• Hittite bronze spear heads. Hittite Period 1650 - 1450 BC, Ortakoy Sapinuva . Çorum Archaeological Museum, Corum, Turkey
  • Hittite bronze spear heads. Hittite Period 1650 - 1450 BC.  Hattusa Boğazkale. Çorum Archaeological Museum, Corum, Turkey. Against a white bacground.
  • Hittite bronze spear heads. Hittite Period 1650 - 1450 BC.  Hattusa Boğazkale. Çorum Archaeological Museum, Corum, Turkey. Against a black bacground.
  • Hittite bronze spear heads. Hittite Period 1650 - 1450 BC.  Hattusa Boğazkale. Çorum Archaeological Museum, Corum, Turkey
  • Hittite bronze spear heads. Hittite Period 1650 - 1450 BC.  Hattusa Boğazkale. Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hittite bronze spear heads. Hittite Period 1650 - 1450 BC.  Hattusa Boğazkale. Çorum Archaeological Museum, Corum, Turkey. Against a grey bacground.
  • Hittite bronze spear heads. Hittite Period 1650 - 1450 BC, Ortakoy Sapinuva . Çorum Archaeological Museum, Corum, Turkey
  • Hittite bronze spear heads. Hittite Period 1650 - 1450 BC, Ortakoy Sapinuva . Çorum Archaeological Museum, Corum, Turkey. Against a black bacground.
  • Hittite bronze spear heads. Hittite Period 1650 - 1450 BC, Ortakoy Sapinuva . Çorum Archaeological Museum, Corum, Turkey. Against a grey bacground.
  • Hittite bronze spear heads. Hittite Period 1650 - 1450 BC, Ortakoy Sapinuva . Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Stock photos of a bunch of fresh English asparagus spears . Funky stock photos images of English Asparagus
  • Stock photos of a bunch of fresh white asparagus spears . Funky stock photos images of white Asparagus
  • Stock photos of a bunch of fresh English asparagus spears . Funky stock photos images of English Asparagus
  • Stock photos of a bunch of fresh organic English asparagus spears . Funky stock photos images of English Asparagus
  • Stock photos of a bunch of fresh English asparagus spears . Funky stock photos images of English Asparagus
  • Stock photos of a bunch of fresh English asparagus spears . Funky stock photos images of English Asparagus
  • Stock photos of a bunch of fresh English asparagus spears . Funky stock photos images of English Asparagus
  • Stock photos of a bunch of fresh organic English asparagus spears . Funky stock photos images of English Asparagus
  • Stock photos of a bunch of fresh English asparagus spears . Funky stock photos images of English Asparagus
  • Stock photos of a bunch of fresh English asparagus spears . Funky stock photos images of English Asparagus
  • Stock photos of a bunch of fresh organic English asparagus spears . Funky stock photos images of English Asparagus
  • Stock photos of a bunch of fresh English asparagus spears . Funky stock photos images of English Asparagus
  • Stock photos of a bunch of fresh English asparagus spears . Funky stock photos images of English Asparagus
  • Stock photos of a bunch of fresh English asparagus spears . Funky stock photos images of English Asparagus
  • Stock photos of a bunch of fresh English asparagus spears growing . Funky stock photos images.
  • Stock photos of a bunch of fresh English asparagus spears growing . Funky stock photos images.
  • Stock photos of a bunch of fresh English asparagus spears growing . Funky stock photos images.
  • Stock photos of a bunch of fresh English asparagus spears growing . Funky stock photos images.
  • Stock photos of a bunch of fresh English asparagus spears growing . Funky stock photos images.
  • Stock photos of a bunch of fresh English asparagus spears growing . Funky stock photos images.
  • Stock photos of a bunch of fresh English asparagus spears . Funky stock photos images.
  • Stock photos of a bunch of fresh English organic asparagus spears . Funky stock photos images.
  • Stock photos of a bunch of fresh English asparagus spears . Funky stock photos images.
  • Stock photos of a bunch of fresh English asparagus spears . Funky stock photos images.
  • Stock photos of a bunch of fresh English asparagus spears . Funky stock photos images.
  • Stock photos of a bunch of fresh English asparagus spears . Funky stock photos images.
  • Stock photos of a bunch of fresh English asparagus spears . Funky stock photos images.
  • Black obsidian arrow heads. Catalhoyuk Collections. Museum of Anatolian Civilisations, Ankara. Against a grey background
  • Black obsidian arrow heads. Catalhoyuk Collections. Museum of Anatolian Civilisations, Ankara
  • Black obsidian arrow heads. Catalhoyuk Collections. Museum of Anatolian Civilisations, Ankara. Against a white background
  • Black obsidian arrow heads. Catalhoyuk Collections. Museum of Anatolian Civilisations, Ankara. Against a gray mottled background
  • Black obsidian arrow heads. Catalhoyuk Collections. Museum of Anatolian Civilisations, Ankara. Against a black background
  • Stock photos of fresh English asparagus growing in the fields. Funky stock photos images.
  • Stock photos of fresh asparagus growing in the fields. Funky stock photos images.
  • Fresh asparagus in the fields. Funky stock photos
  • Stock photos of fresh English asparagus  in the fields. Funky stock photos images.
  • Stock photos of fresh English asparagus  in the fields. Funky stock photos images.
  • Stock photos of fresh English asparagus  in the fields. Funky stock photos images.
  • Stock photos of fresh English asparagus  in the fields. Funky stock photos images.
  • Stock photos of fresh English asparagus  in the fields. Funky stock photos images.
  • Stock photos of fresh English asparagus  in the fields. Funky stock photos images.
  • Stock photos of fresh English asparagus  in the fields. Funky stock photos images.
  • Stock photos of fresh English asparagus growing in the fields. Funky stock photos images.
  • Stock photos of fresh English asparagus growing in the fields. Funky stock photos images.
  • Stock photos of fresh English asparagus growing in the fields. Funky stock photos images.
  • Stock photos of fresh English asparagus growing in the fields. Funky stock photos images.
  • Stock photos of fresh English asparagus growing in the fields. Funky stock photos images.
  • Stock photos of fresh English asparagus growing in the fields. Funky stock photos images.
  • Stock photos of fresh English asparagus growing in the fields. Funky stock photos images.
  • Stock photos of fresh English asparagus growing in the fields. Funky stock photos images.
  • Stock photos of fresh English asparagus growing in the fields. Funky stock photos images.
  • Stock photos of fresh asparagus growing in the fields. Funky stock photos images.
  • Stock photos of fresh asparagus growing in the fields. Funky stock photos images.
  • Stock photos of fresh asparagus growing in the fields. Funky stock photos images.
  • Fresh asparagus in the fields. Funky stock photos
  • Stock photos of fresh asparagus growing in the fields. Funky stock photos images.
  • fresh asparagus spears growing in a field
  • bunch of fresh asparagus spears.
  • fresh asparagus spears growing in a field
  • fresh asparagus spears growing in a field
  • bunch of fresh asparagus spears.
  • bunch of fresh asparagus spears.
  • Bunch of fresh asparagus spears
  • fresh asparagus spears just picked in an asparagus field
  • bunch of fresh organic asparagus spears.
  • bunch of fresh asparagus spears.
  • fresh asparagus spears growing in a field
  • fresh asparagus spears.
  • fresh asparagus spears just picked in an asparagus field
  • fresh asparagus spears just picked in an asparagus field
  • Medley of aspargus spears, potatoes mange tout vegetables food photos
  • Brocoli stems photos, pictures & images
  • Medley of brocoli, cauliflower, carrots and potoes, vegetable food photos
  • Fresh broccoli heads
  • Fresh broccoli heads
  • Hunters about to spear a hare an spearing a wild boar from the Room of The Small Hunt, no 25 - Roman mosaics at the Villa Romana del Casale which containis the richest, largest and most complex collection of Roman mosaics in the world, circa the first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.
  • Close up detail picture of the Roman mosaics of the Room of the Chidrens's Hunt depicting children hunting animals, room no 44 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Roman mosaic on the floor of the cubicle of the Child Hunt in the Villa Romana del Casale is divided into three registers with a floral theme.<br />
<br />
In the first register boys are spearing a hare with a venabulum ( spear) while to their right another boy has trapped a duckling. <br />
<br />
In the second register tree young hunters are portrayed being attacked by animals, one boy has fallen down having been bitten on the calf by a weasel. The boy in the middle has his hands raised calling for help and to his right a boy is about to be attacked bu a cockerel.<br />
<br />
In the lower register a boy is holding a raised club about to hit a peacock while another boy is spearing a goat and another is using a shield to protect himself from a Great Bustard.
  • Wide picture of the Roman mosaics of the Room of the Chidrens's Hunt depicting children hunting animals, room no 44 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Roman mosaic on the floor of the cubicle of the Child Hunt in the Villa Romana del Casale is divided into three registers with a floral theme.<br />
<br />
In the first register boys are spearing a hare with a venabulum ( spear) while to their right another boy has trapped a duckling. <br />
<br />
In the second register tree young hunters are portrayed being attacked by animals, one boy has fallen down having been bitten on the calf by a weasel. The boy in the middle has his hands raised calling for help and to his right a boy is about to be attacked bu a cockerel.<br />
<br />
In the lower register a boy is holding a raised club about to hit a peacock while another boy is spearing a goat and another is using a shield to protect himself from a Great Bustard.
  • Close up detail picture of the Roman mosaics of the Room of the Chidrens's Hunt depicting children hunting animals, room no 44 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Roman mosaic on the floor of the cubicle of the Child Hunt in the Villa Romana del Casale is divided into three registers with a floral theme.<br />
<br />
In the first register boys are spearing a hare with a venabulum ( spear) while to their right another boy has trapped a duckling. <br />
<br />
In the second register tree young hunters are portrayed being attacked by animals, one boy has fallen down having been bitten on the calf by a weasel. The boy in the middle has his hands raised calling for help and to his right a boy is about to be attacked bu a cockerel.<br />
<br />
In the lower register a boy is holding a raised club about to hit a peacock while another boy is spearing a goat and another is using a shield to protect himself from a Great Bustard.
  • Close up detail picture of the Roman mosaics of the Room of the Chidrens's Hunt depicting children hunting animals, room no 44 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Roman mosaic on the floor of the cubicle of the Child Hunt in the Villa Romana del Casale is divided into three registers with a floral theme.<br />
<br />
In the first register boys are spearing a hare with a venabulum ( spear) while to their right another boy has trapped a duckling. <br />
<br />
In the second register tree young hunters are portrayed being attacked by animals, one boy has fallen down having been bitten on the calf by a weasel. The boy in the middle has his hands raised calling for help and to his right a boy is about to be attacked bu a cockerel.<br />
<br />
In the lower register a boy is holding a raised club about to hit a peacock while another boy is spearing a goat and another is using a shield to protect himself from a Great Bustard.
  • Close up detail picture of the Roman mosaics of the Room of the Chidrens's Hunt depicting children hunting animals, room no 44 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Roman mosaic on the floor of the cubicle of the Child Hunt in the Villa Romana del Casale is divided into three registers with a floral theme.<br />
<br />
In the first register boys are spearing a hare with a venabulum ( spear) while to their right another boy has trapped a duckling. <br />
<br />
In the second register tree young hunters are portrayed being attacked by animals, one boy has fallen down having been bitten on the calf by a weasel. The boy in the middle has his hands raised calling for help and to his right a boy is about to be attacked bu a cockerel.<br />
<br />
In the lower register a boy is holding a raised club about to hit a peacock while another boy is spearing a goat and another is using a shield to protect himself from a Great Bustard.
  • Close up detail picture of the Roman mosaics of the Room of the Chidrens's Hunt depicting children hunting animals, room no 44 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Roman mosaic on the floor of the cubicle of the Child Hunt in the Villa Romana del Casale is divided into three registers with a floral theme.<br />
<br />
In the first register boys are spearing a hare with a venabulum ( spear) while to their right another boy has trapped a duckling. <br />
<br />
In the second register tree young hunters are portrayed being attacked by animals, one boy has fallen down having been bitten on the calf by a weasel. The boy in the middle has his hands raised calling for help and to his right a boy is about to be attacked bu a cockerel.<br />
<br />
In the lower register a boy is holding a raised club about to hit a peacock while another boy is spearing a goat and another is using a shield to protect himself from a Great Bustard.
  • Close up detail picture of the Roman mosaics of the Room of the Chidrens's Hunt depicting children hunting animals, room no 44 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Roman mosaic on the floor of the cubicle of the Child Hunt in the Villa Romana del Casale is divided into three registers with a floral theme.<br />
<br />
In the first register boys are spearing a hare with a venabulum ( spear) while to their right another boy has trapped a duckling. <br />
<br />
In the second register tree young hunters are portrayed being attacked by animals, one boy has fallen down having been bitten on the calf by a weasel. The boy in the middle has his hands raised calling for help and to his right a boy is about to be attacked bu a cockerel.<br />
<br />
In the lower register a boy is holding a raised club about to hit a peacock while another boy is spearing a goat and another is using a shield to protect himself from a Great Bustard.
  • Hunter about to spear a hare From the Room of The Small Hunt, no 25 - Roman mosaics at the Villa Romana del Casale which containis the richest, largest and most complex collection of Roman mosaics in the world, circa the first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.
  • Hunter on horseback  about to spear a crouching hare From the Room of The Small Hunt, no 25 - Roman mosaics at the Villa Romana del Casale which containis the richest, largest and most complex collection of Roman mosaics in the world, circa the first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.
  • Large wine krater known as "House of the Warrior Vase", showing men in full armour ( helmet, cuirass, greaves, shield and spear ) as they depart fro war with a sack of supplies hanging from their spears. A fine example of Mycenaean Pictoral Style. Mycenae acropolis, Greece. 12th century BC, cat no: 1426 ,  National Archaeological Museum, Athens.
  • Large wine krater known as "House of the Warrior Vase", showing men in full armour ( helmet, cuirass, greaves, shield and spear ) as they depart fro war with a sack of supplies hanging from their spears. A fine example of Mycenaean Pictoral Style. Mycenae acropolis, Greece. 12th century BC, cat no: 1426 ,  National Archaeological Museum, Athens.
  • Large wine krater known as "House of the Warrior Vase", showing men in full armour ( helmet, cuirass, greaves, shield and spear ) as they depart fro war with a sack of supplies hanging from their spears. A fine example of Mycenaean Pictoral Style. Mycenae acropolis, Greece. 12th century BC, cat no: 1426 ,  National Archaeological Museum, Athens.
  • Large wine krater known as "House of the Warrior Vase", showing men in full armour ( helmet, cuirass, greaves, shield and spear ) as they depart fro war with a sack of supplies hanging from their spears. A fine example of Mycenaean Pictoral Style. Mycenae acropolis, Greece. 12th century BC, cat no: 1426 ,  National Archaeological Museum, Athens.
  • Large wine krater known as "House of the Warrior Vase", showing men in full armour ( helmet, cuirass, greaves, shield and spear ) as they depart fro war with a sack of supplies hanging from their spears. A fine example of Mycenaean Pictoral Style. Mycenae acropolis, Greece. 12th century BC, cat no: 1426 ,  National Archaeological Museum, Athens.
  • Large wine krater known as "House of the Warrior Vase", showing men in full armour ( helmet, cuirass, greaves, shield and spear ) as they depart fro war with a sack of supplies hanging from their spears. A fine example of Mycenaean Pictoral Style. Mycenae acropolis, Greece. 12th century BC, cat no: 1426 ,  National Archaeological Museum, Athens.
  • Roman Sebasteion relief sculpture personifing a Balkan Warrior  Aphrodisias Museum, Aphrodisias, Turkey.  Against a black background.<br />
<br />
The relief figure personifies a Balkan Warrior tribe defeated by Tiberius in AD 6-8 before he became emperor. She wears a classical dress, cloak and helmet and carries a small shield and probably once a spear. A builder’s inscription, “Pirouston”, written above the shield, ensured the relief was put on the right base
  • Roman Sebasteion relief sculpture personifing a Balkan Warrior  Aphrodisias Museum, Aphrodisias, Turkey.  Against an art background.<br />
<br />
The relief figure personifies a Balkan Warrior tribe defeated by Tiberius in AD 6-8 before he became emperor. She wears a classical dress, cloak and helmet and carries a small shield and probably once a spear. A builder’s inscription, “Pirouston”, written above the shield, ensured the relief was put on the right base
  • Roman Sebasteion relief  sculpture of Aphrodite crowned by Andreia, Aphrodisias Museum, Aphrodisias, Turkey.  Against an art background.<br />
<br />
A draped goddess is crowned by a female warrior figure. The goddess is probably Aphrodite, while the warrior has a bare breated Amazonian dress and equipment (spear, sword strap and shield) worn by Roma or Andreia (Bravery)
  • Roman Sebasteion relief  sculpture of Ares, Aphrodisias Museum, Aphrodisias, Turkey.   Against a white background.<br />
<br />
The nude and classically7 styled young god wears only a helmet and holds a spear (missing) in one hand and a shield in the other. At the left stands cuirass, and at the upper right corner hangs his sword. Ares was a god of war and was not later defaced by Christians probably because he so closely resembles a young emperor.
  • Picture & image of Hittite sculpted orthostats panels of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Soldiers. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Figures of helmeted warriors. They have their shield in their back and their spear in their hand. The prisoner in their front is depicted as small. The lower part of the orthostat is decorated with braiding motifs. <br />
<br />
On a gray background.
  • Hittite sculpted Orthostats panel of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Soldiers. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Figure of two helmeted warriors. They have their shield in their back and their spear in their hand. The prisoner in their front is depicted small. A human head is depicted in the left hand of the warrior in the front. The warrior at the rear holds the prisoners sitting on his lap from his hair. Below this figure, which was described small, lies yet another small human figure. <br />
<br />
On a White Background.
  • Hittite sculpted orthostats of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 BC. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Soldiers. Figure of three helmeted warriors. They have their shield in their back and their spear in their hand. The prisoners in their front are depicted as small. The lower part of the orthostat is decorated with wring / braiding motifs.<br />
<br />
On a grey art background.
  • Pictures & images of the North Gate Hittite sculpture stele depicting a God with a spear. 8the century BC.  Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey. Against white background
  • Roman mosaic depicting fishermen. The fisherman on the left is about to spear an octopus with a trident. The fisherman in the middle is pushing his boat which had a rod and line on the front of it. From the reign of Emperor Gallienus 260-280 AD. Excavated from The House of Dionysus and Ulysses, Dougga. Roman mosaics from the north African Roman province of Africanus .  Inv 2384, Bardo Museum, Tunis, Tunisia.
  • Roman Sebasteion relief sculpture personifing a Balkan Warrior  Aphrodisias Museum, Aphrodisias, Turkey.  Against a white background.<br />
<br />
The relief figure personifies a Balkan Warrior tribe defeated by Tiberius in AD 6-8 before he became emperor. She wears a classical dress, cloak and helmet and carries a small shield and probably once a spear. A builder’s inscription, “Pirouston”, written above the shield, ensured the relief was put on the right base
  • Roman Sebasteion relief sculpture personifing a Balkan Warrior  Aphrodisias Museum, Aphrodisias, Turkey.  Against an art background.<br />
<br />
The relief figure personifies a Balkan Warrior tribe defeated by Tiberius in AD 6-8 before he became emperor. She wears a classical dress, cloak and helmet and carries a small shield and probably once a spear. A builder’s inscription, “Pirouston”, written above the shield, ensured the relief was put on the right base
  • Roman Sebasteion relief sculpture personifing a Balkan Warrior  Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
The relief figure personifies a Balkan Warrior tribe defeated by Tiberius in AD 6-8 before he became emperor. She wears a classical dress, cloak and helmet and carries a small shield and probably once a spear. A builder’s inscription, “Pirouston”, written above the shield, ensured the relief was put on the right base
  • Close up of Roman Sebasteion relief sculpture personifing a Balkan Warrior  Aphrodisias Museum, Aphrodisias, Turkey.  Against a white background.<br />
<br />
The relief figure personifies a Balkan Warrior tribe defeated by Tiberius in AD 6-8 before he became emperor. She wears a classical dress, cloak and helmet and carries a small shield and probably once a spear. A builder’s inscription, “Pirouston”, written above the shield, ensured the relief was put on the right base
  • Close up of Roman Sebasteion relief sculpture personifing a Balkan Warrior  Aphrodisias Museum, Aphrodisias, Turkey.  Against a black background.<br />
<br />
The relief figure personifies a Balkan Warrior tribe defeated by Tiberius in AD 6-8 before he became emperor. She wears a classical dress, cloak and helmet and carries a small shield and probably once a spear. A builder’s inscription, “Pirouston”, written above the shield, ensured the relief was put on the right base
  • Close up of Roman Sebasteion relief sculpture personifing a Balkan Warrior  Aphrodisias Museum, Aphrodisias, Turkey.  Against an art background.<br />
<br />
The relief figure personifies a Balkan Warrior tribe defeated by Tiberius in AD 6-8 before he became emperor. She wears a classical dress, cloak and helmet and carries a small shield and probably once a spear. A builder’s inscription, “Pirouston”, written above the shield, ensured the relief was put on the right base
  • Close up of Roman Sebasteion relief sculpture personifing a Balkan Warrior  Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
The relief figure personifies a Balkan Warrior tribe defeated by Tiberius in AD 6-8 before he became emperor. She wears a classical dress, cloak and helmet and carries a small shield and probably once a spear. A builder’s inscription, “Pirouston”, written above the shield, ensured the relief was put on the right base
  • Roman Sebasteion relief sculpture personifing a Balkan Warrior  Aphrodisias Museum, Aphrodisias, Turkey.  Against a white background.<br />
<br />
The relief figure personifies a Balkan Warrior tribe defeated by Tiberius in AD 6-8 before he became emperor. She wears a classical dress, cloak and helmet and carries a small shield and probably once a spear. A builder’s inscription, “Pirouston”, written above the shield, ensured the relief was put on the right base
  • Roman Sebasteion relief sculpture personifing a Balkan Warrior  Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
The relief figure personifies a Balkan Warrior tribe defeated by Tiberius in AD 6-8 before he became emperor. She wears a classical dress, cloak and helmet and carries a small shield and probably once a spear. A builder’s inscription, “Pirouston”, written above the shield, ensured the relief was put on the right base
  • Close up of Roman Sebasteion relief sculpture of emperor Augustus and Goddess Victory, Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.<br />
<br />
The naked emperor Augustus stands in majesty with the winged goddess Victory(Nike). He carried a spear and has an eagle, the bird representing Zeus, at his feet. Victory is crowning a military trophy - a rough post with enemy armour attached to it. Beneath the trophy is a barbarian captive, his hands tied behind his back.
  • Close up of Roman Sebasteion relief sculpture of emperor Augustus and Goddess Victory, Aphrodisias Museum, Aphrodisias, Turkey.   Against a white background.<br />
<br />
The naked emperor Augustus stands in majesty with the winged goddess Victory(Nike). He carried a spear and has an eagle, the bird representing Zeus, at his feet. Victory is crowning a military trophy - a rough post with enemy armour attached to it. Beneath the trophy is a barbarian captive, his hands tied behind his back.
  • Close up of Roman Sebasteion relief sculpture of emperor Augustus and Goddess Victory, Aphrodisias Museum, Aphrodisias, Turkey.  Against an art background.<br />
<br />
The naked emperor Augustus stands in majesty with the winged goddess Victory(Nike). He carried a spear and has an eagle, the bird representing Zeus, at his feet. Victory is crowning a military trophy - a rough post with enemy armour attached to it. Beneath the trophy is a barbarian captive, his hands tied behind his back.
  • Close up of Roman Sebasteion relief sculpture of emperor Augustus and Goddess Victory, Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
The naked emperor Augustus stands in majesty with the winged goddess Victory(Nike). He carried a spear and has an eagle, the bird representing Zeus, at his feet. Victory is crowning a military trophy - a rough post with enemy armour attached to it. Beneath the trophy is a barbarian captive, his hands tied behind his back.
  • Roman Sebasteion relief sculpture of emperor Augustus and Goddess Victory, Aphrodisias Museum, Aphrodisias, Turkey.   Against a white background.<br />
<br />
The naked emperor Augustus stands in majesty with the winged goddess Victory(Nike). He carried a spear and has an eagle, the bird representing Zeus, at his feet. Victory is crowning a military trophy - a rough post with enemy armour attached to it. Beneath the trophy is a barbarian captive, his hands tied behind his back.
  • Roman Sebasteion relief sculpture of emperor Augustus and Goddess Victory, Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.<br />
<br />
The naked emperor Augustus stands in majesty with the winged goddess Victory(Nike). He carried a spear and has an eagle, the bird representing Zeus, at his feet. Victory is crowning a military trophy - a rough post with enemy armour attached to it. Beneath the trophy is a barbarian captive, his hands tied behind his back.
  • Roman Sebasteion relief sculpture of emperor Augustus and Goddess Victory, Aphrodisias Museum, Aphrodisias, Turkey.  Against an art background.<br />
<br />
The naked emperor Augustus stands in majesty with the winged goddess Victory(Nike). He carried a spear and has an eagle, the bird representing Zeus, at his feet. Victory is crowning a military trophy - a rough post with enemy armour attached to it. Beneath the trophy is a barbarian captive, his hands tied behind his back.
  • Roman Sebasteion relief sculpture of emperor Augustus and Goddess Victory, Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
The naked emperor Augustus stands in majesty with the winged goddess Victory(Nike). He carried a spear and has an eagle, the bird representing Zeus, at his feet. Victory is crowning a military trophy - a rough post with enemy armour attached to it. Beneath the trophy is a barbarian captive, his hands tied behind his back.
  • Roman Sebasteion relief  sculpture of the goddess Roma and Ge (Earth),  Aphrodisias Museum, Aphrodisias, Turkey.  Against a black background. <br />
<br />
The goddess Roma holds a spear and wears a crown in the form of a city wall. Earth reclines half naked leaning on a pile of fruit. She holds a cornucopia full of more fruit. A baby child (now damaged) climbs up the horn she holds. The relief represents Earths fertility and abundance overseen by Rome.
  • Roman Sebasteion relief  sculpture of the goddess Roma and Ge (Earth),  Aphrodisias Museum, Aphrodisias, Turkey. Against an art background. <br />
<br />
The goddess Roma holds a spear and wears a crown in the form of a city wall. Earth reclines half naked leaning on a pile of fruit. She holds a cornucopia full of more fruit. A baby child (now damaged) climbs up the horn she holds. The relief represents Earths fertility and abundance overseen by Rome.
  • Roman Sebasteion relief  sculpture of emperor Tiberius with a captive Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.<br />
<br />
The naked emperor Tiberius stands frontally holding a spear and shield wearing a cloak and a sword strap. Besides him stands a barbarian
  • Roman Sebasteion relief  sculpture of emperor Tiberius with a captive Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
The naked emperor Tiberius stands frontally holding a spear and shield wearing a cloak and a sword strap. Besides him stands a barbarian
  • Roman Sebasteion relief  sculpture of emperor Tiberius with a captive Aphrodisias Museum, Aphrodisias, Turkey.  Against an art background.<br />
<br />
The naked emperor Tiberius stands frontally holding a spear and shield wearing a cloak and a sword strap. Besides him stands a barbarian
  • Roman Sebasteion relief  sculpture of emperor Tiberius with a captive Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
The naked emperor Tiberius stands frontally holding a spear and shield wearing a cloak and a sword strap. Besides him stands a barbarian
  • Close up of a Roman Sebasteion relief  sculpture of Aphrodite crowned by Andreia, Aphrodisias Museum, Aphrodisias, Turkey.   Against a white background.<br />
<br />
A draped goddess is crowned by a female warrior figure. The goddess is probably Aphrodite, while the warrior has a bare breated Amazonian dress and equipment (spear, sword strap and shield) worn by Roma or Andreia (Bravery)
  • Close up of a Roman Sebasteion relief  sculpture of Aphrodite crowned by Andreia, Aphrodisias Museum, Aphrodisias, Turkey.  Against an art background.<br />
<br />
A draped goddess is crowned by a female warrior figure. The goddess is probably Aphrodite, while the warrior has a bare breated Amazonian dress and equipment (spear, sword strap and shield) worn by Roma or Andreia (Bravery)
  • Close up of a Roman Sebasteion relief  sculpture of Aphrodite crowned by Andreia, Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
A draped goddess is crowned by a female warrior figure. The goddess is probably Aphrodite, while the warrior has a bare breated Amazonian dress and equipment (spear, sword strap and shield) worn by Roma or Andreia (Bravery)
  • Close up of a Roman Sebasteion relief  sculpture of Aphrodite crowned by Andreia, Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
A draped goddess is crowned by a female warrior figure. The goddess is probably Aphrodite, while the warrior has a bare breated Amazonian dress and equipment (spear, sword strap and shield) worn by Roma or Andreia (Bravery)
  • Roman Sebasteion relief  sculpture of Aphrodite crowned by Andreia, Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.<br />
<br />
A draped goddess is crowned by a female warrior figure. The goddess is probably Aphrodite, while the warrior has a bare breated Amazonian dress and equipment (spear, sword strap and shield) worn by Roma or Andreia (Bravery)
  • Close up of a RomanSebasteion relief  sculpture of Roma armed, Aphrodisias Museum, Aphrodisias, Turkey.   Against a white background.<br />
<br />
Roma is equipped with a spear, helmet, round shield and imperial style armour. Blow crouches a naked bearded prisoner, with hands tied behind his back and a skin knotted around his neck. He turns to look up at Roma
  • Close up of a Roman Sebasteion relief  sculpture of Roma armed, Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.<br />
<br />
Roma is equipped with a spear, helmet, round shield and imperial style armour. Blow crouches a naked bearded prisoner, with hands tied behind his back and a skin knotted around his neck. He turns to look up at Roma
  • Close up of a Roman Sebasteion  relief  sculpture of Roma armed, Aphrodisias Museum, Aphrodisias, Turkey.<br />
<br />
Roma is equipped with a spear, helmet, round shield and imperial style armour. Blow crouches a naked bearded prisoner, with hands tied behind his back and a skin knotted around his neck. He turns to look up at Roma
  • Close up of a RomanSebasteion relief  sculpture of Roma armed, Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
Roma is equipped with a spear, helmet, round shield and imperial style armour. Blow crouches a naked bearded prisoner, with hands tied behind his back and a skin knotted around his neck. He turns to look up at Roma
  • Roman Sebasteion relief  sculpture of Roma armed, Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
Roma is equipped with a spear, helmet, round shield and imperial style armour. Blow crouches a naked bearded prisoner, with hands tied behind his back and a skin knotted around his neck. He turns to look up at Roma
  • Roman Sebasteion relief  sculpture of Roma armed, Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.<br />
<br />
Roma is equipped with a spear, helmet, round shield and imperial style armour. Blow crouches a naked bearded prisoner, with hands tied behind his back and a skin knotted around his neck. He turns to look up at Roma
  • Roman Sebastian relief  sculpture of Roma armed, Aphrodisias Museum, Aphrodisias, Turkey.   Against a white background.<br />
<br />
Roma is equipped with a spear, helmet, round shield and imperial style armour. Blow crouches a naked bearded prisoner, with hands tied behind his back and a skin knotted around his neck. He turns to look up at Roma
  • Roman Sebasteion relief  sculpture of Roma armed, Aphrodisias Museum, Aphrodisias, Turkey.  Against an art background.<br />
<br />
Roma is equipped with a spear, helmet, round shield and imperial style armour. Blow crouches a naked bearded prisoner, with hands tied behind his back and a skin knotted around his neck. He turns to look up at Roma
  • Close up of a Roman Sebasteion relief  sculpture of Ares, Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.<br />
<br />
The nude and classically7 styled young god wears only a helmet and holds a spear (missing) in one hand and a shield in the other. At the left stands cuirass, and at the upper right corner hangs his sword. Ares was a god of war and was not later defaced by Christians probably because he so closely resembles a young emperor.
  • Close up of a Roman Sebasteion relief  sculpture of Ares, Aphrodisias Museum, Aphrodisias, Turkey.  Against an art background.<br />
<br />
The nude and classically7 styled young god wears only a helmet and holds a spear (missing) in one hand and a shield in the other. At the left stands cuirass, and at the upper right corner hangs his sword. Ares was a god of war and was not later defaced by Christians probably because he so closely resembles a young emperor.
  • Close up of a Roman Sebasteion relief  sculpture of Ares, Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
The nude and classically7 styled young god wears only a helmet and holds a spear (missing) in one hand and a shield in the other. At the left stands cuirass, and at the upper right corner hangs his sword. Ares was a god of war and was not later defaced by Christians probably because he so closely resembles a young emperor.
  • Roman Sebasteion relief  sculpture of Ares, Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.<br />
<br />
The nude and classically7 styled young god wears only a helmet and holds a spear (missing) in one hand and a shield in the other. At the left stands cuirass, and at the upper right corner hangs his sword. Ares was a god of war and was not later defaced by Christians probably because he so closely resembles a young emperor.
  • Roman Sebasteion relief  sculpture of Ares, Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
The nude and classically7 styled young god wears only a helmet and holds a spear (missing) in one hand and a shield in the other. At the left stands cuirass, and at the upper right corner hangs his sword. Ares was a god of war and was not later defaced by Christians probably because he so closely resembles a young emperor.
  • Roman Sebasteion relief  sculpture of Ares, Aphrodisias Museum, Aphrodisias, Turkey.  Against an art background.<br />
<br />
The nude and classically7 styled young god wears only a helmet and holds a spear (missing) in one hand and a shield in the other. At the left stands cuirass, and at the upper right corner hangs his sword. Ares was a god of war and was not later defaced by Christians probably because he so closely resembles a young emperor.
  • Photo of Hittite relief sculpted orthostat stone panel of Royal Buttress Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Warriors. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Right panel - Three figures each with a long dress, a thick belt and curly hair. The figure in front holds a spear with a broken tip in his left hand and a leafy branch in his right hand. The figure in the middle made his left hand a fist, and he carries a tool with his right hand at the level of his head. They are followed with a figure holding a sceptre in his left hand. All three have each a long sword at their waist. <br />
<br />
Against a brown art background.
  • Hittite relief sculpted orthostat stone panel of Royal Buttress Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Warriors. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Right panel - Three figures each with a long dress, a thick belt and curly hair. The figure in front holds a spear with a broken tip in his left hand and a leafy branch in his right hand. The figure in the middle made his left hand a fist, and he carries a tool with his right hand at the level of his head. They are followed with a figure holding a sceptre in his left hand. All three have each a long sword at their waist. <br />
<br />
Against a white background.
  • Picture & image of Hittite relief sculpted orthostat stone panel of Royal Buttress Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Warriors. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Right panel - Three figures each with a long dress, a thick belt and curly hair. The figure in front holds a spear with a broken tip in his left hand and a leafy branch in his right hand. The figure in the middle made his left hand a fist, and he carries a tool with his right hand at the level of his head. They are followed with a figure holding a sceptre in his left hand. All three have each a long sword at their waist. <br />
<br />
Against a gray background.
  • Hittite relief sculpted orthostat stone panel of Royal Buttress Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Warriors. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Right panel - Three figures each with a long dress, a thick belt and curly hair. The figure in front holds a spear with a broken tip in his left hand and a leafy branch in his right hand. The figure in the middle made his left hand a fist, and he carries a tool with his right hand at the level of his head. They are followed with a figure holding a sceptre in his left hand. All three have each a long sword at their waist. <br />
<br />
Against a grey art background.
  • Hittite relief sculpted orthostat stone panel of Royal Buttress. Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B C. Warriors. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Two figures are seen, each with a long dress, a thick belt and curled hair. The figure in front carries a spear in his left hand and a long sword at his waist, and the figure behind carries an axe in his left hand and a quiver on his back.   <br />
<br />
Against a black background.
  • Picture & image of Hittite relief sculpted orthostat stone panel of Royal Buttress Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Warriors. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Three figures each with a long dress, a thick belt and curly hair. The figure in front holds a spear with a broken tip in his left hand and a leafy branch in his right hand. The figure in the middle made his left hand a fist, and he carries a tool with his right hand at the level of his head. They are followed with a figure holding a sceptre in his left hand. All three have each a long sword at their waist. <br />
<br />
Against a gray background.
  • Picture & image of Hittite relief sculpted orthostat stone panel of Royal Buttress. Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B C. Warriors. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Two figures are seen, each with a long dress, a thick belt and curled hair. The figure in front carries a spear in his left hand and a long sword at his waist, and the figure behind carries an axe in his left hand and a quiver on his back.   <br />
<br />
Against a gray background.
  • Photo of Hittite relief sculpted orthostat stone panel of Royal Buttress. Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B C. Warriors. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Two figures are seen, each with a long dress, a thick belt and curled hair. The figure in front carries a spear in his left hand and a long sword at his waist, and the figure behind carries an axe in his left hand and a quiver on his back.   <br />
<br />
Against a brown art background.
  • Hittite relief sculpted orthostat stone panel of Royal Buttress. Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C.  Warrior.  Anatolian Civilisations Museum, Ankara, Turkey<br />
The figure with a long dress, a thick belt and curly hair has a large egis on his back. The figures carries a spear in his right hand and a long sword at his waist.  Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Against a white background.
  • Hittite relief sculpted orthostat stone panel of Royal Buttress. Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B C. Warriors. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Two figures are seen, each with a long dress, a thick belt and curled hair. The figure in front carries a spear in his left hand and a long sword at his waist, and the figure behind carries an axe in his left hand and a quiver on his back.   <br />
<br />
Against a grey art background.
  • Hittite relief sculpted orthostat stone panel of Royal Buttress. Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C.  Warrior.  Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
The figure with a long dress, a thick belt and curly hair has a large egis on his back. The figures carries a spear in his right hand and a long sword at his waist. <br />
<br />
Against a black background.
  • Picture & image of Hittite relief sculpted orthostat stone panel of Royal Buttress. Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C.  Warrior.  Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
The figure with a long dress, a thick belt and curly hair has a large egis on his back. The figures carries a spear in his right hand and a long sword at his waist.  <br />
<br />
Against a gray background.
  • Photo of Hittite relief sculpted orthostat stone panel of Royal Buttress. Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C.  Warrior.  Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
The figure with a long dress, a thick belt and curly hair has a large egis on his back. The figures carries a spear in his right hand and a long sword at his waist.  <br />
<br />
Against a brown art background.
  • Hittite relief sculpted orthostat stone panel of Royal Buttress Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Warriors. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Three figures each with a long dress, a thick belt and curly hair. The figure in front holds a spear with a broken tip in his left hand and a leafy branch in his right hand. The figure in the middle made his left hand a fist, and he carries a tool with his right hand at the level of his head. They are followed with a figure holding a sceptre in his left hand. All three have each a long sword at their waist. <br />
<br />
Against a white background.
  • Hittite relief sculpted orthostat stone panel of Royal Buttress Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Warriors. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Three figures each with a long dress, a thick belt and curly hair. The figure in front holds a spear with a broken tip in his left hand and a leafy branch in his right hand. The figure in the middle made his left hand a fist, and he carries a tool with his right hand at the level of his head. They are followed with a figure holding a sceptre in his left hand. All three have each a long sword at their waist. <br />
<br />
Against a grey art background.
  • Hittite relief sculpted orthostat stone panel of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. . Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Two helmeted soldiers in short skirt carry shield on their backs and spear in their hands.<br />
<br />
On a White Background.
  • Picture & image of Hittite relief sculpted orthostat stone panel of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. . Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Two helmeted soldiers in short skirt carry shield on their backs and spear in their hands.<br />
<br />
On a gray background.
  • Hittite relief sculpted orthostat stone panel of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. . Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Two helmeted soldiers in short skirt carry shield on their backs and spear in their hands.<br />
<br />
On a black background.
  • Photo of Hittite relief sculpted orthostat stone panel of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. . Anatolian Civilisations Museum, Ankara, Turkey. Two helmeted soldiers in short skirt carry shield on their backs and spear in their hands.<br />
<br />
On a brown art background.
  • Hittite relief sculpted orthostat stone panel of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. . Anatolian Civilisations Museum, Ankara, Turkey. Two helmeted soldiers in short skirt carry shield on their backs and spear in their hands.<br />
<br />
On a grey art background.
  • Hittite sculpted orthostats panels of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Soldiers. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Figures of helmeted warriors. They have their shield in their back and their spear in their hand. The prisoner in their front is depicted as small. The lower part of the orthostat is decorated with braiding motifs. <br />
<br />
On a White Background.
  • Photo of Hittite sculpted Orthostats panel of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Soldiers. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Figure of two helmeted warriors. They have their shield in their back and their spear in their hand. The prisoner in their front is depicted small. A human head is depicted in the left hand of the warrior in the front. The warrior at the rear holds the prisoners sitting on his lap from his hair. Below this figure, which was described small, lies yet another small human figure. <br />
<br />
On a brown art background.
  • Hittite sculpted orthostats panels of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Soldiers. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Figures of helmeted warriors. They have their shield in their back and their spear in their hand. The prisoner in their front is depicted as small. The lower part of the orthostat is decorated with braiding motifs. <br />
<br />
On a grey art background.
  • Photo of Hittite sculpted orthostats panels of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Soldiers. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Figures of helmeted warriors. They have their shield in their back and their spear in their hand. The prisoner in their front is depicted as small. The lower part of the orthostat is decorated with braiding motifs. <br />
<br />
On a brown art background.
  • Hittite sculpted Orthostats panel of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Soldiers. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Figure of two helmeted warriors. They have their shield in their back and their spear in their hand. The prisoner in their front is depicted small. A human head is depicted in the left hand of the warrior in the front. The warrior at the rear holds the prisoners sitting on his lap from his hair. Below this figure, which was described small, lies yet another small human figure. <br />
<br />
On a black background.
  • Picture & image of Hittite sculpted Orthostats panel of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Soldiers. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Figure of two helmeted warriors. They have their shield in their back and their spear in their hand. The prisoner in their front is depicted small. A human head is depicted in the left hand of the warrior in the front. The warrior at the rear holds the prisoners sitting on his lap from his hair. Below this figure, which was described small, lies yet another small human figure. <br />
<br />
On a gray background.
  • Hittite sculpted Orthostats panel of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Soldiers. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Figure of two helmeted warriors. They have their shield in their back and their spear in their hand. The prisoner in their front is depicted small. A human head is depicted in the left hand of the warrior in the front. The warrior at the rear holds the prisoners sitting on his lap from his hair. Below this figure, which was described small, lies yet another small human figure. <br />
<br />
On a grey art background.
  • Hittite sculpted orthostats of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 BC. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Soldiers. Figure of three helmeted warriors. They have their shield in their back and their spear in their hand. The prisoners in their front are depicted as small. The lower part of the orthostat is decorated with wring / braiding motifs.<br />
<br />
On a White Background.
  • Hittite sculpted orthostats of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 BC. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Soldiers. Figure of three helmeted warriors. They have their shield in their back and their spear in their hand. The prisoners in their front are depicted as small. The lower part of the orthostat is decorated with wring / braiding motifs.<br />
<br />
On a black background.
  • Picture & image of Hittite sculpted orthostats of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 BC. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Soldiers. Figure of three helmeted warriors. They have their shield in their back and their spear in their hand. The prisoners in their front are depicted as small. The lower part of the orthostat is decorated with wring / braiding motifs.<br />
<br />
On a gray background.
  • Picture & image of Hittite sculpted orthostats panels of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Soldiers. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Figure of two helmeted warriors. They have their shield in their back and their spear in their hand. The prisoner in their front is depicted as small. The lower part of the orthostat is decorated with braiding motifs. <br />
<br />
On a gray background.
  • Photo of Hittite sculpted orthostats panels of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Soldiers. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Figure of two helmeted warriors. They have their shield in their back and their spear in their hand. The prisoner in their front is depicted as small. The lower part of the orthostat is decorated with braiding motifs. <br />
<br />
On a brown art background.
  • Hittite sculpted orthostats panels of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Soldiers. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Figure of two helmeted warriors. They have their shield in their back and their spear in their hand. The prisoner in their front is depicted as small. The lower part of the orthostat is decorated with braiding motifs. <br />
<br />
On a grey art background.
  • Hittite relief sculpted orthostat stone panel of Herald's Wall. Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Protective mixed creatures. One each hand of the lion-headed men is in the form of a fist. The mace on the left is over the head of the weapon on the right. The two bull-men in the middle carry one spear each in their hands. Bull-man is known as Kusarikku, and the lion-man is known as Ugallu.
  • Hittite relief sculpted orthostat stone panel of Herald's Wall. Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Protective mixed creatures. One each hand of the lion-headed men is in the form of a fist. The mace on the left is over the head of the weapon on the right. The two bull-men in the middle carry one spear each in their hands. Bull-man is known as Kusarikku, and the lion-man is known as Ugallu.
  • Photo of Hittite relief sculpted orthostat stone panel of Herald's Wall. Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Protective mixed creatures. One each hand of the lion-headed men is in the form of a fist. The mace on the left is over the head of the weapon on the right. The two bull-men in the middle carry one spear each in their hands. Bull-man is known as Kusarikku, and the lion-man is known as Ugallu. <br />
<br />
Against a black background.
  • Picture & image of Hittite relief sculpted orthostat stone panel of Herald's Wall. Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Protective mixed creatures. One each hand of the lion-headed men is in the form of a fist. The mace on the left is over the head of the weapon on the right. The two bull-men in the middle carry one spear each in their hands. Bull-man is known as Kusarikku, and the lion-man is known as Ugallu. <br />
<br />
Against a white background.
  • Hittite relief sculpted orthostat stone panel of Herald's Wall. Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Protective mixed creatures. One each hand of the lion-headed men is in the form of a fist. The mace on the left is over the head of the weapon on the right. The two bull-men in the middle carry one spear each in their hands. Bull-man is known as Kusarikku, and the lion-man is known as Ugallu. <br />
<br />
Against a brown art background.
  • Hittite relief sculpted orthostat stone panel of Herald's Wall. Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Protective mixed creatures. One each hand of the lion-headed men is in the form of a fist. The mace on the left is over the head of the weapon on the right. The two bull-men in the middle carry one spear each in their hands. Bull-man is known as Kusarikku, and the lion-man is known as Ugallu.
  • Aslantepe Hittite relief sculpted orthostat stone panel. Limestone, Aslantepe, Malatya, 1200-700 B.C. Anatolian Civilizations Museum, Ankara, Turkey. Scene of two Gods walking one carrying a spear, dressed in tunics.<br />
<br />
Anatolian Civilizations Museum, Ankara, Turkey
  • Aslantepe Hittite relief sculpted orthostat stone panel. Limestone, Aslantepe, Malatya, 1200-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey. Scene of two Gods walking one carrying a spear, dressed in tunics.<br />
<br />
Against a brown art background.
  • Aslantepe Hittite relief sculpted orthostat stone panel. Limestone, Aslantepe, Malatya, 1200-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey. Scene of two Gods walking one carrying a spear, dressed in tunics.<br />
<br />
Against a gray background.
  • Aslantepe Hittite relief sculpted orthostat stone panel. Limestone, Aslantepe, Malatya, 1200-700 B.C. Anatolian Civilizations Museum, Ankara, Turkey. Scene of two Gods walking one carrying a spear, dressed in tunics.<br />
<br />
Against a black background.
  • Alaca Hoyuk Hittite monumental relief sculpted orthostat stone panel. Andesite, Alaca, Corum, 1399 - 1301 B.C. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Hunters - A human figure with a spear in his hands attacking to a lion with two dogs helping him. The lion is on the defensive. One of the dogs has climbed on the back of the lion and bites it while the other attacks towards the lion's belly. The lion steps over the dog with its left hind foot.  Against a white background.
  • Alaca Hoyuk Hittite monumental relief sculpted orthostat stone panel. Andesite, Alaca, Corum, 1399 - 1301 B.C. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Hunters - A human figure with a spear in his hands attacking to a lion with two dogs helping him. The lion is on the defensive. One of the dogs has climbed on the back of the lion and bites it while the other attacks towards the lion's belly. The lion steps over the dog with its left hind foot.  <br />
<br />
Against a black background.
  • Alaca Hoyuk Hittite monumental relief sculpted orthostat stone panel. Andesite, Alaca, Corum, 1399 - 1301 B.C. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Hunters - A human figure with a spear in his hands attacking to a lion with two dogs helping him. The lion is on the defensive. One of the dogs has climbed on the back of the lion and bites it while the other attacks towards the lion's belly. The lion steps over the dog with its left hind foot.  <br />
<br />
Against a brown art background.
  • Alaca Hoyuk Hittite monumental relief sculpted orthostat stone panel. Andesite, Alaca, Corum, 1399 - 1301 B.C. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Hunters - A human figure with a spear in his hands attacking to a lion with two dogs helping him. The lion is on the defensive. One of the dogs has climbed on the back of the lion and bites it while the other attacks towards the lion's belly. The lion steps over the dog with its left hind foot.  <br />
<br />
Against a grey art background.
  • Pictures & images of the North Gate Hittite sculpture stele depicting a God with a spear. 8the century BC.  Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey. Against grey background
  • Pictures & images of the North Gate Hittite sculpture stele depicting a God with a spear. 8the century BC.  Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey. Against art background
  • Pictures & images of the North Gate Hittite sculpture stele depicting a God with a spear. 8the century BC.  Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey. Against grey art background
  • Pictures & images of the North Gate Hittite sculpture stele depicting a God with a spear. 8the century BC.  Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey. Against black background
  • Crucifiction fresco on the Church of San Vigilio in Pinzolo, part of its mural painting “the Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy.<br />
<br />
The mural continues for another 21 meters with a long procession with 40 figures.<br />
<br />
 To the right of the skeletons playing music is a depiction of the crucification. Christ is depicted on the cross with an arrow in him that has been fired by a skeleton with a bow. This suggests that because Christ was a man he suffered the fate of death as we all will.<br />
After Christ is a Pope also pierced by a spear, as are all the human figures in the mural.
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy.<br />
<br />
The Mural opens on its left with a skeleton on the throne, bearing a sceptre and the crown and playing a bagpipe. These skeletons are playing the music which is the backdrop to “Dance of Death” ( Danza macabra ) and suggests that they are playing with our fate on earth. <br />
<br />
The mural continues for another 21 meters with a long procession with 40 figures. To the right of the skeletons playing music is a depiction of the crucification. Christ is depicted on the cross with an arrow in him that has been fired by a skeleton with a bow. This suggests that because Christ was a man he suffered the fate of death as we all will. After Christ is a Pope also pierced by a spear, as are all the human figures in the mural. Next to the pope is a cardinal, a cleric and a monk all of whom have succumbed to the arrows of the skeletons. This tableau is a reminder to the hierarchy of the church that even they are not immune from death. The procession continues with a depiction of a king then nobility followed by knights and soldiers and a beggar man with no legs. Between each figure are skeletons holding bows and arrows, banners with writings on them or a shovel to dig a grave. After the beggar mad there are figures of women ending with a small skeleton and a cherub. To the far right a skeleton on a horse is riding into the procession holding a bow and arrow ready to far. To procession ends with the Angel Gabriel and the devil discussing the fates of the those in the procession as to whether they go to Heaven or to Purgatory and Hell.
  • Crucifiction fresco on the Church of San Vigilio in Pinzolo, part of its mural painting “the Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy.<br />
<br />
The mural continues for another 21 meters with a long procession with 40 figures.<br />
<br />
The Mural opens on its left with a skeleton on the throne, bearing a sceptre and the crown and playing a bagpipe. These skeletons are playing the music which is the backdrop to “Dance of Death” ( Danza macabra ) and suggests that they are playing with our fate on earth.<br />
<br />
 To the right of the skeletons playing music is a depiction of the crucification. Christ is depicted on the cross with an arrow in him that has been fired by a skeleton with a bow. This suggests that because Christ was a man he suffered the fate of death as we all will.<br />
After Christ is a Pope also pierced by a spear, as are all the human figures in the mural.
  • Cast of a prehistoric Petroglyph, rock carving, of a warrior with a spear and shield carved by the Camunni people in the iron age between 1000-1600 BC , Seradina rock 12, Seradina-Bedolina Archaeological Park Museum, Valle Comenica, Lombardy, Italy
  • Prehistoric Petroglyph, rock carving, of two warriors with shileds and a spear carved by the Camunni people in the iron age between 1000-1600 BC, Seradina I rock 12, Seradina-Bedolina Archaeological Park, Valle Comenica, Lombardy, Italy
  • Petroglyph, rock carving, of a man on horse back with a spear and two warriors fighting with swords, carved by the ancient Camuni people in the iron age between  900-1200 BC. Rock 26-27, Foppi di Nadro, Riserva Naturale Incisioni Rupestri di Ceto, Cimbergo e Paspardo, Capo di Ponti, Valcamonica (Val Camonica), Lombardy plain, Italy
  • Petroglyph, rock carving, of a man with a spear on a horse carved by the ancient Camuni people in the iron age between  900-1200 BC. Rock 26-27, Foppi di Nadro, Riserva Naturale Incisioni Rupestri di Ceto, Cimbergo e Paspardo, Capo di Ponti, Valcamonica (Val Camonica), Lombardy plain, Italy
  • Roman mosaic depicting fishermen. The fisherman on the left is about to spear an octopus with a trident. The fisherman in the middle is pushing his boat which had a rod and line on the front of it. From the reign of Emperor Gallienus 260-280 AD. Excavated from The House of Dionysus and Ulysses, Dougga. Roman mosaics from the north African Roman province of Africanus .  Inv 2384, Bardo Museum, Tunis, Tunisia.
  • Roman mosaic depicting fishermen. The fisherman on the left is about to spear an octopus with a trident. The fisherman in the middle is pushing his boat which had a rod and line on the front of it. From the reign of Emperor Gallienus 260-280 AD. Excavated from The House of Dionysus and Ulysses, Dougga. Roman mosaics from the north African Roman province of Africanus .  Inv 2384, Bardo Museum, Tunis, Tunisia.
  • Roman mosaic depicting fishermen. The fisherman on the left is about to spear an octopus with a trident. The fisherman in the middle is pushing his boat which had a rod and line on the front of it. From the reign of Emperor Gallienus 260-280 AD. Excavated from The House of Dionysus and Ulysses, Dougga. Roman mosaics from the north African Roman province of Africanus .  Inv 2384, Bardo Museum, Tunis, Tunisia.
  • Roman statue of an Emperor with a breastplate (loricata) from the 2nd cent AD from the Imperial Villa, Rome. The statue depicts a man in military dress, with a breastplate (lorca) decorated within griffins and a cluster of acanthus, and edged by a series of pendants (pteryges) with a head of ferocious animals and a cloak (paludamentum). In his left hand remains the traces of a sword; his raised right arm probably leant on a spear. On his feat he wears shoes decorated at the ankles with a lion skin. The statue dates from the dynasty of the Antonine Emperors and is the dress of the supreme military commander.  The National Roman Museum, Rome, Italy
  • Roman statue of an Emperor with a breastplate (loricata) from the 2nd cent AD from the Imperial Villa, Rome. The statue depicts a man in military dress, with a breastplate (lorca) decorated within griffins and a cluster of acanthus, and edged by a series of pendants (pteryges) with a head of ferocious animals and a cloak (paludamentum). In his left hand remains the traces of a sword; his raised right arm probably leant on a spear. On his feat he wears shoes decorated at the ankles with a lion skin. The statue dates from the dynasty of the Antonine Emperors and is the dress of the supreme military commander.  The National Roman Museum, Rome, Italy
  • Roman statue of an Emperor with a breastplate (loricata) from the 2nd cent AD from the Imperial Villa, Rome. The statue depicts a man in military dress, with a breastplate (lorca) decorated within griffins and a cluster of acanthus, and edged by a series of pendants (pteryges) with a head of ferocious animals and a cloak (paludamentum). In his left hand remains the traces of a sword; his raised right arm probably leant on a spear. On his feat he wears shoes decorated at the ankles with a lion skin. The statue dates from the dynasty of the Antonine Emperors and is the dress of the supreme military commander.  The National Roman Museum, Rome, Italy
  • Roman statue of an Emperor with a breastplate (loricata) from the 2nd cent AD from the Imperial Villa, Rome. The statue depicts a man in military dress, with a breastplate (lorca) decorated within griffins and a cluster of acanthus, and edged by a series of pendants (pteryges) with a head of ferocious animals and a cloak (paludamentum). In his left hand remains the traces of a sword; his raised right arm probably leant on a spear. On his feat he wears shoes decorated at the ankles with a lion skin. The statue dates from the dynasty of the Antonine Emperors and is the dress of the supreme military commander.  The National Roman Museum, Rome, Italy
  • Roman statue of an Emperor with a breastplate (loricata) from the 2nd cent AD from the Imperial Villa, Rome. The statue depicts a man in military dress, with a breastplate (lorca) decorated within griffins and a cluster of acanthus, and edged by a series of pendants (pteryges) with a head of ferocious animals and a cloak (paludamentum). In his left hand remains the traces of a sword; his raised right arm probably leant on a spear. On his feat he wears shoes decorated at the ankles with a lion skin. The statue dates from the dynasty of the Antonine Emperors and is the dress of the supreme military commander.  The National Roman Museum, Rome, Italy
  • Rare Greek bronze statue known as the Hellenistic Prince, a 2nd cent BC Hellenistic bronze, one of the few in existence.  The figure is leaning with its left arm on a long shaft, a modern replica of the original bronze spear. The head clearly shows that the artist intended it as a portrait as it is proportionally smaller than the rest of the body. The letter L. VI.P.L.XXIIX, later incised on the abdomen are inventory numbers that included the statue in the catalogue of works of art present in Rome during the Republican period. Records of the catalogue (Tabulae) ere kept in the Tabulatium archives on the Capitoline Hill. The figure is represented in heroic nudity and is a copy of a famous statue by Lysippus (371-305 BC) of Alexander the Great. The statue is considered to depict a Hellenistic Prince, possibly an early portrait of Attalus II, King of Pergamon. More recent interpretations take into account the realistic facial features and consider the work to be a portrait of a Roman who had ties to the Greek world and wished to be represented as a Hellenistic Prince. This is a rare example of a 2nd cent BC Hellenistic bronze statue  The National Roman Museum, Rome, Italy
  • Rare Greek bronze statue known as the Hellenistic Prince, a 2nd cent BC Hellenistic bronze, one of the few in existence.  The figure is leaning with its left arm on a long shaft, a modern replica of the original bronze spear. The head clearly shows that the artist intended it as a portrait as it is proportionally smaller than the rest of the body. The letter L. VI.P.L.XXIIX, later incised on the abdomen are inventory numbers that included the statue in the catalogue of works of art present in Rome during the Republican period. Records of the catalogue (Tabulae) ere kept in the Tabulatium archives on the Capitoline Hill. The figure is represented in heroic nudity and is a copy of a famous statue by Lysippus (371-305 BC) of Alexander the Great. The statue is considered to depict a Hellenistic Prince, possibly an early portrait of Attalus II, King of Pergamon. More recent interpretations take into account the realistic facial features and consider the work to be a portrait of a Roman who had ties to the Greek world and wished to be represented as a Hellenistic Prince. This is a rare example of a 2nd cent BC Hellenistic bronze statue  The National Roman Museum, Rome, Italy
  • Rare Greek bronze statue known as the Hellenistic Prince, a 2nd cent BC Hellenistic bronze, one of the few in existence.  The figure is leaning with its left arm on a long shaft, a modern replica of the original bronze spear. The head clearly shows that the artist intended it as a portrait as it is proportionally smaller than the rest of the body. The letter L. VI.P.L.XXIIX, later incised on the abdomen are inventory numbers that included the statue in the catalogue of works of art present in Rome during the Republican period. Records of the catalogue (Tabulae) ere kept in the Tabulatium archives on the Capitoline Hill. The figure is represented in heroic nudity and is a copy of a famous statue by Lysippus (371-305 BC) of Alexander the Great. The statue is considered to depict a Hellenistic Prince, possibly an early portrait of Attalus II, King of Pergamon. More recent interpretations take into account the realistic facial features and consider the work to be a portrait of a Roman who had ties to the Greek world and wished to be represented as a Hellenistic Prince. This is a rare example of a 2nd cent BC Hellenistic bronze statue  The National Roman Museum, Rome, Italy
  • Rare Greek bronze statue known as the Hellenistic Prince, a 2nd cent BC Hellenistic bronze, one of the few in existence.  The figure is leaning with its left arm on a long shaft, a modern replica of the original bronze spear. The head clearly shows that the artist intended it as a portrait as it is proportionally smaller than the rest of the body. The letter L. VI.P.L.XXIIX, later incised on the abdomen are inventory numbers that included the statue in the catalogue of works of art present in Rome during the Republican period. Records of the catalogue (Tabulae) ere kept in the Tabulatium archives on the Capitoline Hill. The figure is represented in heroic nudity and is a copy of a famous statue by Lysippus (371-305 BC) of Alexander the Great. The statue is considered to depict a Hellenistic Prince, possibly an early portrait of Attalus II, King of Pergamon. More recent interpretations take into account the realistic facial features and consider the work to be a portrait of a Roman who had ties to the Greek world and wished to be represented as a Hellenistic Prince. This is a rare example of a 2nd cent BC Hellenistic bronze statue  The National Roman Museum, Rome, Italy
  • Rare Greek bronze statue known as the Hellenistic Prince, a 2nd cent BC Hellenistic bronze, one of the few in existence.  The figure is leaning with its left arm on a long shaft, a modern replica of the original bronze spear. The head clearly shows that the artist intended it as a portrait as it is proportionally smaller than the rest of the body. The letter L. VI.P.L.XXIIX, later incised on the abdomen are inventory numbers that included the statue in the catalogue of works of art present in Rome during the Republican period. Records of the catalogue (Tabulae) ere kept in the Tabulatium archives on the Capitoline Hill. The figure is represented in heroic nudity and is a copy of a famous statue by Lysippus (371-305 BC) of Alexander the Great. The statue is considered to depict a Hellenistic Prince, possibly an early portrait of Attalus II, King of Pergamon. More recent interpretations take into account the realistic facial features and consider the work to be a portrait of a Roman who had ties to the Greek world and wished to be represented as a Hellenistic Prince. This is a rare example of a 2nd cent BC Hellenistic bronze statue  The National Roman Museum, Rome, Italy
  • Roman statue of an Emperor with a breastplate (loricata) from the 2nd cent AD from the Imperial Villa, Rome. The statue depicts a man in military dress, with a breastplate (lorca) decorated within griffins and a cluster of acanthus, and edged by a series of pendants (pteryges) with a head of ferocious animals and a cloak (paludamentum). In his left hand remains the traces of a sword; his raised right arm probably leant on a spear. On his feat he wears shoes decorated at the ankles with a lion skin. The statue dates from the dynasty of the Antonine Emperors and is the dress of the supreme military commander.  The National Roman Museum, Rome, Italy
  • Roman statue of an Emperor with a breastplate (loricata) from the 2nd cent AD from the Imperial Villa, Rome. The statue depicts a man in military dress, with a breastplate (lorca) decorated within griffins and a cluster of acanthus, and edged by a series of pendants (pteryges) with a head of ferocious animals and a cloak (paludamentum). In his left hand remains the traces of a sword; his raised right arm probably leant on a spear. On his feat he wears shoes decorated at the ankles with a lion skin. The statue dates from the dynasty of the Antonine Emperors and is the dress of the supreme military commander.  The National Roman Museum, Rome, Italy
  • Roman statue of an Emperor with a breastplate (loricata) from the 2nd cent AD from the Imperial Villa, Rome. The statue depicts a man in military dress, with a breastplate (lorca) decorated within griffins and a cluster of acanthus, and edged by a series of pendants (pteryges) with a head of ferocious animals and a cloak (paludamentum). In his left hand remains the traces of a sword; his raised right arm probably leant on a spear. On his feat he wears shoes decorated at the ankles with a lion skin. The statue dates from the dynasty of the Antonine Emperors and is the dress of the supreme military commander.  The National Roman Museum, Rome, Italy
  • Roman statue of an Emperor with a breastplate (loricata) from the 2nd cent AD from the Imperial Villa, Rome. The statue depicts a man in military dress, with a breastplate (lorca) decorated within griffins and a cluster of acanthus, and edged by a series of pendants (pteryges) with a head of ferocious animals and a cloak (paludamentum). In his left hand remains the traces of a sword; his raised right arm probably leant on a spear. On his feat he wears shoes decorated at the ankles with a lion skin. The statue dates from the dynasty of the Antonine Emperors and is the dress of the supreme military commander.  The National Roman Museum, Rome, Italy
  • Roman statue of an Emperor with a breastplate (loricata) from the 2nd cent AD from the Imperial Villa, Rome. The statue depicts a man in military dress, with a breastplate (lorca) decorated within griffins and a cluster of acanthus, and edged by a series of pendants (pteryges) with a head of ferocious animals and a cloak (paludamentum). In his left hand remains the traces of a sword; his raised right arm probably leant on a spear. On his feat he wears shoes decorated at the ankles with a lion skin. The statue dates from the dynasty of the Antonine Emperors and is the dress of the supreme military commander.  The National Roman Museum, Rome, Italy
  • Rare Greek bronze statue known as the Hellenistic Prince, a 2nd cent BC Hellenistic bronze, one of the few in existence.  The figure is leaning with its left arm on a long shaft, a modern replica of the original bronze spear. The head clearly shows that the artist intended it as a portrait as it is proportionally smaller than the rest of the body. The letter L. VI.P.L.XXIIX, later incised on the abdomen are inventory numbers that included the statue in the catalogue of works of art present in Rome during the Republican period. Records of the catalogue (Tabulae) ere kept in the Tabulatium archives on the Capitoline Hill. The figure is represented in heroic nudity and is a copy of a famous statue by Lysippus (371-305 BC) of Alexander the Great. The statue is considered to depict a Hellenistic Prince, possibly an early portrait of Attalus II, King of Pergamon. More recent interpretations take into account the realistic facial features and consider the work to be a portrait of a Roman who had ties to the Greek world and wished to be represented as a Hellenistic Prince. This is a rare example of a 2nd cent BC Hellenistic bronze statue  The National Roman Museum, Rome, Italy
  • Rare Greek bronze statue known as the Hellenistic Prince, a 2nd cent BC Hellenistic bronze, one of the few in existence.  The figure is leaning with its left arm on a long shaft, a modern replica of the original bronze spear. The head clearly shows that the artist intended it as a portrait as it is proportionally smaller than the rest of the body. The letter L. VI.P.L.XXIIX, later incised on the abdomen are inventory numbers that included the statue in the catalogue of works of art present in Rome during the Republican period. Records of the catalogue (Tabulae) ere kept in the Tabulatium archives on the Capitoline Hill. The figure is represented in heroic nudity and is a copy of a famous statue by Lysippus (371-305 BC) of Alexander the Great. The statue is considered to depict a Hellenistic Prince, possibly an early portrait of Attalus II, King of Pergamon. More recent interpretations take into account the realistic facial features and consider the work to be a portrait of a Roman who had ties to the Greek world and wished to be represented as a Hellenistic Prince. This is a rare example of a 2nd cent BC Hellenistic bronze statue  The National Roman Museum, Rome, Italy
  • Rare Greek bronze statue known as the Hellenistic Prince, a 2nd cent BC Hellenistic bronze, one of the few in existence.  The figure is leaning with its left arm on a long shaft, a modern replica of the original bronze spear. The head clearly shows that the artist intended it as a portrait as it is proportionally smaller than the rest of the body. The letter L. VI.P.L.XXIIX, later incised on the abdomen are inventory numbers that included the statue in the catalogue of works of art present in Rome during the Republican period. Records of the catalogue (Tabulae) ere kept in the Tabulatium archives on the Capitoline Hill. The figure is represented in heroic nudity and is a copy of a famous statue by Lysippus (371-305 BC) of Alexander the Great. The statue is considered to depict a Hellenistic Prince, possibly an early portrait of Attalus II, King of Pergamon. More recent interpretations take into account the realistic facial features and consider the work to be a portrait of a Roman who had ties to the Greek world and wished to be represented as a Hellenistic Prince. This is a rare example of a 2nd cent BC Hellenistic bronze statue  The National Roman Museum, Rome, Italy
  • Rare Greek bronze statue known as the Hellenistic Prince, a 2nd cent BC Hellenistic bronze, one of the few in existence.  The figure is leaning with its left arm on a long shaft, a modern replica of the original bronze spear. The head clearly shows that the artist intended it as a portrait as it is proportionally smaller than the rest of the body. The letter L. VI.P.L.XXIIX, later incised on the abdomen are inventory numbers that included the statue in the catalogue of works of art present in Rome during the Republican period. Records of the catalogue (Tabulae) ere kept in the Tabulatium archives on the Capitoline Hill. The figure is represented in heroic nudity and is a copy of a famous statue by Lysippus (371-305 BC) of Alexander the Great. The statue is considered to depict a Hellenistic Prince, possibly an early portrait of Attalus II, King of Pergamon. More recent interpretations take into account the realistic facial features and consider the work to be a portrait of a Roman who had ties to the Greek world and wished to be represented as a Hellenistic Prince. This is a rare example of a 2nd cent BC Hellenistic bronze statue  The National Roman Museum, Rome, Italy
  • Rare Greek bronze statue known as the Hellenistic Prince, a 2nd cent BC Hellenistic bronze, one of the few in existence.  The figure is leaning with its left arm on a long shaft, a modern replica of the original bronze spear. The head clearly shows that the artist intended it as a portrait as it is proportionally smaller than the rest of the body. The letter L. VI.P.L.XXIIX, later incised on the abdomen are inventory numbers that included the statue in the catalogue of works of art present in Rome during the Republican period. Records of the catalogue (Tabulae) ere kept in the Tabulatium archives on the Capitoline Hill. The figure is represented in heroic nudity and is a copy of a famous statue by Lysippus (371-305 BC) of Alexander the Great. The statue is considered to depict a Hellenistic Prince, possibly an early portrait of Attalus II, King of Pergamon. More recent interpretations take into account the realistic facial features and consider the work to be a portrait of a Roman who had ties to the Greek world and wished to be represented as a Hellenistic Prince. This is a rare example of a 2nd cent BC Hellenistic bronze statue  The National Roman Museum, Rome, Italy
  • Picture & image of a Neo-Hittite orthostat with a releif sculpture of A Winged God from Aslantepe ,  Malatya, Turkey. Museum of Anatolian Civilisations, Ankara.  The God holds a branch of fruit in his left hand and a single fruit in the right hand. The First beared god is holding out a 3 pronged object to the king and has a boomerang in his other hand. Behind him is a 2 winged Godess with a  bare leg showing from her tunic. She is carrying a double headed axe. Behind her is another dearded God with a bore tusk helmet holding a spear. On the far right is another Godess, bare headed holding a double headed axe. On the far right is an attendant holding a bull. Above him the epographs indicate the name of the King & Gods. 2
  • Picture & image of a Neo-Hittite orthostat with a releif sculpture of A Winged God from Aslantepe ,  Malatya, Turkey. Ancora Archaeological Museum.  The God holds a branch of fruit in his left hand and a single fruit in the right hand. The First beared god is holding out a 3 pronged object to the king and has a boomerang in his other hand. Behind him is a 2 winged Godess with a  bare leg showing from her tunic. She is carrying a double headed axe. Behind her is another dearded God with a bore tusk helmet holding a spear. On the far right is another Godess, bare headed holding a double headed axe. On the far right is an attendant holding a bull. Above him the epographs indicate the name of the King & Gods.
  • Picture & image of a Neo-Hittite orthostat of 3 warriors from the legend of Gilgamesh from Karkamis,, Turkey. Museum of Anatolian Civilisations, Ankara. The warrior on the far left holds a spear in one hand and the branch of a tree in the other. The middle warrior has a clenched fist an carries an impliment over his shoulder. The warrior on the far right carries a saff. All 3 are wearing swords. 5
  • Picture & image of a Neo-Hittite orthostat of 3 warriors from the legend of Gilgamesh from Karkamis,, Turkey. Museum of Anatolian Civilisations, Ankara. The warrior on the far left holds a spear in one hand and the branch of a tree in the other. The middle warrior has a clenched fist an carries an impliment over his shoulder. The warrior on the far right carries a saff. All 3 are wearing swords.  4
  • Picture & image of a Neo-Hittite orthostat of 3 warriors from the legend of Gilgamesh from Karkamis,, Turkey. Museum of Anatolian Civilisations, Ankara. The warrior on the far left holds a spear in one hand and the branch of a tree in the other. The middle warrior has a clenched fist an carries an impliment over his shoulder. The warrior on the far right carries a saff. All 3 are wearing swords.  3
  • Picture & image of a Neo-Hittite orthostat of 3 warriors from the legend of Gilgamesh from Karkamis,, Turkey. The warrior on the far left holds a spear in one hand and the branch of a tree in the other. The middle warrior has a clenched fist an carries an impliment over his shoulder. The warrior on the far right carries a saff. All 3 are wearing swords.  An Ankara Museum of Anatolian Civilizations exhibit.
  • Roman Sebasteion relief sculpture personifing a Balkan Warrior  Aphrodisias Museum, Aphrodisias, Turkey.  Against a black background.<br />
<br />
The relief figure personifies a Balkan Warrior tribe defeated by Tiberius in AD 6-8 before he became emperor. She wears a classical dress, cloak and helmet and carries a small shield and probably once a spear. A builder’s inscription, “Pirouston”, written above the shield, ensured the relief was put on the right base
  • Roman Sebasteion relief sculpture personifing a Balkan Warrior  Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
The relief figure personifies a Balkan Warrior tribe defeated by Tiberius in AD 6-8 before he became emperor. She wears a classical dress, cloak and helmet and carries a small shield and probably once a spear. A builder’s inscription, “Pirouston”, written above the shield, ensured the relief was put on the right base
  • Close up of Roman Sebasteion relief sculpture personifing a Balkan Warrior  Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
The relief figure personifies a Balkan Warrior tribe defeated by Tiberius in AD 6-8 before he became emperor. She wears a classical dress, cloak and helmet and carries a small shield and probably once a spear. A builder’s inscription, “Pirouston”, written above the shield, ensured the relief was put on the right base
  • Roman Sebasteion relief sculpture personifing a Balkan Warrior  Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
The relief figure personifies a Balkan Warrior tribe defeated by Tiberius in AD 6-8 before he became emperor. She wears a classical dress, cloak and helmet and carries a small shield and probably once a spear. A builder’s inscription, “Pirouston”, written above the shield, ensured the relief was put on the right base
  • Close up of Roman Sebasteion relief sculpture of emperor Augustus and Goddess Victory, Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
The naked emperor Augustus stands in majesty with the winged goddess Victory(Nike). He carried a spear and has an eagle, the bird representing Zeus, at his feet. Victory is crowning a military trophy - a rough post with enemy armour attached to it. Beneath the trophy is a barbarian captive, his hands tied behind his back.
  • Roman Sebasteion relief sculpture of emperor Augustus and Goddess Victory, Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
The naked emperor Augustus stands in majesty with the winged goddess Victory(Nike). He carried a spear and has an eagle, the bird representing Zeus, at his feet. Victory is crowning a military trophy - a rough post with enemy armour attached to it. Beneath the trophy is a barbarian captive, his hands tied behind his back.
  • Roman Sebasteion relief  sculpture of the goddess Roma and Ge (Earth),  Aphrodisias Museum, Aphrodisias, Turkey.  Against a white background. <br />
<br />
The goddess Roma holds a spear and wears a crown in the form of a city wall. Earth reclines half naked leaning on a pile of fruit. She holds a cornucopia full of more fruit. A baby child (now damaged) climbs up the horn she holds. The relief represents Earths fertility and abundance overseen by Rome.
  • Roman Sebasteion relief  sculpture of the goddess Roma and Ge (Earth),  Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
The goddess Roma holds a spear and wears a crown in the form of a city wall. Earth reclines half naked leaning on a pile of fruit. She holds a cornucopia full of more fruit. A baby child (now damaged) climbs up the horn she holds. The relief represents Earths fertility and abundance overseen by Rome.
  • Roman Sebasteion relief  sculpture of the goddess Roma and Ge (Earth),  Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background. <br />
<br />
The goddess Roma holds a spear and wears a crown in the form of a city wall. Earth reclines half naked leaning on a pile of fruit. She holds a cornucopia full of more fruit. A baby child (now damaged) climbs up the horn she holds. The relief represents Earths fertility and abundance overseen by Rome.
  • Roman Sebasteion relief  sculpture of emperor Tiberius with a captive Aphrodisias Museum, Aphrodisias, Turkey.   Against a white background.<br />
<br />
The naked emperor Tiberius stands frontally holding a spear and shield wearing a cloak and a sword strap. Besides him stands a barbarian
  • Close up of a Roman Sebasteion relief  sculpture of Aphrodite crowned by Andreia, Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.<br />
<br />
A draped goddess is crowned by a female warrior figure. The goddess is probably Aphrodite, while the warrior has a bare breated Amazonian dress and equipment (spear, sword strap and shield) worn by Roma or Andreia (Bravery)

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