• Copf style sculpted window brace - ( Gy?r )  Gyor Hungary
  • Figures from the East Pediment of the Parthenon, Acropolis Athens. From left to right cat no K possibly the goddess Hestia ,L & M probably the goddess Aphrodite lying the the lap of Dione her mother. British Museum London Exhibit
  • Sculpture of Lapiths and  Centaurs battling from the Metope of the Parthenon on the Acropolis of Athens no XXVIII. Also known as the Elgin marbles. British Museum London.
  • Sculpture of Lapiths and  Centaurs battling from the Metope of the Parthenon on the Acropolis of Athens no XXIX. Also known as the Elgin marbles. British Museum London. A Centaur with pointed ears is carrying off a virgin.
  • Marble Releif Sculptures from the east frieze around the Parthenon Block IV 24-27. From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles. Far Richt Ares sits holding his knee  to his left Demeter is leaning on one wrist, a sign of mouring, grieving for her daughter Persaphone who had been abducted by the gods of the underworld.
  • Marble Releif Sculptures from the frieze around the Parthenon Block V 28-32. From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles. Athena looks round at Zeus
  • Marble Releif Sculptures from the east frieze around the Parthenon Block IV 20-27. From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles. Far Richt Ares sits holding his knee  to his left Demeter is leaning on one wrist, a sign of mouring, grieving for her daughter Persaphone who had been abducted by the gods of the underworld.
  • Marble Releif Sculptures from the north frieze around the Parthenon Block XLIII 118-120. From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles
  • Figures from the East Pediment of the Parthenon, Acropolis Athens. From left to right cat no D Dionysos ,middle E & F Demeter & Persephone, left G Hebe. British Museum London Exhibit
  • Sculpture of Lapiths and  Centaurs battling from the Metope of the Parthenon on the Acropolis of Athens no XXVII. Also known as the Elgin marbles. British Museum London. This is one of the most dramatic compositions of the Metopes with the Lapith preparing to make a final strike and the cloak of the Centaur fanning out
  • Sculpture of Lapiths and  Centaurs battling from the Metope of the Parthenon on the Acropolis of Athens no XXIX. Also known as the Elgin marbles. British Museum London. A Centaur with pointed ears is carrying off a virgin.
  • Marble Roman Statue of the Muse of Music ( Euterpe ) playing the lyre. , 2nd cent. AD, from Miletus (Balat, Soke ). Istanbul Archaeological museum Inv 2002 T.  Cat. Mendel 116
  • Marble Roman Statue of the Muse of Music ( Euterpe ) playing the lyre. , 2nd cent. AD, from Miletus (Balat, Soke ). Istanbul Archaeological museum Inv 2002 T.  Cat. Mendel 116
  • Roman copy of a Greek  Hellenistic period statue of the poetess Sappho, from Symrna ( Izmir ), Turkey.. Sappho wrote about love with both sexes and her name led to the phrase "Sapphic love" which became synonmymous with lesbianism in the 20th century. Sappho was also from the island of Lesbos.  Istanbul Archaeological museum Inv 358 T. Cat Mendell 626.
  • Roman copy of a Greek  Hellenistic period statue of the poetess Sappho, from Symrna ( Izmir ), Turkey.. Sappho wrote about love with both sexes and her name led to the phrase "Sapphic love" which became synonmymous with lesbianism in the 20th century. Sappho was also from the island of Lesbos.  Istanbul Archaeological museum Inv 358 T. Cat Mendell 626.
  • Statue of a Nymphe, the spirit of the meadows, forest & waters, an early Roman marble sculpture, Ist cent B.C, from Tralles (Aydin) , west Turkey. Istanbul Archaeological museum Cat. Mendel 543.
  • Marble Anatolian Persian Funerary Stele, 5th cent. B.C, from Dascyleium ( Ergili, Manyas ) Turkey.  Istanbul Archaeological museum Inv 5763 T.
  • Marble Anatolian Persian Funerary Stele, 5th cent. B.C, from Dascyleium ( Ergili, Manyas ) Turkey.  Istanbul Archaeological museum Inv 5763 T.
  • Marble Anatolian Persian Funerary Stele, 5th cent. B.C, from Dascyleium ( Ergili, Manyas ) Turkey.  Istanbul Archaeological museum Inv 5763 T.
  • Sculpture of Lapiths and  Centaurs battling from the Metope of the Parthenon on the Acropolis of Athens no XXIX. Also known as the Elgin marbles. British Museum London. A Centaur with pointed ears is carrying off a virgin.
  • Figures from the East Pediment of the Parthenon, Acropolis Athens. From left to right cat no D Dionysos ,middle E & F Demeter & Persephone, left G Hebe. British Museum London Exhibit
  • Figures from the East Pediment of the Parthenon, Acropolis Athens. From left to right cat no K possibly the goddess Hestia ,L & M probably the goddess Aphrodite lying the the lap of Dione her mother. British Museum London Exhibit
  • Figures from the East Pediment of the Parthenon, Acropolis Athens. From left to right cat no K possibly the goddess Hestia ,L & M probably the goddess Aphrodite lying the the lap of Dione her mother. British Museum London Exhibit
  • Sculpture of Lapiths and  Centaurs battling from the Metope of the Parthenon on the Acropolis of Athens No III. Also known as the Elgin marbles. British Museum London.
  • Sculpture of Lapiths and  Centaurs battling from the Metope of the Parthenon on the Acropolis of Athens. South Metope no II. Also known as the Elgin marbles. British Museum London. The Lapith holds a Centaur by the throat. The diagnal of the Lapiths body across the Centaur is often used in Greek Classical art to depict strife.
  • Sculpture of Lapiths and  Centaurs battling from the Metope of the Parthenon on the Acropolis of Athens. South Metope no II. Also known as the Elgin marbles. British Museum London. The Lapith holds a Centaur by the throat. The diagnal of the Lapiths body across the Centaur is often used in Greek Classical art to depict strife.
  • Sculpture of Lapiths and  Centaurs battling from the Metope of the Parthenon on the Acropolis of Athens no XXVIII. Also known as the Elgin marbles. British Museum London.
  • Sculpture of Lapiths and  Centaurs battling from the Metope of the Parthenon on the Acropolis of Athens no XXVIII. Also known as the Elgin marbles. British Museum London.
  • Sculpture of Lapiths and  Centaurs battling from the Metope of the Parthenon on the Acropolis of Athens. Also known as the Elgin marbles. British Museum London.
  • Sculpture of Lapiths and  Centaurs battling from the Metope of the Parthenon on the Acropolis of Athens. Also known as the Elgin marbles. British Museum London.
  • Sculpture of Lapiths and  Centaurs battling from the Metope of the Parthenon on the Acropolis of Athens no XXVII. Also known as the Elgin marbles. British Museum London. This is one of the most dramatic compositions of the Metopes with the Lapith preparing to make a final strike and the cloak of the Centaur fanning out
  • Sculpture of Lapiths and  Centaurs battling from the Metope of the Parthenon on the Acropolis of Athens no XXVII. Also known as the Elgin marbles. British Museum London. This is one of the most dramatic compositions of the Metopes with the Lapith preparing to make a final strike and the cloak of the Centaur fanning out
  • Sculpture of Lapiths and  Centaurs battling from the Metope of the Parthenon on the Acropolis of Athens no XXVII. Also known as the Elgin marbles. British Museum London. This is one of the most dramatic compositions of the Metopes with the Lapith preparing to make a final strike and the cloak of the Centaur fanning out
  • Sculpture of Lapiths and  Centaurs battling from the Metope of the Parthenon on the Acropolis of Athens no XXIX. Also known as the Elgin marbles. British Museum London. A Centaur with pointed ears is carrying off a virgin.
  • Sculpture of Lapiths and  Centaurs battling from the south east corner Metope of the Parthenon on the Acropolis of Athens no XXXII. Also known as the Elgin marbles. British Museum London.
  • Sculpture of Lapiths and  Centaurs battling from the south east corner Metope of the Parthenon on the Acropolis of Athens no XXXII. Also known as the Elgin marbles. British Museum London.
  • Sculpture of Lapiths and  Centaurs battling from the south east corner Metope of the Parthenon on the Acropolis of Athens no XXXII. Also known as the Elgin marbles. British Museum London.
  • Marble Releif Sculptures from the east frieze around the Parthenon Block IV 24-27. From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles. Far Richt Ares sits holding his knee  to his left Demeter is leaning on one wrist, a sign of mouring, grieving for her daughter Persaphone who had been abducted by the gods of the underworld.
  • Marble Releif Sculptures from the frieze around the Parthenon Block V 28-32. From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles. Athena looks round at Zeus
  • Marble Releif Sculptures from the east frieze around the Parthenon Block IV 20-27. From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles. Far Richt Ares sits holding his knee  to his left Demeter is leaning on one wrist, a sign of mouring, grieving for her daughter Persaphone who had been abducted by the gods of the underworld.
  • Marble Releif Sculptures from the east frieze around the Parthenon Block V 28 to 37 . From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles. This frieze depicts the goddess Athena & Zeus
  • Marble Releif Sculptures from the east frieze around the Parthenon Block IV 20-23. From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles
  • Marble Releif Sculptures from the south  frieze around the Parthenon Block XLVI 142-144. From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles
  • Marble Releif Sculptures from the frieze around the Parthenon Block XXXVII to XLI  100 to 114 . From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles
  • Marble Releif Sculptures from the south frieze around the Parthenon Block XLI 122-124. From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles. End of the South freize as cattle are led to be sacrificed
  • Marble Releif Sculptures from the frieze around the Parthenon Block XXXVII to XLI  100 to 114 . From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles
  • Marble Releif Sculptures from the south frieze around the Parthenon Block XLI 122-124. From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles. End of the South freize as cattle are led to be sacrificed
  • Marble Releif Sculptures from the frieze around the Parthenon Block XLII to XLIV 115 to 124  . From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles
  • Marble Releif Sculptures from the north frieze around the Parthenon Block XLII 115-117. From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles
  • Marble Releif Sculptures from the north frieze around the Parthenon Block XLII 115-117. From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles
  • Marble Releif Sculptures from the north frieze around the Parthenon Block XLIII 118-120. From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles
  • Marble Releif Sculptures from the north frieze around the Parthenon Block XLIV 122-123 . From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles
  • Marble Releif Sculptures from the north frieze around the Parthenon Block XLIV 122-123 . From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles
  • Marble Releif Sculptures from the frieze around the Parthenon Block II. From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles
  • Releif Sculptures from the frieze around the Parthenon Block IV. From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles
  • Releif Sculptures from the frieze around the Parthenon Block V. From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles
  • Releif Sculptures from the frieze around the Parthenon Block IV. From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles
  • Releif Sculptures from the frieze around the Parthenon Block V. From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles
  • Releif Sculptures from the frieze around the Parthenon Block VIII. From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles
  • Releif Sculptures from the frieze around the Parthenon Block VIII. From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles
  • Releif Sculptures from the frieze around the Parthenon Block VIII. From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles
  • Releif Sculptures from the frieze around the Parthenon Block VI. From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles
  • Releif Sculptures from the frieze around the Parthenon Block XV. From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles
  • Sculpture of Lapiths and  Centaurs battling from the Metope of the Parthenon on the Acropolis of Athens. South Metope no II. Also known as the Elgin marbles. British Museum London. The Lapith holds a Centaur by the throat. The diagnal of the Lapiths body across the Centaur is often used in Greek Classical art to depict strife.
  • Sculpture of Lapiths and  Centaurs battling from the Metope of the Parthenon on the Acropolis of Athens no XXVIII. Also known as the Elgin marbles. British Museum London.
  • Sculpture of Lapiths and  Centaurs battling from the Metope of the Parthenon on the Acropolis of Athens. Also known as the Elgin marbles. British Museum London.
  • Sculpture of Lapiths and  Centaurs battling from the Metope of the Parthenon on the Acropolis of Athens no XXX. Also known as the Elgin marbles. British Museum London. The Centaur is about to trample the Lapith who is picking up a stone as his final defence.
  • Sculpture of Lapiths and  Centaurs battling from the south east corner Metope of the Parthenon on the Acropolis of Athens no XXXII. Also known as the Elgin marbles. British Museum London.
  • Sculpture of Lapiths and  Centaurs battling from the south east corner Metope of the Parthenon on the Acropolis of Athens no XXXII. Also known as the Elgin marbles. British Museum London.
  • Marble Releif Sculptures from the east frieze around the Parthenon Block IV 24-27. From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles. Far Richt Ares sits holding his knee  to his left Demeter is leaning on one wrist, a sign of mouring, grieving for her daughter Persaphone who had been abducted by the gods of the underworld.
  • Marble Releif Sculptures from the frieze around the Parthenon Block V 28-32. From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles. Athena looks round at Zeus
  • Marble Releif Sculptures from the east frieze around the Parthenon Block V 28 to 37 . From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles. This frieze depicts the goddess Athena & Zeus
  • Marble Releif Sculptures from the frieze around the Parthenon Block XXXVII to XLI  100 to 114 . From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles
  • Marble Releif Sculptures from the frieze around the Parthenon Block XLII to XLIV 115 to 124  . From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles
  • Marble Releif Sculptures from the north frieze around the Parthenon Block XLII 115-117. From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles
  • Marble Releif Sculptures from the north frieze around the Parthenon Block XLIII 118-120. From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles
  • Releif Sculptures from the frieze around the Parthenon Block V. From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles
  • Releif Sculptures from the frieze around the Parthenon Block XV. From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles
  • Marble Roman Statue of the Muse of Music ( Euterpe ) playing the lyre. , 2nd cent. AD, from Miletus (Balat, Soke ). Istanbul Archaeological museum Inv 2002 T.  Cat. Mendel 116
  • Marble Roman Statue of the Muse of Music ( Euterpe ) playing the lyre. , 2nd cent. AD, from Miletus (Balat, Soke ). Istanbul Archaeological museum Inv 2002 T.  Cat. Mendel 116
  • Roman copy of a Greek  Hellenistic period statue of the poetess Sappho, from Symrna ( Izmir ), Turkey.. Sappho wrote about love with both sexes and her name led to the phrase "Sapphic love" which became synonmymous with lesbianism in the 20th century. Sappho was also from the island of Lesbos.  Istanbul Archaeological museum Inv 358 T. Cat Mendell 626.
  • Roman copy of a Greek  Hellenistic period statue of the poetess Sappho, from Symrna ( Izmir ), Turkey.. Sappho wrote about love with both sexes and her name led to the phrase "Sapphic love" which became synonmymous with lesbianism in the 20th century. Sappho was also from the island of Lesbos.  Istanbul Archaeological museum Inv 358 T. Cat Mendell 626.
  • Statue of a Nymphe, the spirit of the meadows, forest & waters, an early Roman marble sculpture, Ist cent B.C, from Tralles (Aydin) , west Turkey. Istanbul Archaeological museum Cat. Mendel 543.
  • Statue of a Nymphe, the spirit of the meadows, forest & waters, an early Roman marble sculpture, Ist cent B.C, from Tralles (Aydin) , west Turkey. Istanbul Archaeological museum Cat. Mendel 543.
  • Statue of a Nymphe, the spirit of the meadows, forest & waters, an early Roman marble sculpture, Ist cent B.C, from Tralles (Aydin) , west Turkey. Istanbul Archaeological museum Cat. Mendel 543.
  • Marble Anatolian Persian Funerary Stele, 5th cent. B.C, from Dascyleium ( Ergili, Manyas ) Turkey.  Istanbul Archaeological museum Inv 5763 T.
  • Figures from the East Pediment of the Parthenon, Acropolis Athens. From left to right cat no D Dionysos ,middle E & F Demeter & Persephone, left G Hebe. British Museum London Exhibit
  • Figures from the East Pediment of the Parthenon, Acropolis Athens. From left to right cat no D Dionysos ,middle E & F Demeter & Persephone, left G Hebe. British Museum London Exhibit
  • Figures from the East Pediment of the Parthenon, Acropolis Athens. From left to right cat no K possibly the goddess Hestia ,L & M probably the goddess Aphrodite lying the the lap of Dione her mother. British Museum London Exhibit
  • Sculpture of Lapiths and  Centaurs battling from the Metope of the Parthenon on the Acropolis of Athens No III. Also known as the Elgin marbles. British Museum London.
  • Sculpture of Lapiths and  Centaurs battling from the Metope of the Parthenon on the Acropolis of Athens No III. Also known as the Elgin marbles. British Museum London.
  • Sculpture of Lapiths and  Centaurs battling from the Metope of the Parthenon on the Acropolis of Athens. South Metope no II. Also known as the Elgin marbles. British Museum London. The Lapith holds a Centaur by the throat. The diagnal of the Lapiths body across the Centaur is often used in Greek Classical art to depict strife.
  • Sculpture of Lapiths and  Centaurs battling from the Metope of the Parthenon on the Acropolis of Athens. Also known as the Elgin marbles. British Museum London.
  • Sculpture of Lapiths and  Centaurs battling from the Metope of the Parthenon on the Acropolis of Athens no XXIX. Also known as the Elgin marbles. British Museum London. A Centaur with pointed ears is carrying off a virgin.
  • Sculpture of Lapiths and  Centaurs battling from the Metope of the Parthenon on the Acropolis of Athens no XXX. Also known as the Elgin marbles. British Museum London. The Centaur is about to trample the Lapith who is picking up a stone as his final defence.
  • Sculpture of Lapiths and  Centaurs battling from the Metope of the Parthenon on the Acropolis of Athens no XXX. Also known as the Elgin marbles. British Museum London. The Centaur is about to trample the Lapith who is picking up a stone as his final defence.
  • Sculpture of Lapiths and  Centaurs battling from the Metope of the Parthenon on the Acropolis of Athens no XXX. Also known as the Elgin marbles. British Museum London. The Centaur is about to trample the Lapith who is picking up a stone as his final defence.
  • Marble Releif Sculptures from the east frieze around the Parthenon Block IV 24-27. From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles. Far Richt Ares sits holding his knee  to his left Demeter is leaning on one wrist, a sign of mouring, grieving for her daughter Persaphone who had been abducted by the gods of the underworld.
  • Marble Releif Sculptures from the east frieze around the Parthenon Block IV 24-27. From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles. Far Richt Ares sits holding his knee  to his left Demeter is leaning on one wrist, a sign of mouring, grieving for her daughter Persaphone who had been abducted by the gods of the underworld.
  • Marble Releif Sculptures from the east frieze around the Parthenon Block V 28 to 37 . From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles. This frieze depicts the goddess Athena & Zeus
  • Marble Releif Sculptures from the south  frieze around the Parthenon Block XLVI 142-144. From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles
  • Marble Releif Sculptures from the south  frieze around the Parthenon Block XLVI 142-144. From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles
  • Marble Releif Sculptures from the south frieze around the Parthenon Block XLI 122-124. From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles. End of the South freize as cattle are led to be sacrificed
  • Marble Releif Sculptures from the frieze around the Parthenon Block XLII to XLIV 115 to 124  . From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles
  • Marble Releif Sculptures from the north frieze around the Parthenon Block XLII 115-117. From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles
  • Marble Releif Sculptures from the north frieze around the Parthenon Block XLIII 118-120. From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles
  • Marble Releif Sculptures from the north frieze around the Parthenon Block XLIV 122-123 . From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles
  • Marble Releif Sculptures from the frieze around the Parthenon Block II. From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles
  • Marble Releif Sculptures from the frieze around the Parthenon Block II. From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles
  • Releif Sculptures from the frieze around the Parthenon Block IV. From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles
  • Releif Sculptures from the frieze around the Parthenon Block VI. From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles
  • Releif Sculptures from the frieze around the Parthenon Block V. From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles
  • Releif Sculptures from the frieze around the Parthenon Block VI. From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles
  • Releif Sculptures from the frieze around the Parthenon Block XV. From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles
  • Releif Sculptures from the frieze around the Parthenon Block XV. From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles
  • Figures from the East Pediment of the Parthenon, Acropolis Athens. From left to right cat no K possibly the goddess Hestia ,L & M probably the goddess Aphrodite lying the the lap of Dione her mother. British Museum London Exhibit
  • Sculpture of Lapiths and  Centaurs battling from the Metope of the Parthenon on the Acropolis of Athens No III. Also known as the Elgin marbles. British Museum London.
  • Sculpture of Lapiths and  Centaurs battling from the Metope of the Parthenon on the Acropolis of Athens No III. Also known as the Elgin marbles. British Museum London.
  • Sculpture of Lapiths and  Centaurs battling from the Metope of the Parthenon on the Acropolis of Athens. South Metope no II. Also known as the Elgin marbles. British Museum London. The Lapith holds a Centaur by the throat. The diagnal of the Lapiths body across the Centaur is often used in Greek Classical art to depict strife.
  • Sculpture of Lapiths and  Centaurs battling from the Metope of the Parthenon on the Acropolis of Athens no XXVIII. Also known as the Elgin marbles. British Museum London.
  • Sculpture of Lapiths and  Centaurs battling from the Metope of the Parthenon on the Acropolis of Athens. Also known as the Elgin marbles. British Museum London.
  • Sculpture of Lapiths and  Centaurs battling from the Metope of the Parthenon on the Acropolis of Athens no XXX. Also known as the Elgin marbles. British Museum London. The Centaur is about to trample the Lapith who is picking up a stone as his final defence.
  • Marble Releif Sculptures from the east frieze around the Parthenon Block IV 20-27. From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles. Far Richt Ares sits holding his knee  to his left Demeter is leaning on one wrist, a sign of mouring, grieving for her daughter Persaphone who had been abducted by the gods of the underworld.
  • Marble Releif Sculptures from the south  frieze around the Parthenon Block XLVI 142-144. From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles
  • Marble Releif Sculptures from the south frieze around the Parthenon Block XLI 122-124. From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles. End of the South freize as cattle are led to be sacrificed
  • Marble Releif Sculptures from the north frieze around the Parthenon Block XLIV 122-123 . From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles
  • Releif Sculptures from the frieze around the Parthenon Block VIII. From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles
  • Releif Sculptures from the frieze around the Parthenon Block VI. From the Parthenon of the Acropolis Athens. A British Museum Exhibit known as The Elgin Marbles
  • Sleeping Hermaphroditus.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Roman relief sculpted garland sarcophagus with pitched tile sculpted roof, 3rd century AD. Adana Archaeology Museum, Turkey. Against a grey background
  • Roman relief sculpted garland sarcophagus with pitched tile sculpted roof, 3rd century AD. Adana Archaeology Museum, Turkey. Against a black background
  • Roman relief sculpted garland sarcophagus with pitched tile sculpted roof, 3rd century AD. Adana Archaeology Museum, Turkey
  • Roman relief sculpted sarcophagus of Achilles from Attica. This side shows scenes from the life of Achilles and bears characteristics of the Late Antonines Period of the Roman Imperial Period between 170-190 AD. Adana Archaeology Museum, TurkeyRoman relief sculpted sarcophagus of Achilles from Attica. This side shows two griffin and  bears characteristics of the Late Antonines Period of the Roman Imperial Period between 170-190 AD. Adana Archaeology Museum, Turkey. Against a black background
  • Picture and image of the stone sculpture of a nude looking at a skull on a crucifix.  Sculpted in an art Nouveau style the sculture is a reminder that beauty and life is transient. The Lavarello tomb sculpted by Demetrio Paernio 1914. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a nude looking at a skull on a crucifix.  Sculpted in an art Nouveau style the sculture is a reminder that beauty and life is transient. The Lavarello tomb sculpted by Demetrio Paernio 1914. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a nude looking at a skull on a crucifix.  Sculpted in an art Nouveau style the sculture is a reminder that beauty and life is transient. The Lavarello tomb sculpted by Demetrio Paernio 1914. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Sleeping Hermaphroditus, The Borghese Hermaphrodite.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus, The Borghese Hermaphrodite.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus, The Borghese Hermaphrodite.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus.  A Life size  2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus, The Borghese Hermaphrodite.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus, The Borghese Hermaphrodite.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Roman relief sculpted garland sarcophagus with pitched tile sculpted roof, 3rd century AD. Adana Archaeology Museum, Turkey. Against a white background
  • Sleeping Hermaphroditus, The Borghese Hermaphrodite.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus, The Borghese Hermaphrodite.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus, The Borghese Hermaphrodite.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus, The Borghese Hermaphrodite.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus, The Borghese Hermaphrodite.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus, The Borghese Hermaphrodite.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus, The Borghese Hermaphrodite.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus, The Borghese Hermaphrodite.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus, The Borghese Hermaphrodite.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Roman relief sculpted garland sarcophagus with pitched tile sculpted roof, 3rd century AD. Adana Archaeology Museum, Turkey
  • Picture and image of the stone sculpture of a nude looking at a skull on a crucifix.  Sculpted in an art Nouveau style the sculture is a reminder that beauty and life is transient. The Lavarello tomb sculpted by Demetrio Paernio 1914. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Sleeping Hermaphroditus.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus, The Borghese Hermaphrodite.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Roman relief sculpted sarcophagus of Achilles from Attica. This side shows two griffin and  bears characteristics of the Late Antonines Period of the Roman Imperial Period between 170-190 AD. Adana Archaeology Museum, Turkey.
  • Roman relief sculpted garland sarcophagus with reliefs of bulls heads and garlands, 2nd century AD. Adana Archaeology Museum, Turkey. Against a warm art background
  • Roman relief sculpted sarcophagus of Achilles from Attica. This side shows scenes from the life of Achilles and bears characteristics of the Late Antonines Period of the Roman Imperial Period between 170-190 AD. Adana Archaeology Museum, Turkey
  • Close up of a side of a Roman relief sculpted Hercules sarcophagus with kline couch lid, "Columned Sarcophagi of Asia Minor” style typical of Sidamara, 250-260 AD, Konya Archaeological Museum, Turkey. Against a black background
  • End panel of a Roman relief sculpted sarcophagus with kline couch lid, "Columned Sarcophagi of Asia Minor” style typical of Sidamara, 3rd Century AD, Konya Archaeological Museum, Turkey. Against a black background
  • End panel of a Roman relief sculpted Hercules sarcophagus with kline couch lid, "Columned Sarcophagi of Asia Minor” style typical of Sidamara, 250-260 AD, Konya Archaeological Museum, Turkey. Against a grey background
  • End panel of a Roman relief sculpted sarcophagus with kline couch lid with a reclining male figuer depicted, "Columned Sarcophagi of Asia Minor” style typical of Sidamara, 3rd Century AD, Konya Archaeological Museum, Turkey. Against a white background.
  • Roman relief sculpted Hercules sarcophagus with kline couch lid, "Columned Sarcophagi of Asia Minor” style typical of Sidamara, 250-260 AD, Konya Archaeological Museum, Turkey. Against a black background
  • Roman relief garland  sculpted sarcophagus, style typical of Pamphylia, 3rd Century AD, Konya Archaeological Museum, Turkey. Against a white background
  • Roman relief sculpted Hercules sarcophagus with kline couch lid, "Columned Sarcophagi of Asia Minor” style typical of Sidamara, 250-260 AD, Konya Archaeological Museum, Turkey. Against a black background
  • Roman relief garland  sculpted sarcophagus, style typical of Pamphylia, 3rd Century AD, Konya Archaeological Museum, Turkey. Against a white background
  • Roman relief sculpted Hercules sarcophagus with kline couch lid, "Columned Sarcophagi of Asia Minor” style typical of Sidamara, 250-260 AD, Konya Archaeological Museum, Turkey. Against a black background
  • Side panel of a Roman relief sculpted Hercules sarcophagus with kline couch lid, "Columned Sarcophagi of Asia Minor” style typical of Sidamara, 250-260 AD, Konya Archaeological Museum, Turkey. Against a black background
  • Roman relief sculpted sarcophagus of Domitias Julianus and Domita Philiska, 2nd century AD, Perge. Antalya Archaeology Museum, Turkey.<br />
<br />
<br />
it is from the group of tombs classified as. "Columned Sarcophagi of Asia Minor”. <br />
The lid of the sarcophagus is sculpted into the form of a “Kline” style Roman couch on which lie Julianus &  Philiska. This type of Sarcophagus is also known as a Sydemara Type of Tomb.. Against a white background.
  • Roman relief sculpted sarcophagus of Aurelia Botiano and Demetria depicted reclining on the lid, 2nd century AD, Perge Inv 1.35.99. Antalya Archaeology Museum, Turkey.<br />
<br />
it is from the group of tombs classified as. "Columned Sarcophagi of Asia Minor”. The lid of the sarcophagus is sculpted into the form of a “Kline” style Roman couch on which lie Julianus &  Philiska. This type of Sarcophagus is also known as a Sydemara Type of Tomb.. Against a grey background.
  • Roman relief sculpted sarcophagus of Aurelia Botiano and Demetria depicted reclining on the lid, 2nd century AD, Perge Inv 1.35.99. Antalya Archaeology Museum, Turkey.<br />
<br />
it is from the group of tombs classified as. "Columned Sarcophagi of Asia Minor”. The lid of the sarcophagus is sculpted into the form of a “Kline” style Roman couch on which lie Julianus &  Philiska. This type of Sarcophagus is also known as a Sydemara Type of Tomb.. Against a black background.
  • Roman relief sculpted Herakles (Hercules)  sarcophagus, 2nd century AD, Perge, inv 2017/400. Antalya Archaeology Museum, Turkey. Against a black background.
  • Roman relief sculpted Herakles (Hercules)  sarcophagus, 2nd century AD, Perge, inv 2017/400. Antalya Archaeology Museum, Turkey. Against a warm art background.
  • Roman relief sculpted Ostothec cremation sarcophagus, 2nd century AD, Perge. An ostothec is used to preserve the ashes and bones of the dead bodies after their cremation, takes its form from a small sarcophagus. This ostothec is a miniature example of the garland sarcophagus. Antalya Archaeology Museum, Turkey. Against a grey background.. Against a warm art background.
  • Pictures & Images Hittite relief sculpted orthostat panels of the Sphinx Gate. Panel depicts a lion god. Alaca Hoyuk (Alacahoyuk) Hittite archaeological site  Alaca, Çorum Province, Turkey, Also known as Alacahüyük, Aladja-Hoyuk, Euyuk, or Evuk
  • Photo of Phrygian relief sculpted orthostat stone panel Andesite, Atateirk Orman ciftligi, Ankara, 12OO-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Winged griffin with a bird's head and a lion's body. There is a bird's head at the end of its tail. The chest was processed like fish scales. Its wing extends along the body. Muscles in its legs are schematic. <br />
<br />
Against a brown art background.
  • Picture & image of Hittite monumental relief sculpted orthostat stone panel of a Procession. Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey. Two animals struggling with each other. The lion attacking the bull holds the bull's chin and turns it backwards.  <br />
<br />
Against a gray background.
  • Picture & image of Hittite monumental relief sculpted orthostat stone panel of a Procession. Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C.  Marching female figures. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
It is a depiction of three marching female figures in long dress with a high headdress at their head. These women are considered to be the nuns of the Goddess Kubaba. They have a bunch of Spica in their right hand, and objects similar to a sceptre in their left hand.<br />
<br />
Against a gray background.
  • Hittite monumental relief sculpted orthostat stone panel of a Procession. Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C.  Marching female figures. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
It is a depiction of three marching female figures in long dress with a high headdress at their head. These women are considered to be the nuns of the Goddess Kubaba. They have a bunch of Spica in their right hand, and objects similar to a sceptre in their left hand.
  • Picture & image of Hittite monumental relief sculpted orthostat stone panel. Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Hunting carriage.  Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Two human figures; one handling the carriage, the other throwing arrows. Both figures are wearing a headdress shaped like a skullcap. The dagger at the waist of the figure throwing arrow draws attention. There is an animal between the legs of the horse having an aigrette over its head. <br />
<br />
Against a gray background.
  • Hittite monumental relief sculpted orthostat stone panel from the Herald's Wall. Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Military parade. Anatolian Civilisations Museum, Ankara, Turkey. Two helmeted soldiers in short skirts carry the shield on their backs and the spears in their hands.  <br />
<br />
Against a grey art background.
  • Hittite monumental relief sculpted orthostat stone panel of Royal Buttress. Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Hieroglyph panel1 (left) - Discourse of Yariris. Yariris presents his predecessor, the eldest son Kamanis, to his people. <br />
Second From left panel 2  -  King Araras holds his son Kamanis from the wrist. King carries a sceptre in his hand and a sword at his waist while the prince leans on a stick and carries a sword on his shoulder. <br />
Hieroglyphs reads; "This is Kamanis and his siblings.) held his hand and despite the fact that he is a child, I located him on the temple. This is Yariris' image".  <br />
<br />
Panel 3 - This panels scene showing 8 out of 10 children of the King, the hieroglyphs reads as follows: "Malitispas, Astitarhunzas, Tamitispas,Isikaritispas, Sikaras, Halpawaris, Ya hilatispas". Above, there are three figures holding knucklebones (astragalus) and one figure walking by leaning on a stick; below are two each figures playing the knucklebones and turning whirligigs.<br />
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Panel 4 - The queen carries her youngest son. The hieroglyphs located above read; "and this is Tuwarsais; the prince desired by the ruler, whose exclusiveness has been exposed". While the queen carries her son in her lap, she holds the rope of the colt coming behind with her other hand. The muscles of the colt are schematic. <br />
<br />
Against a grey art background.
  • Picture & image of Hittite monumental relief sculpted orthostat stone panel of Royal Buttress. Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
The queen carries her youngest son. The hieroglyphs located above read; "and this is Tuwarsais; the prince desired by the ruler, whose exclusiveness has been exposed". While the queen carries her son in her lap, she holds the rope of the colt coming behind with her other hand. The muscles of the colt are schematic. <br />
<br />
Against a gray background.
  • Hittite monumental relief sculpted orthostat stone panel of Royal Buttress. Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
King Araras holds his son Kamanis from the wrist. King carries a sceptre in his hand and a sword at his waist while the prince leans on a stick and carries a sword on his shoulder. <br />
<br />
Hieroglyphs reads; "This is Kamanis and his siblings. I held his hand and despite the fact that he is a child, I located him on the temple. This is Yariris' image".  <br />
<br />
Against a black background.
  • Photo of Hittite relief sculpted orthostat stone panel of Royal Buttress. Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B C. Warriors. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Two figures are seen, each with a long dress, a thick belt and curled hair. The figure in front carries a spear in his left hand and a long sword at his waist, and the figure behind carries an axe in his left hand and a quiver on his back.   <br />
<br />
Against a brown art background.
  • Hittite relief sculpted orthostat stone panel of Royal Buttress. Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B C. Warriors. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Two figures are seen, each with a long dress, a thick belt and curled hair. The figure in front carries a spear in his left hand and a long sword at his waist, and the figure behind carries an axe in his left hand and a quiver on his back.   <br />
<br />
Against a grey art background.
  • Hittite relief sculpted orthostat stone panel of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Two figures lying over the lion. There is a crescent at the head of the winged god at the front. It is thought that the figure at the front is moon god and the one at the rear is sun god. <br />
<br />
On a White Background.
  • Hittite relief sculpted orthostat stone panel of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Two figures lying over the lion. There is a crescent at the head of the winged god at the front. It is thought that the figure at the front is moon god and the one at the rear is sun god. <br />
<br />
On a black background.
  • Hittite relief sculpted orthostat stone panel of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Two figures lying over the lion. There is a crescent at the head of the winged god at the front. It is thought that the figure at the front is moon god and the one at the rear is sun god. <br />
<br />
On a grey art background.
  • Hittite relief sculpted orthostat stone panel  of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 BC. Anatolian Civilisations Museum.<br />
<br />
 The hieroglyphics reads; "I am Win-a-tis, beloved wife of my Lord Suhi, wherever and whenever my husband honours his name, he will honour my name as well with favours". Underneath, there are two goddess figures, one is naked with a horned head, holding her breasts with her hands. Her genitalia is indicated by a triangle.
  • Photo of Hittite relief sculpted orthostat stone panel of Long Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Goddess Kubaba. Goddess is depicted from the profile. She holds a pomegranate in her hands on her chest. She carries a one-horned headdress on her head. Her braided hair hangs down to her shoulder . <br />
<br />
On a brown art background.
  • Hittite relief sculpted orthostat stone panel of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 -700 B.C. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Chariot. One of the two figures in the chariot holds the horse's headstall while the other throws arrows. There is a naked enemy with an arrow in his hip lying face down under the horse's feet. It is thought that this figure is depicted smaller than the other figures since it is an enemy soldier. The lower part of the orthostat is decorated with braiding motifs.<br />
<br />
On a White Background.
  • Hittite relief sculpted orthostat stone panel of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 - 700 B.C. Chariot. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
One of the two figures in the chariot holds the horse's headstall while the other throws arrows. There is a naked enemy with an arrow in his hip lying face down under the horse's feet It is thought that this figure is depicted smaller than the other figures since it is an enemy soldier. The lower part of the orthostat is decorated with braiding motifs. . <br />
<br />
On a black background.
  • Hittite sculpted Orthostats panel from the  Long Wall.  Limestone, Kargarmis, Gaziantep, 900 - 700 BC,  Hieroglyph. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
In the epigraph with hieroglyph, he narrates that the gods were provoked against him, the account of the cities conquered and the spoils of war; that he allocated a share for the gods, and that he instigated the mighty king Tarhunza and the other gods. In the other lines, he demands that people should present offerings to statues but should evil-intentioned people be among them, such person individuals be punished by the gods.  <br />
<br />
On a black background.
  • Picture & image of Hittite sculpted Orthostats panel from the  Long Wall.  Limestone, Kargarmis, Gaziantep, 900 - 700 BC,  Hieroglyph. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
In the epigraph with hieroglyph, he narrates that the gods were provoked against him, the account of the cities conquered and the spoils of war; that he allocated a share for the gods, and that he instigated the mighty king Tarhunza and the other gods. In the other lines, he demands that people should present offerings to statues but should evil-intentioned people be among them, such person individuals be punished by the gods.  <br />
<br />
On a gray background.
  • Hittite monumental relief sculpted orthostat stone panel from the Herald's Wall. Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Military parade with soldiers. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Two helmeted soldiers marching soldiers in short skirts carry the shield on their backs and the spears in their hands.
  • Hittite relief sculpted orthostat stone panel of Herald's Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
On the right is a bearded human figure with a short skirt; with the dagger in his right hand, he is stabbing the lion standing on his front legs while holding the lion's tail with his left hand. On the left is a bearded god figure with a horned-headdress, who grasps the lion's hind leg while holding the ax over his head with his right hand. <br />
<br />
Against a brown art background.
  • Hittite relief sculpted orthostat stone panel of Herald's Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Bird-headed, winged figures of human body. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
These figures are called as "Winged Griffin Demons". Embossing is constructed symmetrically. Their hands are on their heads. It is assumed that they carry the heavens.
  • Photo of Hittite relief sculpted orthostat stone panel of Herald's Wall. Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
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Protective mixed creatures. One each hand of the lion-headed men is in the form of a fist. The mace on the left is over the head of the weapon on the right. The two bull-men in the middle carry one spear each in their hands. Bull-man is known as Kusarikku, and the lion-man is known as Ugallu. <br />
<br />
Against a black background.
  • Hittite relief sculpted orthostat stone panel of Herald's Wall. Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Protective mixed creatures. One each hand of the lion-headed men is in the form of a fist. The mace on the left is over the head of the weapon on the right. The two bull-men in the middle carry one spear each in their hands. Bull-man is known as Kusarikku, and the lion-man is known as Ugallu. <br />
<br />
Against a brown art background.
  • Hittite relief sculpted orthostat stone panel of Herald's Wall. Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
On the left is a winged mixed creature with a human head and body who has a scorpion tail and bird legs; on the right is a human-like god. The figures fight with a winged bull standing on its hind legs. The scorpion-man is known as Girtablull. <br />
<br />
Against a brown art background.
  • Hittite relief sculpted stone panel. Lion. Aslantepe Gate Limestone, Aslantepe, Malatya, 1200-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
The lion on the left of the two lions at the gate of the palace. His head and his front part were processed as high embossing and his body as regular embossing. The signs behind the lion and over his tail read; "Halposulupis, Mighty (?) King".<br />
<br />
Against a grey art background.
  • Hittite relief sculpted stone panel. Lion. Aslantepe Gate Limestone, Aslantepe, Malatya, 1200-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
The lion on the left of the two lions at the gate of the palace. His head and his front part were processed as high embossing and his body as regular embossing. The signs behind the lion and over his tail read; "Halposulupis, Mighty (?) King".<br />
<br />
Against a black background.
  • Aslantepe Hittite relief sculpted orthostat stone panel. Limestone, Aslantepe, Malatya, 1200-700 B.C. . Anatolian Civilisations Museum, Ankara, Turkey. Depiction of a horse walking.<br />
<br />
Against a gray background.
  • Hittite relief sculpted stone panel. Lion. Aslantepe Gate Limestone, Aslantepe, Malatya, 1200-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
The lion on the left of the two lions at the gate of the palace. His head and his front part were processed as high embossing and his body as regular embossing. The signs behind the lion and over his tail read; "Halposulupis, Mighty (?) King".<br />
<br />
Against a grey art background.
  • Aslantepe Hittite relief sculpted orthostat stone panel. Limestone, Aslantepe, Malatya, 1200-700 B.C. . Anatolian Civilisations Museum, Ankara, Turkey. Depiction of a horse walking .<br />
<br />
Against a black background.
  • Aslantepe Monumental Hittite relief sculpted orthostat stone panel.  Limestone, Aslantepe, Malatya, 1200-700 B.C. <br />
Scene of the king's offering drink and sacrifice to the gods. The king offers to the winged god of the moon who stands across and holds a lightning bundle in his hand. Behind the king is the queen, who also offers to goddess of the sun holding a sceptre in his hand. King's left hand is in a position to worship. <br />
<br />
Against a grey art background.
  • Aslantepe Hittite relief sculpted orthostat stone panel. Limestone, Aslantepe Malatya, 1200-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Winged protective god holds a branch with fruits. in his left hand, and a fruit in his right hand.<br />
<br />
Against a brown art background.
  • Aslantepe Hittite relief sculpted Stele. Limestone, Aslantepe, Malatya, 1200-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Under the winged sun disk, is a god standing on a lion and across the god is a sitting goddess. The hieroglyphs reads "Karhuhas, the stag god" for the god, and "Kubaba" for the Goddess. <br />
<br />
Against a brown art background.
  • Alaca Hoyuk Sphinx Gate Hittite monumental relief sculpted orthostat stone pane of Goddess. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Sitting in a chair without a backrest, the head and the face of the figure are completely destroyed. She has a long veil on her head, a long dress hanging down to her ankles, and the shoes with the curved ends. The stool under her feet indicates that she is an important person. She drinks something from the vessel in her right hand and she keeps the handled goblet in her hand a little higher.  <br />
<br />
Against a brown art background.
  • Alaca Hoyuk Hittite monumental relief sculpted orthostat stone panel. Andesite, Alaca, Corum, 1399-1301 B.C. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Four deer figures are depicted in various positions with a flower in the lower right corner and a tree in the upper left corner. A faded human figure and an animal figure in the upper section are noteworthy. <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 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.
  • Picture and image of the stone sculpture of a grieving family around the death bed of the deceased. In a Borgeoise realistic style sculpted by GB Villa 1896. The Rivara Family Tomb, Section D no 15, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and iamge of the stone sculpture of an angel with a grieving family on the steps of the Palrano tomb. Sculpted in a Borgeoise realistic style by C Rubatto in 1878. Section D no 09, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a young women filling a candle stick with oil in an art Nouveau style. Family Tomb Montanari sculpted by G B Villa 1888. Section D no 31 the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a young women filling a candle stick with oil in an art Nouveau style. Family Tomb Montanari sculpted by G B Villa 1888. Section D no 31 the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of 2 mourning sisters at the door of their mothers pyramid shaped tomb, The Rossi Tomb sculpted by G Benetti in 1878. Section D, no 24, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures of the stone sculpture of a dead man lying whilst surrounded by his grieving family. The Lavarello tomb sculpted by Brizzolara 1926. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a Jannet Duff and her gireving son. Sculpted by L Beltrami 1894. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an angel standing by a stone sarcophagus. The Croce Tomb sculpted by G Moreno 1889. Section A, no 23, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture ”L’Angelo Nocchiero” (the Helmsman Angel). The sculpture depicts an angel, standing astride a small boat, beginning to secure the sails at the end of a journey. His garments are streaming behind him, suggesting a strong wind. The prow of the boat is the stoic face of a woman, and under the prow the water swirls. The Giacomo Carpaneto tomb  sculpted by Giovanni Scanzi in 1886. Section A, no 25, monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an angel blessing the deceased lying on a chez longue. Bonini Tomb sculpted by D Carli 1891. Section A, no 27, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a mouring bearded man in the Bourgeois Realistic style. Badaracco Tomb sculpted by G Moreno 1878. Section A, no 44, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures of the Neo classical style stone sculpture of the Curro Family Tomb sculpted by G Navonne in 1895. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Ital
  • 6th century BC Etruscan Sarcophagus known as The Sarcophagus of the Spouses, the in sculpted in clay by the sculptors of Caere, 520-510 BC, Louvre Museum, Paris.  Black background. To license for Advertising usage contact The Louvre Paris
  • Roman sarcophagus depicting a battle between Achilles and Pentesilea and Amazons, the faces of the deceased have been sculpted over the Greek heroes, circa 230-250 AD, inv 933, Vatican Museum Rome, Italy,  black background
  • 2nd century Roman sculpture of Apollo seated with lyre, sculpted in porphyry, inv no 6281,  The Farnese collection, Naples Archiological Musuem, Italy
  • Sleeping Hermaphroditus, The Borghese Hermaphrodite.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Venus de Milo ( Aphrodite of Milos ) A 203 cm (6 ft 8 in)  marble statue from the Greek Island of Milos sculpted in 130 and 100 BC thought to be the work of Alexandros of Antioch;. Louvre Museum, Paris. <br />
The Aphrodite of Milos was discovered on 8 April 1820 by a peasant named Yorgos Kentrotas, inside a buried niche within the ancient city ruins of Milos, the current village of Tripiti, on the island of Milos  in the Aegean, which was then a part of the Ottoman Empire. The statue was purchase by the French ambassador to Turkey and it was shipped to France. Legend has it that the statues arms were broken off during transport but this story however proved to be a fabrication – Voutier's drawings of the statue when it was first discovered show that its arms were already missing.<br />
<br />
In 1815, France had returned the Medici Venus,  to the Italians after it had been looted from Italy by Napoleon Bonaparte. The Medici Venus, regarded as one of the finest Classical sculptures in existence, caused the French to promote the Venus de Milo as a greater treasure than that which they recently had lost. The de Milo statue was praised dutifully by many artists and critics as the epitome of graceful female beauty. However, Pierre-Auguste Renoir was among its detractors, labeling it a "big gendarme".
  • Venus de Milo ( Aphrodite of Milos ) A 203 cm (6 ft 8 in)  marble statue from the Greek Island of Milos sculpted in 130 and 100 BC thought to be the work of Alexandros of Antioch;. Louvre Museum, Paris. <br />
The Aphrodite of Milos was discovered on 8 April 1820 by a peasant named Yorgos Kentrotas, inside a buried niche within the ancient city ruins of Milos, the current village of Tripiti, on the island of Milos  in the Aegean, which was then a part of the Ottoman Empire. The statue was purchase by the French ambassador to Turkey and it was shipped to France. Legend has it that the statues arms were broken off during transport but this story however proved to be a fabrication – Voutier's drawings of the statue when it was first discovered show that its arms were already missing.<br />
<br />
In 1815, France had returned the Medici Venus,  to the Italians after it had been looted from Italy by Napoleon Bonaparte. The Medici Venus, regarded as one of the finest Classical sculptures in existence, caused the French to promote the Venus de Milo as a greater treasure than that which they recently had lost. The de Milo statue was praised dutifully by many artists and critics as the epitome of graceful female beauty. However, Pierre-Auguste Renoir was among its detractors, labeling it a "big gendarme".
  • Roman sculpted frieze blocks with garland relief sculptures, North Portico, Aphrodisias Archaeological Site, Aydin Province, Turkey.
  • Roman sculpted frieze blocks with garland relief sculptures, North Portico, Aphrodisias Archaeological Site, Aydin Province, Turkey.
  • Roman sculpted frieze blocks with garland relief sculptures, North Portico, Aphrodisias Archaeological Site, Aydin Province, Turkey.

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