• Roman sculptural decorations  on  The Arch Of Constantine built to celebrate victory over Maxentius . Rome. Rome
  • Picture and image of the stone sculpture ”L’Angelo Nocchiero” (the Helmsman Angel). The sculpture depicts an angel, standing astride a small boat, beginning to secure the sails at the end of a journey. His garments are streaming behind him, suggesting a strong wind. The prow of the boat is the stoic face of a woman, and under the prow the water swirls. The Giacomo Carpaneto tomb  sculpted by Giovanni Scanzi in 1886. Section A, no 25, monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a  mourning widow who is bringing a crown and knocking on a sepulcher’s bronze door, which holds the bas relief of an hourglass, a classic symbol of the passing of time. This theme of the sorrowful survivor in front of the sepulcher’s door comes from the Monument dedicated to Maria Christina, Duchess of Teschen, Maria Theresa of Austria’s daughter, a neoclassical sculpture. In this version the widow is wearing fashionable clothes, which have been accurately represented, and her openwork shawl. Sculptor G. B. Cevasco 1875. Section A, no 38, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an enigmatic angels face in a realistic style. One of the best know csulptures of Staglieno. The Oneto family tomb sculpted by G Monteverde. Section D no 13, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of Christ standing arms outstretched by the sacophagus of the deceased whilst his wife prays on the steps of the tomb. Sculpted in a Borgeoise Realistic style by GB Villa in 1881. The Tomati family tomb, section D no 12, the  monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a young girl picking flowers in a Borgeoise Realistic style. The Grillo Family Tomb sulpted by G Scanzi 1876. Section D No 26, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an angel at the doors of the Pallavicino Family tomb, sculpted by A Rivalta 1896. Section D no 27, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a nude looking at a skull on a crucifix.  Sculpted in an art Nouveau style the sculture is a reminder that beauty and life is transient. The Lavarello tomb sculpted by Demetrio Paernio 1914. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an angel over the sarcophagus of Salvatore and Rosa Queirolo, sculpted by G Navone, 1901. Section A, no 16, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture of the stone sculpture of a women in Art Nouveau style. The G.B. Susto Family Tomb sculpted by L Beltrami in 1904. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures of the stone sculpture of a father and son in realistic style being handed a will by the deceased. Tomb of Gian Battista Castagnola 1896. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an angel standing by a stone sarcophagus. The Croce Tomb sculpted by G Moreno 1889. Section A, no 23, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a grieving father and son standing at the doors of a tomb. Piccollo Tomb sculpted by G Moreno 1891. Section A, no 26, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an agel in thought at the door of the tomb of the Mantero family. Art Nouveau style sculpted by L Orengo 1895. Section B, no 04, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the Art Nouveau stone sculpture of a nude. The Pizzorini Tomb by Vittorio  Lavezzari 1906. Section A, no 33, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture commissioned by Luigi Parpaglioni, a rich trader coming from the Lombardy, because of his daughter’s death. The funery monument depicts  flying angel going before the soul who is rising up to the sky.  This romantic style is typical of the pre raphilites and although realistic the style is a little stilted. The Papaglioni tomb became popular and was copied by sculptors in many other countries.  Tomb Parpaglioni sculptor F. Fabiani 1884. Section A, no 35, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a mouring bearded man in the Bourgeois Realistic style. Badaracco Tomb sculpted by G Moreno 1878. Section A, no 44, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the Neo Gothic Erba stone tomb sculpture of a female figure, with her eyes closed and some poppy seeds in her hands, which are a pagan symbol with a funeral meaning because of their narcotic properties. The garment, stretching along her arm, leaves one shoulder undressed, thus giving the sleeper a touch of sensuality that did not fail to arouse some controversy among the contemporaries. By Sculptor Sculptor S. Saccomanno 1883.  Section A, no 50, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image  of the Realistic young grieving girl stone funary monument sculpture  commissioned by Enrico Amerigo for his sisters memory. beside the pedestal on which the sculptor set the deceased’s bust he placed, on the left, the figure of an old blind man, kneeling down and leaning on a stick; on the right he placed the figure of a young orphan girl, recognizable as such by her kindergarten uniform, portrayed in the act of making the sign of the cross. This work belongs to the Realism, a trend which was typical during the 1880s and 1890s, according to which the orphans, the poor, the sick and all those who benefited from somebody’s generosity had to be portrayed in a concrete fashion. Sculptor G Moreno 1890. Section A, no 53, The Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image  of the Realistic young grieving girl stone funary monument sculpture  commissioned by Enrico Amerigo for his sisters memory. beside the pedestal on which the sculptor set the deceased’s bust he placed, on the left, the figure of an old blind man, kneeling down and leaning on a stick; on the right he placed the figure of a young orphan girl, recognizable as such by her kindergarten uniform, portrayed in the act of making the sign of the cross. This work belongs to the Realism, a trend which was typical during the 1880s and 1890s, according to which the orphans, the poor, the sick and all those who benefited from somebody’s generosity had to be portrayed in a concrete fashion. Sculptor G Moreno 1890. The Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the late borgeoise realistic style stone sculpture of the Gallino tomb sculpted by  G. Moreno 1894.  In the tomb, the bust that portrays the deceased Carolina receives the kiss of a child, probably the niece, supported by a young woman - the mother, or perhaps the elder sister - whose face is marked by pain; on the right an older man, presumably her husband, stands aside, almost absent, looking down at the ground. The most intimate tones and psychological introspection are grafted here in the language of bourgeois Realism: with undoubted technical virtuosity Moreno offers a rigorous "quantitative" description of reality, dwelling on every single detail of faces, clothing, accessories and hairstyles . Section A, no 54, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the late borgeoise realistic style stone sculpture of the Gallino tomb sculpted by  G. Moreno 1894.  In the tomb, the bust that portrays the deceased Carolina receives the kiss of a child, probably the niece, supported by a young woman - the mother, or perhaps the elder sister - whose face is marked by pain; on the right an older man, presumably her husband, stands aside, almost absent, looking down at the ground. The most intimate tones and psychological introspection are grafted here in the language of bourgeois Realism: with undoubted technical virtuosity Moreno offers a rigorous "quantitative" description of reality, dwelling on every single detail of faces, clothing, accessories and hairstyles . Section A, no 54, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the late borgeoise realistic style stone sculpture of the Gallino tomb sculpted by  G. Moreno 1894.  In the tomb, the bust that portrays the deceased Carolina receives the kiss of a child, probably the niece, supported by a young woman - the mother, or perhaps the elder sister - whose face is marked by pain; on the right an older man, presumably her husband, stands aside, almost absent, looking down at the ground. The most intimate tones and psychological introspection are grafted here in the language of bourgeois Realism: with undoubted technical virtuosity Moreno offers a rigorous "quantitative" description of reality, dwelling on every single detail of faces, clothing, accessories and hairstyles . Section A, no 54, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of a classical style stone angel sculpture by sculptor  Santo Varni (Genoa, 1807 – 1885), The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures of the stone classical sculptured of an angel on a monumental tombs of Guiseppe Ghiglioni,  Staglieno Monumental Cemetery. Sculptor Giovanni Battista Cevasco 1870,  Genoa, Italy
  • Pictures of a bronze sculptured angel,  monumental De Bernardi tomb, Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures of the stone sculptured monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a Job (Giobbe) on the steps of the Parthenon by  G Benetti 1872. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of Christ standing arms outstretched by the sacophagus of the deceased whilst his wife prays on the steps of the tomb. Sculpted in a Borgeoise Realistic style by GB Villa in 1881. The Tomati family tomb, section D no 12, the  monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a grieving family arounf the death bed of an old man sculpted in Borgeoise Realistic style by A Rivalta in 1872.  The Raggio family tomb, Scection D no 10, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a grieving family arounf the death bed of an old man sculpted in Borgeoise Realistic style by A Rivalta in 1872.  The Raggio family tomb, Scection D no 10, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a young women grieving in the Borgosie Realistic style. The Gatti Tomb sculpted by G Benetti 1875. Section D no 5, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures of the stone sculptured monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a young women waiting by the gates of the tomb in a Borgeois Realistic style. The Piaggio Family Tomb sculpted by G Scanzi 1885. Section D no 36, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of Giuseppe Ratto looking down on his grieving wife with an angel in a Borgeois Realistic style. The Ratto Family Tomb sculpted by L Orengo in 1890. Section D no 30 the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of Giuseppe Ratto looking down on his grieving wife with an angel in a Borgeois Realistic style. The Ratto Family Tomb sculpted by L Orengo in 1890. Section D no 30 the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an angel at the doors of the Pallavicino Family tomb, sculpted by A Rivalta 1896. Section D no 27, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an angel at the doors of the Pallavicino Family tomb, sculpted by A Rivalta 1896. Section D no 27, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an angel at the doors of the Pallavicino Family tomb, sculpted by A Rivalta 1896. Section D no 27, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a mouyring widow and two children sitting by the doors of the tomb with an angel. The Patrone tomb sculpted by S Varni 1976. Section D, no 23, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a mouyring widow and two children sitting by the doors of the tomb with an angel. The Patrone tomb sculpted by S Varni 1976. Section D, no 23, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a mouyring widow and two children sitting by the doors of the tomb with an angel. The Patrone tomb sculpted by S Varni 1976. Section D, no 23, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a nude looking at a skull on a crucifix.  Sculpted in an art Nouveau style the sculture is a reminder that beauty and life is transient. The Lavarello tomb sculpted by Demetrio Paernio 1914. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a nude looking at a skull on a crucifix.  Sculpted in an art Nouveau style the sculture is a reminder that beauty and life is transient. The Lavarello tomb sculpted by Demetrio Paernio 1914. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a nude looking at a skull on a crucifix.  Sculpted in an art Nouveau style the sculture is a reminder that beauty and life is transient. The Lavarello tomb sculpted by Demetrio Paernio 1914. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of Margherita Capurro ascending to heaven while her husband grieves, 1901.  The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture of the stone sculpture bas relief of the Orsini Tomb sculpted by L  Bistolfi 1906-07. Section A, no 20, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an angel on the Raggio Family Tomb 1887. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an angel guarding the pyramid shaped tomb with some Egyptian symbols of death which increases the sense of mystery. Tomb Gorlero sculptor E. Sclavi 1892. Section A, no 24, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a grieving father and son standing at the doors of a tomb. Piccollo Tomb sculpted by G Moreno 1891. Section A, no 26, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an agel in thought at the door of the tomb of the Mantero family. Art Nouveau style sculpted by L Orengo 1895. Section B, no 04, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture in Borgeoise Realistic style of the Rossi family tomb. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture in Borgeoise Realistic style of the Rossi family tomb. 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
  • 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 Bronze sculpture of the Gallino Tomb by G Bennetti 1903. Section A, no 29, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image  of the Bronze sculpture of the Gallino Tomb by G Bennetti 1903. Section A, no 29, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the Art Nouveau stone sculpture of a nude. The Pizzorini Tomb by Vittorio  Lavezzari 1906. Section A, no 33, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the Art Nouveau stone sculpture of a nude. The Pizzorini Tomb by Vittorio  Lavezzari 1906. Section A, no 33, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures of the stone sculptured monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture commissioned by Luigi Parpaglioni, a rich trader coming from the Lombardy, because of his daughter’s death. The funery monument depicts  flying angel going before the soul who is rising up to the sky.  This romantic style is typical of the pre raphilites and although realistic the style is a little stilted. The Papaglioni tomb became popular and was copied by sculptors in many other countries.  Tomb Parpaglioni sculptor F. Fabiani 1884. Section A, no 35, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture commissioned by Luigi Parpaglioni, a rich trader coming from the Lombardy, because of his daughter’s death. The funery monument depicts  flying angel going before the soul who is rising up to the sky.  This romantic style is typical of the pre raphilites and although realistic the style is a little stilted. The Papaglioni tomb became popular and was copied by sculptors in many other countries.  Tomb Parpaglioni sculptor F. Fabiani 1884. Section A, no 35, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures of the stone sculptured monumental tombs of a women on a charging horse. The Scala Tomb sculpted by E Sclavi 1913. Section A, no 36, The Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures of the stone sculptured monumental tombs of a women on a charging horse. The Scala Tomb sculpted by E Sclavi 1913. Section A, no 36, The Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a husband and wife hugging.  Sculpted by G B Cevasco 1871. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of the Podesta family tomb in the Borgeois Realistic style by  D Carli 1892. Section A, no 39, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image  of the stone sculpture of a child being lifted to kiss the deceased.  The Casella tomb sculptor G Benetti 1884. Section A, no 40, monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image  of the stone sculpture of a child being lifted to kiss the deceased.  The Casella tomb sculptor G Benetti 1884. monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image  of the stone sculpture of a child being lifted to kiss the deceased.  The Casella tomb sculptor G Benetti 1884. Section A, no 40, monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image  of the stone sculptures of two young siblings at the doors of heaven through which their mother had to go before them by Sculptor A. Rota 1882. The theme of the monument is sorrow but also of hope as an angel guides the sould of the mouring siblings mother to heaven. As is tytpical of the Borgeois realistic style everday clothes, hairstyle and natural gestures are used in the sulpture. Section A, no 42, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a mouring  mans bowler hat in the Bourgeois Realistic style. Badaracco Tomb sculpted by G Moreno 1878. Section A, no 44, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image  of the stone sculptures of two young siblings at the doors of heaven through which their mother had to go before them by Sculptor A. Rota 1882. The theme of the monument is sorrow but also of hope as an angel guides the sould of the mouring siblings mother to heaven. As is tytpical of the Borgeois realistic style everday clothes, hairstyle and natural gestures are used in the sulpture. Section A, no 42, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of a mourning women  stone sculpture in the realistic borgeois style. The tomb of the Stefano family Tsculpted by by G Benetti 1877. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of an angel guiding a women to heaven stone sculpture on the Piaggio tomb sulpted by Fabian Federico 1876. Section A, no 45, The  monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an angel sitting on a sarcophagus. Piaggio Tomb sculpted by S Saccomanno 1876. Section A, no 46, The  monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a women on the tomb of ship builder Giovanni Battista Piaggio by  Sculptor G. Benetti 1873. Giovanni Battista Piaggio, who is buried here, was a rich ship-owner, whose important role in society is expressed by the professional symbols -the anchor, the ropes, the sand-glass, the globe, the chart that the sculptor Giuseppe Benetti put on the sides of the deceased's bust hosted in the lunette, which surmounts the architecture in Renaissance style of the monument. As a representative of the upper middle class he couldn't die without leaving memories of his social role: Benetti, in order to meet this requirement, represented the widow coming out of the chapel with a prayer-book in her hand. Bringing the mourning in an everyday-life dimension Benetti created a work in accordance with the dictates of the Realism bourgeois. Section A, no 47, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a women on the tomb of ship builder Giovanni Battista Piaggio by  Sculptor G. Benetti 1873. Giovanni Battista Piaggio, who is buried here, was a rich ship-owner, whose important role in society is expressed by the professional symbols -the anchor, the ropes, the sand-glass, the globe, the chart that the sculptor Giuseppe Benetti put on the sides of the deceased's bust hosted in the lunette, which surmounts the architecture in Renaissance style of the monument. As a representative of the upper middle class he couldn't die without leaving memories of his social role: Benetti, in order to meet this requirement, represented the widow coming out of the chapel with a prayer-book in her hand. Bringing the mourning in an everyday-life dimension Benetti created a work in accordance with the dictates of the Realism bourgeois. Section A, no 47, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image  of the stone sculptured monumental tombs depicting a flying angel and the deceased in the Borgeois Realistic style, by sculptor A Allegro 1872.  Section A, no 49, The Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image  of the stone sculptured monumental tombs depicting a flying angel and the deceased in the Borgeois Realistic style, by sculptor A Allegro 1872.  Section A, no 49, The Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures of the stone sculptured monumental tomb for the Celesia Family by sculptor D. Paernio 1899.  An adolescent angel with delicate features is examining some sheets while sitting, representing so the Study.  Sculpted in the bourgeois Realism style this gigantic statue of the worker follows Michelangelo’s heroic style, which was an obsession to many European and Italian sculptors between the end of the 19th century and the beginning of the 20th century,  Section A, no 51, The Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the Neo Gothic Erba stone tomb sculpture of a female figure, with her eyes closed and some poppy seeds in her hands, which are a pagan symbol with a funeral meaning because of their narcotic properties. The garment, stretching along her arm, leaves one shoulder undressed, thus giving the sleeper a touch of sensuality that did not fail to arouse some controversy among the contemporaries. By Sculptor Sculptor S. Saccomanno 1883.  Section A, no 50, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of a stone sculpture of Charity with an angel to her left, by Sculptor V. Lavezzari 1897 on the Repetto tomb.  Section A, no 52, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image  of the Realistic young grieving girl stone funary monument sculpture  commissioned by Enrico Amerigo for his sisters memory. beside the pedestal on which the sculptor set the deceased’s bust he placed, on the left, the figure of an old blind man, kneeling down and leaning on a stick; on the right he placed the figure of a young orphan girl, recognizable as such by her kindergarten uniform, portrayed in the act of making the sign of the cross. This work belongs to the Realism, a trend which was typical during the 1880s and 1890s, according to which the orphans, the poor, the sick and all those who benefited from somebody’s generosity had to be portrayed in a concrete fashion. Sculptor G Moreno 1890. Section A, no 53, The Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the Realistic blind man stone funary monument sculpture commissioned by Enrico Amerigo for his sisters memory. beside the pedestal on which the sculptor set the deceased’s bust he placed, on the left, the figure of an old blind man, kneeling down and leaning on a stick; on the right he placed the figure of a young orphan girl, recognizable as such by her kindergarten uniform, portrayed in the act of making the sign of the cross. This work belongs to the Realism, a trend which was typical during the 1880s and 1890s, according to which the orphans, the poor, the sick and all those who benefited from somebody’s generosity had to be portrayed in a concrete fashion. Sculptor G Moreno 1890. Section A, no 53, The Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the late borgeoise realistic style stone sculpture of the Gallino tomb sculpted by  G. Moreno 1894.  In the tomb, the bust that portrays the deceased Carolina receives the kiss of a child, probably the niece, supported by a young woman - the mother, or perhaps the elder sister - whose face is marked by pain; on the right an older man, presumably her husband, stands aside, almost absent, looking down at the ground. The most intimate tones and psychological introspection are grafted here in the language of bourgeois Realism: with undoubted technical virtuosity Moreno offers a rigorous "quantitative" description of reality, dwelling on every single detail of faces, clothing, accessories and hairstyles . Section A, no 54, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the realistic stone sculpture of a women praying at the monumental tomb of Luigi Priario by sculptor Paernio 1880,  the Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures and image of a realistic style  stone sculpture of a priest, monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures of the classical stone sculptured monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures of the stone sculptured of a young girl, monumental Pelegrini tomb of the Staglieno Monumental Cemetery, Genoa, Italy
  • Aphrodite of Fréjus in the style known as "Venus Genetrix". A 1.64m high Roman statue, dating from the end of the 1st century BC to the start of the 1st century AD, in Parian marble, was discovered at Fréjus (Forum Julii) in 1650. It is considered as the best Roman copy of the lost Greek work. Louvre Museum, Paris<br />
<br />
The Venus Genetrix style of statue depicts Aphrodite (Venus to the Romans) as Genetrix ( Latin for Mother). This sculptural type was adopted by the Julia-Claudian dynasty after Julius Caesar claimed that he was defended from Venus herself.  The original lost Greek statue is attributed to Greek sculpture Callimachus who created a Bronze Aphrodite in 420-410. According to Pliny's Natural History showing her dressed in a light but clinging chiton or peplos, which was lowered on the left shoulder to reveal her left breast and hung down in a sheer face and decoratively carved so as not to hide the outlines of the woman's body. Venus was depicted holding the apple won in the Judgement of Paris in her left hand, whilst her right hand moved to cover her head. From the lost bronze original are derived all surviving copies. The composition was frontal, the body's form monumental, and in the surviving Roman replicas its proportions are close to the Polyclitean, an ancient Greek sculptor in bronze of the fifth century BC.
  • Aphrodite of Fréjus in the style known as "Venus Genetrix". A 1.64m high Roman statue, dating from the end of the 1st century BC to the start of the 1st century AD, in Parian marble, was discovered at Fréjus (Forum Julii) in 1650. It is considered as the best Roman copy of the lost Greek work. Louvre Museum, Paris<br />
<br />
The Venus Genetrix style of statue depicts Aphrodite (Venus to the Romans) as Genetrix ( Latin for Mother). This sculptural type was adopted by the Julia-Claudian dynasty after Julius Caesar claimed that he was defended from Venus herself.  The original lost Greek statue is attributed to Greek sculpture Callimachus who created a Bronze Aphrodite in 420-410. According to Pliny's Natural History showing her dressed in a light but clinging chiton or peplos, which was lowered on the left shoulder to reveal her left breast and hung down in a sheer face and decoratively carved so as not to hide the outlines of the woman's body. Venus was depicted holding the apple won in the Judgement of Paris in her left hand, whilst her right hand moved to cover her head. From the lost bronze original are derived all surviving copies. The composition was frontal, the body's form monumental, and in the surviving Roman replicas its proportions are close to the Polyclitean, an ancient Greek sculptor in bronze of the fifth century BC.
  • Aphrodite of Fréjus in the style known as "Venus Genetrix". A 1.64m high Roman statue, dating from the end of the 1st century BC to the start of the 1st century AD, in Parian marble, was discovered at Fréjus (Forum Julii) in 1650. It is considered as the best Roman copy of the lost Greek work. Louvre Museum, Paris<br />
<br />
The Venus Genetrix style of statue depicts Aphrodite (Venus to the Romans) as Genetrix ( Latin for Mother). This sculptural type was adopted by the Julia-Claudian dynasty after Julius Caesar claimed that he was defended from Venus herself.  The original lost Greek statue is attributed to Greek sculpture Callimachus who created a Bronze Aphrodite in 420-410. According to Pliny's Natural History showing her dressed in a light but clinging chiton or peplos, which was lowered on the left shoulder to reveal her left breast and hung down in a sheer face and decoratively carved so as not to hide the outlines of the woman's body. Venus was depicted holding the apple won in the Judgement of Paris in her left hand, whilst her right hand moved to cover her head. From the lost bronze original are derived all surviving copies. The composition was frontal, the body's form monumental, and in the surviving Roman replicas its proportions are close to the Polyclitean, an ancient Greek sculptor in bronze of the fifth century BC.
  • Roman sculptural decorations  on  The Arch Of Constantine built to celebrate victory over Maxentius . Rome. Rome
  • Ancient Egyptian house altar relief sculpture of Akhenaten, Nefrertiti and their three daughters. 18th Dynasty 1345 BC . Neues Museum Berlin AM 14145.
  • Hittite bas relief sculpture orthostat panels from the Sphinx Gate of Alaca Hoyuk Archaeological site, Turkey.
  • Picture of the Sphinx gate Hittite sculpture, Alaca Hoyuk (Alacahoyuk) Hittite archaeological site Alaca, Corum Province, Turkey,
  • Pictures & Images of the Sphinx gate Hittite sculpture, Alaca Hoyuk (Alacahoyuk) Hittite archaeological site Alaca, Çorum Province, Turkey, Also known as Alacahüyük, Aladja-Hoyuk, Euyuk, or Evuk
  • Pictures & Images of the Sphinx gate Hittite sculpture, Alaca Hoyuk (Alacahoyuk) Hittite archaeological site  Alaca, Çorum Province, Turkey,
  • Pictures & Images of the Sphinx gate Hittite sculpture, Alaca Hoyuk (Alacahoyuk) Hittite archaeological site  Alaca, Çorum Province, Turkey,
  • Picture of the Sphinx gate Hittite sculpture, Alaca Hoyuk (Alacahoyuk) Hittite archaeological site Alaca, Corum Province, Turkey,
  • Roman marble statue of the Esquiline Venus or Aphrodite dated to the 1st cent. It was found in 1874 in Piazza Dante on the Esquiline Hill in Rome, probably part of the site of the Horti Lamiani, one of the imperial gardens, rich archaeological sources of classical sculpture. The Esquiline Venus is an example of the Pasitelean “eclectic" style of the Neo-Attic school. It combines elements from a variety of other previous schools - a Praxitelean idea of the nude female form; a face, muscular torso, and small high breasts in the fifth-century BC severe style; and pressed-together thighs typical of Hellenistic sculptures. Capitoline Museums, Rome
  • Norman Romanesque exterior corbel no 39  -  sculpture of.an Angus Dei, the symbol of Jesus Christ as the Lamb of God. Strangely the creature holding the cross is a horse not a sheep. The sculpture is place in the centre of the Eastern Apse, symbolically the most important part of the church. The Norman Romanesque Church of St Mary and St David, Kilpeck Herefordshire, England. Built around 1140
  • Norman Romanesque exterior corbel no 8  -  sculpture of.an Angus Dei directly above the south door, the symbol of Jesus Christ as the Lamb of God. Strangely the creature holding the cross is a horse not a sheep. The sculpture is placed at the entrance of the church showing the importance of its iconography. The Norman Romanesque Church of St Mary and St David, Kilpeck Herefordshire, England. Built around 1140
  • Pictures & Images of the Sphinx gate Hittite sculpture, Alaca Hoyuk (Alacahoyuk) Hittite archaeological site Alaca, Çorum Province, Turkey, Also known as Alacahüyük, Aladja-Hoyuk, Euyuk, or Evuk
  • Norman Romanesque exterior corbel no 28 (similar style to No 44) - sculpture of a female exhibitionist known as a Sheela-na-gig. The sculpture shows a female with a huge round head and puny body with her hand holding open a grossly enlarged vulva. It seems unlikely that this image is of a pornographic nature because it is on a church, and is more likely a warning against the temptations of women. The Norman Romanesque Church of St Mary and St David, Kilpeck Herefordshire, England. Built around 1140
  • Norman Romanesque exterior corbel no 28 (similar style to No 44) - sculpture of a female exhibitionist known as a Sheela-na-gig. The sculpture shows a female with a huge round head and puny body with her hand holding open a grossly enlarged vulva. It seems unlikely that this image is of a pornographic nature because it is on a church, and is more likely a warning against the temptations of women. The Norman Romanesque Church of St Mary and St David, Kilpeck Herefordshire, England. Built around 1140
  • Norman Romanesque exterior corbel no 28 (similar style to No 44) - sculpture of a female exhibitionist known as a Sheela-na-gig. The sculpture shows a female with a huge round head and puny body with her hand holding open a grossly enlarged vulva. It seems unlikely that this image is of a pornographic nature because it is on a church, and is more likely a warning against the temptations of women. The Norman Romanesque Church of St Mary and St David, Kilpeck Herefordshire, England. Built around 1140
  • Roman sculpture bust of Marcus Aurelius Severus Antoninus Augustus better known as Caracalla, made between 210 and 213 AD and excavated from the via Cassia, Rome. The realism of this  sculpture of Caracalla captures cruelty of the most notorious and unpleasant of emperors because of the massacres and persecutions he authorized and instigated throughout the Roman Empire. The eldest son of Septimius Severus, he reigned jointly with his father from 198 until Severus' death in 211. For a short time he then ruled jointly with his younger brother Geta until he had him murdered later in 211. Caracalla's reign was also notable for the Constitutio Antoniniana  granting Roman citizenship to all freemen throughout the Roman Empire. While travelling from Edessa to continue the war with Parthia, he was assassinated while urinating at a roadside near Carrhae on 8 April 217, by Julius Martialis, an officer of his personal bodyguard who was possibly resentful at not being promoted to the rank of centurion.  The National Roman Museum, Rome, Italy
  • Osztyapenko Statue in the Memento Sculpture Park - Communist Sculptures museum - Budapest - Hungary
  • Norman Romanesque exterior corbel no 44 - sculpture of a fiddle or rebeck player, similar style to corbel no 28. Its style is also associated with a corbel on the apse at Courpiac ( Gironde). The Norman Romanesque Church of St Mary and St David, Kilpeck Herefordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque exterior corbel no 50  -  sculpture of.a curious scene. A beaked headed creature holds down a man below its body and is pushing its beak into the mans mouth, The beaked creature seems to be holding something in its right hand which it is eating The Norman Romanesque Church of St Mary and St David, Kilpeck Herefordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque exterior corbel no 12 - sculpture of the head of an animal with a lions mane and big fanged teeth. The Norman Romanesque Church of St Mary and St David, Kilpeck Herefordshire, England. Built around 1140
  • Norman Romanesque exterior corbel no 61 - sculpture of  a human head with curly hair and beard. The Norman Romanesque Church of St Mary and St David, Kilpeck Herefordshire, England. Built around 1140
  • Norman Romanesque exterior corbel no 54 - sculpture of a male stylised simple round head. The Norman Romanesque Church of St Mary and St David, Kilpeck Herefordshire, England. Built around 1140
  • Norman Romanesque exterior corbel no 27 - sculpture of a pigs head. Pigs signify sinners, the unclean and heretics as well as carnal feelings, it is therefore a morality figure. The Norman Romanesque Church of St Mary and St David, Kilpeck Herefordshire, England. Built around 1140
  • Norman Romanesque exterior corbel no 38 - sculpture of a head, half man half lion with a mouth like a theatrical mask. The Norman Romanesque Church of St Mary and St David, Kilpeck Herefordshire, England. Built around 1140
  • Norman Romanesque exterior corbel no 52 - sculpture of a featureless human. The Norman Romanesque Church of St Mary and St David, Kilpeck Herefordshire, England. Built around 1140
  • Norman Romanesque exterior corbel no 61 - sculpture of  a human head with curly hair and beard. The Norman Romanesque Church of St Mary and St David, Kilpeck Herefordshire, England. Built around 1140
  • Norman Romanesque exterior corbel no 37 - sculpture of a grotesque head with interlocking teeth. The Norman Romanesque Church of St Mary and St David, Kilpeck Herefordshire, England. Built around 1140
  • Norman Romanesque exterior corbel no 30 - sculpture of of a muzzled bears head with two humans in its mouth, their heads poking out either side of its head.  The Norman Romanesque Church of St Mary and St David, Kilpeck Herefordshire, England. Built around 1140
  • Norman Romanesque exterior corbel no 31 - sculpture of a man with a goatee beard. The Norman Romanesque Church of St Mary and St David, Kilpeck Herefordshire, England. Built around 1140
  • Norman Romanesque exterior corbel no 41 - sculpture of a grotesque stylised creatures head with bulging eyes. The Norman Romanesque Church of St Mary and St David, Kilpeck Herefordshire, England. Built around 1140
  • Norman Romanesque exterior corbel no 30 - sculpture of of a muzzled bears head with two humans in its mouth, their heads poking out either side of its head.  The Norman Romanesque Church of St Mary and St David, Kilpeck Herefordshire, England. Built around 1140
  • Norman Romanesque exterior corbel no 36 - sculpture of two fledgling birds both biting a serpent. Possibly an allegory of the original sin man is born with due to Adam taking the apple from a serpent in the garden of Eden.  The Norman Romanesque Church of St Mary and St David, Kilpeck Herefordshire, England. Built around 1140
  • Norman Romanesque exterior corbel no 56 - sculpture of a stylised head of a human. The Norman Romanesque Church of St Mary and St David, Kilpeck Herefordshire, England. Built around 1140
  • Norman Romanesque exterior corbel no 56 - sculpture of a stylised head of a human. The Norman Romanesque Church of St Mary and St David, Kilpeck Herefordshire, England. Built around 1140
  • Norman Romanesque exterior corbel no 58 - sculpture of a stylised head of a human. The Norman Romanesque Church of St Mary and St David, Kilpeck Herefordshire, England. Built around 1140
  • Norman Romanesque exterior corbel no 29  -  sculpture of.a creature with a rounded head, pointed ears and a beaked nose. In its huge mouth it is biting on a rod . The Norman Romanesque Church of St Mary and St David, Kilpeck Herefordshire, England. Built around 1140
  • Norman Romanesque exterior corbel no 33  -  sculpture of.very modern cartoon like hound and a hare. In the Bestiary dogs are like preachers who put men back on the right course of righteousness and the hare represents men who fear God and put their trust in the creator . The Norman Romanesque Church of St Mary and St David, Kilpeck Herefordshire, England. Built around 1140
  • Norman Romanesque exterior corbel no 29  -  sculpture of.a creature with a rounded head, pointed ears and a beaked nose. In its huge mouth it is biting on a rod . The Norman Romanesque Church of St Mary and St David, Kilpeck Herefordshire, England. Built around 1140
  • Norman Romanesque sculptures on the chancel arch from the interior of the Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque sculptures on the chancel arch from the interior of the Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of mythical dragon and a man from the south doorway of the Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of fish the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque exterior corbel no 1 - sculpture of a quail that it has just killed its young. This is based on a  bestiary story that tells of a Pelican that kills its young. It then pecks its breast to draw blood and sits on its dead offspring and the blood brings the young bird back to life. This is an allegory of Christ giving his blood on the cross for mankind. The Norman Romanesque Church of St Mary and St David, Kilpeck Herefordshire, England. Built around 1140
  • Norman Romanesque exterior corbel no 49  - sculpture of  an alien like chinless bald headed figure. Its perfectly round mouth is filled with a ball like object and may be a moral warning about talking too much. The Norman Romanesque Church of St Mary and St David, Kilpeck Herefordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of mythical dragon from the south doorway of the Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Roman relief sculpture on the Christian sarcophagus side od Marcus Claudianus depicting scenes from  the new testament , circa 330 - 335 AD from the via della Lungara near S.Giacomo in Settimiana, Rome, Italy. National Roman Musuem, Rome.
  • Roman relief sculpture on a sarcophagus side showing a married couple with pagan deities, circa 270 - 280 AD from the via Latina, Rome, Italy. National Roman Musuem, Rome.
  • Roman relief sculpture panel decorated on both sides with masks from the second half of the 1st cent. AD excavated from the Valle Giardino, Nemi, Italy. The panel is sculpted on both sides; the front side depicts the half moon shaped face of a deity wearing a crown.  Inv 112158, The National Roman Museum, Rome, Italy
  • Roman sculpture bust of  Gordian III made between 238 and 244 AD and excavated from Ostia. At the age of 13, he became the youngest sole legal Roman emperor throughout the existence of the united Roman Empire. Gordian was the son of Antonia Gordiana and an unnamed Roman Senator who died before 238. When the Persians under Shapur I invaded Mesopotamia, the young emperor opened the doors of the Temple of Janus for the last time in Roman history, and sent a large army to the East. The Sassanids were driven back over the Euphrates and defeated in the Battle of Resaena (243AD). In the beginning of 244, the Persians counter-attacked. Persian sources claim that a battle was fought (Battle of Misiche) near modern Fallujah (Iraq) and resulted in a major Roman defeat and the death of Gordian III. The National Roman Museum, Rome, Italy
  • Roman sculpture bust of Publius Septimius Antoninus Geta better known as Geta brother of Caracalla, made between 209 and 212 AD and excavated from the via XX Septembre, Rome. Geta was the younger son of Septimius Severus by his second wife Julia Domna. Geta  was a Roman emperor who ruled with his father Septimius Severus and his older brother Caracalla from 209 until his death, when he was murdered on Caracalla's orders.  The National Roman Museum, Rome, Italy
  • Roman head sculpture in the ‘Italic cubism ‘ style, 2nd - 3rd century BC, found in the foundations of the Ministery of Finance on the via XX Septembre, Rome. The head, the back of which was not completed, shows markedly realistic, clear features. The style, a blend of Greek art and Italic traditions, is traceable to Etruscan portraiture of the so called ‘Italic cubism’ of the 3rd century BC, and local stone used was well suited to this genre. It is believed to be the only known example of this style and has been roughly dated to between the 3rd and 2nd century BC. The 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 bronze sculpture of Dinoysus - Plato, Naples Museum of Archaeology, Italy
  • Norman Romanesque exterior corbel sculptures from the Norman Romanesque Church of St Mary and St David, Kilpeck Herefordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque exterior corbel no 36 - sculpture of two fledgling birds both biting a serpent. Possibly an allegory of the original sin man is born with due to Adam taking the apple from a serpent in the garden of Eden.  The Norman Romanesque Church of St Mary and St David, Kilpeck Herefordshire, England. Built around 1140
  • Norman Romanesque exterior corbel no 48  -  sculpture of.a grotesque creature with a long snout and fierce teeth. The Norman Romanesque Church of St Mary and St David, Kilpeck Herefordshire, England. Built around 1140
  • Norman Romanesque exterior corbel no 35  -  sculpture of.a curious scene. A beaked headed creature holds down a man below its body and is pushing its beak into the mans mouth, The beaked creature seems to be holding something in its right hand which it is eating The Norman Romanesque Church of St Mary and St David, Kilpeck Herefordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Norman Romanesque relief sculptures of dragons and mythical creatures depicting the struggle between good and evil, from the South doorway of Church of St Mary and St David, Kilpeck Herifordshire, England. Built around 1140
  • Medieval Gothic Sculptures of the South portal  Tympanum and lintel depicting Christ and the Last Judgement. Cathedral of Chartres, France. A UNESCO World Heritage Site.
  • Medieval Gothic Sculptures of the South portal  Tympanum and lintel depicting Christ and the Last Judgement. Cathedral of Chartres, France. A UNESCO World Heritage Site.
  • Medieval Gothic Sculptures of the South portal  of the Cathedral of Chartres, France. The portal shaows the Last Judgement and the small figures represent "The blessed". A UNESCO World Heritage Site.
  • Medieval Gothic Sculptures of the South portal  of the Cathedral of Chartres, France. The portal shaows the Last Judgement and the small figures represent "The blessed". A UNESCO World Heritage Site.
  • Liberation MemorialMemento Sculpture Park ( Szobaopark ) Budapest, Hungary
  • Workers Movement Memorial - Memento Sculpture Park ( Szobaopark ) Budapest, Hungary
  • Republic of Councils Monument - Memento Sculpture Park ( Szobaopark ) Budapest, Hungary
  • Workers Movement Memorial - Memento Sculpture Park ( Szobaopark ) Budapest, Hungary
  • Kun Bela Memorial - founder of the Hungarian Soviet Repulic (1919 March 21st to August) - Memento Sculpture Park ( Szobaopark ) Budapest, Hungary
  • Kun Bela Memorial - founder of the Hungarian Soviet Repulic (1919 March 21st to August) - Memento Sculpture Park ( Szobaopark ) Budapest, Hungary
  • Memento Sculpture Park ( Szobaopark ) Budapest, Hungary
  • Memento Sculpture Park ( Szobaopark ) Budapest, Hungary
  • Liberation Monument - Kiss Istvan 1971-  Sculpture Park ( Szobaopark ) Budapest, Hungary
  • Photo of Roman releif sculpture of Aphrodite from the Theater dedicated to Theodorus, second-third century AD, Aphrodisias, Turkey, Images of Roman art bas releifs. Buy as stock or photo art prints.
  • Roman relief sculpture, Aphrodisias, Turkey, Images of Roman art bas reliefs.  Nero supports a slumping naked Armenia. She wears a soft eastern hat.
  • Photo of Roman releif sculpture of Tree Graces from the South Building, Second storey, Aphrodisias, Turkey, Images of Roman art bas releifs. Aphrodisias Archaological Museum, Turkey
  • Photo of Roman relief sculpture, Aphrodisias, Turkey, Images of Roman art bas reliefs from the mauseleum of Julius Zoilus.
  • 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, an allegory of an athletic contest [ Agon ]  Aphrodisias, Turkey, Images of Roman art bas releifs. Buy as stock or photo art prints. The pillar with a bearded head on it is Hermes the god of the gymnasium. Nearby is a palm of victiry with a ribbon on a prize table. Two winged baby Eros figures are stuggling over a palm branch acting out the idea of a contest. The youthful figure is Agon himself who holds a palm of victory
  • 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
  • Portrait head sculpture of the Roman emperor Lucius Verus ( AD 161-169). Pentalic marble found in Athens.
  • Photo of Roman releif sculpture of Aphrodite & Anchises from the Oda first room, Aphrodisias, Turkey, Images of Roman art bas releifs. Buy as stock or photo art prints. The trojan shepherd Anchises gazes at a seated Aphrodite, his lover for one night on Mount Ida. She hold a smalkl Eros in her lap : this is an erotic encounter. The head of Seine [ moon ] appears above the mountain in the top left of the scene. Aineas was the result of this union.
  • Photo of Roman releif sculpture of a Female Captive. Aphrodisias Archaological Museum, Turkey
  • 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 relief sculpture, Aphrodisias, Turkey, Images of Roman art bas reliefs.  Nero supports a slumping naked Armenia. She wears a soft eastern hat.
  • Photo of Roman relief sculpture, Aphrodisias, Turkey, Images of Roman art bas reliefs.  Meleager sits on a rock tying his sandal. Below him lies a fierce hunting dog with a wide collar. On one side a god or another hero wearing a rounded hat  crowning Meleager ( arm missing). On the other side stands the huntress Atalante, Meleager's lover: she wears a short dress and quiver,
  • Photo of Roman relief sculpture, Aphrodisias, Turkey, Images of Roman art bas reliefs.  Herakles is preparing to wrestle the Libyan giant Antaios. Herakles (left) is taking off his bow case to hang it on a pillar statue. Antaios (right) is binding up his head with ear protectors, next to him stands an oil basin used in the palaistra (wrestling ground). Antaios was a famous wrestler who challenged and killed all visitors to his country, until he was defeated by Herakles.
  • Photo of Roman releif sculpture of Aphrodite from the Theater dedicated to Theodorus, second-third century AD, Aphrodisias, Turkey, Images of Roman art bas releifs. Buy as stock or photo art prints. art 2
  • Portrait head sculpture of the Roman emperor Lucius Verus ( AD 161-169). Pentalic marble found in Athens.
  • Portrait head sculpture of the Roman emperor Lucius Verus ( AD 161-169). Pentalic marble found in Athens.
  • Roman Sebasteion relief  sculpture of a seated god or king, , Aphrodisias Museum, Aphrodisias, Turkey.  <br />
<br />
 An older bearded god or mythological King sits on a throne. He held a sceptre and wears a royal diadem and a richly carved tunic and cloak
  • Close up of a Roman Sebasteion relief sculpture, Aphrodisias of Dionysus as a baby, Aphrodisias Museum, Aphrodisias, Turkey.    Against a black background.<br />
<br />
Baby Dionysus is handed from one nymph to another for suckling. A bearded Silenos gestures excitedly. The scene is set at Nysa in the Meander Valley, where Zeus had his gifted child Dionysos, born to him by Semele and brought up in the wilds out of the view of Hera.
  • Close up of a Roman Sebasteion relief  sculpture of Anchises and Aphrodite Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
The Trojan shepherd Anchises gazes at the seated Aphrodite, his lover for one night on mount Ida. She hold a small Eros on her lap: this is an erotic encounter. The head of Selene (Moon) appears above the mountain rocks: she indicates night time. It was from this union that Aineas was born
  • 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 Roman Sebasteion relief  sculpture of Meleager and Atalante  Aphrodisias Museum, Aphrodisias, Turkey.    <br />
<br />
Meleager sits on a rock tying his sandal. Below him lies a fierce hunting dog with a broad collar. On one side a god or another hero wearing a rounded hat was crowning Meleager ( arm missing). On the other side stands the huntress Atalante, Meleager’s lover: she wears a short dress and quiver, and lifts her cloak at the shoulder in a gesture of modesty.
  • Detail of a Roman Sebasteion relief sculpture of Zeus and Prometheus, Aphrodisias Museum, Aphrodisias, Turkey.    <br />
<br />
Prometheus is screaming in pain. Zeus had given him a terrible punishment for giving fire to man: he was tied to the Caucasus mountains and had his liver picked out daily by an eagle. Herakles shot the eagle and is undoing the first manacle. He wears his trade mark lion-skin and thrown his club to one side. A small mountain nymph, holding a throwing stick appears amongst the rocks.
  • Roman Sebasteion relief sculpture of Ethnos of the Dacians Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
The Dacians are shown as a captive Barbarian woman. Her arms are crossed in submission, her thick dress slips off the shoulder slightly partly revealing her breast. The forepart of a small bull stands in profile behind. Dacia (modern Romania) was claimed by Augustus as a conquest in 1BC to 4AD
  • Roman Sebasteion relief sculpture personifing a Balkan Warrior  Aphrodisias Museum, Aphrodisias, Turkey.  Against a black background.<br />
<br />
The relief figure personifies a Balkan Warrior tribe defeated by Tiberius in AD 6-8 before he became emperor. She wears a classical dress, cloak and helmet and carries a small shield and probably once a spear. A builder’s inscription, “Pirouston”, written above the shield, ensured the relief was put on the right base
  • Roman Sebasteion relief sculpture personifing a Balkan Warrior  Aphrodisias Museum, Aphrodisias, Turkey.  Against an art background.<br />
<br />
The relief figure personifies a Balkan Warrior tribe defeated by Tiberius in AD 6-8 before he became emperor. She wears a classical dress, cloak and helmet and carries a small shield and probably once a spear. A builder’s inscription, “Pirouston”, written above the shield, ensured the relief was put on the right base
  • Roman Sebasteion relief sculpture of Ethnos with belted peplos, Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
The matronly figure wears a belted classical dress (peplos) and held her long cloak up behind. The square hole above her shoulder with a corresponding hole in the back, was for lifting the finished relief into the ancient building by crane.
  • Roman Sebasteion relief sculpture of the goddess Herma (day), Aphrodisias Museum, Aphrodisias, Turkey.<br />
<br />
Goddess  Herma or Day steadies a dramatically billowing cloak that frames her head. The motif , also visible on the Okeanos relief, indicates flying, floating and divine epiphany - the appearance of gods to mortals. Day would be paired with night : together they signify the eternity of the Roman imperial order.
  • Roman Sebasteion relief  sculpture of Nero being crowned emperor by Agrippina, Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.<br />
<br />
Agrippina crowns her young son Nero with a laurel wreath. She carries a cornucopia, a symbol of Fortune and Plenty, and he wears the armour and cloak of a Roman commander, with a helmet on the ground near his feet. The scene refers to Nero’s accession as emperor in AD 54, and belongs before AD 59 when Nero had Agrippina murdered.
  • Roman Sebasteion relief  sculpture of Nero being crowned emperor by Agrippina, Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
Agrippina crowns her young son Nero with a laurel wreath. She carries a cornucopia, a symbol of Fortune and Plenty, and he wears the armour and cloak of a Roman commander, with a helmet on the ground near his feet. The scene refers to Nero’s accession as emperor in AD 54, and belongs before AD 59 when Nero had Agrippina murdered.
  • Roman Sebasteion relief  sculpture of Victory of the Emperors, Aphrodisias Museum, Aphrodisias, Turkey. <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 emperor Claudius and Britannia, Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.<br />
<br />
Naked warrior emperor Claudius is about to deliver a death blow to the slumped Britannia. He wears a helmet, cloak and sword belt with a scabbard. Britannia wears a tunic with one breast exposed like the Amazon figures she was modelled on. The inscription reads: Tiberios Klaudios Kaiser - Bretannia.
  • Roman Sebasteion relief  sculpture of Aphrodite crowned by Andreia, Aphrodisias Museum, Aphrodisias, Turkey.  Against an art background.<br />
<br />
A draped goddess is crowned by a female warrior figure. The goddess is probably Aphrodite, while the warrior has a bare breated Amazonian dress and equipment (spear, sword strap and shield) worn by Roma or Andreia (Bravery)
  • Close up of a Roman Sebasteion relief  sculpture of  Two princes, Aphrodisias Museum, Aphrodisias, Turkey.  Against a black background.<br />
<br />
Two princes stand like statues, naked, wearing cloaks. The left figure holds the orb of the world in one hand, a symbol of  world rule that indicates he is the imperial heir, and in the other a ship’s stern ornament (aphlaston), a symbol of naval victory. They and probably Gius and Lucius, the grandsons of Augustus, or Nero and Britanicus, Claudius’ heir.
  • Close up of a Roman Sebasteion relief  sculpture of  Two princes, Aphrodisias Museum, Aphrodisias, Turkey. Against an art background.<br />
<br />
Two princes stand like statues, naked, wearing cloaks. The left figure holds the orb of the world in one hand, a symbol of  world rule that indicates he is the imperial heir, and in the other a ship’s stern ornament (aphlaston), a symbol of naval victory. They and probably Gius and Lucius, the grandsons of Augustus, or Nero and Britanicus, Claudius’ heir.
  • 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. <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 an art 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
  • Roman Sebasteion relief  sculpture of Emperor Nero with captive, Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
Naked warrior emperor Nero holds the orb of world rule in one hand and crowns the military trophy with the other. Between the trophy and the emperor stands a bound captive boy. He wears long barbarian trousers and looks up at Nero.
  • Roman Sebasteion relief  sculpture of Ares, Aphrodisias Museum, Aphrodisias, Turkey.   Against a white background.<br />
<br />
The nude and classically7 styled young god wears only a helmet and holds a spear (missing) in one hand and a shield in the other. At the left stands cuirass, and at the upper right corner hangs his sword. Ares was a god of war and was not later defaced by Christians probably because he so closely resembles a young emperor.
  • Close up of a RomanSebasteion relief  sculpture of Aineas’ flight from Troy, Aphrodisias Museum, Aphrodisias, Turkey.   Against a white background.<br />
<br />
Aineas in armour carries his aged farther Anchises on his shoulders and leads his young son Lulus by his hand. They are fleeing from the sack of Troy. The figure floating behind is Aphrodite, Aineas’ mother: she is helping their escape. Old Anchises carries a round box that held images of Troy’s ancestral gods.
  • Close up of a Roman Sebasteion relief  sculpture of Aineas’ flight from Troy, Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.<br />
<br />
Aineas in armour carries his aged farther Anchises on his shoulders and leads his young son Lulus by his hand. They are fleeing from the sack of Troy. The figure floating behind is Aphrodite, Aineas’ mother: she is helping their escape. Old Anchises carries a round box that held images of Troy’s ancestral gods.
  • Roman Sebasteion relief  sculpture of Aineas’ arrival in Italy Aphrodisias Museum, Aphrodisias, Turkey.  Against an art background.<br />
<br />
Poseidon stands naked over a sea going ship stopped at a short column. SA dolphin jumps between his legs. Aineas, his head veiled in the Roman manner, pours a libation, a thanks offering for his safe arrival in Italy. Behing Poseidon’s shoulders, a separately worked young male head was inserted into the background, maybe a deceased companion of Aineas.
  • Roman Sebasteion relief  sculpture of Herakles or Hercules Drunk Aphrodisias Museum, Aphrodisias, Turkey.     Against a white background.<br />
<br />
Herakles or Hercules staggers along drunk, supported by a small satyr from the entourage of Dionysus. He is wearing the head ribbon of a drinking party, where he has been in a drinking contest with Dionysus. The wine god has conquered even the mighty hero of the Twelve Labours.
  • Roman Sebasteion relief  sculpture of Nysa and baby Dionysus Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
The nymph Nysa has the baby Dionysus on her lap. He reaches out to a bunch of grapes held up by a satyr, one of his woodland followers. Dionysus was the son of Zeus by Semele, and was given the nymphs of Mt Nysa for an upbringing in the wilds, safe from the eyes of Hera, Zeus’s wife. Nysa was located in the Meander Valley, near Aphrodisias: the story was local.
  • Roman Sebasteion relief  sculpture of Agon Aphrodisias Museum, Aphrodisias, Turkey.  Against an art 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 Dionysus Drunk Aphrodisias Museum, Aphrodisias, Turkey.  Against an art background.<br />
<br />
A prancing woodland nymph leads drunken Dionysus who supports himself languidly on a small satyr. This is an image of Dionysian enjoyment and pleasure, hellenistic in style and fluently designed
  • Roman Sebasteion relief  sculpture of Polyphemos and Galatea Aphrodisias Museum, Aphrodisias, Turkey.     Against a white background.<br />
<br />
Another mythological love story affirms the power of Aphrodite. The sea nymph Galatea resists the lustful advances of the beastly cycolps Polyphemas in his cave. Polyphemos sits on a rock and tries to pull Galatea between his legs. His right arm is round her back: note the huge hand on her backside.
  • Close up of a Roman Sebasteion relief  sculpture of Io and Argos Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
A powerful hero is folding a sword gazing closely at a half naked and dishevelled young heroine who sits on a chest like stool. Between, on a pillar base stood a small, separately added statue of a goddess ( now missing). The scene follows a scheme used in the relief panels “Io guarded by Argos”. Io was one of Zeus’s lovers, and Argos was a watchful giant sent to guard her by Hera, Zeus’s wife.
  • Roman Sebasteion relief  sculpture of Io and Argos Aphrodisias Museum, Aphrodisias, Turkey.     Against a white background.<br />
<br />
A powerful hero is folding a sword gazing closely at a half naked and dishevelled young heroine who sits on a chest like stool. Between, on a pillar base stood a small, separately added statue of a goddess ( now missing). The scene follows a scheme used in the relief panels “Io guarded by Argos”. Io was one of Zeus’s lovers, and Argos was a watchful giant sent to guard her by Hera, Zeus’s wife.
  • 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 an Heroic Couple Aphrodisias Museum, Aphrodisias, Turkey.     Against a white background.<br />
<br />
A heroine sits on a rock with one breast bare. In the front of her stands a young hero. Between them a small statue of Aphrodite stands on a support. The subject is a love encounter, but it is not clear which of many possible heroic couple was intended.
  • Roman Sebasteion relief  sculpture of Meleager and Atalante  Aphrodisias Museum, Aphrodisias, Turkey. Against a grey background.<br />
<br />
Meleager sits on a rock tying his sandal. Below him lies a fierce hunting dog with a broad collar. On one side a god or another hero wearing a rounded hat was crowning Meleager ( arm missing). On the other side stands the huntress Atalante, Meleager’s lover: she wears a short dress and quiver, and lifts her cloak at the shoulder in a gesture of modesty.
  • Roman Sebasteion relief  sculpture of  Meleager and a boar Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
Meleager stands naked in front of a rocky outcrop. In the foreground lies a dead Calydonian boar, Above, a local nymph emerges from behind a fold in the landscape. The boar hunt took place on the imposing Mt Zygos at Calydon.
  • Close up of a RomanSebasteion relief sculpture of  Herakles is preparing to wrestle the Libyan giant Antaios. Aphrodisias Museum, Aphrodisias, Turkey. Against an art background.<br />
<br />
Herakles (left) is taking off his bow case to hang it on a pillar statue. Antaios (right) is binding up his head with ear protectors, next to him stands an oil basin used in the palaistra (wrestling ground). Antaios was a famous wrestler who challenged and killed all visitors to his country, until he was defeated by Herakles.
  • Detail of a Roman Sebasteion relief sculpture of Zeus and Prometheus, Aphrodisias Museum, Aphrodisias, Turkey.    Against a black background.<br />
<br />
Prometheus is screaming in pain. Zeus had given him a terrible punishment for giving fire to man: he was tied to the Caucasus mountains and had his liver picked out daily by an eagle. Herakles shot the eagle and is undoing the first manacle. He wears his trade mark lion-skin and thrown his club to one side. A small mountain nymph, holding a throwing stick appears amongst the rocks.
  • Close up of a Roman Sebasteion relief sculpture of Zeus and Prometheus, Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background. <br />
<br />
Prometheus is screaming in pain. Zeus had given him a terrible punishment for giving fire to man: he was tied to the Caucasus mountains and had his liver picked out daily by an eagle. Herakles shot the eagle and is undoing the first manacle. He wears his trade mark lion-skin and thrown his club to one side. A small mountain nymph, holding a throwing stick appears amongst the rocks.
  • Roman Sebasteion relief sculpture of Achilles and a dying Amazon, Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.  <br />
<br />
Achilles supports the dying Amazon queen Penthesilea whom he has mortally wounded. Her double headed axe slips from her hands. The queen had come to fight against the Greeks in the Trojan war and Achilles fell in love with her.
  • Roman Sebasteion relief  sculpture of a seated god or king, , Aphrodisias Museum, Aphrodisias, Turkey.  <br />
<br />
 An older bearded god or mythological King sits on a throne. He held a sceptre and wears a royal diadem and a richly carved tunic and cloak
  • Roman Sebasteion relief  sculpture of a seated god or king, , Aphrodisias Museum, Aphrodisias, Turkey.  <br />
<br />
 An older bearded god or mythological King sits on a throne. He held a sceptre and wears a royal diadem and a richly carved tunic and cloak
  • Detail of a Roman Sebasteion relief  sculpture of Emperor Nero , Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
Naked warrior emperor Nero holds the orb of world rule in one hand and crowns the military trophy with the other. Between the trophy and the emperor stands a bound captive boy. He wears long barbarian trousers and looks up at Nero.
  • Detail of a Roman Sebasteion relief  sculpture of Emperor Nero , Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
Naked warrior emperor Nero holds the orb of world rule in one hand and crowns the military trophy with the other. Between the trophy and the emperor stands a bound captive boy. He wears long barbarian trousers and looks up at Nero.
  • Close up of a Roman Sebasteion relief  sculpture of a prisoner of  Emperor Claudius as God of sea and land,  Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
The Emperor as god Claudius strides forward in a divine epiphany, drapery billowing around his head. He receives a cornucopia with fruits of the earth from a figure emerging from the ground, anda ship’s steering oar from a marine tritoness with fish legs. The idea is clear: the god-emperor guarantees the prosperity of land and sea. The relief is a remarkable local visualisation - elevated and panegyrical - of the emperor’s role as a universal saviour and divine protector.

FunkyStock Picture Library Resource

Picture The Past

ABOUT

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

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

COUNTRIES

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

VIEW COUNTRIES INDEX....

HISTORICAL

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

EXPLORE HISTORICAL PLACES...

MUSEUMS

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

SEE MUESEUM ANTIQUITIES....