• Deep Fried battered onion rings with a chilli sauce & salad
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to circa 2,000 BC) is a Neolithic henge and stone circle or henge, the largest and finest stone circles in the British Isles, Mainland Orkney, Scotland
  • The Ring of Brodgar  ( circa 2,500 to 2,000 BC) is a Neolithic henge with a stone circle inside, the third largest in the British Isles and a UNESCO World Heritage Site, Mainland Orkney, Scotland
  • Avebury Neolithic standing stone Circle the largest in England, Wiltshire, England, Europe
  • Avebury Neolithic standing stone Circle the largest in England at sunset, Wiltshire, England, Europe
  • Avebury Neolithic standing stone Circle the largest in England, Wiltshire, England, Europe
  • Avebury Neolithic standing stone Circle the largest in England at sunset, Wiltshire, England, Europe
  • Avebury Neolithic standing stone Circle the largest in England, Wiltshire, England, Europe
  • Avebury Neolithic standing stone Circle the largest in England, Wiltshire, England, Europe
  • Avebury Neolithic standing stone Circle the largest in England, Wiltshire, England, Europe
  • Avebury Neolithic standing stone Circle the largest in England, Wiltshire, England, Europe
  • Avebury Neolithic standing stone Circle the largest in England, Wiltshire, England, Europe
  • Avebury Neolithic standing stone Circle the largest in England, Wiltshire, England, Europe
  • Avebury Neolithic standing stone Circle the largest in England, Wiltshire, England, Europe
  • Avebury Neolithic standing stone Circle the largest in England, Wiltshire, England, Europe
  • Avebury Neolithic standing stone Circle the largest in England, Wiltshire, England, Europe
  • Avebury Neolithic standing stone Circle the largest in England, Wiltshire, England, Europe
  • Avebury Neolithic standing stone Circle the largest in England, Wiltshire, England, Europe
  • Avebury Neolithic standing stone Circle the largest in England, Wiltshire, England, Europe
  • Avebury Neolithic standing stone Circle the largest in England, Wiltshire, England, Europe
  • Avebury Neolithic standing stone Circle the largest in England, Wiltshire, England, Europe
  • Avebury Neolithic standing stone Circle the largest in England at sunset, Wiltshire, England, Europe
  • Avebury Neolithic standing stone Circle the largest in England at sunset, Wiltshire, England, Europe
  • Avebury Neolithic standing stone Circle the largest in England at sunset, Wiltshire, England, Europe
  • Avebury Neolithic standing stone Circle the largest in England at sunset, Wiltshire, England, Europe
  • Avebury Neolithic standing stone Circle the largest in England, Wiltshire, England, Europe
  • Avebury Neolithic standing stone Circle the largest in England at sunset, Wiltshire, England, Europe
  • Avebury Neolithic standing stone Circle the largest in England, Wiltshire, England, Europe
  • Avebury Neolithic standing stone Circle the largest in England, Wiltshire, England, Europe
  • Avebury Neolithic standing stone Circle the largest in England, Wiltshire, England, Europe
  • Avebury Neolithic standing stone Circle the largest in England, Wiltshire, England, Europe
  • Avebury Neolithic standing stone Circle the largest in England at sunset, Wiltshire, England, Europe
  • Avebury Neolithic standing stone Circle the largest in England, Wiltshire, England, Europe
  • Avebury Neolithic standing stone Circle the largest in England, Wiltshire, England, Europe
  • Avebury Neolithic standing stone Circle the largest in England, Wiltshire, England, Europe
  • Avebury Neolithic standing stone Circle the largest in England, Wiltshire, England, Europe
  • Stonehenge Neolithic ancient standing stone circle monument, A UNESCO World Heritage Site, Wilshire, England
  • Avebury Neolithic standing stone Circle the largest in England, Wiltshire, England, Europe
  • Stonehenge Neolithic ancient standing stone circle monument, Wilshire, England
  • Stonehenge Neolithic ancient standing stone circle monument, Wilshire, England
  • Stonehenge Neolithic ancient standing stone circle monument, Wilshire, England
  • Stonehenge Neolithic ancient standing stone circle monument, Wilshire, England
  • Stonehenge Neolithic ancient standing stone circle monument, A UNESCO World Heritage Site, Wilshire, England
  • Avebury Neolithic standing stone Circle the largest in England, Wiltshire, England, Europe
  • Avebury Neolithic standing stone Circle the largest in England, Wiltshire, England, Europe
  • Avebury Neolithic standing stone Circle the largest in England, Wiltshire, England, Europe
  • Avebury Neolithic standing stone Circle the largest in England, Wiltshire, England, Europe
  • Avebury Neolithic standing stone Circle the largest in England at sunset, Wiltshire, England, Europe
  • Avebury Neolithic standing stone Circle the largest in England at sunset, Wiltshire, England, Europe
  • Avebury Neolithic standing stone Circle the largest in England at sunset, Wiltshire, England, Europe
  • Avebury Neolithic standing stone Circle the largest in England at sunset, Wiltshire, England, Europe
  • Avebury Neolithic standing stone Circle the largest in England at sunset, Wiltshire, England, Europe
  • Avebury Neolithic standing stone Circle the largest in England at sunset, Wiltshire, England, Europe
  • Stonehenge Neolithic ancient standing stone circle monument, Wilshire, England
  • Stonehenge Neolithic ancient standing stone circle monument, Wilshire, England
  • Stonehenge Neolithic ancient standing stone circle monument, Wilshire, England
  • Stonehenge Neolithic ancient standing stone circle monument, Wilshire, England
  • Stonehenge Neolithic ancient standing stone circle monument, Wilshire, England
  • Stonehenge Neolithic ancient standing stone circle monument, Wilshire, England
  • Stonehenge Neolithic ancient standing stone circle monument, Wilshire, England
  • Stonehenge Neolithic ancient standing stone circle monument, Wilshire, England
  • Stonehenge Neolithic ancient standing stone circle monument, Wilshire, England
  • Stonehenge Neolithic ancient standing stone circle monument, Wilshire, England
  • Stonehenge Neolithic ancient standing stone circle monument, Wilshire, England
  • Stonehenge Neolithic ancient standing stone circle monument, Wilshire, England
  • Stonehenge Neolithic ancient standing stone circle monument, Wilshire, England
  • Stonehenge Neolithic ancient standing stone circle monument, Wilshire, England
  • Stonehenge Neolithic ancient standing stone circle monument, Wilshire, England
  • Stonehenge Neolithic ancient standing stone circle monument, Wilshire, England
  • Stonehenge Neolithic ancient standing stone circle monument, Wilshire, England
  • Stonehenge Neolithic ancient standing stone circle monument, Wilshire, England
  • Stonehenge Neolithic ancient standing stone circle monument, Wilshire, England
  • Stonehenge Neolithic ancient standing stone circle monument, Wilshire, England
  • Stonehenge Neolithic ancient standing stone circle monument, Wilshire, England
  • Stonehenge Neolithic ancient standing stone circle monument, Wilshire, England
  • Stonehenge Neolithic ancient standing stone circle monument, Wilshire, England
  • Stonehenge Neolithic ancient standing stone circle monument, A UNESCO World Heritage Site, Wilshire, England
  • Stonehenge Neolithic ancient standing stone circle monument, A UNESCO World Heritage Site, Wilshire, England
  • Stonehenge Neolithic ancient standing stone circle monument, Wilshire, England
  • Stonehenge Neolithic ancient standing stone circle monument, Wilshire, England
  • Stonehenge Neolithic ancient standing stone circle monument, Wilshire, England
  • Stonehenge Neolithic ancient standing stone circle monument, Wilshire, England
  • Stonehenge Neolithic ancient standing stone circle monument, Wilshire, England
  • Stonehenge Neolithic ancient standing stone circle monument, Wilshire, England
  • Unusual Minoan  rhython  libation vessel consisting of hollow rings, Zakros Palace  1500-1450 BC; Heraklion Archaeological  Museum, white background.
  • Unusual Minoan  rhython  libation vessel consisting of hollow rings, Zakros Palace  1500-1450 BC; Heraklion Archaeological  Museum, grey background.
  • Unusual Minoan  rhython  libation vessel consisting of hollow rings, Zakros Palace  1500-1450 BC; Heraklion Archaeological  Museum, grey background.
  • Unusual Minoan  rhython  libation vessel consisting of hollow rings, Zakros Palace  1500-1450 BC; Heraklion Archaeological  Museum.
  • Unusual Minoan  rhython  libation vessel consisting of hollow rings, Zakros Palace  1500-1450 BC; Heraklion Archaeological  Museum, black background.
  • Medieval Rose  Window of the South Transept of the Gothic Cathedral of Chartres, France- Circa 1225-30. A UNESCO World Heritage Site. Dedicated to Christ, who is shown in the central oculus, right hand raised in benediction, surrounded by adoring angels. Two outer rings of twelve circles each contain the 24 Elders of the Apocalypse, crowned and carrying phials and musical instruments. The central lancet beneath the rose shows the Virgin carrying the infant Christ. Either side of this are four lancets showing the four evangelists sitting on the shoulders of four Prophets - a rare literal illustration of the theological principle that the New Testament builds upon the Old Testament. This window was a donation of the Mauclerc family, the Counts of Dreux-Bretagne, who are depicted with their arms in the bases of the lancets
  • Medieval Rose  Window of the South Transept of the Gothic Cathedral of Chartres, France- Circa 1225-30. A UNESCO World Heritage Site. Dedicated to Christ, who is shown in the central oculus, right hand raised in benediction, surrounded by adoring angels. Two outer rings of twelve circles each contain the 24 Elders of the Apocalypse, crowned and carrying phials and musical instruments. The central lancet beneath the rose shows the Virgin carrying the infant Christ. Either side of this are four lancets showing the four evangelists sitting on the shoulders of four Prophets - a rare literal illustration of the theological principle that the New Testament builds upon the Old Testament. This window was a donation of the Mauclerc family, the Counts of Dreux-Bretagne, who are depicted with their arms in the bases of the lancets
  • Bread rings for sale on the street of the Bazaar of Konya, Turkey
  • cooked leek  rings food photos
  • Medieval Rose  Window of the South Transept of the Gothic Cathedral of Chartres, France- Circa 1225-30. A UNESCO World Heritage Site. Dedicated to Christ, who is shown in the central oculus, right hand raised in benediction, surrounded by adoring angels. Two outer rings of twelve circles each contain the 24 Elders of the Apocalypse, crowned and carrying phials and musical instruments. The central lancet beneath the rose shows the Virgin carrying the infant Christ. Either side of this are four lancets showing the four evangelists sitting on the shoulders of four Prophets - a rare literal illustration of the theological principle that the New Testament builds upon the Old Testament. This window was a donation of the Mauclerc family, the Counts of Dreux-Bretagne, who are depicted with their arms in the bases of the lancets
  • Medieval Rose Window of the North Transept of the Gothic Cathedral of Chartres, France- Circa 1235. A UNESCO World Heritage Site. The 10.5m rose window is dedicated to the Virgin Mary . The central oculus shows the Virgin and Child and is surrounded by 12 small petal-shaped windows, 4 with doves (the 'Four Gifts of the Spirit'), the rest with adoring angels carrying candlesticks. Beyond this is a ring of 12 diamond-shaped openings containing the Old Testament Kings of Judah, another ring of smaller lozenges containing the arms of France and Castille, and finally a ring of semicircles containing Old Testament Prophets holding scrolls. The presence of the arms of the French king (yellow fleurs-de-lis on a blue background) and of his mother, Blanche of Castile (yellow castles on a red background) are taken as a sign of royal patronage for this window. Beneath the rose itself are five tall lancet windows (7.5 m high) showing, in the centre, the Virgin as an infant held by her mother, St Anne - the same subject as the trumeau in the portal beneath it. Flanking this lancet are four more containing Old Testament figures. Each of these standing figures is shown symbolically triumphing over an enemy depicted in the base of the lancet beneath them - David over Saul, Aaron over Pharaoh, St Anne over Synagoga, etc
  • Medieval Rose Window of the North Transept of the Gothic Cathedral of Chartres, France- Circa 1235. A UNESCO World Heritage Site. The 10.5m rose window is dedicated to the Virgin Mary . The central oculus shows the Virgin and Child and is surrounded by 12 small petal-shaped windows, 4 with doves (the 'Four Gifts of the Spirit'), the rest with adoring angels carrying candlesticks. Beyond this is a ring of 12 diamond-shaped openings containing the Old Testament Kings of Judah, another ring of smaller lozenges containing the arms of France and Castille, and finally a ring of semicircles containing Old Testament Prophets holding scrolls. The presence of the arms of the French king (yellow fleurs-de-lis on a blue background) and of his mother, Blanche of Castile (yellow castles on a red background) are taken as a sign of royal patronage for this window. Beneath the rose itself are five tall lancet windows (7.5 m high) showing, in the centre, the Virgin as an infant held by her mother, St Anne - the same subject as the trumeau in the portal beneath it. Flanking this lancet are four more containing Old Testament figures. Each of these standing figures is shown symbolically triumphing over an enemy depicted in the base of the lancet beneath them - David over Saul, Aaron over Pharaoh, St Anne over Synagoga, etc
  • Mycenaean ring shaped Kernos with painted serpentine bands , Mycenae Acropolis, 12th Cent BC.  National Archaeological Museum Athens. Cat no 5437.  White Background.<br />
<br />
This Mycenaean ring shaped Kernos was a ritual vessel with a conical rhtyhon for pouring liquids. A bovine head adorns the base of the rhython while a serpentine band and painted rosettes decorate the body
  • Mycenaean ring shaped Kernos with painted serpentine bands , Mycenae Acropolis, 12th Cent BC.  National Archaeological Museum Athens. Cat no 5437. <br />
<br />
This Mycenaean ring shaped Kernos was a ritual vessel with a conical rhtyhon for pouring liquids. A bovine head adorns the base of the rhython while a serpentine band and painted rosettes decorate the body
  • Mycenaean ring shaped Kernos with painted serpentine bands , Mycenae Acropolis, 12th Cent BC.  National Archaeological Museum Athens. Cat no 5437.  Grey art Background <br />
<br />
This Mycenaean ring shaped Kernos was a ritual vessel with a conical rhtyhon for pouring liquids. A bovine head adorns the base of the rhython while a serpentine band and painted rosettes decorate the body
  • Mycenaean ring shaped Kernos with painted serpentine bands , Mycenae Acropolis, 12th Cent BC.  National Archaeological Museum Athens. Cat no 5437.  Black Background<br />
<br />
This Mycenaean ring shaped Kernos was a ritual vessel with a conical rhtyhon for pouring liquids. A bovine head adorns the base of the rhython while a serpentine band and painted rosettes decorate the body
  • Mycenaean ring shaped Kernos with painted serpentine bands , Mycenae Acropolis, 12th Cent BC.  National Archaeological Museum Athens. Cat no 5437.  Grey Background<br />
<br />
This Mycenaean ring shaped Kernos was a ritual vessel with a conical rhtyhon for pouring liquids. A bovine head adorns the base of the rhython while a serpentine band and painted rosettes decorate the body
  • Hittite terra cotta ring shaped vessel - 16th century BC - Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey . Against gray background
  • Hittite terra cotta ring shaped vessel - 16th century BC - Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey
  • Hittite terra cotta ring shaped vessel - 16th century BC - Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey . Against black background
  • Hittite terra cotta ring shaped vessel - 16th century BC - Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey . Against grey art background
  • Medieval western rose  window of the Gothic Cathedral of Chartres, France. A UNESCO World Heritage Site. The western rose, made c.1215 and 12 m in diameter shows the Last Judgement - a traditional theme for west façades. A central oculus showing Christ as the Judge is surrounded by an inner ring of 12 paired roundels containing angels and the Elders of the Apocalypse and an outer ring of 12 roundels showing the dead emerging from their tombs and the angels blowing trumpets to summon them to judgement.
  • Hittite terra cotta ring shaped vessel - 16th century BC - Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey . Against white background
  • Medieval western rose  window of the Gothic Cathedral of Chartres, France. A UNESCO World Heritage Site. The western rose, made c.1215 and 12 m in diameter shows the Last Judgement - a traditional theme for west façades. A central oculus showing Christ as the Judge is surrounded by an inner ring of 12 paired roundels containing angels and the Elders of the Apocalypse and an outer ring of 12 roundels showing the dead emerging from their tombs and the angels blowing trumpets to summon them to judgement.
  • A late 4th early 3rd century B.C Etruscan Kernos, or a ceramic ring eith cups or vases, which may have been used in religious rituals, made in Teano, inv 83957, National Archaeological Museum Florence, Italy , black background
  • A late 4th early 3rd century B.C Etruscan Kernos, or a ceramic ring eith cups or vases, which may have been used in religious rituals, made in Teano, inv 83957, National Archaeological Museum Florence, Italy , against grey
  • Minoan  decorated rhython libation vessel with ring design, Gournia 1600-1450 BC; Heraklion Archaeological  Museum, white background.
  • Minoan  decorated rhython libation vessel with ring design, Gournia 1600-1450 BC; Heraklion Archaeological  Museum, black background.
  • Minoan  decorated rhython libation vessel with ring design, Gournia 1600-1450 BC; Heraklion Archaeological  Museum, grey background.
  • Minoan  decorated rhython libation vessel with ring design, Gournia 1600-1450 BC; Heraklion Archaeological  Museum.
  • Minoan  decorated rhython libation vessel with ring design, Gournia 1600-1450 BC; Heraklion Archaeological  Museum, grey background.
  • Minoan stone conical rhython with carved ring decoration, Zakros 1500-1400 BC; Heraklion Archaeological  Museum, white background.
  • Minoan stone conical rhython with carved ring decoration, Zakros 1500-1400 BC; Heraklion Archaeological  Museum, black background..
  • Minoan stone conical rhython with carved ring decoration, Zakros 1500-1400 BC; Heraklion Archaeological  Museum, grey background.
  • Minoan stone conical rhython with carved ring decoration, Zakros 1500-1400 BC; Heraklion Archaeological  Museum.
  • Minoan stone conical rhython with carved ring decoration, Zakros 1500-1400 BC; Heraklion Archaeological  Museum, grey background.
  • Burnished monochrome Cycladic ring shaped wase with geometric incissions.  Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5697-8.  White background.<br />
<br />
<br />
Pottery from this Cycladic era was predominatly monochrome and burnished with linear motifs. Flower and bird designs were rare .
  • Burnished monochrome Cycladic ring shaped wase with geometric incissions.  Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5697-8. Black background.<br />
<br />
<br />
Pottery from this Cycladic era was predominatly monochrome and burnished with linear motifs. Flower and bird designs were rare .
  • Burnished monochrome Cycladic ring shaped wase with geometric incissions.  Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5697-8.  Grey background.<br />
<br />
<br />
Pottery from this Cycladic era was predominatly monochrome and burnished with linear motifs. Flower and bird designs were rare .
  • Burnished monochrome Cycladic ring shaped wase with geometric incissions.  Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5697-8.<br />
<br />
Pottery from this Cycladic era was predominatly monochrome and burnished with linear motifs. Flower and bird designs were rare .
  • Burnished monochrome Cycladic ring shaped wase with geometric incissions.  Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5697-8.  Gray background.<br />
<br />
<br />
Pottery from this Cycladic era was predominatly monochrome and burnished with linear motifs. Flower and bird designs were rare .
  • A late 4th early 3rd century B.C Etruscan Kernos, or a ceramic ring eith cups or vases, which may have been used in religious rituals, made in Teano, inv 83957, National Archaeological Museum Florence, Italy
  • A late 4th early 3rd century B.C Etruscan Kernos, or a ceramic ring eith cups or vases, which may have been used in religious rituals, made in Teano, inv 83957, National Archaeological Museum Florence, Italy , white background
  • A late 4th early 3rd century B.C Etruscan Kernos, or a ceramic ring eith cups or vases, which may have been used in religious rituals, made in Teano, inv 83957, National Archaeological Museum Florence, Italy  , grey art background
  • Minoan decorated Kamares  style jug with comncentric ring pattern, Poros cemetery 1800-1650 BC; Heraklion Archaeological  Museum, black background.
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322. Against grey.<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322. Against grey.<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322. Against black<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322.<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322. Against black<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322. Against grey.<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322.<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Calanais Standing Stones  central stone circle erected between 2900-2600BC measuring 11 metres wide. At the centre of the ring stands a huge monolith stone 4.8 metres high weighing about 7 tonnes, which is perfectly orientated so that its widest sides face due north south. Calanais Neolithic Standing Stone (Tursachan Chalanais) , Isle of Lewis, Outer Hebrides, Scotland.
  • Panorama of  the central stone circle, at sunset, erected between 2900-2600BC measuring 11 metres wide. At the centre of the ring stands a huge monolith stone 4.8 metres high weighing about 7 tonnes, which is perfectly orientated so that its widest sides face due north south. Calanais Neolithic Standing Stone (Tursachan Chalanais) , Isle of Lewis, Outer Hebrides, Scotland.
  • Calanais Standing Stones central stone circle erected between 2900-2600BC measuring 11 metres wide. At the centre of the ring stands a huge monolith stone 4.8 metres high weighing about 7 tonnes, which is perfectly orientated so that its widest sides face due north south. Calanais Neolithic Standing Stone (Tursachan Chalanais) , Isle of Lewis, Outer Hebrides, Scotland.
  • Alaca Hoyuk Hittite monumental relief sculpted orthostat stone panel. Andesite, Alaca, Corum, 1399 - 1301 B.C. Anatolian Civilizations Museum, Ankara, Turkey<br />
<br />
The rightmost figure wears a long coat and tailed dress. With both hands, he holds a sceptre with a ring in the middle. This item is thought to be a cult object in Assyria reliefs. The pointed and twisted tips of his shoes also show that he is in a high rank.  <br />
<br />
Against a black background.
  • Upright picture of Alaca Hoyuk Sphinx Gate Hittite monumental relief sculpted orthostat stone panel. Andesite, Alaca, Corum, 1399 - 1301 B.C. Jugglers and acrobats.  Anatolian Civilizations Museum, Ankara, Turkey<br />
<br />
The juggler facing towards left, with long hair and a short dress, swallows a dagger; the smaller acrobats behind go up the stairs without holding on. All the figures have horned headdresses and earrings with a huge ring on their ears. It is thought that the acrobats are of different nationality, which is the reason why they are depicted smaller. <br />
<br />
Against a black background.
  • Landscape picture of Alaca Hoyuk Sphinx Gate Hittite monumental relief sculpted orthostat stone panel. Andesite, Alaca, Corum, 1399 - 1301 B.C. Jugglers and acrobats.  Anatolian Civilizations Museum, Ankara, Turkey<br />
<br />
The juggler facing towards left, with long hair and a short dress, swallows a dagger; the smaller acrobats behind go up the stairs without holding on. All the figures have horned headdresses and earrings with a huge ring on their ears. It is thought that the acrobats are of different nationality, which is the reason why they are depicted smaller.  <br />
<br />
Against a white background.
  • Landscape picture of Alaca Hoyuk Sphinx Gate Hittite monumental relief sculpted orthostat stone panel. Andesite, Alaca, Corum, 1399 - 1301 B.C. Jugglers and acrobats.  Anatolian Civilizations Museum, Ankara, Turkey<br />
<br />
The juggler facing towards left, with long hair and a short dress, swallows a dagger; the smaller acrobats behind go up the stairs without holding on. All the figures have horned headdresses and earrings with a huge ring on their ears. It is thought that the acrobats are of different nationality, which is the reason why they are depicted smaller. <br />
<br />
Against a brown art background.
  • Alaca Hoyuk Sphinx Gate Hittite monumental relief sculpted orthostat stone panel. Andesite, Alaca, corum, 1399 - 1301 B.C.  King and queen in front of the altar. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Left Panel - The king carries the kingdom sceptre - lituus in his right hand, and extends his left hand forward for worship. The queen wears a fancy dress hanging down to the floor; both figures wear earrings with a large ring.<br />
<br />
Right Panel - Bull. It is the sacred animal of the Storm God. It is over a pedestal which is split from top to bottom. It is stocky and short-legged. With a huge horn, the bull has schematic muscles. In the orthostats on the left side, there is a procession moving towards this bull.
  • Alaca Hoyuk Sphinx Gate Hittite monumental relief sculpted orthostat stone panel. Andesite, Alaca, corum, 1399 - 1301 B.C.  King and queen in front of the altar. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
The king carries the kingdom sceptre - lituus in his right hand, and extends his left hand forward for worship. The queen wears a fancy dress hanging down to the floor; both figures wear earrings with a large ring.<br />
<br />
<br />
Against a black background.
  • Alaca Hoyuk Sphinx Gate Hittite monumental relief sculpted orthostat stone panel. Andesite, Alaca, corum, 1399 - 1301 B.C.  King and queen in front of the altar.  Anatolian Civilizations Museum, Ankara, Turkey<br />
.<br />
<br />
The king carries the kingdom sceptre - lituus in his right hand, and extends his left hand forward for worship. The queen wears a fancy dress hanging down to the floor; both figures wear earrings with a large ring.<br />
<br />
<br />
Against a brown gray background.
  • Panorama of  the central stone circle, at sunset, erected between 2900-2600BC measuring 11 metres wide. At the centre of the ring stands a huge monolith stone 4.8 metres high weighing about 7 tonnes, which is perfectly orientated so that its widest sides face due north south. Calanais Neolithic Standing Stone (Tursachan Chalanais) , Isle of Lewis, Outer Hebrides, Scotland.
  • Calanais Standing Stones central stone circle erected between 2900-2600BC measuring 11 metres wide. At the centre of the ring stands a huge monolith stone 4.8 metres high weighing about 7 tonnes, which is perfectly orientated so that its widest sides face due north south. Calanais Neolithic Standing Stone (Tursachan Chalanais) , Isle of Lewis, Outer Hebrides, Scotland.
  • Panorama of Calanais Standing Stones  central stone circle erected between 2900-2600BC measuring 11 metres wide. At the centre of the ring stands a huge monolith stone 4.8 metres high weighing about 7 tonnes, which is perfectly orientated so that its widest sides face due north south. Calanais Neolithic Standing Stone (Tursachan Chalanais) , Isle of Lewis, Outer Hebrides, Scotland.
  • Panorama of  the central stone circle, at sunset, erected between 2900-2600BC measuring 11 metres wide. At the centre of the ring stands a huge monolith stone 4.8 metres high weighing about 7 tonnes, which is perfectly orientated so that its widest sides face due north south. Calanais Neolithic Standing Stone (Tursachan Chalanais) , Isle of Lewis, Outer Hebrides, Scotland.
  • Calanais Standing Stones central stone circle erected between 2900-2600BC measuring 11 metres wide. At the centre of the ring stands a huge monolith stone 4.8 metres high weighing about 7 tonnes, which is perfectly orientated so that its widest sides face due north south. Calanais Neolithic Standing Stone (Tursachan Chalanais) , Isle of Lewis, Outer Hebrides, Scotland.
  • Panorama of Calanais Standing Stones  central stone circle erected between 2900-2600BC measuring 11 metres wide. At the centre of the ring stands a huge monolith stone 4.8 metres high weighing about 7 tonnes, which is perfectly orientated so that its widest sides face due north south. Calanais Neolithic Standing Stone (Tursachan Chalanais) , Isle of Lewis, Outer Hebrides, Scotland.
  • Panorama of Calanais Standing Stones  central stone circle erected between 2900-2600BC measuring 11 metres wide. At the centre of the ring stands a huge monolith stone 4.8 metres high weighing about 7 tonnes, which is perfectly orientated so that its widest sides face due north south. Calanais Neolithic Standing Stone (Tursachan Chalanais) , Isle of Lewis, Outer Hebrides, Scotland.
  • Calanais Standing Stones central stone circle erected between 2900-2600BC measuring 11 metres wide. At the centre of the ring stands a huge monolith stone 4.8 metres high weighing about 7 tonnes, which is perfectly orientated so that its widest sides face due north south. Calanais Neolithic Standing Stone (Tursachan Chalanais) , Isle of Lewis, Outer Hebrides, Scotland.
  • Calanais Standing Stones central stone, at sunset,  circle erected between 2900-2600BC measuring 11 metres wide. At the centre of the ring stands a huge monolith stone 4.8 metres high weighing about 7 tonnes, which is perfectly orientated so that its widest sides face due north south. Calanais Neolithic Standing Stone (Tursachan Chalanais) , Isle of Lewis, Outer Hebrides, Scotland.
  • Calanais Standing Stones  central stone circle erected between 2900-2600BC measuring 11 metres wide. At the centre of the ring stands a huge monolith stone 4.8 metres high weighing about 7 tonnes, which is perfectly orientated so that its widest sides face due north south. Calanais Neolithic Standing Stone (Tursachan Chalanais) , Isle of Lewis, Outer Hebrides, Scotland.
  • Panorama of Calanais Standing Stones  central stone circle erected between 2900-2600BC measuring 11 metres wide. At the centre of the ring stands a huge monolith stone 4.8 metres high weighing about 7 tonnes, which is perfectly orientated so that its widest sides face due north south. Calanais Neolithic Standing Stone (Tursachan Chalanais) , Isle of Lewis, Outer Hebrides, Scotland.
  • Panorama of Calanais Standing Stones  central stone circle erected between 2900-2600BC measuring 11 metres wide. At the centre of the ring stands a huge monolith stone 4.8 metres high weighing about 7 tonnes, which is perfectly orientated so that its widest sides face due north south. Calanais Neolithic Standing Stone (Tursachan Chalanais) , Isle of Lewis, Outer Hebrides, Scotland.
  • Panorama of Calanais Standing Stones  central stone circle erected between 2900-2600BC measuring 11 metres wide. At the centre of the ring stands a huge monolith stone 4.8 metres high weighing about 7 tonnes, which is perfectly orientated so that its widest sides face due north south. Calanais Neolithic Standing Stone (Tursachan Chalanais) , Isle of Lewis, Outer Hebrides, Scotland.
  • Calanais Standing Stones central stone circle erected between 2900-2600BC measuring 11 metres wide. At the centre of the ring stands a huge monolith stone 4.8 metres high weighing about 7 tonnes, which is perfectly orientated so that its widest sides face due north south. Calanais Neolithic Standing Stone (Tursachan Chalanais) , Isle of Lewis, Outer Hebrides, Scotland.
  • Calanais Standing Stones central stone circle erected between 2900-2600BC measuring 11 metres wide. At the centre of the ring stands a huge monolith stone 4.8 metres high weighing about 7 tonnes, which is perfectly orientated so that its widest sides face due north south. Calanais Neolithic Standing Stone (Tursachan Chalanais) , Isle of Lewis, Outer Hebrides, Scotland.
  • Calanais Standing Stones central stone circle  erected between 2900-2600BC measuring 11 metres wide. At the centre of the ring stands a huge monolith stone 4.8 metres high weighing about 7 tonnes, which is perfectly orientated so that its widest sides face due north south. Calanais Neolithic Standing Stone (Tursachan Chalanais) , Isle of Lewis, Outer Hebrides, Scotland.
  • Rare original Greek bronze statue of an Athlete after a boxing match, a 1st cent BC. The athlete, seated on a boulder, is resting after a boxing match. The boulder is a modern addition that replicates the ancient original. The face, ears, and nose are severely wounded by blows received during the match. No wounds appear on the body since ancient boxing practices made the afce the main target. The boxer is only wearing a sort of loin cloth (kynodesme) around his waist. Elaborate leather gloves (himantes oxeis) protect the hands and the forearms. They consist of thick leather straps that bind the four fingers, leaving the thumb free. On the forearms the gloves are bordered with fur lining. A series of marks on the straps above the left ring fingers seem to be a signature of the Athenian sculptor Appolonios, son of Nestor who was active during the 1st century B.C. Careful analysis shows that the marks are actually corrosions of the bronze surface. The Greek letter ‘a’ is impressed on the middle toe of the left foot and is probably a mark identifying the workshop that produced the statue. The statue of the boxer is of the highest quality with a highly detailed rendition of the athletic anatomy and facial feature. The artist was clearly inspired by the style of Greek sculptor Lysippus and scholars generally consider it an original Greek bronze of the 1st Century B.C. . The National Roman Museum, Rome, Italy
  • Rare original Greek bronze statue of an Athlete after a boxing match, a 1st cent BC. The athlete, seated on a boulder, is resting after a boxing match. The boulder is a modern addition that replicates the ancient original. The face, ears, and nose are severely wounded by blows received during the match. No wounds appear on the body since ancient boxing practices made the afce the main target. The boxer is only wearing a sort of loin cloth (kynodesme) around his waist. Elaborate leather gloves (himantes oxeis) protect the hands and the forearms. They consist of thick leather straps that bind the four fingers, leaving the thumb free. On the forearms the gloves are bordered with fur lining. A series of marks on the straps above the left ring fingers seem to be a signature of the Athenian sculptor Appolonios, son of Nestor who was active during the 1st century B.C. Careful analysis shows that the marks are actually corrosions of the bronze surface. The Greek letter ‘a’ is impressed on the middle toe of the left foot and is probably a mark identifying the workshop that produced the statue. The statue of the boxer is of the highest quality with a highly detailed rendition of the athletic anatomy and facial feature. The artist was clearly inspired by the style of Greek sculptor Lysippus and scholars generally consider it an original Greek bronze of the 1st Century B.C. . The National Roman Museum, Rome, Italy
  • Rare original Greek bronze statue of an Athlete after a boxing match, a 1st cent BC. The athlete, seated on a boulder, is resting after a boxing match. The boulder is a modern addition that replicates the ancient original. The face, ears, and nose are severely wounded by blows received during the match. No wounds appear on the body since ancient boxing practices made the afce the main target. The boxer is only wearing a sort of loin cloth (kynodesme) around his waist. Elaborate leather gloves (himantes oxeis) protect the hands and the forearms. They consist of thick leather straps that bind the four fingers, leaving the thumb free. On the forearms the gloves are bordered with fur lining. A series of marks on the straps above the left ring fingers seem to be a signature of the Athenian sculptor Appolonios, son of Nestor who was active during the 1st century B.C. Careful analysis shows that the marks are actually corrosions of the bronze surface. The Greek letter ‘a’ is impressed on the middle toe of the left foot and is probably a mark identifying the workshop that produced the statue. The statue of the boxer is of the highest quality with a highly detailed rendition of the athletic anatomy and facial feature. The artist was clearly inspired by the style of Greek sculptor Lysippus and scholars generally consider it an original Greek bronze of the 1st Century B.C. . The National Roman Museum, Rome, Italy
  • Rare original Greek bronze statue of an Athlete after a boxing match, a 1st cent BC. The athlete, seated on a boulder, is resting after a boxing match. The boulder is a modern addition that replicates the ancient original. The face, ears, and nose are severely wounded by blows received during the match. No wounds appear on the body since ancient boxing practices made the afce the main target. The boxer is only wearing a sort of loin cloth (kynodesme) around his waist. Elaborate leather gloves (himantes oxeis) protect the hands and the forearms. They consist of thick leather straps that bind the four fingers, leaving the thumb free. On the forearms the gloves are bordered with fur lining. A series of marks on the straps above the left ring fingers seem to be a signature of the Athenian sculptor Appolonios, son of Nestor who was active during the 1st century B.C. Careful analysis shows that the marks are actually corrosions of the bronze surface. The Greek letter ‘a’ is impressed on the middle toe of the left foot and is probably a mark identifying the workshop that produced the statue. The statue of the boxer is of the highest quality with a highly detailed rendition of the athletic anatomy and facial feature. The artist was clearly inspired by the style of Greek sculptor Lysippus and scholars generally consider it an original Greek bronze of the 1st Century B.C. . The National Roman Museum, Rome, Italy
  • Rare original Greek bronze statue of an Athlete after a boxing match, a 1st cent BC. The athlete, seated on a boulder, is resting after a boxing match. The boulder is a modern addition that replicates the ancient original. The face, ears, and nose are severely wounded by blows received during the match. No wounds appear on the body since ancient boxing practices made the afce the main target. The boxer is only wearing a sort of loin cloth (kynodesme) around his waist. Elaborate leather gloves (himantes oxeis) protect the hands and the forearms. They consist of thick leather straps that bind the four fingers, leaving the thumb free. On the forearms the gloves are bordered with fur lining. A series of marks on the straps above the left ring fingers seem to be a signature of the Athenian sculptor Appolonios, son of Nestor who was active during the 1st century B.C. Careful analysis shows that the marks are actually corrosions of the bronze surface. The Greek letter ‘a’ is impressed on the middle toe of the left foot and is probably a mark identifying the workshop that produced the statue. The statue of the boxer is of the highest quality with a highly detailed rendition of the athletic anatomy and facial feature. The artist was clearly inspired by the style of Greek sculptor Lysippus and scholars generally consider it an original Greek bronze of the 1st Century B.C. . The National Roman Museum, Rome, Italy
  • Rare original Greek bronze statue of an Athlete after a boxing match, a 1st cent BC. The athlete, seated on a boulder, is resting after a boxing match. The boulder is a modern addition that replicates the ancient original. The face, ears, and nose are severely wounded by blows received during the match. No wounds appear on the body since ancient boxing practices made the afce the main target. The boxer is only wearing a sort of loin cloth (kynodesme) around his waist. Elaborate leather gloves (himantes oxeis) protect the hands and the forearms. They consist of thick leather straps that bind the four fingers, leaving the thumb free. On the forearms the gloves are bordered with fur lining. A series of marks on the straps above the left ring fingers seem to be a signature of the Athenian sculptor Appolonios, son of Nestor who was active during the 1st century B.C. Careful analysis shows that the marks are actually corrosions of the bronze surface. The Greek letter ‘a’ is impressed on the middle toe of the left foot and is probably a mark identifying the workshop that produced the statue. The statue of the boxer is of the highest quality with a highly detailed rendition of the athletic anatomy and facial feature. The artist was clearly inspired by the style of Greek sculptor Lysippus and scholars generally consider it an original Greek bronze of the 1st Century B.C. . The National Roman Museum, Rome, Italy
  • Rare original Greek bronze statue of an Athlete after a boxing match, a 1st cent BC. The athlete, seated on a boulder, is resting after a boxing match. The boulder is a modern addition that replicates the ancient original. The face, ears, and nose are severely wounded by blows received during the match. No wounds appear on the body since ancient boxing practices made the afce the main target. The boxer is only wearing a sort of loin cloth (kynodesme) around his waist. Elaborate leather gloves (himantes oxeis) protect the hands and the forearms. They consist of thick leather straps that bind the four fingers, leaving the thumb free. On the forearms the gloves are bordered with fur lining. A series of marks on the straps above the left ring fingers seem to be a signature of the Athenian sculptor Appolonios, son of Nestor who was active during the 1st century B.C. Careful analysis shows that the marks are actually corrosions of the bronze surface. The Greek letter ‘a’ is impressed on the middle toe of the left foot and is probably a mark identifying the workshop that produced the statue. The statue of the boxer is of the highest quality with a highly detailed rendition of the athletic anatomy and facial feature. The artist was clearly inspired by the style of Greek sculptor Lysippus and scholars generally consider it an original Greek bronze of the 1st Century B.C. . The National Roman Museum, Rome, Italy
  • Rare original Greek bronze statue of an Athlete after a boxing match, a 1st cent BC. The athlete, seated on a boulder, is resting after a boxing match. The boulder is a modern addition that replicates the ancient original. The face, ears, and nose are severely wounded by blows received during the match. No wounds appear on the body since ancient boxing practices made the afce the main target. The boxer is only wearing a sort of loin cloth (kynodesme) around his waist. Elaborate leather gloves (himantes oxeis) protect the hands and the forearms. They consist of thick leather straps that bind the four fingers, leaving the thumb free. On the forearms the gloves are bordered with fur lining. A series of marks on the straps above the left ring fingers seem to be a signature of the Athenian sculptor Appolonios, son of Nestor who was active during the 1st century B.C. Careful analysis shows that the marks are actually corrosions of the bronze surface. The Greek letter ‘a’ is impressed on the middle toe of the left foot and is probably a mark identifying the workshop that produced the statue. The statue of the boxer is of the highest quality with a highly detailed rendition of the athletic anatomy and facial feature. The artist was clearly inspired by the style of Greek sculptor Lysippus and scholars generally consider it an original Greek bronze of the 1st Century B.C. . The National Roman Museum, Rome, Italy
  • Rare original Greek bronze statue of an Athlete after a boxing match, a 1st cent BC. The athlete, seated on a boulder, is resting after a boxing match. The boulder is a modern addition that replicates the ancient original. The face, ears, and nose are severely wounded by blows received during the match. No wounds appear on the body since ancient boxing practices made the afce the main target. The boxer is only wearing a sort of loin cloth (kynodesme) around his waist. Elaborate leather gloves (himantes oxeis) protect the hands and the forearms. They consist of thick leather straps that bind the four fingers, leaving the thumb free. On the forearms the gloves are bordered with fur lining. A series of marks on the straps above the left ring fingers seem to be a signature of the Athenian sculptor Appolonios, son of Nestor who was active during the 1st century B.C. Careful analysis shows that the marks are actually corrosions of the bronze surface. The Greek letter ‘a’ is impressed on the middle toe of the left foot and is probably a mark identifying the workshop that produced the statue. The statue of the boxer is of the highest quality with a highly detailed rendition of the athletic anatomy and facial feature. The artist was clearly inspired by the style of Greek sculptor Lysippus and scholars generally consider it an original Greek bronze of the 1st Century B.C. . The National Roman Museum, Rome, Italy
  • Rare original Greek bronze statue of an Athlete after a boxing match, a 1st cent BC. The athlete, seated on a boulder, is resting after a boxing match. The boulder is a modern addition that replicates the ancient original. The face, ears, and nose are severely wounded by blows received during the match. No wounds appear on the body since ancient boxing practices made the afce the main target. The boxer is only wearing a sort of loin cloth (kynodesme) around his waist. Elaborate leather gloves (himantes oxeis) protect the hands and the forearms. They consist of thick leather straps that bind the four fingers, leaving the thumb free. On the forearms the gloves are bordered with fur lining. A series of marks on the straps above the left ring fingers seem to be a signature of the Athenian sculptor Appolonios, son of Nestor who was active during the 1st century B.C. Careful analysis shows that the marks are actually corrosions of the bronze surface. The Greek letter ‘a’ is impressed on the middle toe of the left foot and is probably a mark identifying the workshop that produced the statue. The statue of the boxer is of the highest quality with a highly detailed rendition of the athletic anatomy and facial feature. The artist was clearly inspired by the style of Greek sculptor Lysippus and scholars generally consider it an original Greek bronze of the 1st Century B.C. . The National Roman Museum, Rome, Italy
  • Rare original Greek bronze statue of an Athlete after a boxing match, a 1st cent BC. The athlete, seated on a boulder, is resting after a boxing match. The boulder is a modern addition that replicates the ancient original. The face, ears, and nose are severely wounded by blows received during the match. No wounds appear on the body since ancient boxing practices made the afce the main target. The boxer is only wearing a sort of loin cloth (kynodesme) around his waist. Elaborate leather gloves (himantes oxeis) protect the hands and the forearms. They consist of thick leather straps that bind the four fingers, leaving the thumb free. On the forearms the gloves are bordered with fur lining. A series of marks on the straps above the left ring fingers seem to be a signature of the Athenian sculptor Appolonios, son of Nestor who was active during the 1st century B.C. Careful analysis shows that the marks are actually corrosions of the bronze surface. The Greek letter ‘a’ is impressed on the middle toe of the left foot and is probably a mark identifying the workshop that produced the statue. The statue of the boxer is of the highest quality with a highly detailed rendition of the athletic anatomy and facial feature. The artist was clearly inspired by the style of Greek sculptor Lysippus and scholars generally consider it an original Greek bronze of the 1st Century B.C. . The National Roman Museum, Rome, Italy
  • Rare original Greek bronze statue of an Athlete after a boxing match, a 1st cent BC. The athlete, seated on a boulder, is resting after a boxing match. The boulder is a modern addition that replicates the ancient original. The face, ears, and nose are severely wounded by blows received during the match. No wounds appear on the body since ancient boxing practices made the afce the main target. The boxer is only wearing a sort of loin cloth (kynodesme) around his waist. Elaborate leather gloves (himantes oxeis) protect the hands and the forearms. They consist of thick leather straps that bind the four fingers, leaving the thumb free. On the forearms the gloves are bordered with fur lining. A series of marks on the straps above the left ring fingers seem to be a signature of the Athenian sculptor Appolonios, son of Nestor who was active during the 1st century B.C. Careful analysis shows that the marks are actually corrosions of the bronze surface. The Greek letter ‘a’ is impressed on the middle toe of the left foot and is probably a mark identifying the workshop that produced the statue. The statue of the boxer is of the highest quality with a highly detailed rendition of the athletic anatomy and facial feature. The artist was clearly inspired by the style of Greek sculptor Lysippus and scholars generally consider it an original Greek bronze of the 1st Century B.C. . The National Roman Museum, Rome, Italy
  • Rare original Greek bronze statue of an Athlete after a boxing match, a 1st cent BC. The athlete, seated on a boulder, is resting after a boxing match. The boulder is a modern addition that replicates the ancient original. The face, ears, and nose are severely wounded by blows received during the match. No wounds appear on the body since ancient boxing practices made the afce the main target. The boxer is only wearing a sort of loin cloth (kynodesme) around his waist. Elaborate leather gloves (himantes oxeis) protect the hands and the forearms. They consist of thick leather straps that bind the four fingers, leaving the thumb free. On the forearms the gloves are bordered with fur lining. A series of marks on the straps above the left ring fingers seem to be a signature of the Athenian sculptor Appolonios, son of Nestor who was active during the 1st century B.C. Careful analysis shows that the marks are actually corrosions of the bronze surface. The Greek letter ‘a’ is impressed on the middle toe of the left foot and is probably a mark identifying the workshop that produced the statue. The statue of the boxer is of the highest quality with a highly detailed rendition of the athletic anatomy and facial feature. The artist was clearly inspired by the style of Greek sculptor Lysippus and scholars generally consider it an original Greek bronze of the 1st Century B.C. . The National Roman Museum, Rome, Italy
  • Rare original Greek bronze statue of an Athlete after a boxing match, a 1st cent BC. The athlete, seated on a boulder, is resting after a boxing match. The boulder is a modern addition that replicates the ancient original. The face, ears, and nose are severely wounded by blows received during the match. No wounds appear on the body since ancient boxing practices made the afce the main target. The boxer is only wearing a sort of loin cloth (kynodesme) around his waist. Elaborate leather gloves (himantes oxeis) protect the hands and the forearms. They consist of thick leather straps that bind the four fingers, leaving the thumb free. On the forearms the gloves are bordered with fur lining. A series of marks on the straps above the left ring fingers seem to be a signature of the Athenian sculptor Appolonios, son of Nestor who was active during the 1st century B.C. Careful analysis shows that the marks are actually corrosions of the bronze surface. The Greek letter ‘a’ is impressed on the middle toe of the left foot and is probably a mark identifying the workshop that produced the statue. The statue of the boxer is of the highest quality with a highly detailed rendition of the athletic anatomy and facial feature. The artist was clearly inspired by the style of Greek sculptor Lysippus and scholars generally consider it an original Greek bronze of the 1st Century B.C. . The National Roman Museum, Rome, Italy
  • Rare original Greek bronze statue of an Athlete after a boxing match, a 1st cent BC. The athlete, seated on a boulder, is resting after a boxing match. The boulder is a modern addition that replicates the ancient original. The face, ears, and nose are severely wounded by blows received during the match. No wounds appear on the body since ancient boxing practices made the afce the main target. The boxer is only wearing a sort of loin cloth (kynodesme) around his waist. Elaborate leather gloves (himantes oxeis) protect the hands and the forearms. They consist of thick leather straps that bind the four fingers, leaving the thumb free. On the forearms the gloves are bordered with fur lining. A series of marks on the straps above the left ring fingers seem to be a signature of the Athenian sculptor Appolonios, son of Nestor who was active during the 1st century B.C. Careful analysis shows that the marks are actually corrosions of the bronze surface. The Greek letter ‘a’ is impressed on the middle toe of the left foot and is probably a mark identifying the workshop that produced the statue. The statue of the boxer is of the highest quality with a highly detailed rendition of the athletic anatomy and facial feature. The artist was clearly inspired by the style of Greek sculptor Lysippus and scholars generally consider it an original Greek bronze of the 1st Century B.C. . The National Roman Museum, Rome, Italy
  • Rare original Greek bronze statue of an Athlete after a boxing match, a 1st cent BC. The athlete, seated on a boulder, is resting after a boxing match. The boulder is a modern addition that replicates the ancient original. The face, ears, and nose are severely wounded by blows received during the match. No wounds appear on the body since ancient boxing practices made the afce the main target. The boxer is only wearing a sort of loin cloth (kynodesme) around his waist. Elaborate leather gloves (himantes oxeis) protect the hands and the forearms. They consist of thick leather straps that bind the four fingers, leaving the thumb free. On the forearms the gloves are bordered with fur lining. A series of marks on the straps above the left ring fingers seem to be a signature of the Athenian sculptor Appolonios, son of Nestor who was active during the 1st century B.C. Careful analysis shows that the marks are actually corrosions of the bronze surface. The Greek letter ‘a’ is impressed on the middle toe of the left foot and is probably a mark identifying the workshop that produced the statue. The statue of the boxer is of the highest quality with a highly detailed rendition of the athletic anatomy and facial feature. The artist was clearly inspired by the style of Greek sculptor Lysippus and scholars generally consider it an original Greek bronze of the 1st Century B.C. . The National Roman Museum, Rome, Italy
  • Rare original Greek bronze statue of an Athlete after a boxing match, a 1st cent BC. The athlete, seated on a boulder, is resting after a boxing match. The boulder is a modern addition that replicates the ancient original. The face, ears, and nose are severely wounded by blows received during the match. No wounds appear on the body since ancient boxing practices made the afce the main target. The boxer is only wearing a sort of loin cloth (kynodesme) around his waist. Elaborate leather gloves (himantes oxeis) protect the hands and the forearms. They consist of thick leather straps that bind the four fingers, leaving the thumb free. On the forearms the gloves are bordered with fur lining. A series of marks on the straps above the left ring fingers seem to be a signature of the Athenian sculptor Appolonios, son of Nestor who was active during the 1st century B.C. Careful analysis shows that the marks are actually corrosions of the bronze surface. The Greek letter ‘a’ is impressed on the middle toe of the left foot and is probably a mark identifying the workshop that produced the statue. The statue of the boxer is of the highest quality with a highly detailed rendition of the athletic anatomy and facial feature. The artist was clearly inspired by the style of Greek sculptor Lysippus and scholars generally consider it an original Greek bronze of the 1st Century B.C. . The National Roman Museum, Rome, Italy
  • Rare original Greek bronze statue of an Athlete after a boxing match, a 1st cent BC. The athlete, seated on a boulder, is resting after a boxing match. The boulder is a modern addition that replicates the ancient original. The face, ears, and nose are severely wounded by blows received during the match. No wounds appear on the body since ancient boxing practices made the afce the main target. The boxer is only wearing a sort of loin cloth (kynodesme) around his waist. Elaborate leather gloves (himantes oxeis) protect the hands and the forearms. They consist of thick leather straps that bind the four fingers, leaving the thumb free. On the forearms the gloves are bordered with fur lining. A series of marks on the straps above the left ring fingers seem to be a signature of the Athenian sculptor Appolonios, son of Nestor who was active during the 1st century B.C. Careful analysis shows that the marks are actually corrosions of the bronze surface. The Greek letter ‘a’ is impressed on the middle toe of the left foot and is probably a mark identifying the workshop that produced the statue. The statue of the boxer is of the highest quality with a highly detailed rendition of the athletic anatomy and facial feature. The artist was clearly inspired by the style of Greek sculptor Lysippus and scholars generally consider it an original Greek bronze of the 1st Century B.C. . The National Roman Museum, Rome, Italy
  • Rare original Greek bronze statue of an Athlete after a boxing match, a 1st cent BC. The athlete, seated on a boulder, is resting after a boxing match. The boulder is a modern addition that replicates the ancient original. The face, ears, and nose are severely wounded by blows received during the match. No wounds appear on the body since ancient boxing practices made the afce the main target. The boxer is only wearing a sort of loin cloth (kynodesme) around his waist. Elaborate leather gloves (himantes oxeis) protect the hands and the forearms. They consist of thick leather straps that bind the four fingers, leaving the thumb free. On the forearms the gloves are bordered with fur lining. A series of marks on the straps above the left ring fingers seem to be a signature of the Athenian sculptor Appolonios, son of Nestor who was active during the 1st century B.C. Careful analysis shows that the marks are actually corrosions of the bronze surface. The Greek letter ‘a’ is impressed on the middle toe of the left foot and is probably a mark identifying the workshop that produced the statue. The statue of the boxer is of the highest quality with a highly detailed rendition of the athletic anatomy and facial feature. The artist was clearly inspired by the style of Greek sculptor Lysippus and scholars generally consider it an original Greek bronze of the 1st Century B.C. . The National Roman Museum, Rome, Italy
  • Minoan decorated Kamares  style jug with comncentric ring pattern, Poros cemetery 1800-1650 BC; Heraklion Archaeological  Museum, grey background.
  • Minoan decorated Kamares  style jug with comncentric ring pattern, Poros cemetery 1800-1650 BC; Heraklion Archaeological  Museum, white background.
  • Minoan decorated Kamares  style jug with comncentric ring pattern, Poros cemetery 1800-1650 BC; Heraklion Archaeological  Museum.
  • Minoan decorated Kamares  style jug with comncentric ring pattern, Poros cemetery 1800-1650 BC; Heraklion Archaeological  Museum, grey background.
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322. Against black<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322. Against white.<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322.<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322. Against white.<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322. Against grey.<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322. Against grey.<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322. Against white.<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322. Against grey.<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Panorama of Calanais Standing Stones  central stone circle erected between 2900-2600BC measuring 11 metres wide. At the centre of the ring stands a huge monolith stone 4.8 metres high weighing about 7 tonnes, which is perfectly orientated so that its widest sides face due north south. Calanais Neolithic Standing Stone (Tursachan Chalanais) , Isle of Lewis, Outer Hebrides, Scotland.
  • Calanais Standing Stones central stone circle erected between 2900-2600BC measuring 11 metres wide. At the centre of the ring stands a huge monolith stone 4.8 metres high weighing about 7 tonnes, which is perfectly orientated so that its widest sides face due north south. Calanais Neolithic Standing Stone (Tursachan Chalanais) , Isle of Lewis, Outer Hebrides, Scotland.
  • Alaca Hoyuk Sphinx Gate Hittite monumental relief sculpted orthostat stone panel. Andesite, Alaca, corum, 1399 - 1301 B.C.  King and queen in front of the altar. <br />
<br />
The king carries the kingdom sceptre - lituus in his right hand, and extends his left hand forward for worship. The queen wears a fancy dress hanging down to the floor; both figures wear earrings with a large ring.<br />
 Anatolian Civilizations Museum, Ankara, Turkey
  • Alaca Hoyuk Hittite monumental relief sculpted orthostat stone panel. Andesite, Alaca, Corum, 1399 - 1301 B.C. Anatolian Civilizations Museum, Ankara, Turkey<br />
<br />
The rightmost figure wears a long coat and tailed dress. With both hands, he holds a sceptre with a ring in the middle. This item is thought to be a cult object in Assyria reliefs. The pointed and twisted tips of his shoes also show that he is in a high rank.  <br />
<br />
Against a white background.
  • Alaca Hoyuk Hittite monumental relief sculpted orthostat stone panel. Andesite, Alaca, Corum, 1399 - 1301 B.C. Anatolian Civilizations Museum, Ankara, Turkey<br />
<br />
The rightmost figure wears a long coat and tailed dress. With both hands, he holds a sceptre with a ring in the middle. This item is thought to be a cult object in Assyria reliefs. The pointed and twisted tips of his shoes also show that he is in a high rank.  <br />
<br />
Against a brown gray background.
  • Alaca Hoyuk Hittite monumental relief sculpted orthostat stone panel. Andesite, Alaca, Corum, 1399 - 1301 B.C. Anatolian Civilizations Museum, Ankara, Turkey<br />
<br />
The rightmost figure wears a long coat and tailed dress. With both hands, he holds a sceptre with a ring in the middle. This item is thought to be a cult object in Assyria reliefs. The pointed and twisted tips of his shoes also show that he is in a high rank.  <br />
<br />
Against a brown art background.
  • Alaca Hoyuk Hittite monumental relief sculpted orthostat stone panel. Andesite, Alaca, Corum, 1399 - 1301 B.C. Anatolian Civilizations Museum, Ankara, Turkey<br />
<br />
The rightmost figure wears a long coat and tailed dress. With both hands, he holds a sceptre with a ring in the middle. This item is thought to be a cult object in Assyria reliefs. The pointed and twisted tips of his shoes also show that he is in a high rank.  <br />
<br />
Against a grey art background.
  • Upright picture of Alaca Hoyuk Sphinx Gate Hittite monumental relief sculpted orthostat stone panel. Andesite, Alaca, Corum, 1399 - 1301 B.C. Jugglers and acrobats.  Anatolian Civilizations Museum, Ankara, Turkey<br />
<br />
The juggler facing towards left, with long hair and a short dress, swallows a dagger; the smaller acrobats behind go up the stairs without holding on. All the figures have horned headdresses and earrings with a huge ring on their ears. It is thought that the acrobats are of different nationality, which is the reason why they are depicted smaller. <br />
<br />
 Against a white background.
  • Upright picture of Alaca Hoyuk Sphinx Gate Hittite monumental relief sculpted orthostat stone panel. Andesite, Alaca, Corum, 1399 - 1301 B.C. Jugglers and acrobats.  Anatolian Civilizations Museum, Ankara, Turkey<br />
<br />
The juggler facing towards left, with long hair and a short dress, swallows a dagger; the smaller acrobats behind go up the stairs without holding on. All the figures have horned headdresses and earrings with a huge ring on their ears. It is thought that the acrobats are of different nationality, which is the reason why they are depicted smaller. <br />
<br />
Against a brown gray background.
  • Upright picture of Alaca Hoyuk Sphinx Gate Hittite monumental relief sculpted orthostat stone panel. Andesite, Alaca, Corum, 1399 - 1301 B.C. Jugglers and acrobats.  Anatolian Civilizations Museum, Ankara, Turkey<br />
<br />
The juggler facing towards left, with long hair and a short dress, swallows a dagger; the smaller acrobats behind go up the stairs without holding on. All the figures have horned headdresses and earrings with a huge ring on their ears. It is thought that the acrobats are of different nationality, which is the reason why they are depicted smaller. <br />
<br />
Against a brown art background.
  • Landscape picture of Alaca Hoyuk Sphinx Gate Hittite monumental relief sculpted orthostat stone panel. Andesite, Alaca, Corum, 1399 - 1301 B.C. Jugglers and acrobats.  Anatolian Civilizations Museum, Ankara, Turkey<br />
<br />
The juggler facing towards left, with long hair and a short dress, swallows a dagger; the smaller acrobats behind go up the stairs without holding on. All the figures have horned headdresses and earrings with a huge ring on their ears. It is thought that the acrobats are of different nationality, which is the reason why they are depicted smaller.<br />
<br />
Against a black background.
  • Landscape picture of Alaca Hoyuk Sphinx Gate Hittite monumental relief sculpted orthostat stone panel. Andesite, Alaca, Corum, 1399 - 1301 B.C. Jugglers and acrobats.  Anatolian Civilizations Museum, Ankara, Turkey<br />
<br />
The juggler facing towards left, with long hair and a short dress, swallows a dagger; the smaller acrobats behind go up the stairs without holding on. All the figures have horned headdresses and earrings with a huge ring on their ears. It is thought that the acrobats are of different nationality, which is the reason why they are depicted smaller. <br />
<br />
Against a brown gray background.
  • Landscape picture of Alaca Hoyuk Sphinx Gate Hittite monumental relief sculpted orthostat stone panel. Andesite, Alaca, Corum, 1399 - 1301 B.C. Jugglers and acrobats.  Anatolian Civilizations Museum, Ankara, Turkey<br />
<br />
The juggler facing towards left, with long hair and a short dress, swallows a dagger; the smaller acrobats behind go up the stairs without holding on. All the figures have horned headdresses and earrings with a huge ring on their ears. It is thought that the acrobats are of different nationality, which is the reason why they are depicted smaller. <br />
<br />
Against a grey art background.
  • Upright picture of Alaca Hoyuk Sphinx Gate Hittite monumental relief sculpted orthostat stone panel. Andesite, Alaca, Corum, 1399 - 1301 B.C. Jugglers and acrobats.  Anatolian Civilizations Museum, Ankara, Turkey<br />
<br />
The juggler facing towards left, with long hair and a short dress, swallows a dagger; the smaller acrobats behind go up the stairs without holding on. All the figures have horned headdresses and earrings with a huge ring on their ears. It is thought that the acrobats are of different nationality, which is the reason why they are depicted smaller. <br />
<br />
Against a grey art background.
  • Alaca Hoyuk Sphinx Gate Hittite monumental relief sculpted orthostat stone panel. Andesite, Alaca, corum, 1399 - 1301 B.C.  King and queen in front of the altar. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Left Panel - The king carries the kingdom sceptre - lituus in his right hand, and extends his left hand forward for worship. The queen wears a fancy dress hanging down to the floor; both figures wear earrings with a large ring.<br />
<br />
Right Panel - Bull. It is the sacred animal of the Storm God. It is over a pedestal which is split from top to bottom. It is stocky and short-legged. With a huge horn, the bull has schematic muscles. In the orthostats on the left side, there is a procession moving towards this bull. <br />
<br />
Against a white background.
  • Alaca Hoyuk Sphinx Gate Hittite monumental relief sculpted orthostat stone panel. Andesite, Alaca, corum, 1399 - 1301 B.C.  King and queen in front of the altar. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Left Panel - The king carries the kingdom sceptre - lituus in his right hand, and extends his left hand forward for worship. The queen wears a fancy dress hanging down to the floor; both figures wear earrings with a large ring.<br />
<br />
Right Panel - Bull. It is the sacred animal of the Storm God. It is over a pedestal which is split from top to bottom. It is stocky and short-legged. With a huge horn, the bull has schematic muscles. In the orthostats on the left side, there is a procession moving towards this bull. <br />
<br />
Against a black background.
  • Alaca Hoyuk Sphinx Gate Hittite monumental relief sculpted orthostat stone panel. Andesite, Alaca, corum, 1399 - 1301 B.C.  King and queen in front of the altar. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Left Panel - The king carries the kingdom sceptre - lituus in his right hand, and extends his left hand forward for worship. The queen wears a fancy dress hanging down to the floor; both figures wear earrings with a large ring.<br />
<br />
Right Panel - Bull. It is the sacred animal of the Storm God. It is over a pedestal which is split from top to bottom. It is stocky and short-legged. With a huge horn, the bull has schematic muscles. In the orthostats on the left side, there is a procession moving towards this bull. <br />
<br />
Against a brown art background.
  • Alaca Hoyuk Sphinx Gate Hittite monumental relief sculpted orthostat stone panel. Andesite, Alaca, corum, 1399 - 1301 B.C.  King and queen in front of the altar. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Left Panel - The king carries the kingdom sceptre - lituus in his right hand, and extends his left hand forward for worship. The queen wears a fancy dress hanging down to the floor; both figures wear earrings with a large ring.<br />
<br />
Right Panel - Bull. It is the sacred animal of the Storm God. It is over a pedestal which is split from top to bottom. It is stocky and short-legged. With a huge horn, the bull has schematic muscles. In the orthostats on the left side, there is a procession moving towards this bull. <br />
<br />
Against a grey art background.
  • Alaca Hoyuk Sphinx Gate Hittite monumental relief sculpted orthostat stone panel. Andesite, Alaca, corum, 1399 - 1301 B.C.  King and queen in front of the altar.  Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
The king carries the kingdom sceptre - lituus in his right hand, and extends his left hand forward for worship. The queen wears a fancy dress hanging down to the floor; both figures wear earrings with a large ring.<br />
<br />
<br />
Against a white background.
  • Alaca Hoyuk Sphinx Gate Hittite monumental relief sculpted orthostat stone panel. Andesite, Alaca, corum, 1399 - 1301 B.C.  King and queen in front of the altar. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
The king carries the kingdom sceptre - lituus in his right hand, and extends his left hand forward for worship. The queen wears a fancy dress hanging down to the floor; both figures wear earrings with a large ring.<br />
 <br />
Against a brown art background.
  • Alaca Hoyuk Sphinx Gate Hittite monumental relief sculpted orthostat stone panel. Andesite, Alaca, corum, 1399 - 1301 B.C.  King and queen in front of the altar. <br />
<br />
The king carries the kingdom sceptre - lituus in his right hand, and extends his left hand forward for worship. The queen wears a fancy dress hanging down to the floor; both figures wear earrings with a large ring.<br />
 Anatolian Civilizations Museum, Ankara, Turkey
  • Calanais Standing Stones  central stone circle erected between 2900-2600BC measuring 11 metres wide. At the centre of the ring stands a huge monolith stone 4.8 metres high weighing about 7 tonnes, which is perfectly orientated so that its widest sides face due north south. Calanais Neolithic Standing Stone (Tursachan Chalanais) , Isle of Lewis, Outer Hebrides, Scotland.

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