• Pictures of the statues of around the tomb of Commagene King Antochus 1 on the top of Mount Nemrut, Turkey. Stock photos & Photo art prints. In 62 BC, King Antiochus I Theos of Commagene built on the mountain top a tomb-sanctuary flanked by huge statues (8–9 m/26–30 ft high) of himself, two lions, two eagles and various Greek, Armenian, and Iranian gods. The photos show the broken statues on the  2,134 m (7,001 ft)  mountain. 5
  • Pictures of the statues of around the tomb of Commagene King Antochus 1 on the top of Mount Nemrut, Turkey. Stock photos & Photo art prints. In 62 BC, King Antiochus I Theos of Commagene built on the mountain top a tomb-sanctuary flanked by huge statues (8–9 m/26–30 ft high) of himself, two lions, two eagles and various Greek, Armenian, and Iranian gods. The photos show the broken statues on the  2,134 m (7,001 ft)  mountain. 1
  • Image of the statues of around the tomb of Commagene King Antochus 1 on the top of Mount Nemrut, Turkey. Stock photos & Photo art prints. In 62 BC, King Antiochus I Theos of Commagene built on the mountain top a tomb-sanctuary flanked by huge statues (8–9 m/26–30 ft high) of himself, two lions, two eagles and various Greek, Armenian, and Iranian gods. The photos show the broken statues on the  2,134 m (7,001 ft)  mountain. 2
  • Pictures of the statues of around the tomb of Commagene King Antochus 1 on the top of Mount Nemrut, Turkey. Stock photos & Photo art prints. In 62 BC, King Antiochus I Theos of Commagene built on the mountain top a tomb-sanctuary flanked by huge statues (8–9 m/26–30 ft high) of himself, two lions, two eagles and various Greek, Armenian, and Iranian gods. The photos show the broken statues on the  2,134 m (7,001 ft)  mountain. 5
  • Pictures of the statues of around the tomb of Commagene King Antochus 1 on the top of Mount Nemrut, Turkey. Stock photos & Photo art prints. In 62 BC, King Antiochus I Theos of Commagene built on the mountain top a tomb-sanctuary flanked by huge statues (8–9 m/26–30 ft high) of himself, two lions, two eagles and various Greek, Armenian, and Iranian gods. The photos show the broken statues on the  2,134 m (7,001 ft)  mountain.
  • Pictures of the statues of around the tomb of Commagene King Antochus 1 on the top of Mount Nemrut, Turkey. Stock photos & Photo art prints. In 62 BC, King Antiochus I Theos of Commagene built on the mountain top a tomb-sanctuary flanked by huge statues (8–9 m/26–30 ft high) of himself, two lions, two eagles and various Greek, Armenian, and Iranian gods. The photos show the broken statues on the  2,134 m (7,001 ft)  mountain. 7
  • Pictures of the statues of around the tomb of Commagene King Antochus 1 on the top of Mount Nemrut, Turkey. Stock photos & Photo art prints. In 62 BC, King Antiochus I Theos of Commagene built on the mountain top a tomb-sanctuary flanked by huge statues (8–9 m/26–30 ft high) of himself, two lions, two eagles and various Greek, Armenian, and Iranian gods. The photos show the broken statues on the  2,134 m (7,001 ft)  mountain. 6
  • Picture & Photo of The library of Celsus at sunrise . Images of the Roman ruins of Ephasus, Turkey. Stock Picture & Photo art prints
  • Picture & Photo of The library of Celsus at sunrise . Images of the Roman ruins of Ephasus, Turkey. Stock Picture & Photo art prints
  • Picture & Photo of The library of Celsus at sunrise . Images of the Roman ruins of Ephasus, Turkey. Stock Picture & Photo art prints
  • Picture & Photo of The library of Celsus at sunrise . Images of the Roman ruins of Ephasus, Turkey. Stock Picture & Photo art prints
  • Byzantine mosaics at the Palatine Chapel ( Capella Palatina ) Norman Palace Palermo, Sicily, Italy. Christ above the Alter.
  • Byzantine Christian Mosaics of The Palatine Chapel  ( Capella Palatina) in The Norman Palace (Palazzo dei Normanni), Palermo, Sicily. Scenes of Christ and from the Bible.
  • The Duomo & Leaning Tower of Pisa, Italy
  • The Doges Palace  and Campinale of St Mark from the Saint Mark's Basin Venice
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Patio de las Doncellas (Courtyard of the Maidens) an Italian Renaissance courtyard (1540-72) with Arabesque Mudéjar style plaster work, Alcazar of Seville, Seville, Spain
  • Patio de las Doncellas (Courtyard of the Maidens) an Italian Renaissance courtyard (1540-72) with Arabesque Mudéjar style plaster work, Alcazar of Seville, Seville, Spain
  • Patio de las Doncellas (Courtyard of the Maidens) an Italian Renaissance courtyard (1540-72) with Arabesque Mudéjar style plaster work, Alcazar of Seville, Seville, Spain
  • Patio de las Doncellas (Courtyard of the Maidens) an Italian Renaissance courtyard (1540-72) with Arabesque Mudéjar style plaster work, Alcazar of Seville, Seville, Spain
  • Doric & Corinthian columns of the Roman colonade in the Forum of Pompeii.
  • The Roman Corinthian Porticus, columns & tables of the money changers at the entrance of the Macellum in the Forum of Pompeii archaeological site, Italy.
  • Ancient hill fort next to the  the Ishak Pasha Palace (Turkish: İshak Paşa Sarayı) ,  Ağrı province of eastern Turkey.
  • Architectural details of the 18th Century Ottoman architecture of the Ishak Pasha Palace (Turkish: İshak Paşa Sarayı) ,  Ağrı province of eastern Turkey.
  • Courtyard of the 18th Century Ottoman architecture of the Ishak Pasha Palace (Turkish: İshak Paşa Sarayı) ,  Ağrı province of eastern Turkey.
  • Courtyard of the 18th Century Ottoman architecture of the Ishak Pasha Palace (Turkish: İshak Paşa Sarayı) ,  Ağrı province of eastern Turkey.
  • Courtyard of the 18th Century Ottoman architecture of the Ishak Pasha Palace (Turkish: İshak Paşa Sarayı) ,  Ağrı province of eastern Turkey.
  • Minarete of the Mosque of the 18th Century Ottoman architecture of the Ishak Pasha Palace (Turkish: İshak Paşa Sarayı) ,  Ağrı province of eastern Turkey.
  • Greek Orthodox Rosanou Monastery, Meteora Mountains, Greece
  • Greek Orthodox Rosanou Monastery, Meteora Mountains, Greece
  • Agia Triada Monastery, Monasteries of Meteora, Thessalia, Greek Mainland,
  • Odeon of Herodes Atticus, amphitheater on the slopes of the Acropolis, Athens Greece
  • The Erechtheum Temple, the Acropolis of Athens in Greece.
  • Greek Orthodox Rosanou Monastery, Meteora Mountains, Greece
  • Patio de las Doncellas (Courtyard of the Maidens) an Italian Renaissance courtyard (1540-72) with Arabesque Mudéjar style plaster work, Alcazar of Seville, Seville, Spain
  • The early renaissance clock tower of Torre dell' Orologio, San Marco district, Venice, UNESCO World Heritage Site, Venetia, Italy, Europe
  • Greek Orthodox Rosanou Monastery, Meteora Mountains, Greece
  • Remains of medieval Artukid Old Tigris Bridge – Built in 1116 by Artukid Fahrettin Karaaslan, the biggest in Anatolia at the time, with the old town Hasankeyf and its ruins on the cliffs abover the river Tigris. The minaret is of the El Rizk Mosque built 1409.  Turkey. 3
  • Mycenae Lion Gate & citadel walls built in 1350 B.C and known as cyclopean style walls due to the vast size of the blocks it was assumed by visitors in ancientb times that only giant Cycopse could have built them. Excavated by the archaeologist Heinrich Schliemann in 1876.  Mycenae UNESCO World Heritage  Archaeological Site, Peloponnese, Greece
  • Gothic fresco mural painting "THE CONQUEST OF MAJORCA" 1285-1290. National Museum of Catalan Art, Barcelona, Spain, inv no: 071447-CJT. <br />
The mural paintings of the Conquest of Majorca come from the former ancestral home of the Caldes family in Carrer Montcada in Barcelona, a building later known as Palau Aguilar. Discovered and removed in 1961, these paintings are one of the most important examples of early or Linear Gothic Catalan painting. This magnificent example of painting on historical subject matter narrates the conquest of the island of Majorca by James I the Conqueror in 1229. Like a painted chronicle, the episodes follow the detailed narrative of Catalan medieval accounts such as King James I's 'Llibre dels Feits' and Bernat Desclot's 'Crònica'.
  • Gothic fresco mural painting "THE CONQUEST OF MAJORCA" 1285-1290. National Museum of Catalan Art, Barcelona, Spain, inv no: 071447-CJT. <br />
The mural paintings of the Conquest of Majorca come from the former ancestral home of the Caldes family in Carrer Montcada in Barcelona, a building later known as Palau Aguilar. Discovered and removed in 1961, these paintings are one of the most important examples of early or Linear Gothic Catalan painting. This magnificent example of painting on historical subject matter narrates the conquest of the island of Majorca by James I the Conqueror in 1229. Like a painted chronicle, the episodes follow the detailed narrative of Catalan medieval accounts such as King James I's 'Llibre dels Feits' and Bernat Desclot's 'Crònica'.
  • Gothic fresco mural painting "THE CONQUEST OF MAJORCA" 1285-1290. National Museum of Catalan Art, Barcelona, Spain, inv no: 071447-CJT. <br />
The mural paintings of the Conquest of Majorca come from the former ancestral home of the Caldes family in Carrer Montcada in Barcelona, a building later known as Palau Aguilar. Discovered and removed in 1961, these paintings are one of the most important examples of early or Linear Gothic Catalan painting. This magnificent example of painting on historical subject matter narrates the conquest of the island of Majorca by James I the Conqueror in 1229. Like a painted chronicle, the episodes follow the detailed narrative of Catalan medieval accounts such as King James I's 'Llibre dels Feits' and Bernat Desclot's 'Crònica'.
  • Gothic fresco mural painting "THE CONQUEST OF MAJORCA" 1285-1290. National Museum of Catalan Art, Barcelona, Spain, inv no: 071447-CJT. <br />
The mural paintings of the Conquest of Majorca come from the former ancestral home of the Caldes family in Carrer Montcada in Barcelona, a building later known as Palau Aguilar. Discovered and removed in 1961, these paintings are one of the most important examples of early or Linear Gothic Catalan painting. This magnificent example of painting on historical subject matter narrates the conquest of the island of Majorca by James I the Conqueror in 1229. Like a painted chronicle, the episodes follow the detailed narrative of Catalan medieval accounts such as King James I's 'Llibre dels Feits' and Bernat Desclot's 'Crònica'.
  • Gothic fresco mural painting "THE CONQUEST OF MAJORCA" 1285-1290. National Museum of Catalan Art, Barcelona, Spain, inv no: 071447-CJT. <br />
The mural paintings of the Conquest of Majorca come from the former ancestral home of the Caldes family in Carrer Montcada in Barcelona, a building later known as Palau Aguilar. Discovered and removed in 1961, these paintings are one of the most important examples of early or Linear Gothic Catalan painting. This magnificent example of painting on historical subject matter narrates the conquest of the island of Majorca by James I the Conqueror in 1229. Like a painted chronicle, the episodes follow the detailed narrative of Catalan medieval accounts such as King James I's 'Llibre dels Feits' and Bernat Desclot's 'Crònica'.
  • Gothic fresco mural painting "THE CONQUEST OF MAJORCA" 1285-1290. National Museum of Catalan Art, Barcelona, Spain, inv no: 071447-CJT. <br />
The mural paintings of the Conquest of Majorca come from the former ancestral home of the Caldes family in Carrer Montcada in Barcelona, a building later known as Palau Aguilar. Discovered and removed in 1961, these paintings are one of the most important examples of early or Linear Gothic Catalan painting. This magnificent example of painting on historical subject matter narrates the conquest of the island of Majorca by James I the Conqueror in 1229. Like a painted chronicle, the episodes follow the detailed narrative of Catalan medieval accounts such as King James I's 'Llibre dels Feits' and Bernat Desclot's 'Crònica'.
  • Gothic fresco mural painting "THE CONQUEST OF MAJORCA" 1285-1290. National Museum of Catalan Art, Barcelona, Spain, inv no: 071447-CJT. <br />
The mural paintings of the Conquest of Majorca come from the former ancestral home of the Caldes family in Carrer Montcada in Barcelona, a building later known as Palau Aguilar. Discovered and removed in 1961, these paintings are one of the most important examples of early or Linear Gothic Catalan painting. This magnificent example of painting on historical subject matter narrates the conquest of the island of Majorca by James I the Conqueror in 1229. Like a painted chronicle, the episodes follow the detailed narrative of Catalan medieval accounts such as King James I's 'Llibre dels Feits' and Bernat Desclot's 'Crònica'.
  • Gothic fresco mural painting "THE CONQUEST OF MAJORCA" 1285-1290. National Museum of Catalan Art, Barcelona, Spain, inv no: 071447-CJT. <br />
The mural paintings of the Conquest of Majorca come from the former ancestral home of the Caldes family in Carrer Montcada in Barcelona, a building later known as Palau Aguilar. Discovered and removed in 1961, these paintings are one of the most important examples of early or Linear Gothic Catalan painting. This magnificent example of painting on historical subject matter narrates the conquest of the island of Majorca by James I the Conqueror in 1229. Like a painted chronicle, the episodes follow the detailed narrative of Catalan medieval accounts such as King James I's 'Llibre dels Feits' and Bernat Desclot's 'Crònica'.
  • Gothic fresco mural painting "THE CONQUEST OF MAJORCA" 1285-1290. National Museum of Catalan Art, Barcelona, Spain, inv no: 071447-CJT. <br />
The mural paintings of the Conquest of Majorca come from the former ancestral home of the Caldes family in Carrer Montcada in Barcelona, a building later known as Palau Aguilar. Discovered and removed in 1961, these paintings are one of the most important examples of early or Linear Gothic Catalan painting. This magnificent example of painting on historical subject matter narrates the conquest of the island of Majorca by James I the Conqueror in 1229. Like a painted chronicle, the episodes follow the detailed narrative of Catalan medieval accounts such as King James I's 'Llibre dels Feits' and Bernat Desclot's 'Crònica'.
  • Gothic fresco mural painting "THE CONQUEST OF MAJORCA" 1285-1290. National Museum of Catalan Art, Barcelona, Spain, inv no: 071447-CJT. <br />
The mural paintings of the Conquest of Majorca come from the former ancestral home of the Caldes family in Carrer Montcada in Barcelona, a building later known as Palau Aguilar. Discovered and removed in 1961, these paintings are one of the most important examples of early or Linear Gothic Catalan painting. This magnificent example of painting on historical subject matter narrates the conquest of the island of Majorca by James I the Conqueror in 1229. Like a painted chronicle, the episodes follow the detailed narrative of Catalan medieval accounts such as King James I's 'Llibre dels Feits' and Bernat Desclot's 'Crònica'.
  • Gothic fresco mural painting "THE CONQUEST OF MAJORCA" 1285-1290. National Museum of Catalan Art, Barcelona, Spain, inv no: 071447-CJT. <br />
The mural paintings of the Conquest of Majorca come from the former ancestral home of the Caldes family in Carrer Montcada in Barcelona, a building later known as Palau Aguilar. Discovered and removed in 1961, these paintings are one of the most important examples of early or Linear Gothic Catalan painting. This magnificent example of painting on historical subject matter narrates the conquest of the island of Majorca by James I the Conqueror in 1229. Like a painted chronicle, the episodes follow the detailed narrative of Catalan medieval accounts such as King James I's 'Llibre dels Feits' and Bernat Desclot's 'Crònica'.
  • Gothic fresco mural painting "THE CONQUEST OF MAJORCA" 1285-1290. National Museum of Catalan Art, Barcelona, Spain, inv no: 071447-CJT. <br />
The mural paintings of the Conquest of Majorca come from the former ancestral home of the Caldes family in Carrer Montcada in Barcelona, a building later known as Palau Aguilar. Discovered and removed in 1961, these paintings are one of the most important examples of early or Linear Gothic Catalan painting. This magnificent example of painting on historical subject matter narrates the conquest of the island of Majorca by James I the Conqueror in 1229. Like a painted chronicle, the episodes follow the detailed narrative of Catalan medieval accounts such as King James I's 'Llibre dels Feits' and Bernat Desclot's 'Crònica'.
  • Gothic fresco mural painting "THE CONQUEST OF MAJORCA" 1285-1290. National Museum of Catalan Art, Barcelona, Spain, inv no: 071447-CJT. <br />
The mural paintings of the Conquest of Majorca come from the former ancestral home of the Caldes family in Carrer Montcada in Barcelona, a building later known as Palau Aguilar. Discovered and removed in 1961, these paintings are one of the most important examples of early or Linear Gothic Catalan painting. This magnificent example of painting on historical subject matter narrates the conquest of the island of Majorca by James I the Conqueror in 1229. Like a painted chronicle, the episodes follow the detailed narrative of Catalan medieval accounts such as King James I's 'Llibre dels Feits' and Bernat Desclot's 'Crònica'.
  • Folk art paintings depicting Sicilian historical stories, Palermo Pupet museum, Sicily
  • Folk art paintings depicting Sicilian historical stories, Palermo Pupet museum, Sicily
  • Folk art paintings depicting Sicilian historical stories, Palermo Pupet museum, Sicily
  • Folk art paintings depicting Sicilian historical stories, Palermo Pupet museum, Sicily
  • Pictures and images of bas relief sculpture of the chapel in the historic medieval Kintsvisi Monastery Georgian Orthodox Monastery complex, Shida Kartli Region, Georgia (country).<br />
<br />
Kintsvisi Monastery is the best preserved example of Georgian architecture of the 12th and 15th centuries, the so called Georgian Golden Age.
  • Pictures and images of the chapel in the historic medieval Kintsvisi Monastery Georgian Orthodox Monastery complex, Shida Kartli Region, Georgia (country).<br />
<br />
Kintsvisi Monastery is the best preserved example of Georgian architecture of the 12th and 15th centuries, the so called Georgian Golden Age.
  • Pictures and images of St Nicholas Church in the historic medieval Kintsvisi Monastery Georgian Orthodox Monastery complex, Shida Kartli Region, Georgia (country).<br />
<br />
Kintsvisi Monastery is the best preserved example of Georgian architecture of the 12th and 15th centuries, the so called Georgian Golden Age.
  • Pictures and images of St Nicholas Church in the historic medieval Kintsvisi Monastery Georgian Orthodox Monastery complex, Shida Kartli Region, Georgia (country).<br />
<br />
Kintsvisi Monastery is the best preserved example of Georgian architecture of the 12th and 15th centuries, the so called Georgian Golden Age.
  • Pictures and images of St Nicholas Church in the historic medieval Kintsvisi Monastery Georgian Orthodox Monastery complex, Shida Kartli Region, Georgia (country).<br />
<br />
Kintsvisi Monastery is the best preserved example of Georgian architecture of the 12th and 15th centuries, the so called Georgian Golden Age.
  • Pictures and images of frescoes inside the chapel in the historic medieval Kintsvisi Monastery Georgian Orthodox Monastery complex, Shida Kartli Region, Georgia (country).<br />
<br />
Kintsvisi Monastery is the best preserved example of Georgian architecture of the 12th and 15th centuries, the so called Georgian Golden Age.
  • Pictures and images of bas relief sculpture of archangels on the chapel in the historic medieval Kintsvisi Monastery Georgian Orthodox Monastery complex, Shida Kartli Region, Georgia (country).<br />
<br />
Kintsvisi Monastery is the best preserved example of Georgian architecture of the 12th and 15th centuries, the so called Georgian Golden Age.
  • Pictures and images of bas relief sculpture of archangels on the chapel in the historic medieval Kintsvisi Monastery Georgian Orthodox Monastery complex, Shida Kartli Region, Georgia (country).<br />
<br />
Kintsvisi Monastery is the best preserved example of Georgian architecture of the 12th and 15th centuries, the so called Georgian Golden Age.
  • Pictures and images of the chapel in the historic medieval Kintsvisi Monastery Georgian Orthodox Monastery complex, Shida Kartli Region, Georgia (country).<br />
<br />
Kintsvisi Monastery is the best preserved example of Georgian architecture of the 12th and 15th centuries, the so called Georgian Golden Age.
  • Pictures and images of the chapel in the historic medieval Kintsvisi Monastery Georgian Orthodox Monastery complex, Shida Kartli Region, Georgia (country).<br />
<br />
Kintsvisi Monastery is the best preserved example of Georgian architecture of the 12th and 15th centuries, the so called Georgian Golden Age.
  • Pictures and images of the chapel in the historic medieval Kintsvisi Monastery Georgian Orthodox Monastery complex, Shida Kartli Region, Georgia (country).<br />
<br />
Kintsvisi Monastery is the best preserved example of Georgian architecture of the 12th and 15th centuries, the so called Georgian Golden Age.
  • Pictures and images of the chapel in the historic medieval Kintsvisi Monastery Georgian Orthodox Monastery complex, Shida Kartli Region, Georgia (country).<br />
<br />
Kintsvisi Monastery is the best preserved example of Georgian architecture of the 12th and 15th centuries, the so called Georgian Golden Age.
  • Pictures and images of the historic medieval Gate house and chapel of Kintsvisi Monastery Georgian Orthodox Monastery complex, Shida Kartli Region, Georgia (country).
  • Pictures and images of the chapel in the historic medieval Kintsvisi Monastery Georgian Orthodox Monastery complex, Shida Kartli Region, Georgia (country).<br />
<br />
Kintsvisi Monastery is the best preserved example of Georgian architecture of the 12th and 15th centuries, the so called Georgian Golden Age.
  • Pictures and images of the historic medieval Gate house and chapel of Kintsvisi Monastery Georgian Orthodox Monastery complex, Shida Kartli Region, Georgia (country).
  • Pictures and images of the historic frescoes of St Nicholas Church interior in the medieval Kintsvisi Monastery Georgian Orthodox Monastery complex, Shida Kartli Region, Georgia (country).
  • Pictures and images of the historic frescoes of St Nicholas Church interior in the medieval Kintsvisi Monastery Georgian Orthodox Monastery complex, Shida Kartli Region, Georgia (country).
  • Pictures and images of the historic frescoes of St Nicholas Church interior in the medieval Kintsvisi Monastery Georgian Orthodox Monastery complex, depicting  the Virgin Mary also contains an enthroned Hodegetria with a Communion of the Apostles in iits apse. Shida Kartli Region, Georgia (country).
  • Pictures and images of St Nicholas Church in the historic medieval Kintsvisi Monastery Georgian Orthodox Monastery complex, Shida Kartli Region, Georgia (country).<br />
<br />
Kintsvisi Monastery is the best preserved example of Georgian architecture of the 12th and 15th centuries, the so called Georgian Golden Age.
  • Pictures and images of St Nicholas Church in the historic medieval Kintsvisi Monastery Georgian Orthodox Monastery complex, Shida Kartli Region, Georgia (country).<br />
<br />
Kintsvisi Monastery is the best preserved example of Georgian architecture of the 12th and 15th centuries, the so called Georgian Golden Age.
  • Pictures and images of St Nicholas Church in the historic medieval Kintsvisi Monastery Georgian Orthodox Monastery complex, Shida Kartli Region, Georgia (country).<br />
<br />
Kintsvisi Monastery is the best preserved example of Georgian architecture of the 12th and 15th centuries, the so called Georgian Golden Age.
  • Pictures and images of St Nicholas Church in the historic medieval Kintsvisi Monastery Georgian Orthodox Monastery complex, Shida Kartli Region, Georgia (country).<br />
<br />
Kintsvisi Monastery is the best preserved example of Georgian architecture of the 12th and 15th centuries, the so called Georgian Golden Age.
  • Pictures and images of St Nicholas Church in the historic medieval Kintsvisi Monastery Georgian Orthodox Monastery complex, Shida Kartli Region, Georgia (country).<br />
<br />
Kintsvisi Monastery is the best preserved example of Georgian architecture of the 12th and 15th centuries, the so called Georgian Golden Age.
  • Pictures and images of St Nicholas Church in the historic medieval Kintsvisi Monastery Georgian Orthodox Monastery complex, Shida Kartli Region, Georgia (country).<br />
<br />
Kintsvisi Monastery is the best preserved example of Georgian architecture of the 12th and 15th centuries, the so called Georgian Golden Age.
  • Pictures and images of St Nicholas Church in the historic medieval Kintsvisi Monastery Georgian Orthodox Monastery complex, Shida Kartli Region, Georgia (country).<br />
<br />
Kintsvisi Monastery is the best preserved example of Georgian architecture of the 12th and 15th centuries, the so called Georgian Golden Age.
  • Pictures and images of St Nicholas Church in the historic medieval Kintsvisi Monastery Georgian Orthodox Monastery complex, Shida Kartli Region, Georgia (country).<br />
<br />
Kintsvisi Monastery is the best preserved example of Georgian architecture of the 12th and 15th centuries, the so called Georgian Golden Age.
  • Pictures and images of St Nicholas Church in the historic medieval Kintsvisi Monastery Georgian Orthodox Monastery complex, Shida Kartli Region, Georgia (country).<br />
<br />
Kintsvisi Monastery is the best preserved example of Georgian architecture of the 12th and 15th centuries, the so called Georgian Golden Age.
  • Pictures and images of St Nicholas Church in the historic medieval Kintsvisi Monastery Georgian Orthodox Monastery complex, Shida Kartli Region, Georgia (country).<br />
<br />
Kintsvisi Monastery is the best preserved example of Georgian architecture of the 12th and 15th centuries, the so called Georgian Golden Age.
  • Pictures and images of St Nicholas Church in the historic medieval Kintsvisi Monastery Georgian Orthodox Monastery complex, Shida Kartli Region, Georgia (country).<br />
<br />
Kintsvisi Monastery is the best preserved example of Georgian architecture of the 12th and 15th centuries, the so called Georgian Golden Age.
  • Rock pools on the beach of the historic fishing village of Robin Hood's Bay, Near Whitby, North Yorkshire, England.
  • Bay Hotel & fishermans houses of the historic fishing village of Robin Hood's Bay, Near Whitby, North Yorkshire, England.
  • Bay Hotel & fishermans houses of the historic fishing village of Robin Hood's Bay, Near Whitby, North Yorkshire, England.
  • Bay Hotel Pub, village & beach of historic fishing village of Robin Hood's Bay, Near Whitby, North Yorkshire, England.
  • Harbour  of historic fishing village of Robin Hood's Bay, Near Whitby, North Yorkshire, England.
  • Harbour  of historic fishing village of Robin Hood's Bay, Near Whitby, North Yorkshire, England.
  • Harbour  of historic fishing village of Robin Hood's Bay, Near Whitby, North Yorkshire, England.
  • Beach & slipway of historic fishing village of Robin Hood's Bay, Near Whitby, North Yorkshire, England.
  • Picture and image of the Tuscan Romanesque Pisan style basilica of Santissima Trinita di Saccargia, historicated pillar capitals, consecrated 1116, Codrongianos, Sardinia.
  • Picture and image of the Tuscan Romanesque Pisan style basilica of Santissima Trinita di Saccargia, historicated pillar capitals, consecrated 1116, Codrongianos, Sardinia.
  • Picture and image of the Tuscan Romanesque Pisan style basilica of Santissima Trinita di Saccargia, historicated pillar capitals, consecrated 1116, Codrongianos, Sardinia.
  • Picture & image peat pile oustide the exterior with stone walls and thatched roof of The historic Blackhouse, 24 Arnol, Bragar, Isle of Lewis, Scotland.
  • Picture & image of the exterior with stone walls and thatched roof of The historic Blackhouse, 24 Arnol, Bragar, Isle of Lewis, Scotland.
  • Picture & image of the exterior with stone walls and thatched roof of The historic Blackhouse, 24 Arnol, Bragar, Isle of Lewis, Scotland.
  • Picture & image of the exterior with stone walls and thatched roof of The historic Blackhouse, 24 Arnol, Bragar, Isle of Lewis, Scotland.
  • Picture & image of the exterior with stone walls and thatched roof of The historic Blackhouse, 24 Arnol, Bragar, Isle of Lewis, Scotland.
  • Picture & image of the exterior with stone walls and thatched roof of The historic Blackhouse, 24 Arnol, Bragar, Isle of Lewis, Scotland.
  • Picture and image of the Tuscan Romanesque Pisan style basilica of Santissima Trinita di Saccargia, historicated pillar capitals, consecrated 1116, Codrongianos, Sardinia.
  • Cycladic bronze spearhead.  Early Cycladic II (2800-2300 BC) , Amorgos. National Archaeological Museum Athens.  Black background.
  • Cycladic bronze spearhead.  Early Cycladic II (2800-2300 BC) , Amorgos. National Archaeological Museum Athens.   Grey background.
  • Cycladic bronze spearhead.  Early Cycladic II (2800-2300 BC) , Amorgos. National Archaeological Museum Athens.   Gray background.
  • Cycladic bronze dagger.  Early Cycladic II (2800-2300 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat no 9337.  Black background.
  • Burnished monochrome Cycladic ring shaped wase with geometric incissions.  Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5697-8.  White background.<br />
<br />
<br />
Pottery from this Cycladic era was predominatly monochrome and burnished with linear motifs. Flower and bird designs were rare .
  • Burnished monochrome Cycladic ring shaped wase with geometric incissions.  Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5697-8.  Grey background.<br />
<br />
<br />
Pottery from this Cycladic era was predominatly monochrome and burnished with linear motifs. Flower and bird designs were rare .
  • Burnished monochrome Cycladic ring shaped wase with geometric incissions.  Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5697-8.<br />
<br />
Pottery from this Cycladic era was predominatly monochrome and burnished with linear motifs. Flower and bird designs were rare .
  • Burnished monochrome Cycladic ring shaped wase with geometric incissions.  Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5697-8.  Gray background.<br />
<br />
<br />
Pottery from this Cycladic era was predominatly monochrome and burnished with linear motifs. Flower and bird designs were rare .
  • Cycladic rounded alabastron top with 'marine style' decoration.   Cycladic (15th cent BC BC) , Phylakopi I-IV, Melos. National Archaeological Museum Athens.  Cat no 5777.   White background.
  • Cycladic ceramic spherical pyxis with impressed  linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens.   White background.
  • Cycladic ceramic spherical pyxis with impressed  linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens.
  • Cycladic ceramic kernos with painted linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat no 6185. Black background.<br />
<br />
<br />
Composed of 8 small pyxides with painted linear decoration, this complex vessel was probably for ritual use.
  • Cycladic ceramic kernos with painted linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat no 6185.  Gray background.<br />
<br />
<br />
Composed of 8 small pyxides with painted linear decoration, this complex vessel was probably for ritual use.
  • Cycladic ceramic spherical pyxis with painted linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat no 5170.   White background.
  • Cycladic ceramic spherical pyxis with painted linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat no 5170.  Black background.
  • Cycladic ceramic spherical pyxis with painted linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat no 5170
  • Cycladic 'Kastri Group' tea pot.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 6104 1-3.  White background.<br />
<br />
<br />
The 'Kastri Group' from Syros (2500-2300 BC) coincides with the introdution of anatolian shpes of table ware and with the use of the ceramic wheel. The pottery is dark burnished with incised motifs<br />
<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic ritual kernos with painted motif  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 822-833. Black background.<br />
<br />
<br />
A complec ritual vessel with multiple pithos for offerings.
  • Cycladic ritual kernos with painted motif  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 822-833.  Grey background.<br />
<br />
<br />
A complec ritual vessel with multiple pithos for offerings.
  • Cycladic ritual kernos with painted motif  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 822-833.  White background.<br />
<br />
A complec ritual vessel with multiple pithos for offerings.
  • Cycladic ceramic krater with impressed  linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat No 5188.   Gray background.
  • Cycladic ceramic krater with impressed  linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat No 6180.   Grey background.
  • Cycladic ceramic krater with impressed  linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat No 6180.   Gray background.
  • Cycladic conical rhython with spiral decorations.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens.  Cat no 5791.  White background.<br />
<br />
<br />
Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic conical rhython with spiral decorations.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens.  Cat no 5791.  Grey background.<br />
<br />
<br />
Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic conical rhython with spiral decorations.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens.  Cat no 5791.<br />
<br />
Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic spouted cup with floral and net pattern.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens. Cat no 5755.   White background.<br />
<br />
<br />
Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic spouted cup with floral and net pattern.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens. Cat no 5755.   Grey background.<br />
<br />
<br />
Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic deep bridge spouted jar with spiral decorations.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens.  Cat no 5788.<br />
<br />
Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic beaked nippled jug with monstrous creature decoration.   Cycladic (18th-17th cent BC BC) , Phylakopi I-IV, Melos. National Archaeological Museum Athens.  Cat no 5777.   White background.
  • Cycladic beaked nippled jug with monstrous creature decoration.   Cycladic (18th-17th cent BC BC) , Phylakopi I-IV, Melos. National Archaeological Museum Athens.  Cat no 5777.   Gray background.
  • Cycladic cut away jug with floral and net pattern.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens. Cat no 5757.   Grey background.<br />
<br />
<br />
This jug has a strainer in the spout with floral patterns. Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic cut away jug with floral and net pattern.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens. Cat no 5757.   Gray background.<br />
<br />
<br />
This jug has a strainer in the spout with floral patterns. Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic ceramic jug with linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat no 5147.   Grey background.
  • Cycladic ceramic jug with linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat no 5147.   Gray background.
  • Cycladic ceramic jug with painted linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat no 4969.   White background.
  • Cycladic amphora with bird decoration.  Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. cat no 5748.   White background.<br />
<br />
<br />
During this Ctcladic period pottery was predominatly monochrome and brnished , this amphora is a rare example of bird decorated pottery from the era
  • Cycladic amphora with bird decoration.  Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. cat no 5748.   Gray background.<br />
<br />
<br />
During this Ctcladic period pottery was predominatly monochrome and brnished , this amphora is a rare example of bird decorated pottery from the era
  • Cycladic amphora with bird decoration.  Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. cat no 5748. <br />
<br />
During this Ctcladic period pottery was predominatly monochrome and brnished , this amphora is a rare example of bird decorated pottery from the era
  • Cycladic amphora with 'melian' painted motifs.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens.   Grey background.
  • Cycladic amphora with 'melian' painted motifs.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens.   Gray background.
  • Cycladic footed necked jar with impressed decration.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 6168.  Gray background.<br />
<br />
<br />
During this period pottery was often monochrome with polised slip finishes sometimes with incised or impressed decorations.
  • Cycladic monachrome polished slip 'sauce boat' from Syros.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 55, 5159.  Gray background.<br />
<br />
<br />
These so called 'sauce boats' were a new shape and style that appeared during this period.
  • Cycladic beak spouted jug with 'melian' painted motifs.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 5725-6. Black background.
  • Cycladic beak spouted jug with 'melian' painted motifs.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 5725-6.  White background.
  • Cycladic beak spouted jug with 'melian' painted motifs.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 5725-6.
  • Cycladic beak spouted jug.  Early Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5726.  Grey background.<br />
<br />
<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic beak spouted jug.  Early Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5726.  Gray background.<br />
<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Small Cycladic amphora.  Early Cycladic III (2300-200 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5813.  White background.<br />
<br />
<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Spherical jug spiral and floral decorated. Early Cycladic I (1650-1550 BC); Phylakopi; Melos. National Archaeological Museum Athens. Cat No 5818.  Grey background.<br />
<br />
<br />
During this Cycladic period the pottery designs were heavily influenced by Cretean minoan with pottery.
  • Bridge spouted jug bird decorated. Early Cycladic I (1650-1550 BC); Phylakopi; Melos. National Archaeological Museum Athens. Cat No 5768. Black background.<br />
<br />
<br />
During this Cycladic period the pottery designs were heavily influenced by Cretean minoan with pottery like this using bird patterns.
  • Bridge spouted jug bird decorated. Early Cycladic I (1650-1550 BC); Phylakopi; Melos. National Archaeological Museum Athens. Cat No 5768.  Grey background.<br />
<br />
<br />
During this Cycladic period the pottery designs were heavily influenced by Cretean minoan with pottery like this using bird patterns.
  • Bridge spouted jug bird decorated. Early Cycladic I (1650-1550 BC); Phylakopi; Melos. National Archaeological Museum Athens. Cat No 5768.<br />
<br />
During this Cycladic period the pottery designs were heavily influenced by Cretean minoan with pottery like this using bird patterns.
  • Beak spouted jug decorated with flowering crocus. Early Cycladic I (1650-1550 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5769.  White background.<br />
<br />
<br />
During this Cycladic period the pottery designs were heavily influenced by Cretean minoan with pottery like this using floral patterns.
  • Cycladic terracotta 'frying pan' with incied decoration from  Syros. Early found  at Phylakopi, Melos. Cycladic period III 2300-2000 BC), National Archaeological Museum Athens, Cat No 6172.  Grey background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied star decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5153.  Gray background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5058.  Gray background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens,  Grey background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens,  Gray background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied boat and spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5053.  Grey background.<br />
<br />
<br />
The incisions depict a boat below spiral patternes. <br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 6177.  White background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied boat and spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 4974. Black background.<br />
<br />
Yje incised decorations depict a boat amongst spiral formed waves. The boats is of a Ctcladic design  found throughout the Aegean.<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied boat and spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 4974.   White background.<br />
<br />
<br />
Yje incised decorations depict a boat amongst spiral formed waves. The boats is of a Ctcladic design  found throughout the Aegean.<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied boat and spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 4974<br />
<br />
Yje incised decorations depict a boat amongst spiral formed waves. The boats is of a Ctcladic design  found throughout the Aegean.<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-2300 BC) from Stavros cemetery, Amorgos, grave 5, Cat No 4719. National Archaeological Museum, Athens.   White background.<br />
<br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-2300 BC) from Stavros cemetery, Amorgos, grave 5, Cat No 4719. National Archaeological Museum, Athens. <br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised.
  • The 'Harpist of Keros' a seated parian marble female Cycladic figurine. Early Cycladic Period II (2800-2300 BC) from Keros, Cat no 3908. National Archaeological Museum, Athens.   Grey background.<br />
<br />
<br />
This elaborate three dimesional Cyladic statue known as the 'Harpist of Keros' depicts a seated figure plaung a harp. Its execution required an experienced workshop that could file away the parian marble with gronze tools.
  • The 'Harpist of Keros' a seated parian marble female Cycladic figurine. Early Cycladic Period II (2800-2300 BC) from Keros, Cat no 3908. National Archaeological Museum, Athens. Black background.<br />
<br />
This elaborate three dimesional Cyladic statue known as the 'Harpist of Keros' depicts a seated figure plaung a harp. Its execution required an experienced workshop that could file away the parian marble with gronze tools.
  • The 'Harpist of Keros' a seated parian marble female Cycladic figurine. Early Cycladic Period II (2800-2300 BC) from Keros, Cat no 3908. National Archaeological Museum, Athens. <br />
<br />
This elaborate three dimesional Cyladic statue known as the 'Harpist of Keros' depicts a seated figure plaung a harp. Its execution required an experienced workshop that could file away the parian marble with gronze tools.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-2300 BC) from Naxos, Cat No 6195. National Archaeological Museum, Athens.   Grey background.<br />
<br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-2300 BC) from Naxos, Cat No 6195. National Archaeological Museum, Athens.   Gray background.<br />
<br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-2300 BC) from Naxos, Cat No 6195. National Archaeological Museum, Athens.   White background.<br />
<br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised.
  • Cycladic statue figurine of the naturalistic 'Plastira' type of Paros from Glypha cemetery, grave 23, Cat no 4762. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens.   White background.<br />
<br />
<br />
This type of Cycladic figurine stand with feet lat to the ground with detailed facial features and ears to make a more realistic statue.
  • Cycladic statue figurine of the naturalistic 'Plastira' type of Paros from Glypha cemetery, grave 23, Cat no 4762. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens. <br />
<br />
This type of Cycladic figurine stand with feet lat to the ground with detailed facial features and ears to make a more realistic statue.
  • Cycladic statue figurine of the naturalistic 'Plastira' type of Paros. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens.   Gray background.<br />
<br />
<br />
This type of Cycladic figurine stand with feet lat to the ground with detailed facial features and ears to make a more realistic statue.
  • Cycladic statue figurine of the naturalistic 'Plastira' type of Paros. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens. Black background.<br />
This type of Cycladic figurine stand with feet lat to the ground with detailed facial features and ears to make a more realistic statue. This statue is of a hunter or warrior as it bears an incised weapon strap across its chest and holds a knife.
  • Cycladic statue figurine of the naturalistic 'Plastira' type of Paros. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens. <br />
<br />
This type of Cycladic figurine stand with feet lat to the ground with detailed facial features and ears to make a more realistic statue. This statue is of a hunter or warrior as it bears an incised weapon strap across its chest and holds a knife.
  • Cycladic statue figurine of the naturalistic 'Plastira' type of Paros. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens.   Gray background.<br />
<br />
<br />
This type of Cycladic figurine stand with feet lat to the ground with detailed facial features and ears to make a more realistic statue. This statue is of a hunter or warrior as it bears an incised weapon strap across its chest and holds a knife.
  • Cycladic violin shaped figurine. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens. Black background.
  • Cycladic violin shaped figurine. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens.   White background.
  • Cycladic violin shaped figurine. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens.   Gray background.
  • Cycladic violin shaped figurine. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens.   Grey background.
  • Cycladic violin shaped figurine. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens.   Gray background.
  • Cycladic violin shaped figurine. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800). National Archaeological Museum, Athens.   White background.<br />
<br />
<br />
This Cycladic violin shaped figurine has two holes in its neck which were provavly used to hold its broken neck together with wire or cord.
  • Cycladic violin shaped figurine. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800). National Archaeological Museum, Athens.   Grey background.<br />
<br />
<br />
This Cycladic violin shaped figurine has two holes in its neck which were provavly used to hold its broken neck together with wire or cord.
  • Female Cycladic statue figurine with folded arms of the Spedos and Dokathismata type. Early Cycladic Period II (2800-3200) from Naxos. National Archaeological Museum, Athens.   Grey background.<br />
<br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised.
  • Female Cycladic statue figurine with folded arms of the Spedos and Dokathismata type. Early Cycladic Period II (2800-3200) from Amorgos. National Archaeological Museum, Athens.   White background.<br />
<br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised. This staue belongs to the Dokathismata type of Amorgos with an angular face, wide chest and slender outline.
  • Female Cycladic statue figurine with folded arms of the Spedos and Dokathismata type. Early Cycladic Period II (2800-3200) from Amorgos. National Archaeological Museum, Athens. Black background.<br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised. This staue belongs to the Dokathismata type of Amorgos with an angular face, wide chest and slender outline.
  • Female Cycladic statue figurine with folded arms of the Spedos and Dokathismata type. Early Cycladic Period II (2800-3200) from Amorgos. National Archaeological Museum, Athens.   Grey background.<br />
<br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised. This staue belongs to the Dokathismata type of Amorgos with an angular face, wide chest and slender outline.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-3200) from Naxos, Cat No 20934. National Archaeological Museum, Athens.   Grey background.<br />
<br />
<br />
One of the largest known Cycladic statues at 89CM tall this figurine still has traces of a colour on the hair and eyes.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-3200) from Naxos, Cat No 20934. National Archaeological Museum, Athens. <br />
<br />
One of the largest known Cycladic statues at 89CM tall this figurine still has traces of a colour on the hair and eyes.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-3200) from Naxos, Cat No 20934. National Archaeological Museum, Athens.   Gray background.<br />
<br />
<br />
One of the largest known Cycladic statues at 89CM tall this figurine still has traces of a colour on the hair and eyes.
  • Head of a Cycladic statue with remnants of painted eyes and right cheek, Parian Marble, Amorgos, Early Cycladic II period (2800-3200BC). National Archaeological Museum, Athens.
  • Mycenaean pots and vases depicting octopuses and Mycenaean chariots, National Archaeological Museum Athens.<br />
<br />
Left: Three handled Palace Style Mycenaean amphora with octpuses and marinescape decorations motifs, Mycenaean cemetery, Argive Prosymna, tomb 2, 15 cnt BC,  Cat no 6725. <br />
<br />
Middle: Mycenaean three handled styrup jar with painted zig zag  and double axesdesigns, Tholos tomb 2 , Myrsinochori, Messenia, 15th cent BC. Cat No 8376.<br />
<br />
Right:Mycenaean pictorial Krater decorated with a horse and chariot, Tiryns Acropolis - 12-14th cent BC.  Cat No 115.
  • 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 pictorial Krater decorated with a two horses and chariot, Tiryns Acropolis - 13-12th cent BC. National Archaeological Museum Athens. Cat No 1511. Black Background<br />
This larfe Mycenaean pictorial Krater depicts a two horse Mycenaean chariot with two riders. Two men holding spears and circular shields walk in front of the chariot and a dog scampers under the horse. This style is typical of the 'painter of the shiled bearers' of the Tiryns workshop from the late 13th to 12th cent BC
  • The 'figure of eight shield'  Mycenaean fresco wall painting, Mycenae, Greece Cat No 11672. National Archaeological Museum, Athens. <br />
<br />
The Mycenaean 'figure of eight shield' were originaly made of cows hide and was the symbol of a goddess of war.
  • The 'figure of eight shield'  Mycenaean fresco wall painting, Mycenae, Greece Cat No 11672. National Archaeological Museum, Athens.  White Background.<br />
<br />
The Mycenaean 'figure of eight shield' were originaly made of cows hide and was the symbol of a goddess of war.
  • The 'figure of eight shield'  Mycenaean fresco wall painting, Mycenae Acropolis, Greece Cat No 11671. National Archaeological Museum, Athens.<br />
<br />
12th-14th cent BC.<br />
<br />
The Mycenaean 'figure of eight shield' were originaly made of cows hide and was the symbol of a goddess of war.
  • The 'figure of eight shield'  Mycenaean fresco wall painting, Mycenae Acropolis, Greece Cat No 11671. National Archaeological Museum, Athens. Grey Background<br />
<br />
12th-14th cent BC.<br />
<br />
The Mycenaean 'figure of eight shield' were originaly made of cows hide and was the symbol of a goddess of war.
  • The 'figure of eight shield'  Mycenaean fresco wall painting, Mycenae Acropolis, Greece Cat No 11671. National Archaeological Museum, Athens.<br />
<br />
12th-14th cent BC.<br />
<br />
The Mycenaean 'figure of eight shield' were originaly made of cows hide and was the symbol of a goddess of war.
  • Mycenaean ivory figure of eight shield from the Palace workshops of Mycenae. National Archaeological Museum Athens. Cat No 1027, 7102. Grey Background
  • Mycenaean ivory figure of eight shield from the Palace workshops of Mycenae. National Archaeological Museum Athens. Cat No 1027, 7102.  Grey art Background
  • Mycenaean fresco wall painting of a marine scape. National Archaeological Museum Athens. Cat No 5844. Grey art Background <br />
<br />
The Mycenaean fresco fragments depict a marine scape with flying fish diving and swimming with sponges attached to rocks.
  • Mycenaean fresco wall painting of hunting demons, Mycenae Acropolis, Greece Cat No 2665. National Archaeological Museum, Athens.<br />
<br />
The Mycenaean fresco fragment depicts three animal demons with donkey heads holding a wooden pole over their shoulders from which hangs the prey thay have been hunting. This type of demon originated in Egypt.
  • Mycenaean Fresco wall painting of a Mycanaean Women bearing offerings, Later Palace,  Tiryns, Greece.  Athens Archaeological Museum. White Background.<br />
<br />
14th  Cent BC. Cat No 15883. The Mycenaean fresco fragments depict a women in a procession bearing offerings for a deity. Their facial characteristic and elaborate hairstyles and rich garments are clearly visible.
  • Mycenaean Fresco wall painting of a Mycanaean Women bearing offerings, Later Palace,  Tiryns, Greece.  Athens Archaeological Museum. Black Background<br />
<br />
14th  Cent BC. Cat No 15883. The Mycenaean fresco fragments depict a women in a procession bearing offerings for a deity. Their facial characteristic and elaborate hairstyles and rich garments are clearly visible.
  • Mycenaean Fresco wall painting of a Mycanaean Women bearing offerings, Later Palace,  Tiryns, Greece.  Athens Archaeological Museum. Grey art Background <br />
<br />
14th  Cent BC. Cat No 15883. The Mycenaean fresco fragments depict a women in a procession bearing offerings for a deity. Their facial characteristic and elaborate hairstyles and rich garments are clearly visible.
  • Mycenaean Fresco wall painting of a Mycanaean chariot, Later Palace,  Tiryns, Greece.  Athens Archaeological Museum. Black Background<br />
<br />
14th  Cent BC. Cat No 5879. Mycanaean chariots were use for hunting as well as battle.
  • Mycenaean Fresco wall painting of a Mycanaean chariot, Later Palace,  Tiryns, Greece.  Athens Archaeological Museum. White Background.<br />
<br />
14th  Cent BC. Cat No 5879. Mycanaean chariots were use for hunting as well as battle.
  • Mycenaean ovoid rhython with spiral design , Grave II, Grave Circle A, Mycenae 16-15 Cent BC. National Archaeological Museum Athens. Cat No 221
  • Mycenaean Funerary Stele made of Porus stone with a chariot relief, Mycenae Grave Circle A, Grave V, Archaeological Museum Athens. Cat No 1429.16th Cent BC.<br />
<br />
The upper register of the Mycenaean Funerary Stele are filled with spiral reliefs while the central register panel has a relief of galloping horses driven by a charioteer. In front of the galloping horse stands a man with a spear who appears to attacking the chariot.
  • Mycenaean Funerary Stele made of Porus stone with a relief of a chariot scene, Mycenae Grave Circle A, Grave V, Archaeological Museum Athens. Cat No 1428.16th Cent BC. Black Background<br />
<br />
The upper panel of this Mycenaean Funerary Stele has spiral reliefs that may represent waves suggesting that the scene below is set at a coastal location. This scene shows a charioteer pulling on the reins of his chariot while a second figure in front of the chaiot hold what may be a sword.
  • Mycenaean Funerary Stele with painted scenes of Mycenaean warriors, Mycenae Chamber Tomb Archaeological Museum Athens. Cat No 3256.12th Cent BC. Black Background<br />
<br />
In this Mycenaean Funerary Stele the main panel depicts Mycenaean warriors marching armed with spears and shields. In the lower panel are depictions of 4 deer and a hedgehog. In the upper panel is a badly damaged seated figure
  • Mycenaean female figurines  from Mycenae tombs, Archaeological Museum Athens. <br />
<br />
Left: Seated Mycenaean female figurine with raies arms, from Mycenae tomb 91,  Cat No 3193.  Black Background<br />
<br />
Middle: Hollow Mycenaean female figurine, adorant, wearing a necklace, from Mycenae tomb 40,  Cat No 2494. <br />
<br />
Right: Upper part of a Mycenaean female figurine with stylised arms wearing a necklace, from Mycenae tomb 101,  Cat No 4690
  • Seated Mycenaean female figurine with raies arms, from Mycenae tomb 91, Archaeological Museum Athens. Cat No 3193. <br />
<br />
Stylised female figurines were common in the Mycenaean world and may have represented deities , divine nurses or worshipers. these Mycenaean female figurines were probably used as voitive offering and maybe as childrens toys.
  • Hollow Mycenaean female figurine, adorant, wearing a necklace, from Mycenae tomb 40, Archaeological Museum Athens. Cat No 2494.  Grey art Background <br />
<br />
Stylised female figurines were common in the Mycenaean world and may have represented deities , divine nurses or worshipers. these Mycenaean female figurines were probably used as voitive offering and maybe as childrens toys.
  • Upper part of a Mycenaean female figurine with stylised arms wearing a necklace, from Mycenae tomb 101, Archaeological Museum Athens. Cat No 4690.  Black Background<br />
<br />
Stylised female figurines were common in the Mycenaean world and may have represented deities , divine nurses or worshipers. these Mycenaean female figurines were probably used as voitive offering and maybe as childrens toys.
  • Mycenaean Gold circular buttons from Grave IV, Grave Circle A, Myenae, Greece. National Archaeological Museum Athens. 16th Cent BC. White Background.
  • Mycenaean Gold circular buttons from Grave IV, Grave Circle A, Myenae, Greece. National Archaeological Museum Athens. 16th Cent BC. Grey Background
  • Mycenaean Gold circular buttons from Grave IV, Grave Circle A, Myenae, Greece. National Archaeological Museum Athens. 16th Cent BC. Black Background
  • Mycenaean Gold circular buttons from Grave IV, Grave Circle A, Myenae, Greece. National Archaeological Museum Athens. 16th Cent BC. Grey art Background
  • Mycenaean Gold decrated bands and circuar gold foilsd from Grave IV, Grave Circle A, Myenae, Greece. National Archaeological Museum Athens. 16th Cent BC. Black Background
  • Mycenaean Gold decrated bands  from Grave IV, Grave Circle A, Myenae, Greece. National Archaeological Museum Athens. 16th Cent BC. Grey art Background
  • Mycenaean  Bronze sword with inlaid lions from  Grave Circle A, Mycenae, 16th cent BC. National Archaeological Museum Athens. Cat No 395. 16th Cent BC. Grey Background
  • Mycenaean  Bronze dagger with inlaid lion hunt scene from Grave V, Grave Circle A, Mycenae, 16th cent BC. National Archaeological Museum Athens. 16th Cent BC. Cat No 394
  • Top leaf shapes of a Mycenaean gold diadem from Grave III, 'Grave of a Women', Grave Circle A, Myenae, Greece. National Archaeological Museum Athens. Black Background<br />
Cat No 3,5. 16th century BC.<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.

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