• 1st -2nd century AD gold death mask from the Roman levant.  Jerusalem, Israel. British Museum no 139535
  • 1st -2nd century AD gold death mask from the Roman levant.  Jerusalem, Israel. British Museum no 139535
  • 1st -2nd century AD gold death mask from the Roman levant.  Jerusalem, Israel. British Museum no 139535
  • 1st -2nd century AD gold death mask from the Roman levant.  Jerusalem, Israel. British Museum no 139535
  • 1st -2nd century AD gold death mask from the Roman levant.  Jerusalem, Israel. British Museum no 139535
  • Gold Death Mask Known as the "mask of Agamemnon"  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold & shows a man with a beard. 16th century BC Cat No 624 Athens Archaeological Museum.
  • Gold Death Mask Known from Grave IV, Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC. Cat No 253 Athens Archaeological Museum.
  • Gold Death Mask Known from Grave IV, Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC. Cat No 254 Athens Archaeological Museum.
  • Gold Death Mask  from Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC.  Athens Archaeological Museum.
  • Gold Death Mask  from Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC.  Athens Archaeological Museum.
  • Gold Death Mask  from Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC.  Athens Archaeological Museum.
  • Gold Death Mask  from Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC.  Athens Archaeological Museum.
  • Gold Death Mask  from Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC.  Athens Archaeological Museum.
  • Gold Death Mask  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold and is the only mask from grave circle A with eyes open. 16th century BC. Cat No 259 Athens Archaeological Museum.
  • Gold Death Mask  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold and is the only mask from grave circle A with eyes open. 16th century BC. Cat No 259 Athens Archaeological Museum.
  • Gold Death Mask Known as the "mask of Agamemnon"  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold & shows a man with a beard. 16th century BC. Cat No 624 Athens Archaeological Museum.
  • Gold Death Mask Known from Grave IV, Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC. Cat No 253 Athens Archaeological Museum.
  • Gold Death Mask Known as the "mask of Agamemnon"  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold & shows a man with a beard. 16th century BC Cat No 624 Athens Archaeological Museum.
  • Gold Death Mask Known as the "mask of Agamemnon"  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold & shows a man with a beard. 16th century BC. Cat No 624 Athens Archaeological Museum.
  • Gold Death Mask Known as the "mask of Agamemnon"  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold & shows a man with a beard. 16th century BC Cat No 624 Athens Archaeological Museum.
  • Gold Death Mask Known as the "mask of Agamemnon"  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold & shows a man with a beard. 16th century BC Cat No 624 Athens Archaeological Museum.
  • Gold Death Mask Known from Grave IV, Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC. Cat No 254 Athens Archaeological Museum.
  • Gold Death Mask Known from Grave IV, Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC. Cat No 254 Athens Archaeological Museum.
  • Gold Death Mask Known from Grave IV, Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC. Cat No 253 Athens Archaeological Museum.
  • Gold Death Mask  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold and is the only mask from grave circle A with eyes open. 16th century BC. Cat No 259 Athens Archaeological Museum.
  • Gold Death Mask  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold and is the only mask from grave circle A with eyes open. 16th century BC. Cat No 259 Athens Archaeological Museum.
  • Gold Death Mask Known as the "mask of Agamemnon"  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold & shows a man with a beard. 16th century BC Cat No 624 Athens Archaeological Museum.
  • Gold Death Mask Known from Grave IV, Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC. Cat No 254 Athens Archaeological Museum.
  • Gold Death Mask Known from Grave IV, Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC. Cat No 253 Athens Archaeological Museum.
  • Gold Death Mask  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold and is the only mask from grave circle A with eyes open. 16th century BC. Cat No 259 Athens Archaeological Museum.
  • Gold Death Mask  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold and is the only mask from grave circle A with eyes open. 16th century BC. Cat No 259 Athens Archaeological Museum.
  • Mycenaean gold death mask, Grave Cicle A, Mycenae, Greece. National Archaeological Museum of Athens.  Grey Background<br />
<br />
<br />
 This death mask is typical of the other Mycenaean gold death masks fround in Grave V. made from a sigle sheet of gold the shape of the face would have been hammered ot against wood. two holes either side of the gold mask allowed it to be held over the dead mans face. As weapons were found in the graves of Grave Circle A at Mycenae, those buried here wer warriors and maybe kings as the grave goods buried with them were of great value. 16th century BC
  • Mycenaean gold death mask, Grave Cicle A, Mycenae, Greece. National Archaeological Museum of Athens.  Grey Background<br />
<br />
<br />
This death mask is typical of the other Mycenaean gold death masks fround in Grave V except in this mask the eyes are open. made from a sigle sheet of gold the shape of the face would have been hammered ot against wood. two holes either side of the gold mask allowed it to be held over the dead mans face. As weapons were found in the graves of Grave Circle A at Mycenae, those buried here wer warriors and maybe kings as the grave goods buried with them were of great value. 16th century BC
  • Mycenaean gold death mask, Grave Cicle A, Mycenae, Greece. National Archaeological Museum of Athens.<br />
<br />
This death mask is typical of the other Mycenaean gold death masks fround in Grave V except in this mask the eyes are open. made from a sigle sheet of gold the shape of the face would have been hammered ot against wood. two holes either side of the gold mask allowed it to be held over the dead mans face. As weapons were found in the graves of Grave Circle A at Mycenae, those buried here wer warriors and maybe kings as the grave goods buried with them were of great value. 16th century BC
  • Mycenaean gold death mask, Grave Cicle A, Mycenae, Greece. National Archaeological Museum of Athens. Black Background<br />
<br />
This death mask is typical of the other Mycenaean gold death masks fround in Grave V. made from a sigle sheet of gold the shape of the face would have been hammered ot against wood. two holes either side of the gold mask allowed it to be held over the dead mans face. As weapons were found in the graves of Grave Circle A at Mycenae, those buried here wer warriors and maybe kings as the grave goods buried with them were of great value. 16th century BC
  • Mycenaean gold death mask, Grave Cicle A, Mycenae, Greece. National Archaeological Museum of Athens.  White background.<br />
<br />
This death mask is typical of the other Mycenaean gold death masks fround in Grave V. made from a sigle sheet of gold the shape of the face would have been hammered ot against wood. two holes either side of the gold mask allowed it to be held over the dead mans face. As weapons were found in the graves of Grave Circle A at Mycenae, those buried here wer warriors and maybe kings as the grave goods buried with them were of great value. 16th century BC
  • Mycenaean gold death mask, Grave Cicle A, Mycenae, Greece. National Archaeological Museum of Athens.  Grey Background<br />
<br />
<br />
This death mask is typical of the other Mycenaean gold death masks fround in Grave V. made from a sigle sheet of gold the shape of the face would have been hammered ot against wood. two holes either side of the gold mask allowed it to be held over the dead mans face. As weapons were found in the graves of Grave Circle A at Mycenae, those buried here wer warriors and maybe kings as the grave goods buried with them were of great value. 16th century BC
  • Mycenaean gold death mask, Grave Cicle A, Mycenae, Greece. National Archaeological Museum of Athens. <br />
<br />
This death mask is typical of the other Mycenaean gold death masks fround in Grave V. made from a sigle sheet of gold the shape of the face would have been hammered ot against wood. two holes either side of the gold mask allowed it to be held over the dead mans face. As weapons were found in the graves of Grave Circle A at Mycenae, those buried here wer warriors and maybe kings as the grave goods buried with them were of great value. 16th century BC
  • Mycenaean gold death mask, Grave Cicle A, Mycenae, Greece. National Archaeological Museum of Athens.   Grey Art Background<br />
<br />
This death mask is typical of the other Mycenaean gold death masks fround in Grave V. made from a sigle sheet of gold the shape of the face would have been hammered ot against wood. two holes either side of the gold mask allowed it to be held over the dead mans face. As weapons were found in the graves of Grave Circle A at Mycenae, those buried here wer warriors and maybe kings as the grave goods buried with them were of great value. 16th century BC
  • Mycenaean gold death mask, Grave Cicle A, Mycenae, Greece. National Archaeological Museum of Athens.  White background.<br />
<br />
This death mask is typical of the other Mycenaean gold death masks fround in Grave V. made from a sigle sheet of gold the shape of the face would have been hammered ot against wood. two holes either side of the gold mask allowed it to be held over the dead mans face. As weapons were found in the graves of Grave Circle A at Mycenae, those buried here wer warriors and maybe kings as the grave goods buried with them were of great value. 16th century BC
  • Mycenaean gold death mask, Grave Cicle A, Mycenae, Greece. National Archaeological Museum of Athens.  Black Background<br />
<br />
This death mask is typical of the other Mycenaean gold death masks fround in Grave V. made from a sigle sheet of gold the shape of the face would have been hammered ot against wood. two holes either side of the gold mask allowed it to be held over the dead mans face. As weapons were found in the graves of Grave Circle A at Mycenae, those buried here wer warriors and maybe kings as the grave goods buried with them were of great value. 16th century BC
  • Mycenaean gold death mask, Grave Cicle A, Mycenae, Greece. National Archaeological Museum of Athens.  Grey Background<br />
<br />
<br />
This death mask is typical of the other Mycenaean gold death masks fround in Grave V. made from a sigle sheet of gold the shape of the face would have been hammered ot against wood. two holes either side of the gold mask allowed it to be held over the dead mans face. As weapons were found in the graves of Grave Circle A at Mycenae, those buried here wer warriors and maybe kings as the grave goods buried with them were of great value. 16th century BC
  • Mycenaean gold death mask, Grave Cicle A, Mycenae, Greece. National Archaeological Museum of Athens. <br />
<br />
This death mask is typical of the other Mycenaean gold death masks fround in Grave V. made from a sigle sheet of gold the shape of the face would have been hammered ot against wood. two holes either side of the gold mask allowed it to be held over the dead mans face. As weapons were found in the graves of Grave Circle A at Mycenae, those buried here wer warriors and maybe kings as the grave goods buried with them were of great value. 16th century BC
  • Mycenaean gold death mask, Grave Cicle A, Mycenae, Greece. National Archaeological Museum of Athens.  Grey Art Background<br />
<br />
 This death mask is typical of the other Mycenaean gold death masks fround in Grave V. made from a sigle sheet of gold the shape of the face would have been hammered ot against wood. two holes either side of the gold mask allowed it to be held over the dead mans face. As weapons were found in the graves of Grave Circle A at Mycenae, those buried here wer warriors and maybe kings as the grave goods buried with them were of great value. 16th century BC
  • Mycenaean gold death mask, Grave Cicle A, Mycenae, Greece. National Archaeological Museum of Athens. White background.<br />
<br />
This death mask is typical of the other Mycenaean gold death masks fround in Grave V. made from a sigle sheet of gold the shape of the face would have been hammered ot against wood. two holes either side of the gold mask allowed it to be held over the dead mans face. As weapons were found in the graves of Grave Circle A at Mycenae, those buried here wer warriors and maybe kings as the grave goods buried with them were of great value. 16th century BC
  • Mycenaean gold death mask, Grave Cicle A, Mycenae, Greece. National Archaeological Museum of Athens. <br />
<br />
This death mask is typical of the other Mycenaean gold death masks fround in Grave V. made from a sigle sheet of gold the shape of the face would have been hammered ot against wood. two holes either side of the gold mask allowed it to be held over the dead mans face. As weapons were found in the graves of Grave Circle A at Mycenae, those buried here wer warriors and maybe kings as the grave goods buried with them were of great value. 16th century BC
  • Mycenaean gold death mask, Grave Cicle A, Mycenae, Greece. National Archaeological Museum of Athens.  Black Background<br />
<br />
This death mask is typical of the other Mycenaean gold death masks fround in Grave V. made from a sigle sheet of gold the shape of the face would have been hammered ot against wood. two holes either side of the gold mask allowed it to be held over the dead mans face. As weapons were found in the graves of Grave Circle A at Mycenae, those buried here wer warriors and maybe kings as the grave goods buried with them were of great value. 16th century BC
  • Mycenaean gold death mask, Grave Cicle A, Mycenae, Greece. National Archaeological Museum of Athens.   Grey Art Background<br />
<br />
This death mask is typical of the other Mycenaean gold death masks fround in Grave V. made from a sigle sheet of gold the shape of the face would have been hammered ot against wood. two holes either side of the gold mask allowed it to be held over the dead mans face. As weapons were found in the graves of Grave Circle A at Mycenae, those buried here wer warriors and maybe kings as the grave goods buried with them were of great value. 16th century BC
  • Mycenaean gold death mask, Grave Cicle A, Mycenae, Greece. National Archaeological Museum of Athens.  Grey Background<br />
<br />
<br />
This death mask is typical of the other Mycenaean gold death masks fround in Grave V. made from a sigle sheet of gold the shape of the face would have been hammered ot against wood. two holes either side of the gold mask allowed it to be held over the dead mans face. As weapons were found in the graves of Grave Circle A at Mycenae, those buried here wer warriors and maybe kings as the grave goods buried with them were of great value. 16th century BC
  • Mycenaean gold death mask, Grave Cicle A, Mycenae, Greece. National Archaeological Museum of Athens. Black Background<br />
<br />
 This death mask is typical of the other Mycenaean gold death masks fround in Grave V. made from a sigle sheet of gold the shape of the face would have been hammered ot against wood. two holes either side of the gold mask allowed it to be held over the dead mans face. As weapons were found in the graves of Grave Circle A at Mycenae, those buried here wer warriors and maybe kings as the grave goods buried with them were of great value. 16th century BC
  • Mycenaean gold death mask, Grave Cicle A, Mycenae, Greece. National Archaeological Museum of Athens.   Grey Art Background<br />
<br />
This death mask is typical of the other Mycenaean gold death masks fround in Grave V. made from a sigle sheet of gold the shape of the face would have been hammered ot against wood. two holes either side of the gold mask allowed it to be held over the dead mans face. As weapons were found in the graves of Grave Circle A at Mycenae, those buried here wer warriors and maybe kings as the grave goods buried with them were of great value. 16th century BC
  • Mycenaean gold death mask, Grave Cicle A, Mycenae, Greece. National Archaeological Museum of Athens.  White background.<br />
<br />
This death mask is typical of the other Mycenaean gold death masks fround in Grave V except in this mask the eyes are open. made from a sigle sheet of gold the shape of the face would have been hammered ot against wood. two holes either side of the gold mask allowed it to be held over the dead mans face. As weapons were found in the graves of Grave Circle A at Mycenae, those buried here wer warriors and maybe kings as the grave goods buried with them were of great value. 16th century BC
  • Mycenaean gold death mask, Grave Cicle A, Mycenae, Greece. National Archaeological Museum of Athens.<br />
<br />
This death mask is typical of the other Mycenaean gold death masks fround in Grave V. made from a sigle sheet of gold the shape of the face would have been hammered ot against wood. two holes either side of the gold mask allowed it to be held over the dead mans face. As weapons were found in the graves of Grave Circle A at Mycenae, those buried here wer warriors and maybe kings as the grave goods buried with them were of great value. 16th century BC
  • Mycenaean gold death mask, Grave Cicle A, Mycenae, Greece. National Archaeological Museum of Athens.  Black Background<br />
<br />
This death mask is typical of the other Mycenaean gold death masks fround in Grave V except in this mask the eyes are open. made from a sigle sheet of gold the shape of the face would have been hammered ot against wood. two holes either side of the gold mask allowed it to be held over the dead mans face. As weapons were found in the graves of Grave Circle A at Mycenae, those buried here wer warriors and maybe kings as the grave goods buried with them were of great value. 16th century BC
  • Mycenaean gold death mask, Grave Cicle A, Mycenae, Greece. National Archaeological Museum of Athens.   Grey Art Background<br />
<br />
 This death mask is typical of the other Mycenaean gold death masks fround in Grave V except in this mask the eyes are open. made from a sigle sheet of gold the shape of the face would have been hammered ot against wood. two holes either side of the gold mask allowed it to be held over the dead mans face. As weapons were found in the graves of Grave Circle A at Mycenae, those buried here wer warriors and maybe kings as the grave goods buried with them were of great value. 16th century BC
  • Mycenaean gold death mask, Mask of Agamemnon, Grave Cicle A, Mycenae, Greece.National Archaeological Museum of Athens.  White background.<br />
<br />
The mask from Grave V depicts an imposing face of a bearded man descovered by  Heinrich Schliemann who believed it was the body of Agamemnon, this is unproven to date.  The Mycenaean death mask belonged to a warrior and made of gold leaf it cocered the dead mans face held on by cord threaded tgrough the two sides of the mask.  The mask of Agamemnon was created from a single thick gold sheet, heated and hammered against a wooden background with the details chased on later with a sharp tool. The artifact dates from the 16th century BC.
  • Mycenaean gold death mask, Mask of Agamemnon, Grave Cicle A, Mycenae, Greece.National Archaeological Museum of Athens.  Grey Background<br />
<br />
<br />
The mask from Grave V depicts an imposing face of a bearded man descovered by  Heinrich Schliemann who believed it was the body of Agamemnon, this is unproven to date.  The Mycenaean death mask belonged to a warrior and made of gold leaf it cocered the dead mans face held on by cord threaded tgrough the two sides of the mask.  The mask of Agamemnon was created from a single thick gold sheet, heated and hammered against a wooden background with the details chased on later with a sharp tool. The artifact dates from the 16th century BC.
  • Mycenaean gold death mask, Mask of Agamemnon, Grave Cicle A, Mycenae, Greece.National Archaeological Museum of Athens. <br />
<br />
The mask from Grave V depicts an imposing face of a bearded man descovered by  Heinrich Schliemann who believed it was the body of Agamemnon, this is unproven to date.  The Mycenaean death mask belonged to a warrior and made of gold leaf it cocered the dead mans face held on by cord threaded tgrough the two sides of the mask.  The mask of Agamemnon was created from a single thick gold sheet, heated and hammered against a wooden background with the details chased on later with a sharp tool. The artifact dates from the 16th century BC.
  • Mycenaean gold death mask, Grave Cicle A, Mycenae, Greece. National Archaeological Museum of Athens.  White background.<br />
<br />
This death mask is typical of the other Mycenaean gold death masks fround in Grave V. made from a sigle sheet of gold the shape of the face would have been hammered ot against wood. two holes either side of the gold mask allowed it to be held over the dead mans face. As weapons were found in the graves of Grave Circle A at Mycenae, those buried here wer warriors and maybe kings as the grave goods buried with them were of great value. 16th century BC
  • Mycenaean gold death mask, Mask of Agamemnon, Grave Cicle A, Mycenae, Greece.National Archaeological Museum of Athens.  Black Background<br />
<br />
The mask from Grave V depicts an imposing face of a bearded man descovered by  Heinrich Schliemann who believed it was the body of Agamemnon, this is unproven to date.  The Mycenaean death mask belonged to a warrior and made of gold leaf it cocered the dead mans face held on by cord threaded tgrough the two sides of the mask.  The mask of Agamemnon was created from a single thick gold sheet, heated and hammered against a wooden background with the details chased on later with a sharp tool. The artifact dates from the 16th century BC.
  • Mycenaean gold death mask, Mask of Agamemnon, Grave Cicle A, Mycenae, Greece.National Archaeological Museum of Athens.  White background.<br />
<br />
The mask from Grave V depicts an imposing face of a bearded man descovered by  Heinrich Schliemann who believed it was the body of Agamemnon, this is unproven to date.  The Mycenaean death mask belonged to a warrior and made of gold leaf it cocered the dead mans face held on by cord threaded tgrough the two sides of the mask.  The mask of Agamemnon was created from a single thick gold sheet, heated and hammered against a wooden background with the details chased on later with a sharp tool. The artifact dates from the 16th century BC.
  • Mycenaean gold death mask, Mask of Agamemnon, Grave Cicle A, Mycenae, Greece.National Archaeological Museum of Athens.  Grey Background<br />
<br />
<br />
The mask from Grave V depicts an imposing face of a bearded man descovered by  Heinrich Schliemann who believed it was the body of Agamemnon, this is unproven to date.  The Mycenaean death mask belonged to a warrior and made of gold leaf it cocered the dead mans face held on by cord threaded tgrough the two sides of the mask.  The mask of Agamemnon was created from a single thick gold sheet, heated and hammered against a wooden background with the details chased on later with a sharp tool. The artifact dates from the 16th century BC.
  • Mycenaean gold death mask, Mask of Agamemnon, Grave Cicle A, Mycenae, Greece.National Archaeological Museum of Athens.<br />
<br />
The mask from Grave V depicts an imposing face of a bearded man descovered by  Heinrich Schliemann who believed it was the body of Agamemnon, this is unproven to date.  The Mycenaean death mask belonged to a warrior and made of gold leaf it cocered the dead mans face held on by cord threaded tgrough the two sides of the mask.  The mask of Agamemnon was created from a single thick gold sheet, heated and hammered against a wooden background with the details chased on later with a sharp tool. The artifact dates from the 16th century BC.
  • Mycenaean gold death mask, Mask of Agamemnon, Grave Cicle A, Mycenae, Greece.National Archaeological Museum of Athens.  Black Background<br />
<br />
The mask from Grave V depicts an imposing face of a bearded man descovered by  Heinrich Schliemann who believed it was the body of Agamemnon, this is unproven to date.  The Mycenaean death mask belonged to a warrior and made of gold leaf it cocered the dead mans face held on by cord threaded tgrough the two sides of the mask.  The mask of Agamemnon was created from a single thick gold sheet, heated and hammered against a wooden background with the details chased on later with a sharp tool. The artifact dates from the 16th century BC.
  • Mycenaean gold death mask, Mask of Agamemnon, Grave Cicle A, Mycenae, Greece.National Archaeological Museum of Athens.   Grey Art Background<br />
<br />
The mask from Grave V depicts an imposing face of a bearded man descovered by  Heinrich Schliemann who believed it was the body of Agamemnon, this is unproven to date.  The Mycenaean death mask belonged to a warrior and made of gold leaf it cocered the dead mans face held on by cord threaded tgrough the two sides of the mask.  The mask of Agamemnon was created from a single thick gold sheet, heated and hammered against a wooden background with the details chased on later with a sharp tool. The artifact dates from the 16th century BC.
  • Mycenaean gold death mask, Mask of Agamemnon, Grave Cicle A, Mycenae, Greece.National Archaeological Museum of Athens.   Grey Art Background<br />
<br />
The mask from Grave V depicts an imposing face of a bearded man descovered by  Heinrich Schliemann who believed it was the body of Agamemnon, this is unproven to date.  The Mycenaean death mask belonged to a warrior and made of gold leaf it cocered the dead mans face held on by cord threaded tgrough the two sides of the mask.  The mask of Agamemnon was created from a single thick gold sheet, heated and hammered against a wooden background with the details chased on later with a sharp tool. The artifact dates from the 16th century BC.
  • Gold Death Mask Known from Grave IV, Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC. Cat No 253 Athens Archaeological Museum.
  • Gold Death Mask Known from Grave IV, Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC. Cat No 253 Athens Archaeological Museum.
  • Gold Death Mask Known from Grave IV, Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC. Cat No 253 Athens Archaeological Museum.
  • Gold Death Mask Known from Grave IV, Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC. Cat No 253 Athens Archaeological Museum.
  • Gold Death Mask  from Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC.  Athens Archaeological Museum.
  • Gold Death Mask  from Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC.  Athens Archaeological Museum.
  • Gold Death Mask  from Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC.  Athens Archaeological Museum.
  • Gold Death Mask  from Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC.  Athens Archaeological Museum.
  • Gold Death Mask Known as the "mask of Agamemnon"  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold & shows a man with a beard. 16th century BC. Cat No 624 Athens Archaeological Museum.
  • Gold Death Mask Known as the "mask of Agamemnon"  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold & shows a man with a beard. 16th century BC. Cat No 624 Athens Archaeological Museum.
  • Gold Death Mask Known as the "mask of Agamemnon"  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold & shows a man with a beard. 16th century BC. Cat No 624 Athens Archaeological Museum.
  • Gold Death Mask Known as the "mask of Agamemnon"  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold & shows a man with a beard. 16th century BC. Cat No 624 Athens Archaeological Museum.
  • Gold Death Mask  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold and is the only mask from grave circle A with eyes open. 16th century BC. Cat No 259 Athens Archaeological Museum.
  • Gold Death Mask  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold and is the only mask from grave circle A with eyes open. 16th century BC. Cat No 259 Athens Archaeological Museum.
  • Gold Death Mask  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold and is the only mask from grave circle A with eyes open. 16th century BC. Cat No 259 Athens Archaeological Museum.
  • Gold Death Mask Known from Grave IV, Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC. Cat No 253 Athens Archaeological Museum.
  • Gold Death Mask  from Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC.  Athens Archaeological Museum.
  • Gold Death Mask Known as the "mask of Agamemnon"  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold & shows a man with a beard. 16th century BC. Cat No 624 Athens Archaeological Museum.
  • Gold Death Mask  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold and is the only mask from grave circle A with eyes open. 16th century BC. Cat No 259 Athens Archaeological Museum.
  • Gold Death Mask  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold and is the only mask from grave circle A with eyes open. 16th century BC. Cat No 259 Athens Archaeological Museum.
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy.<br />
<br />
The Mural opens on its left with a skeleton on the throne, bearing a sceptre and the crown and playing a bagpipe. These skeletons are playing the music which is the backdrop to “Dance of Death” ( Danza macabra ) and suggests that they are playing with our fate on earth. <br />
<br />
The mural continues for another 21 meters with a long procession with 40 figures. To the right of the skeletons playing music is a depiction of the crucification. Christ is depicted on the cross with an arrow in him that has been fired by a skeleton with a bow. This suggests that because Christ was a man he suffered the fate of death as we all will. After Christ is a Pope also pierced by a spear, as are all the human figures in the mural. Next to the pope is a cardinal, a cleric and a monk all of whom have succumbed to the arrows of the skeletons. This tableau is a reminder to the hierarchy of the church that even they are not immune from death. The procession continues with a depiction of a king then nobility followed by knights and soldiers and a beggar man with no legs. Between each figure are skeletons holding bows and arrows, banners with writings on them or a shovel to dig a grave. After the beggar mad there are figures of women ending with a small skeleton and a cherub. To the far right a skeleton on a horse is riding into the procession holding a bow and arrow ready to far. To procession ends with the Angel Gabriel and the devil discussing the fates of the those in the procession as to whether they go to Heaven or to Purgatory and Hell.
  • Electrum, gold silver alloy, Mycenaean death mask from Grave delta and Gamma, Grave Circle B, Mycenae, Greece. National Archaeological Museum of Athens.  White background.
  • Electrum, gold silver alloy, Mycenaean death mask from Grave delta and Gamma, Grave Circle B, Mycenae, Greece. National Archaeological Museum of Athens.  Grey Background
  • Electrum, gold silver alloy, Mycenaean death mask from Grave delta and Gamma, Grave Circle B, Mycenae, Greece. National Archaeological Museum of Athens
  • Crucifiction fresco on the Church of San Vigilio in Pinzolo, part of its mural painting “the Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy.<br />
<br />
The mural continues for another 21 meters with a long procession with 40 figures. The Mural opens on its left with a skeleton on the throne, bearing a sceptre and the crown and playing a bagpipe. These skeletons are playing the music which is the backdrop to “Dance of Death” ( Danza macabra ) and suggests that they are playing with our fate on earth.<br />
<br />
 To the right of the skeletons playing music is a depiction of the crucification. Christ is depicted on the cross with an arrow in him that has been fired by a skeleton with a bow. This suggests that because Christ was a man he suffered the fate of death as we all will.
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy.<br />
<br />
The mural continues for another 21 meters with a long procession with 40 figures. The Mural opens on its left with a skeleton on the throne, bearing a sceptre and the crown and playing a bagpipe. These skeletons are playing the music which is the backdrop to “Dance of Death” ( Danza macabra ) and suggests that they are playing with our fate on earth.<br />
<br />
 To the right of the skeletons playing music is a depiction of the crucification. Christ is depicted on the cross with an arrow in him that has been fired by a skeleton with a bow. This suggests that because Christ was a man he suffered the fate of death as we all will.
  • Crucifiction fresco on the Church of San Vigilio in Pinzolo, part of its mural painting “the Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy.<br />
<br />
The mural continues for another 21 meters with a long procession with 40 figures.<br />
<br />
The Mural opens on its left with a skeleton on the throne, bearing a sceptre and the crown and playing a bagpipe. These skeletons are playing the music which is the backdrop to “Dance of Death” ( Danza macabra ) and suggests that they are playing with our fate on earth.<br />
<br />
 To the right of the skeletons playing music is a depiction of the crucification. Christ is depicted on the cross with an arrow in him that has been fired by a skeleton with a bow. This suggests that because Christ was a man he suffered the fate of death as we all will.<br />
After Christ is a Pope also pierced by a spear, as are all the human figures in the mural.
  • Electrum, gold silver alloy, Mycenaean death mask from Grave delta and Gamma, Grave Circle B, Mycenae, Greece. National Archaeological Museum of Athens.  Black Background
  • Electrum, gold silver alloy, Mycenaean death mask from Grave delta and Gamma, Grave Circle B, Mycenae, Greece. National Archaeological Museum of Athens
  • Crucifiction fresco on the Church of San Vigilio in Pinzolo, part of its mural painting “the Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy.<br />
<br />
The mural continues for another 21 meters with a long procession with 40 figures. The Mural opens on its left with a skeleton on the throne, bearing a sceptre and the crown and playing a bagpipe. These skeletons are playing the music which is the backdrop to “Dance of Death” ( Danza macabra ) and suggests that they are playing with our fate on earth.<br />
<br />
 To the right of the skeletons playing music is a depiction of the crucification. Christ is depicted on the cross with an arrow in him that has been fired by a skeleton with a bow. This suggests that because Christ was a man he suffered the fate of death as we all will.
  • Crucifiction fresco on the Church of San Vigilio in Pinzolo, part of its mural painting “the Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy.<br />
<br />
The mural continues for another 21 meters with a long procession with 40 figures.<br />
<br />
 To the right of the skeletons playing music is a depiction of the crucification. Christ is depicted on the cross with an arrow in him that has been fired by a skeleton with a bow. This suggests that because Christ was a man he suffered the fate of death as we all will.<br />
After Christ is a Pope also pierced by a spear, as are all the human figures in the mural.
  • Crucifiction fresco on the Church of San Vigilio in Pinzolo, part of its mural painting “the Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy.<br />
<br />
The mural continues for another 21 meters with a long procession with 40 figures.<br />
<br />
 To the right of the skeletons playing music is a depiction of the crucification. Christ is depicted on the cross with an arrow in him that has been fired by a skeleton with a bow. This suggests that because Christ was a man he suffered the fate of death as we all will.<br />
After Christ is a Pope also pierced by a spear, as are all the human figures in the mural.
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy.<br />
<br />
Next to the pope is a cardinal, a cleric and a monk all of whom have succumbed to the arrows of the skeletons. This tableau is a reminder to the hierarchy of the church that even they are not immune from death.
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy.<br />
<br />
The mural continues for another 21 meters with a long procession with 40 figures. The Mural opens on its left with a skeleton on the throne, bearing a sceptre and the crown and playing a bagpipe. These skeletons are playing the music which is the backdrop to “Dance of Death” ( Danza macabra ) and suggests that they are playing with our fate on earth.
  • Crucifiction fresco on the Church of San Vigilio in Pinzolo, part of its mural painting “the Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy.<br />
<br />
The mural continues for another 21 meters with a long procession with 40 figures. To the right of the skeletons playing music is a depiction of the crucification. Christ is depicted on the cross with an arrow in him that has been fired by a skeleton with a bow. This suggests that because Christ was a man he suffered the fate of death as we all will.
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” ( Danza macabra)  painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy<br />
<br />
The Mural depicts the living who have been pierced with arrows from skeletons waiting to see if they will go to heaven or to Purgatory of Hell
  • Exterior of the Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • Exterior of the Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • Exterior of the Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy,<br />
<br />
An archbishop pierced with an arrow from the skeletons that are either side of him and represent dead.
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy.<br />
<br />
Nobility, Knights and a beggar pierced with an arrow from the skeletons that are either side of him and represent dead.
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” ( Danza macabra)  painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy.<br />
<br />
Noble Women pierced with an arrow from the skeletons that are either side of him and represent dead.
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” ( Danza macabra)  painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” ( Danza macabra)  painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” ( Danza macabra)  painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • Crucifiction fresco on the Church of San Vigilio in Pinzolo, part of its mural painting “the Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy.<br />
<br />
The procession continues with a depiction of a king then nobility followed by knights and soldiers and a beggar man with no legs. Between each figure are skeletons holding bows and arrows, banners with writings on them or a shovel to dig a grave.
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy.<br />
<br />
The Mural depicts the living who have been pierced with arrows from skeletons waiting to see if they will go to heaven or to Purgatory of Hell
  • Exterior of the Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • Exterior of the Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • Exterior of the Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • Exterior of the Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • Exterior of the Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • Exterior of the Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy.<br />
<br />
Nobility, Knights and a beggar pierced with an arrow from the skeletons that are either side of him and represent dead.
  • Exterior of the Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • Crucifiction fresco on the Church of San Vigilio in Pinzolo, part of its mural painting “the Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • Mycenaean silver cup from the Tomb 78 of the Mycenae chamber tombs, Greece. National Archaeological Museum Athens. Grey art Background <br />
<br />
This Mycenaean silver cup has a repousse  scale pattern with wish bone handles. Cat No 3121. 16th Cent BC
  • Body shaped Mycenaean gold cut outs from Grave III, 'Grave of a Women', Grave Circle A, Myenae, Greece. National Archaeological Museum Athens. White Background.<br />
<br />
Cat No 146. 16th century BC.<br />
<br />
A unique gold body covering and face of an infant child mad out of pieces of gold foll<br />
<br />
Shaft Grave III, the so-called 'Grave of the Women,' contained three female and two infant interments. The women were literally covered in gold jewelry and wore massive gold diadems, while the infants were overlaid with gold foil.
  • Body shaped Mycenaean gold cut outs from Grave III, 'Grave of a Women', Grave Circle A, Myenae, Greece. National Archaeological Museum Athens. Black Background<br />
<br />
Cat No 146. 16th century BC.<br />
<br />
A unique gold body covering and face of an infant child mad out of pieces of gold foll<br />
<br />
Shaft Grave III, the so-called 'Grave of the Women,' contained three female and two infant interments. The women were literally covered in gold jewelry and wore massive gold diadems, while the infants were overlaid with gold foil.
  • Body shaped Mycenaean gold cut outs from Grave III, 'Grave of a Women', Grave Circle A, Myenae, Greece. National Archaeological Museum Athens. Grey Background<br />
<br />
Cat No 146. 16th century BC.<br />
<br />
A unique gold body covering and face of an infant child mad out of pieces of gold foll<br />
<br />
Shaft Grave III, the so-called 'Grave of the Women,' contained three female and two infant interments. The women were literally covered in gold jewelry and wore massive gold diadems, while the infants were overlaid with gold foil.
  • Body shaped Mycenaean gold cut outs from Grave III, 'Grave of a Women', Grave Circle A, Myenae, Greece. National Archaeological Museum Athens.<br />
<br />
Cat No 146. 16th century BC.<br />
<br />
A unique gold body covering and face of an infant child mad out of pieces of gold foll<br />
<br />
Shaft Grave III, the so-called 'Grave of the Women,' contained three female and two infant interments. The women were literally covered in gold jewelry and wore massive gold diadems, while the infants were overlaid with gold foil.
  • Body shaped Mycenaean gold cut outs from Grave III, 'Grave of a Women', Grave Circle A, Myenae, Greece. National Archaeological Museum Athens. Grey art Background <br />
<br />
Cat No 146. 16th century BC.<br />
<br />
A unique gold body covering and face of an infant child mad out of pieces of gold foll<br />
<br />
Shaft Grave III, the so-called 'Grave of the Women,' contained three female and two infant interments. The women were literally covered in gold jewelry and wore massive gold diadems, while the infants were overlaid with gold foil.
  • Mycenaean silver cup from the Tomb 78 of the Mycenae chamber tombs, Greece. National Archaeological Museum Athens. White Background.<br />
<br />
This Mycenaean silver cup has a repousse  scale pattern with wish bone handles. Cat No 3121. 16th Cent BC
  • Mycenaean silver cup from the Tomb 78 of the Mycenae chamber tombs, Greece. National Archaeological Museum Athens. Grey Background<br />
<br />
This Mycenaean silver cup has a repousse  scale pattern with wish bone handles. Cat No 3121. 16th Cent BC
  • Mycenaean silver cup from the Tomb 78 of the Mycenae chamber tombs, Greece. National Archaeological Museum Athens. Black Background<br />
<br />
This Mycenaean silver cup has a repousse  scale pattern with wish bone handles. Cat No 3121. 16th Cent BC
  • Mycenaean gold necklace from the Mycenaean cemetery of Midea tholos tomb , Dendra, Greece. National Archaeological Museum Athens. White Background.<br />
<br />
Inside mycenaean necklace has gold ivy leaf beads, Cat No 7354. The outer mycenaean necklace has rosette shaped gold beads, Cat No 7342. 15th-14th century BC.
  • Mycenaean gold necklace from the Mycenaean cemetery of Midea tholos tomb , Dendra, Greece. National Archaeological Museum Athens. Black Background<br />
<br />
Inside mycenaean necklace has gold ivy leaf beads, Cat No 7354. The outer mycenaean necklace has rosette shaped gold beads, Cat No 7342. 15th-14th century BC.
  • Mycenaean gold necklace from the Mycenaean cemetery of Midea tholos tomb , Dendra, Greece. National Archaeological Museum Athens. Grey Background<br />
<br />
Inside mycenaean necklace has gold ivy leaf beads, Cat No 7354. The outer mycenaean necklace has rosette shaped gold beads, Cat No 7342. 15th-14th century BC.
  • Mycenaean gold necklace from the Mycenaean cemetery of Midea tholos tomb , Dendra, Greece. National Archaeological Museum Athens.<br />
<br />
Inside mycenaean necklace has gold ivy leaf beads, Cat No 7354. The outer mycenaean necklace has rosette shaped gold beads, Cat No 7342. 15th-14th century BC.
  • Mycenaean gold necklace from the Mycenaean cemetery of Midea tholos tomb , Dendra, Greece. National Archaeological Museum Athens. Grey art Background <br />
<br />
Inside mycenaean necklace has gold ivy leaf beads, Cat No 7354. The outer mycenaean necklace has rosette shaped gold beads, Cat No 7342. 15th-14th century BC.
  • Mycenaean gold necklace with waz lily shaped beads from the Mycenaean cemetery of Midea tomb 10, Dendra, Greece. National Archaeological Museum Athens Cat no 8748.  White Background.
  • Mycenaean gold necklace with waz lily shaped beads from the Mycenaean cemetery of Midea tomb 10, Dendra, Greece. National Archaeological Museum Athens Cat no 8748.
  • Mycenaean gold necklace with waz lily shaped beads from the Mycenaean cemetery of Midea tomb 10, Dendra, Greece. National Archaeological Museum Athens Cat no 8748.
  • Mycenaean silver cup from the Tomb 78 of the Mycenae chamber tombs, Greece. National Archaeological Museum Athens.<br />
<br />
This Mycenaean silver cup has a repousse  scale pattern with wish bone handles. Cat No 3121. 16th Cent BC
  • Mycenaean gold necklace with waz lily shaped beads from the Mycenaean cemetery of Midea tomb 10, Dendra, Greece. National Archaeological Museum Athens Cat no 8748. Black Background
  • Mycenaean gold necklace with waz lily shaped beads from the Mycenaean cemetery of Midea tomb 10, Dendra, Greece. National Archaeological Museum Athens Cat no 8748.  Grey Background
  • Bayeux Tapestry scene 27-28 :  A dying Edward the Confessor makes his last requests' BYX27 BYX 28
  • Bayeux Tapestry scene 26 :  Edward The Confessor's Corpes is carried to St Peters Church. BYX26
  • Mycenaean gold goblet with two handles ening with a dogs head biting the rim,  Acropolis Treasure of Mycenae, Greece, National Archaeological Museum of Athens.  <br />
<br />
Black BackgroundThis goblet was found as part of a hoard looted in antiquity from Grave Circle A and buried outside the enclosure. 15th century BC
  • Mycenaean gold goblet with two handles ening with a dogs head biting the rim,  Acropolis Treasure of Mycenae, Greece, National Archaeological Museum of Athens.  This goblet was found as part of a hoard looted in antiquity from Grave Circle A and buried outside the enclosure. 15th century BC
  • Mycenaean gold goblet with two handles ening with a dogs head biting the rim,  Acropolis Treasure of Mycenae, Greece, National Archaeological Museum of Athens.  Black Background<br />
<br />
This goblet was found as part of a hoard looted in antiquity from Grave Circle A and buried outside the enclosure. 15th century BC
  • Mycenaean gold goblet with two handles ening with a dogs head biting the rim,  Acropolis Treasure of Mycenae, Greece, National Archaeological Museum of Athens.  This goblet was found as part of a hoard looted in antiquity from Grave Circle A and buried outside the enclosure. 15th century BC
  • Mycenaean gold goblet with two handles ening with a dogs head biting the rim,  Acropolis Treasure of Mycenae, Greece, National Archaeological Museum of Athens.  This goblet was found as part of a hoard looted in antiquity from Grave Circle A and buried outside the enclosure. 15th century BC
  • Mycenaean gold goblet with two handles ening with a dogs head biting the rim,  Acropolis Treasure of Mycenae, Greece, National Archaeological Museum of Athens.  This goblet was found as part of a hoard looted in antiquity from Grave Circle A and buried outside the enclosure. 15th century BC
  • Mycenaean gold goblet with two handles ening with a dogs head biting the rim,  Acropolis Treasure of Mycenae, Greece, National Archaeological Museum of Athens.  <br />
<br />
 Grey art Background This goblet was found as part of a hoard looted in antiquity from Grave Circle A and buried outside the enclosure. 15th century BC
  • Two handled Mycenaean gold bowl cup from the Kakovatos tholos tomb, Trifylia, Greece. National Archaeological Museum Athens. Black Backgroundb<br />
<br />
Kakovatos is a significant site of the early Mycenaean period of Greece (c. 16th to 15th century BC) on the west coast of the Peloponnese (Zacharo, Nomos Elis) and became widely known through the excavations of three large tholos tombs by Wilhelm Dörpfeld in 1907–1908.
  • Two handled Mycenaean gold bowl cup from the Kakovatos tholos tomb, Trifylia, Greece. National Archaeological Museum Athens. <br />
<br />
Kakovatos is a significant site of the early Mycenaean period of Greece (c. 16th to 15th century BC) on the west coast of the Peloponnese (Zacharo, Nomos Elis) and became widely known through the excavations of three large tholos tombs by Wilhelm Dörpfeld in 1907–1908.
  • Two handled Mycenaean gold bowl cup from the Kakovatos tholos tomb, Trifylia, Greece. National Archaeological Museum Athens. <br />
<br />
Kakovatos is a significant site of the early Mycenaean period of Greece (c. 16th to 15th century BC) on the west coast of the Peloponnese (Zacharo, Nomos Elis) and became widely known through the excavations of three large tholos tombs by Wilhelm Dörpfeld in 1907–1908.
  • Fresco of Jesus Christ and the Cross on the church of San Vigilio in Pinzolo, Trentino, Italy
  • Fresco of San Vigilio on the church of San Vigilio in Pinzolo, Trentino, Italy
  • Religious murals depicting the Life of St Antonio Abate by Dionisio Baschenis ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious murals depicting the Life of St Antonio Abate by Dionisio Baschenis ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious murals depicting the Life of St Antonio Abate by Dionisio Baschenis ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious murals depicting the Life of St Antonio Abate by Dionisio Baschenis ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious mural of Saint Antonio Abate an a throne above with the canonical symbols of a bell and piglet, above the main portal, Sined by Cristoforo I Baschenis, 1474, on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious mural of Saint Antonio Abate an a throne above with the canonical symbols of a bell and piglet, above the main portal, Sined by Cristoforo I Baschenis, 1474, on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious murals depicting the Life of St Antonio Abate by Dionisio Baschenis ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious murals depicting the Life of St Antonio Abate by Dionisio Baschenis ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious murals by Baschenis family ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious murals by Baschenis family ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious murals by Baschenis family ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious murals by Baschenis family ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious mural of St Christopher with Christ on his shoulders by Dionislo Baschenis, dated 1493, on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious murals by Baschenis family ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious murals depicting the Life of St Antonio Abate by Dionisio Baschenis ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious murals depicting the Life of St Antonio Abate by Dionisio Baschenis ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious murals depicting the Life of St Antonio Abate by Dionisio Baschenis ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious murals by Baschenis family ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious murals depicting the Life of St Antonio Abate by Dionisio Baschenis ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious murals depicting the Life of St Antonio Abate by Dionisio Baschenis ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Fresco of Jesus Christ and the Cross on the church of San Vigilio in Pinzolo, Trentino, Italy
  • 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 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 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.
  • The Sidamara Sarcophagus, with 3rd Cent. AD Roman relief sculptures. Ambararasi (Konya) Turkey. Istanbul Archaeological Museum, Turkey, Inv. 1179 T , Cat. Mendel 112.
  • The Sidamara Sarcophagus, with 3rd Cent. AD Roman relief sculptures. Ambararasi (Konya) Turkey. Istanbul Archaeological Museum, Turkey, Inv. 1179 T , Cat. Mendel 112.
  • The Sidamara Sarcophagus, with 3rd Cent. AD Roman relief sculptures. Ambararasi (Konya) Turkey. Istanbul Archaeological Museum, Turkey, Inv. 1179 T , Cat. Mendel 112.
  • Sarcophagus of The Mourning Women, 4th cent. B.C Greek from the Royal Necropolis of Sidon , Chamber no I, Lebanon, Istanbul Archaeological Museum Inv. 386T  Cat. Mendel 10.
  • Sarcophagus of The Mourning Women, 4th cent. B.C Greek from the Royal Necropolis of Sidon , Chamber no I, Lebanon, Istanbul Archaeological Museum Inv. 386T  Cat. Mendel 10.
  • Satrap Sarcophagus, Paros marble from the Royal Necropolis of Sidon, Chamber no. VI. Second half of the 5th cent. B.C.  Istanbul Archaeological museum Inv 367 T.  Cat. Mendel 9
  • Satrap Sarcophagus, Paros marble from the Royal Necropolis of Sidon, Chamber no. VI. Second half of the 5th cent. B.C.  Istanbul Archaeological museum Inv 367 T.  Cat. Mendel 9
  • Alexander The Great ( Alexander III of Macedon) 4th Cent BC. Sarcophagus calved from Pentelic Marble from the Royal Necropolis of Sidon, Chamber no.III, Lebanon. Istanbul Archaeological Museum Inv. 370T Cat. Mendel 68
  • Satrap Sarcophagus, Paros marble from the Royal Necropolis of Sidon, Chamber no. VI. Second half of the 5th cent. B.C.  Istanbul Archaeological museum Inv 367 T.  Cat. Mendel 9
  • Alexander The Great ( Alexander III of Macedon) 4th Cent BC. Sarcophagus calved from Pentelic Marble from the Royal Necropolis of Sidon, Chamber no.III, Lebanon. Istanbul Archaeological Museum Inv. 370T Cat. Mendel 68
  • Sarcophagus of The Mourning Women, 4th cent. B.C Greek from the Royal Necropolis of Sidon , Chamber no I, Lebanon, Istanbul Archaeological Museum Inv. 386T  Cat. Mendel 10.
  • Alexander The Great ( Alexander III of Macedon) 4th Cent BC. Sarcophagus calved from Pentelic Marble from the Royal Necropolis of Sidon, Chamber no.III, Lebanon. Istanbul Archaeological Museum Inv. 370T Cat. Mendel 68
  • Greek relief sculpture of a lion hunt  on Alexander The Great ( Alexander III of Macedon )4th Cent BC. Sarcophagus calved from Pentelic Marble from the Royal Necropolis of Sidon, Chamber no.III, Lebanon. Istanbul Archaeological Museum Inv. 370T Cat. Mendel 68
  • Greek relief sculpture of a hunt  on Alexander The Great ( Alexander III of Macedon )4th Cent BC. Sarcophagus calved from Pentelic Marble from the Royal Necropolis of Sidon, Chamber no.III, Lebanon. Istanbul Archaeological Museum Inv. 370T Cat. Mendel 68
  • Greek relief sculptures of a battle on Alexander The Great ( Alexander III of Macedon )4th Cent BC. Sarcophagus calved from Pentelic Marble from the Royal Necropolis of Sidon, Chamber no.III, Lebanon. Istanbul Archaeological Museum Inv. 370T Cat. Mendel 68
  • Sarcophagus of The Mourning Women, 4th cent. B.C Greek from the Royal Necropolis of Sidon , Chamber no I, Lebanon, Istanbul Archaeological Museum Inv. 386T  Cat. Mendel 10.
  • Satrap Sarcophagus, Paros marble from the Royal Necropolis of Sidon, Chamber no. VI. Second half of the 5th cent. B.C.  Istanbul Archaeological museum Inv 367 T.  Cat. Mendel 9
  • Paris France - Pere La Chaise - cemetry
  • Paris France - Pere La Chaise - cemetry - Jim Morrison Grave
  • Paris France - Pere La Chaise - cemetry
  • Paris France - Pere Lachaise - cemetery
  • Paris France - Pere Lachaise - cemetery
  • Paris France - Pere Lachaise - cemetery
  • Paris France - Pere Lachaise - cemetery
  • Bayeux Tapestry scene 27-28 :  A dying Edward the Confessor makes
  • Bayeux Tapestry scene 26 :  Edward The Confessor's Corpes is carried to St Peters Church.
  • Mycenaean gold goblet with two handles ening with a dogs head biting the rim,  Acropolis Treasure of Mycenae, Greece, National Archaeological Museum of Athens.  This goblet was found as part of a hoard looted in antiquity from Grave Circle A and buried outside the enclosure. 15th century BC
  • Mycenaean gold goblet with two handles ening with a dogs head biting the rim,  Acropolis Treasure of Mycenae, Greece, National Archaeological Museum of Athens.  This goblet was found as part of a hoard looted in antiquity from Grave Circle A and buried outside the enclosure. 15th century BC
  • Mycenaean gold goblet with two handles ening with a dogs head biting the rim,  Acropolis Treasure of Mycenae, Greece, National Archaeological Museum of Athens.  Grey art Background <br />
<br />
This goblet was found as part of a hoard looted in antiquity from Grave Circle A and buried outside the enclosure. 15th century BC
  • Two handled Mycenaean gold bowl cup from the Kakovatos tholos tomb, Trifylia, Greece. National Archaeological Museum Athens. <br />
 White Background.<br />
Kakovatos is a significant site of the early Mycenaean period of Greece (c. 16th to 15th century BC) on the west coast of the Peloponnese (Zacharo, Nomos Elis) and became widely known through the excavations of three large tholos tombs by Wilhelm Dörpfeld in 1907–1908.
  • Two handled Mycenaean gold bowl cup from the Kakovatos tholos tomb, Trifylia, Greece. National Archaeological Museum Athens.  Grey Background<br />
<br />
Kakovatos is a significant site of the early Mycenaean period of Greece (c. 16th to 15th century BC) on the west coast of the Peloponnese (Zacharo, Nomos Elis) and became widely known through the excavations of three large tholos tombs by Wilhelm Dörpfeld in 1907–1908.
  • Two handled Mycenaean gold bowl cup from the Kakovatos tholos tomb, Trifylia, Greece. National Archaeological Museum Athens. <br />
<br />
Kakovatos is a significant site of the early Mycenaean period of Greece (c. 16th to 15th century BC) on the west coast of the Peloponnese (Zacharo, Nomos Elis) and became widely known through the excavations of three large tholos tombs by Wilhelm Dörpfeld in 1907–1908.
  • Two handled Mycenaean gold bowl cup from the Kakovatos tholos tomb, Trifylia, Greece. National Archaeological Museum Athens.  Grey art Background <br />
<br />
Kakovatos is a significant site of the early Mycenaean period of Greece (c. 16th to 15th century BC) on the west coast of the Peloponnese (Zacharo, Nomos Elis) and became widely known through the excavations of three large tholos tombs by Wilhelm Dörpfeld in 1907–1908.
  • Two handled Mycenaean gold bowl cup from the Kakovatos tholos tomb, Trifylia, Greece. National Archaeological Museum Athens. Black Background<br />
<br />
Kakovatos is a significant site of the early Mycenaean period of Greece (c. 16th to 15th century BC) on the west coast of the Peloponnese (Zacharo, Nomos Elis) and became widely known through the excavations of three large tholos tombs by Wilhelm Dörpfeld in 1907–1908.
  • Two handled Mycenaean gold bowl cup from the Kakovatos tholos tomb, Trifylia, Greece. National Archaeological Museum Athens.  Grey Background<br />
<br />
Kakovatos is a significant site of the early Mycenaean period of Greece (c. 16th to 15th century BC) on the west coast of the Peloponnese (Zacharo, Nomos Elis) and became widely known through the excavations of three large tholos tombs by Wilhelm Dörpfeld in 1907–1908.
  • Two handled Mycenaean gold bowl cup from the Kakovatos tholos tomb, Trifylia, Greece. National Archaeological Museum Athens.  Grey art Background <br />
<br />
Kakovatos is a significant site of the early Mycenaean period of Greece (c. 16th to 15th century BC) on the west coast of the Peloponnese (Zacharo, Nomos Elis) and became widely known through the excavations of three large tholos tombs by Wilhelm Dörpfeld in 1907–1908.

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