• Nude women examining her reast whilst lying down in bed
  • Naked women lying in bed holding a diamond engagement ring in its box in front of her
  • Naked women lying in bed reading.
  • Naked women sleeping in bed
  • Naked women sleeping in bed
  • Naked women sleeping viewed from under the sheets
  • Nude women sleeping in bed
  • Naked women sleeping viewed from under the sheets holding her teddy bear
  • Naked women sleeping in bed with her toy dog bear in front of her
  • Naked women sleeping in bed with her teddy bear in front of her
  • Reconstruction of  the inside of the Greek Tomb of  the Diver  [La Tomba del Truffatore]. The rear panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables.  The men on the couches are playing the song of Eros the liar and the flute to distract the deceased from worldly thoughts so he can enter the next world. The fresco on the lid of the tomb and shows a  diving from a column into water. The column represents the border of thye known world and therefore the limit of man's knowledge.  The dive represents the passage form this world to the next. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Greek Fresco on the inside of Tomb of  the Diver  [La Tomba del Truffatore]. This panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables on which goblets have been placed.  The abondon experienced at the Synposium was one way in which the dead could access the next world . The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Reconstruction of  the inside of the Greek Tomb of  the Diver  [La Tomba del Truffatore] from the Greek city of Poseidonia which became Roman Paestum. .   The rear panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables on which goblets have been placed.  The abondon experienced at the Synposium was one way in which the dead could access the next world .  The fresco on the lid of the tomb and shows a  diving from a column into water. The column represents the border of thye known world and therefore the limit of man's knowledge.  The dive represents the passage form this world to the next. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Reconstruction of  the inside of the Greek Tomb of  the Diver  [La Tomba del Truffatore] from the Greek city of Poseidonia which became Roman Paestum. .   The rear panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables on which goblets have been placed.  The abondon experienced at the Synposium was one way in which the dead could access the next world .  The fresco on the lid of the tomb and shows a  diving from a column into water. The column represents the border of thye known world and therefore the limit of man's knowledge.  The dive represents the passage form this world to the next. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Reconstruction of  the inside of the Greek Tomb of  the Diver  [La Tomba del Truffatore]. The rear panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables.  The men on the couches are playing the song of Eros the liar and the flute to distract the deceased from worldly thoughts so he can enter the next world. The fresco on the lid of the tomb and shows a  diving from a column into water. The column represents the border of thye known world and therefore the limit of man's knowledge.  The dive represents the passage form this world to the next. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Reconstruction of  the inside of the Greek Tomb of  the Diver  [La Tomba del Truffatore]. The rear panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables.  The men on the couches are playing the song of Eros the liar and the flute to distract the deceased from worldly thoughts so he can enter the next world. The fresco on the lid of the tomb and shows a  diving from a column into water. The column represents the border of thye known world and therefore the limit of man's knowledge.  The dive represents the passage form this world to the next. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Greek Fresco on the inside of Tomb of  the Diver  [La Tomba del Truffatore] from the Greek city of Poseidonia which became Roman Paestum. This panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables.  The men on the couches are playing the song of Eros the liar and the flute to distract the deceased from worldly thoughts so he can enter the next world. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Greek Fresco on the inside of Tomb of  the Diver  [La Tomba del Truffatore] from the Greek city of Poseidonia which became Roman Paestum. This panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables.  The men on the couches are playing the song of Eros the liar and the flute to distract the deceased from worldly thoughts so he can enter the next world. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Greek Fresco on the inside of Tomb of  the Diver  [La Tomba del Truffatore]. This panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables on which goblets have been placed.  The abondon experienced at the Synposium was one way in which the dead could access the next world . The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Phrygian ivory statuette carved as a roaring lion lying down from a table base decoration. From Gordion. Phrygian Collection, 8th-7th century BC - Museum of Anatolian Civilisations Ankara. Turkey. Against a white background
  • Phrygian ivory statuette carved as a roaring lion lying down from a table base decoration. From Gordion. Phrygian Collection, 8th-7th century BC - Museum of Anatolian Civilisations Ankara. Turkey. Against a black background
  • Phrygian ivory statuette carved as a roaring lion lying down from a table base decoration. From Gordion. Phrygian Collection, 8th-7th century BC - Museum of Anatolian Civilisations Ankara. Turkey.
  • Phrygian ivory statuette carved as a roaring lion lying down from a table base decoration. From Gordion. Phrygian Collection, 8th-7th century BC - Museum of Anatolian Civilisations Ankara. Turkey. Against a grey background
  • Phrygian ivory statuette carved as a roaring lion lying down from a table base decoration. From Gordion. Phrygian Collection, 8th-7th century BC - Museum of Anatolian Civilisations Ankara. Turkey. Against an art background
  • Phrygian ivory statuette carved as a roaring lion lying down from a table base decoration. From Gordion. Phrygian Collection, 8th-7th century BC - Museum of Anatolian Civilisations Ankara. Turkey. Against a white background
  • Phrygian ivory statuette carved as a roaring lion lying down from a table base decoration. From Gordion. Phrygian Collection, 8th-7th century BC - Museum of Anatolian Civilisations Ankara. Turkey. Against a black background
  • Phrygian ivory statuette carved as a roaring lion lying down from a table base decoration. From Gordion. Phrygian Collection, 8th-7th century BC - Museum of Anatolian Civilisations Ankara. Turkey.
  • Phrygian ivory statuette carved as a roaring lion lying down from a table base decoration. From Gordion. Phrygian Collection, 8th-7th century BC - Museum of Anatolian Civilisations Ankara. Turkey. Against an art background
  • Phrygian ivory statuette carved as a roaring lion lying down from a table base decoration. From Gordion. Phrygian Collection, 8th-7th century BC - Museum of Anatolian Civilisations Ankara. Turkey. Against a grey background
  • Close up picture of a Roman mosaics design depicting a Nymph lying on a sea horse , from the ancient Roman city of Thysdrus. 3rd century AD, House of Dolphins. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting a Nymph lying on a sea horse with two dolphins, from the ancient Roman city of Thysdrus. 3rd century AD, House of Dolphins. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting a Nymph lying on a sea horse with two dolphins, from the ancient Roman city of Thysdrus. 3rd century AD, House of Dolphins. El Djem Archaeological Museum, El Djem, Tunisia.
  • Close up picture of a Roman mosaics design depicting a Nymph lying on a sea horse, from the ancient Roman city of Thysdrus. 3rd century AD, House of Dolphins. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting a Nymph lying on a sea horse, from the ancient Roman city of Thysdrus. 3rd century AD, House of Dolphins. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting a Nymph lying on a sea horse with two dolphins, from the ancient Roman city of Thysdrus. 3rd century AD, House of Dolphins. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting a Nymph lying on a sea horse with two dolphins, from the ancient Roman city of Thysdrus. 3rd century AD, House of Dolphins. El Djem Archaeological Museum, El Djem, Tunisia. Against a white background
  • Picture of a Roman mosaics design depicting a Nymph lying on a sea horse with two dolphins, from the ancient Roman city of Thysdrus. 3rd century AD, House of Dolphins. El Djem Archaeological Museum, El Djem, Tunisia. Against a black background
  • Picture of a Roman mosaics design depicting a Nymph lying on a sea horse with two dolphins, from the ancient Roman city of Thysdrus. 3rd century AD, House of Dolphins. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting a Nymph lying on a sea horse with two dolphins, from the ancient Roman city of Thysdrus. 3rd century AD, House of Dolphins. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting a Nymph lying on a sea horse with two dolphins, from the ancient Roman city of Thysdrus. 3rd century AD, House of Dolphins. El Djem Archaeological Museum, El Djem, Tunisia. Against an art background
  • Picture of a Roman mosaics design depicting a Nymph lying on a sea horse with two dolphins, from the ancient Roman city of Thysdrus. 3rd century AD, House of Dolphins. El Djem Archaeological Museum, El Djem, Tunisia. Against a grey background
  • Picture and image of the stone sculpture of a dead women lying at rest in a realistic style. The Pignone Avanzini tomb sculpted by G Benetti 1867. Section D no 4, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture of the stone sculpture of a widow covering the face of a lying corpse sculpted in a Borgeoise realistic style. Section D no 2, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures of the stone sculpture of a dead man lying whilst surrounded by his grieving family. The Lavarello tomb sculpted by Brizzolara 1926. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an angel blessing the deceased lying on a chez longue. Bonini Tomb sculpted by D Carli 1891. Section A, no 27, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an angel blessing the deceased lying on a chez longue. Bonini Tomb sculpted by D Carli 1891. Section A, no 27, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an angel blessing the deceased lying on a chez longue. Bonini Tomb sculpted by D Carli 1891. Section A, no 27, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an angel blessing the deceased lying on a chez longue. Bonini Tomb sculpted by D Carli 1891. Section A, no 27, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Underground Etruscan tomb Known as "Tomba Claudio Bettini no 5513" A single chamber with double sloping ceiling. In the tympanium on the back wall is a painted two lions, a two men lying on beds (Klinai) are  banquetting with two women bellow. On the dide walls are dancers and musicians. 5th century BC. Excavated 1967 , Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb Known as "Tomba Claudio Bettini no 5513" A single chamber with double sloping ceiling. In the tympanium on the back wall is a painted two lions, a two men lying on beds (Klinai) are  banquetting with two women bellow. On the dide walls are dancers and musicians. 5th century BC. Excavated 1967 , Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb Known as "Tomba della Caccia al Cervo" A single chamber with double sloping ceiling. On the back wall is painted a banquet scene with three couples lying on beds (Klinai). On the dide walls are dancers and musicians. Circa 450 BC. Excavated 1960 , Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb Known as "Tomba Claudio Bettini no 5513" A single chamber with double sloping ceiling. In the tympanium on the back wall is a painted two lions, a two men lying on beds (Klinai) are  banquetting with two women bellow. On the dide walls are dancers and musicians. 5th century BC. Excavated 1967 , Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb Known as "Tomba Claudio Bettini no 5513" A single chamber with double sloping ceiling. In the tympanium on the back wall is a painted two lions, a two men lying on beds (Klinai) are  banquetting with two women bellow. On the dide walls are dancers and musicians. 5th century BC. Excavated 1967 , Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Detail of the Roman fresco wall painting of a Nereid lying on a sea panther  from the  triclinium,  a formal dining room, of the Villa Arianna (Adriana), Stabiae (Stabia) near Pompeii , inv 8870, Naples National Archaeological Museum
  • Roman fresco wall painting of a Nereid lying on a sea horse  from the  triclinium,  a formal dining room, of the Villa Arianna (Adriana), Stabiae (Stabia) near Pompeii , inv 8859, Naples National Archaeological Museum
  • 3rd century Roman mosaic panel of a boar and a sow lying down. From Thysdrus (El Jem), Tunisia.  The Bardo Museum, Tunis, Tunisia.  Grey background
  • 3rd century Roman mosaic panel of a boar and a sow lying down. From Thysdrus (El Jem), Tunisia.  The Bardo Museum, Tunis, Tunisia.  White background
  • 3rd century Roman mosaic panel of a boar and a sow lying down. From Thysdrus (El Jem), Tunisia.  The Bardo Museum, Tunis, Tunisia.
  • 3rd century Roman mosaic panel of a boar and a sow lying down. From Thysdrus (El Jem), Tunisia.  The Bardo Museum, Tunis, Tunisia. Black background
  • Ariadne sleeping a 2nd century AD Marble Roman statue from Italy. The girl is lying asleep on a rock and is a variation of the famous Sleeping Ariadne of the Vatican museum whose composition is reversed. in Greek mythology Ariadne was the daughter of Minos, King of Crete  and his queen Pasiphaë, daughter of Helios . When Thesius was sent to Crete to be sacrificed to the Minateur Ariadne fell in love at first sight, and helped him by giving him a sword and a ball of thread, so that he could find his way out of the Minotaur's labyrinth. She eloped with Theseus after he achieved his goal, and in most accounts of the myth, Theseus abandoned Ariadne sleeping on Naxos, and Dionysus rediscovered and wedded her. This Roman  Sculpture was inspired  by a Greek original of the 2nd century AD. inv MR 311 ( or Ma 340 ), Louvre Museum Paris
  • Ariadne sleeping a 2nd century AD Marble Roman statue from Italy. The girl is lying asleep on a rock and is a variation of the famous Sleeping Ariadne of the Vatican museum whose composition is reversed. in Greek mythology Ariadne was the daughter of Minos, King of Crete  and his queen Pasiphaë, daughter of Helios . When Thesius was sent to Crete to be sacrificed to the Minateur Ariadne fell in love at first sight, and helped him by giving him a sword and a ball of thread, so that he could find his way out of the Minotaur's labyrinth. She eloped with Theseus after he achieved his goal, and in most accounts of the myth, Theseus abandoned Ariadne sleeping on Naxos, and Dionysus rediscovered and wedded her. This Roman  Sculpture was inspired  by a Greek original of the 2nd century AD. inv MR 311 ( or Ma 340 ), Louvre Museum Paris
  • Ariadne sleeping a 2nd century AD Marble Roman statue from Italy. The girl is lying asleep on a rock and is a variation of the famous Sleeping Ariadne of the Vatican museum whose composition is reversed. in Greek mythology Ariadne was the daughter of Minos, King of Crete  and his queen Pasiphaë, daughter of Helios . When Thesius was sent to Crete to be sacrificed to the Minateur Ariadne fell in love at first sight, and helped him by giving him a sword and a ball of thread, so that he could find his way out of the Minotaur's labyrinth. She eloped with Theseus after he achieved his goal, and in most accounts of the myth, Theseus abandoned Ariadne sleeping on Naxos, and Dionysus rediscovered and wedded her. This Roman  Sculpture was inspired  by a Greek original of the 2nd century AD. inv MR 311 ( or Ma 340 ), Louvre Museum Paris
  • Ariadne sleeping a 2nd century AD Marble Roman statue from Italy. The girl is lying asleep on a rock and is a variation of the famous Sleeping Ariadne of the Vatican museum whose composition is reversed. in Greek mythology Ariadne was the daughter of Minos, King of Crete  and his queen Pasiphaë, daughter of Helios . When Thesius was sent to Crete to be sacrificed to the Minateur Ariadne fell in love at first sight, and helped him by giving him a sword and a ball of thread, so that he could find his way out of the Minotaur's labyrinth. She eloped with Theseus after he achieved his goal, and in most accounts of the myth, Theseus abandoned Ariadne sleeping on Naxos, and Dionysus rediscovered and wedded her. This Roman  Sculpture was inspired  by a Greek original of the 2nd century AD. inv MR 311 ( or Ma 340 ), Louvre Museum Paris
  • Ariadne sleeping a 2nd century AD Marble Roman statue from Italy. The girl is lying asleep on a rock and is a variation of the famous Sleeping Ariadne of the Vatican museum whose composition is reversed. in Greek mythology Ariadne was the daughter of Minos, King of Crete  and his queen Pasiphaë, daughter of Helios . When Thesius was sent to Crete to be sacrificed to the Minateur Ariadne fell in love at first sight, and helped him by giving him a sword and a ball of thread, so that he could find his way out of the Minotaur's labyrinth. She eloped with Theseus after he achieved his goal, and in most accounts of the myth, Theseus abandoned Ariadne sleeping on Naxos, and Dionysus rediscovered and wedded her. This Roman  Sculpture was inspired  by a Greek original of the 2nd century AD. inv MR 311 ( or Ma 340 ), Louvre Museum Paris
  • Ariadne sleeping a 2nd century AD Marble Roman statue from Italy. The girl is lying asleep on a rock and is a variation of the famous Sleeping Ariadne of the Vatican museum whose composition is reversed. in Greek mythology Ariadne was the daughter of Minos, King of Crete  and his queen Pasiphaë, daughter of Helios . When Thesius was sent to Crete to be sacrificed to the Minateur Ariadne fell in love at first sight, and helped him by giving him a sword and a ball of thread, so that he could find his way out of the Minotaur's labyrinth. She eloped with Theseus after he achieved his goal, and in most accounts of the myth, Theseus abandoned Ariadne sleeping on Naxos, and Dionysus rediscovered and wedded her. This Roman  Sculpture was inspired  by a Greek original of the 2nd century AD. inv MR 311 ( or Ma 340 ), Louvre Museum Paris
  • Ariadne sleeping a 2nd century AD Marble Roman statue from Italy. The girl is lying asleep on a rock and is a variation of the famous Sleeping Ariadne of the Vatican museum whose composition is reversed. in Greek mythology Ariadne was the daughter of Minos, King of Crete  and his queen Pasiphaë, daughter of Helios . When Thesius was sent to Crete to be sacrificed to the Minateur Ariadne fell in love at first sight, and helped him by giving him a sword and a ball of thread, so that he could find his way out of the Minotaur's labyrinth. She eloped with Theseus after he achieved his goal, and in most accounts of the myth, Theseus abandoned Ariadne sleeping on Naxos, and Dionysus rediscovered and wedded her. This Roman  Sculpture was inspired  by a Greek original of the 2nd century AD. inv MR 311 ( or Ma 340 ), Louvre Museum Paris
  • Ariadne sleeping a 2nd century AD Marble Roman statue from Italy. The girl is lying asleep on a rock and is a variation of the famous Sleeping Ariadne of the Vatican museum whose composition is reversed. in Greek mythology Ariadne was the daughter of Minos, King of Crete  and his queen Pasiphaë, daughter of Helios . When Thesius was sent to Crete to be sacrificed to the Minateur Ariadne fell in love at first sight, and helped him by giving him a sword and a ball of thread, so that he could find his way out of the Minotaur's labyrinth. She eloped with Theseus after he achieved his goal, and in most accounts of the myth, Theseus abandoned Ariadne sleeping on Naxos, and Dionysus rediscovered and wedded her. This Roman  Sculpture was inspired  by a Greek original of the 2nd century AD. inv MR 311 ( or Ma 340 ), Louvre Museum Paris
  • Figures from the East Pediment of the Parthenon, Acropolis Athens. From left to right cat no K possibly the goddess Hestia ,L & M probably the goddess Aphrodite lying the the lap of Dione her mother. British Museum London Exhibit
  • Reconstruction of  the inside of the Greek Tomb of  the Diver  [La Tomba del Truffatore] from the Greek city of Poseidonia which became Roman Paestum. .   The rear panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables on which goblets have been placed.  The abondon experienced at the Synposium was one way in which the dead could access the next world .  The fresco on the lid of the tomb and shows a  diving from a column into water. The column represents the border of thye known world and therefore the limit of man's knowledge.  The dive represents the passage form this world to the next. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Reconstruction of  the inside of the Greek Tomb of  the Diver  [La Tomba del Truffatore] from the Greek city of Poseidonia which became Roman Paestum. .   The rear panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables on which goblets have been placed.  The abondon experienced at the Synposium was one way in which the dead could access the next world .  The fresco on the lid of the tomb and shows a  diving from a column into water. The column represents the border of thye known world and therefore the limit of man's knowledge.  The dive represents the passage form this world to the next. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Reconstruction of  the inside of the Greek Tomb of  the Diver  [La Tomba del Truffatore]. The rear panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables.  The men on the couches are playing the song of Eros the liar and the flute to distract the deceased from worldly thoughts so he can enter the next world. The fresco on the lid of the tomb and shows a  diving from a column into water. The column represents the border of thye known world and therefore the limit of man's knowledge.  The dive represents the passage form this world to the next. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Reconstruction of  the inside of the Greek Tomb of  the Diver  [La Tomba del Truffatore]. The rear panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables.  The men on the couches are playing the song of Eros the liar and the flute to distract the deceased from worldly thoughts so he can enter the next world. The fresco on the lid of the tomb and shows a  diving from a column into water. The column represents the border of thye known world and therefore the limit of man's knowledge.  The dive represents the passage form this world to the next. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Greek Fresco on the inside of Tomb of  the Diver  [La Tomba del Truffatore] from the Greek city of Poseidonia which became Roman Paestum. This panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables.  The men on the couches are playing the song of Eros the liar and the flute to distract the deceased from worldly thoughts so he can enter the next world. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Greek Fresco on the inside of Tomb of  the Diver  [La Tomba del Truffatore] from the Greek city of Poseidonia which became Roman Paestum. This panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables.  The men on the couches are playing the song of Eros the liar and the flute to distract the deceased from worldly thoughts so he can enter the next world. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Greek Fresco on the inside of Tomb of  the Diver  [La Tomba del Truffatore]. This panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables on which goblets have been placed.  The abondon experienced at the Synposium was one way in which the dead could access the next world . The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Greek Fresco on the inside of Tomb of  the Diver  [La Tomba del Truffatore]. This panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables on which goblets have been placed.  The abondon experienced at the Synposium was one way in which the dead could access the next world . The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Picture of a Roman mosaics design depicting Silenus and Cupids, from the House of Sienus, ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
<br />
The Silenus Roman mosaic depicts multiple scenes : the tying up of Silenus, who is permanently drunk, and is depicted in the middle of the mosaic lying on a bed of leaves. Around him children are trying to tie his hands and legs with garlands of flowers.
  • Picture of a Roman mosaics design depicting Silenus and Cupids, from the House of Sienus, ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against a white background<br />
<br />
The Silenus Roman mosaic depicts multiple scenes : the tying up of Silenus, who is permanently drunk, and is depicted in the middle of the mosaic lying on a bed of leaves. Around him children are trying to tie his hands and legs with garlands of flowers.
  • Picture of a Roman mosaics design depicting Silenus and Cupids, from the House of Sienus, ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
<br />
The Silenus Roman mosaic depicts multiple scenes : the tying up of Silenus, who is permanently drunk, and is depicted in the middle of the mosaic lying on a bed of leaves. Around him children are trying to tie his hands and legs with garlands of flowers.
  • Picture of a Roman mosaics design depicting Silenus and Cupids, from the House of Sienus, ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
<br />
The Silenus Roman mosaic depicts multiple scenes : the tying up of Silenus, who is permanently drunk, and is depicted in the middle of the mosaic lying on a bed of leaves. Around him children are trying to tie his hands and legs with garlands of flowers.
  • Picture of a Roman mosaics design depicting Silenus and Cupids, from the House of Sienus, ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against a black background<br />
<br />
The Silenus Roman mosaic depicts multiple scenes : the tying up of Silenus, who is permanently drunk, and is depicted in the middle of the mosaic lying on a bed of leaves. Around him children are trying to tie his hands and legs with garlands of flowers.
  • Picture of a Roman mosaics design depicting Silenus and Cupids, from the House of Sienus, ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
<br />
The Silenus Roman mosaic depicts multiple scenes : the tying up of Silenus, who is permanently drunk, and is depicted in the middle of the mosaic lying on a bed of leaves. Around him children are trying to tie his hands and legs with garlands of flowers.
  • Picture of a Roman mosaics design depicting Silenus and Cupids, from the House of Sienus, ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against a grey background<br />
<br />
The Silenus Roman mosaic depicts multiple scenes : the tying up of Silenus, who is permanently drunk, and is depicted in the middle of the mosaic lying on a bed of leaves. Around him children are trying to tie his hands and legs with garlands of flowers.
  • Roman mosaics - Seasons  Mosaic. Telete Villa.  2nd - 3rd century AD . Zeugma Mosaic Museum, Gaziantep, Turkey.<br />
<br />
Seasons mosaic Telete, was unearthed during the rescue excavations y Gaziantep Museum in 1994 when it was about to be stolen by the traffickers. It is the floor mosaic of a villa terrace located on the western skins of Zeugma hill <br />
<br />
The pane% consists of nine parts. At the central panel, Eros, who Is a mythological character and who has a crown on his head, sits side by side with Telete, the daughter of Dionysus. This representation symbolises the preparation of a young woman who is just about to taste the love and to become mature. There are busts of seasonal gods In the square panels at the corners. The crowned head of the Spring Goddess Ear Is slightly towards right. She wears a floral necklace. Her righr shoulder is naked and the crimps of her cloak are seen on her left shoulder. There is the bust of the river god on the top-right of the Telete panel. A kid lying on the grass and a bucket are pictured in the lower rectangular panel. In the western-side rectangular panel, on the other hand, there are four fish going in and out of a game basket. There is a rabbit figure within the rectangular panel on the right. Mythical narrations and natural life are intertwined in this mosaic.
  • Roman mosaics - Seasons  Mosaic. Telete Villa.  2nd - 3rd century AD . Zeugma Mosaic Museum, Gaziantep, Turkey.  Against a white background.<br />
<br />
Seasons mosaic Telete, was unearthed during the rescue excavations y Gaziantep Museum in 1994 when it was about to be stolen by the traffickers. It is the floor mosaic of a villa terrace located on the western skins of Zeugma hill <br />
<br />
The pane% consists of nine parts. At the central panel, Eros, who Is a mythological character and who has a crown on his head, sits side by side with Telete, the daughter of Dionysus. This representation symbolises the preparation of a young woman who is just about to taste the love and to become mature. There are busts of seasonal gods In the square panels at the corners. The crowned head of the Spring Goddess Ear Is slightly towards right. She wears a floral necklace. Her righr shoulder is naked and the crimps of her cloak are seen on her left shoulder. There is the bust of the river god on the top-right of the Telete panel. A kid lying on the grass and a bucket are pictured in the lower rectangular panel. In the western-side rectangular panel, on the other hand, there are four fish going in and out of a game basket. There is a rabbit figure within the rectangular panel on the right. Mythical narrations and natural life are intertwined in this mosaic.
  • Roman mosaics - Seasons  Mosaic. Telete Villa.  2nd - 3rd century AD . Zeugma Mosaic Museum, Gaziantep, Turkey.   Against a black background.<br />
<br />
Seasons mosaic Telete, was unearthed during the rescue excavations y Gaziantep Museum in 1994 when it was about to be stolen by the traffickers. It is the floor mosaic of a villa terrace located on the western skins of Zeugma hill <br />
<br />
The pane% consists of nine parts. At the central panel, Eros, who Is a mythological character and who has a crown on his head, sits side by side with Telete, the daughter of Dionysus. This representation symbolises the preparation of a young woman who is just about to taste the love and to become mature. There are busts of seasonal gods In the square panels at the corners. The crowned head of the Spring Goddess Ear Is slightly towards right. She wears a floral necklace. Her righr shoulder is naked and the crimps of her cloak are seen on her left shoulder. There is the bust of the river god on the top-right of the Telete panel. A kid lying on the grass and a bucket are pictured in the lower rectangular panel. In the western-side rectangular panel, on the other hand, there are four fish going in and out of a game basket. There is a rabbit figure within the rectangular panel on the right. Mythical narrations and natural life are intertwined in this mosaic.
  • Roman mosaics - Seasons  Mosaic. Telete Villa.  2nd - 3rd century AD . Zeugma Mosaic Museum, Gaziantep, Turkey.   Against an art background.<br />
<br />
Seasons mosaic Telete, was unearthed during the rescue excavations y Gaziantep Museum in 1994 when it was about to be stolen by the traffickers. It is the floor mosaic of a villa terrace located on the western skins of Zeugma hill <br />
<br />
The pane% consists of nine parts. At the central panel, Eros, who Is a mythological character and who has a crown on his head, sits side by side with Telete, the daughter of Dionysus. This representation symbolises the preparation of a young woman who is just about to taste the love and to become mature. There are busts of seasonal gods In the square panels at the corners. The crowned head of the Spring Goddess Ear Is slightly towards right. She wears a floral necklace. Her righr shoulder is naked and the crimps of her cloak are seen on her left shoulder. There is the bust of the river god on the top-right of the Telete panel. A kid lying on the grass and a bucket are pictured in the lower rectangular panel. In the western-side rectangular panel, on the other hand, there are four fish going in and out of a game basket. There is a rabbit figure within the rectangular panel on the right. Mythical narrations and natural life are intertwined in this mosaic.
  • Roman mosaics - Seasons  Mosaic. Telete Villa.  2nd - 3rd century AD . Zeugma Mosaic Museum, Gaziantep, Turkey.<br />
<br />
Seasons mosaic Telete, was unearthed during the rescue excavations y Gaziantep Museum in 1994 when it was about to be stolen by the traffickers. It is the floor mosaic of a villa terrace located on the western skins of Zeugma hill <br />
<br />
The pane% consists of nine parts. At the central panel, Eros, who Is a mythological character and who has a crown on his head, sits side by side with Telete, the daughter of Dionysus. This representation symbolises the preparation of a young woman who is just about to taste the love and to become mature. There are busts of seasonal gods In the square panels at the corners. The crowned head of the Spring Goddess Ear Is slightly towards right. She wears a floral necklace. Her righr shoulder is naked and the crimps of her cloak are seen on her left shoulder. There is the bust of the river god on the top-right of the Telete panel. A kid lying on the grass and a bucket are pictured in the lower rectangular panel. In the western-side rectangular panel, on the other hand, there are four fish going in and out of a game basket. There is a rabbit figure within the rectangular panel on the right. Mythical narrations and natural life are intertwined in this mosaic.
  • Roman sarcophagus with relief sculptures from Hierapolis . Hierapolis Archaeology Museum, Turkey<br />
<br />
Columned Sarcophagus Sarcopinagu of Euthios Pyrrnon, Asian Archon (ruler), Roman Period First quarter of third century A.D. Loadicea. <br />
 <br />
Four sides of these sarcophagi are all in relief. They appear like a columned temple. The reliefs between the grooved columns are related to the private life of the individual. His/her education, heroic scenes and plant or mythological motifs are decorated in relief. The cover of the sarcophagus is arranged like a bed and it is depicted as the wife and the husband as lying on it. The name of the individual and some mythological reliefs are found in the surrounding of the cover. The two sarcophagi in the hall are of this kind.  . Against an black background
  • Roman sarcophagus with relief sculptures from Hierapolis . Hierapolis Archaeology Museum, Turkey<br />
<br />
Columned Sarcophagus Sarcopinagu of Euthios Pyrrnon, Asian Archon (ruler), Roman Period First quarter of third century A.D. Loadicea. <br />
 <br />
Four sides of these sarcophagi are all in relief. They appear like a columned temple. The reliefs between the grooved columns are related to the private life of the individual. His/her education, heroic scenes and plant or mythological motifs are decorated in relief. The cover of the sarcophagus is arranged like a bed and it is depicted as the wife and the husband as lying on it. The name of the individual and some mythological reliefs are found in the surrounding of the cover. The two sarcophagi in the hall are of this kind. . Against a grey background
  • Roman sarcophagus with relief sculptures from Hierapolis . Hierapolis Archaeology Museum, Turkey<br />
<br />
Columned Sarcophagus Sarcopinagu of Euthios Pyrrnon, Asian Archon (ruler), Roman Period First quarter of third century A.D. Loadicea. <br />
 <br />
Four sides of these sarcophagi are all in relief. They appear like a columned temple. The reliefs between the grooved columns are related to the private life of the individual. His/her education, heroic scenes and plant or mythological motifs are decorated in relief. The cover of the sarcophagus is arranged like a bed and it is depicted as the wife and the husband as lying on it. The name of the individual and some mythological reliefs are found in the surrounding of the cover. The two sarcophagi in the hall are of this kind.
  • Roman sarcophagus with relief sculptures from Hierapolis . Hierapolis Archaeology Museum, Turkey<br />
<br />
Columned Sarcophagus Sarcopinagu of Euthios Pyrrnon, Asian Archon (ruler), Roman Period First quarter of third century A.D. Loadicea. <br />
 <br />
Four sides of these sarcophagi are all in relief. They appear like a columned temple. The reliefs between the grooved columns are related to the private life of the individual. His/her education, heroic scenes and plant or mythological motifs are decorated in relief. The cover of the sarcophagus is arranged like a bed and it is depicted as the wife and the husband as lying on it. The name of the individual and some mythological reliefs are found in the surrounding of the cover. The two sarcophagi in the hall are of this kind. . Against an white background
  • Roman sarcophagus with relief sculptures from Hierapolis . Hierapolis Archaeology Museum, Turkey<br />
<br />
Columned Sarcophagus Sarcopinagu of Euthios Pyrrnon, Asian Archon (ruler), Roman Period First quarter of third century A.D. Loadicea. <br />
 <br />
Four sides of these sarcophagi are all in relief. They appear like a columned temple. The reliefs between the grooved columns are related to the private life of the individual. His/her education, heroic scenes and plant or mythological motifs are decorated in relief. The cover of the sarcophagus is arranged like a bed and it is depicted as the wife and the husband as lying on it. The name of the individual and some mythological reliefs are found in the surrounding of the cover. The two sarcophagi in the hall are of this kind. Against an art background
  • Roman sarcophagus with relief sculptures from Hierapolis . Hierapolis Archaeology Museum, Turkey<br />
<br />
Columned Sarcophagus Sarcopinagu of Euthios Pyrrnon, Asian Archon (ruler), Roman Period First quarter of third century A.D. Loadicea. <br />
 <br />
Four sides of these sarcophagi are all in relief. They appear like a columned temple. The reliefs between the grooved columns are related to the private life of the individual. His/her education, heroic scenes and plant or mythological motifs are decorated in relief. The cover of the sarcophagus is arranged like a bed and it is depicted as the wife and the husband as lying on it. The name of the individual and some mythological reliefs are found in the surrounding of the cover. The two sarcophagi in the hall are of this kind. . Against a grey background
  • Roman sarcophagus with relief sculptures from Hierapolis . Hierapolis Archaeology Museum, Turkey<br />
<br />
Columned Sarcophagus Sarcopinagu of Euthios Pyrrnon, Asian Archon (ruler), Roman Period First quarter of third century A.D. Loadicea. <br />
 <br />
Four sides of these sarcophagi are all in relief. They appear like a columned temple. The reliefs between the grooved columns are related to the private life of the individual. His/her education, heroic scenes and plant or mythological motifs are decorated in relief. The cover of the sarcophagus is arranged like a bed and it is depicted as the wife and the husband as lying on it. The name of the individual and some mythological reliefs are found in the surrounding of the cover. The two sarcophagi in the hall are of this kind.
  • Roman sarcophagus with relief sculptures from Hierapolis . Hierapolis Archaeology Museum, Turkey<br />
<br />
Columned Sarcophagus Sarcopinagu of Euthios Pyrrnon, Asian Archon (ruler), Roman Period First quarter of third century A.D. Loadicea. <br />
 <br />
Four sides of these sarcophagi are all in relief. They appear like a columned temple. The reliefs between the grooved columns are related to the private life of the individual. His/her education, heroic scenes and plant or mythological motifs are decorated in relief. The cover of the sarcophagus is arranged like a bed and it is depicted as the wife and the husband as lying on it. The name of the individual and some mythological reliefs are found in the surrounding of the cover. The two sarcophagi in the hall are of this kind. . Against an white background
  • Roman sarcophagus with relief sculptures from Hierapolis . Hierapolis Archaeology Museum, Turkey<br />
<br />
Columned Sarcophagus Sarcopinagu of Euthios Pyrrnon, Asian Archon (ruler), Roman Period First quarter of third century A.D. Loadicea. <br />
 <br />
Four sides of these sarcophagi are all in relief. They appear like a columned temple. The reliefs between the grooved columns are related to the private life of the individual. His/her education, heroic scenes and plant or mythological motifs are decorated in relief. The cover of the sarcophagus is arranged like a bed and it is depicted as the wife and the husband as lying on it. The name of the individual and some mythological reliefs are found in the surrounding of the cover. The two sarcophagi in the hall are of this kind. . Against an black background
  • Roman sarcophagus with relief sculptures from Hierapolis . Hierapolis Archaeology Museum, Turkey<br />
<br />
Columned Sarcophagus Sarcopinagu of Euthios Pyrrnon, Asian Archon (ruler), Roman Period First quarter of third century A.D. Loadicea. <br />
 <br />
Four sides of these sarcophagi are all in relief. They appear like a columned temple. The reliefs between the grooved columns are related to the private life of the individual. His/her education, heroic scenes and plant or mythological motifs are decorated in relief. The cover of the sarcophagus is arranged like a bed and it is depicted as the wife and the husband as lying on it. The name of the individual and some mythological reliefs are found in the surrounding of the cover. The two sarcophagi in the hall are of this kind. . Against a grey background
  • Roman sarcophagus with relief sculptures from Hierapolis . Hierapolis Archaeology Museum, Turkey<br />
<br />
Columned Sarcophagus Sarcopinagu of Euthios Pyrrnon, Asian Archon (ruler), Roman Period First quarter of third century A.D. Loadicea. <br />
 <br />
Four sides of these sarcophagi are all in relief. They appear like a columned temple. The reliefs between the grooved columns are related to the private life of the individual. His/her education, heroic scenes and plant or mythological motifs are decorated in relief. The cover of the sarcophagus is arranged like a bed and it is depicted as the wife and the husband as lying on it. The name of the individual and some mythological reliefs are found in the surrounding of the cover. The two sarcophagi in the hall are of this kind. Against an art background
  • Roman sarcophagus with relief sculptures from Hierapolis . Hierapolis Archaeology Museum, Turkey<br />
<br />
Columned Sarcophagus Sarcopinagu of Euthios Pyrrnon, Asian Archon (ruler), Roman Period First quarter of third century A.D. Loadicea. <br />
 <br />
Four sides of these sarcophagi are all in relief. They appear like a columned temple. The reliefs between the grooved columns are related to the private life of the individual. His/her education, heroic scenes and plant or mythological motifs are decorated in relief. The cover of the sarcophagus is arranged like a bed and it is depicted as the wife and the husband as lying on it. The name of the individual and some mythological reliefs are found in the surrounding of the cover. The two sarcophagi in the hall are of this kind.
  • Hittite relief sculpted orthostat stone panel of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Two figures lying over the lion. There is a crescent at the head of the winged god at the front. It is thought that the figure at the front is moon god and the one at the rear is sun god.
  • Hittite relief sculpted orthostat stone panel of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Two figures lying over the lion. There is a crescent at the head of the winged god at the front. It is thought that the figure at the front is moon god and the one at the rear is sun god. <br />
<br />
On a White Background.
  • Hittite relief sculpted orthostat stone panel of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Two figures lying over the lion. There is a crescent at the head of the winged god at the front. It is thought that the figure at the front is moon god and the one at the rear is sun god. <br />
<br />
On a black background.
  • Photo of Hittite relief sculpted orthostat stone panel of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Two figures lying over the lion. There is a crescent at the head of the winged god at the front. It is thought that the figure at the front is moon god and the one at the rear is sun god. <br />
<br />
On a brown art background.
  • Hittite relief sculpted orthostat stone panel of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Two figures lying over the lion. There is a crescent at the head of the winged god at the front. It is thought that the figure at the front is moon god and the one at the rear is sun god. <br />
<br />
On a grey art background.
  • Hittite relief sculpted orthostat stone panel of Long Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 - 700 BC. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Chariot. One of the two figures in the chariot holds the horse's headstall while the other throws arrows. There is a naked enemy with an arrow in his hip lying face down under the horse's feet. It is thought that this figure is depicted smaller than the other figures since it is an enemy soldier. The tower part of the orthostat is decorated with braiding motifs.<br />
<br />
On a White Background.
  • Photo of Hittite relief sculpted orthostat stone panel of Long Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 - 700 BC. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Chariot. One of the two figures in the chariot holds the horse's headstall while the other throws arrows. There is a naked enemy with an arrow in his hip lying face down under the horse's feet. It is thought that this figure is depicted smaller than the other figures since it is an enemy soldier. The tower part of the orthostat is decorated with braiding motifs.<br />
<br />
On a brown art background.
  • Hittite relief sculpted orthostat stone panel of Long Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 - 700 B.C.  Anatolian Civilizations Museum, Ankara, Turkey<br />
<br />
Chariot. One of the two figures in the chariot holds the horse's headstall while the other throws arrows. There is a naked enemy with an arrow in his hip lying face down under the horse's feet. It is thought that this figure is depicted smaller than the other figures since it is an enemy soldier. The tower part of the orthostat is decorated with braiding motifs.<br />
<br />
On a grey art background.
  • Hittite relief sculpted orthostat stone panel of Long Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 - 700 B.C.  Anatolian Civilizations Museum, Ankara, Turkey<br />
<br />
Chariot. One of the two figures in the chariot holds the horse's headstall while the other throws arrows. There is a naked enemy with an arrow in his hip lying face down under the horse's feet. It is thought that this figure is depicted smaller than the other figures since it is an enemy soldier. The tower part of the orthostat is decorated with braiding motifs.<br />
<br />
On a White Background.
  • Hittite relief sculpted orthostat stone panel of Long Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 - 700 B.C.  Anatolian Civilizations Museum, Ankara, Turkey<br />
<br />
Chariot. One of the two figures in the chariot holds the horse's headstall while the other throws arrows. There is a naked enemy with an arrow in his hip lying face down under the horse's feet. It is thought that this figure is depicted smaller than the other figures since it is an enemy soldier. The tower part of the orthostat is decorated with braiding motifs.<br />
<br />
On a black background.
  • Hittite relief sculpted orthostat stone panel of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 -700 B.C. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Chariot. One of the two figures in the chariot holds the horse's headstall while the other throws arrows. There is a naked enemy with an arrow in his hip lying face down under the horse's feet. It is thought that this figure is depicted smaller than the other figures since it is an enemy soldier. The lower part of the orthostat is decorated with braiding motifs.<br />
<br />
On a White Background.
  • Picture & image of Hittite relief sculpted orthostat stone panel of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 -700 B.C. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Chariot. One of the two figures in the chariot holds the horse's headstall while the other throws arrows. There is a naked enemy with an arrow in his hip lying face down under the horse's feet. It is thought that this figure is depicted smaller than the other figures since it is an enemy soldier. The lower part of the orthostat is decorated with braiding motifs.<br />
<br />
On a gray background.
  • Photo of Hittite relief sculpted orthostat stone panel of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 -700 B.C. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Chariot. One of the two figures in the chariot holds the horse's headstall while the other throws arrows. There is a naked enemy with an arrow in his hip lying face down under the horse's feet. It is thought that this figure is depicted smaller than the other figures since it is an enemy soldier. The lower part of the orthostat is decorated with braiding motifs.<br />
<br />
On a brown art background.
  • Picture & image of Hittite relief sculpted orthostat stone panel of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 - 700 B.C. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Chariot. One of the two figures in the chariot holds the horse's headstall while the other throws arrows. There is a naked enemy with an arrow in his hip lying face down under the horse's feet It is thought that this figure is depicted smaller than the other figures since it is an enemy soldier. The lower part of the orthostat is decorated with braiding motifs. <br />
<br />
On a gray background.
  • Hittite relief sculpted orthostat stone panel of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 - 700 B.C. Chariot. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
One of the two figures in the chariot holds the horse's headstall while the other throws arrows. There is a naked enemy with an arrow in his hip lying face down under the horse's feet It is thought that this figure is depicted smaller than the other figures since it is an enemy soldier. The lower part of the orthostat is decorated with braiding motifs. . <br />
<br />
On a White Background.
  • Photo of Hittite relief sculpted orthostat stone panel of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 - 700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Chariot. One of the two figures in the chariot holds the horse's headstall while the other throws arrows. There is a naked enemy with an arrow in his hip lying face down under the horse's feet It is thought that this figure is depicted smaller than the other figures since it is an enemy soldier. The lower part of the orthostat is decorated with braiding motifs. <br />
<br />
On a brown art background.
  • Hittite relief sculpted orthostat stone panel of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 - 700 B.C. Chariot. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
One of the two figures in the chariot holds the horse's headstall while the other throws arrows. There is a naked enemy with an arrow in his hip lying face down under the horse's feet It is thought that this figure is depicted smaller than the other figures since it is an enemy soldier. The lower part of the orthostat is decorated with braiding motifs. <br />
<br />
On a gray background.
  • Hittite relief sculpted orthostat stone panel of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 - 700 B.C. Chariot. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
One of the two figures in the chariot holds the horse's headstall while the other throws arrows. There is a naked enemy with an arrow in his hip lying face down under the horse's feet It is thought that this figure is depicted smaller than the other figures since it is an enemy soldier. The lower part of the orthostat is decorated with braiding motifs. . <br />
<br />
On a black background.
  • Photo of Hittite relief sculpted orthostat stone panel of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 - 700 B.C. Chariot. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
One of the two figures in the chariot holds the horse's headstall while the other throws arrows. There is a naked enemy with an arrow in his hip lying face down under the horse's feet It is thought that this figure is depicted smaller than the other figures since it is an enemy soldier. The lower part of the orthostat is decorated with braiding motifs. <br />
<br />
On a brown art background.
  • Hittite relief sculpted orthostat stone panel of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 - 700 B.C. Chariot. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
One of the two figures in the chariot holds the horse's headstall while the other throws arrows. There is a naked enemy with an arrow in his hip lying face down under the horse's feet It is thought that this figure is depicted smaller than the other figures since it is an enemy soldier. The lower part of the orthostat is decorated with braiding motifs. <br />
<br />
On a grey art background.
  • Ariadne sleeping a 2nd century AD Marble Roman statue from Italy. The girl is lying asleep on a rock and is a variation of the famous Sleeping Ariadne of the Vatican museum whose composition is reversed. in Greek mythology Ariadne was the daughter of Minos, King of Crete  and his queen Pasiphaë, daughter of Helios . When Thesius was sent to Crete to be sacrificed to the Minateur Ariadne fell in love at first sight, and helped him by giving him a sword and a ball of thread, so that he could find his way out of the Minotaur's labyrinth. She eloped with Theseus after he achieved his goal, and in most accounts of the myth, Theseus abandoned Ariadne sleeping on Naxos, and Dionysus rediscovered and wedded her. This Roman  Sculpture was inspired  by a Greek original of the 2nd century AD. inv MR 311 ( or Ma 340 ), Louvre Museum Paris
  • Ariadne sleeping a 2nd century AD Marble Roman statue from Italy. The girl is lying asleep on a rock and is a variation of the famous Sleeping Ariadne of the Vatican museum whose composition is reversed. in Greek mythology Ariadne was the daughter of Minos, King of Crete  and his queen Pasiphaë, daughter of Helios . When Thesius was sent to Crete to be sacrificed to the Minateur Ariadne fell in love at first sight, and helped him by giving him a sword and a ball of thread, so that he could find his way out of the Minotaur's labyrinth. She eloped with Theseus after he achieved his goal, and in most accounts of the myth, Theseus abandoned Ariadne sleeping on Naxos, and Dionysus rediscovered and wedded her. This Roman  Sculpture was inspired  by a Greek original of the 2nd century AD. inv MR 311 ( or Ma 340 ), Louvre Museum Paris
  • Figures from the East Pediment of the Parthenon, Acropolis Athens. From left to right cat no K possibly the goddess Hestia ,L & M probably the goddess Aphrodite lying the the lap of Dione her mother. British Museum London Exhibit
  • Figures from the East Pediment of the Parthenon, Acropolis Athens. From left to right cat no K possibly the goddess Hestia ,L & M probably the goddess Aphrodite lying the the lap of Dione her mother. British Museum London Exhibit
  • Figures from the East Pediment of the Parthenon, Acropolis Athens. From left to right cat no K possibly the goddess Hestia ,L & M probably the goddess Aphrodite lying the the lap of Dione her mother. British Museum London Exhibit
  • Figures from the East Pediment of the Parthenon, Acropolis Athens. From left to right cat no K possibly the goddess Hestia ,L & M probably the goddess Aphrodite lying the the lap of Dione her mother. British Museum London Exhibit
  • The island of San Giorgio Maggiore lying east of the Giudecca and south of the main island group, with its church front designed by Andrea Palladio and begun in 1566.  Venice Italy
  • The island of San Giorgio Maggiore lying east of the Giudecca and south of the main island group, with its church front designed by Andrea Palladio and begun in 1566.  Venice Italy
  • The island of San Giorgio Maggiore lying east of the Giudecca and south of the main island group, with its church front designed by Andrea Palladio and begun in 1566.  Venice Italy
  • The island of San Giorgio Maggiore lying east of the Giudecca and south of the main island group, with its church front designed by Andrea Palladio and begun in 1566.  Venice Italy
  • The Medieval mosaics of the ceiling of The Baptistry of Florence Duomo ( Battistero di San Giovanni ) showing Mary having given birth to Jesus who is lying in a manger which shows the influence of the Franciscan Friar who oversaw the mosic work,  Jacopo da Torrita, who was following the tradition of Christ being born in a stable invented by St. Francis,  started in 1225 by Venetian craftsmen in a Byzantine style and completed in the 14th century. Florence Italy
  • Half finished Statue of Dionysis left lying in the 7th century BC ancient quarry of  Kouros. Naxos Greek Cyclades Islands
  • Topless female lying in bed
  • Topless female lying in bed
  • Topless female lying in bed
  • Picture of a Roman mosaics design depicting Silenus and Cupids, from the House of Sienus, ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
<br />
The Silenus Roman mosaic depicts multiple scenes : the tying up of Silenus, who is permanently drunk, and is depicted in the middle of the mosaic lying on a bed of leaves. Around him children are trying to tie his hands and legs with garlands of flowers.
  • Picture of a Roman mosaics design depicting Silenus and Cupids, from the House of Sienus, ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against an art background<br />
<br />
The Silenus Roman mosaic depicts multiple scenes : the tying up of Silenus, who is permanently drunk, and is depicted in the middle of the mosaic lying on a bed of leaves. Around him children are trying to tie his hands and legs with garlands of flowers.
  • Roman sarcophagus with relief sculptures from Hierapolis . Hierapolis Archaeology Museum, Turkey<br />
<br />
Columned Sarcophagus Sarcopinagu of Euthios Pyrrnon, Asian Archon (ruler), Roman Period First quarter of third century A.D. Loadicea. <br />
 <br />
Four sides of these sarcophagi are all in relief. They appear like a columned temple. The reliefs between the grooved columns are related to the private life of the individual. His/her education, heroic scenes and plant or mythological motifs are decorated in relief. The cover of the sarcophagus is arranged like a bed and it is depicted as the wife and the husband as lying on it. The name of the individual and some mythological reliefs are found in the surrounding of the cover. The two sarcophagi in the hall are of this kind. . Against an white background
  • Roman sarcophagus with relief sculptures from Hierapolis . Hierapolis Archaeology Museum, Turkey<br />
<br />
Columned Sarcophagus Sarcopinagu of Euthios Pyrrnon, Asian Archon (ruler), Roman Period First quarter of third century A.D. Loadicea. <br />
 <br />
Four sides of these sarcophagi are all in relief. They appear like a columned temple. The reliefs between the grooved columns are related to the private life of the individual. His/her education, heroic scenes and plant or mythological motifs are decorated in relief. The cover of the sarcophagus is arranged like a bed and it is depicted as the wife and the husband as lying on it. The name of the individual and some mythological reliefs are found in the surrounding of the cover. The two sarcophagi in the hall are of this kind. Against an art background
  • Roman sarcophagus with relief sculptures from Hierapolis . Hierapolis Archaeology Museum, Turkey<br />
<br />
Columned Sarcophagus Sarcopinagu of Euthios Pyrrnon, Asian Archon (ruler), Roman Period First quarter of third century A.D. Loadicea. <br />
 <br />
Four sides of these sarcophagi are all in relief. They appear like a columned temple. The reliefs between the grooved columns are related to the private life of the individual. His/her education, heroic scenes and plant or mythological motifs are decorated in relief. The cover of the sarcophagus is arranged like a bed and it is depicted as the wife and the husband as lying on it. The name of the individual and some mythological reliefs are found in the surrounding of the cover. The two sarcophagi in the hall are of this kind.  . Against an black background
  • Picture & image of Hittite relief sculpted orthostat stone panel of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Two figures lying over the lion. There is a crescent at the head of the winged god at the front. It is thought that the figure at the front is moon god and the one at the rear is sun god.
  • Hittite relief sculpted orthostat stone panel of Long Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 - 700 BC. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Chariot. One of the two figures in the chariot holds the horse's headstall while the other throws arrows. There is a naked enemy with an arrow in his hip lying face down under the horse's feet. It is thought that this figure is depicted smaller than the other figures since it is an enemy soldier. The tower part of the orthostat is decorated with braiding motifs.<br />
<br />
On a black background.
  • Picture & image of Hittite relief sculpted orthostat stone panel of Long Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 - 700 BC. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Chariot. One of the two figures in the chariot holds the horse's headstall while the other throws arrows. There is a naked enemy with an arrow in his hip lying face down under the horse's feet. It is thought that this figure is depicted smaller than the other figures since it is an enemy soldier. The tower part of the orthostat is decorated with braiding motifs.<br />
<br />
On a gray background.
  • Hittite relief sculpted orthostat stone panel of Long Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 - 700 BC. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
Chariot. One of the two figures in the chariot holds the horse's headstall while the other throws arrows. There is a naked enemy with an arrow in his hip lying face down under the horse's feet. It is thought that this figure is depicted smaller than the other figures since it is an enemy soldier. The tower part of the orthostat is decorated with braiding motifs.<br />
<br />
On a grey art background.
  • Picture & image of Hittite relief sculpted orthostat stone panel of Long Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 - 700 B.C.  Anatolian Civilizations Museum, Ankara, Turkey<br />
<br />
Chariot. One of the two figures in the chariot holds the horse's headstall while the other throws arrows. There is a naked enemy with an arrow in his hip lying face down under the horse's feet. It is thought that this figure is depicted smaller than the other figures since it is an enemy soldier. The tower part of the orthostat is decorated with braiding motifs.<br />
<br />
On a gray background.
  • Photo ofHittite relief sculpted orthostat stone panel of Long Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 - 700 B.C.  Anatolian Civilizations Museum, Ankara, Turkey<br />
<br />
Chariot. One of the two figures in the chariot holds the horse's headstall while the other throws arrows. There is a naked enemy with an arrow in his hip lying face down under the horse's feet. It is thought that this figure is depicted smaller than the other figures since it is an enemy soldier. The tower part of the orthostat is decorated with braiding motifs.<br />
<br />
On a brown art background.
  • Hittite relief sculpted orthostat stone panel of Long Wall Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 - 700 B.C. C<br />
<br />
Chariot. One of the two figures in the chariot holds the horse's headstall while the other throws arrows. There is a naked enemy with an arrow in his hip lying face down under the horse's feet. It is thought that this figure is depicted smaller than the other figures since it is an enemy soldier. The tower part of the orthostat is decorated with braiding motifs.
  • Hittite relief sculpted orthostat stone panel of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 - 700 B.C. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Chariot. One of the two figures in the chariot holds the horse's headstall while the other throws arrows. There is a naked enemy with an arrow in his hip lying face down under the horse's feet It is thought that this figure is depicted smaller than the other figures since it is an enemy soldier. The lower part of the orthostat is decorated with braiding motifs. . <br />
<br />
On a White Background.
  • Hittite relief sculpted orthostat stone panel of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 -700 B.C. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Chariot. One of the two figures in the chariot holds the horse's headstall while the other throws arrows. There is a naked enemy with an arrow in his hip lying face down under the horse's feet. It is thought that this figure is depicted smaller than the other figures since it is an enemy soldier. The lower part of the orthostat is decorated with braiding motifs.<br />
<br />
On a black background.
  • Hittite relief sculpted orthostat stone panel of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 -700 B.C. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Chariot. One of the two figures in the chariot holds the horse's headstall while the other throws arrows. There is a naked enemy with an arrow in his hip lying face down under the horse's feet. It is thought that this figure is depicted smaller than the other figures since it is an enemy soldier. The lower part of the orthostat is decorated with braiding motifs.<br />
<br />
On a grey art background.
  • Hittite relief sculpted orthostat stone panel of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 - 700 B.C. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Chariot. One of the two figures in the chariot holds the horse's headstall while the other throws arrows. There is a naked enemy with an arrow in his hip lying face down under the horse's feet It is thought that this figure is depicted smaller than the other figures since it is an enemy soldier. The lower part of the orthostat is decorated with braiding motifs.<br />
<br />
On a black background.
  • Hittite relief sculpted orthostat stone panel of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900 - 700 B.C. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Chariot. One of the two figures in the chariot holds the horse's headstall while the other throws arrows. There is a naked enemy with an arrow in his hip lying face down under the horse's feet It is thought that this figure is depicted smaller than the other figures since it is an enemy soldier. The lower part of the orthostat is decorated with braiding motifs. <br />
<br />
On a grey art background.
  • Topless female lying in bed
  • North Porch, Left Portal (Incarnation Portal), Tympanum- Gifts of the Magi and Dream of the Magi c 1194-1230, from the Cathedral of Chartres, France. At left is the Adoration of the Magi (Matthew 2:1)..Two Magi (crowned) stand at left, holding jars. One has a beard and the other is clean-shaven. The third Magus (bearded) kneels, handing a round object to the Christ Child, who sits on Mary's lap in the middle of the composition. Above them is the star of Bethlehem between two angels holding scrolls..At right is the Dream of the Magi. (Matthew 2:12).Two of the Magi (bearded, still crowned) lie sleeping on a bed at the lower right. The third Magus (beardless) appears behind them, with his eyes closed and his head propped up in his hand. Above is an angel with a scroll, one of the pair of angels who flank the star of Bethlehem at the top of the tympanum..Surrounding the central scene is the Inner archivolt. It contains angels holding candlesticks standing on clouds. Below The Virgin Mary (veiled) lies on a bed that is parallel to the panel plane. She raises one hand. The Christ Child (in swaddling clothes) is in a manger above the bed. Above him are the heads of the ox and the ass. They are probably a reference to Old Testament verses thought to be prophecies of the coming of the Messiah. Isaiah 1:3 says, "The ox knows his owner and the ass his maker's crib." There is a similar verse in Habakkuk. The apocryphal Protevangelium of James mentions only the ass. The Gospel of Pseudo-Matthew also says that an ox and an ass worshiped the Christ Child in the manger..Above are angels leaning out of a cloud and holding a long scroll.. A UNESCO World Heritage Site. .
  • Roman relief sculpted sarcophagus of Domitias Julianus and Domita Philiska, 2nd century AD, Perge. Antalya Archaeology Museum, Turkey.<br />
<br />
<br />
it is from the group of tombs classified as. "Columned Sarcophagi of Asia Minor”. <br />
The lid of the sarcophagus is sculpted into the form of a “Kline” style Roman couch on which lie Julianus &  Philiska. This type of Sarcophagus is also known as a Sydemara Type of Tomb.. Against a white background.
  • Roman relief sculpted sarcophagus of Domitias Julianus and Domita Philiska, 2nd century AD, Perge. Antalya Archaeology Museum, Turkey.<br />
<br />
<br />
it is from the group of tombs classified as. "Columned Sarcophagi of Asia Minor”. <br />
The lid of the sarcophagus is sculpted into the form of a “Kline” style Roman couch on which lie Julianus &  Philiska. This type of Sarcophagus is also known as a Sydemara Type of Tomb. . Against a black background.
  • Roman relief sculpted sarcophagus of Domitias Julianus and Domita Philiska, 2nd century AD, Perge. Antalya Archaeology Museum, Turkey.<br />
<br />
<br />
it is from the group of tombs classified as. "Columned Sarcophagi of Asia Minor”. <br />
The lid of the sarcophagus is sculpted into the form of a “Kline” style Roman couch on which lie Julianus &  Philiska. This type of Sarcophagus is also known as a Sydemara Type of Tomb. Against a grey background.
  • Roman relief sculpted sarcophagus of Domitias Julianus and Domita Philiska, 2nd century AD, Perge. Antalya Archaeology Museum, Turkey.<br />
<br />
<br />
it is from the group of tombs classified as. "Columned Sarcophagi of Asia Minor”. <br />
The lid of the sarcophagus is sculpted into the form of a “Kline” style Roman couch on which lie Julianus &  Philiska. This type of Sarcophagus is also known as a Sydemara Type of Tomb.
  • Roman relief sculpted sarcophagus of Domitias Julianus and Domita Philiska, 2nd century AD, Perge. Antalya Archaeology Museum, Turkey.<br />
<br />
<br />
it is from the group of tombs classified as. "Columned Sarcophagi of Asia Minor”. <br />
The lid of the sarcophagus is sculpted into the form of a “Kline” style Roman couch on which lie Julianus &  Philiska. This type of Sarcophagus is also known as a Sydemara Type of Tomb.
  • Roman relief sculpted sarcophagus of Domitias Julianus and Domita Philiska, 2nd century AD, Perge. Antalya Archaeology Museum, Turkey.<br />
<br />
<br />
it is from the group of tombs classified as. "Columned Sarcophagi of Asia Minor”. <br />
The lid of the sarcophagus is sculpted into the form of a “Kline” style Roman couch on which lie Julianus &  Philiska. This type of Sarcophagus is also known as a Sydemara Type of Tomb. . Against a black background.
  • Roman relief sculpted sarcophagus of Domitias Julianus and Domita Philiska, 2nd century AD, Perge. Antalya Archaeology Museum, Turkey.<br />
<br />
<br />
it is from the group of tombs classified as. "Columned Sarcophagi of Asia Minor”. <br />
The lid of the sarcophagus is sculpted into the form of a “Kline” style Roman couch on which lie Julianus &  Philiska. This type of Sarcophagus is also known as a Sydemara Type of Tomb.. Against a grey background.
  • Roman relief sculpted sarcophagus of Domitias Julianus and Domita Philiska, 2nd century AD, Perge. Antalya Archaeology Museum, Turkey.<br />
<br />
<br />
it is from the group of tombs classified as. "Columned Sarcophagi of Asia Minor”. <br />
The lid of the sarcophagus is sculpted into the form of a “Kline” style Roman couch on which lie Julianus &  Philiska. This type of Sarcophagus is also known as a Sydemara Type of Tomb.
  • Roman relief sculpted sarcophagus depicting a scene with Dionysus made in a Greek Attica workshop, 3rd century AD, Perge Inv 1.35.99. Antalya Archaeology Museum, Turkey . Against a white background.<br />
<br />
The lid of the sarcophagus is sculpted into the form of a “Kline” style Roman couch on which lie Julianus &  Philiska. This type of Sarcophagus is also known as a Sydemara Type of Tomb.
  • Roman relief sculpted sarcophagus depicting a scene with Dionysus made in a Greek Attica workshop, 3rd century AD, Perge Inv 1.35.99. Antalya Archaeology Museum, Turkey.<br />
<br />
The lid of the sarcophagus is sculpted into the form of a “Kline” style Roman couch on which lie Julianus &  Philiska. This type of Sarcophagus is also known as a Sydemara Type of Tomb. Against a black background.
  • Roman relief sculpted sarcophagus depicting a scene with Dionysus made in a Greek Attica workshop, 3rd century AD, Perge Inv 1.35.99. Antalya Archaeology Museum, Turkey.<br />
<br />
The lid of the sarcophagus is sculpted into the form of a “Kline” style Roman couch on which lie Julianus &  Philiska. This type of Sarcophagus is also known as a Sydemara Type of Tomb.
  • Roman relief sculpted sarcophagus depicting a scene with Dionysus made in a Greek Attica workshop, 3rd century AD, Perge Inv 1.35.99. Antalya Archaeology Museum, Turkey.<br />
<br />
The lid of the sarcophagus is sculpted into the form of a “Kline” style Roman couch on which lie Julianus &  Philiska. This type of Sarcophagus is also known as a Sydemara Type of Tomb.
  • Roman relief sculpted sarcophagus depicting a scene with Dionysus made in a Greek Attica workshop, 3rd century AD, Perge Inv 1.35.99. Antalya Archaeology Museum, Turkey.<br />
<br />
The lid of the sarcophagus is sculpted into the form of a “Kline” style Roman couch on which lie Julianus &  Philiska. This type of Sarcophagus is also known as a Sydemara Type of Tomb.
  • Roman relief sculpted sarcophagus depicting a scene with Dionysus made in a Greek Attica workshop, 3rd century AD, Perge Inv 1.35.99. Antalya Archaeology Museum, Turkey.. Against a white background.<br />
The lid of the sarcophagus is sculpted into the form of a “Kline” style Roman couch on which lie Julianus &  Philiska. This type of Sarcophagus is also known as a Sydemara Type of Tomb.
  • Roman relief sculpted sarcophagus depicting a scene with Dionysus made in a Greek Attica workshop, 3rd century AD, Perge Inv 1.35.99. Antalya Archaeology Museum, Turkey.<br />
<br />
The lid of the sarcophagus is sculpted into the form of a “Kline” style Roman couch on which lie Julianus &  Philiska. This type of Sarcophagus is also known as a Sydemara Type of Tomb. Against a black background.
  • Roman relief sculpted sarcophagus depicting a scene with Dionysus made in a Greek Attica workshop, 3rd century AD, Perge Inv 1.35.99. Antalya Archaeology Museum, Turkey.<br />
<br />
The lid of the sarcophagus is sculpted into the form of a “Kline” style Roman couch on which lie Julianus &  Philiska. This type of Sarcophagus is also known as a Sydemara Type of Tomb.. Against a warm art background.
  • Roman relief sculpted sarcophagus depicting a scene with Dionysus made in a Greek Attica workshop, 3rd century AD, Perge Inv 1.35.99. Antalya Archaeology Museum, Turkey.<br />
<br />
The lid of the sarcophagus is sculpted into the form of a “Kline” style Roman couch on which lie Julianus &  Philiska. This type of Sarcophagus is also known as a Sydemara Type of Tomb.
  • Roman relief sculpted sarcophagus of Aurelia Botiano and Demetria depicted reclining on the lid, 2nd century AD, Perge Inv 1.35.99. Antalya Archaeology Museum, Turkey.<br />
<br />
it is from the group of tombs classified as. "Columned Sarcophagi of Asia Minor”. The lid of the sarcophagus is sculpted into the form of a “Kline” style Roman couch on which lie Julianus &  Philiska. This type of Sarcophagus is also known as a Sydemara Type of Tomb.. Against a white background.
  • Roman relief sculpted sarcophagus of Aurelia Botiano and Demetria depicted reclining on the lid, 2nd century AD, Perge Inv 1.35.99. Antalya Archaeology Museum, Turkey.<br />
<br />
it is from the group of tombs classified as. "Columned Sarcophagi of Asia Minor”. The lid of the sarcophagus is sculpted into the form of a “Kline” style Roman couch on which lie Julianus &  Philiska. This type of Sarcophagus is also known as a Sydemara Type of Tomb.. Against a grey background.
  • Roman relief sculpted sarcophagus of Aurelia Botiano and Demetria depicted reclining on the lid, 2nd century AD, Perge Inv 1.35.99. Antalya Archaeology Museum, Turkey.<br />
<br />
it is from the group of tombs classified as. "Columned Sarcophagi of Asia Minor”. The lid of the sarcophagus is sculpted into the form of a “Kline” style Roman couch on which lie Julianus &  Philiska. This type of Sarcophagus is also known as a Sydemara Type of Tomb.. Against a black background.
  • Roman relief sculpted sarcophagus of Aurelia Botiano and Demetria depicted reclining on the lid, 2nd century AD, Perge Inv 1.35.99. Antalya Archaeology Museum, Turkey.<br />
<br />
it is from the group of tombs classified as. "Columned Sarcophagi of Asia Minor”. The lid of the sarcophagus is sculpted into the form of a “Kline” style Roman couch on which lie Julianus &  Philiska. This type of Sarcophagus is also known as a Sydemara Type of Tomb.
  • Roman relief sculpted sarcophagus of Domitias Julianus and Domita Philiska depicted reclining on the lid, 2nd century AD, Perge. Antalya Archaeology Museum, Turkey.<br />
<br />
it is from the group of tombs classified as. "Columned Sarcophagi of Asia Minor”. <br />
The lid of the sarcophagus is sculpted into the form of a “Kline” style Roman couch on which lie Julianus &  Philiska. This type of Sarcophagus is also known as a Sydemara Type of Tomb.. Against a white background.
  • Roman relief sculpted sarcophagus of Domitias Julianus and Domita Philiska depicted reclining on the lid, 2nd century AD, Perge. Antalya Archaeology Museum, Turkey.. Against a black background.<br />
<br />
it is from the group of tombs classified as. "Columned Sarcophagi of Asia Minor”. <br />
The lid of the sarcophagus is sculpted into the form of a “Kline” style Roman couch on which lie Julianus &  Philiska. This type of Sarcophagus is also known as a Sydemara Type of Tomb.
  • Roman relief sculpted sarcophagus of Domitias Julianus and Domita Philiska depicted reclining on the lid, 2nd century AD, Perge. Antalya Archaeology Museum, Turkey.<br />
<br />
it is from the group of tombs classified as. "Columned Sarcophagi of Asia Minor”. <br />
The lid of the sarcophagus is sculpted into the form of a “Kline” style Roman couch on which lie Julianus &  Philiska. This type of Sarcophagus is also known as a Sydemara Type of Tomb.. Against a warm art background.
  • Photo of Roman relief sculpture, Aphrodisias, Turkey, Images of Roman art bas reliefs.  Meleager sits on a rock tying his sandal. Below him lies a fierce hunting dog with a wide collar. On one side a god or another hero wearing a rounded hat  crowning Meleager ( arm missing). On the other side stands the huntress Atalante, Meleager's lover: she wears a short dress and quiver,
  • Photo of Roman relief sculpture, Aphrodisias, Turkey, Images of Roman art bas reliefs.  Meleager sits on a rock tying his sandal. Below him lies a fierce hunting dog with a wide collar. On one side a god or another hero wearing a rounded hat  crowning Meleager ( arm missing). On the other side stands the huntress Atalante, Meleager's lover: she wears a short dress and quiver,
  • Photo of Roman relief sculpture, Aphrodisias, Turkey, Images of Roman art bas reliefs.  Meleager sits on a rock tying his sandal. Below him lies a fierce hunting dog with a wide collar. On one side a god or another hero wearing a rounded hat  crowning Meleager ( arm missing). On the other side stands the huntress Atalante, Meleager's lover: she wears a short dress and quiver,
  • Greek Fresco on the inside of Tomb of  the Diver  [La Tomba del Truffatore]. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. This panel from the short side of the tomb shows a man with a wreathed wine crater . Paestrum, Andriuolo.  (480-470 BC  )
  • Photo of Roman relief sculpture, Aphrodisias, Turkey, Images of Roman art bas reliefs.  Meleager sits on a rock tying his sandal. Below him lies a fierce hunting dog with a wide collar. On one side a god or another hero wearing a rounded hat  crowning Meleager ( arm missing). On the other side stands the huntress Atalante, Meleager's lover: she wears a short dress and quiver,
  • Photo of Roman relief sculpture, Aphrodisias, Turkey, Images of Roman art bas reliefs.  Meleager sits on a rock tying his sandal. Below him lies a fierce hunting dog with a wide collar. On one side a god or another hero wearing a rounded hat  crowning Meleager ( arm missing). On the other side stands the huntress Atalante, Meleager's lover: she wears a short dress and quiver,
  • Roman relief sculpted sarcophagus of Domitias Julianus and Domita Philiska, 2nd century AD, Perge. Antalya Archaeology Museum, Turkey.<br />
<br />
<br />
it is from the group of tombs classified as. "Columned Sarcophagi of Asia Minor”. <br />
The lid of the sarcophagus is sculpted into the form of a “Kline” style Roman couch on which lie Julianus &  Philiska. This type of Sarcophagus is also known as a Sydemara Type of Tomb.. Against a warm art background.
  • Roman relief sculpted sarcophagus of Domitias Julianus and Domita Philiska, 2nd century AD, Perge. Antalya Archaeology Museum, Turkey.<br />
<br />
<br />
it is from the group of tombs classified as. "Columned Sarcophagi of Asia Minor”. <br />
The lid of the sarcophagus is sculpted into the form of a “Kline” style Roman couch on which lie Julianus &  Philiska. This type of Sarcophagus is also known as a Sydemara Type of Tomb.. Against a warm art background.
  • Roman relief sculpted sarcophagus depicting a scene with Dionysus made in a Greek Attica workshop, 3rd century AD, Perge Inv 1.35.99. Antalya Archaeology Museum, Turkey.<br />
<br />
The lid of the sarcophagus is sculpted into the form of a “Kline” style Roman couch on which lie Julianus &  Philiska. This type of Sarcophagus is also known as a Sydemara Type of Tomb.. Against a grey background.
  • Roman relief sculpted sarcophagus of Aurelia Botiano and Demetria depicted reclining on the lid, 2nd century AD, Perge Inv 1.35.99. Antalya Archaeology Museum, Turkey.<br />
<br />
it is from the group of tombs classified as. "Columned Sarcophagi of Asia Minor”. The lid of the sarcophagus is sculpted into the form of a “Kline” style Roman couch on which lie Julianus &  Philiska. This type of Sarcophagus is also known as a Sydemara Type of Tomb.. Against a warm art background.
  • Roman relief sculpted sarcophagus of Domitias Julianus and Domita Philiska depicted reclining on the lid, 2nd century AD, Perge. Antalya Archaeology Museum, Turkey.. Against a grey background.<br />
<br />
it is from the group of tombs classified as. "Columned Sarcophagi of Asia Minor”. <br />
The lid of the sarcophagus is sculpted into the form of a “Kline” style Roman couch on which lie Julianus &  Philiska. This type of Sarcophagus is also known as a Sydemara Type of Tomb.
  • Roman relief sculpted sarcophagus of Domitias Julianus and Domita Philiska depicted reclining on the lid, 2nd century AD, Perge. Antalya Archaeology Museum, Turkey.<br />
<br />
it is from the group of tombs classified as. "Columned Sarcophagi of Asia Minor”. <br />
The lid of the sarcophagus is sculpted into the form of a “Kline” style Roman couch on which lie Julianus &  Philiska. This type of Sarcophagus is also known as a Sydemara Type of Tomb.
  • Photo of Roman relief sculpture, Aphrodisias, Turkey, Images of Roman art bas reliefs.  Meleager sits on a rock tying his sandal. Below him lies a fierce hunting dog with a wide collar. On one side a god or another hero wearing a rounded hat  crowning Meleager ( arm missing). On the other side stands the huntress Atalante, Meleager's lover: she wears a short dress and quiver,
  • Close up of Roman Sebasteion relief  sculpture of Meleager and Atalante  Aphrodisias Museum, Aphrodisias, Turkey.    <br />
<br />
Meleager sits on a rock tying his sandal. Below him lies a fierce hunting dog with a broad collar. On one side a god or another hero wearing a rounded hat was crowning Meleager ( arm missing). On the other side stands the huntress Atalante, Meleager’s lover: she wears a short dress and quiver, and lifts her cloak at the shoulder in a gesture of modesty.
  • Roman Sebasteion relief  sculpture of Meleager and Atalante  Aphrodisias Museum, Aphrodisias, Turkey.    Against a white background.<br />
<br />
Meleager sits on a rock tying his sandal. Below him lies a fierce hunting dog with a broad collar. On one side a god or another hero wearing a rounded hat was crowning Meleager ( arm missing). On the other side stands the huntress Atalante, Meleager’s lover: she wears a short dress and quiver, and lifts her cloak at the shoulder in a gesture of modesty.
  • Roman Sebasteion relief  sculpture of Meleager and Atalante  Aphrodisias Museum, Aphrodisias, Turkey.  Against a black background.<br />
<br />
Meleager sits on a rock tying his sandal. Below him lies a fierce hunting dog with a broad collar. On one side a god or another hero wearing a rounded hat was crowning Meleager ( arm missing). On the other side stands the huntress Atalante, Meleager’s lover: she wears a short dress and quiver, and lifts her cloak at the shoulder in a gesture of modesty.
  • Roman Sebasteion relief  sculpture of Meleager and Atalante  Aphrodisias Museum, Aphrodisias, Turkey. Against an art background.<br />
<br />
Meleager sits on a rock tying his sandal. Below him lies a fierce hunting dog with a broad collar. On one side a god or another hero wearing a rounded hat was crowning Meleager ( arm missing). On the other side stands the huntress Atalante, Meleager’s lover: she wears a short dress and quiver, and lifts her cloak at the shoulder in a gesture of modesty.
  • Roman Sebasteion relief  sculpture of Meleager and Atalante  Aphrodisias Museum, Aphrodisias, Turkey.<br />
<br />
Meleager sits on a rock tying his sandal. Below him lies a fierce hunting dog with a broad collar. On one side a god or another hero wearing a rounded hat was crowning Meleager ( arm missing). On the other side stands the huntress Atalante, Meleager’s lover: she wears a short dress and quiver, and lifts her cloak at the shoulder in a gesture of modesty.
  • Roman Sebasteion relief  sculpture of Meleager and Atalante  Aphrodisias Museum, Aphrodisias, Turkey. Against a grey background.<br />
<br />
Meleager sits on a rock tying his sandal. Below him lies a fierce hunting dog with a broad collar. On one side a god or another hero wearing a rounded hat was crowning Meleager ( arm missing). On the other side stands the huntress Atalante, Meleager’s lover: she wears a short dress and quiver, and lifts her cloak at the shoulder in a gesture of modesty.
  • Roman Sebasteion relief  sculpture of  Meleager and a boar Aphrodisias Museum, Aphrodisias, Turkey.     Against a white background.<br />
<br />
Meleager stands naked in front of a rocky outcrop. In the foreground lies a dead Calydonian boar, Above, a local nymph emerges from behind a fold in the landscape. The boar hunt took place on the imposing Mt Zygos at Calydon.
  • Roman Sebasteion relief  sculpture of  Meleager and a boar Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
Meleager stands naked in front of a rocky outcrop. In the foreground lies a dead Calydonian boar, Above, a local nymph emerges from behind a fold in the landscape. The boar hunt took place on the imposing Mt Zygos at Calydon.
  • Roman Sebasteion relief  sculpture of  Meleager and a boar Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.<br />
<br />
Meleager stands naked in front of a rocky outcrop. In the foreground lies a dead Calydonian boar, Above, a local nymph emerges from behind a fold in the landscape. The boar hunt took place on the imposing Mt Zygos at Calydon.
  • Roman Sebasteion rrelief  sculpture of  Meleager and a boar Aphrodisias Museum, Aphrodisias, Turkey.  Against an art background.<br />
<br />
Meleager stands naked in front of a rocky outcrop. In the foreground lies a dead Calydonian boar, Above, a local nymph emerges from behind a fold in the landscape. The boar hunt took place on the imposing Mt Zygos at Calydon.
  • Roman Sebasteion relief  sculpture of  Meleager and a boar Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
Meleager stands naked in front of a rocky outcrop. In the foreground lies a dead Calydonian boar, Above, a local nymph emerges from behind a fold in the landscape. The boar hunt took place on the imposing Mt Zygos at Calydon.
  • Picture of Tomb Tomb 114 "tomb of curses" of the North Necropolis. Hierapolis archaeological site near Pamukkale in Turkey.<br />
<br />
TOMB 114 (Second half of the 2nd century AD) <br />
<br />
The tomb lies on the left hand side of the road and is enclosed by a perimeter wall; it rests on a base withifiree steps, with a bench piked(1 front of it. Inside are three beds and the ossuary. On the roof, a sarcophagus, broken as result of an <br />
earthquake, bears an inscription mentioning the occupant Aelios Apollinarios and his wife Neratia Apollonis. On the facade is an inscription of great interest which refers to the punishment inflicted on those who violate the sepulchre: as well as the usual fines, it invokes diseases, misfortunes and punishments in the next world. This inscription has led to the building being named the Tomb of the Curses.
  • Photo of Hittite sculpted Orthostats panel of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Soldiers. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Figure of two helmeted warriors. They have their shield in their back and their spear in their hand. The prisoner in their front is depicted small. A human head is depicted in the left hand of the warrior in the front. The warrior at the rear holds the prisoners sitting on his lap from his hair. Below this figure, which was described small, lies yet another small human figure. <br />
<br />
On a brown art background.
  • Hittite sculpted Orthostats panel of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Soldiers. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Figure of two helmeted warriors. They have their shield in their back and their spear in their hand. The prisoner in their front is depicted small. A human head is depicted in the left hand of the warrior in the front. The warrior at the rear holds the prisoners sitting on his lap from his hair. Below this figure, which was described small, lies yet another small human figure. <br />
<br />
On a White Background.
  • Hittite sculpted Orthostats panel of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Soldiers. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Figure of two helmeted warriors. They have their shield in their back and their spear in their hand. The prisoner in their front is depicted small. A human head is depicted in the left hand of the warrior in the front. The warrior at the rear holds the prisoners sitting on his lap from his hair. Below this figure, which was described small, lies yet another small human figure. <br />
<br />
On a black background.
  • Picture & image of Hittite sculpted Orthostats panel of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Soldiers. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Figure of two helmeted warriors. They have their shield in their back and their spear in their hand. The prisoner in their front is depicted small. A human head is depicted in the left hand of the warrior in the front. The warrior at the rear holds the prisoners sitting on his lap from his hair. Below this figure, which was described small, lies yet another small human figure. <br />
<br />
On a gray background.
  • Hittite sculpted Orthostats panel of Long Wall Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Soldiers. Anatolian Civilisations Museum, Ankara, Turkey<br />
<br />
Figure of two helmeted warriors. They have their shield in their back and their spear in their hand. The prisoner in their front is depicted small. A human head is depicted in the left hand of the warrior in the front. The warrior at the rear holds the prisoners sitting on his lap from his hair. Below this figure, which was described small, lies yet another small human figure. <br />
<br />
On a grey art background.
  • Photo of Roman relief sculpture, Aphrodisias, Turkey, Images of Roman art bas reliefs.  Meleager sits on a rock tying his sandal. Below him lies a fierce hunting dog with a wide collar. On one side a god or another hero wearing a rounded hat  crowning Meleager ( arm missing). On the other side stands the huntress Atalante, Meleager's lover: she wears a short dress and quiver,
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • Sleeping Hermaphroditus, The Borghese Hermaphrodite.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus, The Borghese Hermaphrodite.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus, The Borghese Hermaphrodite.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus, The Borghese Hermaphrodite.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus, The Borghese Hermaphrodite.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus, The Borghese Hermaphrodite.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus, The Borghese Hermaphrodite.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus, The Borghese Hermaphrodite.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus, The Borghese Hermaphrodite.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus, The Borghese Hermaphrodite.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus.  A Life size  2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • Sleeping Hermaphroditus, The Borghese Hermaphrodite.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus, The Borghese Hermaphrodite.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus, The Borghese Hermaphrodite.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus, The Borghese Hermaphrodite.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus, The Borghese Hermaphrodite.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus, The Borghese Hermaphrodite.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus, The Borghese Hermaphrodite.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus, The Borghese Hermaphrodite.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus, The Borghese Hermaphrodite.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus, The Borghese Hermaphrodite.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris
  • Sleeping Hermaphroditus.  A Life size ancient 2nd century AD Roman statue sculpted in Greek Marble and found in the grounds of Santa Maria della Vittoria, near the Baths of Diocletian, Rome. It was added to the Borghese Collection by Cardinal Scipione Borghese, in the 17th century and was named the "Borghese Hermaphroditus”. It was later sold to the occupying French and was removed it to The Louvre. Hermaphrodite, son of Hermes and Aphrodite had repels the advances of the nymph Salmacis. However, she got Zeus as their two bodies are united in a bisexual being. The Sleeping Hermaphroditus has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (150 BC) the original bronze was mentioned in Pliny's Natural History. In 1619  Bernini sculpted the mattress on which the ancient marble of Hermaphrodite lies. Louvre Museum, Paris

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