• Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-3200) from Naxos, Cat No 20934. National Archaeological Museum, Athens.   Grey background.<br />
<br />
<br />
One of the largest known Cycladic statues at 89CM tall this figurine still has traces of a colour on the hair and eyes.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-3200) from Naxos, Cat No 20934. National Archaeological Museum, Athens. Black background.<br />
<br />
One of the largest known Cycladic statues at 89CM tall this figurine still has traces of a colour on the hair and eyes.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-3200) from Naxos, Cat No 20934. National Archaeological Museum, Athens. <br />
<br />
One of the largest known Cycladic statues at 89CM tall this figurine still has traces of a colour on the hair and eyes.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-3200) from Naxos, Cat No 20934. National Archaeological Museum, Athens.   White background.<br />
<br />
<br />
One of the largest known Cycladic statues at 89CM tall this figurine still has traces of a colour on the hair and eyes.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-3200) from Naxos, Cat No 20934. National Archaeological Museum, Athens.   Gray background.<br />
<br />
<br />
One of the largest known Cycladic statues at 89CM tall this figurine still has traces of a colour on the hair and eyes.
  • Minoan 'Prince of the Lilies' wall art freco, Knossos Palace, 1600-1450 BCHeraklion Archaeological Museum.<br />
<br />
An emblematic image of Minoan Crete this fresco was part of a larger composition in high relief. The fresco depicts a life size figure wearing a coloured kilt with a cod piece and a belt. A majestic crown on his head is adorned with papyrus lilies and peacock feathers. Neopalatial Period.
  • Minoan 'Prince of the Lilies' wall art freco, Knossos Palace, 1600-1450 BCHeraklion Archaeological Museum.<br />
<br />
An emblematic image of Minoan Crete this fresco was part of a larger composition in high relief. The fresco depicts a life size figure wearing a coloured kilt with a cod piece and a belt. A majestic crown on his head is adorned with papyrus lilies and peacock feathers. Neopalatial Period.
  • Minoan 'Prince of the Lilies' wall art freco, Knossos Palace, 1600-1450 BCHeraklion Archaeological Museum.  Grey Background. <br />
<br />
An emblematic image of Minoan Crete this fresco was part of a larger composition in high relief. The fresco depicts a life size figure wearing a coloured kilt with a cod piece and a belt. A majestic crown on his head is adorned with papyrus lilies and peacock feathers. Neopalatial Period.
  • Minoan 'Prince of the Lilies' wall art freco, Knossos Palace, 1600-1450 BCHeraklion Archaeological Museum.  White Background. <br />
<br />
An emblematic image of Minoan Crete this fresco was part of a larger composition in high relief. The fresco depicts a life size figure wearing a coloured kilt with a cod piece and a belt. A majestic crown on his head is adorned with papyrus lilies and peacock feathers. Neopalatial Period.
  • Minoan 'Prince of the Lilies' wall art freco, Knossos Palace, 1600-1450 BCHeraklion Archaeological Museum. Black Background. <br />
<br />
An emblematic image of Minoan Crete this fresco was part of a larger composition in high relief. The fresco depicts a life size figure wearing a coloured kilt with a cod piece and a belt. A majestic crown on his head is adorned with papyrus lilies and peacock feathers. Neopalatial Period.
  • Minoan 'Prince of the Lilies' wall art freco, Knossos Palace, 1600-1450 BCHeraklion Archaeological Museum.  Grey Background. <br />
<br />
An emblematic image of Minoan Crete this fresco was part of a larger composition in high relief. The fresco depicts a life size figure wearing a coloured kilt with a cod piece and a belt. A majestic crown on his head is adorned with papyrus lilies and peacock feathers. Neopalatial Period.
  • Minoan 'Prince of the Lilies' wall art freco, Knossos Palace, 1600-1450 BCHeraklion Archaeological Museum.<br />
<br />
An emblematic image of Minoan Crete this fresco was part of a larger composition in high relief. The fresco depicts a life size figure wearing a coloured kilt with a cod piece and a belt. A majestic crown on his head is adorned with papyrus lilies and peacock feathers. Neopalatial Period.
  • Minoan 'Prince of the Lilies' wall art freco, Knossos Palace, 1600-1450 BCHeraklion Archaeological Museum.<br />
<br />
An emblematic image of Minoan Crete this fresco was part of a larger composition in high relief. The fresco depicts a life size figure wearing a coloured kilt with a cod piece and a belt. A majestic crown on his head is adorned with papyrus lilies and peacock feathers. Neopalatial Period.
  • Female Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II from Syros phase (2800-2300 BC). Museum of Cycladic Art Athens,  Against white.<br />
<br />
The cycladic figurine has a band etched high on its forehead and a large area on the back of the head of spiralling curls. The surface has probably been protected by paint and the outline of the left eye paint is still detectable as a greyish tinge. It can be assumed that both hair and eyes were painted. Canonical type, Spedos variety
  • Female Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II from Syros phase (2800-2300 BC). Museum of Cycladic Art Athens,  Against black.<br />
<br />
The cycladic figurine has a band etched high on its forehead and a large area on the back of the head of spiralling curls. The surface has probably been protected by paint and the outline of the left eye paint is still detectable as a greyish tinge. It can be assumed that both hair and eyes were painted. Canonical type, Spedos variety
  • Female Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II from Syros phase (2800-2300 BC). Museum of Cycladic Art Athens,<br />
<br />
The cycladic figurine has a band etched high on its forehead and a large area on the back of the head of spiralling curls. The surface has probably been protected by paint and the outline of the left eye paint is still detectable as a greyish tinge. It can be assumed that both hair and eyes were painted. Canonical type, Spedos variety
  • Female Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II from Syros phase (2800-2300 BC). Museum of Cycladic Art Athens,  Against Grey Background. <br />
<br />
The cycladic figurine has a band etched high on its forehead and a large area on the back of the head of spiralling curls. The surface has probably been protected by paint and the outline of the left eye paint is still detectable as a greyish tinge. It can be assumed that both hair and eyes were painted. Canonical type, Spedos variety
  • Female Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II from Syros phase (2800-2300 BC). Museum of Cycladic Art Athens,  Against Grey Background. <br />
<br />
The cycladic figurine has a band etched high on its forehead and a large area on the back of the head of spiralling curls. The surface has probably been protected by paint and the outline of the left eye paint is still detectable as a greyish tinge. It can be assumed that both hair and eyes were painted. Canonical type, Spedos variety
  • The Minoan "Three columned Shrine" minture fresco Knossos-Palace, 1700-1450 BC . Heraklion Archaeological Museum.,grey background<br />
<br />
<br />
The freco depicts a portico with columns on which double axes are fixed, separated by horns of consecration, on a balustrade decorated with rosettes
  • Minoan Bull wall art fresco , West Bastion, Knossos Palace, 1600-1450 BC. Heraklion Archaeological Museum.<br />
<br />
The Minoan Bull fresco was part of a larger composition which probably had a hunter or bull leaper in it. It is a masterpiece of Minoan naturalism and a work of high quality and expresive power.
  • Minoan floral wall art fresco from Knossos Palace, 1600-1300 BC. Heraklion Archaeological Museum.  Grey Background.
  • Minoan 'Blue Monkey' wall art fresco from the 'House of Frescoes' Knossos Palace, 1600-1500 BC. Heraklion Archaeological Museum.
  • Minoan wall art freco depicting a procession leading a goat from Agia Triada (Hagia Triada) Crete. 1450-1300 BC. Heraklion Archaeological Museum.  Grey Background. <br />
<br />
This minoan fresco found at the minoan settlement of Hagia Triada, depicts a sacrifical procession leading animals to be sacrificed.
  • The Minoan 'Partridge Fresco', wall art from the  'Guset House' Knossos Palace, 1600-140 BC. Heraklion Archaeological Museum.  White Background. <br />
<br />
This Minoan fresco was painted in vivid colours using fine brush strokes and colour gradients. It portrays partridges , commonly found in Crete, among rocks and thopical Cretian flora. It decorated the pavillion in the so called 'Guset House' or 'Caravanserai.
  • Minoan fresco panel from the 'Lily Frescoes' from the 'Villa of the Lilies' Amnisos, 1600-1500 BC. Heraklion Archaeological Museum.  Grey Background. <br />
<br />
Ths freco depicts white lilies against a red background and red lilies against w white backgoround with long stems in front of a fence. The wall art uses fresco and 'in cavo' technique. Neopalatial Period.
  • Minoan wall art fresco of a 'figure of eight' shield from Knossos Palace, 1450-1300 BC. Heraklion Archaeological Museum.  Grey Background. <br />
<br />
<br />
The Final Palatial Period Minoan fresco is from the Grand Staircase of the Palace of Knossos and is a Trompe-l'œil  of minoan warriors shields covered with ox hide.
  • The Minoan 'Procession Fresco', wall art from the South Prpylaeum, Knossos Palace, 1500-1400 BC . Heraklion Archaeological Museum.<br />
<br />
This latrge Minoan fresco of many figure in procession would have decorated the corridor between the West Porch and the South Propylaeum of Knossos Palace. Both sides of the corridor were painted with hundreds of male and femal;e figures carrying precious utensils and vessels, probably depicting gift bearers to the ruler of the Palace. The composition is much like those found in the Palaces and tombs of Egypt and the near east at the time. Neopalatial final period.
  • The Minoan 'Blue Boy' or 'Saffron Gatherer' wall art fresco from Knossos Palace, 1600-1300 BC. Heraklion Archaeological Museum.
  • Parian marble Ancient Greek Archaic statue of a kore by Ariston of Paros, found in Merenda, Attica, Circa 540-530 BC, Athens National Archaeological Museum. Cat no 4889.<br />
<br />
This funerary statue was found in the same pit as Phrasikleia cat no 4890. The expression on the face and the rendering of the garment that follows the curves of the body underneath are remarkable. The chiton retains in many places its painted decoration with rosettes, swastikas, stars and meanders. This Kore is an extraordinary statue and is one of the most inportant of the Archaic Period. Mad by sculptor Ariston from Paros
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • Large Minoan polychrome jug decorated with dolphins, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
The illustrated dolphins on this jug are swimming happily in a marine scape, by the same painter as the 'Galloping Lions' jug
  • Large Minoan polychrome jug decorated with dolphins, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
The illustrated dolphins on this jug are swimming happily in a marine scape, by the same painter as the 'Galloping Lions' jug
  • Monoan 'Antelope fresco' Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens. 17th-16th cent BC.<br />
<br />
The Antelope fresco dep[icts two antelopes sketched with strong dark lines on a white plaster background. Their simple figures are slender and agile, and theri movements reserved are reserved yet expressive. From the same room as the 'Boxing Children' fresco the emsemble may have had a larger symbolic meaning. Room B1, Building B.
  • Monoan 'Antelope fresco' Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens. 17th-16th cent BC.<br />
<br />
The Antelope fresco dep[icts two antelopes sketched with strong dark lines on a white plaster background. Their simple figures are slender and agile, and theri movements reserved are reserved yet expressive. From the same room as the 'Boxing Children' fresco the emsemble may have had a larger symbolic meaning. Room B1, Building B.
  • Cycladic bronze dagger.  Early Cycladic II (2800-2300 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat no 9337.  Black background.
  • Cycladic conical rhython with spiral decorations.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens.  Cat no 5791.  White background.<br />
<br />
<br />
Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic amphora with 'melian' painted motifs.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens.   Grey background.
  • The 'Harpist of Keros' a seated parian marble female Cycladic figurine. Early Cycladic Period II (2800-2300 BC) from Keros, Cat no 3908. National Archaeological Museum, Athens.   Grey background.<br />
<br />
<br />
This elaborate three dimesional Cyladic statue known as the 'Harpist of Keros' depicts a seated figure plaung a harp. Its execution required an experienced workshop that could file away the parian marble with gronze tools.
  • The 'Harpist of Keros' a seated parian marble female Cycladic figurine. Early Cycladic Period II (2800-2300 BC) from Keros, Cat no 3908. National Archaeological Museum, Athens. Black background.<br />
<br />
This elaborate three dimesional Cyladic statue known as the 'Harpist of Keros' depicts a seated figure plaung a harp. Its execution required an experienced workshop that could file away the parian marble with gronze tools.
  • The 'Harpist of Keros' a seated parian marble female Cycladic figurine. Early Cycladic Period II (2800-2300 BC) from Keros, Cat no 3908. National Archaeological Museum, Athens. <br />
<br />
This elaborate three dimesional Cyladic statue known as the 'Harpist of Keros' depicts a seated figure plaung a harp. Its execution required an experienced workshop that could file away the parian marble with gronze tools.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-2300 BC) from Naxos, Cat No 6195. National Archaeological Museum, Athens.   Grey background.<br />
<br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised.
  • Cycladic violin shaped figurine. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens.   Grey background.
  • Female Cycladic statue figurine with folded arms of the Spedos and Dokathismata type. Early Cycladic Period II (2800-3200) from Amorgos. National Archaeological Museum, Athens.   Grey background.<br />
<br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised. This staue belongs to the Dokathismata type of Amorgos with an angular face, wide chest and slender outline.
  • Mycenaean Fresco wall painting of a Mycanaean Women bearing offerings, Later Palace,  Tiryns, Greece.  Athens Archaeological Museum. Grey art Background <br />
<br />
14th  Cent BC. Cat No 15883. The Mycenaean fresco fragments depict a women in a procession bearing offerings for a deity. Their facial characteristic and elaborate hairstyles and rich garments are clearly visible.
  • Mycenaean Fresco wall painting of a Mycanaean chariot, Later Palace,  Tiryns, Greece.  Athens Archaeological Museum. Black Background<br />
<br />
14th  Cent BC. Cat No 5879. Mycanaean chariots were use for hunting as well as battle.
  • Mycenaean Gold diadem from Grave III, 'Grave of a Women', Grave Circle A, Myenae, Greece. National Archaeological Museum Athens. Black Background<br />
<br />
An impressive Mycenaean gold diadem with repousse rosettes and thin sheets applied to the top. .Cat No 1. 16th century BC.<br />
<br />
Shaft Grave III, the so-called 'Grave of the Women,' contained three female and two infant interments. The women were literally covered in gold jewelry and wore massive gold diadems, while the infants were overlaid with gold foil.
  • Mycenaean gold goblet with two handles ening with a dogs head biting the rim,  Acropolis Treasure of Mycenae, Greece, National Archaeological Museum of Athens.  Black Background<br />
<br />
This goblet was found as part of a hoard looted in antiquity from Grave Circle A and buried outside the enclosure. 15th century BC
  • Vapheio type Mycenaean gold cup depicting a wild bull hunt , Vapheio Tholos Tomb, Lakonia, Greece. National Archaeological Museum of Athens.  White background.<br />
<br />
<br />
 Two masterpieces of Creto - Mycenaean gold metalwork were excavated from a tholos tomb near Lakonia in Sparta in 1988. Made in the 15th century BC, the gold cups are heavily influenced by the Minoan style that was predominant in the Agean at the time. The bull hunt was popular with  Mycenaean  and Minoan artists and symolised power and fertility. The distinctive shape of the cup is kown as 'Vapheio type'.
  • painted Mycenaean stirrup jars fro perfume, Mycenae Chamber Tomb 80, 14th-13th Cent BC.  National Archaeological Museum Athens. Cat no 3106. Grey art Background
  • Three handled Palace Style Mycenaean amphora with palm tree floral motifs, Mycenaean cemetery, Argive Deiras, 15 cnt BC, National Archaeological Museum Athens. Cat no 7107.  Grey Background<br />
<br />
This Mycenaean vase is distinguished by the high quality of clay and paint as well as the naturalistic rendition of the palm tree decorations
  • Mycenaean styrup jar from the House of the oil merchant, Mycenae Acropolis 14-13thj Cent BC. National Archaeological Museum Athens. Cat No 7626.  Black Background
  • Mycenaean jug decorated with ivy leaves , Grave I, Grave Circle A, Mycenae 16-15 Cent BC. National Archaeological Museum Athens. Cat No 199.  Grey Background
  • Minoan 'Sacred Knot" fresco wall art depicting the religious apotropaic symbol, Nirou Chani 1600-1450 BC . Heraklion Archaeological Museum.,grey background
  • Minoan 'Sacred Knot" fresco wall art depicting the religious apotropaic symbol, Nirou Chani 1600-1450 BC . Heraklion Archaeological Museum.,grey background
  • Minoan 'Sacred Knot" fresco wall art depicting the religious apotropaic symbol, Nirou Chani 1600-1450 BC . Heraklion Archaeological Museum.
  • Minoan 'Sacred Knot" fresco wall art depicting the religious apotropaic symbol, Nirou Chani 1600-1450 BC . Heraklion Archaeological Museum.,grey background
  • Minoan 'Sacred Knot" fresco wall art depicting the religious apotropaic symbol, Nirou Chani 1600-1450 BC . Heraklion Archaeological Museum., black background
  • Minoan 'Sacred Knot" fresco wall art depicting the religious apotropaic symbol, Nirou Chani 1600-1450 BC . Heraklion Archaeological Museum.,white background
  • The Minoan 'Dancer' fresco deicting a doddess descending from the heavens, Knossos Palace, 1600-1450 BC . Heraklion Archaeological Museum., black background<br />
<br />
The Dancer fresco depits a goddess descending from the heavens as indicated by her locks of hair streaming in the wind. This is a familiar convention in Minoan iconogragraphy of a goddess hovering in the air, her right arm extended in a gesture of authority. This fragment is psrt of a larger epiphony scene
  • The Minoan 'Dancer' fresco deicting a doddess descending from the heavens, Knossos Palace, 1600-1450 BC . Heraklion Archaeological Museum.,grey background<br />
<br />
The Dancer fresco depits a goddess descending from the heavens as indicated by her locks of hair streaming in the wind. This is a familiar convention in Minoan iconogragraphy of a goddess hovering in the air, her right arm extended in a gesture of authority. This fragment is psrt of a larger epiphony scene
  • The Minoan 'Dancer' fresco deicting a doddess descending from the heavens, Knossos Palace, 1600-1450 BC . Heraklion Archaeological Museum.,grey background<br />
<br />
The Dancer fresco depits a goddess descending from the heavens as indicated by her locks of hair streaming in the wind. This is a familiar convention in Minoan iconogragraphy of a goddess hovering in the air, her right arm extended in a gesture of authority. This fragment is psrt of a larger epiphony scene
  • The Minoan runner fresco fragment wall art from the House of Frescoes, Knossos Palace, 1350-1300 BC . Heraklion Archaeological Museum.,grey background
  • The Minoan 'Black Captain' fresco wall art from the House of Frescoes, Knossos Palace, 1350-1300 BC . Heraklion Archaeological Museum.<br />
<br />
The fresco probably depicts a running military detachment, the leader is wearing a Minoan loin cloth and holds two spears, he has been named "Captain of the Blacks" as those follwing him are probably black African soldiers in sercice of the palace<br />
<br />
This scene may be depicting an excersise or sport similar to the Greek Hoplite race
  • The Minoan 'Bull leaping' fresco depicting an athlete leaping over a bulls back,  Knossos-Palace, 1600-1400 BC . Heraklion Archaeological Museum.<br />
<br />
there are 3 participants, two white skinned women and one brown skinned man. One female athele is restraining the bull ny the horns to slow it down as the male athlete performs a backward summersault ober the bulls back. The second female athlete waits to catch the leaper.<br />
<br />
The fresco was found on the east side of the palace of Knossos together with fragments depicting different stages of bull leaping.
  • The Minoan 'Black Captain' fresco wall art from the House of Frescoes, Knossos Palace, 1350-1300 BC . Heraklion Archaeological Museum.,grey background<br />
<br />
The fresco probably depicts a running military detachment, the leader is wearing a Minoan loin cloth and holds two spears, he has been named "Captain of the Blacks" as those follwing him are probably black African soldiers in sercice of the palace<br />
<br />
This scene may be depicting an excersise or sport similar to the Greek Hoplite race
  • The Minoan 'Bull leaping' fresco depicting an athlete leaping over a bulls back,  Knossos-Palace, 1600-1400 BC . Heraklion Archaeological Museum.<br />
<br />
there are 3 participants, two white skinned women and one brown skinned man. One female athele is restraining the bull ny the horns to slow it down as the male athlete performs a backward summersault ober the bulls back. The second female athlete waits to catch the leaper.<br />
<br />
The fresco was found on the east side of the palace of Knossos together with fragments depicting different stages of bull leaping.
  • The Minoan 'Bull leaping' fresco depicting an athlete leaping over a bulls back,  Knossos-Palace, 1600-1400 BC . Heraklion Archaeological Museum.,grey background<br />
<br />
there are 3 participants, two white skinned women and one brown skinned man. One female athele is restraining the bull ny the horns to slow it down as the male athlete performs a backward summersault ober the bulls back. The second female athlete waits to catch the leaper.<br />
<br />
The fresco was found on the east side of the palace of Knossos together with fragments depicting different stages of bull leaping.
  • The Minoan "Three columned Shrine" minture fresco Knossos-Palace, 1700-1450 BC . Heraklion Archaeological Museum. black background<br />
<br />
The freco depicts a portico with columns on which double axes are fixed, separated by horns of consecration, on a balustrade decorated with rosettes
  • Minoan wall art depicting 'Blue Monkeys' from Knossos Palace, 1700-1450 BC. Heraklion Archaeological Museum.
  • Minoan 'Blue Monkey' wall art fresco from the 'House of Frescoes' Knossos Palace, 1600-1500 BC. Heraklion Archaeological Museum.
  • The Minoan 'Dolphin Fresco' wall art from the Queen's Megaron, Knossos Palace, 1600-1450 BC. Heraklion Archaeological Museum.<br />
<br />
Two dolphins are depicted swimming amongst small fish .
  • Minoan wall art fresco depicting a female figure, Neopalatial Period, C.1450 BC. Pseira, Crete. Heraklion Archaeological Museum.
  • Minoan fresco panel from the 'Lily Frescoes' from the 'Villa of the Lilies' Amnisos, 1600-1500 BC. Heraklion Archaeological Museum.<br />
<br />
Ths freco depicts white lilies against a red background and red lilies against w white backgoround with long stems in front of a fence. The wall art uses fresco and 'in cavo' technique. Neopalatial Period.
  • Minoan fresco panel from the 'Lily Frescoes' from the 'Villa of the Lilies' Amnisos, 1600-1500 BC. Heraklion Archaeological Museum.  Grey Background. <br />
<br />
Ths freco depicts white lilies against a red background and red lilies against w white backgoround with long stems in front of a fence. The wall art uses fresco and 'in cavo' technique. Neopalatial Period.
  • The painted Minoan Hagia Triada Sarcophagus 1370-1300 BC. Heraklion Archaeological Museum.<br />
<br />
The limestone Hagia Triada Sarcophagus is painted with frescoes depicting the ceremonies honouring the dead.
  • Minoan wall art fresco depicting a female figure, Neopalatial Period, C.1450 BC. Pseira, Crete. Heraklion Archaeological Museum.
  • The painted Minoan Hagia Triada Sarcophagus 1370-1300 BC. Heraklion Archaeological Museum.  Grey Background. <br />
<br />
The limestone Hagia Triada Sarcophagus is painted with frescoes depicting the ceremonies honouring the dead.
  • Minoan 'Papyrus wall art fresco from the 'House of Frescoes' Knossos Palace, 1600-1500 BC. Heraklion Archaeological Museum.  Grey Background.
  • The Minoan 'Procession Fresco', wall art from the South Prpylaeum, Knossos Palace, 1500-1400 BC . Heraklion Archaeological Museum.  Grey Background. <br />
<br />
This latrge Minoan fresco of many figure in procession would have decorated the corridor between the West Porch and the South Propylaeum of Knossos Palace. Both sides of the corridor were painted with hundreds of male and femal;e figures carrying precious utensils and vessels, probably depicting gift bearers to the ruler of the Palace. The composition is much like those found in the Palaces and tombs of Egypt and the near east at the time. Neopalatial final period.
  • The Minoan 'Saffron Gatherer' wall art fresco, from 'House of Frescoes' Knossos Palace. 1700-1450 BC. Heraklion Archaeological Museum.  Grey Background. <br />
<br />
The 'Saffron Gatherers' fresco depicts a blue monket gatering saffron crocuses and placing them in a basket. The saffron is thought to have been a gift to the 'Great Goddess'. One of the earliest frescoes from Knossos.
  • The Minoan 'Blue Boy' or 'Saffron Gatherer' wall art fresco from Knossos Palace, 1600-1300 BC. Heraklion Archaeological Museum.  Grey Background.
  • The Minoan 'Dolphin Fresco' wall art from the Queen's Megaron, Knossos Palace, 1600-1450 BC. Heraklion Archaeological Museum.  Grey Background. <br />
<br />
Two dolphins are depicted swimming amongst small fish .
  • Minoan wall art freco depicting a procession leading a goat from Agia Triada (Hagia Triada) Crete. 1450-1300 BC. Heraklion Archaeological Museum.  Grey Background. <br />
<br />
This minoan fresco found at the minoan settlement of Hagia Triada, depicts a sacrifical procession leading animals to be sacrificed.
  • Minoan wall art depicting 'Blue Monkeys' from Knossos Palace, 1700-1450 BC. Heraklion Archaeological Museum.  Grey Background.
  • Minoan wall art fresco of a 'figure of eight' shield from Knossos Palace, 1450-1300 BC. Heraklion Archaeological Museum.<br />
<br />
<br />
The Final Palatial Period Minoan fresco is from the Grand Staircase of the Palace of Knossos and is a Trompe-l'œil  of minoan warriors shields covered with ox hide.
  • Minoan wall art depicting 'Blue Monkeys' from Knossos Palace, 1700-1450 BC. Heraklion Archaeological Museum.
  • Minoan 'Papyrus wall art fresco from the 'House of Frescoes' Knossos Palace, 1600-1500 BC. Heraklion Archaeological Museum.
  • The Minoan 'Dolphin Fresco' wall art from the Queen's Megaron, Knossos Palace, 1600-1450 BC. Heraklion Archaeological Museum.<br />
<br />
Two dolphins are depicted swimming amongst small fish .
  • Minoan wall art fresco of 'Ladies in Blue' from Knossos Palace 1600-1450 BC. Heraklion Archaeological Museum.<br />
<br />
The 'Ladies in Blue' Minoan fresco depicts richy dressed female figures with opulent jewelery and clothing with flamboyant hairstyles refecting the wealth of the Palace of Knossos
  • Minoan Bull wall art fresco , West Bastion, Knossos Palace, 1600-1450 BC. Heraklion Archaeological Museum.<br />
<br />
The Minoan Bull fresco was part of a larger composition which probably had a hunter or bull leaper in it. It is a masterpiece of Minoan naturalism and a work of high quality and expresive power.
  • Minoan fresco panel from the 'Lily Frescoes' from the 'Villa of the Lilies' Amnisos, 1600-1500 BC. Heraklion Archaeological Museum.<br />
<br />
Ths freco depicts white lilies against a red background and red lilies against w white backgoround with long stems in front of a fence. The wall art uses fresco and 'in cavo' technique. Neopalatial Period.
  • Minoan floral wall art fresco from Knossos Palace, 1600-1300 BC. Heraklion Archaeological Museum.
  • Minoan floral wall art fresco from Knossos Palace, 1600-1300 BC. Heraklion Archaeological Museum.
  • Minoan wall art fresco depicting a female figure, Neopalatial Period, C.1450 BC. Pseira, Crete. Heraklion Archaeological Museum.
  • The painted Minoan Hagia Triada Sarcophagus 1370-1300 BC. Heraklion Archaeological Museum.<br />
<br />
The limestone Hagia Triada Sarcophagus is painted with frescoes depicting the ceremonies honouring the dead.
  • Minoan 'Papyrus wall art fresco from the 'House of Frescoes' Knossos Palace, 1600-1500 BC. Heraklion Archaeological Museum.  Grey Background.
  • The Minoan 'Procession Fresco', wall art from the South Prpylaeum, Knossos Palace, 1500-1400 BC . Heraklion Archaeological Museum.  Grey Background. <br />
<br />
This latrge Minoan fresco of many figure in procession would have decorated the corridor between the West Porch and the South Propylaeum of Knossos Palace. Both sides of the corridor were painted with hundreds of male and femal;e figures carrying precious utensils and vessels, probably depicting gift bearers to the ruler of the Palace. The composition is much like those found in the Palaces and tombs of Egypt and the near east at the time. Neopalatial final period.
  • The Minoan 'Saffron Gatherer' wall art fresco, from 'House of Frescoes' Knossos Palace. 1700-1450 BC. Heraklion Archaeological Museum.  Grey Background. <br />
<br />
The 'Saffron Gatherers' fresco depicts a blue monket gatering saffron crocuses and placing them in a basket. The saffron is thought to have been a gift to the 'Great Goddess'. One of the earliest frescoes from Knossos.
  • The Minoan 'Dolphin Fresco' wall art from the Queen's Megaron, Knossos Palace, 1600-1450 BC. Heraklion Archaeological Museum.  Grey Background. <br />
<br />
Two dolphins are depicted swimming amongst small fish .
  • The Minoan ' Camp Stool' wall art fresco from the West vwing of Knossos Palace, 1450-1300 BC. Heraklion Archaeological Museum.  Grey Background. <br />
<br />
This Minoan fresco probably depicted a typical banquet at Knossos Palace held in the Upper Hall of the West Wing. Figures seated on 'camp stools' are raising cups and kylikes. A female figure with Mediterranean features wearing vivid make up named ' La Parisienne' by Arthur Evans, has a large 'sacred knot' bunched behind her head and maybe she was a priestess.
  • Minoan wall art depicting 'Blue Monkeys' from Knossos Palace, 1700-1450 BC. Heraklion Archaeological Museum.
  • The Minoan 'Partridge Fresco', wall art from the  'Guset House' Knossos Palace, 1600-140 BC. Heraklion Archaeological Museum.  Grey Background. <br />
<br />
This Minoan fresco was painted in vivid colours using fine brush strokes and colour gradients. It portrays partridges , commonly found in Crete, among rocks and thopical Cretian flora. It decorated the pavillion in the so called 'Guset House' or 'Caravanserai.
  • Minoan wall art fresco of 'Ladies in Blue' from Knossos Palace 1600-1450 BC. Heraklion Archaeological Museum.  White Background. <br />
<br />
The 'Ladies in Blue' Minoan fresco depicts richy dressed female figures with opulent jewelery and clothing with flamboyant hairstyles refecting the wealth of the Palace of Knossos
  • The Minoan 'Procession Fresco', wall art from the South Prpylaeum, Knossos Palace, 1500-1400 BC . Heraklion Archaeological Museum.<br />
<br />
This latrge Minoan fresco of many figure in procession would have decorated the corridor between the West Porch and the South Propylaeum of Knossos Palace. Both sides of the corridor were painted with hundreds of male and femal;e figures carrying precious utensils and vessels, probably depicting gift bearers to the ruler of the Palace. The composition is much like those found in the Palaces and tombs of Egypt and the near east at the time. Neopalatial final period.
  • The Minoan 'Blue Boy' or 'Saffron Gatherer' wall art fresco from Knossos Palace, 1600-1300 BC. Heraklion Archaeological Museum.
  • Minoan fresco panel from the 'Lily Frescoes' from the 'Villa of the Lilies' Amnisos, 1600-1500 BC. Heraklion Archaeological Museum. Black Background. <br />
<br />
Ths freco depicts white lilies against a red background and red lilies against w white backgoround with long stems in front of a fence. The wall art uses fresco and 'in cavo' technique. Neopalatial Period.
  • The Minoan 'Cup Bearer' from the 'Procession Fresco', wall art from the South Prpylaeum, Knossos Palace, 1500-1400 BC . Heraklion Archaeological Museum.  Grey Background. <br />
<br />
The 'Cup Bearer' depicts a youth with long black hair, a naked torso and a richly decorated kilt carrying a large silver rhuyhon ceremonial vessel. This large Minoan fresco of many figure in procession would have decorated the corridor between the West Porch and the South Propylaeum of Knossos Palace. Both sides of the corridor were painted with hundreds of male and femal;e figures carrying precious utensils and vessels, probably depicting gift bearers to the ruler of the Palace. The composition is much like those found in the Palaces and tombs of Egypt and the near east at the time. Neopalatial final period.
  • Minoan floral wall art fresco from Knossos Palace, 1600-1300 BC. Heraklion Archaeological Museum. Black Background.
  • Minoan wall art fresco depicting a female figure, Neopalatial Period, C.1450 BC. Pseira, Crete. Heraklion Archaeological Museum. Black Background.
  • The painted Minoan Hagia Triada Sarcophagus 1370-1300 BC. Heraklion Archaeological Museum.  Grey Background. <br />
<br />
The limestone Hagia Triada Sarcophagus is painted with frescoes depicting the ceremonies honouring the dead.
  • Minoan 'Blue Monkey' wall art fresco from the 'House of Frescoes' Knossos Palace, 1600-1500 BC. Heraklion Archaeological Museum. Black Background.
  • Minoan high relief wall art fresco of Griffins, Gret East Hall, Knossos. 1600-1450 BC. Heraklion Archaeological Museum.  White Background. <br />
<br />
This minoan high relief fresco decorated the Great East Hall of Knossos palace. The decoration of the hall included religious scenes depicting boxing, and bull leaping games.
  • The Minoan 'Tripartite Shrine' or ;Grandstand Fresco', wall art from  Knossos Palace, 1600-1450 BC. Heraklion Archaeological Museum. Black Background. <br />
<br />
The Minoan fresco depicts females seated on a raised platform and a large crowd in what is thought to be the Central Court of Knossos Palace. .
  • Minoan wall art fresco from the Throne Room of Knossos, 1450-1300 BC. Heraklion Archaeological Museum.  White Background. <br />
<br />
This Minoan fresco depicts griffins and palm trees
  • Minoan 'Sacred Grove and Dance Freco', wall art from Knossos Palace, 1600-1450 BC. Heraklion Archaeological Museum.   Grey Background. <br />
<br />
This Neopalatial period Minoan fredco comes from thecauseway of the west facade of the palace complex.
  • Minoan wall art fresco of a 'figure of eight' shield from Knossos Palace, 1450-1300 BC. Heraklion Archaeological Museum.<br />
<br />
<br />
The Final Palatial Period Minoan fresco is from the Grand Staircase of the Palace of Knossos and is a Trompe-l'œil  of minoan warriors shields covered with ox hide.
  • Minoan wall art fresco of 'Ladies in Blue' from Knossos Palace 1600-1450 BC. Heraklion Archaeological Museum.<br />
<br />
The 'Ladies in Blue' Minoan fresco depicts richy dressed female figures with opulent jewelery and clothing with flamboyant hairstyles refecting the wealth of the Palace of Knossos
  • Minoan fresco panel from the 'Lily Frescoes' from the 'Villa of the Lilies' Amnisos, 1600-1500 BC. Heraklion Archaeological Museum.  Grey Background. <br />
<br />
Ths freco depicts white lilies against a red background and red lilies against w white backgoround with long stems in front of a fence. The wall art uses fresco and 'in cavo' technique. Neopalatial Period.
  • Minoan floral wall art fresco from Knossos Palace, 1600-1300 BC. Heraklion Archaeological Museum.  Grey Background.
  • Minoan Bull wall art fresco , West Bastion, Knossos Palace, 1600-1450 BC. Heraklion Archaeological Museum.  Grey Background. <br />
<br />
The Minoan Bull fresco was part of a larger composition which probably had a hunter or bull leaper in it. It is a masterpiece of Minoan naturalism and a work of high quality and expresive power.
  • The painted Minoan Hagia Triada Sarcophagus 1370-1300 BC. Heraklion Archaeological Museum.<br />
<br />
The limestone Hagia Triada Sarcophagus is painted with frescoes depicting the ceremonies honouring the dead.
  • The painted Minoan Hagia Triada Sarcophagus 1370-1300 BC. Heraklion Archaeological Museum. Black Background. <br />
<br />
The limestone Hagia Triada Sarcophagus is painted with frescoes depicting the ceremonies honouring the dead.
  • Minoan 'Papyrus wall art fresco from the 'House of Frescoes' Knossos Palace, 1600-1500 BC. Heraklion Archaeological Museum.
  • Minoan 'Blue Monkey' wall art fresco from the 'House of Frescoes' Knossos Palace, 1600-1500 BC. Heraklion Archaeological Museum.  White Background.
  • The Minoan 'Procession Fresco', wall art from the South Prpylaeum, Knossos Palace, 1500-1400 BC . Heraklion Archaeological Museum.  White Background. <br />
<br />
This latrge Minoan fresco of many figure in procession would have decorated the corridor between the West Porch and the South Propylaeum of Knossos Palace. Both sides of the corridor were painted with hundreds of male and femal;e figures carrying precious utensils and vessels, probably depicting gift bearers to the ruler of the Palace. The composition is much like those found in the Palaces and tombs of Egypt and the near east at the time. Neopalatial final period.
  • The Minoan 'Procession Fresco', wall art from the South Prpylaeum, Knossos Palace, 1500-1400 BC . Heraklion Archaeological Museum. Black Background. <br />
<br />
This latrge Minoan fresco of many figure in procession would have decorated the corridor between the West Porch and the South Propylaeum of Knossos Palace. Both sides of the corridor were painted with hundreds of male and femal;e figures carrying precious utensils and vessels, probably depicting gift bearers to the ruler of the Palace. The composition is much like those found in the Palaces and tombs of Egypt and the near east at the time. Neopalatial final period.
  • Close up of The Minoan ' Camp Stool' wall art fresco from the West vwing of Knossos Palace, 1450-1300 BC. Heraklion Archaeological Museum.<br />
<br />
This Minoan fresco probably depicted a typical banquet at Knossos Palace held in the Upper Hall of the West Wing. Figures seated on 'camp stools' are raising cups and kylikes. A female figure with Mediterranean features wearing vivid make up named ' La Parisienne' by Arthur Evans, has a large 'sacred knot' bunched behind her head and maybe she was a priestess.
  • Minoan wall art fresco of 'Ladies in Blue' from Knossos Palace 1600-1450 BC. Heraklion Archaeological Museum.  Grey Background. <br />
<br />
The 'Ladies in Blue' Minoan fresco depicts richy dressed female figures with opulent jewelery and clothing with flamboyant hairstyles refecting the wealth of the Palace of Knossos
  • The Minoan 'Procession Fresco', wall art from the South Prpylaeum, Knossos Palace, 1500-1400 BC . Heraklion Archaeological Museum.  White Background. <br />
<br />
This latrge Minoan fresco of many figure in procession would have decorated the corridor between the West Porch and the South Propylaeum of Knossos Palace. Both sides of the corridor were painted with hundreds of male and femal;e figures carrying precious utensils and vessels, probably depicting gift bearers to the ruler of the Palace. The composition is much like those found in the Palaces and tombs of Egypt and the near east at the time. Neopalatial final period.
  • Minoan 'Sacred Grove and Dance Freco', wall art from Knossos Palace, 1600-1450 BC. Heraklion Archaeological Museum.  Black Background. <br />
<br />
This Neopalatial period Minoan fredco comes from thecauseway of the west facade of the palace complex.
  • The Minoan 'Procession Fresco', wall art from the South Prpylaeum, Knossos Palace, 1500-1400 BC . Heraklion Archaeological Museum.<br />
<br />
This latrge Minoan fresco of many figure in procession would have decorated the corridor between the West Porch and the South Propylaeum of Knossos Palace. Both sides of the corridor were painted with hundreds of male and femal;e figures carrying precious utensils and vessels, probably depicting gift bearers to the ruler of the Palace. The composition is much like those found in the Palaces and tombs of Egypt and the near east at the time. Neopalatial final period.
  • The Minoan 'Procession Fresco', wall art from the South Prpylaeum, Knossos Palace, 1500-1400 BC . Heraklion Archaeological Museum.<br />
<br />
This latrge Minoan fresco of many figure in procession would have decorated the corridor between the West Porch and the South Propylaeum of Knossos Palace. Both sides of the corridor were painted with hundreds of male and femal;e figures carrying precious utensils and vessels, probably depicting gift bearers to the ruler of the Palace. The composition is much like those found in the Palaces and tombs of Egypt and the near east at the time. Neopalatial final period.
  • The Minoan 'Blue Boy' or 'Saffron Gatherer' wall art fresco from Knossos Palace, 1600-1300 BC. Heraklion Archaeological Museum.
  • The Minoan 'Saffron Gatherer' wall art fresco, from 'House of Frescoes' Knossos Palace. 1700-1450 BC. Heraklion Archaeological Museum.<br />
<br />
The 'Saffron Gatherers' fresco depicts a blue monket gatering saffron crocuses and placing them in a basket. The saffron is thought to have been a gift to the 'Great Goddess'. One of the earliest frescoes from Knossos.
  • The Minoan 'Cup Bearer' from the 'Procession Fresco', wall art from the South Prpylaeum, Knossos Palace, 1500-1400 BC . Heraklion Archaeological Museum.<br />
<br />
The 'Cup Bearer' depicts a youth with long black hair, a naked torso and a richly decorated kilt carrying a large silver rhuyhon ceremonial vessel. This large Minoan fresco of many figure in procession would have decorated the corridor between the West Porch and the South Propylaeum of Knossos Palace. Both sides of the corridor were painted with hundreds of male and femal;e figures carrying precious utensils and vessels, probably depicting gift bearers to the ruler of the Palace. The composition is much like those found in the Palaces and tombs of Egypt and the near east at the time. Neopalatial final period.
  • Minoan fresco panel from the 'Lily Frescoes' from the 'Villa of the Lilies' Amnisos, 1600-1500 BC. Heraklion Archaeological Museum.  White Background. <br />
<br />
Ths freco depicts white lilies against a red background and red lilies against w white backgoround with long stems in front of a fence. The wall art uses fresco and 'in cavo' technique. Neopalatial Period.
  • Minoan fresco panel from the 'Lily Frescoes' from the 'Villa of the Lilies' Amnisos, 1600-1500 BC. Heraklion Archaeological Museum.  White Background. <br />
<br />
Ths freco depicts white lilies against a red background and red lilies against w white backgoround with long stems in front of a fence. The wall art uses fresco and 'in cavo' technique. Neopalatial Period.
  • Minoan floral wall art fresco from Knossos Palace, 1600-1300 BC. Heraklion Archaeological Museum.  White Background.
  • Minoan Bull wall art fresco , West Bastion, Knossos Palace, 1600-1450 BC. Heraklion Archaeological Museum.<br />
<br />
The Minoan Bull fresco was part of a larger composition which probably had a hunter or bull leaper in it. It is a masterpiece of Minoan naturalism and a work of high quality and expresive power.
  • Minoan floral wall art fresco from Knossos Palace, 1600-1300 BC. Heraklion Archaeological Museum.  White Background.
  • Minoan Bull wall art fresco , West Bastion, Knossos Palace, 1600-1450 BC. Heraklion Archaeological Museum.  White Background. <br />
<br />
The Minoan Bull fresco was part of a larger composition which probably had a hunter or bull leaper in it. It is a masterpiece of Minoan naturalism and a work of high quality and expresive power.
  • The painted Minoan Hagia Triada Sarcophagus 1370-1300 BC. Heraklion Archaeological Museum.<br />
<br />
The limestone Hagia Triada Sarcophagus is painted with frescoes depicting the ceremonies honouring the dead.
  • Minoan wall art fresco depicting a female figure, Neopalatial Period, C.1450 BC. Pseira, Crete. Heraklion Archaeological Museum.  White Background.
  • Minoan wall art fresco depicting a female figure, Neopalatial Period, C.1450 BC. Pseira, Crete. Heraklion Archaeological Museum.  White Background.
  • Minoan 'Papyrus wall art fresco from the 'House of Frescoes' Knossos Palace, 1600-1500 BC. Heraklion Archaeological Museum.  White Background.
  • The Minoan 'Procession Fresco', wall art from the South Prpylaeum, Knossos Palace, 1500-1400 BC . Heraklion Archaeological Museum. Black Background. <br />
<br />
This latrge Minoan fresco of many figure in procession would have decorated the corridor between the West Porch and the South Propylaeum of Knossos Palace. Both sides of the corridor were painted with hundreds of male and femal;e figures carrying precious utensils and vessels, probably depicting gift bearers to the ruler of the Palace. The composition is much like those found in the Palaces and tombs of Egypt and the near east at the time. Neopalatial final period.
  • Minoan wall art fresco of 'Ladies in Blue' from Knossos Palace 1600-1450 BC. Heraklion Archaeological Museum. Black Background. <br />
<br />
The 'Ladies in Blue' Minoan fresco depicts richy dressed female figures with opulent jewelery and clothing with flamboyant hairstyles refecting the wealth of the Palace of Knossos
  • Minoan 'Sacred Grove and Dance Freco', wall art from Knossos Palace, 1600-1450 BC. Heraklion Archaeological Museum.   White Background. <br />
<br />
This Neopalatial period Minoan fredco comes from thecauseway of the west facade of the palace complex.
  • Minoan wall art fresco of a 'figure of eight' shield from Knossos Palace, 1450-1300 BC. Heraklion Archaeological Museum.<br />
<br />
<br />
The Final Palatial Period Minoan fresco is from the Grand Staircase of the Palace of Knossos and is a Trompe-l'œil  of minoan warriors shields covered with ox hide.
  • Terra cotta Mycenaean cult figurines with raised arms found at Delphi,  1400-1050 BC, Delphi National Archaeological Museum. <br />
<br />
Stylised female figurines were common in the Mycenaean world and may have represented deities , divine nurses or worshipers. these Mycenaean female figurines were probably used as voitive offering and maybe as childrens toys.
  • Terra cotta Mycenaean cult figurines with raised arms found at Delphi,  1400-1050 BC, Delphi National Archaeological Museum.  Against white.<br />
<br />
Stylised female figurines were common in the Mycenaean world and may have represented deities , divine nurses or worshipers. these Mycenaean female figurines were probably used as voitive offering and maybe as childrens toys.
  • Terra cotta Mycenaean cult figurines with raised arms found at Delphi,  1400-1050 BC, Delphi National Archaeological Museum. <br />
<br />
Stylised female figurines were common in the Mycenaean world and may have represented deities , divine nurses or worshipers. these Mycenaean female figurines were probably used as voitive offering and maybe as childrens toys.
  • Terra cotta Mycenaean seated cult figurine on a tripod seat,  found at Delphi,  1400-1050 BC, Delphi National Archaeological Museum.   Against grey.
  • Terra cotta Mycenaean seated cult figurine on a tripod seat,  found at Delphi,  1400-1050 BC, Delphi National Archaeological Museum.   Against black
  • Terra cotta Mycenaean seated cult figurine on a tripod seat,  found at Delphi,  1400-1050 BC, Delphi National Archaeological Museum.
  • Ancient Greek Archaic statuette of a  kore, found in the Acropolis Athens, 490 BC, Athens National Archaeological Museum. Cat no BE 16/2009. Against white.<br />
<br />
The kore statues hair is adorned with a wreath and her ears by round disk earings. Traces of paint can be found on her garments and jewellery. Red paint was found on her hair and eyes, Acropolis Museum Cat no 687
  • Ancient Greek Archaic statuette of a  kore, found in the Acropolis Athens, 500-490 BC, Athens National Archaeological Museum. Cat no BE 15/2009. Against black<br />
<br />
<br />
The kore statues hair is adorned with a wreath and her ears by round disk earings. Traces of paint can be found on her garments and jewellery. Red paint was found on her hair and eyes. Acropolis Museum Cat no 676, 257
  • Pentelic marble Ancient Greek Archaic statue of a female, found in Pyoan Apollo Sanctuart, Boeotia, end 7th cent BC, Athens National Archaeological Museum. Cat no 4. Against black<br />
<br />
two of these staues suppoted t a perrihanterion, a shallow basin, in the snctuary of Apollo Boeotia. This style originated in Syria na dcCyprus. Sculpted in a Boeotian workshop.
  • Pentelic marble Ancient Greek Archaic statue of a female, found in Pyoan Apollo Sanctuart, Boeotia, end 7th cent BC, Athens National Archaeological Museum. Cat no 4. Against grey.<br />
<br />
two of these staues suppoted t a perrihanterion, a shallow basin, in the snctuary of Apollo Boeotia. This style originated in Syria na dcCyprus. Sculpted in a Boeotian workshop.
  • Pentelic marble Ancient Greek Archaic statue of a female, found in Pyoan Apollo Sanctuart, Boeotia, end 7th cent BC, Athens National Archaeological Museum. Cat no 4.<br />
<br />
two of these staues suppoted t a perrihanterion, a shallow basin, in the snctuary of Apollo Boeotia. This style originated in Syria na dcCyprus. Sculpted in a Boeotian workshop.
  • Pentelic marble Ancient Greek Archaic statue of a female, found in Pyoan Apollo Sanctuart, Boeotia, end 7th cent BC, Athens National Archaeological Museum. Cat no 4. Against grey.<br />
<br />
two of these staues suppoted t a perrihanterion, a shallow basin, in the snctuary of Apollo Boeotia. This style originated in Syria na dcCyprus. Sculpted in a Boeotian workshop.
  • Pentelic marble Ancient Greek Archaic statue of a female, found in Pyoan Apollo Sanctuart, Boeotia, end 7th cent BC, Athens National Archaeological Museum. Cat no 4.<br />
<br />
two of these staues suppoted t a perrihanterion, a shallow basin, in the snctuary of Apollo Boeotia. This style originated in Syria na dcCyprus. Sculpted in a Boeotian workshop.
  • Pentelic marble Ancient Greek Archaic statue of a female, found in Pyoan Apollo Sanctuart, Boeotia, end 7th cent BC, Athens National Archaeological Museum. Cat no 4. Against white.<br />
<br />
two of these staues suppoted t a perrihanterion, a shallow basin, in the snctuary of Apollo Boeotia. This style originated in Syria na dcCyprus. Sculpted in a Boeotian workshop.
  • Pentelic marble Ancient Greek Archaic statue of a female, found in Pyoan Apollo Sanctuart, Boeotia, end 7th cent BC, Athens National Archaeological Museum. Cat no 4.  Against grey.<br />
<br />
two of these staues suppoted t a perrihanterion, a shallow basin, in the snctuary of Apollo Boeotia. This style originated in Syria na dcCyprus. Sculpted in a Boeotian workshop.
  • Marble Ancient Greek Archaic statue of a Woman, found on Delos, circa 650 BC, Athens National Archaeological Museum. Cat no 1. Against white.<br />
<br />
One of the earlist known monumental statues in stone this statue probably represents Artemis. According to the inscription carved on the left thigh of the statue it was dedicated to Apollo ny Naxian Nikandre. Typical Daedalic style from a Delos workshop.
  • Marble Ancient Greek Archaic statue of a Woman, found on Delos, circa 650 BC, Athens National Archaeological Museum. Cat no 1. Against black<br />
<br />
One of the earlist known monumental statues in stone this statue probably represents Artemis. According to the inscription carved on the left thigh of the statue it was dedicated to Apollo ny Naxian Nikandre. Typical Daedalic style from a Delos workshop.
  • Marble Ancient Greek Archaic statue of a Woman, found on Delos, circa 650 BC, Athens National Archaeological Museum. Cat no 1.<br />
<br />
One of the earlist known monumental statues in stone this statue probably represents Artemis. According to the inscription carved on the left thigh of the statue it was dedicated to Apollo ny Naxian Nikandre. Typical Daedalic style from a Delos workshop.
  • Marble Ancient Greek Archaic statue of a Woman, found on Delos, circa 650 BC, Athens National Archaeological Museum. Cat no 1.  Against grey.<br />
<br />
One of the earlist known monumental statues in stone this statue probably represents Artemis. According to the inscription carved on the left thigh of the statue it was dedicated to Apollo ny Naxian Nikandre. Typical Daedalic style from a Delos workshop.
  • parianmarble Ancient Greek Archaic statue of a Nike by Archermos of Chios, found ion Delos, circa 550 BC, Athens National Archaeological Museum. Cat no 21. Against black<br />
<br />
This is the earlist known free standing statue of the goddess Nike, possibly the work of sculptor Archermos of Chios.
  • parianmarble Ancient Greek Archaic statue of a Nike by Archermos of Chios, found ion Delos, circa 550 BC, Athens National Archaeological Museum. Cat no 21.<br />
<br />
This is the earlist known free standing statue of the goddess Nike, possibly the work of sculptor Archermos of Chios.
  • Parian marble Ancient Greek Archaic statue of a Sphnix from Spata, Attica. Circa 540 BC , Athens National Archaeological Museum. Cat no 76. Against black<br />
<br />
Once a grave stele
  • Pentelic marble Ancient Greek Archaic statue of a Sphnix from Spata, Attica. Circa 570 BC , Athens National Archaeological Museum. Cat no 28.<br />
<br />
One of the earliest known Archaic Sphinx statues once a grave stele
  • Parian marble Ancient Greek Archaic statue of a kore by Ariston of Paros, found in Merenda, Attica, Circa 540-530 BC, Athens National Archaeological Museum. Cat no 4889. Against white.<br />
<br />
This funerary statue was found in the same pit as Phrasikleia cat no 4890. The expression on the face and the rendering of the garment that follows the curves of the body underneath are remarkable. The chiton retains in many places its painted decoration with rosettes, swastikas, stars and meanders. This Kore is an extraordinary statue and is one of the most inportant of the Archaic Period. Mad by sculptor Ariston from Paros
  • Parian marble Ancient Greek Archaic statue of a kore by Ariston of Paros, found in Merenda, Attica, Circa 540-530 BC, Athens National Archaeological Museum. Cat no 4889. Against grey.<br />
<br />
This funerary statue was found in the same pit as Phrasikleia cat no 4890. The expression on the face and the rendering of the garment that follows the curves of the body underneath are remarkable. The chiton retains in many places its painted decoration with rosettes, swastikas, stars and meanders. This Kore is an extraordinary statue and is one of the most inportant of the Archaic Period. Mad by sculptor Ariston from Paros
  • Parian marble Ancient Greek Archaic statue of a kore by Ariston of Paros, found in Merenda, Attica, Circa 540-530 BC, Athens National Archaeological Museum. Cat no 4889.<br />
<br />
This funerary statue was found in the same pit as Phrasikleia cat no 4890. The expression on the face and the rendering of the garment that follows the curves of the body underneath are remarkable. The chiton retains in many places its painted decoration with rosettes, swastikas, stars and meanders. This Kore is an extraordinary statue and is one of the most inportant of the Archaic Period. Mad by sculptor Ariston from Paros
  • Parian marble Ancient Greek Archaic statue of a kore by Ariston of Paros, found in Merenda, Attica, Circa 540-530 BC, Athens National Archaeological Museum. Cat no 4889.<br />
<br />
This funerary statue was found in the same pit as Phrasikleia cat no 4890. The expression on the face and the rendering of the garment that follows the curves of the body underneath are remarkable. The chiton retains in many places its painted decoration with rosettes, swastikas, stars and meanders. This Kore is an extraordinary statue and is one of the most inportant of the Archaic Period. Mad by sculptor Ariston from Paros
  • Parian marble Ancient Greek Archaic statue of a kore by Ariston of Paros, found in Merenda, Attica, Circa 540-530 BC, Athens National Archaeological Museum. Cat no 4889. Against grey.<br />
<br />
This funerary statue was found in the same pit as Phrasikleia cat no 4890. The expression on the face and the rendering of the garment that follows the curves of the body underneath are remarkable. The chiton retains in many places its painted decoration with rosettes, swastikas, stars and meanders. This Kore is an extraordinary statue and is one of the most inportant of the Archaic Period. Mad by sculptor Ariston from Paros
  • Parian marble Ancient Greek Archaic statue of a kore by Ariston of Paros, found in Merenda, Attica, Circa 540-530 BC, Athens National Archaeological Museum. Cat no 4889. Against black<br />
<br />
This funerary statue was found in the same pit as Phrasikleia cat no 4890. The expression on the face and the rendering of the garment that follows the curves of the body underneath are remarkable. The chiton retains in many places its painted decoration with rosettes, swastikas, stars and meanders. This Kore is an extraordinary statue and is one of the most inportant of the Archaic Period. Mad by sculptor Ariston from Paros
  • Parian marble Ancient Greek Archaic statue of a kore by Ariston of Paros, found in Merenda, Attica, Circa 540-530 BC, Athens National Archaeological Museum. Cat no 4889. Against grey.<br />
<br />
This funerary statue was found in the same pit as Phrasikleia cat no 4890. The expression on the face and the rendering of the garment that follows the curves of the body underneath are remarkable. The chiton retains in many places its painted decoration with rosettes, swastikas, stars and meanders. This Kore is an extraordinary statue and is one of the most inportant of the Archaic Period. Mad by sculptor Ariston from Paros
  • Marble Ancient Archaic Greek statuette of a Kore, from Aleusis, C. 490-480 BC, Athens National Archaeological Museum. Cat No 24
  • Marble Ancient Archaic Greek statuette of a Kore, from Aleusis, C. 490-480 BC, Athens National Archaeological Museum. Cat No 24.  Against grey.
  • Marble Ancient Archaic Greek statuette of a Kore, from Aleusis, C. 490-480 BC, Athens National Archaeological Museum. Cat No 24.  Against grey.
  • Bronze archaic ancient Greek statue of Poseidon, found in the ancient port of Plataiai, Gulf of Livadostra, Athens National Archaeological Museum. Cat No X11761. Against black<br />
<br />
In this bronze statue of the god Poseidon he would have held a trident in his right hand and probably a dolphin with his left. The statues eyes are made of inlaid material.
  • Bronze archaic ancient Greek statue of Poseidon, found in the ancient port of Plataiai, Gulf of Livadostra, Athens National Archaeological Museum. Cat No X11761.<br />
<br />
In this bronze statue of the god Poseidon he would have held a trident in his right hand and probably a dolphin with his left. The statues eyes are made of inlaid material.
  • Bronze archaic ancient Greek statue of Poseidon, found in the ancient port of Plataiai, Gulf of Livadostra, Athens National Archaeological Museum. Cat No X11761. Against grey.<br />
<br />
In this bronze statue of the god Poseidon he would have held a trident in his right hand and probably a dolphin with his left. The statues eyes are made of inlaid material.
  • Gronze Greek classical statue of a youth by sculptor Euphranor. from the Antikythera shipwreck, Circa 340-330 BC, Athens National Archaeological Museum. Cat No X13396. Against white.<br />
<br />
The statue has been thought to depict Perseus who would have been holding the head of Medusa, but is more probably a depiction of Paris who would have been holding the 'apple of strife', ready to award it to the most beautiful goddess, Aphrodite. Probably sculpted by Sikyonian sculptor Euphranor.
  • Gronze Greek classical statue of a youth by sculptor Euphranor. from the Antikythera shipwreck, Circa 340-330 BC, Athens National Archaeological Museum. Cat No X13396.<br />
<br />
The statue has been thought to depict Perseus who would have been holding the head of Medusa, but is more probably a depiction of Paris who would have been holding the 'apple of strife', ready to award it to the most beautiful goddess, Aphrodite. Probably sculpted by Sikyonian sculptor Euphranor.
  • Gronze Greek classical statue of a youth by sculptor Euphranor. from the Antikythera shipwreck, Circa 340-330 BC, Athens National Archaeological Museum. Cat No X13396. Against grey.<br />
<br />
The statue has been thought to depict Perseus who would have been holding the head of Medusa, but is more probably a depiction of Paris who would have been holding the 'apple of strife', ready to award it to the most beautiful goddess, Aphrodite. Probably sculpted by Sikyonian sculptor Euphranor.
  • Hellenstic marble statue group of Aphrodite (Venus) with Pan and Eros, Circa 100 BC, House of Poseidonaistai of Beryttos, Delos, Athens National Archaeological Museum.  Cat no 3335. Against grey.<br />
<br />
The nude goddess Aphrodite (Venus) attempte to fend off goat footed Pan who make erotic advances towards her. Aphrodite holds a sandal in her right hand threatening Pan while the winged god Eros comes to her aid. According to an inscription on the statues base it was dedicated to Dionysus of Beryttos (Beirut) to hai ancestral gods.
  • Hellenstic marble statue group of Aphrodite (Venus) with Pan and Eros, Circa 100 BC, House of Poseidonaistai of Beryttos, Delos, Athens National Archaeological Museum.  Cat no 3335. Against black<br />
<br />
The nude goddess Aphrodite (Venus) attempte to fend off goat footed Pan who make erotic advances towards her. Aphrodite holds a sandal in her right hand threatening Pan while the winged god Eros comes to her aid. According to an inscription on the statues base it was dedicated to Dionysus of Beryttos (Beirut) to hai ancestral gods.
  • Hellenstic marble statue group of Aphrodite (Venus) with Pan and Eros, Circa 100 BC, House of Poseidonaistai of Beryttos, Delos, Athens National Archaeological Museum.  Cat no 3335. Against grey.<br />
<br />
The nude goddess Aphrodite (Venus) attempte to fend off goat footed Pan who make erotic advances towards her. Aphrodite holds a sandal in her right hand threatening Pan while the winged god Eros comes to her aid. According to an inscription on the statues base it was dedicated to Dionysus of Beryttos (Beirut) to hai ancestral gods.
  • Hellenstic marble statue group of Aphrodite (Venus) with Pan and Eros, Circa 100 BC, House of Poseidonaistai of Beryttos, Delos, Athens National Archaeological Museum.  Cat no 3335. Against grey.<br />
<br />
The nude goddess Aphrodite (Venus) attempte to fend off goat footed Pan who make erotic advances towards her. Aphrodite holds a sandal in her right hand threatening Pan while the winged god Eros comes to her aid. According to an inscription on the statues base it was dedicated to Dionysus of Beryttos (Beirut) to hai ancestral gods.
  • Hellenstic marble statue group of Aphrodite (Venus) with Pan and Eros, Circa 100 BC, House of Poseidonaistai of Beryttos, Delos, Athens National Archaeological Museum.  Cat no 3335. Against grey.<br />
<br />
The nude goddess Aphrodite (Venus) attempte to fend off goat footed Pan who make erotic advances towards her. Aphrodite holds a sandal in her right hand threatening Pan while the winged god Eros comes to her aid. According to an inscription on the statues base it was dedicated to Dionysus of Beryttos (Beirut) to hai ancestral gods.
  • Hellenstic marble statue group of Aphrodite (Venus) with Pan and Eros, Circa 100 BC, House of Poseidonaistai of Beryttos, Delos, Athens National Archaeological Museum.  Cat no 3335. Against black<br />
<br />
The nude goddess Aphrodite (Venus) attempte to fend off goat footed Pan who make erotic advances towards her. Aphrodite holds a sandal in her right hand threatening Pan while the winged god Eros comes to her aid. According to an inscription on the statues base it was dedicated to Dionysus of Beryttos (Beirut) to hai ancestral gods.
  • Hellenstic marble statue group of Aphrodite (Venus) with Pan and Eros, Circa 100 BC, House of Poseidonaistai of Beryttos, Delos, Athens National Archaeological Museum.  Cat no 3335. Against grey.<br />
<br />
The nude goddess Aphrodite (Venus) attempte to fend off goat footed Pan who make erotic advances towards her. Aphrodite holds a sandal in her right hand threatening Pan while the winged god Eros comes to her aid. According to an inscription on the statues base it was dedicated to Dionysus of Beryttos (Beirut) to hai ancestral gods.
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322. Against grey.<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322. Against grey.<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322. Against black<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322.<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322. Against black<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322. Against grey.<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322.<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322. Against grey.<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Bronze statue of Roman empress Julia Aquilia Severa found at Sparta. circa 221-222 AD.  Athens National Archaeological Museum, Cat No X23321. Against white.<br />
<br />
The women in the Bronze statue wears a Chiton and himation and would have had a crwon on her head. The hair style is typical of the Severan dynisty. Julia Aquilia was the last wife of emperor Elagobalus (218-222 AD) and the damage to the statue is due to a building collapsing on it after a fire circa 221-222 AD
  • Bronze statue of Roman empress Julia Aquilia Severa found at Sparta. circa 221-222 AD.  Athens National Archaeological Museum, Cat No X23321. Against grey.<br />
<br />
The women in the Bronze statue wears a Chiton and himation and would have had a crwon on her head. The hair style is typical of the Severan dynisty. Julia Aquilia was the last wife of emperor Elagobalus (218-222 AD) and the damage to the statue is due to a building collapsing on it after a fire circa 221-222 AD
  • Bronze statue of Roman empress Julia Aquilia Severa found at Sparta. circa 221-222 AD.  Athens National Archaeological Museum, Cat No X23321. Against grey.<br />
<br />
The women in the Bronze statue wears a Chiton and himation and would have had a crwon on her head. The hair style is typical of the Severan dynisty. Julia Aquilia was the last wife of emperor Elagobalus (218-222 AD) and the damage to the statue is due to a building collapsing on it after a fire circa 221-222 AD
  • Bronze statue of Roman empress Julia Aquilia Severa found at Sparta. circa 221-222 AD.  Athens National Archaeological Museum, Cat No X23321.<br />
<br />
The women in the Bronze statue wears a Chiton and himation and would have had a crwon on her head. The hair style is typical of the Severan dynisty. Julia Aquilia was the last wife of emperor Elagobalus (218-222 AD) and the damage to the statue is due to a building collapsing on it after a fire circa 221-222 AD
  • Statue of Artemis, found at the 'House of Diadoumenos' on Delos. Pariam marble, Circa 100 BC. Athens Archaeological Museum, Cat No 1829. Against white, <br />
<br />
Artemis wears a chiton, a girt and himation. The diagonal strap ocross her breast will have held the quiver full of arrows. The Goddess's beauty is stressed by her elaborate coiffure.
  • Statue of Artemis, found at the 'House of Diadoumenos' on Delos. Pariam marble, Circa 100 BC. Athens Archaeological Museum, Cat No 1829. against black<br />
Artemis wears a chiton, a girt and himation. The diagonal strap ocross her breast will have held the quiver full of arrows. The Goddess's beauty is stressed by her elaborate coiffure.
  • Ancient Greek funerary statue of a women, type Small Herculaneum Woman style. From Delos circa 2nd Cent BC. Athens National Archaeological Museum. Cat No 1827. against black<br />
<br />
This marble statue from Delos shopws a women wearing a full length chiton and a himation that covers her entire body and arms. This style of statue is known os 'Small Herculaneum Woman' and is a copy of a famous original dating from 300 BC.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177. Against grey<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177. Against grey<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177. Against grey<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177. Against grey<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • Minoan clay lion's head rhython, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
Created in a naturalistic style, this lions head rhython has a small pouring hole in its muzzle and would have been used during ceremonies
  • Minoan clay lion's head rhython, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
Created in a naturalistic style, this lions head rhython has a small pouring hole in its muzzle and would have been used during ceremonies
  • Theran Minoan polychrome kymbe with dolphin decorations, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
The kymbe is a typical Theran Minoan elongated vessel whose use is unknown.
  • Theran Minoan polychrome kymbe with dolphin decorations, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
The kymbe is a typical Theran Minoan elongated vessel whose use is unknown.
  • Minoan cylindrical vessel decorated with leafy bands, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
The vessels bottom is pierced so was probably used like a rhython during ceremonies.
  • Minoan cylindrical vessel decorated with leafy bands, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
The vessels bottom is pierced so was probably used like a rhython during ceremonies.
  • Minoan cylindrical vessel decorated with leafy bands, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
The vessels bottom is pierced so was probably used like a rhython during ceremonies.
  • Minoan cylindrical vessel decorated with leafy bands, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
The vessels bottom is pierced so was probably used like a rhython during ceremonies.
  • Minoan Thiran conical rhython decorated with vertical bands of wavy lines, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.
  • Minoan Thiran conical rhython decorated with vertical bands of wavy lines, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.
  • Minoan Thiran conical rhython decorated with vertical bands of wavy lines, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.
  • Minoan Thiran conical rhython decorated with vertical bands of wavy lines, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.
  • Minoan pconical rhython with lilies decoration made in Minoan Crete, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.
  • Large Pithos storage jar decorated with wavy lbands and linaear A inscription, Knossos Palace, Crete.  National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
From the 1887 excavations of Kalokairinos, Knossos.
  • Large Pithos storage jar decorated with wavy lbands and linaear A inscription, Knossos Palace, Crete.  National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
From the 1887 excavations of Kalokairinos, Knossos.
  • Large Pithos storage jar decorated with wavy lbands and linaear A inscription, Knossos Palace, Crete.  National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
From the 1887 excavations of Kalokairinos, Knossos.
  • Large Pithos storage jar decorated with wavy lbands and linaear A inscription, Knossos Palace, Crete.  National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
From the 1887 excavations of Kalokairinos, Knossos.
  • Minoan Theran style strainer jar decorated with spirals on a dark background, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
This style of strainer jar is characteristic of Theran Minoan pottery also found on Minoan Crete. A strainer incorporated into the jar probably allowed it to be used in the manufacture of aramatic oils or as an incense burner.
  • Minoan Theran style strainer jar decorated with spirals on a dark background, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
This style of strainer jar is characteristic of Theran Minoan pottery also found on Minoan Crete. A strainer incorporated into the jar probably allowed it to be used in the manufacture of aramatic oils or as an incense burner.
  • Minoan Theran style strainer jar decorated with spirals on a dark background, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
This style of strainer jar is characteristic of Theran Minoan pottery also found on Minoan Crete. A strainer incorporated into the jar probably allowed it to be used in the manufacture of aramatic oils or as an incense burner.
  • Minoan Theran style strainer jar decorated with lilies on a dark background, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
This style of strainer jar is characteristic of Theran Minoan pottery also found on Minoan Crete. A strainer incorporated into the jar probably allowed it to be used in the manufacture of aramatic oils or as an incense burner.
  • Minoan Theran style strainer jar decorated with lilies on a dark background, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
This style of strainer jar is characteristic of Theran Minoan pottery also found on Minoan Crete. A strainer incorporated into the jar probably allowed it to be used in the manufacture of aramatic oils or as an incense burner.
  • Minoan Theran style strainer jar decorated with lilies on a dark background, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
This style of strainer jar is characteristic of Theran Minoan pottery also found on Minoan Crete. A strainer incorporated into the jar probably allowed it to be used in the manufacture of aramatic oils or as an incense burner.
  • Minoan bridge spouted jug with spiral decorations, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.
  • Minoan bridge spouted jug with spiral decorations, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.
  • Minoan bridge spouted jug with spiral decorations, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.
  • Minoan bridge spouted jug with spiral decorations, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.
  • Minoan bronze jug decorated with spirals and arches, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.
  • Minoan bronze jug decorated with spirals and arches, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.
  • Minoan bronze jug decorated with spirals and arches, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.
  • Minoan clay polychrome pithoid jar with reed decoration, Akrotiri, Thira (Santorini) National Archaeological Museum Athens.
  • Minoan clay polychrome pithoid jar with reed decoration, Akrotiri, Thira (Santorini) National Archaeological Museum Athens.
  • Minoan clay polychrome pithoid jar with reed decoration, Akrotiri, Thira (Santorini) National Archaeological Museum Athens.

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