• American second world war cemetry at Omaha beach. Normandy, France.
  • American second world war cemetry at Omaha beach. Normandy, France.
  • American second world war cemetry at Omaha beach. Normandy, France.
  • American second world war cemetry at Omaha beach. Normandy, France.
  • American second world war cemetry at Omaha beach. Normandy, France.
  • American second world war cemetry at Omaha beach. Normandy, France.
  • American second world war cemetry at Omaha beach. Normandy, France.
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • Frescos of St Istvan by Vilmos Aba-Novák (1937). Hero Gate First  World War Memorial  - Szeged, Hungary
  • Frescos by Vilmos Aba-Novák (1937). Hero Gate First  World War Memorial  - Szeged, Hungary
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • Frescos by Vilmos Aba-Novák (1937). Hero Gate First  World War Memorial  - Szeged, Hungary
  • Frescos by Vilmos Aba-Novák (1937). Hero Gate First  World War Memorial  - Szeged, Hungary
  • Frescos by Vilmos Aba-Novák (1937). Hero Gate First  World War Memorial  - Szeged, Hungary
  • Frescos by Vilmos Aba-Novák (1937). Hero Gate First  World War Memorial  - Szeged, Hungary
  • Frescos of Miklós Horthy  by Vilmos Aba-Novák (1937). Hero Gate First  World War Memorial  - Szeged, Hungary
  • Frescos of St George by Vilmos Aba-Novák (1937). Hero Gate First  World War Memorial  - Szeged, Hungary
  • Frescos by Vilmos Aba-Novák (1937). Hero Gate First  World War Memorial  - Szeged, Hungary
  • British War Graves of Soldiers who died when a troop ship was sunk.  Ermoupolis, Syros Island [ ????? ] , Greek Cyclades Islands
  • British War Graves of Soldiers who died when a troop ship was sunk.  Ermoupolis, Syros Island [ ????? ] , Greek Cyclades Islands
  • War monument infront of the Medieval Gate Tower of the  Bishop's Castle ( P?spökvår ) Pecs ( Pécs ) - European Cultural City of The Year 2010 , Hungary
  • War monument infront of theMedieval Gate Tower of the  Bishop's Castle ( P?spökvår ) Pecs ( Pécs ) - European Cultural City of The Year 2010 , Hungary
  • "the Brave Men' scupture in the sand at Omaha D Day landing beach, Normandy, France.
  • "the Brave Men' scupture in the sand at Omaha D Day landing beach, Normandy, France.
  • "the Brave Men' scupture in the sand at Omaha D Day landing beach, Normandy, France.
  • "the Brave Men' scupture in the sand at Omaha D Day landing beach, Normandy, France.
  • "the Brave Men' scupture in the sand at Omaha D Day landing beach, Normandy, France.
  • Memorial at the executuion place next to the Danube - Budapest - Hungary
  • Memorial at the executuion place next to the Danube - Budapest - Hungary
  • Fine Art Black and White Pictures Wall Art Prints Polaroid Photos " Children Of The Revolution” by photographer Paul Williams depict the harrowing images of children at war in an abstract fine art photography prints series.<br />
<br />
"When the Balkan war broke out it was not long before we saw photos of white kids being caught up in battle. In my life time I have become immune to seeing black and asian kids with guns and it was a shock to see children that could have been mine at war. So as a protest I made the photo series "Children Of The Revolution" with my kids to remind myself that it is always better to talk and understand than fight." Paul Williams
  • Fine Art Black and White Pictures Wall Art Prints Polaroid Photos " Children Of The Revolution” by photographer Paul Williams depict the harrowing images of children at war in an abstract fine art photography prints series.<br />
<br />
"When the Balkan war broke out it was not long before we saw photos of white kids being caught up in battle. In my life time I have become immune to seeing black and asian kids with guns and it was a shock to see children that could have been mine at war. So as a protest I made the photo series "Children Of The Revolution" with my kids to remind myself that it is always better to talk and understand than fight." Paul Williams
  • Fine Art Black and White Pictures Wall Art Prints Polaroid Photos " Children Of The Revolution” by photographer Paul Williams depict the harrowing images of children at war in an abstract fine art photography prints series.<br />
<br />
"When the Balkan war broke out it was not long before we saw photos of white kids being caught up in battle. In my life time I have become immune to seeing black and asian kids with guns and it was a shock to see children that could have been mine at war. So as a protest I made the photo series "Children Of The Revolution" with my kids to remind myself that it is always better to talk and understand than fight." Paul Williams
  • Fine Art Black and White Pictures Wall Art Prints Polaroid Photos " Children Of The Revolution” by photographer Paul Williams depict the harrowing images of children at war in an abstract fine art photography prints series.<br />
<br />
"When the Balkan war broke out it was not long before we saw photos of white kids being caught up in battle. In my life time I have become immune to seeing black and asian kids with guns and it was a shock to see children that could have been mine at war. So as a protest I made the photo series "Children Of The Revolution" with my kids to remind myself that it is always better to talk and understand than fight." Paul Williams
  • Fine Art Black and White Pictures Wall Art Prints Polaroid Photos " Children Of The Revolution” by photographer Paul Williams depict the harrowing images of children at war in an abstract fine art photography prints series.<br />
<br />
"When the Balkan war broke out it was not long before we saw photos of white kids being caught up in battle. In my life time I have become immune to seeing black and asian kids with guns and it was a shock to see children that could have been mine at war. So as a protest I made the photo series "Children Of The Revolution" with my kids to remind myself that it is always better to talk and understand than fight." Paul Williams
  • Fine Art Black and White Pictures Wall Art Prints Polaroid Photos " Children Of The Revolution” by photographer Paul Williams depict the harrowing images of children at war in an abstract fine art photography prints series.<br />
<br />
"When the Balkan war broke out it was not long before we saw photos of white kids being caught up in battle. In my life time I have become immune to seeing black and asian kids with guns and it was a shock to see children that could have been mine at war. So as a protest I made the photo series "Children Of The Revolution" with my kids to remind myself that it is always better to talk and understand than fight." Paul Williams
  • Bayeux Tapestry  Scene 16 and 17  - Williams asks Harold to joint him in war against Conan Duke of Britany on the way Soldiers get caught in Quicksand near Mont St Michele.
  • Bayeux Tapestry  Scene 16 - Williams asks Harold to joint him in war against Conan Duke of Britany.
  • Roman relief War of the Giants and The Gods. Roman 2nd century AD, Hierapolis Theatre.. Hierapolis Archaeology Museum, Turkey. Against an white background
  • Roman relief War of the Giants and The Gods. Roman 2nd century AD, Hierapolis Theatre.. Hierapolis Archaeology Museum, Turkey . Against an black background
  • Roman relief War of the Giants and The Gods. Roman 2nd century AD, Hierapolis Theatre.. Hierapolis Archaeology Museum, Turkey. Against a grey background
  • Roman relief War of the Giants and The Gods. Roman 2nd century AD, Hierapolis Theatre.. Hierapolis Archaeology Museum, Turkey. Against an art background
  • Roman relief War of the Giants and The Gods. Roman 2nd century AD, Hierapolis Theatre.. Hierapolis Archaeology Museum, Turkey
  • Photo of Relief of God of War. Limestone, Kings Gate, Hattusa ( Bogazkoy ). 14th - 13th Century BC. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
The warrior depicted in high relief is dressed in a decorated skirt. The relief takes place on the interior part of the King's gate facing city, to the east of the city walls. He carries a crescent-handled short sword in his belt. The relief is identified as god depiction since the horns on the headdress are the indication of a god.<br />
<br />
Against a brown art background.
  • Relief of God of War. Limestone, Kings Gate, Hattusa ( Bogazkoy ). 14th - 13th Century BC. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
The warrior depicted in high relief is dressed in a decorated skirt. The relief takes place on the interior part of the King's gate facing city, to the east of the city walls. He carries a crescent-handled short sword in his belt. The relief is identified as god depiction since the horns on the headdress are the indication of a god.  <br />
<br />
Against a white background.
  • Picture & imafe of Relief of God of War. Limestone, Kings Gate, Hattusa ( Bogazkoy ). 14th - 13th Century BC. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
The warrior depicted in high relief is dressed in a decorated skirt. The relief takes place on the interior part of the King's gate facing city, to the east of the city walls. He carries a crescent-handled short sword in his belt. The relief is identified as god depiction since the horns on the headdress are the indication of a god.  <br />
<br />
Against a gray background.
  • Relief of God of War. Limestone, Kings Gate, Hattusa ( Bogazkoy ). 14th - 13th Century BC. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
The warrior depicted in high relief is dressed in a decorated skirt. The relief takes place on the interior part of the King's gate facing city, to the east of the city walls. He carries a crescent-handled short sword in his belt. The relief is identified as god depiction since the horns on the headdress are the indication of a god.  <br />
<br />
Against a black background.
  • Relief of God of War. Limestone, Kings Gate, Hattusa ( Bogazkoy ). 14th - 13th Century BC. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
The warrior depicted in high relief is dressed in a decorated skirt. The relief takes place on the interior part of the King's gate facing city, to the east of the city walls. He carries a crescent-handled short sword in his belt. The relief is identified as god depiction since the horns on the headdress are the indication of a god.<br />
<br />
Against a Grey art background.
  • Painted colour verion of a Statue group identified as as the Laocoon described by Pliny as a masterpiece made by the sculptors of Rhodes. The Laocoon depicts a scene from the Trojan War in which Athena and Poseidon sent two great serpants to wrap themselves around Laocoon and his two sons to kill them. Circa 40-30BC, Pope Clement XIV coillection, Vatican Museum Rome, Italy,  grey art background
  • Painted colour verion of a Statue group identified as as the Laocoon described by Pliny as a masterpiece made by the sculptors of Rhodes. The Laocoon depicts a scene from the Trojan War in which Athena and Poseidon sent two great serpants to wrap themselves around Laocoon and his two sons to kill them. Circa 40-30BC, Pope Clement XIV coillection, Vatican Museum Rome, Italy,  grey art background
  • Painted colour verion of a Statue group identified as as the Laocoon described by Pliny as a masterpiece made by the sculptors of Rhodes. The Laocoon depicts a scene from the Trojan War in which Athena and Poseidon sent two great serpants to wrap themselves around Laocoon and his two sons to kill them. Circa 40-30BC, Pope Clement XIV coillection, Vatican Museum Rome, Italy,  grey art background
  • Painted colour verion of a Statue group identified as as the Laocoon described by Pliny as a masterpiece made by the sculptors of Rhodes. The Laocoon depicts a scene from the Trojan War in which Athena and Poseidon sent two great serpants to wrap themselves around Laocoon and his two sons to kill them. Circa 40-30BC, Pope Clement XIV coillection, Vatican Museum Rome, Italy,  grey art background
  • Painted colour verion of a Statue group identified as as the Laocoon described by Pliny as a masterpiece made by the sculptors of Rhodes. The Laocoon depicts a scene from the Trojan War in which Athena and Poseidon sent two great serpants to wrap themselves around Laocoon and his two sons to kill them. Circa 40-30BC, Pope Clement XIV coillection, Vatican Museum Rome, Italy,  grey art background
  • Statue group identified as as the Laocoon described by Pliny as a masterpiece made by the sculptors of Rhodes. The Laocoon depicts a scene from the Trojan War in which Athena and Poseidon sent two great serpants to wrap themselves around Laocoon and his two sons to kill them. Circa 40-30BC, Pope Clement XIV coillection, Vatican Museum Rome, Italy,  white background
  • Statue group identified as as the Laocoon described by Pliny as a masterpiece made by the sculptors of Rhodes. The Laocoon depicts a scene from the Trojan War in which Athena and Poseidon sent two great serpants to wrap themselves around Laocoon and his two sons to kill them. Circa 40-30BC, Pope Clement XIV coillection, Vatican Museum Rome, Italy,  black background
  • Statue group identified as as the Laocoon described by Pliny as a masterpiece made by the sculptors of Rhodes. The Laocoon depicts a scene from the Trojan War in which Athena and Poseidon sent two great serpants to wrap themselves around Laocoon and his two sons to kill them. Circa 40-30BC, Pope Clement XIV coillection, Vatican Museum Rome, Italy,  grey background
  • Statue group identified as as the Laocoon described by Pliny as a masterpiece made by the sculptors of Rhodes. The Laocoon depicts a scene from the Trojan War in which Athena and Poseidon sent two great serpants to wrap themselves around Laocoon and his two sons to kill them. Circa 40-30BC, Pope Clement XIV coillection, Vatican Museum Rome, Italy,  grey art background
  • Statue group identified as as the Laocoon described by Pliny as a masterpiece made by the sculptors of Rhodes. The Laocoon depicts a scene from the Trojan War in which Athena and Poseidon sent two great serpants to wrap themselves around Laocoon and his two sons to kill them. Circa 40-30BC, Pope Clement XIV coillection, Vatican Museum Rome, Italy,  art background
  • Statue group identified as as the Laocoon described by Pliny as a masterpiece made by the sculptors of Rhodes. The Laocoon depicts a scene from the Trojan War in which Athena and Poseidon sent two great serpants to wrap themselves around Laocoon and his two sons to kill them. Circa 40-30BC, Pope Clement XIV coillection, Vatican Museum Rome, Italy,  black background
  • Statue group identified as as the Laocoon described by Pliny as a masterpiece made by the sculptors of Rhodes. The Laocoon depicts a scene from the Trojan War in which Athena and Poseidon sent two great serpants to wrap themselves around Laocoon and his two sons to kill them. Circa 40-30BC, Pope Clement XIV coillection, Vatican Museum Rome, Italy,  white background
  • Statue group identified as as the Laocoon described by Pliny as a masterpiece made by the sculptors of Rhodes. The Laocoon depicts a scene from the Trojan War in which Athena and Poseidon sent two great serpants to wrap themselves around Laocoon and his two sons to kill them. Circa 40-30BC, Pope Clement XIV coillection, Vatican Museum Rome, Italy,  art background
  • Statue group identified as as the Laocoon described by Pliny as a masterpiece made by the sculptors of Rhodes. The Laocoon depicts a scene from the Trojan War in which Athena and Poseidon sent two great serpants to wrap themselves around Laocoon and his two sons to kill them. Circa 40-30BC, Pope Clement XIV coillection, Vatican Museum Rome, Italy,  grey art background
  • Roman fresco wall painting from the Sacrarium of the Temple of Isis in Pompeii depicting the Egyptian god Bes, God of war but also childbirth and the home, and was associated with sexuality, humour, music and dancing, North wall of Sacrarium, Naples National Archaeological Museum , inv 1.72 , Naples National Archaeological Museum , white background
  • Roman fresco wall painting from the Sacrarium of the Temple of Isis in Pompeii depicting the Egyptian god Bes, God of war but also childbirth and the home, and was associated with sexuality, humour, music and dancing, North wall of Sacrarium, Naples National Archaeological Museum , inv 1.72 , Naples National Archaeological Museum , grey background
  • Roman fresco wall painting from the Sacrarium of the Temple of Isis in Pompeii depicting the Egyptian god Bes, God of war but also childbirth and the home, and was associated with sexuality, humour, music and dancing, North wall of Sacrarium, Naples National Archaeological Museum , inv 1.72 , Naples National Archaeological Museum , art background
  • Roman fresco wall painting from the Sacrarium of the Temple of Isis in Pompeii depicting the Egyptian god Bes, God of war but also childbirth and the home, and was associated with sexuality, humour, music and dancing, North wall of Sacrarium, Naples National Archaeological Museum , inv 1.72 , Naples National Archaeological Museum black background
  • Roman fresco wall painting from the Sacrarium of the Temple of Isis in Pompeii depicting the Egyptian god Bes, God of war but also childbirth and the home, and was associated with sexuality, humour, music and dancing, North wall of Sacrarium, Naples National Archaeological Museum , inv 1.72 , Naples National Archaeological Museum , grey art background
  • Roman Sarcophagus with detailed relief sculptured panels with battle scenes. This large sarcophagus which was found in 1931 near the Tiburtina, in the eastern suburbs of the ancient city, shows on its front a symbolic battle, staged on two levels. This composition focuses on the progress of the Roman horseman, depicted in the guise of a universal victor, in a melee of soldiers, spears and horses; the Romans are delivering savage blows, devastating their enemies. The bloody scenes are framed by two pairs of enslaved barbarians, whose afflicted demeanour expresses the suffering which comes to those who rebel against the dominion of Rome. The dramatic animation of the combat emphasised by the deep chiaroscuro obtained by a skilful feat of carving. The low relief on the sides of the sarcophagus shows events subsequent to the encounter; on one side barbarian prisoners cross the river on the other chiefs submit to the Roman officials. The freeze on the lid, between two corner masks, celebrates the dead man and his wife, presented in the centre is the act of ‘dextarum iunctio’; on the left, the women exercises her ‘virtue’ in the house, educating her children; on the right, the, after his warlike activities, receives his 'clementia'. The faces of the principle characters remain incomplete, awaiting the carving of the features of the dead people. The decoration of the sarcophagus, inspired by many scenes on the Antonine Column, can be dated to around 180AD. The military insignia represented on the upper edge of the casket - the eagle of the Legio III Flavia and the boar of the Legio I Itlaica - enable us perhaps to identify the dead man as Aurelius Iulius Pompilius, an official of Marcus Aurelius in command of two cavalry squadron on detachment to those two legions during the war against Marcomanni (1720-175AD). National Roman Museum, Rome, Italy
  • Roman Sarcophagus with detailed relief sculptured panels with battle scenes. This large sarcophagus which was found in 1931 near the Tiburtina, in the eastern suburbs of the ancient city, shows on its front a symbolic battle, staged on two levels. This composition focuses on the progress of the Roman horseman, depicted in the guise of a universal victor, in a melee of soldiers, spears and horses; the Romans are delivering savage blows, devastating their enemies. The bloody scenes are framed by two pairs of enslaved barbarians, whose afflicted demeanour expresses the suffering which comes to those who rebel against the dominion of Rome. The dramatic animation of the combat emphasised by the deep chiaroscuro obtained by a skilful feat of carving. The low relief on the sides of the sarcophagus shows events subsequent to the encounter; on one side barbarian prisoners cross the river on the other chiefs submit to the Roman officials. The freeze on the lid, between two corner masks, celebrates the dead man and his wife, presented in the centre is the act of ‘dextarum iunctio’; on the left, the women exercises her ‘virtue’ in the house, educating her children; on the right, the, after his warlike activities, receives his 'clementia'. The faces of the principle characters remain incomplete, awaiting the carving of the features of the dead people. The decoration of the sarcophagus, inspired by many scenes on the Antonine Column, can be dated to around 180AD. The military insignia represented on the upper edge of the casket - the eagle of the Legio III Flavia and the boar of the Legio I Itlaica - enable us perhaps to identify the dead man as Aurelius Iulius Pompilius, an official of Marcus Aurelius in command of two cavalry squadron on detachment to those two legions during the war against Marcomanni (1720-175AD). National Roman Museum, Rome, Italy
  • Roman Sarcophagus with detailed relief sculptured panels with battle scenes. This large sarcophagus which was found in 1931 near the Tiburtina, in the eastern suburbs of the ancient city, shows on its front a symbolic battle, staged on two levels. This composition focuses on the progress of the Roman horseman, depicted in the guise of a universal victor, in a melee of soldiers, spears and horses; the Romans are delivering savage blows, devastating their enemies. The bloody scenes are framed by two pairs of enslaved barbarians, whose afflicted demeanour expresses the suffering which comes to those who rebel against the dominion of Rome. The dramatic animation of the combat emphasised by the deep chiaroscuro obtained by a skilful feat of carving. The low relief on the sides of the sarcophagus shows events subsequent to the encounter; on one side barbarian prisoners cross the river on the other chiefs submit to the Roman officials. The freeze on the lid, between two corner masks, celebrates the dead man and his wife, presented in the centre is the act of ‘dextarum iunctio’; on the left, the women exercises her ‘virtue’ in the house, educating her children; on the right, the, after his warlike activities, receives his 'clementia'. The faces of the principle characters remain incomplete, awaiting the carving of the features of the dead people. The decoration of the sarcophagus, inspired by many scenes on the Antonine Column, can be dated to around 180AD. The military insignia represented on the upper edge of the casket - the eagle of the Legio III Flavia and the boar of the Legio I Itlaica - enable us perhaps to identify the dead man as Aurelius Iulius Pompilius, an official of Marcus Aurelius in command of two cavalry squadron on detachment to those two legions during the war against Marcomanni (1720-175AD). National Roman Museum, Rome, Italy
  • Roman Sarcophagus with detailed relief sculptured panels with battle scenes. This large sarcophagus which was found in 1931 near the Tiburtina, in the eastern suburbs of the ancient city, shows on its front a symbolic battle, staged on two levels. This composition focuses on the progress of the Roman horseman, depicted in the guise of a universal victor, in a melee of soldiers, spears and horses; the Romans are delivering savage blows, devastating their enemies. The bloody scenes are framed by two pairs of enslaved barbarians, whose afflicted demeanour expresses the suffering which comes to those who rebel against the dominion of Rome. The dramatic animation of the combat emphasised by the deep chiaroscuro obtained by a skilful feat of carving. The low relief on the sides of the sarcophagus shows events subsequent to the encounter; on one side barbarian prisoners cross the river on the other chiefs submit to the Roman officials. The freeze on the lid, between two corner masks, celebrates the dead man and his wife, presented in the centre is the act of ‘dextarum iunctio’; on the left, the women exercises her ‘virtue’ in the house, educating her children; on the right, the, after his warlike activities, receives his 'clementia'. The faces of the principle characters remain incomplete, awaiting the carving of the features of the dead people. The decoration of the sarcophagus, inspired by many scenes on the Antonine Column, can be dated to around 180AD. The military insignia represented on the upper edge of the casket - the eagle of the Legio III Flavia and the boar of the Legio I Itlaica - enable us perhaps to identify the dead man as Aurelius Iulius Pompilius, an official of Marcus Aurelius in command of two cavalry squadron on detachment to those two legions during the war against Marcomanni (1720-175AD). National Roman Museum, Rome, Italy
  • Diomedes - A 2nd or 3rd century AD Roman copy of a Greek classical sculpture from about 430-370 BC. This Roman statue represent Diomede, one of the Greek hero of the Trojan War. This statue belongs to a series of ancient replicas (Naples, Munich), which copy the original Greek statue from the school of Polykleitos, attributed to the sculptor Naucydes or Cresilas who worked in Athens to 440-430 BC. From the Cardinal Richelieu Collection  Inv MR 265   (or Ma 890), The Louvre Mueum, Paris.
  • Diomedes - A 2nd or 3rd century AD Roman copy of a Greek classical sculpture from about 430-370 BC. This Roman statue represent Diomede, one of the Greek hero of the Trojan War. This statue belongs to a series of ancient replicas (Naples, Munich), which copy the original Greek statue from the school of Polykleitos, attributed to the sculptor Naucydes or Cresilas who worked in Athens to 440-430 BC. From the Cardinal Richelieu Collection  Inv MR 265   (or Ma 890), The Louvre Mueum, Paris.
  • Diomedes - A 2nd or 3rd century AD Roman copy of a Greek classical sculpture from about 430-370 BC. This Roman statue represent Diomede, one of the Greek hero of the Trojan War. This statue belongs to a series of ancient replicas (Naples, Munich), which copy the original Greek statue from the school of Polykleitos, attributed to the sculptor Naucydes or Cresilas who worked in Athens to 440-430 BC. From the Cardinal Richelieu Collection  Inv MR 265   (or Ma 890), The Louvre Mueum, Paris.
  • Diomedes - A 2nd or 3rd century AD Roman copy of a Greek classical sculpture from about 430-370 BC. This Roman statue represent Diomede, one of the Greek hero of the Trojan War. This statue belongs to a series of ancient replicas (Naples, Munich), which copy the original Greek statue from the school of Polykleitos, attributed to the sculptor Naucydes or Cresilas who worked in Athens to 440-430 BC. From the Cardinal Richelieu Collection  Inv MR 265   (or Ma 890), The Louvre Mueum, Paris.
  • Diomedes - A 2nd or 3rd century AD Roman copy of a Greek classical sculpture from about 430-370 BC. This Roman statue represent Diomede, one of the Greek hero of the Trojan War. This statue belongs to a series of ancient replicas (Naples, Munich), which copy the original Greek statue from the school of Polykleitos, attributed to the sculptor Naucydes or Cresilas who worked in Athens to 440-430 BC. From the Cardinal Richelieu Collection  Inv MR 265   (or Ma 890), The Louvre Mueum, Paris.
  • Diomedes - A 2nd or 3rd century AD Roman copy of a Greek classical sculpture from about 430-370 BC. This Roman statue represent Diomede, one of the Greek hero of the Trojan War. This statue belongs to a series of ancient replicas (Naples, Munich), which copy the original Greek statue from the school of Polykleitos, attributed to the sculptor Naucydes or Cresilas who worked in Athens to 440-430 BC. From the Cardinal Richelieu Collection  Inv MR 265   (or Ma 890), The Louvre Mueum, Paris.
  • Diomedes - A 2nd or 3rd century AD Roman copy of a Greek classical sculpture from about 430-370 BC. This Roman statue represent Diomede, one of the Greek hero of the Trojan War. This statue belongs to a series of ancient replicas (Naples, Munich), which copy the original Greek statue from the school of Polykleitos, attributed to the sculptor Naucydes or Cresilas who worked in Athens to 440-430 BC. From the Cardinal Richelieu Collection  Inv MR 265   (or Ma 890), The Louvre Mueum, Paris.
  • Diomedes - A 2nd or 3rd century AD Roman copy of a Greek classical sculpture from about 430-370 BC. This Roman statue represent Diomede, one of the Greek hero of the Trojan War. This statue belongs to a series of ancient replicas (Naples, Munich), which copy the original Greek statue from the school of Polykleitos, attributed to the sculptor Naucydes or Cresilas who worked in Athens to 440-430 BC. From the Cardinal Richelieu Collection  Inv MR 265   (or Ma 890), The Louvre Mueum, Paris.
  • Portion of the walls of Troy (VII), identified as the site of the Trojan War (ca. 1200 BC). Troy archaeological site, A UNESCO World Heritage Site, Turkey
  • Portion of the walls & entrance gate of Troy (VII), identified as the site of the Trojan War (ca. 1200 BC). Troy archaeological site, A UNESCO World Heritage Site, Turkey
  • Portion of the walls & entrance gate of Troy (VII), identified as the site of the Trojan War (ca. 1200 BC). Troy archaeological site, A UNESCO World Heritage Site, Turkey
  • Large wine krater known as "House of the Warrior Vase", showing men in full armour ( helmet, cuirass, greaves, shield and spear ) as they depart fro war with a sack of supplies hanging from their spears. A fine example of Mycenaean Pictoral Style. Mycenae acropolis, Greece. 12th century BC, cat no: 1426 ,  National Archaeological Museum, Athens.
  • Large wine krater known as "House of the Warrior Vase", showing men in full armour ( helmet, cuirass, greaves, shield and spear ) as they depart fro war with a sack of supplies hanging from their spears. A fine example of Mycenaean Pictoral Style. Mycenae acropolis, Greece. 12th century BC, cat no: 1426 ,  National Archaeological Museum, Athens.
  • Close up of a Roman Sebasteion relief  sculpture of Ares, Aphrodisias Museum, Aphrodisias, Turkey.   Against a white background.<br />
The nude and classically7 styled young god wears only a helmet and holds a spear (missing) in one hand and a shield in the other. At the left stands cuirass, and at the upper right corner hangs his sword. Ares was a god of war and was not later defaced by Christians probably because he so closely resembles a young emperor.
  • Close up of a Roman Sebasteion relief  sculpture of Ares, Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.<br />
<br />
The nude and classically7 styled young god wears only a helmet and holds a spear (missing) in one hand and a shield in the other. At the left stands cuirass, and at the upper right corner hangs his sword. Ares was a god of war and was not later defaced by Christians probably because he so closely resembles a young emperor.
  • Close up of a Roman Sebasteion relief  sculpture of Ares, Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
The nude and classically7 styled young god wears only a helmet and holds a spear (missing) in one hand and a shield in the other. At the left stands cuirass, and at the upper right corner hangs his sword. Ares was a god of war and was not later defaced by Christians probably because he so closely resembles a young emperor.
  • Close up of a Roman Sebasteion relief  sculpture of Ares, Aphrodisias Museum, Aphrodisias, Turkey.  Against an art background.<br />
<br />
The nude and classically7 styled young god wears only a helmet and holds a spear (missing) in one hand and a shield in the other. At the left stands cuirass, and at the upper right corner hangs his sword. Ares was a god of war and was not later defaced by Christians probably because he so closely resembles a young emperor.
  • Close up of a Roman Sebasteion relief  sculpture of Ares, Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
The nude and classically7 styled young god wears only a helmet and holds a spear (missing) in one hand and a shield in the other. At the left stands cuirass, and at the upper right corner hangs his sword. Ares was a god of war and was not later defaced by Christians probably because he so closely resembles a young emperor.
  • Roman Sebasteion relief  sculpture of Ares, Aphrodisias Museum, Aphrodisias, Turkey.   Against a white background.<br />
<br />
The nude and classically7 styled young god wears only a helmet and holds a spear (missing) in one hand and a shield in the other. At the left stands cuirass, and at the upper right corner hangs his sword. Ares was a god of war and was not later defaced by Christians probably because he so closely resembles a young emperor.
  • Roman Sebasteion relief  sculpture of Ares, Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.<br />
<br />
The nude and classically7 styled young god wears only a helmet and holds a spear (missing) in one hand and a shield in the other. At the left stands cuirass, and at the upper right corner hangs his sword. Ares was a god of war and was not later defaced by Christians probably because he so closely resembles a young emperor.
  • Roman Sebasteion relief  sculpture of Ares, Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
The nude and classically7 styled young god wears only a helmet and holds a spear (missing) in one hand and a shield in the other. At the left stands cuirass, and at the upper right corner hangs his sword. Ares was a god of war and was not later defaced by Christians probably because he so closely resembles a young emperor.
  • Roman Sebasteion relief  sculpture of Ares, Aphrodisias Museum, Aphrodisias, Turkey.  Against an art background.<br />
<br />
The nude and classically7 styled young god wears only a helmet and holds a spear (missing) in one hand and a shield in the other. At the left stands cuirass, and at the upper right corner hangs his sword. Ares was a god of war and was not later defaced by Christians probably because he so closely resembles a young emperor.
  • Roman Sebasteion relief  sculpture of Ares, Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
The nude and classically7 styled young god wears only a helmet and holds a spear (missing) in one hand and a shield in the other. At the left stands cuirass, and at the upper right corner hangs his sword. Ares was a god of war and was not later defaced by Christians probably because he so closely resembles a young emperor.
  • Detail of a  Roman Sebasteion relief sculpture of Achilles and a dying Amazon, Aphrodisias Museum, Aphrodisias, Turkey.       Against a white background.<br />
<br />
Achilles supports the dying Amazon queen Penthesilea whom he has mortally wounded. Her double headed axe slips from her hands. The queen had come to fight against the Greeks in the Trojan war and Achilles fell in love with her.
  • Detail of a Roman Sebasteion relief sculpture of Achilles and a dying Amazon, Aphrodisias Museum, Aphrodisias, Turkey.     Against a black background.<br />
<br />
Achilles supports the dying Amazon queen Penthesilea whom he has mortally wounded. Her double headed axe slips from her hands. The queen had come to fight against the Greeks in the Trojan war and Achilles fell in love with her.
  • Detail of a Roman Sebasteion relief sculpture of Achilles and a dying Amazon, Aphrodisias Museum, Aphrodisias, Turkey.   Against an art background. <br />
<br />
Achilles supports the dying Amazon queen Penthesilea whom he has mortally wounded. Her double headed axe slips from her hands. The queen had come to fight against the Greeks in the Trojan war and Achilles fell in love with her.
  • Roman Sebasteion relief sculpture of Achilles and a dying Amazon, Aphrodisias Museum, Aphrodisias, Turkey.       Against a white background.<br />
<br />
Achilles supports the dying Amazon queen Penthesilea whom he has mortally wounded. Her double headed axe slips from her hands. The queen had come to fight against the Greeks in the Trojan war and Achilles fell in love with her.
  • Detail of a Roman Sebasteion relief sculpture of Achilles and a dying Amazon, Aphrodisias Museum, Aphrodisias, Turkey.   <br />
<br />
Achilles supports the dying Amazon queen Penthesilea whom he has mortally wounded. Her double headed axe slips from her hands. The queen had come to fight against the Greeks in the Trojan war and Achilles fell in love with her.
  • Close up of a Roman Sebasteion relief sculpture of Achilles and a dying Amazon, Aphrodisias Museum, Aphrodisias, Turkey.     Against a black background.<br />
<br />
Achilles supports the dying Amazon queen Penthesilea whom he has mortally wounded. Her double headed axe slips from her hands. The queen had come to fight against the Greeks in the Trojan war and Achilles fell in love with her.
  • Close up of a Roman Sebasteion relief sculpture of Achilles and a dying Amazon, Aphrodisias Museum, Aphrodisias, Turkey.   <br />
<br />
Achilles supports the dying Amazon queen Penthesilea whom he has mortally wounded. Her double headed axe slips from her hands. The queen had come to fight against the Greeks in the Trojan war and Achilles fell in love with her.
  • Close up of a Roman Sebasteion relief sculpture of Achilles and a dying Amazon, Aphrodisias Museum, Aphrodisias, Turkey.    Against a grey background.<br />
<br />
Achilles supports the dying Amazon queen Penthesilea whom he has mortally wounded. Her double headed axe slips from her hands. The queen had come to fight against the Greeks in the Trojan war and Achilles fell in love with her.
  • Close up of a Roman Sebasteion relief sculpture of Achilles and a dying Amazon, Aphrodisias Museum, Aphrodisias, Turkey.    Against an art background.<br />
<br />
Achilles supports the dying Amazon queen Penthesilea whom he has mortally wounded. Her double headed axe slips from her hands. The queen had come to fight against the Greeks in the Trojan war and Achilles fell in love with her.
  • Roman Sebasteion relief sculpture of Achilles and a dying Amazon, Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.  <br />
<br />
Achilles supports the dying Amazon queen Penthesilea whom he has mortally wounded. Her double headed axe slips from her hands. The queen had come to fight against the Greeks in the Trojan war and Achilles fell in love with her.
  • Roman Sebasteion relief sculpture of Achilles and a dying Amazon, Aphrodisias Museum, Aphrodisias, Turkey.   <br />
<br />
Achilles supports the dying Amazon queen Penthesilea whom he has mortally wounded. Her double headed axe slips from her hands. The queen had come to fight against the Greeks in the Trojan war and Achilles fell in love with her.
  • Roman Sebasteion relief sculpture of Achilles and a dying Amazon, Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.  <br />
<br />
Achilles supports the dying Amazon queen Penthesilea whom he has mortally wounded. Her double headed axe slips from her hands. The queen had come to fight against the Greeks in the Trojan war and Achilles fell in love with her.
  • Roman Sebasteion relief sculpture of Achilles and a dying Amazon, Aphrodisias Museum, Aphrodisias, Turkey.    Against an art background.<br />
<br />
Achilles supports the dying Amazon queen Penthesilea whom he has mortally wounded. Her double headed axe slips from her hands. The queen had come to fight against the Greeks in the Trojan war and Achilles fell in love with her.
  • Roman Sebasteion relief sculpture of Achilles and a dying Amazon, Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background. <br />
<br />
Achilles supports the dying Amazon queen Penthesilea whom he has mortally wounded. Her double headed axe slips from her hands. The queen had come to fight against the Greeks in the Trojan war and Achilles fell in love with her.
  • Roman Sebasteion relief sculpture of Achilles and a dying Amazon, Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.  <br />
<br />
Achilles supports the dying Amazon queen Penthesilea whom he has mortally wounded. Her double headed axe slips from her hands. The queen had come to fight against the Greeks in the Trojan war and Achilles fell in love with her.
  • Roman Sebasteion relief sculpture of Achilles and a dying Amazon, Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.  <br />
<br />
Achilles supports the dying Amazon queen Penthesilea whom he has mortally wounded. Her double headed axe slips from her hands. The queen had come to fight against the Greeks in the Trojan war and Achilles fell in love with her.
  • Roman Sebasteion relief sculpture of Achilles and a dying Amazon, Aphrodisias Museum, Aphrodisias, Turkey.   <br />
<br />
Achilles supports the dying Amazon queen Penthesilea whom he has mortally wounded. Her double headed axe slips from her hands. The queen had come to fight against the Greeks in the Trojan war and Achilles fell in love with her.
  • Roman Sebasteion relief sculpture of Achilles and a dying Amazon, Aphrodisias Museum, Aphrodisias, Turkey. Against a grey background.  <br />
<br />
Achilles supports the dying Amazon queen Penthesilea whom he has mortally wounded. Her double headed axe slips from her hands. The queen had come to fight against the Greeks in the Trojan war and Achilles fell in love with her.
  • Roman Sebasteion relief sculpture of Achilles and a dying Amazon, Aphrodisias Museum, Aphrodisias, Turkey.   Against an art background.  <br />
<br />
Achilles supports the dying Amazon queen Penthesilea whom he has mortally wounded. Her double headed axe slips from her hands. The queen had come to fight against the Greeks in the Trojan war and Achilles fell in love with her.
  • Roman Great Harbour Monument opened by the city of Miletus either in honour of the achievements of Pompeius in his war against the pirates (67 BC) or for the victory of Augustus over Mark Antony and Cleopatra in the battle of Actium (31 BC). Miletus Archaeological Site, Anatolia, Turkey.
  • Roman Great Harbour Monument opened by the city of Miletus either in honour of the achievements of Pompeius in his war against the pirates (67 BC) or for the victory of Augustus over Mark Antony and Cleopatra in the battle of Actium (31 BC). Miletus Archaeological Site, Anatolia, Turkey.
  • Roman Great Harbour Monument opened by the city of Miletus either in honour of the achievements of Pompeius in his war against the pirates (67 BC) or for the victory of Augustus over Mark Antony and Cleopatra in the battle of Actium (31 BC). Miletus Archaeological Site, Anatolia, Turkey.
  • Picture & image of the Hittite Relief sculpture of the God of War of the Kings Gate. Hattusa (also Ḫattuša or Hattusas) late Anatolian Bronze Age capital of the Hittite Empire. Hittite archaeological site and ruins, Boğazkale, Turkey.
  • Picture & image of the Hittite Relief sculpture of the God of War of the Kings Gate. Hattusa (also Ḫattuša or Hattusas) late Anatolian Bronze Age capital of the Hittite Empire. Hittite archaeological site and ruins, Boğazkale, Turkey.
  • Picture & image of the Hittite Relief sculpture of the God of War of the Kings Gate. Hattusa (also Ḫattuša or Hattusas) late Anatolian Bronze Age capital of the Hittite Empire. Hittite archaeological site and ruins, Boğazkale, Turkey.
  • Picture & image of the Hittite Relief sculpture of the God of War of the Kings Gate. Hattusa (also Ḫattuša or Hattusas) late Anatolian Bronze Age capital of the Hittite Empire. Hittite archaeological site and ruins, Boğazkale, Turkey.
  • Picture & image of the Hittite Relief sculpture of the God of War of the Kings Gate. Hattusa (also Ḫattuša or Hattusas) late Anatolian Bronze Age capital of the Hittite Empire. Hittite archaeological site and ruins, Boğazkale, Turkey.
  • Picture & image of the Hittite Relief sculpture of the God of War of the Kings Gate. Hattusa (also Ḫattuša or Hattusas) late Anatolian Bronze Age capital of the Hittite Empire. Hittite archaeological site and ruins, Boğazkale, Turkey.
  • Picture & image of the Hittite Relief sculpture of the God of War of the Kings Gate. Hattusa (also Ḫattuša or Hattusas) late Anatolian Bronze Age capital of the Hittite Empire. Hittite archaeological site and ruins, Boğazkale, Turkey.
  • Picture & image of the Hittite Relief sculpture of the God of War of the Kings Gate. Hattusa (also Ḫattuša or Hattusas) late Anatolian Bronze Age capital of the Hittite Empire. Hittite archaeological site and ruins, Boğazkale, Turkey.
  • Hittite sculpted Orthostats panel from the  Long Wall.  Limestone, Kargarmis, Gaziantep, 900 - 700 BC,  Hieroglyph. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
In the epigraph with hieroglyph, he narrates that the gods were provoked against him, the account of the cities conquered and the spoils of war; that he allocated a share for the gods, and that he instigated the mighty king Tarhunza and the other gods. In the other lines, he demands that people should present offerings to statues but should evil-intentioned people be among them, such person individuals be punished by the gods.  <br />
<br />
On a black background.
  • Hittite sculpted Orthostats panel from the  Long Wall.  Limestone, Kargarmis, Gaziantep, 900 - 700 BC,  Hieroglyph. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
In the epigraph with hieroglyph, he narrates that the gods were provoked against him, the account of the cities conquered and the spoils of war; that he allocated a share for the gods, and that he instigated the mighty king Tarhunza and the other gods. In the other lines, he demands that people should present offerings to statues but should evil-intentioned people be among them, such person individuals be punished by the gods.
  • Hittite sculpted Orthostats panel from the  Long Wall.  Limestone, Kargarmis, Gaziantep, 900 - 700 BC,  Hieroglyph. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
In the epigraph with hieroglyph, he narrates that the gods were provoked against him, the account of the cities conquered and the spoils of war; that he allocated a share for the gods, and that he instigated the mighty king Tarhunza and the other gods. In the other lines, he demands that people should present offerings to statues but should evil-intentioned people be among them, such person individuals be punished by the gods. <br />
<br />
On a White Background.
  • Picture & image of Hittite sculpted Orthostats panel from the  Long Wall.  Limestone, Kargarmis, Gaziantep, 900 - 700 BC,  Hieroglyph. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
In the epigraph with hieroglyph, he narrates that the gods were provoked against him, the account of the cities conquered and the spoils of war; that he allocated a share for the gods, and that he instigated the mighty king Tarhunza and the other gods. In the other lines, he demands that people should present offerings to statues but should evil-intentioned people be among them, such person individuals be punished by the gods.  <br />
<br />
On a gray background.
  • Photo of Hittite sculpted Orthostats panel from the  Long Wall.  Limestone, Kargarmis, Gaziantep, 900 - 700 BC,  Hieroglyph. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
In the epigraph with hieroglyph, he narrates that the gods were provoked against him, the account of the cities conquered and the spoils of war; that he allocated a share for the gods, and that he instigated the mighty king Tarhunza and the other gods. In the other lines, he demands that people should present offerings to statues but should evil-intentioned people be among them, such person individuals be punished by the gods.  <br />
<br />
On a brown art background.
  • Hittite sculpted Orthostats panel from the  Long Wall.  Limestone, Kargarmis, Gaziantep, 900 - 700 BC,  Hieroglyph. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
In the epigraph with hieroglyph, he narrates that the gods were provoked against him, the account of the cities conquered and the spoils of war; that he allocated a share for the gods, and that he instigated the mighty king Tarhunza and the other gods. In the other lines, he demands that people should present offerings to statues but should evil-intentioned people be among them, such person individuals be punished by the gods.  <br />
<br />
On a grey art background.
  • Treasury of Siphnos East Frieze representing scenes from the Trojan War. 525 b.C. .From Left: Aris, Afrodite, Artemis. Delphi Archaeological Museum.
  • Treasury of Siphnos East Frieze representing scenes from the Trojan War. 525 b.C. .From Left: Aris, Afrodite, Artemis. Delphi Archaeological Museum.
  • Treasury of Siphnos East Frieze representing scenes from the Trojan War. 525 b.C.  Delphi Archaeological Museum.
  • Treasury of Siphnos East Frieze representing scenes from the Trojan War. 525 b.C.  Delphi Archaeological Museum.
  • Limestone Sculpted relief Stele with inscription to King Sennacherib. The relief shows Assyrian King Sennacherib  praying in front of divine symbols. 705 - 681 B.C Nineveh ( Kuyunjik ) . The inscription tells of King Sennacherib's great feats of war and the building works in Nineveh. It starts " Sennacheribs, the great king, mighty king, king of the universe, king of the Assyria, king of the four regions of the wold, favourite of the great gods". It continues " I led my armies from one end of the earth to the other and brought in submission at my feet all princes, dwelling in palaces, of the four quarters of the world". of his great worked " I enlarged the site of Nineveh, my royal city, I made its market streets wider". further " The wall and outer wall I caused skilfully constructed and raised them mountain high. I widened them to 100 cubits ( 50m )". Istanbul Archaeological Exhibit no. 1.
  • Picture & image of the Hittite Relief sculpture of the God of War of the Kings Gate. Hattusa (also Ḫattuša or Hattusas) late Anatolian Bronze Age capital of the Hittite Empire. Hittite archaeological site and ruins, Boğazkale, Turkey.
  • Picture & image of the Hittite Relief sculpture of the God of War of the Kings Gate. Hattusa (also Ḫattuša or Hattusas) late Anatolian Bronze Age capital of the Hittite Empire. Hittite archaeological site and ruins, Boğazkale, Turkey.
  • Picture & image of the Hittite Relief sculpture of the God of War of the Kings Gate. Hattusa (also Ḫattuša or Hattusas) late Anatolian Bronze Age capital of the Hittite Empire. Hittite archaeological site and ruins, Boğazkale, Turkey.
  • Picture & image of the Hittite Relief sculpture of the God of War of the Kings Gate. Hattusa (also Ḫattuša or Hattusas) late Anatolian Bronze Age capital of the Hittite Empire. Hittite archaeological site and ruins, Boğazkale, Turkey.
  • Picture & image of the Hittite Relief sculpture of the God of War of the Kings Gate. Hattusa (also Ḫattuša or Hattusas) late Anatolian Bronze Age capital of the Hittite Empire. Hittite archaeological site and ruins, Boğazkale, Turkey.
  • Roman relief sculpture, Aphrodisias, Turkey, Images of Roman art bas reliefs.  Achilles supports the dying Amazon queen Penthesilea whom he has mortally wounded. Her double headed axe slips from her hands. The queen had come to fight against the Greeks in the Trojan war and Achilles fell in love with her.
  • Portion of the walls & entrance gate of Troy (VII), identified as the site of the Trojan War (ca. 1200 BC). Troy archaeological site, A UNESCO World Heritage Site, Turkey
  • Portion of the walls of Troy (VII), identified as the site of the Trojan War (ca. 1200 BC). Troy archaeological site, A UNESCO World Heritage Site, Turkey
  • Portion of the walls & entrance gate of Troy (VII), identified as the site of the Trojan War (ca. 1200 BC). Troy archaeological site, A UNESCO World Heritage Site, Turkey
  • Stone Stele depicting  a ceremonial procession of Babylonian Gods. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. Under the coils of the snake that wraps around the stele are represented the principal divinities of pantheon of Babylon as symbols. Below is a procession of two musicians and animals. Crenellated walls and towers surround the area reserve for an inscription that was never engraved. A horned serpent, emblem of the god Marduk, wraps around the base. Inv Sb 25. The Louvre Museum, Paris.
  • Stone Stele depicting  a ceremonial procession of Babylonian Gods. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. Under the coils of the snake that wraps around the stele are represented the principal divinities of pantheon of Babylon as symbols. Below is a procession of two musicians and animals. Crenellated walls and towers surround the area reserve for an inscription that was never engraved. A horned serpent, emblem of the god Marduk, wraps around the base. Inv Sb 25. The Louvre Museum, Paris.
  • Stone Stele depicting  a ceremonial procession of Babylonian Gods. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. Under the coils of the snake that wraps around the stele are represented the principal divinities of pantheon of Babylon as symbols. Below is a procession of two musicians and animals. Crenellated walls and towers surround the area reserve for an inscription that was never engraved. A horned serpent, emblem of the god Marduk, wraps around the base. Inv Sb 25. The Louvre Museum, Paris.
  • Stone Stele depicting  a ceremonial procession of Babylonian Gods. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. Under the coils of the snake that wraps around the stele are represented the principal divinities of pantheon of Babylon as symbols. Below is a procession of two musicians and animals. Crenellated walls and towers surround the area reserve for an inscription that was never engraved. A horned serpent, emblem of the god Marduk, wraps around the base. Inv Sb 25. The Louvre Museum, Paris.
  • Stone Sculpture depicting  Kassite or 3rd Dynasty of Babylon King Meli-Shipak II commemorating a donation of land to his daughter-Hannubat Nannaya. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. The king dressed in a long robe with his right hand raised in a gesture of greeting. With his left hand he grasps the wrist of his daughter. The princess carries in her left hand a nine-stringed harp. Both face an enthroned goddess Nanya, a deity worshipped especially at Uruk[, who is dressed in a flounced or segmented garment and donning a feathered mitre and sits on the far side of a cultic censer on a stand. Above them are the symbols of three divinities astral: the star of Ishtar, the sun god Shamash and Sin of the crescent moon are in the sky. The rest of the stele has been entirely defaced, possibly by an Elamite king intending to have his own inscription engraved. The Louvre Museum, Paris.
  • Basalt Babylonian sculpture reporting the spoils of war, 12th cent.BC. The Louvre Museum, Paris.
  • Stone Stele depicting  a ceremonial procession of Babylonian Gods. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. Under the coils of the snake that wraps around the stele are represented the principal divinities of pantheon of Babylon as symbols. Below is a procession of two musicians and animals. Crenellated walls and towers surround the area reserve for an inscription that was never engraved. A horned serpent, emblem of the god Marduk, wraps around the base. Inv Sb 25. The Louvre Museum, Paris.
  • Stone Stele depicting  a ceremonial procession of Babylonian Gods. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. Under the coils of the snake that wraps around the stele are represented the principal divinities of pantheon of Babylon as symbols. Below is a procession of two musicians and animals. Crenellated walls and towers surround the area reserve for an inscription that was never engraved. A horned serpent, emblem of the god Marduk, wraps around the base. Inv Sb 25. The Louvre Museum, Paris.
  • Stone Stele depicting  a ceremonial procession of Babylonian Gods. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. Under the coils of the snake that wraps around the stele are represented the principal divinities of pantheon of Babylon as symbols. Below is a procession of two musicians and animals. Crenellated walls and towers surround the area reserve for an inscription that was never engraved. A horned serpent, emblem of the god Marduk, wraps around the base. Inv Sb 25. The Louvre Museum, Paris.
  • Stone Stele depicting  a ceremonial procession of Babylonian Gods. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. Under the coils of the snake that wraps around the stele are represented the principal divinities of pantheon of Babylon as symbols. Below is a procession of two musicians and animals. Crenellated walls and towers surround the area reserve for an inscription that was never engraved. A horned serpent, emblem of the god Marduk, wraps around the base. Inv Sb 25. The Louvre Museum, Paris.
  • Stone Sculpture depicting  Kassite or 3rd Dynasty of Babylon King Meli-Shipak II commemorating a donation of land to his daughter-Hannubat Nannaya. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. The king dressed in a long robe with his right hand raised in a gesture of greeting. With his left hand he grasps the wrist of his daughter. The princess carries in her left hand a nine-stringed harp. Both face an enthroned goddess Nanya, a deity worshipped especially at Uruk[, who is dressed in a flounced or segmented garment and donning a feathered mitre and sits on the far side of a cultic censer on a stand. Above them are the symbols of three divinities astral: the star of Ishtar, the sun god Shamash and Sin of the crescent moon are in the sky. The rest of the stele has been entirely defaced, possibly by an Elamite king intending to have his own inscription engraved. The Louvre Museum, Paris.
  • Basalt Babylonian sculpture reporting the spoils of war, 12th cent.BC. The Louvre Museum, Paris.
  • Stone Stele depicting  a ceremonial procession of Babylonian Gods. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. Under the coils of the snake that wraps around the stele are represented the principal divinities of pantheon of Babylon as symbols. Below is a procession of two musicians and animals. Crenellated walls and towers surround the area reserve for an inscription that was never engraved. A horned serpent, emblem of the god Marduk, wraps around the base. Inv Sb 25. The Louvre Museum, Paris.
  • Stone Stele depicting  a ceremonial procession of Babylonian Gods. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. Under the coils of the snake that wraps around the stele are represented the principal divinities of pantheon of Babylon as symbols. Below is a procession of two musicians and animals. Crenellated walls and towers surround the area reserve for an inscription that was never engraved. A horned serpent, emblem of the god Marduk, wraps around the base. Inv Sb 25. The Louvre Museum, Paris.
  • Stone Sculpture depicting  Kassite or 3rd Dynasty of Babylon King Meli-Shipak II commemorating a donation of land to his daughter-Hannubat Nannaya. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. The king dressed in a long robe with his right hand raised in a gesture of greeting. With his left hand he grasps the wrist of his daughter. The princess carries in her left hand a nine-stringed harp. Both face an enthroned goddess Nanya, a deity worshipped especially at Uruk[, who is dressed in a flounced or segmented garment and donning a feathered mitre and sits on the far side of a cultic censer on a stand. Above them are the symbols of three divinities astral: the star of Ishtar, the sun god Shamash and Sin of the crescent moon are in the sky. The rest of the stele has been entirely defaced, possibly by an Elamite king intending to have his own inscription engraved. The Louvre Museum, Paris.
  • Stone Stele depicting  a ceremonial procession of Babylonian Gods. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. Under the coils of the snake that wraps around the stele are represented the principal divinities of pantheon of Babylon as symbols. Below is a procession of two musicians and animals. Crenellated walls and towers surround the area reserve for an inscription that was never engraved. A horned serpent, emblem of the god Marduk, wraps around the base. Inv Sb 25. The Louvre Museum, Paris.
  • Stone Stele depicting  a ceremonial procession of Babylonian Gods. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. Under the coils of the snake that wraps around the stele are represented the principal divinities of pantheon of Babylon as symbols. Below is a procession of two musicians and animals. Crenellated walls and towers surround the area reserve for an inscription that was never engraved. A horned serpent, emblem of the god Marduk, wraps around the base. Inv Sb 25. The Louvre Museum, Paris.
  • Basalt Babylonian sculpture reporting the spoils of war, 12th cent.BC. The Louvre Museum, Paris.
  • Stone Stele depicting  a ceremonial procession of Babylonian Gods. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. Under the coils of the snake that wraps around the stele are represented the principal divinities of pantheon of Babylon as symbols. Below is a procession of two musicians and animals. Crenellated walls and towers surround the area reserve for an inscription that was never engraved. A horned serpent, emblem of the god Marduk, wraps around the base. Inv Sb 25. The Louvre Museum, Paris.
  • Stone Stele depicting  a ceremonial procession of Babylonian Gods. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. Under the coils of the snake that wraps around the stele are represented the principal divinities of pantheon of Babylon as symbols. Below is a procession of two musicians and animals. Crenellated walls and towers surround the area reserve for an inscription that was never engraved. A horned serpent, emblem of the god Marduk, wraps around the base. Inv Sb 25. The Louvre Museum, Paris.
  • Stone Stele depicting  a ceremonial procession of Babylonian Gods. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. Under the coils of the snake that wraps around the stele are represented the principal divinities of pantheon of Babylon as symbols. Below is a procession of two musicians and animals. Crenellated walls and towers surround the area reserve for an inscription that was never engraved. A horned serpent, emblem of the god Marduk, wraps around the base. Inv Sb 25. The Louvre Museum, Paris.
  • Stone Sculpture depicting  Kassite or 3rd Dynasty of Babylon King Meli-Shipak II commemorating a donation of land to his daughter-Hannubat Nannaya. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. The king dressed in a long robe with his right hand raised in a gesture of greeting. With his left hand he grasps the wrist of his daughter. The princess carries in her left hand a nine-stringed harp. Both face an enthroned goddess Nanya, a deity worshipped especially at Uruk[, who is dressed in a flounced or segmented garment and donning a feathered mitre and sits on the far side of a cultic censer on a stand. Above them are the symbols of three divinities astral: the star of Ishtar, the sun god Shamash and Sin of the crescent moon are in the sky. The rest of the stele has been entirely defaced, possibly by an Elamite king intending to have his own inscription engraved. The Louvre Museum, Paris.
  • Stone Stele depicting  a ceremonial procession of Babylonian Gods. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. Under the coils of the snake that wraps around the stele are represented the principal divinities of pantheon of Babylon as symbols. Below is a procession of two musicians and animals. Crenellated walls and towers surround the area reserve for an inscription that was never engraved. A horned serpent, emblem of the god Marduk, wraps around the base. Inv Sb 25. The Louvre Museum, Paris.
  • Basalt Babylonian sculpture reporting the spoils of war, 12th cent.BC. The Louvre Museum, Paris.
  • Stone Sculpture depicting  Kassite or 3rd Dynasty of Babylon King Meli-Shipak II commemorating a donation of land to his daughter-Hannubat Nannaya. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. The king dressed in a long robe with his right hand raised in a gesture of greeting. With his left hand he grasps the wrist of his daughter. The princess carries in her left hand a nine-stringed harp. Both face an enthroned goddess Nanya, a deity worshipped especially at Uruk[, who is dressed in a flounced or segmented garment and donning a feathered mitre and sits on the far side of a cultic censer on a stand. Above them are the symbols of three divinities astral: the star of Ishtar, the sun god Shamash and Sin of the crescent moon are in the sky. The rest of the stele has been entirely defaced, possibly by an Elamite king intending to have his own inscription engraved. The Louvre Museum, Paris.
  • Stone Stele depicting  a ceremonial procession of Babylonian Gods. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. Under the coils of the snake that wraps around the stele are represented the principal divinities of pantheon of Babylon as symbols. Below is a procession of two musicians and animals. Crenellated walls and towers surround the area reserve for an inscription that was never engraved. A horned serpent, emblem of the god Marduk, wraps around the base. Inv Sb 25. The Louvre Museum, Paris.
  • Stone Stele depicting  a ceremonial procession of Babylonian Gods. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. Under the coils of the snake that wraps around the stele are represented the principal divinities of pantheon of Babylon as symbols. Below is a procession of two musicians and animals. Crenellated walls and towers surround the area reserve for an inscription that was never engraved. A horned serpent, emblem of the god Marduk, wraps around the base. Inv Sb 25. The Louvre Museum, Paris.
  • Stone Stele depicting  a ceremonial procession of Babylonian Gods. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. Under the coils of the snake that wraps around the stele are represented the principal divinities of pantheon of Babylon as symbols. Below is a procession of two musicians and animals. Crenellated walls and towers surround the area reserve for an inscription that was never engraved. A horned serpent, emblem of the god Marduk, wraps around the base. Inv Sb 25. The Louvre Museum, Paris.
  • Stone Stele depicting  a ceremonial procession of Babylonian Gods. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. Under the coils of the snake that wraps around the stele are represented the principal divinities of pantheon of Babylon as symbols. Below is a procession of two musicians and animals. Crenellated walls and towers surround the area reserve for an inscription that was never engraved. A horned serpent, emblem of the god Marduk, wraps around the base. Inv Sb 25. The Louvre Museum, Paris.
  • Stone Sculpture depicting  Kassite or 3rd Dynasty of Babylon King Meli-Shipak II commemorating a donation of land to his daughter-Hannubat Nannaya. Circa 1186-1172 BC excavated from Susa where it had been taken as a spoil of war. The king dressed in a long robe with his right hand raised in a gesture of greeting. With his left hand he grasps the wrist of his daughter. The princess carries in her left hand a nine-stringed harp. Both face an enthroned goddess Nanya, a deity worshipped especially at Uruk[, who is dressed in a flounced or segmented garment and donning a feathered mitre and sits on the far side of a cultic censer on a stand. Above them are the symbols of three divinities astral: the star of Ishtar, the sun god Shamash and Sin of the crescent moon are in the sky. The rest of the stele has been entirely defaced, possibly by an Elamite king intending to have his own inscription engraved. The Louvre Museum, Paris.
  • Basalt Babylonian sculpture reporting the spoils of war, 12th cent.BC. The Louvre Museum, Paris.
  • Stone relief sculptured panel of soldiers carrying a war chariot . Facade L. Inv AO 19884 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone relief sculptured panel of soldiers carrying a war chariot . Facade L. Inv AO 19884 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone relief sculptured panel of soldiers carrying a war chariot . Facade L. Inv AO 19884 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone relief sculptured panel of soldiers carrying a war chariot . Facade L. Inv AO 19884 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone relief sculptured panel of soldiers carrying a war chariot . Facade L. Inv AO 19884 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone relief sculptured panel of soldiers carrying a war chariot . Facade L. Inv AO 19884 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone relief sculptured panel of soldiers carrying a war chariot . Facade L. Inv AO 19884 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone relief sculptured panel of soldiers carrying a war chariot . Facade L. Inv AO 19884 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone relief sculptured panel of soldiers carrying a war chariot . Facade L. Inv AO 19884 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone relief sculptured panel of soldiers carrying a war chariot . Facade L. Inv AO 19884 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone relief sculptured panel of soldiers carrying a war chariot . Facade L. Inv AO 19884 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone relief sculptured panel of soldiers carrying a war chariot . Facade L. Inv AO 19884 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone relief sculptured panel of soldiers carrying a war chariot . Facade L. Inv AO 19884 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Roman sculpture bust of Marcus Aurelius Severus Antoninus Augustus better known as Caracalla, made between 210 and 213 AD and excavated from the via Cassia, Rome. The realism of this  sculpture of Caracalla captures cruelty of the most notorious and unpleasant of emperors because of the massacres and persecutions he authorized and instigated throughout the Roman Empire. The eldest son of Septimius Severus, he reigned jointly with his father from 198 until Severus' death in 211. For a short time he then ruled jointly with his younger brother Geta until he had him murdered later in 211. Caracalla's reign was also notable for the Constitutio Antoniniana  granting Roman citizenship to all freemen throughout the Roman Empire. While travelling from Edessa to continue the war with Parthia, he was assassinated while urinating at a roadside near Carrhae on 8 April 217, by Julius Martialis, an officer of his personal bodyguard who was possibly resentful at not being promoted to the rank of centurion.  The National Roman Museum, Rome, Italy
  • Roman sculpture bust of Marcus Aurelius Severus Antoninus Augustus better known as Caracalla, made between 210 and 213 AD and excavated from the via Cassia, Rome. The realism of this  sculpture of Caracalla captures cruelty of the most notorious and unpleasant of emperors because of the massacres and persecutions he authorized and instigated throughout the Roman Empire. The eldest son of Septimius Severus, he reigned jointly with his father from 198 until Severus' death in 211. For a short time he then ruled jointly with his younger brother Geta until he had him murdered later in 211. Caracalla's reign was also notable for the Constitutio Antoniniana  granting Roman citizenship to all freemen throughout the Roman Empire. While travelling from Edessa to continue the war with Parthia, he was assassinated while urinating at a roadside near Carrhae on 8 April 217, by Julius Martialis, an officer of his personal bodyguard who was possibly resentful at not being promoted to the rank of centurion.  The National Roman Museum, Rome, Italy
  • Roman sculpture bust of Marcus Aurelius Severus Antoninus Augustus better known as Caracalla, made between 210 and 213 AD and excavated from the via Cassia, Rome. The realism of this  sculpture of Caracalla captures cruelty of the most notorious and unpleasant of emperors because of the massacres and persecutions he authorized and instigated throughout the Roman Empire. The eldest son of Septimius Severus, he reigned jointly with his father from 198 until Severus' death in 211. For a short time he then ruled jointly with his younger brother Geta until he had him murdered later in 211. Caracalla's reign was also notable for the Constitutio Antoniniana  granting Roman citizenship to all freemen throughout the Roman Empire. While travelling from Edessa to continue the war with Parthia, he was assassinated while urinating at a roadside near Carrhae on 8 April 217, by Julius Martialis, an officer of his personal bodyguard who was possibly resentful at not being promoted to the rank of centurion.  The National Roman Museum, Rome, Italy
  • Roman sculpture bust of Marcus Aurelius Severus Antoninus Augustus better known as Caracalla, made between 210 and 213 AD and excavated from the via Cassia, Rome. The realism of this  sculpture of Caracalla captures cruelty of the most notorious and unpleasant of emperors because of the massacres and persecutions he authorized and instigated throughout the Roman Empire. The eldest son of Septimius Severus, he reigned jointly with his father from 198 until Severus' death in 211. For a short time he then ruled jointly with his younger brother Geta until he had him murdered later in 211. Caracalla's reign was also notable for the Constitutio Antoniniana  granting Roman citizenship to all freemen throughout the Roman Empire. While travelling from Edessa to continue the war with Parthia, he was assassinated while urinating at a roadside near Carrhae on 8 April 217, by Julius Martialis, an officer of his personal bodyguard who was possibly resentful at not being promoted to the rank of centurion.  The National Roman Museum, Rome, Italy
  • Roman sculpture bust of Marcus Aurelius Severus Antoninus Augustus better known as Caracalla, made between 210 and 213 AD and excavated from the via Cassia, Rome. The realism of this  sculpture of Caracalla captures cruelty of the most notorious and unpleasant of emperors because of the massacres and persecutions he authorized and instigated throughout the Roman Empire. The eldest son of Septimius Severus, he reigned jointly with his father from 198 until Severus' death in 211. For a short time he then ruled jointly with his younger brother Geta until he had him murdered later in 211. Caracalla's reign was also notable for the Constitutio Antoniniana  granting Roman citizenship to all freemen throughout the Roman Empire. While travelling from Edessa to continue the war with Parthia, he was assassinated while urinating at a roadside near Carrhae on 8 April 217, by Julius Martialis, an officer of his personal bodyguard who was possibly resentful at not being promoted to the rank of centurion.  The National Roman Museum, Rome, Italy
  • Photo of Roman relief sculpture, Aphrodisias, Turkey, Images of Roman art bas reliefs.  Achilles supports the dying Amazon queen Penthesilea whom he has mortally wounded. Her double headed axe slips from her hands. The queen had come to fight against the Greeks in the Trojan war and Achilles fell in love with her.
  • Photo of Roman relief sculpture, Aphrodisias, Turkey, Images of Roman art bas reliefs.  Achilles supports the dying Amazon queen Penthesilea whom he has mortally wounded. Her double headed axe slips from her hands. The queen had come to fight against the Greeks in the Trojan war and Achilles fell in love with her.
  • Photo of Roman relief sculpture, Aphrodisias, Turkey, Images of Roman art bas reliefs.  Achilles supports the dying Amazon queen Penthesilea whom he has mortally wounded. Her double headed axe slips from her hands. The queen had come to fight against the Greeks in the Trojan war and Achilles fell in love with her.
  • Photo of Roman relief sculpture, Aphrodisias, Turkey, Images of Roman art bas reliefs.  Achilles supports the dying Amazon queen Penthesilea whom he has mortally wounded. Her double headed axe slips from her hands. The queen had come to fight against the Greeks in the Trojan war and Achilles fell in love with her.
  • Roman Sarcophagus with detailed relief sculptured panels with battle scenes. This large sarcophagus which was found in 1931 near the Tiburtina, in the eastern suburbs of the ancient city, shows on its front a symbolic battle, staged on two levels. This composition focuses on the progress of the Roman horseman, depicted in the guise of a universal victor, in a melee of soldiers, spears and horses; the Romans are delivering savage blows, devastating their enemies. The bloody scenes are framed by two pairs of enslaved barbarians, whose afflicted demeanour expresses the suffering which comes to those who rebel against the dominion of Rome. The dramatic animation of the combat emphasised by the deep chiaroscuro obtained by a skilful feat of carving. The low relief on the sides of the sarcophagus shows events subsequent to the encounter; on one side barbarian prisoners cross the river on the other chiefs submit to the Roman officials. The freeze on the lid, between two corner masks, celebrates the dead man and his wife, presented in the centre is the act of ‘dextarum iunctio’; on the left, the women exercises her ‘virtue’ in the house, educating her children; on the right, the, after his warlike activities, receives his 'clementia'. The faces of the principle characters remain incomplete, awaiting the carving of the features of the dead people. The decoration of the sarcophagus, inspired by many scenes on the Antonine Column, can be dated to around 180AD. The military insignia represented on the upper edge of the casket - the eagle of the Legio III Flavia and the boar of the Legio I Itlaica - enable us perhaps to identify the dead man as Aurelius Iulius Pompilius, an official of Marcus Aurelius in command of two cavalry squadron on detachment to those two legions during the war against Marcomanni (1720-175AD). National Roman Museum, Rome, Italy
  • Roman Sarcophagus with detailed relief sculptured panels with battle scenes. This large sarcophagus which was found in 1931 near the Tiburtina, in the eastern suburbs of the ancient city, shows on its front a symbolic battle, staged on two levels. This composition focuses on the progress of the Roman horseman, depicted in the guise of a universal victor, in a melee of soldiers, spears and horses; the Romans are delivering savage blows, devastating their enemies. The bloody scenes are framed by two pairs of enslaved barbarians, whose afflicted demeanour expresses the suffering which comes to those who rebel against the dominion of Rome. The dramatic animation of the combat emphasised by the deep chiaroscuro obtained by a skilful feat of carving. The low relief on the sides of the sarcophagus shows events subsequent to the encounter; on one side barbarian prisoners cross the river on the other chiefs submit to the Roman officials. The freeze on the lid, between two corner masks, celebrates the dead man and his wife, presented in the centre is the act of ‘dextarum iunctio’; on the left, the women exercises her ‘virtue’ in the house, educating her children; on the right, the, after his warlike activities, receives his 'clementia'. The faces of the principle characters remain incomplete, awaiting the carving of the features of the dead people. The decoration of the sarcophagus, inspired by many scenes on the Antonine Column, can be dated to around 180AD. The military insignia represented on the upper edge of the casket - the eagle of the Legio III Flavia and the boar of the Legio I Itlaica - enable us perhaps to identify the dead man as Aurelius Iulius Pompilius, an official of Marcus Aurelius in command of two cavalry squadron on detachment to those two legions during the war against Marcomanni (1720-175AD). National Roman Museum, Rome, Italy
  • Roman Sarcophagus with detailed relief sculptured panels with battle scenes. This large sarcophagus which was found in 1931 near the Tiburtina, in the eastern suburbs of the ancient city, shows on its front a symbolic battle, staged on two levels. This composition focuses on the progress of the Roman horseman, depicted in the guise of a universal victor, in a melee of soldiers, spears and horses; the Romans are delivering savage blows, devastating their enemies. The bloody scenes are framed by two pairs of enslaved barbarians, whose afflicted demeanour expresses the suffering which comes to those who rebel against the dominion of Rome. The dramatic animation of the combat emphasised by the deep chiaroscuro obtained by a skilful feat of carving. The low relief on the sides of the sarcophagus shows events subsequent to the encounter; on one side barbarian prisoners cross the river on the other chiefs submit to the Roman officials. The freeze on the lid, between two corner masks, celebrates the dead man and his wife, presented in the centre is the act of ‘dextarum iunctio’; on the left, the women exercises her ‘virtue’ in the house, educating her children; on the right, the, after his warlike activities, receives his 'clementia'. The faces of the principle characters remain incomplete, awaiting the carving of the features of the dead people. The decoration of the sarcophagus, inspired by many scenes on the Antonine Column, can be dated to around 180AD. The military insignia represented on the upper edge of the casket - the eagle of the Legio III Flavia and the boar of the Legio I Itlaica - enable us perhaps to identify the dead man as Aurelius Iulius Pompilius, an official of Marcus Aurelius in command of two cavalry squadron on detachment to those two legions during the war against Marcomanni (1720-175AD). National Roman Museum, Rome, Italy
  • Roman Sarcophagus with detailed relief sculptured panels with battle scenes. This large sarcophagus which was found in 1931 near the Tiburtina, in the eastern suburbs of the ancient city, shows on its front a symbolic battle, staged on two levels. This composition focuses on the progress of the Roman horseman, depicted in the guise of a universal victor, in a melee of soldiers, spears and horses; the Romans are delivering savage blows, devastating their enemies. The bloody scenes are framed by two pairs of enslaved barbarians, whose afflicted demeanour expresses the suffering which comes to those who rebel against the dominion of Rome. The dramatic animation of the combat emphasised by the deep chiaroscuro obtained by a skilful feat of carving. The low relief on the sides of the sarcophagus shows events subsequent to the encounter; on one side barbarian prisoners cross the river on the other chiefs submit to the Roman officials. The freeze on the lid, between two corner masks, celebrates the dead man and his wife, presented in the centre is the act of ‘dextarum iunctio’; on the left, the women exercises her ‘virtue’ in the house, educating her children; on the right, the, after his warlike activities, receives his 'clementia'. The faces of the principle characters remain incomplete, awaiting the carving of the features of the dead people. The decoration of the sarcophagus, inspired by many scenes on the Antonine Column, can be dated to around 180AD. The military insignia represented on the upper edge of the casket - the eagle of the Legio III Flavia and the boar of the Legio I Itlaica - enable us perhaps to identify the dead man as Aurelius Iulius Pompilius, an official of Marcus Aurelius in command of two cavalry squadron on detachment to those two legions during the war against Marcomanni (1720-175AD). National Roman Museum, Rome, Italy
  • Roman Sarcophagus with detailed relief sculptured panels with battle scenes. This large sarcophagus which was found in 1931 near the Tiburtina, in the eastern suburbs of the ancient city, shows on its front a symbolic battle, staged on two levels. This composition focuses on the progress of the Roman horseman, depicted in the guise of a universal victor, in a melee of soldiers, spears and horses; the Romans are delivering savage blows, devastating their enemies. The bloody scenes are framed by two pairs of enslaved barbarians, whose afflicted demeanour expresses the suffering which comes to those who rebel against the dominion of Rome. The dramatic animation of the combat emphasised by the deep chiaroscuro obtained by a skilful feat of carving. The low relief on the sides of the sarcophagus shows events subsequent to the encounter; on one side barbarian prisoners cross the river on the other chiefs submit to the Roman officials. The freeze on the lid, between two corner masks, celebrates the dead man and his wife, presented in the centre is the act of ‘dextarum iunctio’; on the left, the women exercises her ‘virtue’ in the house, educating her children; on the right, the, after his warlike activities, receives his 'clementia'. The faces of the principle characters remain incomplete, awaiting the carving of the features of the dead people. The decoration of the sarcophagus, inspired by many scenes on the Antonine Column, can be dated to around 180AD. The military insignia represented on the upper edge of the casket - the eagle of the Legio III Flavia and the boar of the Legio I Itlaica - enable us perhaps to identify the dead man as Aurelius Iulius Pompilius, an official of Marcus Aurelius in command of two cavalry squadron on detachment to those two legions during the war against Marcomanni (1720-175AD). National Roman Museum, Rome, Italy
  • Roman Sarcophagus with detailed relief sculptured panels with battle scenes. This large sarcophagus which was found in 1931 near the Tiburtina, in the eastern suburbs of the ancient city, shows on its front a symbolic battle, staged on two levels. This composition focuses on the progress of the Roman horseman, depicted in the guise of a universal victor, in a melee of soldiers, spears and horses; the Romans are delivering savage blows, devastating their enemies. The bloody scenes are framed by two pairs of enslaved barbarians, whose afflicted demeanour expresses the suffering which comes to those who rebel against the dominion of Rome. The dramatic animation of the combat emphasised by the deep chiaroscuro obtained by a skilful feat of carving. The low relief on the sides of the sarcophagus shows events subsequent to the encounter; on one side barbarian prisoners cross the river on the other chiefs submit to the Roman officials. The freeze on the lid, between two corner masks, celebrates the dead man and his wife, presented in the centre is the act of ‘dextarum iunctio’; on the left, the women exercises her ‘virtue’ in the house, educating her children; on the right, the, after his warlike activities, receives his 'clementia'. The faces of the principle characters remain incomplete, awaiting the carving of the features of the dead people. The decoration of the sarcophagus, inspired by many scenes on the Antonine Column, can be dated to around 180AD. The military insignia represented on the upper edge of the casket - the eagle of the Legio III Flavia and the boar of the Legio I Itlaica - enable us perhaps to identify the dead man as Aurelius Iulius Pompilius, an official of Marcus Aurelius in command of two cavalry squadron on detachment to those two legions during the war against Marcomanni (1720-175AD). National Roman Museum, Rome, Italy
  • Roman Sarcophagus with detailed relief sculptured panels with battle scenes. This large sarcophagus which was found in 1931 near the Tiburtina, in the eastern suburbs of the ancient city, shows on its front a symbolic battle, staged on two levels. This composition focuses on the progress of the Roman horseman, depicted in the guise of a universal victor, in a melee of soldiers, spears and horses; the Romans are delivering savage blows, devastating their enemies. The bloody scenes are framed by two pairs of enslaved barbarians, whose afflicted demeanour expresses the suffering which comes to those who rebel against the dominion of Rome. The dramatic animation of the combat emphasised by the deep chiaroscuro obtained by a skilful feat of carving. The low relief on the sides of the sarcophagus shows events subsequent to the encounter; on one side barbarian prisoners cross the river on the other chiefs submit to the Roman officials. The freeze on the lid, between two corner masks, celebrates the dead man and his wife, presented in the centre is the act of ‘dextarum iunctio’; on the left, the women exercises her ‘virtue’ in the house, educating her children; on the right, the, after his warlike activities, receives his 'clementia'. The faces of the principle characters remain incomplete, awaiting the carving of the features of the dead people. The decoration of the sarcophagus, inspired by many scenes on the Antonine Column, can be dated to around 180AD. The military insignia represented on the upper edge of the casket - the eagle of the Legio III Flavia and the boar of the Legio I Itlaica - enable us perhaps to identify the dead man as Aurelius Iulius Pompilius, an official of Marcus Aurelius in command of two cavalry squadron on detachment to those two legions during the war against Marcomanni (1720-175AD). National Roman Museum, Rome, Italy
  • Large wine krater known as "House of the Warrior Vase", showing men in full armour ( helmet, cuirass, greaves, shield and spear ) as they depart fro war with a sack of supplies hanging from their spears. A fine example of Mycenaean Pictoral Style. Mycenae acropolis, Greece. 12th century BC, cat no: 1426 ,  National Archaeological Museum, Athens.
  • Large wine krater known as "House of the Warrior Vase", showing men in full armour ( helmet, cuirass, greaves, shield and spear ) as they depart fro war with a sack of supplies hanging from their spears. A fine example of Mycenaean Pictoral Style. Mycenae acropolis, Greece. 12th century BC, cat no: 1426 ,  National Archaeological Museum, Athens.
  • Diomedes - A 2nd or 3rd century AD Roman copy of a Greek classical sculpture from about 430-370 BC. This Roman statue represent Diomede, one of the Greek hero of the Trojan War. This statue belongs to a series of ancient replicas (Naples, Munich), which copy the original Greek statue from the school of Polykleitos, attributed to the sculptor Naucydes or Cresilas who worked in Athens to 440-430 BC. From the Cardinal Richelieu Collection  Inv MR 265   (or Ma 890), The Louvre Mueum, Paris.
  • Roman sculpture bust of Marcus Aurelius Severus Antoninus Augustus better known as Caracalla, made between 210 and 213 AD and excavated from the via Cassia, Rome. The realism of this  sculpture of Caracalla captures cruelty of the most notorious and unpleasant of emperors because of the massacres and persecutions he authorized and instigated throughout the Roman Empire. The eldest son of Septimius Severus, he reigned jointly with his father from 198 until Severus' death in 211. For a short time he then ruled jointly with his younger brother Geta until he had him murdered later in 211. Caracalla's reign was also notable for the Constitutio Antoniniana  granting Roman citizenship to all freemen throughout the Roman Empire. While travelling from Edessa to continue the war with Parthia, he was assassinated while urinating at a roadside near Carrhae on 8 April 217, by Julius Martialis, an officer of his personal bodyguard who was possibly resentful at not being promoted to the rank of centurion.  The National Roman Museum, Rome, Italy
  • Roman sculpture bust of Marcus Aurelius Severus Antoninus Augustus better known as Caracalla, made between 210 and 213 AD and excavated from the via Cassia, Rome. The realism of this  sculpture of Caracalla captures cruelty of the most notorious and unpleasant of emperors because of the massacres and persecutions he authorized and instigated throughout the Roman Empire. The eldest son of Septimius Severus, he reigned jointly with his father from 198 until Severus' death in 211. For a short time he then ruled jointly with his younger brother Geta until he had him murdered later in 211. Caracalla's reign was also notable for the Constitutio Antoniniana  granting Roman citizenship to all freemen throughout the Roman Empire. While travelling from Edessa to continue the war with Parthia, he was assassinated while urinating at a roadside near Carrhae on 8 April 217, by Julius Martialis, an officer of his personal bodyguard who was possibly resentful at not being promoted to the rank of centurion.  The National Roman Museum, Rome, Italy
  • Roman sculpture bust of Marcus Aurelius Severus Antoninus Augustus better known as Caracalla, made between 210 and 213 AD and excavated from the via Cassia, Rome. The realism of this  sculpture of Caracalla captures cruelty of the most notorious and unpleasant of emperors because of the massacres and persecutions he authorized and instigated throughout the Roman Empire. The eldest son of Septimius Severus, he reigned jointly with his father from 198 until Severus' death in 211. For a short time he then ruled jointly with his younger brother Geta until he had him murdered later in 211. Caracalla's reign was also notable for the Constitutio Antoniniana  granting Roman citizenship to all freemen throughout the Roman Empire. While travelling from Edessa to continue the war with Parthia, he was assassinated while urinating at a roadside near Carrhae on 8 April 217, by Julius Martialis, an officer of his personal bodyguard who was possibly resentful at not being promoted to the rank of centurion.  The National Roman Museum, Rome, Italy
  • Roman sculpture bust of Marcus Aurelius Severus Antoninus Augustus better known as Caracalla, made between 210 and 213 AD and excavated from the via Cassia, Rome. The realism of this  sculpture of Caracalla captures cruelty of the most notorious and unpleasant of emperors because of the massacres and persecutions he authorized and instigated throughout the Roman Empire. The eldest son of Septimius Severus, he reigned jointly with his father from 198 until Severus' death in 211. For a short time he then ruled jointly with his younger brother Geta until he had him murdered later in 211. Caracalla's reign was also notable for the Constitutio Antoniniana  granting Roman citizenship to all freemen throughout the Roman Empire. While travelling from Edessa to continue the war with Parthia, he was assassinated while urinating at a roadside near Carrhae on 8 April 217, by Julius Martialis, an officer of his personal bodyguard who was possibly resentful at not being promoted to the rank of centurion.  The National Roman Museum, Rome, Italy
  • Roman sculpture bust of Marcus Aurelius Severus Antoninus Augustus better known as Caracalla, made between 210 and 213 AD and excavated from the via Cassia, Rome. The realism of this  sculpture of Caracalla captures cruelty of the most notorious and unpleasant of emperors because of the massacres and persecutions he authorized and instigated throughout the Roman Empire. The eldest son of Septimius Severus, he reigned jointly with his father from 198 until Severus' death in 211. For a short time he then ruled jointly with his younger brother Geta until he had him murdered later in 211. Caracalla's reign was also notable for the Constitutio Antoniniana  granting Roman citizenship to all freemen throughout the Roman Empire. While travelling from Edessa to continue the war with Parthia, he was assassinated while urinating at a roadside near Carrhae on 8 April 217, by Julius Martialis, an officer of his personal bodyguard who was possibly resentful at not being promoted to the rank of centurion.  The National Roman Museum, Rome, Italy
  • Diomedes - A 2nd or 3rd century AD Roman copy of a Greek classical sculpture from about 430-370 BC. This Roman statue represent Diomede, one of the Greek hero of the Trojan War. This statue belongs to a series of ancient replicas (Naples, Munich), which copy the original Greek statue from the school of Polykleitos, attributed to the sculptor Naucydes or Cresilas who worked in Athens to 440-430 BC. From the Cardinal Richelieu Collection  Inv MR 265   (or Ma 890), The Louvre Mueum, Paris.
  • Large wine krater known as "House of the Warrior Vase", showing men in full armour ( helmet, cuirass, greaves, shield and spear ) as they depart fro war with a sack of supplies hanging from their spears. A fine example of Mycenaean Pictoral Style. Mycenae acropolis, Greece. 12th century BC, cat no: 1426 ,  National Archaeological Museum, Athens.
  • Large wine krater known as "House of the Warrior Vase", showing men in full armour ( helmet, cuirass, greaves, shield and spear ) as they depart fro war with a sack of supplies hanging from their spears. A fine example of Mycenaean Pictoral Style. Mycenae acropolis, Greece. 12th century BC, cat no: 1426 ,  National Archaeological Museum, Athens.
  • The workroom of the Queen Mary Caroline. Also called "the room of Mirrors" the frescoed ceiling is by Antonio de Dominici with pairs of mythical figures : Jupiter and Juno, Apollo and Minerva, Mars and the War and Mercury and Prosperpine. The Kings of Naples Royal Palace of Caserta, Italy. A UNESCO World Heritage Site
  • "The Room of the Bodyguards" - Bas-reliefs made between 1786 and 1789 depicting scenes from the second Punic War. The  Kings of Naples Royal Palace of Caserta, Italy. A UNESCO World Heritage Site
  • "The Room of the Bodyguards" - Bas-reliefs made between 1786 and 1789 depicting scenes from the second Punic War. The  Kings of Naples Royal Palace of Caserta, Italy. A UNESCO World Heritage Site
  • "The Room of the Bodyguards" - Bas-reliefs made between 1786 and 1789 depicting scenes from the second Punic War. The  Kings of Naples Royal Palace of Caserta, Italy. A UNESCO World Heritage Site
  • "The Room of Mars" also known as "The waiting room for titled persons and the Barons of the Kingdom, High Ranking Officers and foreign Intendants". The neoclassical decoration are designed to be an  exaltation of war.  The Bourbon Kings of Naples Royal Palace of Caserta, Italy.
  • "The Room of the Bodyguards" - the second antechamber is also called the "Room of Stuccoes" for its rich decoration. On the walls are 12 bas-reliefs made between 1786 and 1789 depicting scenes from the second Punic War. To the Right is a statue of Alessandro Farnese dressed as a Roman commander being crowned for the victory over the people of Flanders and returning them to Roman Catholisism. The statue is by Simone Moschino.The Bourbon Kings of Naples Royal Palace of Caserta, Italy.
  • "The Room of the Bodyguards" - the second antechamber is also called the "Room of Stuccoes" for its rich decoration. On the walls are 12 bas-reliefs made between 1786 and 1789 depicting scenes from the second Punic War. To the Right is a statue of Alessandro Farnese dressed as a Roman commander being crowned for the victory over the people of Flanders and returning them to Roman Catholisism. The statue is by Simone Moschino.The Bourbon Kings of Naples Royal Palace of Caserta, Italy.

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