• A modern cakes with a pattered choclate cases, filled with chestnut puree and Kirch sponge
  • A modern fruit cake with redcurrants, wild strawberries, blacberry and creme patisserie in a light sponge case in a designer dish.
  • A modern Japanese cake with a pattered choclate case and mint cream, in a modern designer dish
  • A modern Japanese cake with a pattered chocolate case and piped chestnut puree with cumquat sauce, in a modern designer dish
  • modern designed white chocolate cake with a sponge case and strawberry filling, covered with pink white chocolate powder
  • A modern square chocolate cake filled with chocolate truffle and topped with fresh raspberries
  • A modern fruit cake with redcurrants, wild strawberries, blacberry and creme patisserie in a light sponge case in a designer dish.
  • A modern designed cake with a sponge case and chocolate filling
  • modern designed white chocolate cake with a sponge case and strawberry filling, covered with pink white chocolate powder
  • modern designed chocolate cake with a sponge case and chocolate filling, covered with cocoa powder
  • A modern square chocolate cake filled with chocolate truffle and topped with fresh raspberries
  • A modern Japanese cake with a pattered chocolate case and piped chestnut puree with cumquat sauce, in a modern designer dish
  • A modern Japanese cake with a pattered choclate case and mint cream, in a modern designer dish
  • A modern designed cake with a sponge case and chocolate filling in a Traditionl black Japanese tea setting
  • A modern fruit cake with redcurrants, wild strawberries, blacberry and creme patisserie in a light sponge case Traditionl black Japanese tea setting
  • A modern square chocolate cake filled with chocolate truffle and topped with fresh raspberries
  • modern designed chocolate cake with a sponge case and chocolate filling, covered with cocoa powder
  • modern designed chocolate cakes with a sponge case and chocolate filling, covered with cocoa powder
  • A modern designed cake with a sponge case and chocolate filling
  • modern designed chocolate cake with a sponge case and chocolate filling, covered with cocoa powder
  • A modern Japanese cake with a pattered chocolate case and piped chestnut puree with cumquat sauce, in a modern designer dish
  • A modern Japanese cake with a pattered chocolate case and piped chestnut puree with cumquat sauce, in a modern designer dish
  • modern designed chocolate cakes with a sponge case and chocolate filling, covered with cocoa powder
  • A modern designed cake with a sponge case and chocolate filling
  • A modern Japanese cake with a pattered chocolate case and piped chestnut puree with cumquat sauce, in a modern designer dish
  • modern designed white chocolate cake with a sponge case and strawberry filling, covered with pink white chocolate powder in a  Traditionl black Japanese tea setting
  • A modern fruit cake with redcurrants, wild strawberries, blacberry and creme patisserie in a light sponge case in a designer dish.
  • modern designed white chocolate cake with a sponge case and strawberry filling, covered with pink white chocolate powder
  • modern designed white chocolate cake with a sponge case and strawberry filling, covered with pink white chocolate powder
  • A modern designed cake with a sponge case and chocolate filling
  • Roman statue of an African Acrobat from early Imperial period excavated from the Villa Patrizi, via Nomentana, Rome, Italy. A young African performs an acrobatic trick very similar to those performed by tribal members from an area of the Nile, the Tentyitae (described by Pliny in Naturalis Historia), where skilled divers dive into the water from the backs of crocodiles. The work is based on a hellenistic original and here has beed adapted for the Roman period as a fountain decoration. The hole in the acrobats mouth is a water spout.  Inv 40009, The National Roman Museum, Rome, Italy  The National Roman Museum, Rome, Italy
  • Roman statue of an African Acrobat from early Imperial period excavated from the Villa Patrizi, via Nomentana, Rome, Italy. A young African performs an acrobatic trick very similar to those performed by tribal members from an area of the Nile, the Tentyitae (described by Pliny in Naturalis Historia), where skilled divers dive into the water from the backs of crocodiles. The work is based on a hellenistic original and here has beed adapted for the Roman period as a fountain decoration. The hole in the acrobats mouth is a water spout.  Inv 40009, The National Roman Museum, Rome, Italy  The National Roman Museum, Rome, Italy
  • The Romanesque Altar Front of Baltarga<br />
<br />
Around 1200, Tempera on wood with metalic ornamention from the church of Saint Andreu (Andrew) of Baltarga, Catalonia, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15804<br />
<br />
The Romanesque paintings depict scenes from the life and the martyrdom of St. Andrew. At its centre is a theophany with Christ Pantocrator (Majesty) surrounded by a Mandorla around which is a tetramorph with the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle.. Eastern influences are especially evident in this magnificent altar frontal, which has an elegant palette of colours, with sophisticated soft flesh tones. The work seems most  likely to have come from the workshop of  highly skilled Greek painters,  which was installed in the vicinity of the monastery of Sant Marti Canigo and signed at least one of their works (now defunct) as Magister Alexander.
  • Roman statue of an African Acrobat from early Imperial period excavated from the Villa Patrizi, via Nomentana, Rome, Italy. A young African performs an acrobatic trick very similar to those performed by tribal members from an area of the Nile, the Tentyitae (described by Pliny in Naturalis Historia), where skilled divers dive into the water from the backs of crocodiles. The work is based on a hellenistic original and here has beed adapted for the Roman period as a fountain decoration. The hole in the acrobats mouth is a water spout.  Inv 40009, The National Roman Museum, Rome, Italy  The National Roman Museum, Rome, Italy
  • Roman statue of an African Acrobat from early Imperial period excavated from the Villa Patrizi, via Nomentana, Rome, Italy. A young African performs an acrobatic trick very similar to those performed by tribal members from an area of the Nile, the Tentyitae (described by Pliny in Naturalis Historia), where skilled divers dive into the water from the backs of crocodiles. The work is based on a hellenistic original and here has beed adapted for the Roman period as a fountain decoration. The hole in the acrobats mouth is a water spout.  Inv 40009, The National Roman Museum, Rome, Italy  The National Roman Museum, Rome, Italy
  • Ancient Egyptian wooden model of bread making, Middle Kingdom, 12th Dynasty, (1939-1875 BC), Asyut., Tomb of Minhotep Egyptian Museum, Turin. Cat 8789. white background. <br />
<br />
Wooden tomb models were an Egyptian funerary custom throughout the Middle Kingdom in which wooden figurines and sets were constructed to be placed in the tombs of Egyptian royalty. These wooden models represented the work of servants, farmers, other skilled craftsman, armies, and religious rituals
  • Ancient Egyptian wooden model of bread making, Middle Kingdom, 12th Dynasty, (1939-1875 BC), Asyut., Tomb of Minhotep Egyptian Museum, Turin. Cat 8789. Grey background. <br />
<br />
Wooden tomb models were an Egyptian funerary custom throughout the Middle Kingdom in which wooden figurines and sets were constructed to be placed in the tombs of Egyptian royalty. These wooden models represented the work of servants, farmers, other skilled craftsman, armies, and religious rituals
  • Ancient Egyptian wooden model of bread making, Middle Kingdom, 12th Dynasty, (1939-1875 BC), Asyut., Tomb of Minhotep Egyptian Museum, Turin. Cat 8789. Grey background. <br />
<br />
Wooden tomb models were an Egyptian funerary custom throughout the Middle Kingdom in which wooden figurines and sets were constructed to be placed in the tombs of Egyptian royalty. These wooden models represented the work of servants, farmers, other skilled craftsman, armies, and religious rituals
  • Ancient Egyptian wooden model of bread making, Middle Kingdom, (1939-1875 BC),  Egyptian Museum, Turin. white background. <br />
<br />
Wooden tomb models were an Egyptian funerary custom throughout the Middle Kingdom in which wooden figurines and sets were constructed to be placed in the tombs of Egyptian royalty. These wooden models represented the work of servants, farmers, other skilled craftsman, armies, and religious rituals
  • Ancient Egyptian wooden model of bread making, Middle Kingdom, (1939-1875 BC),  Egyptian Museum, Turin.  Grey background. <br />
<br />
Wooden tomb models were an Egyptian funerary custom throughout the Middle Kingdom in which wooden figurines and sets were constructed to be placed in the tombs of Egyptian royalty. These wooden models represented the work of servants, farmers, other skilled craftsman, armies, and religious rituals
  • Ancient Egyptian wooden model of bread making, Middle Kingdom, (1939-1875 BC),  Egyptian Museum, Turin.   black background. <br />
<br />
Wooden tomb models were an Egyptian funerary custom throughout the Middle Kingdom in which wooden figurines and sets were constructed to be placed in the tombs of Egyptian royalty. These wooden models represented the work of servants, farmers, other skilled craftsman, armies, and religious rituals
  • Ancient Egyptian wooden model of bread making, Middle Kingdom, (1939-1875 BC),  Egyptian Museum, Turin.  Grey background. <br />
<br />
Wooden tomb models were an Egyptian funerary custom throughout the Middle Kingdom in which wooden figurines and sets were constructed to be placed in the tombs of Egyptian royalty. These wooden models represented the work of servants, farmers, other skilled craftsman, armies, and religious rituals
  • Ancient Egyptian wooden falcon bird, Late Period (722-322 BC), Egyptian Museum, Turin. Cat 986. white background <br />
<br />
Wooden tomb models were an Egyptian funerary custom from the Middle Kingdom in which wooden figurines and sets were constructed to be placed in the tombs of Egyptian royalty. These wooden models represented the work of servants, farmers, other skilled craftsman, armies, and religious rituals
  • Ancient Egyptian wooden falcon bird, Late Period (722-322 BC), Egyptian Museum, Turin. Cat 986. <br />
<br />
Wooden tomb models were an Egyptian funerary custom from the Middle Kingdom in which wooden figurines and sets were constructed to be placed in the tombs of Egyptian royalty. These wooden models represented the work of servants, farmers, other skilled craftsman, armies, and religious rituals
  • Ancient Egyptian wooden falcon bird, Late Period (722-322 BC), Egyptian Museum, Turin. Cat 986. Grey background. <br />
<br />
Wooden tomb models were an Egyptian funerary custom from the Middle Kingdom in which wooden figurines and sets were constructed to be placed in the tombs of Egyptian royalty. These wooden models represented the work of servants, farmers, other skilled craftsman, armies, and religious rituals
  • Ancient Egyptian wooden falcon bird, Late Period (722-322 BC). Egyptian Museum, Turin. white background. <br />
<br />
Wooden tomb models were an Egyptian funerary custom from the Middle Kingdom in which wooden figurines and sets were constructed to be placed in the tombs of Egyptian royalty. These wooden models represented the work of servants, farmers, other skilled craftsman, armies, and religious rituals
  • Ancient Egyptian wooden falcon bird, Late Period (722-322 BC). Egyptian Museum, Turin. <br />
<br />
Wooden tomb models were an Egyptian funerary custom from the Middle Kingdom in which wooden figurines and sets were constructed to be placed in the tombs of Egyptian royalty. These wooden models represented the work of servants, farmers, other skilled craftsman, armies, and religious rituals
  • Ancient Egyptian wooden falcon bird, Late Period (722-322 BC). Egyptian Museum, Turin. Grey background. <br />
<br />
Wooden tomb models were an Egyptian funerary custom from the Middle Kingdom in which wooden figurines and sets were constructed to be placed in the tombs of Egyptian royalty. These wooden models represented the work of servants, farmers, other skilled craftsman, armies, and religious rituals
  • Ancient Egyptian wooden model of a man cooking a duck, New Kingdom, 11-13th Dynasty, (1980-1700 BC), Asyut. Egyptian Museum, Turin. Cat 8944. white background. <br />
<br />
Wooden tomb models were an Egyptian funerary custom throughout the Middle Kingdom in which wooden figurines and sets were constructed to be placed in the tombs of Egyptian royalty. These wooden models represented the work of servants, farmers, other skilled craftsman, armies, and religious rituals
  • Ancient Egyptian wooden model of a man cooking a duck, New Kingdom, 11-13th Dynasty, (1980-1700 BC), Asyut. Egyptian Museum, Turin. Cat 8944. Grey background. <br />
<br />
Wooden tomb models were an Egyptian funerary custom throughout the Middle Kingdom in which wooden figurines and sets were constructed to be placed in the tombs of Egyptian royalty. These wooden models represented the work of servants, farmers, other skilled craftsman, armies, and religious rituals
  • Roman statue of an African Acrobat from early Imperial period excavated from the Villa Patrizi, via Nomentana, Rome, Italy. A young African performs an acrobatic trick very similar to those performed by tribal members from an area of the Nile, the Tentyitae (described by Pliny in Naturalis Historia), where skilled divers dive into the water from the backs of crocodiles. The work is based on a hellenistic original and here has beed adapted for the Roman period as a fountain decoration. The hole in the acrobats mouth is a water spout.  Inv 40009, The National Roman Museum, Rome, Italy  The National Roman Museum, Rome, Italy
  • Roman statue of an African Acrobat from early Imperial period excavated from the Villa Patrizi, via Nomentana, Rome, Italy. A young African performs an acrobatic trick very similar to those performed by tribal members from an area of the Nile, the Tentyitae (described by Pliny in Naturalis Historia), where skilled divers dive into the water from the backs of crocodiles. The work is based on a hellenistic original and here has beed adapted for the Roman period as a fountain decoration. The hole in the acrobats mouth is a water spout.  Inv 40009, The National Roman Museum, Rome, Italy  The National Roman Museum, Rome, Italy
  • Roman statue of an African Acrobat from early Imperial period excavated from the Villa Patrizi, via Nomentana, Rome, Italy. A young African performs an acrobatic trick very similar to those performed by tribal members from an area of the Nile, the Tentyitae (described by Pliny in Naturalis Historia), where skilled divers dive into the water from the backs of crocodiles. The work is based on a hellenistic original and here has beed adapted for the Roman period as a fountain decoration. The hole in the acrobats mouth is a water spout.  Inv 40009, The National Roman Museum, Rome, Italy  The National Roman Museum, Rome, Italy
  • Roman statue of an African Acrobat from early Imperial period excavated from the Villa Patrizi, via Nomentana, Rome, Italy. A young African performs an acrobatic trick very similar to those performed by tribal members from an area of the Nile, the Tentyitae (described by Pliny in Naturalis Historia), where skilled divers dive into the water from the backs of crocodiles. The work is based on a hellenistic original and here has beed adapted for the Roman period as a fountain decoration. The hole in the acrobats mouth is a water spout.  Inv 40009, The National Roman Museum, Rome, Italy  The National Roman Museum, Rome, Italy
  • The Romanesque Altar Front of Baltarga<br />
<br />
Around 1200, Tempera on wood with metalic ornamention from the church of Saint Andreu (Andrew) of Baltarga, Catalonia, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15804<br />
<br />
The Romanesque paintings depict scenes from the life and the martyrdom of St. Andrew. At its centre is a theophany with Christ Pantocrator (Majesty) surrounded by a Mandorla around which is a tetramorph with the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle.. Eastern influences are especially evident in this magnificent altar frontal, which has an elegant palette of colours, with sophisticated soft flesh tones. The work seems most  likely to have come from the workshop of  highly skilled Greek painters,  which was installed in the vicinity of the monastery of Sant Marti Canigo and signed at least one of their works (now defunct) as Magister Alexander.
  • The Romanesque Altar Front of Baltarga<br />
<br />
Around 1200, Tempera on wood with metalic ornamention from the church of Saint Andreu (Andrew) of Baltarga, Catalonia, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15804<br />
<br />
The Romanesque paintings depict scenes from the life and the martyrdom of St. Andrew. At its centre is a theophany with Christ Pantocrator (Majesty) surrounded by a Mandorla around which is a tetramorph with the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle.. Eastern influences are especially evident in this magnificent altar frontal, which has an elegant palette of colours, with sophisticated soft flesh tones. The work seems most  likely to have come from the workshop of  highly skilled Greek painters,  which was installed in the vicinity of the monastery of Sant Marti Canigo and signed at least one of their works (now defunct) as Magister Alexander.
  • The Romanesque Altar Front of Baltarga<br />
<br />
Around 1200, Tempera on wood with metalic ornamention from the church of Saint Andreu (Andrew) of Baltarga, Catalonia, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15804<br />
<br />
The Romanesque paintings depict scenes from the life and the martyrdom of St. Andrew. At its centre is a theophany with Christ Pantocrator (Majesty) surrounded by a Mandorla around which is a tetramorph with the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle.. Eastern influences are especially evident in this magnificent altar frontal, which has an elegant palette of colours, with sophisticated soft flesh tones. The work seems most  likely to have come from the workshop of  highly skilled Greek painters,  which was installed in the vicinity of the monastery of Sant Marti Canigo and signed at least one of their works (now defunct) as Magister Alexander.
  • Roman statue of an African Acrobat from early Imperial period excavated from the Villa Patrizi, via Nomentana, Rome, Italy. A young African performs an acrobatic trick very similar to those performed by tribal members from an area of the Nile, the Tentyitae (described by Pliny in Naturalis Historia), where skilled divers dive into the water from the backs of crocodiles. The work is based on a hellenistic original and here has beed adapted for the Roman period as a fountain decoration. The hole in the acrobats mouth is a water spout.  Inv 40009, The National Roman Museum, Rome, Italy  The National Roman Museum, Rome, Italy
  • Roman statue of an African Acrobat from early Imperial period excavated from the Villa Patrizi, via Nomentana, Rome, Italy. A young African performs an acrobatic trick very similar to those performed by tribal members from an area of the Nile, the Tentyitae (described by Pliny in Naturalis Historia), where skilled divers dive into the water from the backs of crocodiles. The work is based on a hellenistic original and here has beed adapted for the Roman period as a fountain decoration. The hole in the acrobats mouth is a water spout.  Inv 40009, The National Roman Museum, Rome, Italy  The National Roman Museum, Rome, Italy
  • Roman statue of an African Acrobat from early Imperial period excavated from the Villa Patrizi, via Nomentana, Rome, Italy. A young African performs an acrobatic trick very similar to those performed by tribal members from an area of the Nile, the Tentyitae (described by Pliny in Naturalis Historia), where skilled divers dive into the water from the backs of crocodiles. The work is based on a hellenistic original and here has beed adapted for the Roman period as a fountain decoration. The hole in the acrobats mouth is a water spout.  Inv 40009, The National Roman Museum, Rome, Italy  The National Roman Museum, Rome, Italy
  • Roman statue of an African Acrobat from early Imperial period excavated from the Villa Patrizi, via Nomentana, Rome, Italy. A young African performs an acrobatic trick very similar to those performed by tribal members from an area of the Nile, the Tentyitae (described by Pliny in Naturalis Historia), where skilled divers dive into the water from the backs of crocodiles. The work is based on a hellenistic original and here has beed adapted for the Roman period as a fountain decoration. The hole in the acrobats mouth is a water spout.  Inv 40009, The National Roman Museum, Rome, Italy  The National Roman Museum, Rome, Italy
  • Roman statue of an African Acrobat from early Imperial period excavated from the Villa Patrizi, via Nomentana, Rome, Italy. A young African performs an acrobatic trick very similar to those performed by tribal members from an area of the Nile, the Tentyitae (described by Pliny in Naturalis Historia), where skilled divers dive into the water from the backs of crocodiles. The work is based on a hellenistic original and here has beed adapted for the Roman period as a fountain decoration. The hole in the acrobats mouth is a water spout.  Inv 40009, The National Roman Museum, Rome, Italy  The National Roman Museum, Rome, Italy
  • The Romanesque Altar Front of Baltarga<br />
<br />
Around 1200, Tempera on wood with metalic ornamention from the church of Saint Andreu (Andrew) of Baltarga, Catalonia, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15804<br />
<br />
The Romanesque paintings depict scenes from the life and the martyrdom of St. Andrew. At its centre is a theophany with Christ Pantocrator (Majesty) surrounded by a Mandorla around which is a tetramorph with the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle.. Eastern influences are especially evident in this magnificent altar frontal, which has an elegant palette of colours, with sophisticated soft flesh tones. The work seems most  likely to have come from the workshop of  highly skilled Greek painters,  which was installed in the vicinity of the monastery of Sant Marti Canigo and signed at least one of their works (now defunct) as Magister Alexander.
  • The Romanesque Altar Front of Baltarga<br />
<br />
Around 1200, Tempera on wood with metalic ornamention from the church of Saint Andreu (Andrew) of Baltarga, Catalonia, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15804<br />
<br />
The Romanesque paintings depict scenes from the life and the martyrdom of St. Andrew. At its centre is a theophany with Christ Pantocrator (Majesty) surrounded by a Mandorla around which is a tetramorph with the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle.. Eastern influences are especially evident in this magnificent altar frontal, which has an elegant palette of colours, with sophisticated soft flesh tones. The work seems most  likely to have come from the workshop of  highly skilled Greek painters,  which was installed in the vicinity of the monastery of Sant Marti Canigo and signed at least one of their works (now defunct) as Magister Alexander.
  • The Romanesque Altar Front of Baltarga<br />
<br />
Around 1200, Tempera on wood with metalic ornamention from the church of Saint Andreu (Andrew) of Baltarga, Catalonia, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15804<br />
<br />
The Romanesque paintings depict scenes from the life and the martyrdom of St. Andrew. At its centre is a theophany with Christ Pantocrator (Majesty) surrounded by a Mandorla around which is a tetramorph with the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle.. Eastern influences are especially evident in this magnificent altar frontal, which has an elegant palette of colours, with sophisticated soft flesh tones. The work seems most  likely to have come from the workshop of  highly skilled Greek painters,  which was installed in the vicinity of the monastery of Sant Marti Canigo and signed at least one of their works (now defunct) as Magister Alexander.
  • The Romanesque Altar Front of Baltarga<br />
<br />
Around 1200, Tempera on wood with metalic ornamention from the church of Saint Andreu (Andrew) of Baltarga, Catalonia, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15804<br />
<br />
The Romanesque paintings depict scenes from the life and the martyrdom of St. Andrew. At its centre is a theophany with Christ Pantocrator (Majesty) surrounded by a Mandorla around which is a tetramorph with the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle.. Eastern influences are especially evident in this magnificent altar frontal, which has an elegant palette of colours, with sophisticated soft flesh tones. The work seems most  likely to have come from the workshop of  highly skilled Greek painters,  which was installed in the vicinity of the monastery of Sant Marti Canigo and signed at least one of their works (now defunct) as Magister Alexander.
  • The Romanesque Altar Front of Baltarga<br />
<br />
Around 1200, Tempera on wood with metalic ornamention from the church of Saint Andreu (Andrew) of Baltarga, Catalonia, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15804<br />
<br />
The Romanesque paintings depict scenes from the life and the martyrdom of St. Andrew. At its centre is a theophany with Christ Pantocrator (Majesty) surrounded by a Mandorla around which is a tetramorph with the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle.. Eastern influences are especially evident in this magnificent altar frontal, which has an elegant palette of colours, with sophisticated soft flesh tones. The work seems most  likely to have come from the workshop of  highly skilled Greek painters,  which was installed in the vicinity of the monastery of Sant Marti Canigo and signed at least one of their works (now defunct) as Magister Alexander.
  • The Romanesque Altar Front of Baltarga<br />
<br />
Around 1200, Tempera on wood with metalic ornamention from the church of Saint Andreu (Andrew) of Baltarga, Catalonia, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15804<br />
<br />
The Romanesque paintings depict scenes from the life and the martyrdom of St. Andrew. At its centre is a theophany with Christ Pantocrator (Majesty) surrounded by a Mandorla around which is a tetramorph with the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle.. Eastern influences are especially evident in this magnificent altar frontal, which has an elegant palette of colours, with sophisticated soft flesh tones. The work seems most  likely to have come from the workshop of  highly skilled Greek painters,  which was installed in the vicinity of the monastery of Sant Marti Canigo and signed at least one of their works (now defunct) as Magister Alexander.
  • Ancient Egyptian wooden model of bread making, Middle Kingdom, 12th Dynasty, (1939-1875 BC), Asyut., Tomb of Minhotep Egyptian Museum, Turin. Cat 8789. Grey background. <br />
<br />
Wooden tomb models were an Egyptian funerary custom throughout the Middle Kingdom in which wooden figurines and sets were constructed to be placed in the tombs of Egyptian royalty. These wooden models represented the work of servants, farmers, other skilled craftsman, armies, and religious rituals
  • Ancient Egyptian wooden model of bread making, Middle Kingdom, (1939-1875 BC),  Egyptian Museum, Turin. <br />
<br />
Wooden tomb models were an Egyptian funerary custom throughout the Middle Kingdom in which wooden figurines and sets were constructed to be placed in the tombs of Egyptian royalty. These wooden models represented the work of servants, farmers, other skilled craftsman, armies, and religious rituals
  • Ancient Egyptian wooden model of bread making, Middle Kingdom, (1939-1875 BC),  Egyptian Museum, Turin.  Grey background. <br />
<br />
Wooden tomb models were an Egyptian funerary custom throughout the Middle Kingdom in which wooden figurines and sets were constructed to be placed in the tombs of Egyptian royalty. These wooden models represented the work of servants, farmers, other skilled craftsman, armies, and religious rituals
  • Ancient Egyptian wooden falcon bird, Late Period (722-322 BC), Egyptian Museum, Turin. Cat 986. Grey background. <br />
<br />
Wooden tomb models were an Egyptian funerary custom from the Middle Kingdom in which wooden figurines and sets were constructed to be placed in the tombs of Egyptian royalty. These wooden models represented the work of servants, farmers, other skilled craftsman, armies, and religious rituals
  • Ancient Egyptian wooden falcon bird, Late Period (722-322 BC), Egyptian Museum, Turin. Cat 986. black background <br />
<br />
Wooden tomb models were an Egyptian funerary custom from the Middle Kingdom in which wooden figurines and sets were constructed to be placed in the tombs of Egyptian royalty. These wooden models represented the work of servants, farmers, other skilled craftsman, armies, and religious rituals
  • Ancient Egyptian wooden falcon bird, Late Period (722-322 BC). Egyptian Museum, Turin. black background. <br />
<br />
Wooden tomb models were an Egyptian funerary custom from the Middle Kingdom in which wooden figurines and sets were constructed to be placed in the tombs of Egyptian royalty. These wooden models represented the work of servants, farmers, other skilled craftsman, armies, and religious rituals
  • Ancient Egyptian wooden falcon bird, Late Period (722-322 BC). Egyptian Museum, Turin. Grey background. <br />
<br />
Wooden tomb models were an Egyptian funerary custom from the Middle Kingdom in which wooden figurines and sets were constructed to be placed in the tombs of Egyptian royalty. These wooden models represented the work of servants, farmers, other skilled craftsman, armies, and religious rituals
  • Ancient Egyptian wooden model of a man cooking a duck, New Kingdom, 11-13th Dynasty, (1980-1700 BC), Asyut. Egyptian Museum, Turin. Cat 8944. black background. <br />
<br />
Wooden tomb models were an Egyptian funerary custom throughout the Middle Kingdom in which wooden figurines and sets were constructed to be placed in the tombs of Egyptian royalty. These wooden models represented the work of servants, farmers, other skilled craftsman, armies, and religious rituals
  • Ancient Egyptian wooden model of a man cooking a duck, New Kingdom, 11-13th Dynasty, (1980-1700 BC), Asyut. Egyptian Museum, Turin. Cat 8944. <br />
<br />
Wooden tomb models were an Egyptian funerary custom throughout the Middle Kingdom in which wooden figurines and sets were constructed to be placed in the tombs of Egyptian royalty. These wooden models represented the work of servants, farmers, other skilled craftsman, armies, and religious rituals
  • Ancient Egyptian wooden model of a man cooking a duck, Middle Kingdom, 11-13th Dynasty, (1980-1700 BC), Asyut. Egyptian Museum, Turin. Cat 8944. Grey background. <br />
<br />
Wooden tomb models were an Egyptian funerary custom throughout the Middle Kingdom in which wooden figurines and sets were constructed to be placed in the tombs of Egyptian royalty. These wooden models represented the work of servants, farmers, other skilled craftsman, armies, and religious rituals
  • Roman statue of an African Acrobat from early Imperial period excavated from the Villa Patrizi, via Nomentana, Rome, Italy. A young African performs an acrobatic trick very similar to those performed by tribal members from an area of the Nile, the Tentyitae (described by Pliny in Naturalis Historia), where skilled divers dive into the water from the backs of crocodiles. The work is based on a hellenistic original and here has beed adapted for the Roman period as a fountain decoration. The hole in the acrobats mouth is a water spout.  Inv 40009, The National Roman Museum, Rome, Italy  The National Roman Museum, Rome, Italy
  • Roman statue of an African Acrobat from early Imperial period excavated from the Villa Patrizi, via Nomentana, Rome, Italy. A young African performs an acrobatic trick very similar to those performed by tribal members from an area of the Nile, the Tentyitae (described by Pliny in Naturalis Historia), where skilled divers dive into the water from the backs of crocodiles. The work is based on a hellenistic original and here has beed adapted for the Roman period as a fountain decoration. The hole in the acrobats mouth is a water spout.  Inv 40009, The National Roman Museum, Rome, Italy  The National Roman Museum, Rome, Italy
  • Roman statue of an African Acrobat from early Imperial period excavated from the Villa Patrizi, via Nomentana, Rome, Italy. A young African performs an acrobatic trick very similar to those performed by tribal members from an area of the Nile, the Tentyitae (described by Pliny in Naturalis Historia), where skilled divers dive into the water from the backs of crocodiles. The work is based on a hellenistic original and here has beed adapted for the Roman period as a fountain decoration. The hole in the acrobats mouth is a water spout.  Inv 40009, The National Roman Museum, Rome, Italy  The National Roman Museum, Rome, Italy
  • Roman statue of an African Acrobat from early Imperial period excavated from the Villa Patrizi, via Nomentana, Rome, Italy. A young African performs an acrobatic trick very similar to those performed by tribal members from an area of the Nile, the Tentyitae (described by Pliny in Naturalis Historia), where skilled divers dive into the water from the backs of crocodiles. The work is based on a hellenistic original and here has beed adapted for the Roman period as a fountain decoration. The hole in the acrobats mouth is a water spout.  Inv 40009, The National Roman Museum, Rome, Italy  The National Roman Museum, Rome, Italy
  • Roman statue of an African Acrobat from early Imperial period excavated from the Villa Patrizi, via Nomentana, Rome, Italy. A young African performs an acrobatic trick very similar to those performed by tribal members from an area of the Nile, the Tentyitae (described by Pliny in Naturalis Historia), where skilled divers dive into the water from the backs of crocodiles. The work is based on a hellenistic original and here has beed adapted for the Roman period as a fountain decoration. The hole in the acrobats mouth is a water spout.  Inv 40009, The National Roman Museum, Rome, Italy  The National Roman Museum, Rome, Italy
  • Roman statue of an African Acrobat from early Imperial period excavated from the Villa Patrizi, via Nomentana, Rome, Italy. A young African performs an acrobatic trick very similar to those performed by tribal members from an area of the Nile, the Tentyitae (described by Pliny in Naturalis Historia), where skilled divers dive into the water from the backs of crocodiles. The work is based on a hellenistic original and here has beed adapted for the Roman period as a fountain decoration. The hole in the acrobats mouth is a water spout.  Inv 40009, The National Roman Museum, Rome, Italy  The National Roman Museum, Rome, Italy
  • The Romanesque Altar Front of Baltarga<br />
<br />
Around 1200, Tempera on wood with metalic ornamention from the church of Saint Andreu (Andrew) of Baltarga, Catalonia, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15804<br />
<br />
The Romanesque paintings depict scenes from the life and the martyrdom of St. Andrew. At its centre is a theophany with Christ Pantocrator (Majesty) surrounded by a Mandorla around which is a tetramorph with the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle.. Eastern influences are especially evident in this magnificent altar frontal, which has an elegant palette of colours, with sophisticated soft flesh tones. The work seems most  likely to have come from the workshop of  highly skilled Greek painters,  which was installed in the vicinity of the monastery of Sant Marti Canigo and signed at least one of their works (now defunct) as Magister Alexander.
  • Ancient Egyptian wooden model of bread making, Middle Kingdom, 12th Dynasty, (1939-1875 BC), Asyut., Tomb of Minhotep Egyptian Museum, Turin. Cat 8789.  black background. <br />
<br />
Wooden tomb models were an Egyptian funerary custom throughout the Middle Kingdom in which wooden figurines and sets were constructed to be placed in the tombs of Egyptian royalty. These wooden models represented the work of servants, farmers, other skilled craftsman, armies, and religious rituals
  • Roman statue of an African Acrobat from early Imperial period excavated from the Villa Patrizi, via Nomentana, Rome, Italy. A young African performs an acrobatic trick very similar to those performed by tribal members from an area of the Nile, the Tentyitae (described by Pliny in Naturalis Historia), where skilled divers dive into the water from the backs of crocodiles. The work is based on a hellenistic original and here has beed adapted for the Roman period as a fountain decoration. The hole in the acrobats mouth is a water spout.  Inv 40009, The National Roman Museum, Rome, Italy  The National Roman Museum, Rome, Italy
  • The Romanesque Altar Front of Baltarga<br />
<br />
Around 1200, Tempera on wood with metalic ornamention from the church of Saint Andreu (Andrew) of Baltarga, Catalonia, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15804<br />
<br />
The Romanesque paintings depict scenes from the life and the martyrdom of St. Andrew. At its centre is a theophany with Christ Pantocrator (Majesty) surrounded by a Mandorla around which is a tetramorph with the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle.. Eastern influences are especially evident in this magnificent altar frontal, which has an elegant palette of colours, with sophisticated soft flesh tones. The work seems most  likely to have come from the workshop of  highly skilled Greek painters,  which was installed in the vicinity of the monastery of Sant Marti Canigo and signed at least one of their works (now defunct) as Magister Alexander.
  • The Roman Sculpture Venus of Italica or Diosa Venus, found in 1940 near the theatre.  A famous Roman statue,  the "Venus of Itálica", dates from the time of Hadrian (117-138 A.D.). Unlike the other Venus statues of the Era the Venus of Itálica does not try to hide her nudity but rather displays it. The state has rounded proportions with clearly defined anatomical features thanks to the exquisitely skilled carving, and the excellent quality of the marble. She is shown accompanied by a dolphin, and has a colocasia leaf in her left hand. <br />
Archaeological Museum, Seville, Spain<br />
<br />
Against a Grey background
  • Gothic panel of the (Virgin Mary) Madonna of Humility. Polychrome and gold leaf on wood, circa 1433-1435. The Virgin is seated on a cushion on the floor holding the baby Jesus. She hand a jug with roses a symbol of motherhood and purity. Behind her a gold curtain is held by three angels, while two others are sitting on the floor are playing the organ and lute. The skill of the use of light and shade and the fine brushwork points to an artist of great skill using the Quattrocento style. The piece has been identified as that described by the writer on art Giorgia Vasari in 1568 which was owned Gondi family in Florence.. Inv MNAC 212817. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Gothic panel of the (Virgin Mary) Madonna of Humility. Polychrome and gold leaf on wood, circa 1433-1435. The Virgin is seated on a cushion on the floor holding the baby Jesus. She hand a jug with roses a symbol of motherhood and purity. Behind her a gold curtain is held by three angels, while two others are sitting on the floor are playing the organ and lute. The skill of the use of light and shade and the fine brushwork points to an artist of great skill using the Quattrocento style. The piece has been identified as that described by the writer on art Giorgia Vasari in 1568 which was owned Gondi family in Florence.. Inv MNAC 212817. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • 2nd Cent. AD Roman relief sculpture depicting the struggle of Athena ( the goddess of wisdom, skill & warfare) fighting the Gigantes ( Giants) . From Aphrodisias (Geyne, Ayden) Turkey. Istanbul Archaeological Museum, Turkey, Inv. 1613aT , Cat. Mendel 512.
  • 2nd Cent. AD Roman relief sculpture depicting the struggle of Athena ( the goddess of wisdom, skill & warfare) fighting the Gigantes ( Giants) . From Aphrodisias (Geyne, Ayden) Turkey. Istanbul Archaeological Museum, Turkey, Inv. 1613aT , Cat. Mendel 512.
  • 2nd Cent. AD Roman relief sculpture depicting the struggle of Athena ( the goddess of wisdom, skill & warfare) fighting the Gigantes ( Giants) . From Aphrodisias (Geyne, Ayden). Istanbul Archaeological Museum, Turkey, Inv. 1613aT , Cat. Mendel 512.
  • Ancient Roman statue of Pendua and his wife Nefertari, limestone, New Kingdom, 19th Dynasty, (1292-1186 BC),  Deir-el-Medina, Thebes. Egyptian Museum, Turin. .<br />
<br />
 Carved in Thebian white limestone the statue of Pendua and his wife Nefertari shows the skill and attention to details of the sculptors of Deir-el-Medina, the worker’s village of those who built the Royal Tombs at Thebes. The theme of the family is echoed by a carving of a daughter between the two figures.
  • Ancient Roman statue of Pendua and his wife Nefertari, limestone, New Kingdom, 19th Dynasty, (1292-1186 BC),  Deir-el-Medina, Thebes. Egyptian Museum, Turin. black background.<br />
<br />
 Carved in Thebian white limestone the statue of Pendua and his wife Nefertari shows the skill and attention to details of the sculptors of Deir-el-Medina, the worker’s village of those who built the Royal Tombs at Thebes. The theme of the family is echoed by a carving of a daughter between the two figures.
  • Ancient Roman statue of Pendua and his wife Nefertari, limestone, New Kingdom, 19th Dynasty, (1292-1186 BC),  Deir-el-Medina, Thebes. Egyptian Museum, Turin. white background.<br />
<br />
 Carved in Thebian white limestone the statue of Pendua and his wife Nefertari shows the skill and attention to details of the sculptors of Deir-el-Medina, the worker’s village of those who built the Royal Tombs at Thebes. The theme of the family is echoed by a carving of a daughter between the two figures.
  • Ancient Egyptian greywacke sarcophagus lid of Ibi - late Period, 26th Dynasty (664-610BC). Egyptian Museum, Turin. Grey background<br />
<br />
Ibi was overseer of the priests of Thebes and chief steward of Nitocris, Divine Adoratrice of Amon during the reign of Psamtek I. The sarcophagus lid shows his hands emerging from a shroud to grasp the dfed-pillar, which allows him to rise to his feet again after resurrection. The lid weighs more than a ton and is finely sculpted. Despite the hardness of the greywacke stone the sarcophagus is made from, its makers have shown incredible skill creating a sarcophagus with intricate detail and a highly polished finish.
  • Ancient Egyptian greywacke sarcophagus lid of Ibi - late Period, 26th Dynasty (664-610BC). Egyptian Museum, Turin. Grey background<br />
<br />
Ibi was overseer of the priests of Thebes and chief steward of Nitocris, Divine Adoratrice of Amon during the reign of Psamtek I. The sarcophagus lid shows his hands emerging from a shroud to grasp the dfed-pillar, which allows him to rise to his feet again after resurrection. The lid weighs more than a ton and is finely sculpted. Despite the hardness of the greywacke stone the sarcophagus is made from, its makers have shown incredible skill creating a sarcophagus with intricate detail and a highly polished finish.
  • Ancient Egyptian greywacke sarcophagus of Vizier Gemenefherbak - late Period, 26th Dynasty (664-525BC). Egyptian Museum, Turin. <br />
<br />
Gemenefherbak was a vizier, minister, as indicated by a pendant picturing the goddess Maat hanging around his neck in the shadow of his beard. Despite the hardness of the greywacke stone the sarcophagus is made from, its makers have shown incredible skill creating a sarcophagus with intricate detail and a highly polished finish.
  • Ancient Egyptian greywacke sarcophagus of Vizier Gemenefherbak - late Period, 26th Dynasty (664-525BC). Egyptian Museum, Turin. Grey background<br />
<br />
Gemenefherbak was a vizier, minister, as indicated by a pendant picturing the goddess Maat hanging around his neck in the shadow of his beard. Despite the hardness of the greywacke stone the sarcophagus is made from, its makers have shown incredible skill creating a sarcophagus with intricate detail and a highly polished finish.
  • Ancient Egyptian greywacke sarcophagus of Vizier Gemenefherbak - late Period, 26th Dynasty (664-525BC). Egyptian Museum, Turin. white background<br />
<br />
Gemenefherbak was a vizier, minister, as indicated by a pendant picturing the goddess Maat hanging around his neck in the shadow of his beard. Despite the hardness of the greywacke stone the sarcophagus is made from, its makers have shown incredible skill creating a sarcophagus with intricate detail and a highly polished finish.
  • Ancient Egyptian greywacke sarcophagus of Vizier Gemenefherbak - late Period, 26th Dynasty (664-525BC). Egyptian Museum, Turin. <br />
<br />
Gemenefherbak was a vizier, minister, as indicated by a pendant picturing the goddess Maat hanging around his neck in the shadow of his beard. Despite the hardness of the greywacke stone the sarcophagus is made from, its makers have shown incredible skill creating a sarcophagus with intricate detail and a highly polished finish.
  • Ancient Egyptian greywacke sarcophagus of Vizier Gemenefherbak - late Period, 26th Dynasty (664-525BC). Egyptian Museum, Turin. Grey background<br />
<br />
Gemenefherbak was a vizier, minister, as indicated by a pendant picturing the goddess Maat hanging around his neck in the shadow of his beard. Despite the hardness of the greywacke stone the sarcophagus is made from, its makers have shown incredible skill creating a sarcophagus with intricate detail and a highly polished finish.
  • Minoan cly polychrome decorated storage pithos, Protopalatial period, Phaistos 1800-1650 BC; Heraklion Archaeological  Museum.<br />
<br />
The quality of Minoan pithoi of this period suggest that they were produced by specialised potters with considerable skill in the manufacture of large clay conatiners. They were used for the staorage of agricultural products and the number and size of the pithoi found during this Portopalatial period indicate increased production of farmers.
  • Full length tree quarter view of the Riace bronze Greek statue B cast about 460 - 450 BC. statue B was probably sculpted by Phidias. There is a sense of movement in the statues their legs being bent as if they are about to take a step. Their heads are turned which accentuates a sense of anticipation as if they are looking for something. The anatomical detail is extraordinary which gives a startling realism to the statue and demonstarte the high level of skill of the Greek sculptors of this peiod. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • Full length side view of the Riace bronze Greek statue B cast about 460 - 450 BC. statue B was probably sculpted by Phidias. There is a sense of movement in the statues their legs being bent as if they are about to take a step. Their heads are turned which accentuates a sense of anticipation as if they are looking for something. The anatomical detail is extraordinary which gives a startling realism to the statue and demonstarte the high level of skill of the Greek sculptors of this peiod. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • Torso of the Riace bronze Greek statue B cast about 460 - 450 BC. statue B was probably sculpted by Phidias. There is a sense of movement in the statues their legs being bent as if they are about to take a step. Their heads are turned which accentuates a sense of anticipation as if they are looking for something. The anatomical detail is extraordinary which gives a startling realism to the statue and demonstarte the high level of skill of the Greek sculptors of this period. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • Ancient Roman statue of Pendua and his wife Nefertari, limestone, New Kingdom, 19th Dynasty, (1292-1186 BC),  Deir-el-Medina, Thebes. Egyptian Museum, Turin. white background.<br />
<br />
 Carved in Thebian white limestone the statue of Pendua and his wife Nefertari shows the skill and attention to details of the sculptors of Deir-el-Medina, the worker’s village of those who built the Royal Tombs at Thebes. The theme of the family is echoed by a carving of a daughter between the two figures.
  • Ancient Roman statue of Pendua and his wife Nefertari, limestone, New Kingdom, 19th Dynasty, (1292-1186 BC),  Deir-el-Medina, Thebes. Egyptian Museum, Turin. black background.<br />
<br />
 Carved in Thebian white limestone the statue of Pendua and his wife Nefertari shows the skill and attention to details of the sculptors of Deir-el-Medina, the worker’s village of those who built the Royal Tombs at Thebes. The theme of the family is echoed by a carving of a daughter between the two figures.
  • Ancient Roman statue of Pendua and his wife Nefertari, limestone, New Kingdom, 19th Dynasty, (1292-1186 BC),  Deir-el-Medina, Thebes. Egyptian Museum, Turin. Grey background.<br />
<br />
 Carved in Thebian white limestone the statue of Pendua and his wife Nefertari shows the skill and attention to details of the sculptors of Deir-el-Medina, the worker’s village of those who built the Royal Tombs at Thebes. The theme of the family is echoed by a carving of a daughter between the two figures.
  • Ancient Roman statue of Pendua and his wife Nefertari, limestone, New Kingdom, 19th Dynasty, (1292-1186 BC),  Deir-el-Medina, Thebes. Egyptian Museum, Turin. Grey background.<br />
<br />
 Carved in Thebian white limestone the statue of Pendua and his wife Nefertari shows the skill and attention to details of the sculptors of Deir-el-Medina, the worker’s village of those who built the Royal Tombs at Thebes. The theme of the family is echoed by a carving of a daughter between the two figures.
  • Ancient Roman statue of Pendua and his wife Nefertari, limestone, New Kingdom, 19th Dynasty, (1292-1186 BC),  Deir-el-Medina, Thebes. Egyptian Museum, Turin. Grey background.<br />
<br />
 Carved in Thebian white limestone the statue of Pendua and his wife Nefertari shows the skill and attention to details of the sculptors of Deir-el-Medina, the worker’s village of those who built the Royal Tombs at Thebes. The theme of the family is echoed by a carving of a daughter between the two figures.
  • Ancient Roman statue of Pendua and his wife Nefertari, limestone, New Kingdom, 19th Dynasty, (1292-1186 BC),  Deir-el-Medina, Thebes. Egyptian Museum, Turin. Grey background.<br />
<br />
 Carved in Thebian white limestone the statue of Pendua and his wife Nefertari shows the skill and attention to details of the sculptors of Deir-el-Medina, the worker’s village of those who built the Royal Tombs at Thebes. The theme of the family is echoed by a carving of a daughter between the two figures.
  • Ancient Roman statue of Pendua and his wife Nefertari, limestone, New Kingdom, 19th Dynasty, (1292-1186 BC),  Deir-el-Medina, Thebes. Egyptian Museum, Turin. .<br />
<br />
 Carved in Thebian white limestone the statue of Pendua and his wife Nefertari shows the skill and attention to details of the sculptors of Deir-el-Medina, the worker’s village of those who built the Royal Tombs at Thebes. The theme of the family is echoed by a carving of a daughter between the two figures.
  • Ancient Egyptian greywacke sarcophagus lid of Ibi - late Period, 26th Dynasty (664-610BC). Egyptian Museum, Turin. white background<br />
<br />
Ibi was overseer of the priests of Thebes and chief steward of Nitocris, Divine Adoratrice of Amon during the reign of Psamtek I. The sarcophagus lid shows his hands emerging from a shroud to grasp the dfed-pillar, which allows him to rise to his feet again after resurrection. The lid weighs more than a ton and is finely sculpted. Despite the hardness of the greywacke stone the sarcophagus is made from, its makers have shown incredible skill creating a sarcophagus with intricate detail and a highly polished finish.
  • Ancient Egyptian greywacke sarcophagus lid of Ibi - late Period, 26th Dynasty (664-610BC). Egyptian Museum, Turin. black background<br />
<br />
Ibi was overseer of the priests of Thebes and chief steward of Nitocris, Divine Adoratrice of Amon during the reign of Psamtek I. The sarcophagus lid shows his hands emerging from a shroud to grasp the dfed-pillar, which allows him to rise to his feet again after resurrection. The lid weighs more than a ton and is finely sculpted. Despite the hardness of the greywacke stone the sarcophagus is made from, its makers have shown incredible skill creating a sarcophagus with intricate detail and a highly polished finish.
  • Ancient Egyptian greywacke sarcophagus lid of Ibi - late Period, 26th Dynasty (664-610BC). Egyptian Museum, Turin. Grey background<br />
<br />
Ibi was overseer of the priests of Thebes and chief steward of Nitocris, Divine Adoratrice of Amon during the reign of Psamtek I. The sarcophagus lid shows his hands emerging from a shroud to grasp the dfed-pillar, which allows him to rise to his feet again after resurrection. The lid weighs more than a ton and is finely sculpted. Despite the hardness of the greywacke stone the sarcophagus is made from, its makers have shown incredible skill creating a sarcophagus with intricate detail and a highly polished finish.
  • Ancient Egyptian greywacke sarcophagus lid of Ibi - late Period, 26th Dynasty (664-610BC). Egyptian Museum, Turin. Grey background<br />
<br />
Ibi was overseer of the priests of Thebes and chief steward of Nitocris, Divine Adoratrice of Amon during the reign of Psamtek I. The sarcophagus lid shows his hands emerging from a shroud to grasp the dfed-pillar, which allows him to rise to his feet again after resurrection. The lid weighs more than a ton and is finely sculpted. Despite the hardness of the greywacke stone the sarcophagus is made from, its makers have shown incredible skill creating a sarcophagus with intricate detail and a highly polished finish.
  • Ancient Egyptian greywacke sarcophagus lid of Ibi - late Period, 26th Dynasty (664-610BC). Egyptian Museum, Turin. white background<br />
<br />
Ibi was overseer of the priests of Thebes and chief steward of Nitocris, Divine Adoratrice of Amon during the reign of Psamtek I. The sarcophagus lid shows his hands emerging from a shroud to grasp the dfed-pillar, which allows him to rise to his feet again after resurrection. The lid weighs more than a ton and is finely sculpted. Despite the hardness of the greywacke stone the sarcophagus is made from, its makers have shown incredible skill creating a sarcophagus with intricate detail and a highly polished finish.
  • Ancient Egyptian greywacke sarcophagus lid of Ibi - late Period, 26th Dynasty (664-610BC). Egyptian Museum, Turin. black background<br />
<br />
Ibi was overseer of the priests of Thebes and chief steward of Nitocris, Divine Adoratrice of Amon during the reign of Psamtek I. The sarcophagus lid shows his hands emerging from a shroud to grasp the dfed-pillar, which allows him to rise to his feet again after resurrection. The lid weighs more than a ton and is finely sculpted. Despite the hardness of the greywacke stone the sarcophagus is made from, its makers have shown incredible skill creating a sarcophagus with intricate detail and a highly polished finish.
  • Ancient Egyptian greywacke sarcophagus lid of Ibi - late Period, 26th Dynasty (664-610BC). Egyptian Museum, Turin. Grey background<br />
<br />
Ibi was overseer of the priests of Thebes and chief steward of Nitocris, Divine Adoratrice of Amon during the reign of Psamtek I. The sarcophagus lid shows his hands emerging from a shroud to grasp the dfed-pillar, which allows him to rise to his feet again after resurrection. The lid weighs more than a ton and is finely sculpted. Despite the hardness of the greywacke stone the sarcophagus is made from, its makers have shown incredible skill creating a sarcophagus with intricate detail and a highly polished finish.
  • Ancient Egyptian greywacke sarcophagus lid of Ibi - late Period, 26th Dynasty (664-610BC). Egyptian Museum, Turin. Grey background<br />
<br />
Ibi was overseer of the priests of Thebes and chief steward of Nitocris, Divine Adoratrice of Amon during the reign of Psamtek I. The sarcophagus lid shows his hands emerging from a shroud to grasp the dfed-pillar, which allows him to rise to his feet again after resurrection. The lid weighs more than a ton and is finely sculpted. Despite the hardness of the greywacke stone the sarcophagus is made from, its makers have shown incredible skill creating a sarcophagus with intricate detail and a highly polished finish.
  • Ancient Egyptian greywacke sarcophagus of Vizier Gemenefherbak - late Period, 26th Dynasty (664-525BC). Egyptian Museum, Turin. white background<br />
<br />
Gemenefherbak was a vizier, minister, as indicated by a pendant picturing the goddess Maat hanging around his neck in the shadow of his beard. Despite the hardness of the greywacke stone the sarcophagus is made from, its makers have shown incredible skill creating a sarcophagus with intricate detail and a highly polished finish.
  • Ancient Egyptian greywacke sarcophagus of Vizier Gemenefherbak - late Period, 26th Dynasty (664-525BC). Egyptian Museum, Turin. black background<br />
<br />
Gemenefherbak was a vizier, minister, as indicated by a pendant picturing the goddess Maat hanging around his neck in the shadow of his beard. Despite the hardness of the greywacke stone the sarcophagus is made from, its makers have shown incredible skill creating a sarcophagus with intricate detail and a highly polished finish.
  • Ancient Egyptian greywacke sarcophagus of Vizier Gemenefherbak - late Period, 26th Dynasty (664-525BC). Egyptian Museum, Turin. Grey background<br />
<br />
Gemenefherbak was a vizier, minister, as indicated by a pendant picturing the goddess Maat hanging around his neck in the shadow of his beard. Despite the hardness of the greywacke stone the sarcophagus is made from, its makers have shown incredible skill creating a sarcophagus with intricate detail and a highly polished finish.
  • Ancient Egyptian greywacke sarcophagus of Vizier Gemenefherbak - late Period, 26th Dynasty (664-525BC). Egyptian Museum, Turin. black background<br />
<br />
Gemenefherbak was a vizier, minister, as indicated by a pendant picturing the goddess Maat hanging around his neck in the shadow of his beard. Despite the hardness of the greywacke stone the sarcophagus is made from, its makers have shown incredible skill creating a sarcophagus with intricate detail and a highly polished finish.
  • Ancient Egyptian greywacke sarcophagus of Vizier Gemenefherbak - late Period, 26th Dynasty (664-525BC). Egyptian Museum, Turin. Grey background<br />
<br />
Gemenefherbak was a vizier, minister, as indicated by a pendant picturing the goddess Maat hanging around his neck in the shadow of his beard. Despite the hardness of the greywacke stone the sarcophagus is made from, its makers have shown incredible skill creating a sarcophagus with intricate detail and a highly polished finish.
  • Minoan cly polychrome decorated storage pithos, Protopalatial period, Phaistos 1800-1650 BC; Heraklion Archaeological  Museum, black background.<br />
<br />
The quality of Minoan pithoi of this period suggest that they were produced by specialised potters with considerable skill in the manufacture of large clay conatiners. They were used for the staorage of agricultural products and the number and size of the pithoi found during this Portopalatial period indicate increased production of farmers.
  • Minoan cly polychrome decorated storage pithos, Protopalatial period, Phaistos 1800-1650 BC; Heraklion Archaeological  Museum, white background..<br />
<br />
The quality of Minoan pithoi of this period suggest that they were produced by specialised potters with considerable skill in the manufacture of large clay conatiners. They were used for the staorage of agricultural products and the number and size of the pithoi found during this Portopalatial period indicate increased production of farmers.
  • Minoan cly polychrome decorated storage pithos, Protopalatial period, Phaistos 1800-1650 BC; Heraklion Archaeological  Museum, grey background.<br />
<br />
The quality of Minoan pithoi of this period suggest that they were produced by specialised potters with considerable skill in the manufacture of large clay conatiners. They were used for the staorage of agricultural products and the number and size of the pithoi found during this Portopalatial period indicate increased production of farmers.
  • Minoan cly polychrome decorated storage pithos, Protopalatial period, Phaistos 1800-1650 BC; Heraklion Archaeological  Museum, grey background.<br />
<br />
The quality of Minoan pithoi of this period suggest that they were produced by specialised potters with considerable skill in the manufacture of large clay conatiners. They were used for the staorage of agricultural products and the number and size of the pithoi found during this Portopalatial period indicate increased production of farmers.
  • Upper torso of the Riace bronze Greek statue B cast about 460 - 450 BC. statue B was probably sculpted by Phidias. There is a sense of movement in the statues their legs being bent as if they are about to take a step. Their heads are turned which accentuates a sense of anticipation as if they are looking for something. The anatomical detail is extraordinary which gives a startling realism to the statue and demonstarte the high level of skill of the Greek sculptors of this peiod. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • Full length face on view of the Riace bronze Greek statue B cast about 460 - 450 BC. statue B was probably sculpted by Phidias. There is a sense of movement in the statues their legs being bent as if they are about to take a step. Their heads are turned which accentuates a sense of anticipation as if they are looking for something. The anatomical detail is extraordinary which gives a startling realism to the statue and demonstarte the high level of skill of the Greek sculptors of this peiod. Museo Nazionale della Magna Grecia,  Reggio Calabria, Italy.
  • Birds around a  vase From Daphne, a suburb of Antioch, Antakya, Turkey, 1st half of 3rd century AD. Marble cubes, limestone and glass. A border of geometric perspective cubes surround a scene with one bird sitting on the vase of Daphne whilst the other surround it. The naturalistic skill of the Roman Antioch mosaic artists is so good that it is possible to tell the species of each bird. inv 3461, Louvre Museum, Paris
  • Birds around a  vase From Daphne, a suburb of Antioch, Antakya, Turkey, 1st half of 3rd century AD. Marble cubes, limestone and glass. A border of geometric perspective cubes surround a scene with one bird sitting on the vase of Daphne whilst the other surround it. The naturalistic skill of the Roman Antioch mosaic artists is so good that it is possible to tell the species of each bird. inv 3461, Louvre Museum, Paris
  • Birds around a  vase From Daphne, a suburb of Antioch, Antakya, Turkey, 1st half of 3rd century AD. Marble cubes, limestone and glass. A border of geometric perspective cubes surround a scene with one bird sitting on the vase of Daphne whilst the other surround it. The naturalistic skill of the Roman Antioch mosaic artists is so good that it is possible to tell the species of each bird. inv 3461, Louvre Museum, Paris
  • Birds around a  vase From Daphne, a suburb of Antioch, Antakya, Turkey, 1st half of 3rd century AD. Marble cubes, limestone and glass. A border of geometric perspective cubes surround a scene with one bird sitting on the vase of Daphne whilst the other surround it. The naturalistic skill of the Roman Antioch mosaic artists is so good that it is possible to tell the species of each bird. inv 3461, Louvre Museum, Paris
  • Birds around a  vase From Daphne, a suburb of Antioch, Antakya, Turkey, 1st half of 3rd century AD. Marble cubes, limestone and glass. A border of geometric perspective cubes surround a scene with one bird sitting on the vase of Daphne whilst the other surround it. The naturalistic skill of the Roman Antioch mosaic artists is so good that it is possible to tell the species of each bird. inv 3461, Louvre Museum, Paris
  • 2nd Cent. AD Roman relief sculpture depicting the struggle of Athena ( the goddess of wisdom, skill & warfare) fighting the Gigantes ( Giants) . From Aphrodisias (Geyne, Ayden) Turkey. Istanbul Archaeological Museum, Turkey, Inv. 1613aT , Cat. Mendel 512.
  • 2nd Cent. AD Roman relief sculpture depicting the struggle of Athena ( the goddess of wisdom, skill & warfare) fighting the Gigantes ( Giants) . From Aphrodisias (Geyne, Ayden) Turkey. Istanbul Archaeological Museum, Turkey, Inv. 1613aT , Cat. Mendel 512.
  • Marble statue of Athena, the Goddess of Wisdom, Skills & Warfare from Leptis Magna, Tripolitana. Roman copy of Greek 5th cent. B.C statue. Istanbul Archaeological Museum, Turkey. Inv. No 435T Cat. Mendel 532.
  • Marble statue of Athena, the Goddess of Wisdom, Skills & Warfare from Leptis Magna, Tripolitana. Roman copy of Greek 5th cent. B.C statue. Istanbul Archaeological Museum, Turkey. Inv. No 435T Cat. Mendel 532.
  • Marble statue of Athena, the Goddess of Wisdom, Skills & Warfare from Leptis Magna, Tripolitana. Roman copy of Greek 5th cent. B.C statue. Istanbul Archaeological Museum, Turkey. Inv. No 435T Cat. Mendel 532.
  • 2nd Cent. AD Roman relief sculpture depicting the struggle of Athena ( the goddess of wisdom, skill & warfare) fighting the Gigantes ( Giants) . From Aphrodisias (Geyne, Ayden) Turkey. Istanbul Archaeological Museum, Turkey, Inv. 1613aT , Cat. Mendel 512.
  • 2nd Cent. AD Roman relief sculpture depicting the struggle of Athena ( the goddess of wisdom, skill & warfare) fighting the Gigantes ( Giants) . From Aphrodisias (Geyne, Ayden) Turkey. Istanbul Archaeological Museum, Turkey, Inv. 1613aT , Cat. Mendel 512.
  • 2nd Cent. AD Roman relief sculpture depicting the struggle of Athena ( the goddess of wisdom, skill & warfare) fighting the Gigantes ( Giants) . From Aphrodisias (Geyne, Ayden) Turkey. Istanbul Archaeological Museum, Turkey, Inv. 1613aT , Cat. Mendel 512.
  • Picture & images of the interior of the Church of the Transfiguration,  Ikalto monastery was founded by Saint Zenon, one of the 13 Syrian Fathers, in the late 6th century. Near Telavi, Kakheti, Eastern Georgia (Country).<br />
<br />
The Ikalto Monastery is famous for the Academy of Ikalto founded in the reign of King David the Builder by Arsen Ikaltoeli. The Academy of Ikalto trained its students in classical diciplins of rhetoric, astronomy, philosophy, geography, geometry as well as learning the skills of chantings, pottery and poetry. In the 12th century the Georgian poet Shota Rustaveli studied here.
  • Pictures & images of the Church of the Transfiguration of Ikalto monastery was founded by Saint Zenon, one of the 13 Syrian Fathers, in the late 6th century. Near Telavi, Kakheti, Eastern Georgia (Country).<br />
<br />
The Ikalto Monastery is famous for the Academy of Ikalto founded in the reign of King David the Builder by Arsen Ikaltoeli. The Academy of Ikalto trained its students in classical diciplins of rhetoric, astronomy, philosophy, geography, geometry as well as learning the skills of chantings, pottery and poetry. In the 12th century the Georgian poet Shota Rustaveli studied here.
  • Pictures & images of the Church of the Transfiguration of Ikalto monastery was founded by Saint Zenon, one of the 13 Syrian Fathers, in the late 6th century. Near Telavi, Kakheti, Eastern Georgia (Country).<br />
<br />
The Ikalto Monastery is famous for the Academy of Ikalto founded in the reign of King David the Builder by Arsen Ikaltoeli. The Academy of Ikalto trained its students in classical diciplins of rhetoric, astronomy, philosophy, geography, geometry as well as learning the skills of chantings, pottery and poetry. In the 12th century the Georgian poet Shota Rustaveli studied here.
  • Pictures & images of the Church of the Transfiguration of Ikalto monastery was founded by Saint Zenon, one of the 13 Syrian Fathers, in the late 6th century. Near Telavi, Kakheti, Eastern Georgia (Country).<br />
<br />
The Ikalto Monastery is famous for the Academy of Ikalto founded in the reign of King David the Builder by Arsen Ikaltoeli. The Academy of Ikalto trained its students in classical diciplins of rhetoric, astronomy, philosophy, geography, geometry as well as learning the skills of chantings, pottery and poetry. In the 12th century the Georgian poet Shota Rustaveli studied here.
  • Pictures & images of the Church of the Transfiguration of Ikalto monastery was founded by Saint Zenon, one of the 13 Syrian Fathers, in the late 6th century. Near Telavi, Kakheti, Eastern Georgia (Country).<br />
<br />
The Ikalto Monastery is famous for the Academy of Ikalto founded in the reign of King David the Builder by Arsen Ikaltoeli. The Academy of Ikalto trained its students in classical diciplins of rhetoric, astronomy, philosophy, geography, geometry as well as learning the skills of chantings, pottery and poetry. In the 12th century the Georgian poet Shota Rustaveli studied here.
  • Pictures & images of the Church of the Transfiguration of Ikalto monastery was founded by Saint Zenon, one of the 13 Syrian Fathers, in the late 6th century. Near Telavi, Kakheti, Eastern Georgia (Country).<br />
<br />
The Ikalto Monastery is famous for the Academy of Ikalto founded in the reign of King David the Builder by Arsen Ikaltoeli. The Academy of Ikalto trained its students in classical diciplins of rhetoric, astronomy, philosophy, geography, geometry as well as learning the skills of chantings, pottery and poetry. In the 12th century the Georgian poet Shota Rustaveli studied here.
  • Pictures & images of (left) the ruins of the refectory of the Academy of Ikalto and (right) the Church of the Transfiguration of Ikalto monastery was founded by Saint Zenon, one of the 13 Syrian Fathers, in the late 6th century. Near Telavi, Kakheti, Eastern Georgia (Country).<br />
<br />
The Ikalto Monastery is famous for the Academy of Ikalto founded in the reign of King David the Builder by Arsen Ikaltoeli. The Academy of Ikalto trained its students in classical diciplins of rhetoric, astronomy, philosophy, geography, geometry as well as learning the skills of chantings, pottery and poetry. In the 12th century the Georgian poet Shota Rustaveli studied here.
  • Picture & images of the interior of the Church of the Transfiguration,  Ikalto monastery was founded by Saint Zenon, one of the 13 Syrian Fathers, in the late 6th century. Near Telavi, Kakheti, Eastern Georgia (Country).<br />
<br />
The Ikalto Monastery is famous for the Academy of Ikalto founded in the reign of King David the Builder by Arsen Ikaltoeli. The Academy of Ikalto trained its students in classical diciplins of rhetoric, astronomy, philosophy, geography, geometry as well as learning the skills of chantings, pottery and poetry. In the 12th century the Georgian poet Shota Rustaveli studied here.
  • Picture & images of the interior of the Church of the Transfiguration,  Ikalto monastery was founded by Saint Zenon, one of the 13 Syrian Fathers, in the late 6th century. Near Telavi, Kakheti, Eastern Georgia (Country).<br />
<br />
The Ikalto Monastery is famous for the Academy of Ikalto founded in the reign of King David the Builder by Arsen Ikaltoeli. The Academy of Ikalto trained its students in classical diciplins of rhetoric, astronomy, philosophy, geography, geometry as well as learning the skills of chantings, pottery and poetry. In the 12th century the Georgian poet Shota Rustaveli studied here.
  • Pictures of church of Kvelatsminda, Ikalto monastery was founded by Saint Zenon, one of the 13 Syrian Fathers, in the late 6th century. Near Telavi, Kakheti, Eastern Georgia (Country).<br />
<br />
The Ikalto Monastery is famous for the Academy of Ikalto founded in the reign of King David the Builder by Arsen Ikaltoeli. The Academy of Ikalto trained its students in classical diciplins of rhetoric, astronomy, philosophy, geography, geometry as well as learning the skills of chantings, pottery and poetry. In the 12th century the Georgian poet Shota Rustaveli studied here.
  • close up ictures & image of the Church of the Transfiguration of Ikalto monastery was founded by Saint Zenon, one of the 13 Syrian Fathers, in the late 6th century. Near Telavi, Kakheti, Eastern Georgia (Country).<br />
<br />
The Ikalto Monastery is famous for the Academy of Ikalto founded in the reign of King David the Builder by Arsen Ikaltoeli. The Academy of Ikalto trained its students in classical diciplins of rhetoric, astronomy, philosophy, geography, geometry as well as learning the skills of chantings, pottery and poetry. In the 12th century the Georgian poet Shota Rustaveli studied here.
  • close up ictures & image of the Church of the Transfiguration of Ikalto monastery was founded by Saint Zenon, one of the 13 Syrian Fathers, in the late 6th century. Near Telavi, Kakheti, Eastern Georgia (Country).<br />
<br />
The Ikalto Monastery is famous for the Academy of Ikalto founded in the reign of King David the Builder by Arsen Ikaltoeli. The Academy of Ikalto trained its students in classical diciplins of rhetoric, astronomy, philosophy, geography, geometry as well as learning the skills of chantings, pottery and poetry. In the 12th century the Georgian poet Shota Rustaveli studied here.
  • close up ictures & image of the Church of the Transfiguration of Ikalto monastery was founded by Saint Zenon, one of the 13 Syrian Fathers, in the late 6th century. Near Telavi, Kakheti, Eastern Georgia (Country).<br />
<br />
The Ikalto Monastery is famous for the Academy of Ikalto founded in the reign of King David the Builder by Arsen Ikaltoeli. The Academy of Ikalto trained its students in classical diciplins of rhetoric, astronomy, philosophy, geography, geometry as well as learning the skills of chantings, pottery and poetry. In the 12th century the Georgian poet Shota Rustaveli studied here.
  • close up ictures & image of the Church of the Transfiguration of Ikalto monastery was founded by Saint Zenon, one of the 13 Syrian Fathers, in the late 6th century. Near Telavi, Kakheti, Eastern Georgia (Country).<br />
<br />
The Ikalto Monastery is famous for the Academy of Ikalto founded in the reign of King David the Builder by Arsen Ikaltoeli. The Academy of Ikalto trained its students in classical diciplins of rhetoric, astronomy, philosophy, geography, geometry as well as learning the skills of chantings, pottery and poetry. In the 12th century the Georgian poet Shota Rustaveli studied here.
  • close up ictures & image of the Church of the Transfiguration of Ikalto monastery was founded by Saint Zenon, one of the 13 Syrian Fathers, in the late 6th century. Near Telavi, Kakheti, Eastern Georgia (Country).<br />
<br />
The Ikalto Monastery is famous for the Academy of Ikalto founded in the reign of King David the Builder by Arsen Ikaltoeli. The Academy of Ikalto trained its students in classical diciplins of rhetoric, astronomy, philosophy, geography, geometry as well as learning the skills of chantings, pottery and poetry. In the 12th century the Georgian poet Shota Rustaveli studied here.
  • Pictures & images of the Church of the Transfiguration of Ikalto monastery was founded by Saint Zenon, one of the 13 Syrian Fathers, in the late 6th century. Near Telavi, Kakheti, Eastern Georgia (Country).<br />
<br />
The Ikalto Monastery is famous for the Academy of Ikalto founded in the reign of King David the Builder by Arsen Ikaltoeli. The Academy of Ikalto trained its students in classical diciplins of rhetoric, astronomy, philosophy, geography, geometry as well as learning the skills of chantings, pottery and poetry. In the 12th century the Georgian poet Shota Rustaveli studied here.
  • Pictures & images of the Church of the Transfiguration of Ikalto monastery was founded by Saint Zenon, one of the 13 Syrian Fathers, in the late 6th century. Near Telavi, Kakheti, Eastern Georgia (Country).<br />
<br />
The Ikalto Monastery is famous for the Academy of Ikalto founded in the reign of King David the Builder by Arsen Ikaltoeli. The Academy of Ikalto trained its students in classical diciplins of rhetoric, astronomy, philosophy, geography, geometry as well as learning the skills of chantings, pottery and poetry. In the 12th century the Georgian poet Shota Rustaveli studied here.
  • Pictures & images of the Church of the Transfiguration of Ikalto monastery was founded by Saint Zenon, one of the 13 Syrian Fathers, in the late 6th century. Near Telavi, Kakheti, Eastern Georgia (Country).<br />
<br />
The Ikalto Monastery is famous for the Academy of Ikalto founded in the reign of King David the Builder by Arsen Ikaltoeli. The Academy of Ikalto trained its students in classical diciplins of rhetoric, astronomy, philosophy, geography, geometry as well as learning the skills of chantings, pottery and poetry. In the 12th century the Georgian poet Shota Rustaveli studied here.
  • Pictures & images of the Church of the Transfiguration of Ikalto monastery was founded by Saint Zenon, one of the 13 Syrian Fathers, in the late 6th century. Near Telavi, Kakheti, Eastern Georgia (Country).<br />
<br />
The Ikalto Monastery is famous for the Academy of Ikalto founded in the reign of King David the Builder by Arsen Ikaltoeli. The Academy of Ikalto trained its students in classical diciplins of rhetoric, astronomy, philosophy, geography, geometry as well as learning the skills of chantings, pottery and poetry. In the 12th century the Georgian poet Shota Rustaveli studied here.
  • Pictures & images of the Church of the Transfiguration of Ikalto monastery was founded by Saint Zenon, one of the 13 Syrian Fathers, in the late 6th century. Near Telavi, Kakheti, Eastern Georgia (Country).<br />
<br />
The Ikalto Monastery is famous for the Academy of Ikalto founded in the reign of King David the Builder by Arsen Ikaltoeli. The Academy of Ikalto trained its students in classical diciplins of rhetoric, astronomy, philosophy, geography, geometry as well as learning the skills of chantings, pottery and poetry. In the 12th century the Georgian poet Shota Rustaveli studied here.
  • Pictures & images of the Church of the Transfiguration of Ikalto monastery was founded by Saint Zenon, one of the 13 Syrian Fathers, in the late 6th century. Near Telavi, Kakheti, Eastern Georgia (Country).<br />
<br />
The Ikalto Monastery is famous for the Academy of Ikalto founded in the reign of King David the Builder by Arsen Ikaltoeli. The Academy of Ikalto trained its students in classical diciplins of rhetoric, astronomy, philosophy, geography, geometry as well as learning the skills of chantings, pottery and poetry. In the 12th century the Georgian poet Shota Rustaveli studied here.
  • Pictures & images of the Church of the Transfiguration of Ikalto monastery was founded by Saint Zenon, one of the 13 Syrian Fathers, in the late 6th century. Near Telavi, Kakheti, Eastern Georgia (Country).<br />
<br />
The Ikalto Monastery is famous for the Academy of Ikalto founded in the reign of King David the Builder by Arsen Ikaltoeli. The Academy of Ikalto trained its students in classical diciplins of rhetoric, astronomy, philosophy, geography, geometry as well as learning the skills of chantings, pottery and poetry. In the 12th century the Georgian poet Shota Rustaveli studied here.
  • Pictures & images of the Church of the Transfiguration of Ikalto monastery was founded by Saint Zenon, one of the 13 Syrian Fathers, in the late 6th century. Near Telavi, Kakheti, Eastern Georgia (Country).<br />
<br />
The Ikalto Monastery is famous for the Academy of Ikalto founded in the reign of King David the Builder by Arsen Ikaltoeli. The Academy of Ikalto trained its students in classical diciplins of rhetoric, astronomy, philosophy, geography, geometry as well as learning the skills of chantings, pottery and poetry. In the 12th century the Georgian poet Shota Rustaveli studied here.
  • Pictures & images of the Church of the Transfiguration of Ikalto monastery was founded by Saint Zenon, one of the 13 Syrian Fathers, in the late 6th century. Near Telavi, Kakheti, Eastern Georgia (Country).<br />
<br />
The Ikalto Monastery is famous for the Academy of Ikalto founded in the reign of King David the Builder by Arsen Ikaltoeli. The Academy of Ikalto trained its students in classical diciplins of rhetoric, astronomy, philosophy, geography, geometry as well as learning the skills of chantings, pottery and poetry. In the 12th century the Georgian poet Shota Rustaveli studied here.
  • Pictures & images of the Church of the Transfiguration of Ikalto monastery was founded by Saint Zenon, one of the 13 Syrian Fathers, in the late 6th century. Near Telavi, Kakheti, Eastern Georgia (Country).<br />
<br />
The Ikalto Monastery is famous for the Academy of Ikalto founded in the reign of King David the Builder by Arsen Ikaltoeli. The Academy of Ikalto trained its students in classical diciplins of rhetoric, astronomy, philosophy, geography, geometry as well as learning the skills of chantings, pottery and poetry. In the 12th century the Georgian poet Shota Rustaveli studied here.
  • Pictures & images of the Church of the Transfiguration of Ikalto monastery was founded by Saint Zenon, one of the 13 Syrian Fathers, in the late 6th century. Near Telavi, Kakheti, Eastern Georgia (Country).<br />
<br />
The Ikalto Monastery is famous for the Academy of Ikalto founded in the reign of King David the Builder by Arsen Ikaltoeli. The Academy of Ikalto trained its students in classical diciplins of rhetoric, astronomy, philosophy, geography, geometry as well as learning the skills of chantings, pottery and poetry. In the 12th century the Georgian poet Shota Rustaveli studied here.
  • Pictures & images of the Church of the Transfiguration of Ikalto monastery was founded by Saint Zenon, one of the 13 Syrian Fathers, in the late 6th century. Near Telavi, Kakheti, Eastern Georgia (Country).<br />
<br />
The Ikalto Monastery is famous for the Academy of Ikalto founded in the reign of King David the Builder by Arsen Ikaltoeli. The Academy of Ikalto trained its students in classical diciplins of rhetoric, astronomy, philosophy, geography, geometry as well as learning the skills of chantings, pottery and poetry. In the 12th century the Georgian poet Shota Rustaveli studied here.
  • Pictures & images of the Church of the Transfiguration of Ikalto monastery was founded by Saint Zenon, one of the 13 Syrian Fathers, in the late 6th century. Near Telavi, Kakheti, Eastern Georgia (Country).<br />
<br />
The Ikalto Monastery is famous for the Academy of Ikalto founded in the reign of King David the Builder by Arsen Ikaltoeli. The Academy of Ikalto trained its students in classical diciplins of rhetoric, astronomy, philosophy, geography, geometry as well as learning the skills of chantings, pottery and poetry. In the 12th century the Georgian poet Shota Rustaveli studied here.
  • Pictures & images of (left) the ruins of the refectory of the Academy of Ikalto and (right) the Church of the Transfiguration of Ikalto monastery was founded by Saint Zenon, one of the 13 Syrian Fathers, in the late 6th century. Near Telavi, Kakheti, Eastern Georgia (Country).<br />
<br />
The Ikalto Monastery is famous for the Academy of Ikalto founded in the reign of King David the Builder by Arsen Ikaltoeli. The Academy of Ikalto trained its students in classical diciplins of rhetoric, astronomy, philosophy, geography, geometry as well as learning the skills of chantings, pottery and poetry. In the 12th century the Georgian poet Shota Rustaveli studied here.
  • Pictures & images of the Church of the Transfiguration of Ikalto monastery was founded by Saint Zenon, one of the 13 Syrian Fathers, in the late 6th century. Near Telavi, Kakheti, Eastern Georgia (Country).<br />
<br />
The Ikalto Monastery is famous for the Academy of Ikalto founded in the reign of King David the Builder by Arsen Ikaltoeli. The Academy of Ikalto trained its students in classical diciplins of rhetoric, astronomy, philosophy, geography, geometry as well as learning the skills of chantings, pottery and poetry. In the 12th century the Georgian poet Shota Rustaveli studied here.
  • Pictures & images of the Church of the Transfiguration of Ikalto monastery was founded by Saint Zenon, one of the 13 Syrian Fathers, in the late 6th century. Near Telavi, Kakheti, Eastern Georgia (Country).<br />
<br />
The Ikalto Monastery is famous for the Academy of Ikalto founded in the reign of King David the Builder by Arsen Ikaltoeli. The Academy of Ikalto trained its students in classical diciplins of rhetoric, astronomy, philosophy, geography, geometry as well as learning the skills of chantings, pottery and poetry. In the 12th century the Georgian poet Shota Rustaveli studied here.
  • Pictures & images of the Church of the Transfiguration of Ikalto monastery was founded by Saint Zenon, one of the 13 Syrian Fathers, in the late 6th century. Near Telavi, Kakheti, Eastern Georgia (Country).<br />
<br />
The Ikalto Monastery is famous for the Academy of Ikalto founded in the reign of King David the Builder by Arsen Ikaltoeli. The Academy of Ikalto trained its students in classical diciplins of rhetoric, astronomy, philosophy, geography, geometry as well as learning the skills of chantings, pottery and poetry. In the 12th century the Georgian poet Shota Rustaveli studied here.
  • Pictures & images of the Church of the Transfiguration of Ikalto monastery was founded by Saint Zenon, one of the 13 Syrian Fathers, in the late 6th century. Near Telavi, Kakheti, Eastern Georgia (Country).<br />
<br />
The Ikalto Monastery is famous for the Academy of Ikalto founded in the reign of King David the Builder by Arsen Ikaltoeli. The Academy of Ikalto trained its students in classical diciplins of rhetoric, astronomy, philosophy, geography, geometry as well as learning the skills of chantings, pottery and poetry. In the 12th century the Georgian poet Shota Rustaveli studied here.
  • Pictures & images of the Church of the Transfiguration of Ikalto monastery was founded by Saint Zenon, one of the 13 Syrian Fathers, in the late 6th century. Near Telavi, Kakheti, Eastern Georgia (Country).<br />
<br />
The Ikalto Monastery is famous for the Academy of Ikalto founded in the reign of King David the Builder by Arsen Ikaltoeli. The Academy of Ikalto trained its students in classical diciplins of rhetoric, astronomy, philosophy, geography, geometry as well as learning the skills of chantings, pottery and poetry. In the 12th century the Georgian poet Shota Rustaveli studied here.
  • close up ictures & image of the Church of the Transfiguration of Ikalto monastery was founded by Saint Zenon, one of the 13 Syrian Fathers, in the late 6th century. Near Telavi, Kakheti, Eastern Georgia (Country).<br />
<br />
The Ikalto Monastery is famous for the Academy of Ikalto founded in the reign of King David the Builder by Arsen Ikaltoeli. The Academy of Ikalto trained its students in classical diciplins of rhetoric, astronomy, philosophy, geography, geometry as well as learning the skills of chantings, pottery and poetry. In the 12th century the Georgian poet Shota Rustaveli studied here.
  • Pictures & images of the Church of the Transfiguration of Ikalto monastery was founded by Saint Zenon, one of the 13 Syrian Fathers, in the late 6th century. Near Telavi, Kakheti, Eastern Georgia (Country).<br />
<br />
The Ikalto Monastery is famous for the Academy of Ikalto founded in the reign of King David the Builder by Arsen Ikaltoeli. The Academy of Ikalto trained its students in classical diciplins of rhetoric, astronomy, philosophy, geography, geometry as well as learning the skills of chantings, pottery and poetry. In the 12th century the Georgian poet Shota Rustaveli studied here.
  • Pictures & images of the Church of the Transfiguration of Ikalto monastery was founded by Saint Zenon, one of the 13 Syrian Fathers, in the late 6th century. Near Telavi, Kakheti, Eastern Georgia (Country).<br />
<br />
The Ikalto Monastery is famous for the Academy of Ikalto founded in the reign of King David the Builder by Arsen Ikaltoeli. The Academy of Ikalto trained its students in classical diciplins of rhetoric, astronomy, philosophy, geography, geometry as well as learning the skills of chantings, pottery and poetry. In the 12th century the Georgian poet Shota Rustaveli studied here.
  • close up ictures & image of the Church of the Transfiguration of Ikalto monastery was founded by Saint Zenon, one of the 13 Syrian Fathers, in the late 6th century. Near Telavi, Kakheti, Eastern Georgia (Country).<br />
<br />
The Ikalto Monastery is famous for the Academy of Ikalto founded in the reign of King David the Builder by Arsen Ikaltoeli. The Academy of Ikalto trained its students in classical diciplins of rhetoric, astronomy, philosophy, geography, geometry as well as learning the skills of chantings, pottery and poetry. In the 12th century the Georgian poet Shota Rustaveli studied here.
  • Marble statue of Athena, the Goddess of Wisdom, Skills & Warfare from Leptis Magna, Tripolitana. Roman copy of Greek 5th cent. B.C statue. Istanbul Archaeological Museum, Turkey. Inv. No 435T Cat. Mendel 532.
  • Pictures & images of the Church of the Transfiguration of Ikalto monastery was founded by Saint Zenon, one of the 13 Syrian Fathers, in the late 6th century. Near Telavi, Kakheti, Eastern Georgia (Country).<br />
<br />
The Ikalto Monastery is famous for the Academy of Ikalto founded in the reign of King David the Builder by Arsen Ikaltoeli. The Academy of Ikalto trained its students in classical diciplins of rhetoric, astronomy, philosophy, geography, geometry as well as learning the skills of chantings, pottery and poetry. In the 12th century the Georgian poet Shota Rustaveli studied here.
  • Pictures & images of the Church of the Transfiguration of Ikalto monastery was founded by Saint Zenon, one of the 13 Syrian Fathers, in the late 6th century. Near Telavi, Kakheti, Eastern Georgia (Country).<br />
<br />
The Ikalto Monastery is famous for the Academy of Ikalto founded in the reign of King David the Builder by Arsen Ikaltoeli. The Academy of Ikalto trained its students in classical diciplins of rhetoric, astronomy, philosophy, geography, geometry as well as learning the skills of chantings, pottery and poetry. In the 12th century the Georgian poet Shota Rustaveli studied here.
  • Pictures & images of the Church of the Transfiguration of Ikalto monastery was founded by Saint Zenon, one of the 13 Syrian Fathers, in the late 6th century. Near Telavi, Kakheti, Eastern Georgia (Country).<br />
<br />
The Ikalto Monastery is famous for the Academy of Ikalto founded in the reign of King David the Builder by Arsen Ikaltoeli. The Academy of Ikalto trained its students in classical diciplins of rhetoric, astronomy, philosophy, geography, geometry as well as learning the skills of chantings, pottery and poetry. In the 12th century the Georgian poet Shota Rustaveli studied here.

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