• Jungfrau from Kleine Scheidegg - Grindelwald Switzerland
  • Jungfrau from Kleine Scheidegg - Grindelwald Switzerland
  • Jungfrau from Kleine Scheidegg - Grindelwald Switzerland
  • Jungfrau Glaciers  - Bernese Oberland Alps - Switzerland
  • Schilthorn Berneses Alps Switzerland - View
  • Jungfrau Summit in snow  - Bernese Oberland Alps - Switzerland
  • Eiger Summit in snow  - Bernese Oberland Alps - Switzerland
  • Eiger Summit in snow  - Bernese Oberland Alps - Switzerland
  • Eiger Summit in snow  - Bernese Oberland Alps - Switzerland
  • Jungfrau Glaciers  - Bernese Oberland Alps - Switzerland
  • Jungfrau Glaciers  - Bernese Oberland Alps - Switzerland
  • Jungfrau Summit in snow  - Bernese Oberland Alps - Switzerland
  • Jungfrau Glaciers  - Bernese Oberland Alps - Switzerland
  • Jungfrau Glaciers  - Bernese Oberland Alps - Switzerland
  • Schilthorn Berneses Alps Switzerland - View
  • Jungfrau from Kleine Scheidegg - Grindelwald Switzerland
  • Jungfrau from Kleine Scheidegg - Grindelwald Switzerland
  • Jungfrau from Kleine Scheidegg - Grindelwald Switzerland
  • Jungfrau from Kleine Scheidegg - Grindelwald Switzerland
  • Jungfrau from Kleine Scheidegg - Grindelwald Switzerland
  • Schilthorn Berneses Alps Switzerland - Climbers & Walkers
  • Schilthorn Berneses Alps Switzerland - View
  • Jungfrau Summit in snow  - Bernese Oberland Alps - Switzerland
  • Jungfrau Glaciers in snow  - Bernese Oberland Alps - Switzerland
  • Jungfraujoch Top Of Europe - Bernese Oberland Alps - Switzerland
  • Jungfrau Summit in snow  - Bernese Oberland Alps - Switzerland
  • Jungfrau Summit in snow  - Bernese Oberland Alps - Switzerland
  • Eiger Summit in snow  - Bernese Oberland Alps - Switzerland
  • Eiger Summit in snow  - Bernese Oberland Alps - Switzerland
  • Eiger Summit in snow  - Bernese Oberland Alps - Switzerland
  • Eiger Summit in snow  - Bernese Oberland Alps - Switzerland
  • Jungfrau Summit in snow  - Bernese Oberland Alps - Switzerland
  • Jungfrau Glaciers  - Bernese Oberland Alps - Switzerland
  • Jungfrau Glaciers  - Bernese Oberland Alps - Switzerland
  • Jungfrau Glaciers  - Bernese Oberland Alps - Switzerland
  • Jungfrau Summit in snow  - Bernese Oberland Alps - Switzerland
  • Sidamara Sarcophagus,  a 2nd century marble Roman sarcophagus from Omerli Village (Iznik), Turkey. Istanbul Archaeology Museum, Inv  5123T
  • Sidamara Sarcophagus,  a 2nd century marble Roman sarcophagus from  Turkey. Istanbul Archaeology Museum.
  • Sidamara Sarcophagus,  a 2nd century marble Roman sarcophagus from  Turkey. Istanbul Archaeology Museum.
  • Sidamara Sarcophagus,  a 2nd century marble Roman sarcophagus from  Turkey. Istanbul Archaeology Museum.
  • The God Apollo playing the Cithara ( Apollo Citharaodos) a 2nd century marble Roman sculpture from Miletus (Balat, Soke) Turkey. Istanbul Archaeology Museum, Inv 2000T Cat. Mendel 114.
  • The God Apollo playing the Cithara ( Apollo Citharaodos) a 2nd century marble Roman sculpture from Miletus (Balat, Soke) Turkey. Istanbul Archaeology Museum, Inv 2000T Cat. Mendel 114.
  • The God Apollo playing the Cithara ( Apollo Citharaodos) a 2nd century marble Roman sculpture from Miletus (Balat, Soke) Turkey. Istanbul Archaeology Museum, Inv 2000T Cat. Mendel 114.
  • The God Apollo playing the Cithara ( Apollo Citharaodos) a 2nd century marble Roman sculpture from Miletus (Balat, Soke) Turkey. Istanbul Archaeology Museum, Inv 2000T Cat. Mendel 114.
  • 2nd Cent. AD Roman relief sculpture depicting the struggle of Athena ( the goddess of wisdom, skill & warfare) fighting the Gigantes ( Giants) . From Aphrodisias (Geyne, Ayden) Turkey. Istanbul Archaeological Museum, Turkey, Inv. 1613aT , Cat. Mendel 512.
  • 2nd Cent. AD Roman relief sculpture depicting the struggle of Athena ( the goddess of wisdom, skill & warfare) fighting the Gigantes ( Giants) . From Aphrodisias (Geyne, Ayden). Istanbul Archaeological Museum, Turkey, Inv. 1613aT , Cat. Mendel 512.
  • 2nd Cent. AD Roman relief sculpture depicting the struggle of Athena ( the goddess of wisdom, skill & warfare) fighting the Gigantes ( Giants) . From Aphrodisias (Geyne, Ayden) Turkey. Istanbul Archaeological Museum, Turkey, Inv. 1613aT , Cat. Mendel 512.
  • 2nd Cent. AD Roman relief sculpture depicting Gigantomachy, the battle between the gods & the giants. From Aphrodisias (Geyne, Ayden), Turkey. Istanbul Archaeological Museum, Turkey, Inv. 1613T , Cat. Mendel 511.
  • 2nd Cent. AD Roman relief sculpture depicting the struggle of Athena ( the goddess of wisdom, skill & warfare) fighting the Gigantes ( Giants) . From Aphrodisias (Geyne, Ayden) Turkey. Istanbul Archaeological Museum, Turkey, Inv. 1613aT , Cat. Mendel 512.
  • 2nd Cent. AD Roman relief sculpture depicting the struggle of Athena ( the goddess of wisdom, skill & warfare) fighting the Gigantes ( Giants) . From Aphrodisias (Geyne, Ayden) Turkey. Istanbul Archaeological Museum, Turkey, Inv. 1613aT , Cat. Mendel 512.
  • 2nd Cent. AD Roman relief sculpture depicting Gigantomachy, the battle between the gods & the giants. From Aphrodisias (Geyne, Ayden), Turkey. Istanbul Archaeological Museum, Turkey, Inv. 1613T , Cat. Mendel 511.
  • 2nd Cent. AD Roman relief sculpture depicting Gigantomachy, the battle between the gods & the giants. From Aphrodisias (Geyne, Ayden), Turkey. Istanbul Archaeological Museum, Turkey, Inv. 1613T , Cat. Mendel 511.
  • Sidamara Sarcophagus,  a 2nd century marble Roman sarcophagus from Ambararasi (Konya) Turkey. Istanbul Archaeology Museum, Inv 1179T Cat. Mendel 112.
  • Sidamara Sarcophagus,  a 2nd century marble Roman sarcophagus from Ambararasi (Konya) Turkey. Istanbul Archaeology Museum, Inv 1179T Cat. Mendel 112.
  • Sidamara Sarcophagus,  a 2nd century marble Roman sarcophagus from Ambararasi (Konya) Turkey. Istanbul Archaeology Museum, Inv 1179T Cat. Mendel 112.
  • Sidamara Sarcophagus,  a 2nd century marble Roman sarcophagus from Ambararasi (Konya) Turkey. Istanbul Archaeology Museum, Inv 1179T Cat. Mendel 112.
  • Sidamara Sarcophagus,  a 2nd century marble Roman sarcophagus from Ambararasi (Konya) Turkey. Istanbul Archaeology Museum, Inv 1179T Cat. Mendel 112.
  • 2nd Cent. AD Roman relief sculpture depicting the struggle of Athena ( the goddess of wisdom, skill & warfare) fighting the Gigantes ( Giants) . From Aphrodisias (Geyne, Ayden) Turkey. Istanbul Archaeological Museum, Turkey, Inv. 1613aT , Cat. Mendel 512.
  • 2nd Cent. AD Roman relief sculpture depicting the struggle of Athena ( the goddess of wisdom, skill & warfare) fighting the Gigantes ( Giants) . From Aphrodisias (Geyne, Ayden) Turkey. Istanbul Archaeological Museum, Turkey, Inv. 1613aT , Cat. Mendel 512.
  • 2nd Cent. AD Roman relief sculpture depicting Gigantomachy, the battle between the gods & the giants. From Aphrodisias (Geyne, Ayden), Turkey. Istanbul Archaeological Museum, Turkey, Inv. 1613T , Cat. Mendel 511.
  • Sidamara Sarcophagus,  a 2nd century marble Roman sarcophagus from Ambararasi (Konya) Turkey. Istanbul Archaeology Museum, Inv 1179T Cat. Mendel 112.
  • Sidamara Sarcophagus,  a 2nd century marble Roman sarcophagus from Ambararasi (Konya) Turkey. Istanbul Archaeology Museum, Inv 1179T Cat. Mendel 112.
  • Sidamara Sarcophagus,  a 2nd century marble Roman sarcophagus from  Turkey. Istanbul Archaeology Museum.
  • Sidamara Sarcophagus,  a 2nd century marble Roman sarcophagus from  Turkey. Istanbul Archaeology Museum.
  • 2nd Cent. AD Roman relief sculpture depicting the struggle of Athena ( the goddess of wisdom, skill & warfare) fighting the Gigantes ( Giants) . From Aphrodisias (Geyne, Ayden) Turkey. Istanbul Archaeological Museum, Turkey, Inv. 1613aT , Cat. Mendel 512.
  • 2nd Cent. AD Roman relief sculpture depicting Gigantomachy, the battle between the gods & the giants. From Aphrodisias (Geyne, Ayden), Turkey. Istanbul Archaeological Museum, Turkey, Inv. 1613T , Cat. Mendel 511.
  • Paris - France - the Forum Church of St Magdelaine - close up of freeze
  • Paris - France - Pont Alexadre 111 - Lamps
  • Paris - France - the Forum Church of St Magdelaine
  • Wild Foul freeze from the east side of Tomb of Kybernis also known as the "Harpy Tomb"  (480 B.C). Kybernis was a Lycian ruler of Xanthos who led the Lycian ships as part of the Persian invasion of Greece in 480 B.C. The Freeze comes from a nine meter high pillar tomb from Xanthos, UNESCO World Heritage site, south west Turkey. A British Museum exhibit B299 - B306, excavated by Charles Fellows in 1844.
  • Wild Foul freeze from the east side of Tomb of Kybernis also known as the "Harpy Tomb"  (480 B.C). Kybernis was a Lycian ruler of Xanthos who led the Lycian ships as part of the Persian invasion of Greece in 480 B.C. The Freeze comes from a nine meter high pillar tomb from Xanthos, UNESCO World Heritage site, south west Turkey. A British Museum exhibit B299 - B306, excavated by Charles Fellows in 1844.
  • Wild Foul freeze from the east side of Tomb of Kybernis also known as the "Harpy Tomb"  (480 B.C). Kybernis was a Lycian ruler of Xanthos who led the Lycian ships as part of the Persian invasion of Greece in 480 B.C. The Freeze comes from a nine meter high pillar tomb from Xanthos, UNESCO World Heritage site, south west Turkey. A British Museum exhibit B299 - B306, excavated by Charles Fellows in 1844.
  • Wild Foul freeze from the east side of Tomb of Kybernis also known as the "Harpy Tomb"  (480 B.C). Kybernis was a Lycian ruler of Xanthos who led the Lycian ships as part of the Persian invasion of Greece in 480 B.C. The Freeze comes from a nine meter high pillar tomb from Xanthos, UNESCO World Heritage site, south west Turkey. A British Museum exhibit B299 - B306, excavated by Charles Fellows in 1844.
  • Wild Foul freeze from the east side of Tomb of Kybernis also known as the "Harpy Tomb"  (480 B.C). Kybernis was a Lycian ruler of Xanthos who led the Lycian ships as part of the Persian invasion of Greece in 480 B.C. The Freeze comes from a nine meter high pillar tomb from Xanthos, UNESCO World Heritage site, south west Turkey. A British Museum exhibit B299 - B306, excavated by Charles Fellows in 1844.
  • Wild Foul freeze from the east side of Tomb of Kybernis also known as the "Harpy Tomb"  (480 B.C). Kybernis was a Lycian ruler of Xanthos who led the Lycian ships as part of the Persian invasion of Greece in 480 B.C. The Freeze comes from a nine meter high pillar tomb from Xanthos, UNESCO World Heritage site, south west Turkey. A British Museum exhibit B299 - B306, excavated by Charles Fellows in 1844.
  • Wild Foul freeze from the east side of Tomb of Kybernis also known as the "Harpy Tomb"  (480 B.C). Kybernis was a Lycian ruler of Xanthos who led the Lycian ships as part of the Persian invasion of Greece in 480 B.C. The Freeze comes from a nine meter high pillar tomb from Xanthos, UNESCO World Heritage site, south west Turkey. A British Museum exhibit B299 - B306, excavated by Charles Fellows in 1844.
  • Wild Foul freeze from the east side of Tomb of Kybernis also known as the "Harpy Tomb"  (480 B.C). Kybernis was a Lycian ruler of Xanthos who led the Lycian ships as part of the Persian invasion of Greece in 480 B.C. The Freeze comes from a nine meter high pillar tomb from Xanthos, UNESCO World Heritage site, south west Turkey. A British Museum exhibit B299 - B306, excavated by Charles Fellows in 1844.
  • Relief sculpture freeze from the Roman theatre of Myra, Anatolia, Turkey
  • Wild Foul freeze from the east side of Tomb of Kybernis also known as the "Harpy Tomb"  (480 B.C). Kybernis was a Lycian ruler of Xanthos who led the Lycian ships as part of the Persian invasion of Greece in 480 B.C. The Freeze comes from a nine meter high pillar tomb from Xanthos, UNESCO World Heritage site, south west Turkey. A British Museum exhibit B299 - B306, excavated by Charles Fellows in 1844.
  • Wild Foul freeze from the east side of Tomb of Kybernis also known as the "Harpy Tomb"  (480 B.C). Kybernis was a Lycian ruler of Xanthos who led the Lycian ships as part of the Persian invasion of Greece in 480 B.C. The Freeze comes from a nine meter high pillar tomb from Xanthos, UNESCO World Heritage site, south west Turkey. A British Museum exhibit B299 - B306, excavated by Charles Fellows in 1844.
  • Wild Foul freeze from the east side of Tomb of Kybernis also known as the "Harpy Tomb"  (480 B.C). Kybernis was a Lycian ruler of Xanthos who led the Lycian ships as part of the Persian invasion of Greece in 480 B.C. The Freeze comes from a nine meter high pillar tomb from Xanthos, UNESCO World Heritage site, south west Turkey. A British Museum exhibit B299 - B306, excavated by Charles Fellows in 1844.
  • Wild Foul freeze from the east side of Tomb of Kybernis also known as the "Harpy Tomb"  (480 B.C). Kybernis was a Lycian ruler of Xanthos who led the Lycian ships as part of the Persian invasion of Greece in 480 B.C. The Freeze comes from a nine meter high pillar tomb from Xanthos, UNESCO World Heritage site, south west Turkey. A British Museum exhibit B299 - B306, excavated by Charles Fellows in 1844.
  • Relief sculpture freeze from the Roman theatre of Myra, Anatolia, Turkey
  • Relief sculpture freeze from the Roman theatre of Myra, Anatolia, Turkey
  • Relief sculpture freeze from the Roman theatre of Myra, Anatolia, Turkey
  • Relief sculpture freeze from the Roman theatre of Myra, Anatolia, Turkey
  • Relief sculpture freeze from the Roman theatre of Myra, Anatolia, Turkey
  • Freeze from the Tomb of Kybernis also known as the "Harpy Tomb" after the female headed birds at the corners (480 B.C). Kybernis was a Lycian ruler of Xanthos who led the Lycian ships as part of the Persian invasion of Greece in 480 B.C. The Freeze comes from a nine meter high pillar tomb from Xanthos, UNESCO World Heritage site, south west Turkey. A British Museum exhibit excavated by Charles Fellows in 1844.
  • Freeze from the Tomb of Kybernis also known as the "Harpy Tomb" after the female headed birds at the corners (480 B.C). Kybernis was a Lycian ruler of Xanthos who led the Lycian ships as part of the Persian invasion of Greece in 480 B.C. The Freeze comes from a nine meter high pillar tomb from Xanthos, UNESCO World Heritage site, south west Turkey. A British Museum exhibit excavated by Charles Fellows in 1844.
  • Procession of Chariot & Horsemen freeze  from the Heros Shrine of the Acropolis of Xanthos, thought to be the shrines of legendary warriors of the trojan wars built by King Kuprlli (480 - 440 B.C). Xanthos was under Persian rule at the time & the freeze has the static style of persian sculpture with a Greek style.  From Xanthos, UNESCO World Heritage site, south west Turkey. A British Museum exhibit GR 1848-16-20.17-19 (sculptures B311-313).
  • Procession of Chariot & Horsemen freeze  from the Heros Shrine of the Acropolis of Xanthos, thought to be the shrines of legendary warriors of the trojan wars built by King Kuprlli (480 - 440 B.C). Xanthos was under Persian rule at the time & the freeze has the static style of persian sculpture with a Greek style.  From Xanthos, UNESCO World Heritage site, south west Turkey. A British Museum exhibit GR 1848-16-20.17-19 (sculptures B311-313).
  • Procession of Chariot & Horsemen freeze  from the Heros Shrine of the Acropolis of Xanthos, thought to be the shrines of legendary warriors of the trojan wars built by King Kuprlli (480 - 440 B.C). Xanthos was under Persian rule at the time & the freeze has the static style of persian sculpture with a Greek style.  From Xanthos, UNESCO World Heritage site, south west Turkey. A British Museum exhibit GR 1848-16-20.17-19 (sculptures B311-313).
  • Procession of Chariot & Horsemen freeze  from the Heros Shrine of the Acropolis of Xanthos, thought to be the shrines of legendary warriors of the trojan wars built by King Kuprlli (480 - 440 B.C). Xanthos was under Persian rule at the time & the freeze has the static style of persian sculpture with a Greek style.  From Xanthos, UNESCO World Heritage site, south west Turkey. A British Museum exhibit GR 1848-16-20.17-19 (sculptures B311-313).
  • Freeze from the Tomb of Kybernis also known as the "Harpy Tomb" after the female headed birds at the corners (480 B.C). Kybernis was a Lycian ruler of Xanthos who led the Lycian ships as part of the Persian invasion of Greece in 480 B.C. The Freeze comes from a nine meter high pillar tomb from Xanthos, UNESCO World Heritage site, south west Turkey. A British Museum exhibit excavated by Charles Fellows in 1844.
  • Procession of Chariot & Horsemen freeze  from the Heros Shrine of the Acropolis of Xanthos, thought to be the shrines of legendary warriors of the trojan wars built by King Kuprlli (480 - 440 B.C). Xanthos was under Persian rule at the time & the freeze has the static style of persian sculpture with a Greek style.  From Xanthos, UNESCO World Heritage site, south west Turkey. A British Museum exhibit GR 1848-16-20.17-19 (sculptures B311-313).
  • Procession of Chariot & Horsemen freeze  from the Heros Shrine of the Acropolis of Xanthos, thought to be the shrines of legendary warriors of the trojan wars built by King Kuprlli (480 - 440 B.C). Xanthos was under Persian rule at the time & the freeze has the static style of persian sculpture with a Greek style.  From Xanthos, UNESCO World Heritage site, south west Turkey. A British Museum exhibit GR 1848-16-20.17-19 (sculptures B311-313).
  • Two warriors clasing shields on a freeze from the Large Podium of the sculptured  4th cent. B.C Lycian Nereid ( Mythical Greek Sea Nymphs) Monument tomb of Arbina, a Xanthian client ruler of the Persians conquerors of Lycia. From Xanthos UNESCO World Heritage site, south west Turkey. British Museum exhibit excavated by Charles Fellows in 1840s.
  • Two warriors clasing shields on a freeze from the Large Podium of the sculptured  4th cent. B.C Lycian Nereid ( Mythical Greek Sea Nymphs) Monument tomb of Arbina, a Xanthian client ruler of the Persians conquerors of Lycia. From Xanthos UNESCO World Heritage site, south west Turkey. British Museum exhibit excavated by Charles Fellows in 1840s.
  • Two warriors clasing shields on a freeze from the Large Podium of the sculptured  4th cent. B.C Lycian Nereid ( Mythical Greek Sea Nymphs) Monument tomb of Arbina, a Xanthian client ruler of the Persians conquerors of Lycia. From Xanthos UNESCO World Heritage site, south west Turkey. British Museum exhibit excavated by Charles Fellows in 1840s.
  • Two warriors clasing shields on a freeze from the Large Podium of the sculptured  4th cent. B.C Lycian Nereid ( Mythical Greek Sea Nymphs) Monument tomb of Arbina, a Xanthian client ruler of the Persians conquerors of Lycia. From Xanthos UNESCO World Heritage site, south west Turkey. British Museum exhibit excavated by Charles Fellows in 1840s.
  • Freeze from the Tomb of Kybernis also known as the "Harpy Tomb" after the female headed birds at the corners (480 B.C). Kybernis was a Lycian ruler of Xanthos who led the Lycian ships as part of the Persian invasion of Greece in 480 B.C. The Freeze comes from a nine meter high pillar tomb from Xanthos, UNESCO World Heritage site, south west Turkey. A British Museum exhibit excavated by Charles Fellows in 1844.
  • Relief sculpture freeze from the Roman theatre of Myra, Anatolia, Turkey
  • Freeze from the Tomb of Kybernis also known as the "Harpy Tomb" after the female headed birds at the corners (480 B.C). Kybernis was a Lycian ruler of Xanthos who led the Lycian ships as part of the Persian invasion of Greece in 480 B.C. The Freeze comes from a nine meter high pillar tomb from Xanthos, UNESCO World Heritage site, south west Turkey. A British Museum exhibit excavated by Charles Fellows in 1844.
  • Hunters freeze from the Large Podium of the sculptured  4th cent. B.C Lycian Nereid ( Mythical Greek Sea Nymphs) Monument tomb of Arbina, a Xanthian client ruler of the Persians conquerors of Lycia. From Xanthos UNESCO World Heritage site, south west Turkey. British Museum exhibit excavated by Charles Fellows in 1840s.
  • Procession of Chariot & Horsemen freeze  from the Heros Shrine of the Acropolis of Xanthos, thought to be the shrines of legendary warriors of the trojan wars built by King Kuprlli (480 - 440 B.C). Xanthos was under Persian rule at the time & the freeze has the static style of persian sculpture with a Greek style.  From Xanthos, UNESCO World Heritage site, south west Turkey. A British Museum exhibit GR 1848-16-20.17-19 (sculptures B311-313).
  • Freeze from the Tomb of Kybernis also known as the "Harpy Tomb" after the female headed birds at the corners (480 B.C). Kybernis was a Lycian ruler of Xanthos who led the Lycian ships as part of the Persian invasion of Greece in 480 B.C. The Freeze comes from a nine meter high pillar tomb from Xanthos, UNESCO World Heritage site, south west Turkey. A British Museum exhibit excavated by Charles Fellows in 1844.
  • Mountains; mountain; Jungfrau; Bernese; Oberland; Alps; Switzerland; summit; top; peak; snow; snowy; drifts; deep; glacier; landscape; ice; cold; freeze; frost; freezing; natural; nature; tourist; travel; hostile; inhositibable; high; altitude; 13000; feet climbers; climb; dangerous; clean; refreshing; exhilerating; Top; Of; Europe; Jungfraujoch; Alpine ; Swiss ;
  • Hüseyindede vases, Old Hittite Polychrome Relief vessel, third freeze down depicting a man leading a bull, 16th century BC. Huseyindede . Çorum Archaeological Museum, Corum, Turkey. Against a white bacground.
  • Hüseyindede vases, Old Hittite Polychrome Relief vessel, third freeze down depicting a man leading a bull, 16th century BC. Huseyindede . Çorum Archaeological Museum, Corum, Turkey. Against a black bacground.
  • Hüseyindede vases, Old Hittite Polychrome Relief vessel, third freeze down depicting a man leading a bull, 16th century BC. Huseyindede . Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hüseyindede vases, Old Hittite Polychrome Relief vessel, third freeze down depicting a man leading a bull, 16th century BC. Huseyindede . Çorum Archaeological Museum, Corum, Turkey. Against a grey bacground.
  • Relief sculpture freeze from the Roman theatre of Myra, Anatolia, Turkey
  • 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
  • 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
  • Two warriors clasing shields on a freeze from the Large Podium of the sculptured  4th cent. B.C Lycian Nereid ( Mythical Greek Sea Nymphs) Monument tomb of Arbina, a Xanthian client ruler of the Persians conquerors of Lycia. From Xanthos UNESCO World Heritage site, south west Turkey. British Museum exhibit excavated by Charles Fellows in 1840s.
  • Hunters freeze from the Large Podium of the sculptured  4th cent. B.C Lycian Nereid ( Mythical Greek Sea Nymphs) Monument tomb of Arbina, a Xanthian client ruler of the Persians conquerors of Lycia. From Xanthos UNESCO World Heritage site, south west Turkey. British Museum exhibit excavated by Charles Fellows in 1840s.
  • Two warriors clasing shields on a freeze from the Large Podium of the sculptured  4th cent. B.C Lycian Nereid ( Mythical Greek Sea Nymphs) Monument tomb of Arbina, a Xanthian client ruler of the Persians conquerors of Lycia. From Xanthos UNESCO World Heritage site, south west Turkey. British Museum exhibit excavated by Charles Fellows in 1840s.
  • Two warriors clasing shields on a freeze from the Large Podium of the sculptured  4th cent. B.C Lycian Nereid ( Mythical Greek Sea Nymphs) Monument tomb of Arbina, a Xanthian client ruler of the Persians conquerors of Lycia. From Xanthos UNESCO World Heritage site, south west Turkey. British Museum exhibit excavated by Charles Fellows in 1840s.
  • Hüseyindede vases, Old Hittite Polychrome Relief vessel, third freeze down depicting a man leading a bull, 16th century BC. Huseyindede . Çorum Archaeological Museum, Corum, Turkey
  • 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
  • Lion from the "Satyr Hunting Wils Animals, freezes, 460 B.C. From Xanthos, UNESCO World Heritage site, south west Turkey. A British Museum exhibit GR 1848-10-20-2-9 (sculpture B 2902- 298).
  • Satyr from the "Satyr Hunting Wils Animals, freezes, 460 B.C. From Xanthos, UNESCO World Heritage site, south west Turkey. A British Museum exhibit GR 1848-10-20-2-9 (sculpture B 2902- 298).
  • Wild Boar from the "Satyr Hunting Wils Animals, freezes, 460 B.C.  From Xanthos, UNESCO World Heritage site, south west Turkey. A British Museum exhibit GR 1848-10-20-2-9 (sculpture B 2902- 298).
  • Wild Boar from the "Satyr Hunting Wils Animals, freezes, 460 B.C.  From Xanthos, UNESCO World Heritage site, south west Turkey. A British Museum exhibit GR 1848-10-20-2-9 (sculpture B 2902- 298).
  • Lion killing deer  from the "Satyr Hunting Wils Animals, freezes, 460 B.C.  From Xanthos, UNESCO World Heritage site, south west Turkey. A British Museum exhibit GR 1848-10-20-2-9 (sculpture B 2902- 298).
  • Lion from the "Satyr Hunting Wils Animals, freezes, 460 B.C. From Xanthos, UNESCO World Heritage site, south west Turkey. A British Museum exhibit GR 1848-10-20-2-9 (sculpture B 2902- 298).
  • Lion from the "Satyr Hunting Wils Animals, freezes, 460 B.C. From Xanthos, UNESCO World Heritage site, south west Turkey. A British Museum exhibit GR 1848-10-20-2-9 (sculpture B 2902- 298).
  • Satyr from the "Satyr Hunting Wils Animals, freezes, 460 B.C. From Xanthos, UNESCO World Heritage site, south west Turkey. A British Museum exhibit GR 1848-10-20-2-9 (sculpture B 2902- 298).
  • Lion killing deer  from the "Satyr Hunting Wils Animals, freezes, 460 B.C.  From Xanthos, UNESCO World Heritage site, south west Turkey. A British Museum exhibit GR 1848-10-20-2-9 (sculpture B 2902- 298).
  • Lion killing deer  from the "Satyr Hunting Wils Animals, freezes, 460 B.C.  From Xanthos, UNESCO World Heritage site, south west Turkey. A British Museum exhibit GR 1848-10-20-2-9 (sculpture B 2902- 298).
  • Wild Boar from the "Satyr Hunting Wils Animals, freezes, 460 B.C.  From Xanthos, UNESCO World Heritage site, south west Turkey. A British Museum exhibit GR 1848-10-20-2-9 (sculpture B 2902- 298).
  • Satyr from the "Satyr Hunting Wils Animals, freezes, 460 B.C. From Xanthos, UNESCO World Heritage site, south west Turkey. A British Museum exhibit GR 1848-10-20-2-9 (sculpture B 2902- 298).
  • Lion from the "Satyr Hunting Wils Animals, freezes, 460 B.C. From Xanthos, UNESCO World Heritage site, south west Turkey. A British Museum exhibit GR 1848-10-20-2-9 (sculpture B 2902- 298).
  • Satyr from the "Satyr Hunting Wils Animals, freezes, 460 B.C. From Xanthos, UNESCO World Heritage site, south west Turkey. A British Museum exhibit GR 1848-10-20-2-9 (sculpture B 2902- 298).
  • Lion killing deer  from the "Satyr Hunting Wils Animals, freezes, 460 B.C.  From Xanthos, UNESCO World Heritage site, south west Turkey. A British Museum exhibit GR 1848-10-20-2-9 (sculpture B 2902- 298).
  • Wild Boar from the "Satyr Hunting Wils Animals, freezes, 460 B.C.  From Xanthos, UNESCO World Heritage site, south west Turkey. A British Museum exhibit GR 1848-10-20-2-9 (sculpture B 2902- 298).
  • Lion from the "Satyr Hunting Wils Animals, freezes, 460 B.C. From Xanthos, UNESCO World Heritage site, south west Turkey. A British Museum exhibit GR 1848-10-20-2-9 (sculpture B 2902- 298).
  • Satyr from the "Satyr Hunting Wils Animals, freezes, 460 B.C. From Xanthos, UNESCO World Heritage site, south west Turkey. A British Museum exhibit GR 1848-10-20-2-9 (sculpture B 2902- 298).
  • Lion killing deer  from the "Satyr Hunting Wils Animals, freezes, 460 B.C.  From Xanthos, UNESCO World Heritage site, south west Turkey. A British Museum exhibit GR 1848-10-20-2-9 (sculpture B 2902- 298).
  • Wild Boar from the "Satyr Hunting Wils Animals, freezes, 460 B.C.  From Xanthos, UNESCO World Heritage site, south west Turkey. A British Museum exhibit GR 1848-10-20-2-9 (sculpture B 2902- 298).
  • Lion from the "Satyr Hunting Wils Animals, freezes, 460 B.C. From Xanthos, UNESCO World Heritage site, south west Turkey. A British Museum exhibit GR 1848-10-20-2-9 (sculpture B 2902- 298).
  • Satyr from the "Satyr Hunting Wils Animals, freezes, 460 B.C. From Xanthos, UNESCO World Heritage site, south west Turkey. A British Museum exhibit GR 1848-10-20-2-9 (sculpture B 2902- 298).
  • Lion killing deer  from the "Satyr Hunting Wils Animals, freezes, 460 B.C.  From Xanthos, UNESCO World Heritage site, south west Turkey. A British Museum exhibit GR 1848-10-20-2-9 (sculpture B 2902- 298).
  • Wild Boar from the "Satyr Hunting Wils Animals, freezes, 460 B.C.  From Xanthos, UNESCO World Heritage site, south west Turkey. A British Museum exhibit GR 1848-10-20-2-9 (sculpture B 2902- 298).
  • Bas relief feeze above the door of the Baptistry of Pisa Duomo, Italy
  • Style: "AGFA LESS SAT"

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