• Aerial view of the Romanesque Duomo of Pisa
  • The 14th Century Gothic style eastern facade of The Doge's Palace on St Marks Square, Palazzo Ducale, Venice Italy
  • The Doges Palace  and Campinale of St Mark from the Saint Mark's Basin Venice
  • View of Carnac neolthic standing stones monaliths, a pre-Celtic site of standing stomes used from 4500 to 2000 BC,<br />
<br />
Carnac is famous as the site of more than 10,000 Neolithic standing stones, also known as menhirs. The stones were hewn from local rock and erected by the pre-Celtic people of Brittany. The Carnac stones were erected during the Neolithic period which lasted from around 4500 BC until 2000 BC. One interpretation of the site is that successive generations visited the site to erect a stone in honour of their ancestors.
  • View of Carnac neolthic standing stones monaliths, a pre-Celtic site of standing stomes used from 4500 to 2000 BC,<br />
<br />
Carnac is famous as the site of more than 10,000 Neolithic standing stones, also known as menhirs. The stones were hewn from local rock and erected by the pre-Celtic people of Brittany. The Carnac stones were erected during the Neolithic period which lasted from around 4500 BC until 2000 BC. One interpretation of the site is that successive generations visited the site to erect a stone in honour of their ancestors.
  • Mosaic depicting Emperor Justinian I. Byzantine Roman mosaics of the Basilica of San Vitale in Ravenna, Italy. Mosaic decoration paid for by Emperor Justinian I in 547. A UNESCO World Heritage Site
  • View of neolthic Castlerigg Stone Circle monaliths and the Lake District, England,  built circa 2500 BC.<br />
<br />
Castlerigg Stone Circle was built around 4500 years ago by prehistoric farming communities who settles in the fertile valleys of the Lake District.  Current thinking has linked Castlerigg with the Neolithic Langdale axe industry in the nearby Langdale fells: the circle may have been a meeting place where these axes were traded or exchanged. Ritually deposited stone axes have been found all over Britain, suggesting that their uses went far beyond their practical capabilities. Exchange or trading of stone axes may not have been possible without first taking part in a ritual or ceremony.
  • View of neolthic Castlerigg Stone Circle monaliths and the Lake District, England,  built circa 2500 BC.<br />
<br />
Castlerigg Stone Circle was built around 4500 years ago by prehistoric farming communities who settles in the fertile valleys of the Lake District.  Current thinking has linked Castlerigg with the Neolithic Langdale axe industry in the nearby Langdale fells: the circle may have been a meeting place where these axes were traded or exchanged. Ritually deposited stone axes have been found all over Britain, suggesting that their uses went far beyond their practical capabilities. Exchange or trading of stone axes may not have been possible without first taking part in a ritual or ceremony.
  • View of neolthic Castlerigg Stone Circle monaliths and the Lake District, England,  built circa 2500 BC.<br />
<br />
Castlerigg Stone Circle was built around 4500 years ago by prehistoric farming communities who settles in the fertile valleys of the Lake District.  Current thinking has linked Castlerigg with the Neolithic Langdale axe industry in the nearby Langdale fells: the circle may have been a meeting place where these axes were traded or exchanged. Ritually deposited stone axes have been found all over Britain, suggesting that their uses went far beyond their practical capabilities. Exchange or trading of stone axes may not have been possible without first taking part in a ritual or ceremony.
  • View of Carnac neolthic standing stones monaliths, Alignements de Kelescan, a pre-Celtic site of standing stomes used from 4500 to 2000 BC,<br />
<br />
Carnac is famous as the site of more than 10,000 Neolithic standing stones, also known as menhirs. The stones were hewn from local rock and erected by the pre-Celtic people of Brittany. The Carnac stones were erected during the Neolithic period which lasted from around 4500 BC until 2000 BC. One interpretation of the site is that successive generations visited the site to erect a stone in honour of their ancestors.
  • View of Carnac neolthic standing stones monaliths, Alignements du Menec, a pre-Celtic site of standing stomes used from 4500 to 2000 BC,<br />
<br />
Carnac is famous as the site of more than 10,000 Neolithic standing stones, also known as menhirs. The stones were hewn from local rock and erected by the pre-Celtic people of Brittany. The Carnac stones were erected during the Neolithic period which lasted from around 4500 BC until 2000 BC. One interpretation of the site is that successive generations visited the site to erect a stone in honour of their ancestors.
  • View of Carnac neolthic standing stones monaliths, Alignements du Menec, a pre-Celtic site of standing stomes used from 4500 to 2000 BC,<br />
<br />
Carnac is famous as the site of more than 10,000 Neolithic standing stones, also known as menhirs. The stones were hewn from local rock and erected by the pre-Celtic people of Brittany. The Carnac stones were erected during the Neolithic period which lasted from around 4500 BC until 2000 BC. One interpretation of the site is that successive generations visited the site to erect a stone in honour of their ancestors.
  • View of Carnac neolthic standing stones monaliths, Alignements du Kermario, a pre-Celtic site of standing stomes used from 4500 to 2000 BC,<br />
<br />
Carnac is famous as the site of more than 10,000 Neolithic standing stones, also known as menhirs. The stones were hewn from local rock and erected by the pre-Celtic people of Brittany. The Carnac stones were erected during the Neolithic period which lasted from around 4500 BC until 2000 BC. One interpretation of the site is that successive generations visited the site to erect a stone in honour of their ancestors.
  • View of Carnac neolthic standing stones monaliths, a pre-Celtic site of standing stomes used from 4500 to 2000 BC,<br />
<br />
Carnac is famous as the site of more than 10,000 Neolithic standing stones, also known as menhirs. The stones were hewn from local rock and erected by the pre-Celtic people of Brittany. The Carnac stones were erected during the Neolithic period which lasted from around 4500 BC until 2000 BC. One interpretation of the site is that successive generations visited the site to erect a stone in honour of their ancestors.
  • View of Carnac neolthic standing stones monaliths, a pre-Celtic site of standing stomes used from 4500 to 2000 BC,<br />
<br />
Carnac is famous as the site of more than 10,000 Neolithic standing stones, also known as menhirs. The stones were hewn from local rock and erected by the pre-Celtic people of Brittany. The Carnac stones were erected during the Neolithic period which lasted from around 4500 BC until 2000 BC. One interpretation of the site is that successive generations visited the site to erect a stone in honour of their ancestors.
  • View of Carnac neolthic standing stones monaliths, a pre-Celtic site of standing stomes used from 4500 to 2000 BC,<br />
<br />
Carnac is famous as the site of more than 10,000 Neolithic standing stones, also known as menhirs. The stones were hewn from local rock and erected by the pre-Celtic people of Brittany. The Carnac stones were erected during the Neolithic period which lasted from around 4500 BC until 2000 BC. One interpretation of the site is that successive generations visited the site to erect a stone in honour of their ancestors.
  • Stonehenge Neolithic ancient standing stone circle monument, A UNESCO World Heritage Site, Wilshire, England
  • The 12th century medieval Norman ruins of Goodrich Castle fortifications, Goodrich, Herefordshire, England
  • The 12th century medieval Norman ruins of Goodrich Castle fortifications, Goodrich, Herefordshire, England
  • Avebury Neolithic standing stone Circle the largest in England, Wiltshire, England, Europe
  • St Mawes Castel defensive Tudor coastal fortresses (1540) built  for King Henry VIII, Falmouth, Cornwall, England
  • Ancient Egyptian fragments of a small wooded glass inlayed box depicting Egyptian Pharaohs , Ptolemaic Period, (322-30BC) BC, Tebtynis. Egyptian Museum, Turin. Cat 18155.  Grey background.
  • Ancient Egyptian Predynastic burial pit with deceased skeleton lying on side, Circa 3100 BC. Egyptian Museum, Turin.
  • Ancient Egyptian bed delonging to Kha , tomb of Kha, Theban Tomb 8 , mid-18th dynasty (1550 to 1292 BC), Turin Egyptian Museum. <br />
<br />
According to excavator Shciaparelli " the beds were found in Kcha's tomb also. The larger one, his own, was found in the antechamber." Egyptians believed that in the Afterlife they would require the same comforts as they enjoyed in life so beds and many other worldly requirements were put into their tombs.
  • Egyptian Roman mummy portrait or Fayum mummy portrait painted panel of a man, Roman Period, 1st to 3rd cent AD, Egypt. Egyptian Museum, Turin. Black background,<br />
<br />
Mummy portraits or Fayum mummy portraits (also Faiyum mummy portraits) are a type of naturalistic painted portrait on wooden boards attached to Upper class mummies from Roman Egypt. They belong to the tradition of panel painting, one of the most highly regarded forms of art in the Classical world. he portraits covered the faces of bodies that were mummified for burial. Extant examples indicate that they were mounted into the bands of cloth that were used to wrap the bodies.
  • Ancient Egyptian decorated mari ware, class D, baked clay, Predynastic Period, Naqada II Protodynastic Period (3700-300 BC). Egyptian Museum, Turin. Grey Background<br />
<br />
Mari was a new raw material used to make vases from Naqada II onwards. The material was a marl of rich clay found in some ancient Egyptian desert site which was pulverised and mixed with water. Typically the pottery had a rosy sinish when fired making a good background for painted motifs.
  • Ancient Egyptian decorated mari ware, class D, baked clay, Predynastic Period, Naqada II Protodynastic Period (3700-300 BC). Egyptian Museum, Turin. White background.<br />
<br />
Mari was a new raw material used to make vases from Naqada II onwards. The material was a marl of rich clay found in some ancient Egyptian desert site which was pulverised and mixed with water. Typically the pottery had a rosy sinish when fired making a good background for painted motifs.
  • Ancient Egyptian god Bes jar, Late Period, 5th century BC.  Egyptian Museum, Turin. Drovetti collection cat 2553. Grey background;
  • Ancient Egyptian glong neckedr jar  sealed with linen strips , tomb of Kha, Theban Tomb 8 , mid-18th dynasty (1550 to 1292 BC), Turin Egyptian Museum. White background. Cat 8465.<br />
<br />
TT8 or Theban Tomb 8 was the tomb of Kha, the overseer of works from Deir el-Medina in the mid-18th dynasty[2] and his wife, Merit. TT8 was one of the greatest archaeological discoveries of ancient Egypt, one of few tombs of nobility to survive intact.
  • Ancient Egyptian globular jar  with Kha's monogram , tomb of Kha, Theban Tomb 8 , mid-18th dynasty (1550 to 1292 BC), Turin Egyptian Museum. Grey background. Cat 8465.<br />
<br />
TT8 or Theban Tomb 8 was the tomb of Kha, the overseer of works from Deir el-Medina in the mid-18th dynasty[2] and his wife, Merit. TT8 was one of the greatest archaeological discoveries of ancient Egypt, one of few tombs of nobility to survive intact.
  • Ancient Egyptian pylon (gateway) shaped Canopic chest for internal organs, wood, Late  to Ptolemaic Period(722-40 BC), Egyptian Museum, Turin. Old Fund Cat 2427. <br />
<br />
Canopic chests are cases used by Ancient Egyptians to contain the internal organs removed during the process of mummification.
  • Ancient Egyptian shabti box, wood, Intermediate Period, 21st-22nd Dynasty (1076-746 BC), Thebes, Egyptian Museum, Turin. Grey background.<br />
<br />
Floor 1 room 10 of Museum - Among the 401 shabti found in this tomb were 36 overseerers, one for every 10 servants. These were maent to serve the deceased in the afterlife<br />
<br />
Essential items of funerary equipment from the New Kingdom on, shabti figures, of which there could be from 1 to over 400 examples in a single tomb, were meant to substitute for the deceased whenever he or she was called upon to perform manual labor in the afterlife. the shabti box is a decorated wooden box to hold the figures
  • Ancient Egyptian shabti box, wood, Intermediate Period, 21st-22nd Dynasty (1076-746 BC), Thebes, Egyptian Museum, Turin. Grey background.<br />
<br />
Floor 1 room 10 of Museum - Essential items of funerary equipment from the New Kingdom on, shabti figures, of which there could be from 1 to over 400 examples in a single tomb, were meant to substitute for the deceased whenever he or she was called upon to perform manual labor in the afterlife. the shabti box is a decorated wooden box to hold the figures<br />
<br />
Essential items of funerary equipment from the New Kingdom on, shabti figures, of which there could be from 1 to over 400 examples in a single tomb, were meant to substitute for the deceased whenever he or she was called upon to perform manual labor in the afterlife. the shabti box is a decorated wooden box to hold the figures
  • Ancient Egyptian False Door stele of Princess Wehemnefret, limestone, Old Kingdom, 4th Dynasty (2543-2435 BC), Giza, Western Cemetery, mastaba of Wehemnefret. Egyptian Museum, Turin.  Schiaparelli Cat 1840. black background<br />
<br />
In the centre at the yop the deceased woman is depicted sitiing infront of a tabel laden with bread slices. The slices are depicted vertically as was the stylistic convention of the period. Imediately below the panel , on the left side of the lintel of the false door, is the name of the deceased and her titles stressing that she is a member of the Royal family "the daughter of the king".  In the 4 upper panels high ranking officials and courtiers are depicted. The nude child with his finger in his mouth on the right inner jamb is identified by its inscription as Irenptah, the deceased grandson. In other panels are ndividuals carrying offerings and priests.
  • Ancient Egyptian stele dedicated to Re-Harakhty by Irtiertjay,  Late Period, 25th Dynasty, (7620-580 BC), Thebes, Cat 1530. Egyptian Museum, Turin. Grey background.<br />
<br />
The round topped stele dedicated by Irtiertjay to Re-Harakhty , Isis and the 4 sons of Horus. Gifted by the Cairo Museum
  • Ancient Egyptian stele dedicated to Ra-Harakhty & Atum by Psetjerfi, Late Period 26th Dynasty, (590-525 BC), Cat 1568. Egyptian Museum, Turin. Grey background.<br />
<br />
Gifted by the Cairo Museum
  • Ancient Egyptian family stele of chief scribe Horhernakht, son of Khety, Middle Kingdom, 2nd half of 12th Dynasty (1850-1759 BC).  Egyptian Museum, Turin. Grey background. Old Fund cat 1613.
  • Ancient Egyptian Ra stele , limestone, New Kingdom, 19th Dynasty, (1279-1190 BC), Deir el-Medina,  Egyptian Museum, Turin. Grey background.<br />
<br />
On this round-topped stele, the deceased Pashed, <br />
"excellent spirit of Ra", akh-ikr, is pictured left, <br />
seated on a chair with lion's paws, smelling the lotus <br />
flower. The offering table holds a basket containing <br />
various offerings. A large open pomegranate, containing <br />
a great quantity of seeds, appears under the chair. The <br />
colours on this stele are well preserved.<br />
<br />
Akh iqer en Ra " the excellent spirit of Ra' stele. The individual is smelling a lotus flower. One of three stele forund in different rooms of houses in Deir el-Medina where they stood in niches.
  • Ancient Egyptian stele odedicated to Amon Re the "good Ram" by foreman Baki, limestone, New Kingdom, 19th Dynasty, (1290-1213 BC), Deir el-Medina, Drovetti cat 1549. Egyptian Museum, Turin. black background. Reign of Ramesses II.<br />
<br />
This round-topped stele is carved in low relief and painted <br />
in several colours. The pictorial plane is divided into two <br />
registers, the upper one containing two rams facing each <br />
other. The animals, with cobras rising on their foreheads, <br />
wear tall headdresses composed of two tall plumes with a <br />
solar disk at the centre. Between them is a small offering <br />
table with lotus flowers. The mirror image hieroglyphic <br />
inscription refers to the rams and reveals their divine <br />
nature as that of Amun-Ra. In the register below, <br />
foreman Baki is shown in the pose of adoration.
  • Ancient Egyptian stele dedicated to the god Khonsu by draftsman Pay, limestone, New Kingdom, 19th Dynasty, (1279-1213 BC), Deir el-Medina, Drovetti cat 1553. Egyptian Museum, Turin. Grey background
  • Ancient Egyptian stele of scraftsman Minhotep in adoration of Osiris, limestone, New Kingdom, 18th Dynasty, (1336-1292 BC), Deir el-Medina, Drovetti cat 1619. Egyptian Museum, Turin. white background<br />
<br />
The stele is dedicated to Osiris, Anubis and Hathor "Mistress of the World".
  • Ancient Egyptian stele showing Iti & Neferu receiving food offerings, First Intermediate Period, (2118-1980 BC), Gebelein, Tomb of Iti & Neferu,  Egyptian Museum, Turin. white background. Schiaparelli cat 13114.
  • Ancient Egyptian funerary stele of painter Maya, limestone, New Kingdom, 18th Dynasty, (1336-1292 BC), Deir el-Medina,  Egyptian Museum, Turin. Grey background. Drovetti cat 1579.<br />
<br />
<br />
In the upper portion Maya and his wife Tamit pay homage to Osiris and Hathor, the gods of the necropolis. In the lower register is a similar scene in which his wife recieves food offerings from their many children, as was traditional at the time.
  • Ancient Egyptian funerary stele of painter Maya, limestone, New Kingdom, 18th Dynasty, (1336-1292 BC), Deir el-Medina,  Egyptian Museum, Turin.  Drovetti cat 1579.<br />
<br />
<br />
In the upper portion Maya and his wife Tamit pay homage to Osiris and Hathor, the gods of the necropolis. In the lower register is a similar scene in which his wife recieves food offerings from their many children, as was traditional at the time.
  • Ancient Egyptian ostracon dedicated by Amenkhau to Mereteseger, limestone, New Kingdom, 20th Dynasty, (1187-1150 BC), Deir el-Medina, ODrovetti cat 1564. Egyptian Museum, Turin. Grey background
  • Ancient Egyptian stele of sculptor Qen, limestone, New Kingdom, 19th Dynasty, (1279-1213 BC), Deir el-Medina, Old Fund cat 1635. Egyptian Museum, Turin. Grey background<br />
<br />
This stele belongs to the "painter of outlines' and sculptor Qen who lived in the reign of Ramesses II. It depicrs a funeral celebration for him infront of funerary chapel with his sond Meryre and Huy, who are performing the "ceremony of Opening of the Mouth". His daughter Taqri is depicted grieving over the loss of her father. The chapel is summounted by a Pyramidion.
  • Ancient Egyptian wall paintings of the Tomb of Iti and Neferu, Mourning Scene, Thebes, First Intermediate Period (2118 – 1980BC). Egyptian Museum, Turin. Schiapelli excavations cat 1435.<br />
<br />
In the lower register a cattle driver leads two cattle of different colours.<br />
These tempera paintings were on a crude mud and straw plaster and were of typical Old Kingdom tombs showing ritual offering scenes. The tomb was partly cut into rock with mud brick walls and vaults. The facade of the tomb had 16 columns looking over a courtyard sloping towards the valley.
  • South face of Ancient Egyptian Pyramidion of Ramose with depictionof Horus, Limestone, New Kingdom, 19th Dtnasty (1292-1190 BC), Dier el-Medina. Egyptian Museum, Turin. Old Fund cat 1603. white background<br />
<br />
<br />
The South face of the Ramose Pyramidion shows Horus standing in a dipole magnetic field supporting the strong coronal electric field of the Sun. The hieroglyphs read:<br />
 "The Stellar dipole magnetic field is supported by many negative charges or electrons."<br />
The limestone Pyramidion of Ramose, from the top of the tomb of the 'Necropolis Scribe'. Scenes on all four sides depict the worship of the sun.
  • Ancient Egyptian Cat Sarcophagus conating cat mummy, Late to Plolomaic Period, (722-30 BC), Egyptian Museum, Turin.Old Fund Cat 2361. Grey background. <br />
<br />
Animal mummification was common in ancient Egypt. They mummified various animals. It was an enormous part of Egyptian culture, not only in their role as food and pets, but also for religious reasons. They were typically mummified for four main purposes—to allow beloved pets to go on to the afterlife, to provide food in the afterlife, to act as offerings to a particular god, and because some were seen as physical manifestations of specific deities that the Egyptians worshipped. Bast, the cat goddess is an example of one such deity.
  • Ancient Egyptian wooden model of bread making, Middle Kingdom, 12th Dynasty, (1939-1875 BC), Asyut., Tomb of Minhotep Egyptian Museum, Turin. Cat 8789. Grey background. <br />
<br />
Wooden tomb models were an Egyptian funerary custom throughout the Middle Kingdom in which wooden figurines and sets were constructed to be placed in the tombs of Egyptian royalty. These wooden models represented the work of servants, farmers, other skilled craftsman, armies, and religious rituals
  • Ancient Egyptian wooden falcon bird, Late Period (722-322 BC), Egyptian Museum, Turin. Cat 986. <br />
<br />
Wooden tomb models were an Egyptian funerary custom from the Middle Kingdom in which wooden figurines and sets were constructed to be placed in the tombs of Egyptian royalty. These wooden models represented the work of servants, farmers, other skilled craftsman, armies, and religious rituals
  • Ancient Egyptian statuette of Taweret decicated to draughtsman Parahotep, wood, New Kingdom, 19 Dynasty, (14292-1190 BC), deir el Medina. Egyptian Museum, Turin. Grey background. Cat 526.<br />
<br />
 Taweret is the protective ancient Egyptian goddess of childbirth and fertility. The deity is typically depicted as a bipedal female hippopotamus with feline attributes, pendulous female human breasts, the limbs and paws of a lion, and the back and tail of a Nile crocodile.
  • Ancient Egyptian shabtis doll, lwood, New Kingdom, 18th Dynasty, (1538-1040 BC), Deir el Medina. Egyptian Museum, Turin.Grey background. <br />
<br />
shabti figures began to occur in Middle Kingdom tombs with a twofold nature: on <br />
the one hand, they were meant to be images of their owners, representatives of the deceased in the realm of the Lord of Eternity. <br />
On the other hand, they were also considered to be servants of the deceased, taking the role of the servant statues. The complex <br />
nature of the shabti figure as a substitute of both the owner and his or her servants remains unaltered during the New Kingdom
  • Ancient Egyptian shabtis doll of Nuneb , wood, New Kingdom, 18th Dynasty, (1538-1292 BC), Deir el Medina. Egyptian Museum, Turin. Cat 2676. Grey background. <br />
<br />
Mummiform holding agricultural implements (hoes); good modelling; polychrome <br />
decoration painted on white gesso: Wig painted black, face and hands dark red; hoes <br />
painted red; large usekh collar painted red and black. Hieroglyphs painted black. Text: Painted hieroglyphs, 7 rows around body. Chapter VI of the Book of the Dead. Tomb TT291
  • Ancient Egyptian voitive statue of Nefratari, New Kingdom, 19th -20th Dynasty, (1292-1076 BC, Deir el-Medina. Egyptian Museum, Turin. Cat 1349. black background.<br />
<br />
Queen Ahmose Neferatari, wife and mother of Amenhoptec I show the great devotion she was held in by ancient Egyptians. The inscription on the base name the dedicators of the statue
  • Ancient Egyptian statue of Pawer and his wife Mut, New Kingdom, 18th Dynasty, (1480-1390 BC), Thebes Necropolis. Egyptian Museum, Turin. Drovetti collection. Cat 3057.<br />
<br />
Between the two adults is their son Samut in childhood nudity. The text specifies that the statue was commissioned by Mut.
  • Ancient Egyptian four sided capital dedicated to Hathor, limestone, Ptolomaic Period (332039 BC). Egyptian Museum, Turin. Grey background. Cat 7031. <br />
<br />
Hathor, goddess of love and beauty and wet nurse of Horus, is often portrayed frontally with bovine ears. She was also protector of the turquoise mines in Sinai and the guardian of the 4 cardinal points awhich is why she is depicted with faces on each side of the capital
  • Ancient Egyptian stelophorus statue of Ubenre, New Kingdom, 19th-20th Dynasty, (1292-1076 BC), Deir el-Medina, Egyptian Museum, Turin. Cat 3040. Grey background.<br />
<br />
This type of stele is so called stelophorous statue. It consists of kneeling figure holding or offering stele. They were produced from the 18th dynasty onwards. Such stelae were usually inscribed with hymns to the sun-god.
  • Ancient Egyptian Roman female mummy mask, limestone, Roman Period, 2nd Cent AD, Hawara,  Egyptian Museum, Turin. Grey Background<br />
<br />
This is a remarkable gilt cartonnage with inlaid cystal eyes . The woman wears a Roman style hardo half covered by a veil, a himation, fringed cloak, yied to her breat, snake shaped bracelets and a necklace of pink flowers, all of which are connected to the cult of Isis.
  • Ancient Egyptian statue head of a monarch, limestone, Middle Kingdom, mis 12th Dynasty, (1900-1850 BC), Qqw el-Kebir, tomb of Ibu. Egyptian Museum, Turin. white background.<br />
<br />
Since this statue head comes from the tomb of Ibu it is likely that they depict a powerful gosvenor, although the incsription is lost. It can be dated by its style which is close to the statues of Amenemhat II and Sesostris II. Schiaparelli excavations. Cat 4410 & 4414
  • Ancient Egyptian statue bust of a male, graanodiorite, Late Period, (722-322 BC). Egyptian Museum, Turin. Grey background.  Grey background. Drovetti collection. Cat 3139
  • Ancient Egyptian statue of a queen wearing a clinging dress, sandstone, Ptolemaic Period (332-30BC). Egyptian Museum, Turin. <br />
<br />
Drovetti Collection, Cat 1386
  • Ancient Egyptian statue of a queen wearing a clinging dress, sandstone, Ptolemaic Period (332-30BC). Egyptian Museum, Turin. black background<br />
<br />
Drovetti Collection, Cat 1386
  • Ancient Egyptian statue of a Ram protecting King Amenhotep III, granite, New Kingdom, early 18th Dynasty (1390-1353), Karnak, Temple of Mut. Egyptian Museum, Turin. Grey background<br />
<br />
a figure of Amenhotep III as Osiris stands between the legs of the Ram. there is a hole in the top of the rams head for the insertion of a solar disk associating it to the god Amon, whose animal form is the ram, and with the sun god Re. The statue may have stood in the Soleb of Nubia. Drovetti Collection. C 836
  • Ancient Egyptian Sphinx statue, sandstone, New Kingdom, early 19th Dynasty (1292-1250), Karnak, Temple of Amon. Egyptian Museum, Turin. white background.<br />
<br />
The Phatoah and queen could be represented by Sphinx statues and by associating human faces with the body of a lion the Egyptians combined the strength of the animal that was connected to the sun god with human inetelligence. In this guardian rols sphinxes were generally placed facing each other on either side of temple gates, processional ways or dooways inside the temple. . Drovetti Collection. C1408
  • Ancient Egyptian Sphinx statue, sandstone, New Kingdom, early 19th Dynasty (1292-1250), Karnak, Temple of Amon. Egyptian Museum, Turin. black background<br />
<br />
The Phatoah and queen could be represented by Sphinx statues and by associating human faces with the body of a lion the Egyptians combined the strength of the animal that was connected to the sun god with human inetelligence. In this guardian rols sphinxes were generally placed facing each other on either side of temple gates, processional ways or dooways inside the temple. . Drovetti Collection. C1408
  • Ancient Egyptian Sphinx statue, sandstone, New Kingdom, early 19th Dynasty (1292-1250), Karnak, Temple of Amon. Egyptian Museum, Turin. Grey background<br />
<br />
The Phatoah and queen could be represented by Sphinx statues and by associating human faces with the body of a lion the Egyptians combined the strength of the animal that was connected to the sun god with human inetelligence. In this guardian rols sphinxes were generally placed facing each other on either side of temple gates, processional ways or dooways inside the temple. . Drovetti Collection. C1408
  • Ancient Egyptian statue of Hel, limestone, New Kingdom, late 18th Dynasty, (1320-1280 BC), Saqqara. Egyptian Museum, Turin. <br />
<br />
The women is seated on a cushioned stool. On her head is a lotus flower. In her left hand she holds a cloth in her right a counterweight for a meant necklace, a ritual instrument used in the cult of the goddess Hathor. the statue probably stood in a tomb in Saqqara necropolis of Memphis, where the Egyptian eletes of the time had splendid tombs with statues of s similar style. The inscription evokes the deceased "everything that comes forth in the presence of the gods of Memphis for Osiris, the lady of Hel..."
  • Ancient Egyptian statue of pharaoh Horemheb with god Amun, limestone, New Kingdom, 18th Dynasty, (1319-1292 BC). Egyptian Museum, Turin. black background.<br />
<br />
Horemheb stands beside the taller depiction of the god Amun. The statue is typical of the period following the religious and artistic revolution of King Akhenaten. The muscles are not emphasised and the contours are soft, with rounded hips and juvenile faces, the eyes are almond shaped and the cheeks and lips sensual. Some scholars believe this may have been a statue of Tutenkhamon remodelled by Horemheb. Dorvetti collection. C 768
  • Ancient Egyptian statue of goddess Sekhmet, grandodiorite, New Kingdom, 18th & 20thDynasty (1390-1150 BC), Thebes. Egyptian Museum, Turin. Grey Background.<br />
<br />
Sekhmet, "the Powerful One" was a fearsome goddess symbolised by her lioness head. Daughter of the sun she personifies the disk of the world during the day. Sekhmet is the angry manifestation of Hathor inflicting the scourges of summer heat, famine and illness which is why the goddess needed to be exorcised every day. Drovetti Collection. C 255
  • Ancient Egyptian statue of goddess Sekhmet, grandodiorite, New Kingdom, 18th & 20thDynasty (1390-1150 BC), Thebes. Egyptian Museum, Turin. Grey Background.<br />
<br />
Sekhmet, "the Powerful One" was a fearsome goddess symbolised by her lioness head. Daughter of the sun she personifies the disk of the world during the day. Sekhmet is the angry manifestation of Hathor inflicting the scourges of summer heat, famine and illness which is why the goddess needed to be exorcised every day. Drovetti Collection. C 255
  • Ancient Egyptian statue of goddess Sekhmet, grandodiorite, New Kingdom, 18th & 20thDynasty (1390-1150 BC), Thebes. Egyptian Museum, Turin. Grey Background.<br />
<br />
In this statue of Sekhmet the goddess is called "mistress of Shenut" possibly linking her to the lioness goddess Repyt of Anthribis.  Sekhmet, "the Powerful One" was a fearsome goddess symbolised by her lioness head. Daughter of the sun she personifies the disk of the world during the day. Sekhmet is the angry manifestation of Hathor inflicting the scourges of summer heat, famine and illness which is why the goddess needed to be exorcised every day. Drovetti Collection. C 248
  • Ancient Egyptian statue of goddess Sekhmet, grandodiorite, New Kingdom, 18th & 20thDynasty (1390-1150 BC), Thebes. Egyptian Museum, Turin. Grey Background.<br />
<br />
Sekhmet, "the Powerful One" was a fearsome goddess symbolised by her lioness head. Daughter of the sun she personifies the disk of the world during the day. Sekhmet is the angry manifestation of Hathor inflicting the scourges of summer heat, famine and illness which is why the goddess needed to be exorcised every day. Drovetti Collection. C 249
  • Ancient Egyptian statue of goddess Sekhmet, grandodiorite, New Kingdom, 18th & 20thDynasty (1390-1150 BC), Thebes. Egyptian Museum, Turin. Grey Background.<br />
<br />
This statue is unfinished and is in the stage before polishing. Sekhmet, "the Powerful One" was a fearsome goddess symbolised by her lioness head. Daughter of the sun she personifies the disk of the world during the day. Sekhmet is the angry manifestation of Hathor inflicting the scourges of summer heat, famine and illness which is why the goddess needed to be exorcised every day. Drovetti Collection. C 264
  • Ancient Egyptian statue of Tuthmosis II, granodorite, New Kingdom, 18th Dynasty, (1479-1425 BC), Karnak, Temple of Amun. Egyptian Museum, Turin. Grey background.<br />
<br />
Tuthmosis II is shown wearing Royal regalia including the shendyt kilt, the nemes headdress and the uraeus cobra on his forehead. Between his legs in a bulls tail, the symbol of power. On the sides of the throne is the sema-tawy, a sign composed of a lotus and papyrus, the symbols od Upper and Lower Egypt. Under the feet of the king are the Nine Bows, the enemies of Egypt. Together these symbolise that the pharaoh keeps the two halves of Egypt together and protects them against her enemies. Drovetti Collection. C 1376
  • Ancient Egyptian statue of Tuthmosis II, granodorite, New Kingdom, 18th Dynasty, (1479-1425 BC), Karnak, Temple of Amun. Egyptian Museum, Turin. Grey background.<br />
<br />
Tuthmosis II is shown wearing Royal regalia including the shendyt kilt, the nemes headdress and the uraeus cobra on his forehead. Between his legs in a bulls tail, the symbol of power. On the sides of the throne is the sema-tawy, a sign composed of a lotus and papyrus, the symbols od Upper and Lower Egypt. Under the feet of the king are the Nine Bows, the enemies of Egypt. Together these symbolise that the pharaoh keeps the two halves of Egypt together and protects them against her enemies. Drovetti Collection. C 1376
  • Colossal ancient Egyptian statue of Sethy II, sandstone, New Kingdom, 19th Dynasty, (1202-1198 BC), Karnak Temple of Amon. Egyptian Museum, Turin. black background.<br />
<br />
A striking monumental sculpture expresses the strength of Sethy II who is depicted with his muscular left leg forward to express jis capability. He holds the standard of Amon depicted on it. It stood in the courtyard of the temple at Karnak along with a sister statue, now in the Louvre.Drovetti Collection. C 1383
  • Ancient Egyptian statue of Ramesses II , granite, New Kingdom, 18th Dynasty, (1500-1400 BC, Karnak, Temple of Mut. Egyptian Museum, Turin. Grey background.<br />
<br />
The statue depicting Ramesses II  was reworked over a statue of an earlier pharaoh. This can be seen around the corners of the mouth which show reworking. The roundness of the face and short apron also point to an earlier style.  Ramesses II is depicted praying with his arms out straight and his hands resting flat on the apron of his kilt.
  • Ancient Egyptian statue of king Horemheb & his wife Mutnedjemet, granodiorite, New Kingdom, 18th Dynasty, (1319-1292 BC), Karnak, Temple of Amon. Egyptian Museum, Turin. white background.<br />
<br />
Queen Mutnedjemet is depicted in the role of Hathor, the sun god, embracing her husband. The statue is unfinished with details missing including the stripes in the Royal kilt, the wings of a vulture on the queens headdress and bound enemies on one side of the throne. On the back of the throne is a long inscription recording the coronation of Horemheb who was the general of Tutenkhamun before ascending to the throne. Drovetto collection. C 1379.
  • Ancient Egyptian statue of king Horemheb & his wife Mutnedjemet, granodiorite, New Kingdom, 18th Dynasty, (1319-1292 BC), Karnak, Temple of Amon. Egyptian Museum, Turin. Grey Background.<br />
<br />
Queen Mutnedjemet is depicted in the role of Hathor, the sun god, embracing her husband. The statue is unfinished with details missing including the stripes in the Royal kilt, the wings of a vulture on the queens headdress and bound enemies on one side of the throne. On the back of the throne is a long inscription recording the coronation of Horemheb who was the general of Tutenkhamun before ascending to the throne. Drovetto collection. C 1379.
  • Ancient Egyptian statue of Ptah - limestone - New Kingdom. 18th Dynasty, reign of Amenhotep III (1390 - 1353 BC), Karnac. Egyptian Museum, Turin.  Grey background<br />
<br />
Large statue of Egyptian gods are rare and most of them are part of building designs. This imposing statue of Ptah was probably made for the "Temple of Millions of Years", on the west bank of Thebes, promoted by Amenhotep III . When the temple was eventually abandoned its statues were reused in other temples in the region. Drovetti collection C. 87
  • Ancient Egyptian mummy of a canid, linen, Late Period, Ptolomaic Perios (722-30BC). Egyptian Museum, Turin. Grey background<br />
<br />
A canid is a member of the dog family.
  • Ancient Egyptian mummy of a baby and painted cartonnage funereal mask- Late Ptolomaic Roman Period, 1at cent BC to 2 cent AD. Egyptian Museum, Turin. black background
  • Ancient Egyptian mummy of a baby and painted cartonnage funereal mask- Late Ptolomaic Roman Period, 1at cent BC to 2 cent AD. Egyptian Museum, Turin.
  • Ancient Egyptian sarcophagus inner coffin of  singer Tabakenkhonsu, Temple of Hatshepsut at Deir el-Bahri. Thebes, 2nd half of 21st Dynasty, 680–670 B.C. Egyptian Museum, Turin. Grey background.<br />
<br />
The deceased is depicted with her hands rendered in high relief on top of a wesekh collar. a stylistic trait that allows the coffin to be dated from the late 21st Dynsaty. the inner coffin is of great quality depicting mythological scenes derived from the Book of the Dead spells.
  • Ancient Egyptian sarcophagus of Royal scribe Butehamon, Thebes, 21st Dynasty, reign of Ramese XI, (1078 or 1077 BC ). Egyptian Museum, Turin. white background<br />
Butehamon was a key figure between the end of the New Kingdom (Twentieth Dynasty, reign of Ramesse XI) and the beginning of the Third Intermediate Period (Twenty-First Dynasty, reign of Smendes). Born into an illustious family he became a man of letters
  • Ancient Egyptian sarcophagus of Royal scribe Butehamon, Thebes, 21st Dynasty, reign of Ramese XI, (1078 or 1077 BC ). Egyptian Museum, Turin. Grey background<br />
<br />
<br />
Butehamon was a key figure between the end of the New Kingdom (Twentieth Dynasty, reign of Ramesse XI) and the beginning of the Third Intermediate Period (Twenty-First Dynasty, reign of Smendes). Born into an illustious family he became a man of letters
  • Ancient Egyptian sarcophagus of Royal scribe Butehamon, Thebes, 21st Dynasty, reign of Ramese XI, (1078 or 1077 BC ). Egyptian Museum, Turin. Grey background<br />
<br />
<br />
Butehamon was a key figure between the end of the New Kingdom (Twentieth Dynasty, reign of Ramesse XI) and the beginning of the Third Intermediate Period (Twenty-First Dynasty, reign of Smendes). Born into an illustious family he became a man of letters
  • Ancient Egyptian sarcophagus lid of Djehutymes, pink granite, 19th Dynasty (1279-1213 BC.) Thebes, Khokha, TT32. Egyptian Museum, Turin. Black background<br />
<br />
The lid of the coffin of Djehutymes, husband of singer Asset
  • Ancient Egyptian sarcophagus lid of Djehutymes, pink granite, 19th Dynasty (1279-1213 BC.) Thebes, Khokha, TT32. Egyptian Museum, Turin. Grey background<br />
<br />
The lid of the coffin of Djehutymes, husband of singer Asset
  • Acient Egyptian sacophagus of Kha - outer coffin from  tomb of Kha, Theban Tomb 8 , mid-18th dynasty (1550 to 1292 BC), Turin Egyptian Museum. Grey background
  • Acient Egyptian sacophagus of Merit -  inner coffin from tomb of Kha, Theban Tomb 8 , mid-18th dynasty (1550 to 1292 BC), Turin Egyptian Museum.  white background
  • Acient Egyptian sacophagus of Merit -  inner coffin from tomb of Kha, Theban Tomb 8 , mid-18th dynasty (1550 to 1292 BC), Turin Egyptian Museum.  black background
  • Acient Egyptian sacophagus of Kha -  inner coffin from  tomb of Kha, Theban Tomb 8 , mid-18th dynasty (1550 to 1292 BC), Turin Egyptian Museum.
  • Ancient Egyptian Cartonnage funerary mask from the Third Intermediate Period, 22nd Dynasty (944-1025BC).  Egyptian Museum, Turin. <br />
<br />
Made from overlapping papyrus and cloth this cartonnage has been decorated with a weskh collar over which are depicted two crossed cloth strips that represent the last bandages of the deceased mummy wrappings. below this is depicted the rams head of god Amon-Ra against the out stretched wings of a vulture
  • Ancient Egyptian Cartonnage funerary mask from the Third Intermediate Period, 22nd Dynasty (944-1025BC).  Egyptian Museum, Turin. white background<br />
Made from overlapping papyrus and cloth this cartonnage has been decorated with a weskh collar over which are depicted two crossed cloth strips that represent the last bandages of the deceased mummy wrappings. below this is depicted the rams head of god Amon-Ra against the out stretched wings of a vulture
  • Ancient Egyptian Cartonnage funerary mask from the Third Intermediate Period, 22nd Dynasty (944-1025BC).  Egyptian Museum, Turin. Grey background<br />
<br />
Made from overlapping papyrus and cloth this cartonnage has been decorated with a weskh collar over which are depicted two crossed cloth strips that represent the last bandages of the deceased mummy wrappings. below this is depicted the rams head of god Amon-Ra against the out stretched wings of a vulture
  • Ancient Egyptian wooden sarcophagus - the tomb of Tagiaset, Iuefdi, Harwa circa 7th cent BC - Thebes Necropolis. Egyptian Museum, Turin. Grey background
  • Ancient Egyptian wooden sarcophagus - the coffin of Puia circa 1800BC - Thebes Necropolis. Egyptian Museum, Turin. Black background<br />
<br />
From about 100BC "anthropoid " sarcophagi with fihure shaped lids started to replace rectangular coffins. Pia was probably the son of Puyemre, a high official of Thebes and second priest of Amon under the woman pharoah, Hatshepsut (1479-1458). The sarcophagus was excavated by Robert Mond from a shaft grave found close to the tomb of Puyemre in Thebes Necropolis.
  • Ancient Egyptian Book of the Dead papyrus - From  tomb of Kha & Merit, Theban Tomb 8 , mid-18th dynasty (1550 to 1292 BC), Turin Egyptian Museum.  white background
  • Ancient Egyptian Book of the Dead papyrus - From  tomb of Kha, Theban Tomb 8 , mid-18th dynasty (1550 to 1292 BC), Turin Egyptian Museum. Black background
  • Ancient Egyptian Book of the Dead papyrus - Spell 33 for keeping snakes away, Iufankh's Book of the Dead, Ptolomaic period (332-30BC).Turin Egyptian Museum. Grey Background<br />
<br />
the spell reads ' O Rerek! Move not! Behold Geb and Shu have risen against you, for you have eaten a mouse, the abomination of Re" you have crunched the bones of a putrified cat"<br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 33 for keeping snakes away, Iufankh's Book of the Dead, Ptolomaic period (332-30BC).Turin Egyptian Museum<br />
<br />
the spell reads ' O Rerek! Move not! Behold Geb and Shu have risen against you, for you have eaten a mouse, the abomination of Re" you have crunched the bones of a putrified cat"<br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Ancient Egyptian Book of the Dead papyrus - Spell 105 for gratifying the deceased with Ka, Iufankh's Book of the Dead, Ptolemaic period (332-30BC).Turin Egyptian Museum. Grey Background<br />
<br />
The spell is " Hail to thee, my spirit, my lifetime. Behold I am come unto thee risen, powerful, posessed of a soul, mighty.<br />
<br />
You who weighs in the balance. may truth rise to the nose of Ra, on that day of judgement, ley not my head be taken away from me."<br />
<br />
The translation of  Iuefankh's Book of the Dead papyrus by Richard Lepsius marked a truning point in the studies of ancient Egyptian funereal studies.
  • Bayeux Tapestry scene 54: Bishop Odo, holding club, urges Norman cavalry against the Saon soldiers on a hill at the Battle of Hastings.
  • Bayeux Tapestry scene 50:  A saxon watchman warns of the approaching Norman army.
  • Bayeux Tapestry scene 22:  Duke William and Harold ride to Bayeux after defeating Duke of Britany.
  • Bayeux Tapestry scene 8 : Guy de Ponthieu, holding falcon, escorts his prisoner, Harold, to Beaurain.
  • Bayeux Tapestry scene 55:  Duke William raises his visor to show that a rumour he was killed is un-true.
  • Bayeux Tapestry scene 9:  Guy de Ponthieu, on throne, discussed his with Harold his ransom demands.
  • Bayeux Tapestry scene 51b: The Norman cavalry charge the Saxon foot solders.  BYX51b
  • Bayeux Tapestry scene 21 : Duke William knights Harold for fighting against Duke of Britany. BYX21
  • Bayeux Tapestry scene 17 : Crossing the Couesnon River near Mont St Michele, Duke Williams Soldiers sink in quicksand. BYX17
  • Bayeux Tapestry scene 3 - 4: Harold stops on way to Normandy to recieve blessing at Bosham church and then feasts.  BYX3
  • The Minoan clay burial pithos with skeleton in foetal,  Neopalatial period 1700-1450 BC; Heraklion Archaeological  Museum, white background.<br />
<br />
The body was placed in a foetal postion to aid insertion into the wide mouthed pithos
  • Minoan small luxury rock crystal rhython with a handle of crstal deads and guilded ivory, Zakros Centural Sanctuary Complex  1500-1400 BC; Heraklion Archaeological  Museum, grey background.
  • Minoan marble fluted chalice with fine four fold walls, Zakros central sanctuary complex 1500-1400 BC; Heraklion Archaeological  Museum, white background.
  • Minoan stone vessel, Zakros Centural Sanctuary Complex  1500-1400 BC; Heraklion Archaeological  Museum, grey background.
  • Minoan stone vessel, Zakros Centural Sanctuary Complex  1500-1400 BC; Heraklion Archaeological  Museum, grey background.
  • Minoan decorated jug with Marine style shell decoration, Zakros Palace  1500-1450 BC; Heraklion Archaeological  Museum, black background.
  • Minoan decorated jug with Marine style shell decoration, Zakros Palace  1500-1450 BC; Heraklion Archaeological  Museum, white background.
  • Minoan clay cup decorated with reeds, Zakros Palace  1600-1450 BC; Heraklion Archaeological  Museum, grey background.
  • Minoan rhython with relief decoration, Zakros Palace  1600-1450 BC; Heraklion Archaeological  Museum, black background.
  • Minoan  bull's head rhython libation vessel, Machlos 1500-1450 BC; Heraklion Archaeological  Museum, black background.
  • The Minoan ' Phaistos Disc" with minoan pictoral sign script, possibly a hymn , Phaistos Palace 17th cent BC; Heraklion Archaeological  Museum, grey background.<br />
<br />
The enigmatic Phaistos disc takes pride of place in the history of Minoan script. It bears 45 pictoral signs that can be arranged into 61 groups separated by incised lines. Experts believe that the script may be of a hymn or magical in content.
  • Minoan  beak spouted rhython with nautilus, coral and seaweed design, Phaistos Palace 1500-1450 BC; Heraklion Archaeological  Museum, black background.
  • Minoan decorated jug with sun design, Phaistos Palace 1500-1450 BC; Heraklion Archaeological  Museum, grey background.
  • Minoan Pithoid Amphora with decorations of interconnecting spirals, crocus flowers and reeds, Hagia Triada Royal Villa 1500-1540 BC; Heraklion Archaeological  Museum, black background.
  • Minoan clay male figurine in the attitude of worship, Chamezi 1900-1700 BC; Heraklion Archaeological  Museum, black background.
  • Minoan clay model shrine depicting a priestess playing the part of a goddess in a small single roomed house, Galatas 1700-1650 BC; Heraklion Archaeological  Museum, black background.
  • Minoan ritual offering vessel drom temple of snakes, 1700-1600 BC; Heraklion Archaeological  Museum, grey background..
  • Minoan  ritual decorated animal shaped rhython , Phaistos 1800-1700 BC; Heraklion Archaeological  Museum, white background.
  • Minoan  ritual decorated animal shaped rhython , Phaistos 1800-1700 BC; Heraklion Archaeological  Museum, grey background.
  • Minoan clay round offering table with a high base and large cup with a goddess with 2 priestesses depiction , Phaistos 1800-1650 BC; Heraklion Archaeological  Museum, black background.
  • Minoan cly polychrome decorated storage pithos, Protopalatial period, Phaistos 1800-1650 BC; Heraklion Archaeological  Museum.<br />
<br />
The quality of Minoan pithoi of this period suggest that they were produced by specialised potters with considerable skill in the manufacture of large clay conatiners. They were used for the staorage of agricultural products and the number and size of the pithoi found during this Portopalatial period indicate increased production of farmers.
  • The Minoan clay burial larnax chest with swirl design,  Neopalatial period 1700-1450 BC; Heraklion Archaeological  Museum, grey background.
  • The Minoan clay burial pithos with skeleton in foetal,  Neopalatial period 1700-1450 BC; Heraklion Archaeological  Museum, grey background.<br />
<br />
The body was placed in a foetal postion to aid insertion into the wide mouthed pithos
  • The Minoan terracotta rhinoceros beetle (Oryctes)  figurine, Piskokephalo,  1650-1500 BC; Heraklion Archaeological  Museum, grey background
  • The Minoan decorated clay alabastron burial vessels with geometric design , Kamilari 1500-1300  BC; Heraklion Archaeological  Museum, grey background
  • The Minoan decorated ritual Ewer From Poros with marine reliefs ,Poros Heraklion 1450 BC; Heraklion Archaeological  Museum, black background<br />
<br />
This elegant Ewer excavated from Poros is a fine example of the matute marine style of Minoan Ewer. The body is covered with  calligraphic network of dotted scale patterns, indicating the sea, in which nautili swim amongst rocks and seaweed. This style of Ewer was made in specialist workshops in the Knossos area and can be attributed to the same worksop that made ewers excavated from Zakros room IV-V. and another in Marseilles Museum
  • The Minoan decorated ritual Ewer From Poros with marine reliefs ,Poros Heraklion 1450 BC; Heraklion Archaeological  Museum.<br />
<br />
This elegant Ewer excavated from Poros is a fine example of the matute marine style of Minoan Ewer. The body is covered with  calligraphic network of dotted scale patterns, indicating the sea, in which nautili swim amongst rocks and seaweed. This style of Ewer was made in specialist workshops in the Knossos area and can be attributed to the same worksop that made ewers excavated from Zakros room IV-V. and another in Marseilles Museum
  • The Minoan decorated ritual Ewer From Poros with marine reliefs ,Poros Heraklion 1450 BC; Heraklion Archaeological  Museum.<br />
<br />
This elegant Ewer excavated from Poros is a fine example of the matute marine style of Minoan Ewer. The body is covered with  calligraphic network of dotted scale patterns, indicating the sea, in which nautili swim amongst rocks and seaweed. This style of Ewer was made in specialist workshops in the Knossos area and can be attributed to the same worksop that made ewers excavated from Zakros room IV-V. and another in Marseilles Museum
  • The Minoan decorated ritual Ewer From Poros with marine reliefs ,Poros Heraklion 1450 BC; Heraklion Archaeological  Museum, grey background<br />
<br />
This elegant Ewer excavated from Poros is a fine example of the matute marine style of Minoan Ewer. The body is covered with  calligraphic network of dotted scale patterns, indicating the sea, in which nautili swim amongst rocks and seaweed. This style of Ewer was made in specialist workshops in the Knossos area and can be attributed to the same worksop that made ewers excavated from Zakros room IV-V. and another in Marseilles Museum
  • Minoan decorated ritual ewer with a sacral knot relief , Konssos-Little Palace 1450-1370 BC; Heraklion Archaeological  Museum, white background
  • Minoan decorated clay alabastra , Konssos-Little Palace 1450-1370 BC; Heraklion Archaeological  Museum
  • Minoan decorated jug  with stylised floral design , Konssos  'Unexplored Mansion" 1450-1370 BC; 1400-1250 BC; Heraklion Archaeological  Museum, grey background
  • Minoan decorated conical rhython geometric design , Konssos  'Unexplored Mansion" 1450-1370 BC;  Heraklion Archaeological  Museum, white background
  • Minoan decorated conical rhython geometric design , Konssos  'Unexplored Mansion" 1450-1370 BC;  Heraklion Archaeological  Museum, black background
  • Minoan decorated two handled Ephyraean goblet  with stylised floral design , Konssos  'Unexplored Mansion" 1450-1370 BC; 1400-1250 BC; Heraklion Archaeological Museum., black background
  • Minoan decorated two handled Ephyraean goblet  with stylised floral design , Konssos  'Unexplored Mansion" 1450-1370 BC; 1400-1250 BC; Heraklion Archaeological Museum.
  • Minoan decorated pithos stirrup jar , Zafer Papoura 1400-1250 BC; Heraklion Archaeological Museum, grey background
  • Minoan clay ritual vessel with figure of eight handles, Isopata 1450-1300 BC, Heraklion Archaeological Museum, white background
  • Minoan clay ritual vessel with figure of eight handles, Isopata 1450-1300 BC, Heraklion Archaeological Museum, grey background
  • Minoan clay ritual vessel with figure of eight handles, Tomb of the Double Axes, Isopata 1450-1300 BC, Heraklion Archaeological Museum.
  • Minoan Postpalatial terracotta  goddess tablet with raised arms, Kannia Sanctuary,  Gortys, 1350-1250 BC, Heraklion Archaeological Museum, white background. <br />
<br />
The Goddesses are crowned with symbols of earth and sky in the shapes of snakes and birds, describing attributes of the goddess as protector of nature.
  • Minoan Postpalatial terracotta  goddess statue with raised arms and crown,  Karphi Sanctuary 1200-1100 BC, Heraklion Archaeological Museum, grey background. <br />
<br />
The Goddesses are crowned with symbols of earth and sky in the shapes of snakes and birds, describing attributes of the goddess as protector of nature.
  • Minoan  pottery bath tub  larnax decorated with stylised octopuses,  Episkopi-Lerapetra 1350-1250 BC, Heraklion Archaeological  Museum.<br />
<br />
To the Greeks, the Underworld was entered by water. As with many other Minoan bathtubs, this one was probably later used as a coffin to convey the deceased across the sea, where marine imagery would be equally appropriate. The two functions of bathtubs, bathing and burial, combine in the story of Agamemnon who, on return from Troy, was murdered by his wife and her lover in a silver bath.
  • Minoan linea A tablet recording flocks of sheep, goats, oxen and pigs at "wa-to",  1800-1450 BC, Heraklion Archaeological  Museum, black background.
  • Minoan linea A tablet recording wool produced by the flock of the goddess Potnia,  1800-1450 BC, Heraklion Archaeological  Museum.
  • Minoan linea A tablet with administative script,  Knossos 1800-1450 BC, Heraklion Archaeological  Museum, grey background.
  • Minoan linea A tablet with administative script,  Knossos 1800-1450 BC, Heraklion Archaeological  Museum, grey background.
  • Very early unusual Minoan horned pot with white and red linear motifs,  vaulted tombs Lebena 3000-2100 BC BC, Heraklion Archaeological  Museum.<br />
<br />
Made of grey clay these pots are the earliest found in the Lebena vaulted tombs
  • Early Minoan model consecration bull horns,  Michlos Cemetery 2600-1900 BC BC, Heraklion Archaeological  Museum.
  • Early Minoan decorated clay jugs ,  Michlos Cemetery 2600-1900 BC BC, Heraklion Archaeological  Museum, grey background.
  • Early Minoan round metal jewel box with a dog in relief on lid,  George of the Dead 2600-2300 BC BC, Heraklion Archaeological  Museum, white background .
  • Early Minoan Stone jspouted bowl from the George of the Dead 3000-2000 BC BC, Heraklion Archaeological  Museum , black background.<br />
<br />
In the 3rd milleneum BC the invetion of new tools made of metal allowed stone to be carved and polished to high standards. Harder stone could also be used for making stone vessels
  • Vasiliki Ware "teapot" with elongated spot and characteristic mottled decorations,  Vasiliki 2300-1900 BC BC, Heraklion Archaeological  Museum.
  • Vasiliki Ware jug with characteristic mottled decorations,  Vasiliki 2300-1900 BC BC, Heraklion Archaeological  Museum, black background.
  • Vasiliki Ware jug with characteristic mottled decorations,  Vasiliki 2300-1900 BC BC, Heraklion Archaeological  Museum, white background.
  • Vasiliki Ware jug with characteristic mottled decorations,  Vasiliki 2300-1900 BC BC, Heraklion Archaeological  Museum, black background.
  • Minoan Kamares Ware vessels  with  polychrome decorations, Phaistos Palace 1800-1600 BC; Heraklion Archaeological  Museum, black background.<br />
<br />
This style of pottery is named afetr Kamares cave where this style of pottery was first found
  • Minoan Kamares Ware beak spouted "teapot" with herb strainer and  polychrome decorations, Phaistos 1800-1650 BC; Heraklion Archaeological  Museum, grey background.<br />
<br />
This style of pottery is named afetr Kamares cave where this style of pottery was first found
  • Minoan Kamares Ware beak spouted  jug with 2 handles and  polychrome decorations, Phaistos 1800-1650 BC; Heraklion Archaeological  Museum.<br />
<br />
This style of pottery is named afetr Kamares cave where this style of pottery was first found
  • Minoan clay fruit juicer bowl with clay grater, Phaistos Palace 1800-1600 BC; Heraklion Archaeological  Museum, white background.
  • Minoan Kamares "eggshell" ware cups with  with  polychrome decorations, from set found at Phaistos Palace 1800-1600 BC; Heraklion Archaeological  Museum, grey background.<br />
<br />
These cups found as parts of sets in Phaistos palace were names "eggshell" ware due to the very thin walls of the cups. This style of pottery is named afetr Kamares cave where this style of pottery was first found
  • Minoan Kamares "eggshell" ware cups with  with  polychrome decorations, from set found at Phaistos Palace 1800-1600 BC; Heraklion Archaeological  Museum.<br />
<br />
These cups found as parts of sets in Phaistos palace were names "eggshell" ware due to the very thin walls of the cups. This style of pottery is named afetr Kamares cave where this style of pottery was first found
  • Minoan Kamares Ware spouted jug with 2 handles with  polychrome decorations, Phaistos Palace 1800-1600 BC; Heraklion Archaeological  Museum, black background.<br />
<br />
This style of pottery is named afetr Kamares cave where this style of pottery was first found
  • Minoan Kamares "eggshell" ware cups with  with  polychrome decorations, from set found at Phaistos Palace 1800-1600 BC; Heraklion Archaeological  Museum, black background.<br />
<br />
These cups found as parts of sets in Phaistos palace were names "eggshell" ware due to the very thin walls of the cups. This style of pottery is named afetr Kamares cave where this style of pottery was first found
  • Minoan Kamares "eggshell" ware cups with  with  polychrome decorations, from set found at Phaistos Palace 1800-1600 BC; Heraklion Archaeological  Museum.<br />
<br />
These cups found as parts of sets in Phaistos palace were names "eggshell" ware due to the very thin walls of the cups. This style of pottery is named afetr Kamares cave where this style of pottery was first found
  • Minoan Kamares Ware spouted jar with 2 handles with  polychrome decorations, Phaistos Palace 1800-1600 BC; Heraklion Archaeological  Museum.<br />
<br />
This style of pottery is named afetr Kamares cave where this style of pottery was first found
  • Minoan Kamares Ware fruit stand with  polychrome decorations, Phaistos 1800-1650 BC; Heraklion Archaeological  Museum, grey background.<br />
<br />
This style of pottery is named afetr Kamares cave where this style of pottery was first found
  • Minoan Kamares Ware spouted  jug with polychrome decorations, Phaistos 1800-1650 BC; Heraklion Archaeological  Museum.<br />
<br />
This style of pottery is named afetr Kamares cave where this style of pottery was first found
  • Minoan Kamares Ware sputed jar  with elaborate polychrome  decorations , Knossos 1800-1700 BC; Heraklion Archaeological  Museum, black background.<br />
<br />
This style of pottery is named afetr Kamares cave where this style of pottery was first found. This design is similar to pots found at Phaistos so they all probably came from the same workshop,
  • Minoan Kamares Ware ewer jug with polychrome decorations , Phaistos 1900-1700 BC; Heraklion Archaeological  Museum, white background.<br />
<br />
This style of pottery is named afetr Kamares cave where this style of pottery was first found
  • Minoan Kamares Ware pithos storage container with polychrome decorations , Phaistos 1800-1700 BC; Heraklion Archaeological  Museum, white background.<br />
<br />
This style of pottery is named afetr Kamares cave where this style of pottery was first found
  • Minoan Kamares Ware amphora  jug with polychrome  palm leaf decorations , Phaistos 1900-1700 BC; Heraklion Archaeological  Museum, white background.<br />
<br />
This style of pottery is named afetr Kamares cave where this style of pottery was first found
  • Minoan Kamares Ware amphora  jug with polychrome  palm leaf decorations , Phaistos 1900-1700 BC; Heraklion Archaeological  Museum, grey background.<br />
<br />
This style of pottery is named afetr Kamares cave where this style of pottery was first found
  • Luxury Minoan Kamares Ware ewer jug with polychrome decorations , Phaistos 1900-1700 BC; Heraklion Archaeological  Museum, black background.<br />
<br />
This style of pottery is named afetr Kamares cave where this style of pottery was first found
  • Minoan Kamares Ware with polychrome marine decorations , Phaistos 1800-1700 BC; Heraklion Archaeological  Museum, grey background.<br />
<br />
This style of pottery is named afetr Kamares cave where this style of pottery was first found
  • Minoan Kamares Ware with polychrome decorations , Phaistos 1900-1700 BC; Heraklion Archaeological  Museum, grey background.<br />
<br />
This style of pottery is named afetr Kamares cave where this style of pottery was first found
  • Minoan Kamares Ware with polychrome decorations , Phaistos 1900-1700 BC; Heraklion Archaeological  Museum, white background.<br />
<br />
This style of pottery is named afetr Kamares cave where this style of pottery was first found
  • Minoan Kamares Ware with polychrome decorations on a rough prickly surface, Phaistos 1900-1700 BC;Heraklion Archaeological  Museum.<br />
<br />
This style of pottery is named afetr Kamares cave where this style of pottery was first found
  • Minoan Kamares Ware with polychrome decorations on a rough prickly surface, Poros-Heraklion 1900-1700 BC; Heraklion Archaeological  Museum, grey background.<br />
<br />
This style of pottery is named afetr Kamares cave where this style of pottery was first found
  • Minoan Kamares Ware with polychrome decorations on a rough prickly surface, Poros-Heraklion 1900-1700 BC; Heraklion Archaeological  Museum.<br />
<br />
This style of pottery is named afetr Kamares cave where this style of pottery was first found
  • Minoan Kamares Ware sup with bold geometric polychrome decorations , Phaistos 1900-1700 BC; Heraklion Archaeological  Museum, black background.<br />
<br />
This style of pottery is named afetr Kamares cave where this style of pottery was first found
  • Minoan Kamares Ware with polychrome decorations , Phaistos 1900-1700 BC; Heraklion Archaeological  Museum, grey background<br />
<br />
This style of pottery is named afetr Kamares cave where this style of pottery was first found
  • Minoan fruit stand with white and polychrome decorations , Poros-Heraklion 2100-1800 BC; Heraklion Archaeological  Museum, grey background.
  • Minoan terracotta beak spouted libation jugs , Poros-Heraklion 1600-1450 BC; Heraklion Archaeological  Museum, grey background.
  • Minoan decorated double ewer with crocus flower  design,  Poros Heraklion 1800-1650 BC;  Heraklion Archaeological  Museum.
  • Minoan decorated double ewer with crocus flower  design,  Poros Heraklion 1800-1650 BC;  Heraklion Archaeological  Museum, black background.
  • Minoan decorated Kamares  style jug with comncentric ring pattern, Poros cemetery 1800-1650 BC; Heraklion Archaeological  Museum, black background.
  • Minoan decorated stirrup jar, Malia Palace 1600-1450 BC; Heraklion Archaeological  Museum, grey background.
  • Minoan decorated stirrup jar, Malia Palace 1600-1450 BC; Heraklion Archaeological  Museum, black background.
  • Minoan decorated stirrup jar, Malia Palace 1600-1450 BC; Heraklion Archaeological  Museum, grey background.
  • Minoan decorated fruit stand for export, Kommos Harbour 1600-1450 BC; Heraklion Archaeological  Museum, white background.
  • Minoan decorated jug for export, Kommos Harbour 1600-1450 BC; Heraklion Archaeological  Museum, black background.
  • Minoan  bull's head rhython libation vessel, Gournia 1600-1450 BC; Heraklion Archaeological  Museum, grey background
  • The Minoan 'Dancer' fresco deicting a doddess descending from the heavens, Knossos Palace, 1600-1450 BC . Heraklion Archaeological Museum.,grey background<br />
<br />
The Dancer fresco depits a goddess descending from the heavens as indicated by her locks of hair streaming in the wind. This is a familiar convention in Minoan iconogragraphy of a goddess hovering in the air, her right arm extended in a gesture of authority. This fragment is psrt of a larger epiphony scene
  • The Minoan 'Bull leaping' fresco depicting an athlete leaping over a bulls back,  Knossos-Palace, 1600-1400 BC . Heraklion Archaeological Museum.<br />
<br />
there are 3 participants, two white skinned women and one brown skinned man. One female athele is restraining the bull ny the horns to slow it down as the male athlete performs a backward summersault ober the bulls back. The second female athlete waits to catch the leaper.<br />
<br />
The fresco was found on the east side of the palace of Knossos together with fragments depicting different stages of bull leaping.
  • The Minoan "Three columned Shrine" minture fresco Knossos-Palace, 1700-1450 BC . Heraklion Archaeological Museum.,grey background<br />
<br />
<br />
The freco depicts a portico with columns on which double axes are fixed, separated by horns of consecration, on a balustrade decorated with rosettes
  • Minoan vase decorated with circle motif , Poros-Heraklion 1700-1450 BC,  Heraklion Archaeological  Museum, grey background
  • Minoan clay spouted Pseudostomos jug with a  figure of eight design , Knossos Palace 1500-1450 BC BC, Heraklion Archaeological  Museum. balck background Cat No: 15045
  • Minoan claydecorated spouted Pseudostomos jug, Knossos Palace 1500-1450 BC BC, Heraklion Archaeological  Museum.
  • Minoan clay cup decorted design, Speial Palatial Style , Knossos Palace 1500-1450 BC BC, Heraklion Archaeological  Museum, black background.
  • Minoan clay vase with marine design, Speial Palatial Tradition , Knossos Palace 1500-1450 BC BC, Heraklion Archaeological  Museum.
  • Minoan clay vase with floral design, Speial Palatial Tradition , Knossos Palace 1500-1450 BC BC, Heraklion Archaeological  Museum, grey background.
  • Minoan conical fluted stone rhython from the  Knossos  Palace 1600-1450 BC, Heraklion Archaeological  Museum, grey background.
  • Minoan conical fluted stone rhython from the  Knossos  Palace 1600-1450 BC, Heraklion Archaeological  Museum.
  • Cycladic  clay jug with fish design from the  Knossos-Temple Repositories 1650-1550 BC, Heraklion Archaeological  Museum.<br />
<br />
Cycladic vessels found iun Knossos Temple Repositories show the trading links with the rest of ancient Greece
  • Minoan decorated clay flask  from the  Knossos-Temple Repositories 1650-1550 BC, Heraklion Archaeological  Museum.
  • Minoan decorated clay flask  from the  Knossos-Temple Repositories 1650-1550 BC, Heraklion Archaeological  Museum, black background.
  • Minoan stone ewer jug from the  Knossos-Isopata "Royal Tomb" 1600-1500 BC BC, Heraklion Archaeological  Museum.
  • Minoan decorated clay rhython, Pseira  1500-1450 BC BC, Heraklion Archaeological  Museum, grey background.
  • Minoan clay basket shaped vessel with double axes decorations,  Special Palatial Tradition , Pseira  1500-1400 BC BC, Heraklion Archaeological  Museum, grey background.
  • Minoan dagger with elaborate gold perforated hilt , Quartier Mu Malia 1800-1600 BC, Heraklion Archaeological  Museum.<br />
<br />
This dagger would have been a status object signifying rank and authority in the Malia Palace hierachy
  • Minoan  pottery gabled larnax coffin chest with bird and floral decorations,   1370-1250 BC, Heraklion Archaeological  Museum, grey background.
  • Minoan  pottery gabled larnax coffin chest with foliage decorations,  Anthanatoi 1370-1250 BC, Heraklion Archaeological  Museum, white background.
  • Minoan  pottery gabled larnax coffin chest with double axe and papyrus decorations,  Anthanatoi 1370-1250 BC, Heraklion Archaeological  Museum, grey background.
  • Minoan  pottery gabled larnax coffin chest with birds and marine animals,  Anthanatoi 1370-1250 BC, Heraklion Archaeological  Museum, grey background.
  • Minoan  pottery gabled larnax coffin chest with birds and marine animals,  Anthanatoi 1370-1250 BC, Heraklion Archaeological  Museum.
  • Minoan  pottery coffin chest coffin with gabled lid decorated with a net pattern,  Tylissos-Panokklisia 1350-1250 BC, Heraklion Archaeological  Museum.
  • Minoan  pottery coffin chest with gabled lid and winged griffin decoration, Palaikastro 1370-1300 BC, Heraklion Archaeological  Museum, grey background.<br />
<br />
The larnax chest is decorated the same on both sides with a winged griffin, horns of consecration and double axes, lilies growing from a rock, a large bird and a fish among astral symbols
  • Panorama of Minoan of the North Entrance Propylaeum with its painted charging  bull releif,  Knossos Palace archaeological site, Crete
  • Minoan of the North Entrance Propylaeum with its painted charging  bull releif,  Knossos Palace archaeological site, Crete
  • Panoroana of Minoan of the North Entrance Propylaeum with its painted charging  bull releif,  Knossos Palace archaeological site, Crete
  • "Prince of lilies" or "Priest-king Relief", plaster relief at the end of the Corridor of Processions, restored by Gilliéron, Knossos Minoan archaeological site
  • Reconstruction of a Minoan Bull relief fresco  of the Nouth Propylaeum,  Knossos  archaeological site, Crete
  • The Minoan  "Procession  Fresco' reconstructed at Knossos  archaeological site, Crete
  • Panorama of Minoan of the North Entrance Propylaeum with its painted charging  bull releif,  Knossos Palace archaeological site, Crete
  • "Prince of lilies" or "Priest-king Relief", plaster relief at the end of the Corridor of Processions, restored by Gilliéron, Knossos Minoan archaeological site
  • Minoan North Lustral basin ,  Palace archaeological site, Crete
  • Panoramic view of traditional blue domed Greek Orthodox church of Oia, Island of Thira, Santorini, Greece.
  • Sunset over the traditional Greek Orthodox churches of Oia (ia), Cyclades Island of  Thira, Santorini, Greece.<br />
<br />
The settlement of Oia had been mentioned in various travel reports before the beginning of Venetian rule, when Marco Sanudo founded the Duchy of Naxos in 1207 and feudal rule was instituted on Santorini. n 1537, Hayreddin Barbarossa conquered the Aegean islands and placed them under Sultan Selim II. However, Santorini remained under the Crispo family until 1566, passing then to Joseph Nasi and after his death in 1579 to the Ottoman Empire.
  • Sunset over the traditional Greek Orthodox churches of Oia (ia), Cyclades Island of  Thira, Santorini, Greece.<br />
<br />
The settlement of Oia had been mentioned in various travel reports before the beginning of Venetian rule, when Marco Sanudo founded the Duchy of Naxos in 1207 and feudal rule was instituted on Santorini. n 1537, Hayreddin Barbarossa conquered the Aegean islands and placed them under Sultan Selim II. However, Santorini remained under the Crispo family until 1566, passing then to Joseph Nasi and after his death in 1579 to the Ottoman Empire.
  • Minoan Bull wall art fresco , West Bastion, Knossos Palace, 1600-1450 BC. Heraklion Archaeological Museum.<br />
<br />
The Minoan Bull fresco was part of a larger composition which probably had a hunter or bull leaper in it. It is a masterpiece of Minoan naturalism and a work of high quality and expresive power.
  • Minoan fresco panel from the 'Lily Frescoes' from the 'Villa of the Lilies' Amnisos, 1600-1500 BC. Heraklion Archaeological Museum.  Grey Background. <br />
<br />
Ths freco depicts white lilies against a red background and red lilies against w white backgoround with long stems in front of a fence. The wall art uses fresco and 'in cavo' technique. Neopalatial Period.
  • Minoan floral wall art fresco from Knossos Palace, 1600-1300 BC. Heraklion Archaeological Museum.  Grey Background.
  • The Minoan 'Saffron Gatherer' wall art fresco, from 'House of Frescoes' Knossos Palace. 1700-1450 BC. Heraklion Archaeological Museum.  Grey Background. <br />
<br />
The 'Saffron Gatherers' fresco depicts a blue monket gatering saffron crocuses and placing them in a basket. The saffron is thought to have been a gift to the 'Great Goddess'. One of the earliest frescoes from Knossos.
  • Minoan 'Blue Monkey' wall art fresco from the 'House of Frescoes' Knossos Palace, 1600-1500 BC. Heraklion Archaeological Museum.
  • Minoan 'Prince of the Lilies' wall art freco, Knossos Palace, 1600-1450 BCHeraklion Archaeological Museum.<br />
<br />
An emblematic image of Minoan Crete this fresco was part of a larger composition in high relief. The fresco depicts a life size figure wearing a coloured kilt with a cod piece and a belt. A majestic crown on his head is adorned with papyrus lilies and peacock feathers. Neopalatial Period.

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