• Bayeux Tapestry scene 54: Bishop Odo, holding club, urges Norman cavalry against the Saon soldiers on a hill at the Battle of Hastings.
  • Bayeux Tapestry scene 55:  Duke William raises his visor to show that a rumour he was killed is un-true.
  • Bayeux Tapestry scene 9:  Guy de Ponthieu, on throne, discussed his with Harold his ransom demands.
  • Bayeux Tapestry scene 51b: The Norman cavalry charge the Saxon foot solders.  BYX51b
  • Bayeux Tapestry scene 21 : Duke William knights Harold for fighting against Duke of Britany. BYX21
  • Bayeux Tapestry scene 57: King Harold is killed by an arrow in his eye as he looses the Battle of Hastings.
  • Bayeux Tapestry scene 51c:  The Norman cavalry charge the Saxon foot solders.
  • Bayeux Tapestry scene 53b: Norman cavalry attack Saxon soldiers ontop of a hill at the Battle of Hastings.
  • Bayeux Tapestry scene 51a : Duke William talks to his soldiers ordering them into battle.
  • Bayeux Tapestry scene 51b: The Norman cavalry charge the Saxon foot solders.
  • Bayeux Tapestry scene 50:  A saxon watchman warns of the approaching Norman army.
  • Bayeux Tapestry scene 45:  Norman soldiers train and built a fortified camp.
  • Bayeux Tapestry scene 27-28 :  A dying Edward the Confessor makes
  • Bayeux Tapestry scene 34:  Messengers sail from England to tell Duke William of Harold's corination.
  • Bayeux Tapestry scene 29 - 30: Harold is proclaimed King then crowned.
  • Bayeux Tapestry scene 21 : Duke William knights Harold for fighting against Duke of Britany.
  • Bayeux Tapestry scene 22:  Duke William and Harold ride to Bayeux after defeating Duke of Britany.
  • Bayeux Tapestry scene 20: Conan Duke of Britany surrender Dinan, city keys on end of his lance, to Duke William.
  • Bayeux Tapestry scene 15:  Dule William of Normandy hold discussions with Harold and, right, Williams daughter Aelgyve is detroved to him.
  • Bayeux Tapestry scene 12 : William gives orders to his messengers for Harolds release,
  • Bayeux Tapestry scene 13 :  Guy de Ponthieu, left,  hands Harold over to William the Conqueror, right.
  • Bayeux Tapestry scene 8 : Guy de Ponthieu, holding falcon, escorts his prisoner, Harold, to Beaurain.
  • Bayeux Tapestry scene 5 : Strong winds blow Harold ships off course to the lands of Guy de Ponthieu.
  • Bayeux Tapestry scene 4: Harold boards his ship to sail across the Channel to Normandy.
  • Bayeux Tapestry scene 3 - 4: Harold stops on way to Normandy to recieve blessing at Bosham church and then feasts.
  • Bayeux Tapestry scene 46:  Duke William id told of Harolds army arrival and a house is burnt to clear the way.
  • Bayeux Tapestry scene 57: King Harold is killed by an arrow in his eye as he looses the Battle of Hastings.
  • Bayeux Tapestry scene 57: King Harold is killed by an arrow in his eye as he looses the Battle of Hastings.
  • Bayeux Tapestry scene 55:  Duke William raises his visor to show that a rumour he was killed is un-true.
  • Bayeux Tapestry scene 48 :  Duke Williams Norman cavalry advance on Harols Saxons.
  • Bayeux Tapestry scene 48 :  Duke Williams Norman cavalry advance on Harols Saxons.
  • Bayeux Tapestry scene 51b: The Norman cavalry charge the Saxon foot solders.
  • Bayeux Tapestry scene 51b: The Norman cavalry charge the Saxon foot solders.
  • Bayeux Tapestry scene 23 :  In front of Duke William, Harold touches 2 reliqueries and swears fealty to Duke William.
  • Bayeux Tapestry scene 1 : Edward The confessor send Harold to inform William he will succeed to English Throne.
  • Bayeux Tapestry scene 1 : Edward The confessor send Harold to inform William he will succeed to English Throne.
  • Bayeux Tapestry scene 56: Norman caalry breaks through Saxon lines and Harolds army is slaughtered. BYX56
  • Bayeux Tapestry scene 55:  Duke William raises his visor to show that a rumour he was killed is un-true. BYX55
  • Bayeux Tapestry scene 51c:  The Norman cavalry charge the Saxon foot solders. BYX51c
  • Bayeux Tapestry scene 53b: Norman cavalry attack Saxon soldiers ontop of a hill at the Battle of Hastings.   BYX53b
  • Bayeux Tapestry scene 52:  Harpld brother, Duke of Lewine and Byrd is killed in the Battle of Hastings. BYX52
  • Bayeux Tapestry scene 51a : Duke William talks to his soldiers ordering them into battle.  BYX51a
  • Bayeux Tapestry scene 50:  A saxon watchman warns of the approaching Norman army. BYX50
  • Bayeux Tapestry scene 49:  As he advances Duke William is told where the Saxon army is. BYX49
  • Bayeux Tapestry scene 48 :  Duke Williams Norman cavalry advance on Harols Saxons. BYX48
  • Bayeux Tapestry scene 46:  Duke William id told of Harolds army arrival and a house is burnt to clear the way. BYX46
  • Bayeux Tapestry scene 38:  Duke Williams invasion fleet  ships cross the channel to England. BYX38
  • Bayeux Tapestry scene 43 - 44:  Duke William, his barons and Bishop Odo hold a banquet to celebrate their safe arrival in England. BYX43 BYX44
  • Bayeux Tapestry scene 40:  Norman soldiers ride to Hastings to make camp. BYX40
  • Bayeux Tapestry scene 39:  Horses are disembarked in England from Duke Williams invasion fleet. BYX39
  • Bayeux Tapestry scene 37:  weapons, wine and horses are loaded on Duke Williams's invasion fleet. BYX37
  • Bayeux Tapestry scene 34:  Messengers sail from England to tell Duke William of Harold's corination. BYX34
  • Bayeux Tapestry scene 29 - 30: Harold is proclaimed King then crowned.  BYX29 & BYX30
  • Bayeux Tapestry scene 27-28 :  A dying Edward the Confessor makes his last requests' BYX27 BYX 28
  • Bayeux Tapestry scene 26 :  Edward The Confessor's Corpes is carried to St Peters Church. BYX26
  • Bayeux Tapestry scene 19 :  Duke Willam and his army attack Dinan in Britany. BYX19
  • Bayeux Tapestry scene 18: The Norman army of Duke Willam enters Dol and the Rennes, Duke Conan of Brittany flees.   BYX18
  • Bayeux Tapestry scene 17 : Crossing the Couesnon River near Mont St Michele, Duke Williams Soldiers sink in quicksand. BYX17
  • Bayeux Tapestry scene 16: Harold rides with Duke William to fight Conan, Duke of Britany.  BYX16
  • Bayeux Tapestry scene 14: Harold arives at Duke William of Normandy Castle. BYX14
  • Bayeux Tapestry scene 12 : William gives orders to his messengers for Harolds release, BYX12
  • Bayeux Tapestry scene 10:  William sends messengers to Guy de Ponthieu ordering Harolds release. BYX10
  • Bayeux Tapestry scene 3 - 4: Harold stops on way to Normandy to recieve blessing at Bosham church and then feasts.  BYX3
  • Bayeux Tapestry scene 56: Norman caalry breaks through Saxon lines and Harolds army is slaughtered.
  • Bayeux Tapestry scene 58 :  Duke William wins the Battle of Hastings and is proclaimed King of England.
  • Bayeux Tapestry scene 55:  Duke William raises his visor to show that a rumour he was killed is un-true.
  • Bayeux Tapestry scene 53a : Fierce fighting between Norman and Saxon soldiers at The Battle of Hastings.
  • Bayeux Tapestry scene 52:  Harpld brother, Duke of Lewine and Byrd is killed in the Battle of Hastings.
  • Bayeux Tapestry scene 38:  Duke Williams invasion fleet  ships cross the channel to England.
  • Bayeux Tapestry scene 48 :  Duke Williams Norman cavalry advance on Harols Saxons.
  • Bayeux Tapestry scene 49:  As he advances Duke William is told where the Saxon army is.
  • Bayeux Tapestry scene 47:  A house is burnt to clear the way for Williams Army and Duke William gets ready from battle.
  • Bayeux Tapestry scene 43 - 44:  Duke William, his barons and Bishop Odo hold a banquet to celebrate their safe arrival in England.
  • Bayeux Tapestry scene 41 - 42:  Cooks are supervised by Wadar, one of Williams servants.
  • Bayeux Tapestry scene 40:  Norman soldiers ride to Hastings to make camp.
  • Bayeux Tapestry scene 39:  Horses are disembarked in England from Duke Williams invasion fleet.
  • Bayeux Tapestry scene 37:  weapons, wine and horses are loaded on Duke Williams's invasion fleet.
  • Bayeux Tapestry scene 36: The Normans launch an invasion fleet
  • Bayeux Tapestry scene 35:  Duke William reacts to Harold's Corination by ordering an invasion fleet to be built.
  • Bayeux Tapestry scene 31-32-33 : Astrologers see a comet in the sky and predict an evil omen for Harold.
  • Bayeux Tapestry scene 26 :  Edward The Confessor's Corpes is carried to St Peters Church.
  • Bayeux Tapestry scene 23 : Having sworn fealty to Duke William Harold sails back to England.
  • Bayeux Tapestry scene 25: Harold reports to Edward thr Confessor about his mission to see Williams in Normandy.
  • Bayeux Tapestry scene 23 :  In front of Duke William, Harold touches 2 reliqueries and swears fealty to Duke William.
  • Bayeux Tapestry scene 16: Harold rides with Duke William to fight Conan, Duke of Britany.
  • Bayeux Tapestry scene 19 :  Duke Willam and his army attack Dinan in Britany.
  • Bayeux Tapestry scene 18: The Norman army of Duke Willam enters Dol and the Rennes, Duke Conan of Brittany flees.   BYX18
  • Bayeux Tapestry scene 17 : Crossing the Couesnon River near Mont St Michele, Duke Williams Soldiers sink in quicksand.
  • Bayeux Tapestry scene 14: Harold arives at Duke William of Normandy Castle.
  • Bayeux Tapestry scene 11 :  Two messengers rush from William to Guy de Ponthieu with orders fro Harolds release.
  • Bayeux Tapestry scene 10:  William sends messengers to Guy de Ponthieu ordering Harolds release.
  • Bayeux Tapestry scene 9:  Guy de Ponthieu, on throne, discussed his with Harold his ransom demands.
  • Bayeux Tapestry scene  6 - 7:  Harold is areested by Guy de Ponthieu for landing without permission.
  • Bayeux Tapestry scene 2 : Harlod leaves for Normandy to inform William he will eucceed to English Throne.
  • Bayeux Tapestry scene 1 : Edward The confessor send Harold to inform William he will succeed to English Throne.
  • Bayeux Tapestry scene 51b: The Norman cavalry charge the Saxon foot solders.
  • Bayeux Tapestry scene 48 :  Duke Williams Norman cavalry advance on Harols Saxons.
  • Bayeux Tapestry scene 46:  Duke William id told of Harolds army arrival and a house is burnt to clear the way.
  • Bayeux Tapestry scene 48 :  Duke Williams Norman cavalry advance on Harols Saxons.
  • Bayeux Tapestry scene 48 :  Duke Williams Norman cavalry advance on Harols Saxons.
  • Bayeux Tapestry scene 46:  Duke William id told of Harolds army arrival and a house is burnt to clear the way.
  • Bayeux Tapestry scene 57: King Harold is killed by an arrow in his eye as he looses the Battle of Hastings.  BYX57
  • Bayeux Tapestry scene 1 : Edward The confessor send Harold to inform William he will succeed to English Throne.
  • Bayeux Tapestry scene 58 :  Duke William wins the Battle of Hastings and is proclaimed King of England. BYX58
  • Bayeux Tapestry scene 54: Bishop Odo, holding club, urges Norman cavalry against the Saon soldiers on a hill at the Battle of Hastings. BYX54
  • Bayeux Tapestry scene 53a : Fierce fighting between Norman and Saxon soldiers at The Battle of Hastings.  BYX53a
  • Bayeux Tapestry scene 47:  A house is burnt to clear the way for Williams Army and Duke William gets ready from battle. BYX47
  • Bayeux Tapestry scene 45:  Norman soldiers train and built a fortified camp. BYX45
  • Bayeux Tapestry scene 41 - 42:  Cooks are supervised by Wadar, one of Williams servants. BYX41 - 42
  • Bayeux Tapestry scene 36: The Normans launch an invasion fleet BYX36
  • Bayeux Tapestry scene 31-32-33 : Astrologers see a comet in the sky and predict an evil omen for Harold. BYX31
  • Bayeux Tapestry scene 35:  Duke William reacts to Harold's Corination by ordering an invasion fleet to be built. BYX35
  • Bayeux Tapestry scene 23 : Having sworn fealty to Duke William Harold sails back to England. BYX23
  • Bayeux Tapestry scene 25: Harold reports to Edward thr Confessor about his mission to see Williams in Normandy. BYX25
  • Bayeux Tapestry scene 23 :  In front of Duke William, Harold touches 2 reliqueries and swears fealty to Duke William. BYX23
  • Bayeux Tapestry scene 22:  Duke William and Harold ride to Bayeux after defeating Duke of Britany. BYX22
  • Bayeux Tapestry scene 20: Conan Duke of Britany surrender Dinan, city keys on end of his lance, to Duke William. BYX20
  • Bayeux Tapestry scene 15:  Dule William of Normandy hold discussions with Harold and, right, Williams daughter Aelgyve is detroved to him. BYX15
  • Bayeux Tapestry scene 13 :  Guy de Ponthieu, left,  hands Harold over to William the Conqueror, right. BYX13
  • Bayeux Tapestry scene 8 : Guy de Ponthieu, holding falcon, escorts his prisoner, Harold, to Beaurain. BYX8
  • Bayeux Tapestry scene 11 :  Two messengers rush from William to Guy de Ponthieu with orders fro Harolds release.  BYX11
  • Bayeux Tapestry scene 9:  Guy de Ponthieu, on throne, discussed his with Harold his ransom demands. BYX9
  • Bayeux Tapestry scene  6 - 7:  Harold is areested by Guy de Ponthieu for landing without permission. BYX6 BYX7
  • Bayeux Tapestry scene 5 : Strong winds blow Harold ships off course to the lands of Guy de Ponthieu. BYX5
  • Bayeux Tapestry scene 1 : Edward The confessor send Harold to inform William he will succeed to English Throne.  BYX1
  • Bayeux Tapestry scene 4: Harold boards his ship to sail across the Channel to Normandy.  BYX4
  • Bayeux Tapestry scene 2 : Harlod leaves for Normandy to inform William he will eucceed to English Throne.  BYX2
  • Roman fresco wall decorations of  Vestibule of a Rome Villa, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy. Against a black background.<br />
<br />
A large fresco covered the curving wall of the vestibule E 5 was positioned at the entrance of the house onto the street. Vitruvius claims that the vestibulum was a room which was not needed by common people, but which was essential in a house worthy of respect, because it served to welcome guests and the people who came to be received by the owners of the house. The frescoed decoration of this wall, which was entirely detached, shows a division into panels, architectural perspectives and pavilions among which are figures and decorative elements, above a band of skirting. Numerous panels have been detached from the corridor E 3 E 11 which connected all the areas of the house, but it has not been possible to reconstruct the sequence of the walls. Inside the frames, against a white background, different decorative elements are arranged, along with hanging female and male figures, hippogriffs and other fantastical animals, vases, garlands and vegetation.
  • Roman fresco wall decorations of  Vestibule of a Rome Villa, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy. Against an art background.<br />
<br />
A large fresco covered the curving wall of the vestibule E 5 was positioned at the entrance of the house onto the street. Vitruvius claims that the vestibulum was a room which was not needed by common people, but which was essential in a house worthy of respect, because it served to welcome guests and the people who came to be received by the owners of the house. The frescoed decoration of this wall, which was entirely detached, shows a division into panels, architectural perspectives and pavilions among which are figures and decorative elements, above a band of skirting. Numerous panels have been detached from the corridor E 3 E 11 which connected all the areas of the house, but it has not been possible to reconstruct the sequence of the walls. Inside the frames, against a white background, different decorative elements are arranged, along with hanging female and male figures, hippogriffs and other fantastical animals, vases, garlands and vegetation.
  • Roman fresco wall decorations of  Vestibule of a Rome Villa, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy. Against a white background.<br />
<br />
A large fresco covered the curving wall of the vestibule E 5 was positioned at the entrance of the house onto the street. Vitruvius claims that the vestibulum was a room which was not needed by common people, but which was essential in a house worthy of respect, because it served to welcome guests and the people who came to be received by the owners of the house. The frescoed decoration of this wall, which was entirely detached, shows a division into panels, architectural perspectives and pavilions among which are figures and decorative elements, above a band of skirting. Numerous panels have been detached from the corridor E 3 E 11 which connected all the areas of the house, but it has not been possible to reconstruct the sequence of the walls. Inside the frames, against a white background, different decorative elements are arranged, along with hanging female and male figures, hippogriffs and other fantastical animals, vases, garlands and vegetation.
  • Roman fresco wall decorations of  Vestibule of a Rome Villa, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy. Against a grey background.<br />
<br />
A large fresco covered the curving wall of the vestibule E 5 was positioned at the entrance of the house onto the street. Vitruvius claims that the vestibulum was a room which was not needed by common people, but which was essential in a house worthy of respect, because it served to welcome guests and the people who came to be received by the owners of the house. The frescoed decoration of this wall, which was entirely detached, shows a division into panels, architectural perspectives and pavilions among which are figures and decorative elements, above a band of skirting. Numerous panels have been detached from the corridor E 3 E 11 which connected all the areas of the house, but it has not been possible to reconstruct the sequence of the walls. Inside the frames, against a white background, different decorative elements are arranged, along with hanging female and male figures, hippogriffs and other fantastical animals, vases, garlands and vegetation.
  • Roman fresco wall decorations of  Vestibule of a Rome Villa, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
A large fresco covered the curving wall of the vestibule E 5 was positioned at the entrance of the house onto the street. Vitruvius claims that the vestibulum was a room which was not needed by common people, but which was essential in a house worthy of respect, because it served to welcome guests and the people who came to be received by the owners of the house. The frescoed decoration of this wall, which was entirely detached, shows a division into panels, architectural perspectives and pavilions among which are figures and decorative elements, above a band of skirting. Numerous panels have been detached from the corridor E 3 E 11 which connected all the areas of the house, but it has not been possible to reconstruct the sequence of the walls. Inside the frames, against a white background, different decorative elements are arranged, along with hanging female and male figures, hippogriffs and other fantastical animals, vases, garlands and vegetation.
  • Roman fresco wall decorations of cryptoporticus A  of the Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
The paintings in the long corridor, which got light only from small high-placed windows, are on a white background. The illusionistic decoration shows a row of columns on a high socle decorated with "grottesche". In the background, pictures alternating theatrical scenes, scenes of worship, and landscapes seem to hang on a wall divided by pilasters. Some of the scenes are probably later restorations of the originals. <br />
In the upper part a loggia holding sphinxes and statues of divinities rests on caryatids (architectural supports in the form of female figures). <br />
Because there was limited time for excavation, only the more important decorative elements were removed from the walls. A drawing on the modern base on which the fragments are inserted gives an idea of the effect of the whole, which is known to us from a watercolor done at the time.
  • Roman fresco wall decorations of cryptoporticus A  of the Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
The paintings in the long corridor, which got light only from small high-placed windows, are on a white background. The illusionistic decoration shows a row of columns on a high socle decorated with "grottesche". In the background, pictures alternating theatrical scenes, scenes of worship, and landscapes seem to hang on a wall divided by pilasters. Some of the scenes are probably later restorations of the originals. <br />
In the upper part a loggia holding sphinxes and statues of divinities rests on caryatids (architectural supports in the form of female figures). <br />
Because there was limited time for excavation, only the more important decorative elements were removed from the walls. A drawing on the modern base on which the fragments are inserted gives an idea of the effect of the whole, which is known to us from a watercolor done at the time.
  • Picture & image of Hittite relief sculpted orthostat stone panel of Long Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Goddess Kubaba. Goddess is depicted from the profile. She holds a pomegranate in her hands on her chest. She carries a one-horned headdress on her head. Her braided hair hangs down to her shoulder . <br />
<br />
On a gray background.
  • Hittite relief sculpted orthostat stone panel of Long Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Goddess Kubaba. Goddess is depicted from the profile. She holds a pomegranate in her hands on her chest. She carries a one-horned headdress on her head. Her braided hair hangs down to her shoulder . <br />
<br />
On a grey art background.
  • Hittite relief sculpted orthostat stone panel of Long Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Goddess Kubaba. Goddess is depicted from the profile. The part below the chest of the relief is broken. She holds a pomegranate in her hands on her chest. She carries a one-horned headdress on her head. Her braided hair hangs down to her shoulder. The text in the hieroglyphics is not understood. The lower part of the relief has been restored. <br />
<br />
On a black background.
  • Mycenaean fresco wall painting of hunting demons, Mycenae Acropolis, Greece Cat No 2665. National Archaeological Museum, Athens. White Background.<br />
<br />
The Mycenaean fresco fragment depicts three animal demons with donkey heads holding a wooden pole over their shoulders from which hangs the prey thay have been hunting. This type of demon originated in Egypt.
  • Mycenaean fresco wall painting of hunting demons, Mycenae Acropolis, Greece Cat No 2665. National Archaeological Museum, Athens.<br />
<br />
The Mycenaean fresco fragment depicts three animal demons with donkey heads holding a wooden pole over their shoulders from which hangs the prey thay have been hunting. This type of demon originated in Egypt.
  • Mycenaean fresco wall painting of hunting demons, Mycenae Acropolis, Greece Cat No 2665. National Archaeological Museum, Athens. Grey Background<br />
<br />
The Mycenaean fresco fragment depicts three animal demons with donkey heads holding a wooden pole over their shoulders from which hangs the prey thay have been hunting. This type of demon originated in Egypt.
  • Mycenaean fresco wall painting of hunting demons, Mycenae Acropolis, Greece Cat No 2665. National Archaeological Museum, Athens. Black Background<br />
<br />
The Mycenaean fresco fragment depicts three animal demons with donkey heads holding a wooden pole over their shoulders from which hangs the prey thay have been hunting. This type of demon originated in Egypt.
  • Mycenaean fresco wall painting of hunting demons, Mycenae Acropolis, Greece Cat No 2665. National Archaeological Museum, Athens. Grey art Background <br />
<br />
The Mycenaean fresco fragment depicts three animal demons with donkey heads holding a wooden pole over their shoulders from which hangs the prey thay have been hunting. This type of demon originated in Egypt.
  • Hittite relief sculpted orthostat stone panel of Long Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Goddess Kubaba. Goddess is depicted from the profile. She holds a pomegranate in her hands on her chest. She carries a one-horned headdress on her head. Her braided hair hangs down to her shoulder . <br />
<br />
On a White Background.
  • Hittite relief sculpted orthostat stone panel of Long Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Goddess Kubaba. Goddess is depicted from the profile. She holds a pomegranate in her hands on her chest. She carries a one-horned headdress on her head. Her braided hair hangs down to her shoulder . <br />
<br />
On a black background.
  • Hittite relief sculpted orthostat stone panel of Long Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 - 700 B.C. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Goddess Kubaba. Goddess is depicted from the profile. The part below the chest of the relief is broken. She holds a pomegranate in her hands on her chest. She carries a one-horned headdress on her head. Her braided hair hangs down to her shoulder. The text in the hieroglyphics is not understood. The lower part of the relief has been restored. <br />
<br />
On a grey art background.
  • Photo of Hittite relief sculpted orthostat stone panel of Long Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Goddess Kubaba. Goddess is depicted from the profile. She holds a pomegranate in her hands on her chest. She carries a one-horned headdress on her head. Her braided hair hangs down to her shoulder . <br />
<br />
On a brown art background.
  • Hittite relief sculpted orthostat stone panel of Long Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 - 700 B.C. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Goddess Kubaba. Goddess is depicted from the profile. The part below the chest of the relief is broken. She holds a pomegranate in her hands on her chest. She carries a one-horned headdress on her head. Her braided hair hangs down to her shoulder. The text in the hieroglyphics is not understood. The lower part of the relief has been restored. <br />
<br />
On a White Background.
  • Hittite relief sculpted orthostat stone panel of Long Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 - 700 B.C. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Goddess Kubaba. Goddess is depicted from the profile. The part below the chest of the relief is broken. She holds a pomegranate in her hands on her chest. She carries a one-horned headdress on her head. Her braided hair hangs down to her shoulder. The text in the hieroglyphics is not understood. The lower part of the relief has been restored. <br />
<br />
On a black background.
  • Picture & image of Hittite relief sculpted orthostat stone panel of Long Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 - 700 B.C. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Goddess Kubaba. Goddess is depicted from the profile. The part below the chest of the relief is broken. She holds a pomegranate in her hands on her chest. She carries a one-horned headdress on her head. Her braided hair hangs down to her shoulder. The text in the hieroglyphics is not understood. The lower part of the relief has been restored. <br />
<br />
On a gray background.
  • Photo of Hittite relief sculpted orthostat stone panel of Long Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 - 700 B.C. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Goddess Kubaba. Goddess is depicted from the profile. The part below the chest of the relief is broken. She holds a pomegranate in her hands on her chest. She carries a one-horned headdress on her head. Her braided hair hangs down to her shoulder. The text in the hieroglyphics is not understood. The lower part of the relief has been restored. <br />
<br />
On a brown art background.
  • Hittite relief sculpted orthostat stone panel of Long Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Goddess Kubaba. Goddess is depicted from the profile. The part below the chest of the relief is broken. She holds a pomegranate in her hands on her chest. She carries a one-horned headdress on her head. Her braided hair hangs down to her shoulder. The text in the hieroglyphics is not understood. The lower part of the relief has been restored. <br />
<br />
On a White Background.
  • Hittite relief sculpted orthostat stone panel of Long Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Goddess Kubaba. Goddess is depicted from the profile. The part below the chest of the relief is broken. She holds a pomegranate in her hands on her chest. She carries a one-horned headdress on her head. Her braided hair hangs down to her shoulder. The text in the hieroglyphics is not understood. The lower part of the relief has been restored. <br />
<br />
On a grey art background.
  • Picture & image of Hittite relief sculpted orthostat stone panel of Long Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Goddess Kubaba. Goddess is depicted from the profile. The part below the chest of the relief is broken. She holds a pomegranate in her hands on her chest. She carries a one-horned headdress on her head. Her braided hair hangs down to her shoulder. The text in the hieroglyphics is not understood. The lower part of the relief has been restored. <br />
<br />
On a gray background.
  • Photo of Hittite relief sculpted orthostat stone panel of Long Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Goddess Kubaba. Goddess is depicted from the profile. The part below the chest of the relief is broken. She holds a pomegranate in her hands on her chest. She carries a one-horned headdress on her head. Her braided hair hangs down to her shoulder. The text in the hieroglyphics is not understood. The lower part of the relief has been restored. <br />
<br />
On a brown art background.

FunkyStock Picture Library Resource

Picture The Past

ABOUT

FunkyStock Picture Library free resource for professional editorial picture editors, picture researchers, historical scholars and students and enthusiasts who want to browse some of the best pictures and images of historic countries, historical places, archaeological sites and the very best museum antiquities and artefacts exhibits in Europe and the Middle East.

Pictures and Images can be downloaded or bought as stock photos or photo art prints.

COUNTRIES

Browse travel pictures and images of historic places and archaeological sites of countries in Europe and the Middle East.

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HISTORICAL

Explore the past through pictures and images of its historic places. See the great palaces, castles and cities of antiquity as well as the great archaeological sites where our ancestors made history.

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MUSEUMS

Browse pictures & images the treasured artefacts and antiquities exhibits from the great Museum of Europe and the Middle East. See the art and objects made by our ancestors.

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