• Alexander The Great ( Alexander III of Macedon) 4th Cent BC. Sarcophagus calved from Pentelic Marble from the Royal Necropolis of Sidon, Chamber no.III, Lebanon. Istanbul Archaeological Museum Inv. 370T Cat. Mendel 68
  • Alexander The Great ( Alexander III of Macedon) 4th Cent BC. Sarcophagus calved from Pentelic Marble from the Royal Necropolis of Sidon, Chamber no.III, Lebanon. Istanbul Archaeological Museum Inv. 370T Cat. Mendel 68
  • Greek relief sculptures of a battle on Alexander The Great ( Alexander III of Macedon )4th Cent BC. Sarcophagus calved from Pentelic Marble from the Royal Necropolis of Sidon, Chamber no.III, Lebanon. Istanbul Archaeological Museum Inv. 370T Cat. Mendel 68
  • Alexander The Great ( Alexander III of Macedon) 4th Cent BC. Sarcophagus calved from Pentelic Marble from the Royal Necropolis of Sidon, Chamber no.III, Lebanon. Istanbul Archaeological Museum Inv. 370T Cat. Mendel 68
  • Greek relief sculptures on Alexander The Great ( Alexander III of Macedon ) 4th Cent BC. Sarcophagus calved from Pentelic Marble from the Royal Necropolis of Sidon, Chamber no.III, Lebanon. Istanbul Archaeological Museum Inv. 370T Cat. Mendel 68
  • Greek relief sculptures of a battle on Alexander The Great ( Alexander III of Macedon )4th Cent BC. Sarcophagus calved from Pentelic Marble from the Royal Necropolis of Sidon, Chamber no.III, Lebanon. Istanbul Archaeological Museum Inv. 370T Cat. Mendel 68
  • Greek relief sculpture of a lion hunt  on Alexander The Great ( Alexander III of Macedon )4th Cent BC. Sarcophagus calved from Pentelic Marble from the Royal Necropolis of Sidon, Chamber no.III, Lebanon. Istanbul Archaeological Museum Inv. 370T Cat. Mendel 68
  • Greek relief sculpture of a hunt  on Alexander The Great ( Alexander III of Macedon )4th Cent BC. Sarcophagus calved from Pentelic Marble from the Royal Necropolis of Sidon, Chamber no.III, Lebanon. Istanbul Archaeological Museum Inv. 370T Cat. Mendel 68
  • Greek relief sculptures of a battle on Alexander The Great ( Alexander III of Macedon )4th Cent BC. Sarcophagus calved from Pentelic Marble from the Royal Necropolis of Sidon, Chamber no.III, Lebanon. Istanbul Archaeological Museum Inv. 370T Cat. Mendel 68
  • Alexander The Great ( Alexander III of Macedon) 4th Cent BC. Sarcophagus calved from Pentelic Marble from the Royal Necropolis of Sidon, Chamber no.III, Lebanon. Istanbul Archaeological Museum Inv. 370T Cat. Mendel 68
  • Greek relief sculptures on Alexander The Great ( Alexander III of Macedon ) 4th Cent BC. Sarcophagus calved from Pentelic Marble from the Royal Necropolis of Sidon, Chamber no.III, Lebanon. Istanbul Archaeological Museum Inv. 370T Cat. Mendel 68
  • Bas Releif sculptures with scenes from the Bible, far left Jonah id swallowed by a whale,  on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 42
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey
  • The tiled 'Province Alcoves' along the walls of the Plaza de Espana in Seville built in 1928 for the Ibero-American Exposition of 1929, Seville Spain
  • The tiled Albacette Alcove along the walls of the Plaza de Espana in Seville built in 1928 for the Ibero-American Exposition of 1929, Seville Spain
  • The tiled Albacette Alcove along the walls of the Plaza de Espana in Seville built in 1928 for the Ibero-American Exposition of 1929, Seville Spain
  • The tiled Albacette Alcove along the walls of the Plaza de Espana in Seville built in 1928 for the Ibero-American Exposition of 1929, Seville Spain
  • The tiled Albacette Alcove along the walls of the Plaza de Espana in Seville built in 1928 for the Ibero-American Exposition of 1929, Seville Spain
  • The tiled Alicante Alcove along the walls of the Plaza de Espana in Seville built in 1928 for the Ibero-American Exposition of 1929, Seville Spain
  • The tiled Alicante Alcove along the walls of the Plaza de Espana in Seville built in 1928 for the Ibero-American Exposition of 1929, Seville Spain
  • The Almera tiled Alcove along the walls of the Plaza de Espana in Seville built in 1928 for the Ibero-American Exposition of 1929, Seville Spain
  • The Almera tiled Alcove along the walls of the Plaza de Espana in Seville built in 1928 for the Ibero-American Exposition of 1929, Seville Spain
  • The Almera tiled Alcove along the walls of the Plaza de Espana in Seville built in 1928 for the Ibero-American Exposition of 1929, Seville Spain
  • The Avilla alcove along the walls of the Plaza de Espana in Seville built in 1928 for the Ibero-American Exposition of 1929, Seville Spain
  • The Avilla alcove along the walls of the Plaza de Espana in Seville built in 1928 for the Ibero-American Exposition of 1929, Seville Spain
  • The Badajoz alcove along the walls of the Plaza de Espana in Seville built in 1928 for the Ibero-American Exposition of 1929, Seville Spain
  • The Badajoz alcove along the walls of the Plaza de Espana in Seville built in 1928 for the Ibero-American Exposition of 1929, Seville Spain
  • The Almera tiled Alcove along the walls of the Plaza de Espana in Seville built in 1928 for the Ibero-American Exposition of 1929, Seville Spain
  • The Almera tiled Alcove along the walls of the Plaza de Espana in Seville built in 1928 for the Ibero-American Exposition of 1929, Seville Spain
  • The Seville tiled Alcove along the walls of the Plaza de Espana in Seville built in 1928 for the Ibero-American Exposition of 1929, Seville Spain
  • The North Tower of the Plaza de Espana in Seville built in 1928 for the Ibero-American Exposition of 1929, Seville Spain
  • The North Tower of the Plaza de Espana in Seville built in 1928 for the Ibero-American Exposition of 1929, Seville Spain
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 18b
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 16b
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 44
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 43
  • Bas Releif sculptures with scenes from the Bible, far left Jonah id swallowed by a whale,  on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 41
  • Bas Releif sculptures with scenes from the Bible, far left Jonah id swallowed by a whale,  on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 40
  • Bas Releif sculptures with scenes from the Bible, far left Jonah id swallowed by a whale,  on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 39
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 38
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 37
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 32
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 30
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 29
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 26
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 25
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 24
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 23
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 22
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 21
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 20
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey
  • The arabesque architecture of the Museum of Arts and Traditions in America square, Seville Spain
  • The arabesque architecture of the Museum of Arts and Traditions in America square, Seville Spain
  • The arabesque architecture of the Museum of Arts and Traditions in America square, Seville Spain
  • Tiled commemoration plague in the Plaza de Espana in Seville built in 1928 for the Ibero-American Exposition of 1929, Seville Spain
  • Tiled  lamp column of the Plaza de Espana in Seville built in 1928 for the Ibero-American Exposition of 1929, Seville Spain
  • Tiled  lamp column of the Plaza de Espana in Seville built in 1928 for the Ibero-American Exposition of 1929, Seville Spain
  • Tiled stair balistrades of the Plaza de Espana in Seville built in 1928 for the Ibero-American Exposition of 1929, Seville Spain
  • Tiled architectural details of the Plaza de Espana in Seville built in 1928 for the Ibero-American Exposition of 1929, Seville Spain
  • Tiled stair balistrades of the Plaza de Espana in Seville built in 1928 for the Ibero-American Exposition of 1929, Seville Spain
  • The tiled Alicante Alcove along the walls of the Plaza de Espana in Seville built in 1928 for the Ibero-American Exposition of 1929, Seville Spain
  • The Avilla alcove along the walls of the Plaza de Espana in Seville built in 1928 for the Ibero-American Exposition of 1929, Seville Spain
  • The Badajoz alcove along the walls of the Plaza de Espana in Seville built in 1928 for the Ibero-American Exposition of 1929, Seville Spain
  • The Almera tiled Alcove along the walls of the Plaza de Espana in Seville built in 1928 for the Ibero-American Exposition of 1929, Seville Spain
  • The Seville tiled Alcove along the walls of the Plaza de Espana in Seville built in 1928 for the Ibero-American Exposition of 1929, Seville Spain
  • The Seville tiled Alcove along the walls of the Plaza de Espana in Seville built in 1928 for the Ibero-American Exposition of 1929, Seville Spain
  • The Seville tiled Alcove along the walls of the Plaza de Espana in Seville built in 1928 for the Ibero-American Exposition of 1929, Seville Spain
  • The Seville tiled Alcove along the walls of the Plaza de Espana in Seville built in 1928 for the Ibero-American Exposition of 1929, Seville Spain
  • The North Tower of the Plaza de Espana in Seville built in 1928 for the Ibero-American Exposition of 1929, Seville Spain
  • Rooftop view of the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ) built between 1293 & 1436. Italy
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 17b
  • Bas Releif sculpture if a hunter in armour shooting an animal   on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 36
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 35
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 34
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 33
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 31
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 28
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 27
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 19
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 18
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 17
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey
  • Interior with frescos of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey
  • Interior with frescos of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey
  • Interior with frescos of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey
  • Greek relief sculptures of a battle on Alexander The Great ( Alexander III of Macedon )4th Cent BC. Sarcophagus calved from Pentelic Marble from the Royal Necropolis of Sidon, Chamber no.III, Lebanon. Istanbul Archaeological Museum Inv. 370T Cat. Mendel 68
  • The arabesque architecture of the Museum of Arts and Traditions in America square, Seville Spain
  • The arabesque architecture of the Museum of Arts and Traditions in America square, Seville Spain
  • The arabesque architecture of the Museum of Arts and Traditions in America square, Seville Spain
  • Tiled architectural details of the Plaza de Espana in Seville built in 1928 for the Ibero-American Exposition of 1929, Seville Spain
  • Tiled stair balistrades of the Plaza de Espana in Seville built in 1928 for the Ibero-American Exposition of 1929, Seville Spain
  • Exterior of the mud brick Kasbah of Taourirt, Ouarzazate, Morocco, built by Pasha Glaoui. A Unesco World Heritage Site
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 92
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 92
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 92
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 92
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 87
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 80
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 78
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 74
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 73
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 72
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 70
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 69
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 68
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 67
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 64
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 62
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 61
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 59
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 58
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 57
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 56
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 55
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 54
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 52
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 50
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 49
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 47
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 45
  • Interior with frescos of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey
  • Interior with frescos of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 92
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 91
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 89
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 88
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 86
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 85
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 84
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 83
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 82
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 81
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 79
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 77
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 76
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 75
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 71
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 66
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 65
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 63
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 60
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 53
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 51
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 48
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 46
  • Ancient Egyptian Book of the Dead papyrus - Spell 126 - what to say in the judgement before Osiris, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. White Background<br />
<br />
Spell 125 instruct the deceased as to waht to say infront of Osiris and the Forty Two Judges in the Hall of Two Maat, the netherworlds Judgement Hall. <br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 126 - what to say in the judgement before Osiris, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. Grey background<br />
<br />
Spell 125 instruct the deceased as to waht to say infront of Osiris and the Forty Two Judges in the Hall of Two Maat, the netherworlds Judgement Hall. <br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 126 - what to say in the judgement before Osiris, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. Grey Background<br />
<br />
Spell 125 instruct the deceased as to waht to say infront of Osiris and the Forty Two Judges in the Hall of Two Maat, the netherworlds Judgement Hall. <br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancinet Egyptian Book of the Dead papyrus - Spell 126 - what to say in the judgement before Osiris, Iufankh's Book of the Dead, Pyolemic period (332-30BC).Turin Egyptian Museum. grey background<br />
<br />
Spell 125 instruct the deceased as to waht to say infront of Osiris and the Forty Two Judges in the Hall of Two Maat, the netherworlds Judgement Hall. <br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 17 about the God Atum, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. <br />
<br />
the spell is one of the ongest in the Book of the Dead and one of its most complex frequently used in many other Books of the Dead. It is about the nature of the creator God Atum and is meant to make sure the deceased is capable of demonstrating his of her knowledge of religious secrets<br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 105 for gratifying the deceased with Ka, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. Black background<br />
<br />
The spell is " Hail to thee, my spirit, my lifetime. Behold I am come unto thee risen, powerful, posessed of a soul, mighty.<br />
<br />
You who weighs in the balance. may truth rise to the nose of Ra, on that day of judgement, ley not my head be taken away from me."<br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 105 for gratifying the deceased with Ka, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. Grey Background<br />
<br />
The spell is " Hail to thee, my spirit, my lifetime. Behold I am come unto thee risen, powerful, posessed of a soul, mighty.<br />
<br />
You who weighs in the balance. may truth rise to the nose of Ra, on that day of judgement, ley not my head be taken away from me."<br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Picture & image of the  Betania (Bethania ) Monastery of the Nativity of the Mother of God Georgian Orthodox complex, Georgia.<br />
<br />
Betania (Bethania ) Monastery of the Nativity of the Mother of God is a 11th century church with a cruciform ground plan and dome in the style of Georgian Orthodox church  architecture of the "Golden Age" of the Kingdom of Georgia.
  • Pictures & imagse of the interior frescoes depicting the Assumption of the Virgin in the Timotesubani medieval Orthodox monastery Church of the Holy Dormition (Assumption), dedcated to the Virgin Mary, 1184-1213, Samtskhe-Javakheti region, Georgia (country).<br />
<br />
Built during the reigh of Queen Tamar during the “Golden Age of Georgia”, Timotesubani Church of the Holy Dormition is one of the most important examples of medieval Georgian architecture and art. <br />
<br />
The interior frescoes of date from the 11th - 13th century so the Timotesubani church of the Dormition is a treasure trove of medieval Georgian art created during the reign of Queen Tamar. The fresco murals have been rescued and preserved by the Global Fund of Cultural Heritage.
  • Pictures & imagse of the interior frescoes depicting the Assumption of the Virgin in the Timotesubani medieval Orthodox monastery Church of the Holy Dormition (Assumption), dedcated to the Virgin Mary, 1184-1213, Samtskhe-Javakheti region, Georgia (country).<br />
<br />
Built during the reigh of Queen Tamar during the “Golden Age of Georgia”, Timotesubani Church of the Holy Dormition is one of the most important examples of medieval Georgian architecture and art. <br />
<br />
The interior frescoes of date from the 11th - 13th century so the Timotesubani church of the Dormition is a treasure trove of medieval Georgian art created during the reign of Queen Tamar. The fresco murals have been rescued and preserved by the Global Fund of Cultural Heritage.
  • Pictures & imagse of the interior frescoes depicting the Assumption of the Virgin in the Timotesubani medieval Orthodox monastery Church of the Holy Dormition (Assumption), dedcated to the Virgin Mary, 1184-1213, Samtskhe-Javakheti region, Georgia (country).<br />
<br />
Built during the reigh of Queen Tamar during the “Golden Age of Georgia”, Timotesubani Church of the Holy Dormition is one of the most important examples of medieval Georgian architecture and art. <br />
<br />
The interior frescoes of date from the 11th - 13th century so the Timotesubani church of the Dormition is a treasure trove of medieval Georgian art created during the reign of Queen Tamar. The fresco murals have been rescued and preserved by the Global Fund of Cultural Heritage.
  • Pictures & imagse of the interior frescoes of the Timotesubani medieval Orthodox monastery Church of the Holy Dormition (Assumption), dedcated to the Virgin Mary, 1184-1213, Samtskhe-Javakheti region, Georgia (country).<br />
<br />
Built during the reigh of Queen Tamar during the “Golden Age of Georgia”, Timotesubani Church of the Holy Dormition is one of the most important examples of medieval Georgian architecture and art. <br />
<br />
The interior frescoes of date from the 11th - 13th century so the Timotesubani church of the Dormition is a treasure trove of medieval Georgian art created during the reign of Queen Tamar. The fresco murals have been rescued and preserved by the Global Fund of Cultural Heritage.
  • Pictures & imagse of the interior frescoes of the Timotesubani medieval Orthodox monastery Church of the Holy Dormition (Assumption), dedcated to the Virgin Mary, 1184-1213, Samtskhe-Javakheti region, Georgia (country).<br />
<br />
Built during the reigh of Queen Tamar during the “Golden Age of Georgia”, Timotesubani Church of the Holy Dormition is one of the most important examples of medieval Georgian architecture and art. <br />
<br />
The interior frescoes of date from the 11th - 13th century so the Timotesubani church of the Dormition is a treasure trove of medieval Georgian art created during the reign of Queen Tamar. The fresco murals have been rescued and preserved by the Global Fund of Cultural Heritage.
  • Pictures & imagse of the interior cupola frescoes of the Timotesubani medieval Orthodox monastery Church of the Holy Dormition (Assumption), dedcated to the Virgin Mary, 1184-1213, Samtskhe-Javakheti region, Georgia (country).<br />
<br />
Built during the reigh of Queen Tamar during the “Golden Age of Georgia”, Timotesubani Church of the Holy Dormition is one of the most important examples of medieval Georgian architecture and art. <br />
<br />
The interior frescoes of date from the 11th - 13th century so the Timotesubani church of the Dormition is a treasure trove of medieval Georgian art created during the reign of Queen Tamar. The fresco murals have been rescued and preserved by the Global Fund of Cultural Heritage.
  • Pictures & imagse of the interior frescoes of the Timotesubani medieval Orthodox monastery Church of the Holy Dormition (Assumption), dedcated to the Virgin Mary, 1184-1213, Samtskhe-Javakheti region, Georgia (country).<br />
<br />
Built during the reigh of Queen Tamar during the “Golden Age of Georgia”, Timotesubani Church of the Holy Dormition is one of the most important examples of medieval Georgian architecture and art. <br />
<br />
The interior frescoes of date from the 11th - 13th century so the Timotesubani church of the Dormition is a treasure trove of medieval Georgian art created during the reign of Queen Tamar. The fresco murals have been rescued and preserved by the Global Fund of Cultural Heritage.
  • Pictures & imagse of the interior frescoes depicting the Virgin and Child in the Timotesubani medieval Orthodox monastery Church of the Holy Dormition (Assumption), dedcated to the Virgin Mary, 1184-1213, Samtskhe-Javakheti region, Georgia (country).<br />
<br />
Built during the reigh of Queen Tamar during the “Golden Age of Georgia”, Timotesubani Church of the Holy Dormition is one of the most important examples of medieval Georgian architecture and art. <br />
<br />
The interior frescoes of date from the 11th - 13th century so the Timotesubani church of the Dormition is a treasure trove of medieval Georgian art created during the reign of Queen Tamar. The fresco murals have been rescued and preserved by the Global Fund of Cultural Heritage.
  • Pictures & imagse of the interior frescoes of the Timotesubani medieval Orthodox monastery Church of the Holy Dormition (Assumption), dedcated to the Virgin Mary, 1184-1213, Samtskhe-Javakheti region, Georgia (country).<br />
<br />
Built during the reigh of Queen Tamar during the “Golden Age of Georgia”, Timotesubani Church of the Holy Dormition is one of the most important examples of medieval Georgian architecture and art. <br />
<br />
The interior frescoes of date from the 11th - 13th century so the Timotesubani church of the Dormition is a treasure trove of medieval Georgian art created during the reign of Queen Tamar. The fresco murals have been rescued and preserved by the Global Fund of Cultural Heritage.
  • Pictures & imagse of the interior frescoes of the Timotesubani medieval Orthodox monastery Church of the Holy Dormition (Assumption), dedcated to the Virgin Mary, 1184-1213, Samtskhe-Javakheti region, Georgia (country).<br />
<br />
Built during the reigh of Queen Tamar during the “Golden Age of Georgia”, Timotesubani Church of the Holy Dormition is one of the most important examples of medieval Georgian architecture and art. <br />
<br />
The interior frescoes of date from the 11th - 13th century so the Timotesubani church of the Dormition is a treasure trove of medieval Georgian art created during the reign of Queen Tamar. The fresco murals have been rescued and preserved by the Global Fund of Cultural Heritage.
  • Pictures & imagse of Timotesubani medieval Orthodox monastery Church of the Holy Dormition (Assumption), dedcated to the Virgin Mary, 1184-1213, Samtskhe-Javakheti region, Georgia (country).<br />
<br />
Built during the reigh of Queen Tamar during the “Golden Age of Georgia”, Timotesubani Church of the Holy Dormition is one of the most important examples of medieval Georgian architecture and art. <br />
<br />
Built of pinkish Georgian brick to a cruciform floor plan. The eastern end of the church has 3 apses. Above the centre of the church is a high Georgian style cupola supported on 2 columns.
  • Pictures & imagse of Timotesubani medieval Orthodox monastery Church of the Holy Dormition (Assumption), dedcated to the Virgin Mary, 1184-1213, Samtskhe-Javakheti region, Georgia (country).<br />
<br />
Built during the reigh of Queen Tamar during the “Golden Age of Georgia”, Timotesubani Church of the Holy Dormition is one of the most important examples of medieval Georgian architecture and art. <br />
<br />
Built of pinkish Georgian brick to a cruciform floor plan. The eastern end of the church has 3 apses. Above the centre of the church is a high Georgian style cupola supported on 2 columns.
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being removed from the Cross. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this one shows Christ carrying the Cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this one shows Christ carrying the Cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this one shows Christ carrying the Cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, the whipping on the Road to Calvary, Crucifixion, Descent and Mourning of the Dead Body of Christ and the Mary discovering the empty tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being taken dwon fron the Cross and laid in a tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being taken dwon fron the Cross and laid in a tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped and carrying the cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, the whipping on the Road to Calvary, Crucifixion, Descent and Mourning of the Dead Body of Christ and the Mary discovering the empty tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being removed from the Cross. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this one shows Christ carrying the Cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, the whipping on the Road to Calvary, Crucifixion, Descent and Mourning of the Dead Body of Christ and the Mary discovering the empty tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, the whipping on the Road to Calvary, Crucifixion, Descent and Mourning of the Dead Body of Christ and the Mary discovering the empty tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped and carrying the cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped and carrying the cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being removed from the Cross. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being removed from the Cross. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this one shows Christ carrying the Cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this one shows Christ carrying the Cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, the whipping on the Road to Calvary, Crucifixion, Descent and Mourning of the Dead Body of Christ and the Mary discovering the empty tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being taken dwon fron the Cross and laid in a tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being taken dwon fron the Cross and laid in a tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped and carrying the cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped and carrying the cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped and carrying the cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Ancient Egyptian Book of the Dead papyrus  - Aaner Book of the Dead, Thebes - 21st Dynasty (1076-943C).Turin Egyptian Museum. white background<br />
<br />
During the 21st Dynasty the number of spells in Books of the Dead was often reduced in favour of decrative panels. small illustrated vignettes take up a large part of the papytus surface
  • Ancient Egyptian Book of the Dead papyrus  - Aaner Book of the Dead, Thebes - 21st Dynasty (1076-943C).Turin Egyptian Museum. Grey Background<br />
<br />
During the 21st Dynasty the number of spells in Books of the Dead was often reduced in favour of decrative panels. small illustrated vignettes take up a large part of the papytus surface
  • Ancient Egyptian Book of the Dead papyrus - Aaner Book of the Dead, Thebes - 21st Dynasty (1076-943C).Turin Egyptian Museum. white background<br />
<br />
During the 21st Dynasty the number of spells in Books of the Dead was often reduced in favour of decrative panels. small illustrated vignettes take up a large part of the papytus surface
  • Ancient Egyptian Book of the Dead papyrus - Aaner Book of the Dead, Thebes - 21st Dynasty (1076-943C).Turin Egyptian Museum. Grey Background<br />
<br />
During the 21st Dynasty the number of spells in Books of the Dead was often reduced in favour of decrative panels. small illustrated vignettes take up a large part of the papytus surface
  • Ancient Egyptian Book of the Dead papyrus - Aaner Book of the Dead, Thebes - 21st Dynasty (1076-943C).Turin Egyptian Museum. <br />
<br />
During the 21st Dynasty the number of spells in Books of the Dead was often reduced in favour of decrative panels. small illustrated vignettes take up a large part of the papytus surface
  • Ancient Egyptian Book of the Dead papyrus - Spell 126 - what to say in the judgement before Osiris, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. Grey Background<br />
<br />
Spell 125 instruct the deceased as to waht to say infront of Osiris and the Forty Two Judges in the Hall of Two Maat, the netherworlds Judgement Hall. <br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 126 - what to say in the judgement before Osiris, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. <br />
<br />
Spell 125 instruct the deceased as to waht to say infront of Osiris and the Forty Two Judges in the Hall of Two Maat, the netherworlds Judgement Hall. <br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 126 - what to say in the judgement before Osiris, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum.  Black background<br />
<br />
Spell 125 instruct the deceased as to waht to say infront of Osiris and the Forty Two Judges in the Hall of Two Maat, the netherworlds Judgement Hall. <br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 126 - what to say in the judgement before Osiris, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum.  Black background<br />
<br />
Spell 125 instruct the deceased as to waht to say infront of Osiris and the Forty Two Judges in the Hall of Two Maat, the netherworlds Judgement Hall. <br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 126 - what to say in the judgement before Osiris, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. Grey Background<br />
<br />
<br />
Spell 125 instruct the deceased as to waht to say infront of Osiris and the Forty Two Judges in the Hall of Two Maat, the netherworlds Judgement Hall. <br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 126 - what to say in the judgement before Osiris, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. <br />
<br />
Spell 125 instruct the deceased as to waht to say infront of Osiris and the Forty Two Judges in the Hall of Two Maat, the netherworlds Judgement Hall. <br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 126 - what to say in the judgement before Osiris, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. Grey Background<br />
<br />
Spell 125 instruct the deceased as to waht to say infront of Osiris and the Forty Two Judges in the Hall of Two Maat, the netherworlds Judgement Hall. <br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 126 - what to say in the judgement before Osiris, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. Grey Background<br />
<br />
Spell 125 instruct the deceased as to waht to say infront of Osiris and the Forty Two Judges in the Hall of Two Maat, the netherworlds Judgement Hall. <br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 126 - what to say in the judgement before Osiris, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. White Background<br />
<br />
Spell 125 instruct the deceased as to waht to say infront of Osiris and the Forty Two Judges in the Hall of Two Maat, the netherworlds Judgement Hall. <br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 126 - what to say in the judgement before Osiris, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum.  Black background<br />
<br />
Spell 125 instruct the deceased as to waht to say infront of Osiris and the Forty Two Judges in the Hall of Two Maat, the netherworlds Judgement Hall. <br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 126 - what to say in the judgement before Osiris, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. Grey Background<br />
<br />
Spell 125 instruct the deceased as to waht to say infront of Osiris and the Forty Two Judges in the Hall of Two Maat, the netherworlds Judgement Hall. <br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 126 - what to say in the judgement before Osiris, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. White Background<br />
<br />
Spell 125 instruct the deceased as to waht to say infront of Osiris and the Forty Two Judges in the Hall of Two Maat, the netherworlds Judgement Hall. <br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 126 - what to say in the judgement before Osiris, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. Grey Background<br />
<br />
Spell 125 instruct the deceased as to waht to say infront of Osiris and the Forty Two Judges in the Hall of Two Maat, the netherworlds Judgement Hall. <br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 126 - what to say in the judgement before Osiris, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. <br />
<br />
Spell 125 instruct the deceased as to waht to say infront of Osiris and the Forty Two Judges in the Hall of Two Maat, the netherworlds Judgement Hall. <br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 126 - what to say in the judgement before Osiris, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. White Background<br />
<br />
Spell 125 instruct the deceased as to waht to say infront of Osiris and the Forty Two Judges in the Hall of Two Maat, the netherworlds Judgement Hall. <br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 126 - what to say in the judgement before Osiris, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum.  Black background<br />
<br />
Spell 125 instruct the deceased as to waht to say infront of Osiris and the Forty Two Judges in the Hall of Two Maat, the netherworlds Judgement Hall. <br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 126 - what to say in the judgement before Osiris, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. <br />
<br />
Spell 125 instruct the deceased as to waht to say infront of Osiris and the Forty Two Judges in the Hall of Two Maat, the netherworlds Judgement Hall. <br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 126 - what to say in the judgement before Osiris, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. Grey Background<br />
<br />
Spell 125 instruct the deceased as to waht to say infront of Osiris and the Forty Two Judges in the Hall of Two Maat, the netherworlds Judgement Hall. <br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 126 - what to say in the judgement before Osiris, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. close up<br />
<br />
Spell 125 instruct the deceased as to waht to say infront of Osiris and the Forty Two Judges in the Hall of Two Maat, the netherworlds Judgement Hall. <br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 17 about the God Atum, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. White Background<br />
<br />
the spell is one of the ongest in the Book of the Dead and one of its most complex frequently used in many other Books of the Dead. It is about the nature of the creator God Atum and is meant to make sure the deceased is capable of demonstrating his of her knowledge of religious secrets<br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 17 about the God Atum, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. Grey Background<br />
<br />
the spell is one of the ongest in the Book of the Dead and one of its most complex frequently used in many other Books of the Dead. It is about the nature of the creator God Atum and is meant to make sure the deceased is capable of demonstrating his of her knowledge of religious secrets<br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 17 about the God Atum, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum.  Black background<br />
<br />
the spell is one of the ongest in the Book of the Dead and one of its most complex frequently used in many other Books of the Dead. It is about the nature of the creator God Atum and is meant to make sure the deceased is capable of demonstrating his of her knowledge of religious secrets<br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancientt Egyptian Book of the Dead papyrus - Spell 17 about the God Atum, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. Grey Background<br />
<br />
the spell is one of the ongest in the Book of the Dead and one of its most complex frequently used in many other Books of the Dead. It is about the nature of the creator God Atum and is meant to make sure the deceased is capable of demonstrating his of her knowledge of religious secrets<br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Anciient Egyptian Book of the Dead papyrus - Spell 30 for stopping the heart betraying the deceased at the tribunal of Osiris, Iufankh's Book of the Dead, Ptolemai period (332-30BC).Turin Egyptian Museum. White Background<br />
<br />
the spell reads ' Stand not against me as a witness, oppose me not in the Council, act not against me before the gods, outweigh me not before the great God, the Lord os the West"<br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Anciient Egyptian Book of the Dead papyrus - Spell 30 for stopping the heart betraying the deceased at the tribunal of Osiris, Iufankh's Book of the Dead, Ptolemai period (332-30BC).Turin Egyptian Museum.  Black background<br />
<br />
the spell reads ' Stand not against me as a witness, oppose me not in the Council, act not against me before the gods, outweigh me not before the great God, the Lord os the West"<br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Anciient Egyptian Book of the Dead papyrus - Spell 30 for stopping the heart betraying the deceased at the tribunal of Osiris, Iufankh's Book of the Dead, Ptolemai period (332-30BC).Turin Egyptian Museum. Grey Background<br />
<br />
the spell reads ' Stand not against me as a witness, oppose me not in the Council, act not against me before the gods, outweigh me not before the great God, the Lord os the West"<br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Anciient Egyptian Book of the Dead papyrus - Spell 30 for stopping the heart betraying the deceased at the tribunal of Osiris, Iufankh's Book of the Dead, Ptolemai period (332-30BC).Turin Egyptian Museum. Grey Background<br />
<br />
the spell reads ' Stand not against me as a witness, oppose me not in the Council, act not against me before the gods, outweigh me not before the great God, the Lord os the West"<br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Anciient Egyptian Book of the Dead papyrus - Spell 30 for stopping the heart betraying the deceased at the tribunal of Osiris, Iufankh's Book of the Dead, Ptolemai period (332-30BC).Turin Egyptian Museum. <br />
<br />
the spell reads ' Stand not against me as a witness, oppose me not in the Council, act not against me before the gods, outweigh me not before the great God, the Lord os the West"<br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 33 for keeping snakes away, Iufankh's Book of the Dead, Ptolomaic period (332-30BC).Turin Egyptian Museum. White Background<br />
<br />
the spell reads ' O Rerek! Move not! Behold Geb and Shu have risen against you, for you have eaten a mouse, the abomination of Re" you have crunched the bones of a putrified cat"<br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 33 for keeping snakes away, Iufankh's Book of the Dead, Ptolomaic period (332-30BC).Turin Egyptian Museum. Grey Background<br />
<br />
the spell reads ' O Rerek! Move not! Behold Geb and Shu have risen against you, for you have eaten a mouse, the abomination of Re" you have crunched the bones of a putrified cat"<br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 33 for keeping snakes away, Iufankh's Book of the Dead, Ptolomaic period (332-30BC).Turin Egyptian Museum<br />
<br />
the spell reads ' O Rerek! Move not! Behold Geb and Shu have risen against you, for you have eaten a mouse, the abomination of Re" you have crunched the bones of a putrified cat"<br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 33 for keeping snakes away, Iufankh's Book of the Dead, Ptolomaic period (332-30BC).Turin Egyptian Museum.  Black background<br />
<br />
the spell reads ' O Rerek! Move not! Behold Geb and Shu have risen against you, for you have eaten a mouse, the abomination of Re" you have crunched the bones of a putrified cat"<br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 33 for keeping snakes away, Iufankh's Book of the Dead, Ptolomaic period (332-30BC).Turin Egyptian Museum. Grey Background<br />
<br />
the spell reads ' O Rerek! Move not! Behold Geb and Shu have risen against you, for you have eaten a mouse, the abomination of Re" you have crunched the bones of a putrified cat"<br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 51 for not walking upside down in gods domain, Iufankh's Book of the Dead, Ptolomaic period (332-30BC).Turin Egyptian Museum. <br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 81a assuming the form of a lotus associated with the sun god, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. White Background<br />
<br />
The spell reads " I am a pure lotus that has ascended by the Sinlight and ia at Ra's nose. I spend my time shedding it on Horus. I am the pure lotus that ascended from the field". <br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 81a assuming the form of a lotus associated with the sun god, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum.  Black background<br />
<br />
The spell reads " I am a pure lotus that has ascended by the Sinlight and ia at Ra's nose. I spend my time shedding it on Horus. I am the pure lotus that ascended from the field". <br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 81a assuming the form of a lotus associated with the sun god, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. Grey Background<br />
<br />
<br />
The spell reads " I am a pure lotus that has ascended by the Sinlight and ia at Ra's nose. I spend my time shedding it on Horus. I am the pure lotus that ascended from the field". <br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 81a assuming the form of a lotus associated with the sun god, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. <br />
<br />
The spell reads " I am a pure lotus that has ascended by the Sinlight and ia at Ra's nose. I spend my time shedding it on Horus. I am the pure lotus that ascended from the field". <br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 81a assuming the form of a lotus associated with the sun god, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. Grey Background<br />
<br />
The spell reads " I am a pure lotus that has ascended by the Sinlight and ia at Ra's nose. I spend my time shedding it on Horus. I am the pure lotus that ascended from the field". <br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 105 for gratifying the deceased with Ka, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum.  Black background<br />
<br />
The spell is " Hail to thee, my spirit, my lifetime. Behold I am come unto thee risen, powerful, posessed of a soul, mighty.<br />
<br />
You who weighs in the balance. may truth rise to the nose of Ra, on that day of judgement, ley not my head be taken away from me."<br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 105 for gratifying the deceased with Ka, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. White Background<br />
<br />
The spell is " Hail to thee, my spirit, my lifetime. Behold I am come unto thee risen, powerful, posessed of a soul, mighty.<br />
<br />
You who weighs in the balance. may truth rise to the nose of Ra, on that day of judgement, ley not my head be taken away from me."<br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.

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