacent relief panels. A half naked Victory flies diagonally across the panel, carrying a military trophy over her shoulder. A small winged Eros, now damaged was clinging to the end of the trophy pole. Victory was a key imperial attribute
  • 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
  • Close up of 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
  • Close up of 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
  • Close up of 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
  • Close up of 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 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 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 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 of Victory of the Emperors, Aphrodisias Museum, Aphrodisias, Turkey.   Against a white background.<br />
<br />
The inscription identifies the subject of the relief panel as the “Victory of the Emperors” (Neike Sebaston), and refers to the conquest of Armenia and Britannica in its adjacent relief panels. A half naked Victory flies diagonally across the panel, carrying a military trophy over her shoulder. A small winged Eros, now damaged was clinging to the end of the trophy pole. Victory was a key imperial attribute

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