• Spicy BBQ Chicken wings and thights on a plate with a blue edge and stars
  • Close up of an Emperor Moths wing showing its natural textures and patterns.
  • Close up of an Emperor Moths wing showing its natural textures and patterns.
  • Close up of the wing of a Brazilian Blue butterfly photo. Funky stock butterfly photos
  • Emperor Moth with decorative wing pattern photo. Funky stock photos
  • Emperor Moth with decorative wing pattern photo. Funky stock photos
  • Emperor Moth with decorative wing pattern photo. Funky stock photos
  • Emperor Moth with decorative wing pattern photo. Funky stock photos
  • Close up of an Emperor Moths wing showing its natural textures and patterns.
  • Emperor Moth with decorative wing pattern photo. Funky stock photos
  • The Winged Lion on The Bell Tower - Saint Mark's Square  - Venice Italy
  • The Winged Lion on The Bell Tower - Saint Mark's Square  - Venice Italy
  • BBQ chicken wings being cooked on a bbq grill. Funky Stock library chicken wings images of bbq food.
  • Barbecue chicken wings with salad
  • Barbeque Chicken wings.
  • The Winged Lion on The Bell Tower - Saint Mark's Square  - Venice Italy
  • BBQ chicken wings
  • BBQ chicken wings being cooked on a bbq grill. Funky Stock library chicken wings images of bbq food.
  • Arial View Of Bell Tower - Saint Mark's Square - Venice Italy.
  • The Bell Tower - Saint Mark's Square  - Venice Italy
  • Arial View Of Bell Tower - Saint Mark's Square - Venice Italy.
  • Butterfly
  • Butterfly
  • Butterfly
  • Butterfly
  • Butterfly
  • Butterfly
  • Butterfly
  • Butterfly
  • Butterfly
  • Butterfly
  • Butterfly
  • Butterfly
  • Butterfly
  • Butterfly
  • Butterfly
  • Butterfly
  • Brazilian Blue butterfly photo. Funky stock butterfly photos
  • Arial View Of Bell Tower - Saint Mark's Square - Venice Italy.
  • Arial View Of Bell Tower - Saint Mark's Square - Venice Italy.
  • Sculpture of a Doge and the Lion of Venice above a door of Doges Palace - Venice Italy
  • Close up of the clock face on the The Bell Tower - Saint Mark's Square  - Venice Italy
  • Close up of the clock face on the The Bell Tower - Saint Mark's Square  - Venice Italy
  • The Bell Tower - Saint Mark's Square  - Venice Italy
  • The Bell Tower - Saint Mark's Square  - Venice Italy
  • The Bell Tower - Saint Mark's Square  - Venice Italy
  • The Bell Tower - Saint Mark's Square  - Venice Italy
  • The Bell Tower - Saint Mark's Square  - Venice Italy
  • Arial View Of Bell Tower - Saint Mark's Square - Venice Italy.
  • Sculpture of a Doge and the Lion of Venice above a door of Doges Palace - Venice Italy
  • Close up of the clock face on the The Bell Tower - Saint Mark's Square  - Venice Italy
  • Close up of the clock face on the The Bell Tower - Saint Mark's Square  - Venice Italy
  • Close up of the clock face on the The Bell Tower - Saint Mark's Square  - Venice Italy
  • Butterfly
  • Butterfly
  • Butterfly
  • Butterfly
  • Butterfly
  • Butterfly
  • Butterfly
  • Butterfly
  • Butterfly
  • Butterfly
  • Butterfly
  • Butterfly
  • Butterfly
  • Butterfly
  • Butterfly
  • Butterfly
  • Photo of Phrygian relief sculpted orthostat stone panel Andesite, Atateirk Orman ciftligi, Ankara, 12OO-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Winged griffin with a bird's head and a lion's body. There is a bird's head at the end of its tail. The chest was processed like fish scales. Its wing extends along the body. Muscles in its legs are schematic. <br />
<br />
Against a brown art background.
  • Phrygian relief sculpted orthostat stone panel Andesite, Atateirk Orman ciftligi, Ankara, 12OO-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Winged griffin with a bird's head and a lion's body. There is a bird's head at the end of its tail. The chest was processed like fish scales. Its wing extends along the body. Muscles in its legs are schematic. <br />
<br />
Against a black background.
  • Phrygian relief sculpted orthostat stone panel Andesite, Atateirk Orman ciftligi, Ankara, 12OO-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Winged griffin with a bird's head and a lion's body. There is a bird's head at the end of its tail. The chest was processed like fish scales. Its wing extends along the body. Muscles in its legs are schematic. <br />
<br />
Against a white background.
  • Phrygian relief sculpted orthostat stone panel Andesite, Atateirk Orman ciftligi, Ankara, 12OO-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Winged griffin with a bird's head and a lion's body. There is a bird's head at the end of its tail. The chest was processed like fish scales. Its wing extends along the body. Muscles in its legs are schematic. <br />
<br />
Against a grey art background.
  • Pictures & images of Phrygian relief sculpted orthostat stone panel Andesite, Atateirk Orman ciftligi, Ankara, 12OO-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Winged griffin with a bird's head and a lion's body. There is a bird's head at the end of its tail. The chest was processed like fish scales. Its wing extends along the body. Muscles in its legs are schematic. <br />
<br />
Against a gray background.
  • The Minoan ' Camp Stool' wall art fresco from the West vwing of Knossos Palace, 1450-1300 BC. Heraklion Archaeological Museum.  Grey Background. <br />
<br />
This Minoan fresco probably depicted a typical banquet at Knossos Palace held in the Upper Hall of the West Wing. Figures seated on 'camp stools' are raising cups and kylikes. A female figure with Mediterranean features wearing vivid make up named ' La Parisienne' by Arthur Evans, has a large 'sacred knot' bunched behind her head and maybe she was a priestess.
  • The Minoan ' Camp Stool' wall art fresco from the West vwing of Knossos Palace, 1450-1300 BC. Heraklion Archaeological Museum.  White Background. <br />
<br />
This Minoan fresco probably depicted a typical banquet at Knossos Palace held in the Upper Hall of the West Wing. Figures seated on 'camp stools' are raising cups and kylikes. A female figure with Mediterranean features wearing vivid make up named ' La Parisienne' by Arthur Evans, has a large 'sacred knot' bunched behind her head and maybe she was a priestess.
  • Close up of The Minoan ' Camp Stool' wall art fresco from the West vwing of Knossos Palace, 1450-1300 BC. Heraklion Archaeological Museum.<br />
<br />
This Minoan fresco probably depicted a typical banquet at Knossos Palace held in the Upper Hall of the West Wing. Figures seated on 'camp stools' are raising cups and kylikes. A female figure with Mediterranean features wearing vivid make up named ' La Parisienne' by Arthur Evans, has a large 'sacred knot' bunched behind her head and maybe she was a priestess.
  • Painted colour verion of  Centaur with Eros on its back, a 1st - 2nd AD Roman sculpture in marble. Tradition has it that a centaur be a monstrous half-man half-horse mythical creature. In this Roman statue the old centaur is being ridden by Eros (Cupid), the Greek god of Love represented in the form of a young wing child. The sculpture is a copy of a Greek original  attributed to school sculpture of Aphrodisias (Turkey) can be dating in the 2nd century BC. The Borghese Collection inv MR 122 ( or Ma 562 ), Louvre Museum Paris
  • Painted colour verion of  Centaur with Eros on its back, a 1st - 2nd AD Roman sculpture in marble. Tradition has it that a centaur be a monstrous half-man half-horse mythical creature. In this Roman statue the old centaur is being ridden by Eros (Cupid), the Greek god of Love represented in the form of a young wing child. The sculpture is a copy of a Greek original  attributed to school sculpture of Aphrodisias (Turkey) can be dating in the 2nd century BC. The Borghese Collection inv MR 122 ( or Ma 562 ), Louvre Museum Paris
  • Painted colour verion of  Centaur with Eros on its back, a 1st - 2nd AD Roman sculpture in marble. Tradition has it that a centaur be a monstrous half-man half-horse mythical creature. In this Roman statue the old centaur is being ridden by Eros (Cupid), the Greek god of Love represented in the form of a young wing child. The sculpture is a copy of a Greek original  attributed to school sculpture of Aphrodisias (Turkey) can be dating in the 2nd century BC. The Borghese Collection inv MR 122 ( or Ma 562 ), Louvre Museum Paris
  • Centaur with Eros on its back, a 1st - 2nd AD Roman sculpture in marble. Tradition has it that a centaur be a monstrous half-man half-horse mythical creature. In this Roman statue the old centaur is being ridden by Eros (Cupid), the Greek god of Love represented in the form of a young wing child. The sculpture is a copy of a Greek original  attributed to school sculpture of Aphrodisias (Turkey) can be dating in the 2nd century BC. The Borghese Collection inv MR 122 ( or Ma 562 ), Louvre Museum Paris
  • Centaur with Eros on its back, a 1st - 2nd AD Roman sculpture in marble. Tradition has it that a centaur be a monstrous half-man half-horse mythical creature. In this Roman statue the old centaur is being ridden by Eros (Cupid), the Greek god of Love represented in the form of a young wing child. The sculpture is a copy of a Greek original  attributed to school sculpture of Aphrodisias (Turkey) can be dating in the 2nd century BC. The Borghese Collection inv MR 122 ( or Ma 562 ), Louvre Museum Paris
  • Centaur with Eros on its back, a 1st - 2nd AD Roman sculpture in marble. Tradition has it that a centaur be a monstrous half-man half-horse mythical creature. In this Roman statue the old centaur is being ridden by Eros (Cupid), the Greek god of Love represented in the form of a young wing child. The sculpture is a copy of a Greek original  attributed to school sculpture of Aphrodisias (Turkey) can be dating in the 2nd century BC. The Borghese Collection inv MR 122 ( or Ma 562 ), Louvre Museum Paris
  • Centaur with Eros on its back, a 1st - 2nd AD Roman sculpture in marble. Tradition has it that a centaur be a monstrous half-man half-horse mythical creature. In this Roman statue the old centaur is being ridden by Eros (Cupid), the Greek god of Love represented in the form of a young wing child. The sculpture is a copy of a Greek original  attributed to school sculpture of Aphrodisias (Turkey) can be dating in the 2nd century BC. The Borghese Collection inv MR 122 ( or Ma 562 ), Louvre Museum Paris
  • Centaur with Eros on its back, a 1st - 2nd AD Roman sculpture in marble. Tradition has it that a centaur be a monstrous half-man half-horse mythical creature. In this Roman statue the old centaur is being ridden by Eros (Cupid), the Greek god of Love represented in the form of a young wing child. The sculpture is a copy of a Greek original  attributed to school sculpture of Aphrodisias (Turkey) can be dating in the 2nd century BC. The Borghese Collection inv MR 122 ( or Ma 562 ), Louvre Museum Paris
  • Close up of The Minoan ' Camp Stool' wall art fresco from the West vwing of Knossos Palace, 1450-1300 BC. Heraklion Archaeological Museum.<br />
<br />
This Minoan fresco probably depicted a typical banquet at Knossos Palace held in the Upper Hall of the West Wing. Figures seated on 'camp stools' are raising cups and kylikes. A female figure with Mediterranean features wearing vivid make up named ' La Parisienne' by Arthur Evans, has a large 'sacred knot' bunched behind her head and maybe she was a priestess.
  • The Minoan ' Camp Stool' wall art fresco from the West vwing of Knossos Palace, 1450-1300 BC. Heraklion Archaeological Museum.  Grey Background. <br />
<br />
This Minoan fresco probably depicted a typical banquet at Knossos Palace held in the Upper Hall of the West Wing. Figures seated on 'camp stools' are raising cups and kylikes. A female figure with Mediterranean features wearing vivid make up named ' La Parisienne' by Arthur Evans, has a large 'sacred knot' bunched behind her head and maybe she was a priestess.
  • Close up of The Minoan ' Camp Stool' wall art fresco from the West vwing of Knossos Palace, 1450-1300 BC. Heraklion Archaeological Museum.<br />
<br />
This Minoan fresco probably depicted a typical banquet at Knossos Palace held in the Upper Hall of the West Wing. Figures seated on 'camp stools' are raising cups and kylikes. A female figure with Mediterranean features wearing vivid make up named ' La Parisienne' by Arthur Evans, has a large 'sacred knot' bunched behind her head and maybe she was a priestess.
  • The Minoan ' Camp Stool' wall art fresco from the West vwing of Knossos Palace, 1450-1300 BC. Heraklion Archaeological Museum. Black Background. <br />
<br />
This Minoan fresco probably depicted a typical banquet at Knossos Palace held in the Upper Hall of the West Wing. Figures seated on 'camp stools' are raising cups and kylikes. A female figure with Mediterranean features wearing vivid make up named ' La Parisienne' by Arthur Evans, has a large 'sacred knot' bunched behind her head and maybe she was a priestess.
  • The Minoan ' Camp Stool' wall art fresco from the West vwing of Knossos Palace, 1450-1300 BC. Heraklion Archaeological Museum.<br />
<br />
This Minoan fresco probably depicted a typical banquet at Knossos Palace held in the Upper Hall of the West Wing. Figures seated on 'camp stools' are raising cups and kylikes. A female figure with Mediterranean features wearing vivid make up named ' La Parisienne' by Arthur Evans, has a large 'sacred knot' bunched behind her head and maybe she was a priestess.
  • Painted colour verion of  Centaur with Eros on its back, a 1st - 2nd AD Roman sculpture in marble. Tradition has it that a centaur be a monstrous half-man half-horse mythical creature. In this Roman statue the old centaur is being ridden by Eros (Cupid), the Greek god of Love represented in the form of a young wing child. The sculpture is a copy of a Greek original  attributed to school sculpture of Aphrodisias (Turkey) can be dating in the 2nd century BC. The Borghese Collection inv MR 122 ( or Ma 562 ), Louvre Museum Paris
  • Painted colour verion of  Centaur with Eros on its back, a 1st - 2nd AD Roman sculpture in marble. Tradition has it that a centaur be a monstrous half-man half-horse mythical creature. In this Roman statue the old centaur is being ridden by Eros (Cupid), the Greek god of Love represented in the form of a young wing child. The sculpture is a copy of a Greek original  attributed to school sculpture of Aphrodisias (Turkey) can be dating in the 2nd century BC. The Borghese Collection inv MR 122 ( or Ma 562 ), Louvre Museum Paris
  • Centaur with Eros on its back, a 1st - 2nd AD Roman sculpture in marble. Tradition has it that a centaur be a monstrous half-man half-horse mythical creature. In this Roman statue the old centaur is being ridden by Eros (Cupid), the Greek god of Love represented in the form of a young wing child. The sculpture is a copy of a Greek original  attributed to school sculpture of Aphrodisias (Turkey) can be dating in the 2nd century BC. The Borghese Collection inv MR 122 ( or Ma 562 ), Louvre Museum Paris
  • Centaur with Eros on its back, a 1st - 2nd AD Roman sculpture in marble. Tradition has it that a centaur be a monstrous half-man half-horse mythical creature. In this Roman statue the old centaur is being ridden by Eros (Cupid), the Greek god of Love represented in the form of a young wing child. The sculpture is a copy of a Greek original  attributed to school sculpture of Aphrodisias (Turkey) can be dating in the 2nd century BC. The Borghese Collection inv MR 122 ( or Ma 562 ), Louvre Museum Paris
  • Centaur with Eros on its back, a 1st - 2nd AD Roman sculpture in marble. Tradition has it that a centaur be a monstrous half-man half-horse mythical creature. In this Roman statue the old centaur is being ridden by Eros (Cupid), the Greek god of Love represented in the form of a young wing child. The sculpture is a copy of a Greek original  attributed to school sculpture of Aphrodisias (Turkey) can be dating in the 2nd century BC. The Borghese Collection inv MR 122 ( or Ma 562 ), Louvre Museum Paris
  • Centaur with Eros on its back, a 1st - 2nd AD Roman sculpture in marble. Tradition has it that a centaur be a monstrous half-man half-horse mythical creature. In this Roman statue the old centaur is being ridden by Eros (Cupid), the Greek god of Love represented in the form of a young wing child. The sculpture is a copy of a Greek original  attributed to school sculpture of Aphrodisias (Turkey) can be dating in the 2nd century BC. The Borghese Collection inv MR 122 ( or Ma 562 ), Louvre Museum Paris
  • Centaur with Eros on its back, a 1st - 2nd AD Roman sculpture in marble. Tradition has it that a centaur be a monstrous half-man half-horse mythical creature. In this Roman statue the old centaur is being ridden by Eros (Cupid), the Greek god of Love represented in the form of a young wing child. The sculpture is a copy of a Greek original  attributed to school sculpture of Aphrodisias (Turkey) can be dating in the 2nd century BC. The Borghese Collection inv MR 122 ( or Ma 562 ), Louvre Museum Paris
  • Tlos acropolis and Lycian house and temple-type rock-cut tombs. Tlos is where the mythological hero Bellerophon winged flying horse Pegasus lived. Anatolia, Turkey
  • Ancient Egyptian statue of king Horemheb & his wife Mutnedjemet, granodiorite, New Kingdom, 18th Dynasty, (1319-1292 BC), Karnak, Temple of Amon. Egyptian Museum, Turin. white background.<br />
<br />
Queen Mutnedjemet is depicted in the role of Hathor, the sun god, embracing her husband. The statue is unfinished with details missing including the stripes in the Royal kilt, the wings of a vulture on the queens headdress and bound enemies on one side of the throne. On the back of the throne is a long inscription recording the coronation of Horemheb who was the general of Tutenkhamun before ascending to the throne. Drovetto collection. C 1379.
  • Ancient Egyptian statue of king Horemheb & his wife Mutnedjemet, granodiorite, New Kingdom, 18th Dynasty, (1319-1292 BC), Karnak, Temple of Amon. Egyptian Museum, Turin. black background.<br />
<br />
Queen Mutnedjemet is depicted in the role of Hathor, the sun god, embracing her husband. The statue is unfinished with details missing including the stripes in the Royal kilt, the wings of a vulture on the queens headdress and bound enemies on one side of the throne. On the back of the throne is a long inscription recording the coronation of Horemheb who was the general of Tutenkhamun before ascending to the throne. Drovetto collection. C 1379.
  • Ancient Egyptian statue of king Horemheb & his wife Mutnedjemet, granodiorite, New Kingdom, 18th Dynasty, (1319-1292 BC), Karnak, Temple of Amon. Egyptian Museum, Turin. Grey Background.<br />
<br />
Queen Mutnedjemet is depicted in the role of Hathor, the sun god, embracing her husband. The statue is unfinished with details missing including the stripes in the Royal kilt, the wings of a vulture on the queens headdress and bound enemies on one side of the throne. On the back of the throne is a long inscription recording the coronation of Horemheb who was the general of Tutenkhamun before ascending to the throne. Drovetto collection. C 1379.
  • Ancient Egyptian statue of king Horemheb & his wife Mutnedjemet, granodiorite, New Kingdom, 18th Dynasty, (1319-1292 BC), Karnak, Temple of Amon. Egyptian Museum, Turin. Grey Background.<br />
<br />
Queen Mutnedjemet is depicted in the role of Hathor, the sun god, embracing her husband. The statue is unfinished with details missing including the stripes in the Royal kilt, the wings of a vulture on the queens headdress and bound enemies on one side of the throne. On the back of the throne is a long inscription recording the coronation of Horemheb who was the general of Tutenkhamun before ascending to the throne. Drovetto collection. C 1379.
  • Ancient Egyptian sarcophagus lid of singer Asset, pink granite, 19th Dynasty (1279-1213 BC.) Thebes, Khokha, TT32. Egyptian Museum, Turin. Grey background.<br />
<br />
The lid of the coffin of  Singer Asset of Amon, wife of Djehutymes, depicts her wearing a wig and a broad collar. on her breast is an image of the sky goddess Nut with outstretched wings. In her right hand she hold a rattle called a sistrum, a cult implement indicating her devotion to Hathor, goddess of fertility. In her left hand she holds a standard with an image of Hathor's head depicted as a cow. The inscribed bands contain utterances by the gods of the netherworld placing the deceased under their protection
  • Ancient Egyptian sarcophagus lid of singer Asset, pink granite, 19th Dynasty (1279-1213 BC.) Thebes, Khokha, TT32. Egyptian Museum, Turin. Grey background.<br />
<br />
The lid of the coffin of  Singer Asset of Amon, wife of Djehutymes, depicts her wearing a wig and a broad collar. on her breast is an image of the sky goddess Nut with outstretched wings. In her right hand she hold a rattle called a sistrum, a cult implement indicating her devotion to Hathor, goddess of fertility. In her left hand she holds a standard with an image of Hathor's head depicted as a cow. The inscribed bands contain utterances by the gods of the netherworld placing the deceased under their protection
  • Ancient Egyptian Cartonnage funerary mask from the Third Intermediate Period, 22nd Dynasty (944-1025BC).  Egyptian Museum, Turin. <br />
<br />
Made from overlapping papyrus and cloth this cartonnage has been decorated with a weskh collar over which are depicted two crossed cloth strips that represent the last bandages of the deceased mummy wrappings. below this is depicted the rams head of god Amon-Ra against the out stretched wings of a vulture
  • Ancient Egyptian Cartonnage funerary mask from the Third Intermediate Period, 22nd Dynasty (944-1025BC).  Egyptian Museum, Turin. white background<br />
Made from overlapping papyrus and cloth this cartonnage has been decorated with a weskh collar over which are depicted two crossed cloth strips that represent the last bandages of the deceased mummy wrappings. below this is depicted the rams head of god Amon-Ra against the out stretched wings of a vulture
  • Ancient Egyptian Cartonnage funerary mask from the Third Intermediate Period, 22nd Dynasty (944-1025BC).  Egyptian Museum, Turin. Grey background<br />
<br />
Made from overlapping papyrus and cloth this cartonnage has been decorated with a weskh collar over which are depicted two crossed cloth strips that represent the last bandages of the deceased mummy wrappings. below this is depicted the rams head of god Amon-Ra against the out stretched wings of a vulture
  • Ancient Egyptian Cartonnage funerary mask from the Third Intermediate Period, 22nd Dynasty (944-1025BC).  Egyptian Museum, Turin. Grey background<br />
<br />
Made from overlapping papyrus and cloth this cartonnage has been decorated with a weskh collar over which are depicted two crossed cloth strips that represent the last bandages of the deceased mummy wrappings. below this is depicted the rams head of god Amon-Ra against the out stretched wings of a vulture
  • Ancient Egyptian Cartonnage funerary mask from the Third Intermediate Period, 22nd Dynasty (944-1025BC).  Egyptian Museum, Turin. white background<br />
Made from overlapping papyrus and cloth this cartonnage has been decorated with a weskh collar over which are depicted two crossed cloth strips that represent the last bandages of the deceased mummy wrappings. below this is depicted the rams head of god Amon-Ra against the out stretched wings of a vulture
  • Ancient Egyptian Cartonnage funerary mask from the Third Intermediate Period, 22nd Dynasty (944-1025BC).  Egyptian Museum, Turin. <br />
<br />
Made from overlapping papyrus and cloth this cartonnage has been decorated with a weskh collar over which are depicted two crossed cloth strips that represent the last bandages of the deceased mummy wrappings. below this is depicted the rams head of god Amon-Ra against the out stretched wings of a vulture
  • Ancient Egyptian Cartonnage funerary mask from the Third Intermediate Period, 22nd Dynasty (944-1025BC).  Egyptian Museum, Turin. Grey background<br />
<br />
Made from overlapping papyrus and cloth this cartonnage has been decorated with a weskh collar over which are depicted two crossed cloth strips that represent the last bandages of the deceased mummy wrappings. below this is depicted the rams head of god Amon-Ra against the out stretched wings of a vulture
  • Ancient Egyptian Cartonnage funerary mask from the Third Intermediate Period, 22nd Dynasty (944-1025BC).  Egyptian Museum, Turin. Grey background<br />
<br />
Made from overlapping papyrus and cloth this cartonnage has been decorated with a weskh collar over which are depicted two crossed cloth strips that represent the last bandages of the deceased mummy wrappings. below this is depicted the rams head of god Amon-Ra against the out stretched wings of a vulture
  • Minoan  pottery coffin chest with gabled lid and winged griffin decoration, Palaikastro 1370-1300 BC, Heraklion Archaeological  Museum, grey background.<br />
<br />
The larnax chest is decorated the same on both sides with a winged griffin, horns of consecration and double axes, lilies growing from a rock, a large bird and a fish among astral symbols
  • Minoan  pottery coffin chest with gabled lid and winged griffin decoration, Palaikastro 1370-1300 BC, Heraklion Archaeological  Museum.<br />
<br />
The larnax chest is decorated the same on both sides with a winged griffin, horns of consecration and double axes, lilies growing from a rock, a large bird and a fish among astral symbols
  • Hellenstic marble statue group of Aphrodite (Venus) with Pan and Eros, Circa 100 BC, House of Poseidonaistai of Beryttos, Delos, Athens National Archaeological Museum.  Cat no 3335. Against grey.<br />
<br />
The nude goddess Aphrodite (Venus) attempte to fend off goat footed Pan who make erotic advances towards her. Aphrodite holds a sandal in her right hand threatening Pan while the winged god Eros comes to her aid. According to an inscription on the statues base it was dedicated to Dionysus of Beryttos (Beirut) to hai ancestral gods.
  • Hellenstic marble statue group of Aphrodite (Venus) with Pan and Eros, Circa 100 BC, House of Poseidonaistai of Beryttos, Delos, Athens National Archaeological Museum.  Cat no 3335. Against black<br />
<br />
The nude goddess Aphrodite (Venus) attempte to fend off goat footed Pan who make erotic advances towards her. Aphrodite holds a sandal in her right hand threatening Pan while the winged god Eros comes to her aid. According to an inscription on the statues base it was dedicated to Dionysus of Beryttos (Beirut) to hai ancestral gods.
  • Hellenstic marble statue group of Aphrodite (Venus) with Pan and Eros, Circa 100 BC, House of Poseidonaistai of Beryttos, Delos, Athens National Archaeological Museum.  Cat no 3335. Against grey.<br />
<br />
The nude goddess Aphrodite (Venus) attempte to fend off goat footed Pan who make erotic advances towards her. Aphrodite holds a sandal in her right hand threatening Pan while the winged god Eros comes to her aid. According to an inscription on the statues base it was dedicated to Dionysus of Beryttos (Beirut) to hai ancestral gods.
  • Hellenstic marble statue group of Aphrodite (Venus) with Pan and Eros, Circa 100 BC, House of Poseidonaistai of Beryttos, Delos, Athens National Archaeological Museum.  Cat no 3335. Against grey.<br />
<br />
The nude goddess Aphrodite (Venus) attempte to fend off goat footed Pan who make erotic advances towards her. Aphrodite holds a sandal in her right hand threatening Pan while the winged god Eros comes to her aid. According to an inscription on the statues base it was dedicated to Dionysus of Beryttos (Beirut) to hai ancestral gods.
  • Hellenstic marble statue group of Aphrodite (Venus) with Pan and Eros, Circa 100 BC, House of Poseidonaistai of Beryttos, Delos, Athens National Archaeological Museum.  Cat no 3335. Against black<br />
<br />
The nude goddess Aphrodite (Venus) attempte to fend off goat footed Pan who make erotic advances towards her. Aphrodite holds a sandal in her right hand threatening Pan while the winged god Eros comes to her aid. According to an inscription on the statues base it was dedicated to Dionysus of Beryttos (Beirut) to hai ancestral gods.
  • Hellenstic marble statue group of Aphrodite (Venus) with Pan and Eros, Circa 100 BC, House of Poseidonaistai of Beryttos, Delos, Athens National Archaeological Museum.  Cat no 3335. Against grey.<br />
<br />
The nude goddess Aphrodite (Venus) attempte to fend off goat footed Pan who make erotic advances towards her. Aphrodite holds a sandal in her right hand threatening Pan while the winged god Eros comes to her aid. According to an inscription on the statues base it was dedicated to Dionysus of Beryttos (Beirut) to hai ancestral gods.
  • Alaca Hoyuk - Hittite lion sculpture corner Stone . Andesite. Alacahoyuk, 1399 - 1301 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Corner stone with sculpted lion, bull and winged sun disk. It was discovered at the right side of the Alacahoyuk sphinx door. The lion puts his front legs on a small bull. There is a Hittite winged sun disk on the abdomen of the lion, which can be seen from a lower location. The position of the sun course indicates that the stone is situated in a high place.<br />
<br />
Against a brown gray background.
  • Phrygian bronze couldron with decorated winged figure handles . From Gordion. Phrygian Collection, 8th century BC - Museum of Anatolian Civilisations Ankara. Turkey.
  • Phrygian temple of Aslankaya, 7th century BC. Phyrigian Valley, Emre Lake, near Döğer, Turkey.<br />
<br />
On the triangular roof over the facade are two sphinxes (winged figures with the head of a human and the body of a lion), facing one another, take place. In the main facade, below, the sphinxes in a niche, a cult statue of Kybele or the Great Mother (vandalised and destroyed) was flanked by two lions. This main facade is ornamented with relief geometrical patterns.
  • Phrygian temple of Aslankaya, 7th century BC. Phyrigian Valley, Emre Lake, near Döğer, Turkey.<br />
<br />
On the triangular roof over the facade are two sphinxes (winged figures with the head of a human and the body of a lion), facing one another, take place. In the main facade, below, the sphinxes in a niche, a cult statue of Kybele or the Great Mother (vandalised and destroyed) was flanked by two lions. This main facade is ornamented with relief geometrical patterns.
  • close up of the facade and relief sculptures of the Phrygian temple of Aslankaya, 7th century BC. Phyrigian Valley, Emre Lake, near Döğer, Turkey.<br />
<br />
<br />
On the triangular roof over the facade are two sphinxes (winged figures with the head of a human and the body of a lion), facing one another, take place. In the main facade, below, the sphinxes in a niche, a cult statue of Kybele or the Great Mother (vandalised and destroyed) was flanked by two lions. This main facade is ornamented with relief geometrical patterns.
  • Close up of two sphinxes relief scul[ptures of the Phrygian temple of Aslankaya, 7th century BC. Phyrigian Valley, Emre Lake, near Doger, Turkey.<br />
<br />
On the triangular roof over the facade are two sphinxes (winged figures with the head of a human and the body of a lion), facing one another, take place. In the main facade, below, the sphinxes in a niche, a cult statue of Kybele or the Great Mother (vandalised and destroyed) was flanked by two lions. This main facade is ornamented with relief geometrical patterns.
  • Close up of two sphinxes relief scul[ptures of the Phrygian temple of Aslankaya, 7th century BC. Phyrigian Valley, Emre Lake, near Doger, Turkey.<br />
<br />
On the triangular roof over the facade are two sphinxes (winged figures with the head of a human and the body of a lion), facing one another, take place. In the main facade, below, the sphinxes in a niche, a cult statue of Kybele or the Great Mother (vandalised and destroyed) was flanked by two lions. This main facade is ornamented with relief geometrical patterns.
  • Phrygian temple of Aslankaya, 7th century BC. Phyrigian Valley, Emre Lake, near Döğer, Turkey.<br />
<br />
On the triangular roof over the facade are two sphinxes (winged figures with the head of a human and the body of a lion), facing one another, take place. In the main facade, below, the sphinxes in a niche, a cult statue of Kybele or the Great Mother (vandalised and destroyed) was flanked by two lions. This main facade is ornamented with relief geometrical patterns.
  • Close up of 2 standing lions of the Phrygian temple of Aslankaya, 7th century BC. Phyrigian Valley, Emre Lake, near Döğer, Turkey.<br />
<br />
On the triangular roof over the facade are two sphinxes (winged figures with the head of a human and the body of a lion), facing one another, take place. In the main facade, below, the sphinxes in a niche, a cult statue of Kybele or the Great Mother (vandalised and destroyed) was flanked by two lions. This main facade is ornamented with relief geometrical patterns.
  • Detail of a Roman Sebasteion relief  sculpture of Agon Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
The scene is an allegory of the athletic contest (or agon). The pillar was a beareded head of Hermes the god of the Gymnasium. Nearby is a palm of victory and a prize table with victory ribbon on it. Two winged baby Eros figures are struggling over a palm branch ( mostly broken): they act out the idea of contest, which is personified in the youthful figure behind. He hold another palm of victory: he is Agon himself.
  • Close up of a Roman Sebasteion relief  sculpture of  Bellerophon Aphrodisias Museum, Aphrodisias, Turkey.    <br />
<br />
Bellerophon was a Lykian hero and was claimed as a founder of Aphrodisias. He holds his winged horse Pegasos. The deign was modelled on another relief panel in the series “Royal hero with Dod Hunting”. The carving is poor and the sculptor may have been a novice.modelled
  • Roman Sebasteion relief sculpture of emperor Augustus and Goddess Victory, Aphrodisias Museum, Aphrodisias, Turkey.   Against a white background.<br />
<br />
The naked emperor Augustus stands in majesty with the winged goddess Victory(Nike). He carried a spear and has an eagle, the bird representing Zeus, at his feet. Victory is crowning a military trophy - a rough post with enemy armour attached to it. Beneath the trophy is a barbarian captive, his hands tied behind his back.
  • Roman Sebasteion relief sculpture of emperor Augustus and Goddess Victory, Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.<br />
<br />
The naked emperor Augustus stands in majesty with the winged goddess Victory(Nike). He carried a spear and has an eagle, the bird representing Zeus, at his feet. Victory is crowning a military trophy - a rough post with enemy armour attached to it. Beneath the trophy is a barbarian captive, his hands tied behind his back.
  • Roman Sebasteion relief sculpture of emperor Augustus and Goddess Victory, Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
The naked emperor Augustus stands in majesty with the winged goddess Victory(Nike). He carried a spear and has an eagle, the bird representing Zeus, at his feet. Victory is crowning a military trophy - a rough post with enemy armour attached to it. Beneath the trophy is a barbarian captive, his hands tied behind his back.
  • Roman Sebasteion relief  sculpture of Victory of the Emperors, Aphrodisias Museum, Aphrodisias, Turkey.   Against a white background.<br />
<br />
The inscription identifies the subject of the relief panel as the “Victory of the Emperors” (Neike Sebaston), and refers to the conquest of Armenia and Britannica in its adjacent relief panels. A half naked Victory flies diagonally across the panel, carrying a military trophy over her shoulder. A small winged Eros, now damaged was clinging to the end of the trophy pole. Victory was a key imperial attribute
  • Roman Sebasteion relief  sculpture of Victory of the Emperors, Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
The inscription identifies the subject of the relief panel as the “Victory of the Emperors” (Neike Sebaston), and refers to the conquest of Armenia and Britannica in its adjacent relief panels. A half naked Victory flies diagonally across the panel, carrying a military trophy over her shoulder. A small winged Eros, now damaged was clinging to the end of the trophy pole. Victory was a key imperial attribute
  • Roman Sebasteion relief  sculpture of the goddess Victory, Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.<br />
<br />
A winged goddess Victory( Nike) flies past carrying a military trophy. She wears a long light dress and has one breast and one leg exposed. Her clothing is set in motion by her swift flight.
  • Roman Sebasteion relief  sculpture of the goddess Victory, Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
A winged goddess Victory( Nike) flies past carrying a military trophy. She wears a long light dress and has one breast and one leg exposed. Her clothing is set in motion by her swift flight.
  • Roman Sebasteion relief  sculpture of the goddess Victory, Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
A winged goddess Victory( Nike) flies past carrying a military trophy. She wears a long light dress and has one breast and one leg exposed. Her clothing is set in motion by her swift flight.
  • Close up of a Roman Sebasteion relief  sculpture of Leda and swan, Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.<br />
<br />
Zeus disguised as a swan assaults Spartan princess Leda. The bird stands on the tips of its outspread wings and presses its webbed foot on the thigh of modest, struggling Leda. The swan is supported from behind a small Eros. From this encounter came a large egg from which were born Helen and the Dionskouroi twins, Kastor and Polydeukes
  • Close up of a Roman Sebasteion relief  sculpture of Leda and swan, Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
Zeus disguised as a swan assaults Spartan princess Leda. The bird stands on the tips of its outspread wings and presses its webbed foot on the thigh of modest, struggling Leda. The swan is supported from behind a small Eros. From this encounter came a large egg from which were born Helen and the Dionskouroi twins, Kastor and Polydeukes
  • Roman Sebasteion relief  sculpture of Leda and swan, Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.<br />
<br />
Zeus disguised as a swan assaults Spartan princess Leda. The bird stands on the tips of its outspread wings and presses its webbed foot on the thigh of modest, struggling Leda. The swan is supported from behind a small Eros. From this encounter came a large egg from which were born Helen and the Dionskouroi twins, Kastor and Polydeukes
  • Roman Sebasteion relief  sculpture of Leda and swan, Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
Zeus disguised as a swan assaults Spartan princess Leda. The bird stands on the tips of its outspread wings and presses its webbed foot on the thigh of modest, struggling Leda. The swan is supported from behind a small Eros. From this encounter came a large egg from which were born Helen and the Dionskouroi twins, Kastor and Polydeukes
  • Close up of a Roman Sebasteion relief  sculpture of Agon Aphrodisias Museum, Aphrodisias, Turkey.     Against a white background.<br />
<br />
The scene is an allegory of the athletic contest (or agon). The pillar was a beareded head of Hermes the god of the Gymnasium. Nearby is a palm of victory and a prize table with victory ribbon on it. Two winged baby Eros figures are struggling over a palm branch ( mostly broken): they act out the idea of contest, which is personified in the youthful figure behind. He hold another palm of victory: he is Agon himself.
  • Close up of a Roman Sebasteion relief  sculpture of Agon Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.<br />
<br />
The scene is an allegory of the athletic contest (or agon). The pillar was a beareded head of Hermes the god of the Gymnasium. Nearby is a palm of victory and a prize table with victory ribbon on it. Two winged baby Eros figures are struggling over a palm branch ( mostly broken): they act out the idea of contest, which is personified in the youthful figure behind. He hold another palm of victory: he is Agon himself.
  • Close up of a Roman Sebasteion relief  sculpture of Agon Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
The scene is an allegory of the athletic contest (or agon). The pillar was a beareded head of Hermes the god of the Gymnasium. Nearby is a palm of victory and a prize table with victory ribbon on it. Two winged baby Eros figures are struggling over a palm branch ( mostly broken): they act out the idea of contest, which is personified in the youthful figure behind. He hold another palm of victory: he is Agon himself.
  • Roman Sebasteion relief  sculpture of Agon Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
The scene is an allegory of the athletic contest (or agon). The pillar was a beareded head of Hermes the god of the Gymnasium. Nearby is a palm of victory and a prize table with victory ribbon on it. Two winged baby Eros figures are struggling over a palm branch ( mostly broken): they act out the idea of contest, which is personified in the youthful figure behind. He hold another palm of victory: he is Agon himself.
  • Close up of a Roman Sebasteion relief  sculpture of  Bellerophon Aphrodisias Museum, Aphrodisias, Turkey.    Against a white background.<br />
<br />
Bellerophon was a Lykian hero and was claimed as a founder of Aphrodisias. He holds his winged horse Pegasos. The deign was modelled on another relief panel in the series “Royal hero with Dod Hunting”. The carving is poor and the sculptor may have been a novice.modelled
  • Close up of a Roman Sebasteion relief  sculpture of  Bellerophon Aphrodisias Museum, Aphrodisias, Turkey.  Against a black background.<br />
<br />
Bellerophon was a Lykian hero and was claimed as a founder of Aphrodisias. He holds his winged horse Pegasos. The deign was modelled on another relief panel in the series “Royal hero with Dod Hunting”. The carving is poor and the sculptor may have been a novice.modelled
  • Roman Sebasteion relief  sculpture of  Bellerophon Aphrodisias Museum, Aphrodisias, Turkey.    Against a white background.<br />
<br />
Bellerophon was a Lykian hero and was claimed as a founder of Aphrodisias. He holds his winged horse Pegasos. The deign was modelled on another relief panel in the series “Royal hero with Dod Hunting”. The carving is poor and the sculptor may have been a novice.modelled
  • Roman Mosaic - The Oceanos & Tethys Mosaic, fom The House of Oceanos, Zeugma.  2nd - 3rd century AD. Zeugma Mosaic Museum, Gaziantep, Turkey.<br />
<br />
The Oceanos and Tethys Mosaic is the floor mosaic of the shallow pool of the House of Oceanos. In this mosaic, which belongs to the Early Roman Empire Period, Oceanos, the river god who is the origin of life, and his wife Tethys are represented. At the middle of the mosaic which is surrounded by a geometric triple tress borders there are Oceanos and his wife Tethys. Around them there are Eros figures riding various species of fish and dolphins symbolising the abundance of the sea. The most represented attributes of Oceanos are snake and fish.<br />
<br />
 in the mosaic, Oceanos is seen with chelas. Those chelas are among his most characteristic attributes. Though the tail of an eel is represented as his feet in the figures on ceramics, within the scope of the art of mosaic he is represented as a bust and only with the chelas on his head such as this one. His wife Tethys is right by his side and represented with wings upon her forehead. Between them, there is the dragon called Cetos which is a mythological sea creature. As is seen in the coins of Zeugma, the Euphrates River is expressed as a dragon. Besides these two figures, on the top-right of the mosaic, there is a young male figure which is thought to be Pan, the patron of fishermen and shepherds. The fact that Eros figures and Pan which are the side figures are located outward implies that the pool is built to allow walking around. <br />
<br />
The expression of the Oceanos as not an ocean but a river surrounding the world: By that the water, which vapours with the heat of the sun and then gives life to the nature by becoming rain, and which after being used by the nature reaches again the sea via the rivers is expressed. The water becomes aware of itself and its function by that cycle. This phenomenon is represented in the mosaic panel as the diversification of Ocenaos through unification wit
  • Roman relief sculpted sarcophagus with winged youths, 2nd century AD, Perge, inv 380. Antalya Archaeology Museum, Turkey
  • Roman relief sculpted sarcophagus with winged youths, 2nd century AD, Perge, inv 380. Antalya Archaeology Museum, Turkey
  • Roman relief sculpted sarcophagus with winged youths, 2nd century AD, Perge, inv 380. Antalya Archaeology Museum, Turkey
  • Phrygian relief sculpted orthostat stone panel. Andesite, Ahiyakup, Ankara Phrygian, 1200-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Sphinx. Curly-haired and bearded, the figure has the head of a human and the body of a lion, with its wings extending down to its tail. Muscles in its legs are schematic. There is a band on its head. <br />
<br />
Against a grey art background.
  • Photo of Phrygian relief sculpted orthostat stone panel. Andesite, Ahiyakup, Ankara Phrygian, 1200-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Sphinx. Curly-haired and bearded, the figure has the head of a human and the body of a lion, with its wings extending down to its tail. Muscles in its legs are schematic. There is a band on its head. <br />
<br />
Against a brown art background.
  • Hittite monumental relief sculpted orthostat stone panel from Water Gate Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
 A portion of the body and the feet of the Sphinx. Its chest was processed as fish flakes. Parallel lines on its wings draw attention.  <br />
<br />
On a white background.
  • Picture & image of Hittite relief sculpted orthostat stone panel of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Two figures lying over the lion. There is a crescent at the head of the winged god at the front. It is thought that the figure at the front is moon god and the one at the rear is sun god.
  • Hittite relief sculpted orthostat stone panel of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Two figures lying over the lion. There is a crescent at the head of the winged god at the front. It is thought that the figure at the front is moon god and the one at the rear is sun god.
  • Hittite relief sculpted orthostat stone panel of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Two figures lying over the lion. There is a crescent at the head of the winged god at the front. It is thought that the figure at the front is moon god and the one at the rear is sun god. <br />
<br />
On a White Background.
  • Hittite relief sculpted orthostat stone panel of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Two figures lying over the lion. There is a crescent at the head of the winged god at the front. It is thought that the figure at the front is moon god and the one at the rear is sun god. <br />
<br />
On a grey art background.
  • Photo of Hittite relief sculpted orthostat stone panel of Herald's Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Bird-headed, winged figures of human body. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
These figures are called as "Winged Griffin Demons". Embossing is constructed symmetrically. Their hands are on their heads. It is assumed that they carry the heavens. <br />
<br />
Against a black background.
  • Hittite relief sculpted orthostat stone panel of Herald's Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Bird-headed, winged figures of human body. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
These figures are called as "Winged Griffin Demons". Embossing is constructed symmetrically. Their hands are on their heads. It is assumed that they carry the heavens. <br />
<br />
Against a grey art background.
  • Photo of Hittite relief sculpted orthostat stone panel of Herald's Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Bird-headed, winged figures of human body. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
These figures are called as "Winged Griffin Demons". Embossing is constructed symmetrically. Their hands are on their heads. It is assumed that they carry the heavens. <br />
<br />
Against a black background.
  • Hittite relief sculpted orthostat stone panel of Herald's Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Bird-headed, winged figures of human body. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
These figures are called as "Winged Griffin Demons". Embossing is constructed symmetrically. Their hands are on their heads. It is assumed that they carry the heavens.
  • Hittite relief sculpted orthostat stone panel of Herald's Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Chimera. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Three-headed sphinxes. Winged lion, with a bird of prey's head on the end of its tail, also has a human head with hair in plaits and a conical headdress. The details in his feet are very distinct.
  • Hittite relief sculpted orthostat stone panel of Herald's Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Chimera. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Three-headed sphinxes. Winged lion, with a bird of prey's head on the end of its tail, also has a human head with hair in plaits and a conical headdress. The details in his feet are very distinct.
  • Hittite relief sculpted orthostat stone panel of Herald's Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Two sphinxes standing on their hind legs on both sides attack to the winged horse standing on its hind legs in the middle.
  • Photo of Hittite relief sculpted orthostat stone panel of Herald's Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Two sphinxes standing on their hind legs on both sides attack to the winged horse standing on its hind legs in the middle.  <br />
<br />
Against a black background.
  • Hittite relief sculpted orthostat stone panel of Herald's Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Two sphinxes standing on their hind legs on both sides attack to the winged horse standing on its hind legs in the middle.  <br />
<br />
Against a grey art background.
  • Hittite relief sculpted orthostat stone panel of Herald's Wall. Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
On the left is a winged mixed creature with a human head and body who has a scorpion tail and bird legs; on the right is a human-like god. The figures fight with a winged bull standing on its hind legs. The scorpion-man is known as Girtablull. <br />
<br />
Against a grey art background.
  • Hittite relief sculpted orthostat stone panel of Herald's Wall. Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
On the left is a winged mixed creature with a human head and body who has a scorpion tail and bird legs; on the right is a human-like god. The figures fight with a winged bull standing on its hind legs. The scorpion-man is known as Girtablull. <br />
<br />
Against a brown art background.
  • Aslantepe Hittite relief sculpted orthostat stone panel Limestone, Aslantepe, Malatya, 1200-700 BC. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
A short-dressed and winged demon (mixed creature), and on the third face is the Storm God. The Storm God holds a triple lightning bundle in his left hand and a hammer in his right hand. His both arms are in an upright position. <br />
<br />
Against a gray background.
  • Aslantepe Hittite relief sculpted orthostat stone panel. Limestone, Aslantepe Malatya, 1200-700 B.C. Anatolian Civilizations Museum, Ankara, Turkey. Winged protective god holds a branch with fruits. in his left hand, and a fruit in his right hand.<br />
<br />
Against a black background.
  • Aslantepe Hittite relief sculpted orthostat stone panel. Limestone, Aslantepe Malatya, 1200-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey. Winged protective god holds a branch with fruits. in his left hand, and a fruit in his right hand.<br />
<br />
Against a white background.
  • Aslantepe Hittite relief sculpted orthostat stone panel. Limestone, Aslantepe Malatya, 1200-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Winged protective god holds a branch with fruits. in his left hand, and a fruit in his right hand.<br />
<br />
Against a gray background.
  • Aslantepe Hittite relief sculpted orthostat stone panel. Limestone, Aslantepe Malatya, 1200-700 B.C. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Winged protective god holds a branch with fruits. in his left hand, and a fruit in his right hand.<br />
<br />
Against a grey art background.
  • Alaca Hoyuk - Hittite lion sculptures corner Stone. . Andesite. Alacahoyuk, 1399 - 1301 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Corner stone decorated by lion, bull and winged sun disk. It was discovered at the right side of the Alacahoyuk sphinx door. The lion puts his front legs on a small bull. There is a Hittite winged sun disk on the abdomen of the lion, which can be seen from a lower location. The position of the sun course indicates that the stone is situated in a high place. <br />
<br />
Against a brown gray background.
  • Alaca Hoyuk - Hittite lion sculpture corner Stone . Andesite. Alacahoyuk, 1399 - 1301 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Corner stone with sculpted lion, bull and winged sun disk. It was discovered at the right side of the Alacahoyuk sphinx door. The lion puts his front legs on a small bull. There is a Hittite winged sun disk on the abdomen of the lion, which can be seen from a lower location. The position of the sun course indicates that the stone is situated in a high place.<br />
<br />
Against a black background.
  • Pictures & images of the North Gate Hittite sculpture stele depicting Hittite winged God. 8th century BC. Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey. Against art background
  • Pictures & images of the North Gate Hittite sculpture statue depicting a mythical winged god with a human head. 8the century BC.  Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey. Against art background
  • Pictures & images of the North Gate Hittite sculpture statue depicting a mythical winged god with a human head. 8the century BC.  Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey. Against grey art background
  • Pictures & images of the North Gate Hittite sculpture stele depicting Hittite winged God. 8th century BC. Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey. Against white background
  • Pictures & images of the North Gate Hittite sculpture stele depicting a winged bird God. 8the century BC.  Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey. Against black background
  • Pictures & images of the North Gate Hittite sculpture stele depicting Hittite winged God. 8th century BC. Karatepe Aslantas Open-Air Museum (Karatepe-Aslantaş Açık Hava Müzesi), Osmaniye Province, Turkey. Against black background
  • Picture and image of the stone sculptures of angels and a Sister of Charity. in memory of the surgeon Luigi Pastorini, the sculptor Navone has conceived a complex allegory, in which a feminine winged figure, representing the Medicine, distributes some wealth to a Sister of Charity who holds an ill baby. She is helped by another winged figure, the Munificence, whose regard is turned towards the deceased. The “Cappellone” Sisters – they are so named because of their large head covering – were so committed to provide aid to the poor that they have become the symbol of the assistance to the needy. Navone has succeeded in harmonizing the Medicine allegory and its delicacy with the raw representation of the poor people: in fact, as from the middle years of the bourgeois realism, the poor were portrayed in a very realistic way, without any idealization. Sculpted by G. Navone 1902. Section A, no 28,  The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculptures of angels and a Sister of Charity. in memory of the surgeon Luigi Pastorini, the sculptor Navone has conceived a complex allegory, in which a feminine winged figure, representing the Medicine, distributes some wealth to a Sister of Charity who holds an ill baby. She is helped by another winged figure, the Munificence, whose regard is turned towards the deceased. The “Cappellone” Sisters – they are so named because of their large head covering – were so committed to provide aid to the poor that they have become the symbol of the assistance to the needy. Navone has succeeded in harmonizing the Medicine allegory and its delicacy with the raw representation of the poor people: in fact, as from the middle years of the bourgeois realism, the poor were portrayed in a very realistic way, without any idealization. Sculpted by G. Navone 1902. Section A, no 28,  The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Roman fresco wall decorations of Corridor F-G  of the Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy. Against a white background.<br />
<br />
The corridor was a covered passageway that connected the two wings of the villa, partly straight and partly curved, following the shape of the central esedra. The elements that remain are from the inner walkway. The wall is divided by slender columns. Their capitals support female figures whose architectural function is in turn to support the columns of the superstructure. The female figures hold floral garlands that link them to one another. They may be meant to represent Caryatids, the women of Caria sold into slavery, who gave the name to female figures used as supports instead of columns. The most important part of the decoration is the small pictures in the upper zone: still lifes with masks from the theater alternate with imaginary landscapes, shrines, statues of divinities, little aedicula, and altars, the whole populated by figures of peasants, fishermen, and shepherds. The scene depicting a naval battle on the curved part may well refer to the battle of Actium that led to Rome's conquest of Egypt.
  • Roman fresco wall decorations of Corridor F-G  of the Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy. Against a grey background.<br />
<br />
The corridor was a covered passageway that connected the two wings of the villa, partly straight and partly curved, following the shape of the central esedra. The elements that remain are from the inner walkway. The wall is divided by slender columns. Their capitals support female figures whose architectural function is in turn to support the columns of the superstructure. The female figures hold floral garlands that link them to one another. They may be meant to represent Caryatids, the women of Caria sold into slavery, who gave the name to female figures used as supports instead of columns. The most important part of the decoration is the small pictures in the upper zone: still lifes with masks from the theater alternate with imaginary landscapes, shrines, statues of divinities, little aedicula, and altars, the whole populated by figures of peasants, fishermen, and shepherds. The scene depicting a naval battle on the curved part may well refer to the battle of Actium that led to Rome's conquest of Egypt.
  • Roman fresco wall decorations of Corridor F-G  of the Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
The corridor was a covered passageway that connected the two wings of the villa, partly straight and partly curved, following the shape of the central esedra. The elements that remain are from the inner walkway. The wall is divided by slender columns. Their capitals support female figures whose architectural function is in turn to support the columns of the superstructure. The female figures hold floral garlands that link them to one another. They may be meant to represent Caryatids, the women of Caria sold into slavery, who gave the name to female figures used as supports instead of columns. The most important part of the decoration is the small pictures in the upper zone: still lifes with masks from the theater alternate with imaginary landscapes, shrines, statues of divinities, little aedicula, and altars, the whole populated by figures of peasants, fishermen, and shepherds. The scene depicting a naval battle on the curved part may well refer to the battle of Actium that led to Rome's conquest of Egypt.
  • Roman fresco wall decorations of Corridor F-G  of the Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
The corridor was a covered passageway that connected the two wings of the villa, partly straight and partly curved, following the shape of the central esedra. The elements that remain are from the inner walkway. The wall is divided by slender columns. Their capitals support female figures whose architectural function is in turn to support the columns of the superstructure. The female figures hold floral garlands that link them to one another. They may be meant to represent Caryatids, the women of Caria sold into slavery, who gave the name to female figures used as supports instead of columns. The most important part of the decoration is the small pictures in the upper zone: still lifes with masks from the theater alternate with imaginary landscapes, shrines, statues of divinities, little aedicula, and altars, the whole populated by figures of peasants, fishermen, and shepherds. The scene depicting a naval battle on the curved part may well refer to the battle of Actium that led to Rome's conquest of Egypt.
  • Roman fresco wall decorations of Bedroom E of the Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
Bedroom E, a private room with a bed (kline), was divided into antechamber and alcove. The room is probably a later reworking, as the doorway is off-center. The decoration of the walls, in contrast to cubicula B and D, is done in muted colors. Slender columns with a surreal superstructure frame aedicula with sacred landscapes. Three of these show travellers making a sacrifice to a herm of Athena. The images refer in various ways to the world of women. The little pictures along the walls of the antechamber show girls engaged in different activities. On the rear wall of the alcove, which has a picture with an amorous theme, the goddess Artemis is shown dressed as both huntress and moon goddess. Two Muses are on the opposite wall. The stucco decorations of the vaulted ceiling show idyllic landscapes with sacred elements and mythological scenes. In one, Phaethon asks his father Apollo to let him drive the chariot of the Sun. Other scenes show statues of Zeus, a statue probably representing Augustus as the new Mercury, disks of the sun, winged victories and grotesque figures, all done in very low relief with the elegance and delicacy of jewellery. The mosaic pavement of this room, known from a contemporary watercolor, had a pattern of squares and stars.
  • Roman oil lamp black-painted with winged phallus, inv no 27867,Secret Museum or Secret Cabinet, Naples National Archaeological Museum ,white background
  • Roman oil lamp black-painted with winged phallus, inv no 27867, Secret Museum or Secret Cabinet, Naples National Archaeological Museum , brown background
  • Late Hittite (Aramaean)  Basalt relief sculptures  from 9th Cent B.C, excavated from the west side of the citadel gate of Sam'al (Hittite: Yadiya) located at Zincirli Höyük in the Anti-Taurus Mountains of modern Turkey's Gaziantep Province. Left Deer Buck, Inv no 7712, Middle Winged Lion inv no. 7706, Left Male with Axe Inv No. 7727. Istanbul Archaeological Museum.
  • Stone statue of a winged bull. Reproduction from the facade of the throne room,  Inv AO 30043 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone statue of a winged bull. From city gate no 3,  Inv AO 19859 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone statue of a winged bull. From city gate no 3,  Inv AO 19859 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone statue of a winged bull. From city gate no 3,  Inv AO 19859 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone statue of a winged bull. Reproduction from the facade of the throne room,  Inv AO 30043 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone statue of a winged bull. Reproduction from the facade of the throne room,  Inv AO 30043 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone statue of a winged bull. From facade m, door K,  Inv AO 19857 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone statue of a winged bull. From facade m, door K,  Inv AO 19857 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone statue of a winged bull. Reproduction from the facade of the throne room,  Inv AO 30043 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone statue of a winged bull. Reproduction from the facade of the throne room,  Inv AO 30043 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone statue of a winged bull. From facade m, door K,  Inv AO 19857 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone statue of a winged bull. From facade m, door K,  Inv AO 19857 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone statue of a winged bull. From facade m, door K,  Inv AO 19857 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone statue of a winged bull. From facade m, door K,  Inv AO 19857 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone statue of a winged bull. From facade m, door K,  Inv AO 19857 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone statue of a winged bull. Reproduction from the facade of the throne room,  Inv AO 30043 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone statue of a winged bull. From facade m, door K,  Inv AO 19857 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone statue of a winged bull. From facade m, door K,  Inv AO 19857 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone statue of a winged bull. From facade m, door K,  Inv AO 19857 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Assyrian relief sculpture panel  of King  Ashurnasirpal II dressed in Ritual robes, he is depicted twice on either side of the central sacred tree of life.  Above the tree of life is a winged disc with possible the sun god Shamash in it.  From Nimrud, Iraq,  865-860 B.C North West Palace. Room B, panel 23.  British Museum Assyrian  Archaeological exhibit no WA 124531.
  • Assyrian relief sculpture panel  of King  Ashurnasirpal II dressed in Ritual robes, he is depicted twice on either side of the central sacred tree of life, flanked by winged protective spirits holding a bucket with holy water which they are sprinking with a symbolic pine cone. Above the tree of life is a winged disc with possible the sun god Shamash in it.  From Nimrud, Iraq,  865-860 B.C North West Palace. Room B, panel 23.  British Museum Assyrian  Archaeological exhibit no WA 124531.
  • Assyrian relief sculpture panel  of King Ashurnaspiral II, right, and a winged protective spirit holding a bucket of holy water in one hand and a cone in the other..  From Nimrud, Iraq,  865-860 B.C North West Palace.  British Museum Assyrian  Archaeological exhibit .
  • Assyrian relief sculpture panel  of King Ashurnaspiral II, right, and a winged protective spirit holding a bucket of holy water in one hand and a cone in the other..  From Nimrud, Iraq,  865-860 B.C North West Palace.  British Museum Assyrian  Archaeological exhibit .
  • Photo of Roman releif sculpture of Bellerophon, Aphrodisias, Turkey, Images of Roman art bas releifs. Buy as stock or photo art prints. Bellerophon was a Lykian hero who was claimed to be the founder of Aphrodisias. He holds the winged horse Pegasos. The quality of the carving is poor indicating an apprentice piece.
  • Photo of Roman releif sculpture of Bellerophon, Aphrodisias, Turkey, Images of Roman art bas releifs. Buy as stock or photo art prints. Bellerophon was a Lykian hero who was claimed to be the founder of Aphrodisias. He holds the winged horse Pegasos. The quality of the carving is poor indicating an apprentice piece.
  • Photo of Roman releif sculpture of Zeus & Leda, Aphrodisias, Turkey, Images of Roman art bas releifs. Buy as stock or photo art prints. Zeus disguised as a swan assaults the Spartan princess Leda. The bird stands on the tips of its outspread wings and presses its webbed feet onto the thigh of the stuggling Leda. The swan is supported by a small Eros. From this encounter came a large egg from which was born Helen and the Dioskouroi twins, Kastor and Polydeukes. Cut Out
  • Photo of Roman releif sculpture of Zeus & Leda, Aphrodisias, Turkey, Images of Roman art bas releifs. Buy as stock or photo art prints. Zeus disguised as a swan assaults the Spartan princess Leda. The bird stands on the tips of its outspread wings and presses its webbed feet onto the thigh of the stuggling Leda. The swan is supported by a small Eros. From this encounter came a large egg from which was born Helen and the Dioskouroi twins, Kastor and Polydeukes. Cut Out
  • Relief panels depicting a lion hunt found in the palace district in the ruins of Coba Hoyuk, also known as Sakçe Gözü or Sakcagozu, archaeological site in southeastern Anatolia, Turkey.  Warriors are fighting with the lion from a chariot and on foot. The soldiers in the chariot have armour as does the horse  The archer, probably the ruler, is under the protection of the gods, indicated by the winged sun above his head. Basalt to 750 BC, The Pergamon Museum, Berlin inv no VA 971
  • Relief panels depicting a lion hunt found in the palace district in the ruins of Coba Hoyuk, also known as Sakçe Gözü or Sakcagozu, archaeological site in southeastern Anatolia, Turkey.  Warriors are fighting with the lion from a chariot and on foot. The soldiers in the chariot have armour as does the horse  The archer, probably the ruler, is under the protection of the gods, indicated by the winged sun above his head. Basalt to 750 BC, The Pergamon Museum, Berlin inv no VA 971
  • Statue of Eros known as The Genie of Borghese - a  Roman copy of a 4th century BC Greek original from Rome, Monte Cavallo. The statue belonged to Domenico Biondo, employee of Pope Paul V Borghese. The statue joined in 1608 in the collection of Scipio Borghese. Wings, arms and legs of Eros, formerly called Genie Borghese, are modern. In the 18th century it was much admired, especially in France, as one of the seven most important parts of the collection Borghese. The Borghese Collection Inv No. MR 207 or Ma 435, Louvre Museum, Paris.
  • Statue of Eros known as The Genie of Borghese - a  Roman copy of a 4th century BC Greek original from Rome, Monte Cavallo. The statue belonged to Domenico Biondo, employee of Pope Paul V Borghese. The statue joined in 1608 in the collection of Scipio Borghese. Wings, arms and legs of Eros, formerly called Genie Borghese, are modern. In the 18th century it was much admired, especially in France, as one of the seven most important parts of the collection Borghese. The Borghese Collection Inv No. MR 207 or Ma 435, Louvre Museum, Paris.
  • Statue of Eros known as The Genie of Borghese - a  Roman copy of a 4th century BC Greek original from Rome, Monte Cavallo. The statue belonged to Domenico Biondo, employee of Pope Paul V Borghese. The statue joined in 1608 in the collection of Scipio Borghese. Wings, arms and legs of Eros, formerly called Genie Borghese, are modern. In the 18th century it was much admired, especially in France, as one of the seven most important parts of the collection Borghese. The Borghese Collection Inv No. MR 207 or Ma 435, Louvre Museum, Paris.
  • Statue of Eros known as The Genie of Borghese - a  Roman copy of a 4th century BC Greek original from Rome, Monte Cavallo. The statue belonged to Domenico Biondo, employee of Pope Paul V Borghese. The statue joined in 1608 in the collection of Scipio Borghese. Wings, arms and legs of Eros, formerly called Genie Borghese, are modern. In the 18th century it was much admired, especially in France, as one of the seven most important parts of the collection Borghese. The Borghese Collection Inv No. MR 207 or Ma 435, Louvre Museum, Paris.
  • Statue of Eros known as The Genie of Borghese - a  Roman copy of a 4th century BC Greek original from Rome, Monte Cavallo. The statue belonged to Domenico Biondo, employee of Pope Paul V Borghese. The statue joined in 1608 in the collection of Scipio Borghese. Wings, arms and legs of Eros, formerly called Genie Borghese, are modern. In the 18th century it was much admired, especially in France, as one of the seven most important parts of the collection Borghese. The Borghese Collection Inv No. MR 207 or Ma 435, Louvre Museum, Paris.
  • Statue of Eros known as The Genie of Borghese - a  Roman copy of a 4th century BC Greek original from Rome, Monte Cavallo. The statue belonged to Domenico Biondo, employee of Pope Paul V Borghese. The statue joined in 1608 in the collection of Scipio Borghese. Wings, arms and legs of Eros, formerly called Genie Borghese, are modern. In the 18th century it was much admired, especially in France, as one of the seven most important parts of the collection Borghese. The Borghese Collection Inv No. MR 207 or Ma 435, Louvre Museum, Paris.
  • Statue of Eros known as The Genie of Borghese - a  Roman copy of a 4th century BC Greek original from Rome, Monte Cavallo. The statue belonged to Domenico Biondo, employee of Pope Paul V Borghese. The statue joined in 1608 in the collection of Scipio Borghese. Wings, arms and legs of Eros, formerly called Genie Borghese, are modern. In the 18th century it was much admired, especially in France, as one of the seven most important parts of the collection Borghese. The Borghese Collection Inv No. MR 207 or Ma 435, Louvre Museum, Paris.
  • Stone statue of a winged bull. Reproduction from the facade of the throne room,  Inv AO 30043 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone statue of a winged bull. Reproduction from the facade of the throne room,  Inv AO 30043 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone statue of a winged bull. Reproduction from the facade of the throne room,  Inv AO 30043 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone statue of a winged bull. Reproduction from the facade of the throne room,  Inv AO 30043 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone statue of a winged bull. Reproduction from the facade of the throne room,  Inv AO 30043 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone statue of a winged bull. Reproduction from the facade of the throne room,  Inv AO 30043 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Stone statue of a winged bull. Reproduction from the facade of the throne room,  Inv AO 30043 from Dur Sharrukin the palace of Assyrian king Sargon II at Khorsabad, 713-706 BC.  Louvre Museum Room 4 , Paris
  • Picture & image of a Neo-Hittite orthostat with a releif sculpture of A Winged God from Aslantepe ,  Malatya, Turkey. Museum of Anatolian Civilisations, Ankara.  The God holds a branch of fruit in his left hand and a single fruit in the right hand. The First beared god is holding out a 3 pronged object to the king and has a boomerang in his other hand. Behind him is a 2 winged Godess with a  bare leg showing from her tunic. She is carrying a double headed axe. Behind her is another dearded God with a bore tusk helmet holding a spear. On the far right is another Godess, bare headed holding a double headed axe. On the far right is an attendant holding a bull. Above him the epographs indicate the name of the King & Gods. 2
  • Picture & image of a Neo-Hittite orthostat with a releif sculpture of A Winged God from Aslantepe ,  Malatya, Turkey. Ancora Archaeological Museum.  The God holds a branch of fruit in his left hand and a single fruit in the right hand. The First beared god is holding out a 3 pronged object to the king and has a boomerang in his other hand. Behind him is a 2 winged Godess with a  bare leg showing from her tunic. She is carrying a double headed axe. Behind her is another dearded God with a bore tusk helmet holding a spear. On the far right is another Godess, bare headed holding a double headed axe. On the far right is an attendant holding a bull. Above him the epographs indicate the name of the King & Gods.
  • Picture & image of a Neo-Hittite orthostat with a releif sculpture of A Winged God from Aslantepe ,  Malatya, Turkey. Museum of Anatolian Civilisations, Ankara.  The God holds a branch of fruit in his left hand and a single fruit in the right hand. 5
  • Neo-Hittite orthostat describing the legend of Gilgamesh from Karkamis,, Turkey. Museum of Anatolian Civilisations, Ankara. A three headed Sphinx which is a winged lion with a human heas and a bird of prey's head on the end of its tail 1
  • Picture & image of a Neo-Hittite orthostat describing the legend of Gilgamesh from Karkamis,, Turkey. Ancora Archaeological Museum. A three headed Sphinx which is a winged lion with a human heas and a bird of prey's head on the end of its tail 3
  • Picture & image of a Neo-Hittite orthostat describing the legend of Gilgamesh from Karkamis,, Turkey. Museum of Anatolian Civilisations, Ankara. A three headed Sphinx which is a winged lion with a human heas and a bird of prey's head on the end of its tail 4
  • Neo-Hittite orthostat describing the legend of Gilgamesh from Karkamis,, Turkey. Ancora Archaeological Museum. Symetrical mythological Scene depicting "Winged Griffin Demons", half men with birds heads & wings. Their hands are raised above their heads supposidly carrying the sky. 1
  • Picture of a Neo-Hittite orthostat describing the legend of Gilgamesh from Karkamis, Turkey. Museum of Anatolian Civilisations, Ankara. Mythological Scene of 2 Spinxes standing on their back legs either side of a winged horse which is also standing on its rear legs. 3
  • Picture of a Neo-Hittite orthostat describing the legend of Gilgamesh from Karkamis, Turkey. Museum of Anatolian Civilisations, Ankara. Mythological Scene of 2 Spinxes standing on their back legs either side of a winged horse which is also standing on its rear legs. 4
  • Photo of Roman releif sculpture of Bellerophon, Aphrodisias, Turkey, Images of Roman art bas releifs. Buy as stock or photo art prints. Bellerophon was a Lykian hero who was claimed to be the founder of Aphrodisias. He holds the winged horse Pegasos. The quality of the carving is poor indicating an apprentice piece.

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