• The 14th Century Gothic style balcony on the south facade of The Doge's Palace, Palazzo Ducale, Venice Italy
  • The 14th Century Gothic style statues of the Doge & the winger lion of St Mark on the south facade of The Doge's Palace, Palazzo Ducale, Venice Italy
  • The Grand Canal from Ponte dell'Accademia at sunset; in the foreground Palazzo Cavalli-Franchetti
  • The Grand Canal from Ponte dell'Accademia at sunset; in the foreground Palazzo Cavalli-Franchetti, in the distance Santa Maria della Salute
  • Palazzo Ca'Rezzonico built in 1649 by Baldassarre Longhena in a Baroque style on the Grand Canal Venice
  • Palazzo Ca' d'Oro built in on the Grand Canal, Venice
  • Venetian Gothic Palaces on the Grand Canal Venice
  • Palazio Ca' Foscari, Built by the doge Francesco Foscari in 1453, is now the main seat of Ca' Foscari University of Venice..
  • Venetian Gothic Palaces on the Grand Canal Venice
  • Venetian Gothic Palaces on the Grand Canal Venice
  • Venetian Gothic Palaces on the Grand Canal Venice
  • The 14th Century Gothic style column capitals of The Doge's Palace on St Marks Square, Palazzo Ducale, Venice Italy
  • The 14th Century Gothic style column capitals of The Doge's Palace on St Marks Square, Palazzo Ducale, Venice Italy
  • The 14th Century Gothic style column capitals of The Doge's Palace on St Marks Square, Palazzo Ducale, Venice Italy
  • Paris - France - Montmatre - Retsaurant.
  • Paris - France - Montmatre - Retsaurant.
  • French Waiters - Paris France
  • Pottery drain pipes Érice, Erice, Sicily stock photos.
  • The Trinacria, Sicilian symbol, Érice, Erice, Sicily stock photos.
  • Pottery suns and  Trinacria in tourist shops and Sicilian pottery Érice, Erice, Sicily stock photos.
  • Tourist shops and Sicilian pottery plates  Érice, Erice, Sicily stock photos.
  • Tourist shops and Sicilian pottery Érice, Erice, Sicily stock photos.
  • Tourist shops and Sicilian pottery Érice, Erice, Sicily stock photos.
  • Torre de Re Frederico 2nd, Érice Duomo [Erice cathedral], Sicily stock photos.
  • Torre de Re Frederico 2nd, Érice Duomo [Erice cathedral], Sicily stock photos.
  • Towers of the church of San Martimo, Érice, Erice, Sicily stock photos.
  • View from  Érice, Erice, Sicily stock photos.
  • Plazza Umberto,  Érice, Erice, Sicily stock photos.
  • Torre de Re Frederico 2nd, Érice Duomo [Erice cathedral], Sicily stock photos.
  • Church of San Martimo, Érice, Erice, Sicily stock photos.
  • Church of San Martimo, Érice, Erice, Sicily stock photos.
  • Small passage through the walls of Érice, Erice, Sicily stock photos.
  • Polished stones of the roads of Érice, Erice, Sicily stock photos.
  • Narrow lanes of Érice, Erice, Sicily stock photos.
  • Narrow lanes of Érice, Erice, Sicily stock photos.
  • Narrow lanes of Érice, Erice, Sicily stock photos.
  • Medieval stone work in Érice, Erice, Sicily stock photos.
  • Medieval stone work in Érice, Erice, Sicily stock photos.
  • Polished stones of the roads of Érice, Erice, Sicily stock photos.
  • Torretta Pepoli, picturesque castle, Erice, Sicily , colour photo.
  • Torretta Pepoli, picturesque castle, Erice, Sicily , colour photo.
  • Torretta Pepoli, picturesque castle, Erice, Sicily , colour photo.
  • Torretta Pepoli, picturesque castle, Erice, Sicily , colour photo.
  • Torretta Pepoli, picturesque castle, Erice, Sicily , colour photo.
  • Torretta Pepoli, picturesque castle, Erice, Sicily , colour photo.
  • Torretta Pepoli, picturesque castle, Erice, Sicily , colour photo.
  • Toretta Popoli and the Castello di Vénere [ Venere ] Érice, Erice, Sicily stock photos.
  • Traditional thatched farm house at Sigliget - Balaton, Hungary
  • BBQ spare ribs in an american diner setting
  • BBQ spare ribs in an american diner setting
  • Square off Calle Fonte with well and venetian chimneys - Venice Italy
  • Grand Canal and Palaces - Venice Italy
  • Grand Canal and Palaces - Venice Italy
  • Grand Canal and Palaces - Venice Italy
  • Grand Canal and Palaces - Venice Italy
  • Meat Balls on spghetti with a tomato, basil & shalott sauce with a green salad in a table setting.
  • Statue of Aphrodite, a 2nd century Roman Copy. This sculpture depicts Aphrodite in the typical pose known as the Modest Aphrodite style or Dresden-Capitoline type and is a copy of a lost 4th century BC Aphrodite of Cnidos sculpture by Athenian sculpture Praxiteles. Naples National Archaeological Museum, Italy
  • Ancient Egyptian wall paintings of the Tomb of Iti and Neferu, Ritual slaughter scene Scene, Thebes, First Intermediate Period (2118 – 1980BC). Egyptian Museum, Turin. Schiapelli excavations cat 14345/15.<br />
<br />
The ritual slaughter scene depicts an ox being held down with blodd being collected in a bowl. 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. 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.
  • Ancient Egyptian cult statue of Amenhoptep I, limestone, New Kingdom, 19th Dynasty, (1292-1190 BC, Deir el-Medina. Egyptian Museum, Turin. Grey background.<br />
<br />
The cult of Amenhoptep I flourished during the 19th &20th Dynasties. This statue is typical of Theban sculpture of the Ramesside era : large eyes, full cheeks and aquiline nose. the kings skin colour is white rather than the more common red hue. This is typical of other Deir el-Medina statues of the era.  Drovetti collection. Cat 1372.
  • Ancient Egyptian cult statue of Amenhoptep I, limestone, New Kingdom, 19th Dynasty, (1292-1190 BC, Deir el-Medina. Egyptian Museum, Turin. Grey background.<br />
<br />
The cult of Amenhoptep I flourished during the 19th &20th Dynasties. This statue is typical of Theban sculpture of the Ramesside era : large eyes, full cheeks and aquiline nose. the kings skin colour is white rather than the more common red hue. This is typical of other Deir el-Medina statues of the era.  Drovetti collection. Cat 1372.
  • Picture & image of the medieval fortified gate to the Cathedral Of Transfiguration, Medieval Georgian Orthodox, 7-9th century,  Ruisi, Georgia.<br />
<br />
A typical Georgian cruciform & cupola church Ruisi Cathedral Of Transfiguration was built by King Vakhtang Gorgasali in a typical 7th century style.
  • Picture & image of the Cathedral Of Transfiguration, Medieval Georgian Orthodox, 7-9th century,  Ruisi, Georgia.<br />
<br />
A typical Georgian cruciform & cupola church Ruisi Cathedral Of Transfiguration was built by King Vakhtang Gorgasali in a typical 7th century style.
  • Picture & image of the Cathedral Of Transfiguration, Medieval Georgian Orthodox, 7-9th century,  Ruisi, Georgia.<br />
<br />
A typical Georgian cruciform & cupola church Ruisi Cathedral Of Transfiguration was built by King Vakhtang Gorgasali in a typical 7th century style.
  • Romanesque painted Gia altar front<br />
<br />
Second quarter of the thirteenth century from the church of Santa Maria Gia and Xia, High Ribagorca, Huesca, Spain<br />
<br />
Acquired by the National Art Museum of Catalonia, Barcelona 1932. Ref: 3902 MNAC.<br />
<br />
Romanesque painted altar front from Santa Maria Gia, Spain, showing Christ Pantocrator. The  exceptionally the bottom frame remains the signature of the author, a painter named John (Johannes). This work is typical of the Ribagorca style and incorporates early gothic compositional styles and narrative that subtly illuminates the faces. Also typical of the Ribagorca workshop are the  decorated plaster reliefs on the entire surface of the front, which is covered with the characteristic gold leaf.
  • Romanesque painted Gia altar front<br />
<br />
Second quarter of the thirteenth century from the church of Santa Maria Gia and Xia, High Ribagorca, Huesca, Spain<br />
<br />
Acquired by the National Art Museum of Catalonia, Barcelona 1932. Ref: 3902 MNAC.<br />
<br />
Romanesque painted altar front from Santa Maria Gia, Spain, showing Scenes from the life of Saint Martin. The  exceptionally the bottom frame remains the signature of the author, a painter named John (Johannes). This work is typical of the Ribagorca style and incorporates early gothic compositional styles and narrative that subtly illuminates the faces. Also typical of the Ribagorca workshop are the  decorated plaster reliefs on the entire surface of the front, which is covered with the characteristic gold leaf.
  • Romanesque painted Gia altar front<br />
<br />
Second quarter of the thirteenth century from the church of Santa Maria Gia and Xia, High Ribagorca, Huesca, Spain<br />
<br />
Acquired by the National Art Museum of Catalonia, Barcelona 1932. Ref: 3902 MNAC.<br />
<br />
Romanesque painted altar front from Santa Maria Gia, Spain, showing Scenes from the life of Saint Martin. The  exceptionally the bottom frame remains the signature of the author, a painter named John (Johannes). This work is typical of the Ribagorca style and incorporates early gothic compositional styles and narrative that subtly illuminates the faces. Also typical of the Ribagorca workshop are the  decorated plaster reliefs on the entire surface of the front, which is covered with the characteristic gold leaf.
  • Romanesque painted Gia altar front<br />
<br />
Second quarter of the thirteenth century from the church of Santa Maria Gia and Xia, High Ribagorca, Huesca, Spain<br />
<br />
Acquired by the National Art Museum of Catalonia, Barcelona 1932. Ref: 3902 MNAC.<br />
<br />
Romanesque painted altar front from Santa Maria Gia, Spain, showing Christ Pantocrator. The  exceptionally the bottom frame remains the signature of the author, a painter named John (Johannes). This work is typical of the Ribagorca style and incorporates early gothic compositional styles and narrative that subtly illuminates the faces. Also typical of the Ribagorca workshop are the  decorated plaster reliefs on the entire surface of the front, which is covered with the characteristic gold leaf.
  • Romanesque painted Gia altar front<br />
<br />
Second quarter of the thirteenth century from the church of Santa Maria Gia and Xia, High Ribagorca, Huesca, Spain<br />
<br />
Acquired by the National Art Museum of Catalonia, Barcelona 1932. Ref: 3902 MNAC.<br />
<br />
Romanesque painted altar front from Santa Maria Gia, Spain, showing Christ Pantocrator. The  exceptionally the bottom frame remains the signature of the author, a painter named John (Johannes). This work is typical of the Ribagorca style and incorporates early gothic compositional styles and narrative that subtly illuminates the faces. Also typical of the Ribagorca workshop are the  decorated plaster reliefs on the entire surface of the front, which is covered with the characteristic gold leaf.
  • Ancient Egyptian wall paintings of the Tomb of Iti and Neferu, Ritual slaughter scene Scene, Thebes, First Intermediate Period (2118 – 1980BC). Egyptian Museum, Turin. Schiapelli excavations cat 14345/15.<br />
<br />
The ritual slaughter scene depicts an ox being held down with blodd being collected in a bowl. 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. 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.
  • Ancient Egyptian cult statue of Amenhoptep I, limestone, New Kingdom, 19th Dynasty, (1292-1190 BC, Deir el-Medina. Egyptian Museum, Turin. white background<br />
<br />
The cult of Amenhoptep I flourished during the 19th &20th Dynasties. This statue is typical of Theban sculpture of the Ramesside era : large eyes, full cheeks and aquiline nose. the kings skin colour is white rather than the more common red hue. This is typical of other Deir el-Medina statues of the era.  Drovetti collection. Cat 1372.
  • Ancient Egyptian cult statue of Amenhoptep I, limestone, New Kingdom, 19th Dynasty, (1292-1190 BC, Deir el-Medina. Egyptian Museum, Turin. black background.<br />
<br />
The cult of Amenhoptep I flourished during the 19th &20th Dynasties. This statue is typical of Theban sculpture of the Ramesside era : large eyes, full cheeks and aquiline nose. the kings skin colour is white rather than the more common red hue. This is typical of other Deir el-Medina statues of the era.  Drovetti collection. Cat 1372.
  • Ancient Egyptian cult statue of Amenhoptep I, limestone, New Kingdom, 19th Dynasty, (1292-1190 BC, Deir el-Medina. Egyptian Museum, Turin. Grey background.<br />
<br />
The cult of Amenhoptep I flourished during the 19th &20th Dynasties. This statue is typical of Theban sculpture of the Ramesside era : large eyes, full cheeks and aquiline nose. the kings skin colour is white rather than the more common red hue. This is typical of other Deir el-Medina statues of the era.  Drovetti collection. Cat 1372.
  • Picture & image of Georgian style exterior stonework of the Cathedral Of Transfiguration, Medieval Georgian Orthodox, 7-9th century,  Ruisi, Georgia.<br />
<br />
A typical Georgian cruciform & cupola church Ruisi Cathedral Of Transfiguration was built by King Vakhtang Gorgasali in a typical 7th century style.
  • Picture & image of sculpted geometric Georgian style window surround stonework of the Cathedral Of Transfiguration, Medieval Georgian Orthodox, 7-9th century,  Ruisi, Georgia.<br />
<br />
A typical Georgian cruciform & cupola church Ruisi Cathedral Of Transfiguration was built by King Vakhtang Gorgasali in a typical 7th century style.
  • Picture & image of sculpted geometric Georgian style window surround stonework of the Cathedral Of Transfiguration, Medieval Georgian Orthodox, 7-9th century,  Ruisi, Georgia.<br />
<br />
A typical Georgian cruciform & cupola church Ruisi Cathedral Of Transfiguration was built by King Vakhtang Gorgasali in a typical 7th century style.
  • Picture & image of the medieval fortified gate to the Cathedral Of Transfiguration, Medieval Georgian Orthodox, 7-9th century,  Ruisi, Georgia.<br />
<br />
A typical Georgian cruciform & cupola church Ruisi Cathedral Of Transfiguration was built by King Vakhtang Gorgasali in a typical 7th century style.
  • Picture & image of the central cupola of the Cathedral Of Transfiguration, Medieval Georgian Orthodox, 7-9th century,  Ruisi, Georgia.<br />
<br />
A typical Georgian cruciform & cupola church Ruisi Cathedral Of Transfiguration was built by King Vakhtang Gorgasali in a typical 7th century style.
  • Picture & image of the Cathedral Of Transfiguration, Medieval Georgian Orthodox, 7-9th century,  Ruisi, Georgia.<br />
<br />
A typical Georgian cruciform & cupola church Ruisi Cathedral Of Transfiguration was built by King Vakhtang Gorgasali in a typical 7th century style.
  • Romanesque painted Gia altar front<br />
<br />
Second quarter of the thirteenth century from the church of Santa Maria Gia and Xia, High Ribagorca, Huesca, Spain<br />
<br />
Acquired by the National Art Museum of Catalonia, Barcelona 1932. Ref: 3902 MNAC.<br />
<br />
Romanesque painted altar front from Santa Maria Gia, Spain, showing Scenes from the life of Saint Martin. The  exceptionally the bottom frame remains the signature of the author, a painter named John (Johannes). This work is typical of the Ribagorca style and incorporates early gothic compositional styles and narrative that subtly illuminates the faces. Also typical of the Ribagorca workshop are the  decorated plaster reliefs on the entire surface of the front, which is covered with the characteristic gold leaf.
  • Romanesque painted Gia altar front<br />
<br />
Second quarter of the thirteenth century from the church of Santa Maria Gia and Xia, High Ribagorca, Huesca, Spain<br />
<br />
Acquired by the National Art Museum of Catalonia, Barcelona 1932. Ref: 3902 MNAC.<br />
<br />
Romanesque painted altar front from Santa Maria Gia, Spain, showing Scenes from the life of Saint Martin. The  exceptionally the bottom frame remains the signature of the author, a painter named John (Johannes). This work is typical of the Ribagorca style and incorporates early gothic compositional styles and narrative that subtly illuminates the faces. Also typical of the Ribagorca workshop are the  decorated plaster reliefs on the entire surface of the front, which is covered with the characteristic gold leaf.
  • Romanesque painted Gia altar front<br />
<br />
Second quarter of the thirteenth century from the church of Santa Maria Gia and Xia, High Ribagorca, Huesca, Spain<br />
<br />
Acquired by the National Art Museum of Catalonia, Barcelona 1932. Ref: 3902 MNAC.<br />
<br />
Romanesque painted altar front from Santa Maria Gia, Spain, showing Scenes from the life of Saint Martin. The  exceptionally the bottom frame remains the signature of the author, a painter named John (Johannes). This work is typical of the Ribagorca style and incorporates early gothic compositional styles and narrative that subtly illuminates the faces. Also typical of the Ribagorca workshop are the  decorated plaster reliefs on the entire surface of the front, which is covered with the characteristic gold leaf.
  • Romanesque painted Gia altar front<br />
<br />
Second quarter of the thirteenth century from the church of Santa Maria Gia and Xia, High Ribagorca, Huesca, Spain<br />
<br />
Acquired by the National Art Museum of Catalonia, Barcelona 1932. Ref: 3902 MNAC.<br />
<br />
Romanesque painted altar front from Santa Maria Gia, Spain, showing Scenes from the life of Saint Martin. The  exceptionally the bottom frame remains the signature of the author, a painter named John (Johannes). This work is typical of the Ribagorca style and incorporates early gothic compositional styles and narrative that subtly illuminates the faces. Also typical of the Ribagorca workshop are the  decorated plaster reliefs on the entire surface of the front, which is covered with the characteristic gold leaf.
  • Romanesque painted Gia altar front<br />
<br />
Second quarter of the thirteenth century from the church of Santa Maria Gia and Xia, High Ribagorca, Huesca, Spain<br />
<br />
Acquired by the National Art Museum of Catalonia, Barcelona 1932. Ref: 3902 MNAC.<br />
<br />
Romanesque painted altar front from Santa Maria Gia, Spain, showing Scenes from the life of Saint Martin. The  exceptionally the bottom frame remains the signature of the author, a painter named John (Johannes). This work is typical of the Ribagorca style and incorporates early gothic compositional styles and narrative that subtly illuminates the faces. Also typical of the Ribagorca workshop are the  decorated plaster reliefs on the entire surface of the front, which is covered with the characteristic gold leaf.
  • Romanesque painted Gia altar front<br />
<br />
Second quarter of the thirteenth century from the church of Santa Maria Gia and Xia, High Ribagorca, Huesca, Spain<br />
<br />
Acquired by the National Art Museum of Catalonia, Barcelona 1932. Ref: 3902 MNAC.<br />
<br />
Romanesque painted altar front from Santa Maria Gia, Spain, showing Scenes from the life of Saint Martin. The  exceptionally the bottom frame remains the signature of the author, a painter named John (Johannes). This work is typical of the Ribagorca style and incorporates early gothic compositional styles and narrative that subtly illuminates the faces. Also typical of the Ribagorca workshop are the  decorated plaster reliefs on the entire surface of the front, which is covered with the characteristic gold leaf.
  • Romanesque painted Gia altar front<br />
<br />
Second quarter of the thirteenth century from the church of Santa Maria Gia and Xia, High Ribagorca, Huesca, Spain<br />
<br />
Acquired by the National Art Museum of Catalonia, Barcelona 1932. Ref: 3902 MNAC.<br />
<br />
Romanesque painted altar front from Santa Maria Gia, Spain, showing Scenes from the life of Saint Martin. The  exceptionally the bottom frame remains the signature of the author, a painter named John (Johannes). This work is typical of the Ribagorca style and incorporates early gothic compositional styles and narrative that subtly illuminates the faces. Also typical of the Ribagorca workshop are the  decorated plaster reliefs on the entire surface of the front, which is covered with the characteristic gold leaf.
  • Romanesque painted Gia altar front<br />
<br />
Second quarter of the thirteenth century from the church of Santa Maria Gia and Xia, High Ribagorca, Huesca, Spain<br />
<br />
Acquired by the National Art Museum of Catalonia, Barcelona 1932. Ref: 3902 MNAC.<br />
<br />
Romanesque painted altar front from Santa Maria Gia, Spain, showing Scenes from the life of Saint Martin. The  exceptionally the bottom frame remains the signature of the author, a painter named John (Johannes). This work is typical of the Ribagorca style and incorporates early gothic compositional styles and narrative that subtly illuminates the faces. Also typical of the Ribagorca workshop are the  decorated plaster reliefs on the entire surface of the front, which is covered with the characteristic gold leaf.
  • Romanesque painted Gia altar front<br />
<br />
Second quarter of the thirteenth century from the church of Santa Maria Gia and Xia, High Ribagorca, Huesca, Spain<br />
<br />
Acquired by the National Art Museum of Catalonia, Barcelona 1932. Ref: 3902 MNAC.<br />
<br />
Romanesque painted altar front from Santa Maria Gia, Spain, showing Scenes from the life of Saint Martin. The  exceptionally the bottom frame remains the signature of the author, a painter named John (Johannes). This work is typical of the Ribagorca style and incorporates early gothic compositional styles and narrative that subtly illuminates the faces. Also typical of the Ribagorca workshop are the  decorated plaster reliefs on the entire surface of the front, which is covered with the characteristic gold leaf.
  • Romanesque painted Gia altar front<br />
<br />
Second quarter of the thirteenth century from the church of Santa Maria Gia and Xia, High Ribagorca, Huesca, Spain<br />
<br />
Acquired by the National Art Museum of Catalonia, Barcelona 1932. Ref: 3902 MNAC.<br />
<br />
Romanesque painted altar front from Santa Maria Gia, Spain, showing Scenes from the life of Saint Martin. The  exceptionally the bottom frame remains the signature of the author, a painter named John (Johannes). This work is typical of the Ribagorca style and incorporates early gothic compositional styles and narrative that subtly illuminates the faces. Also typical of the Ribagorca workshop are the  decorated plaster reliefs on the entire surface of the front, which is covered with the characteristic gold leaf.
  • Ancient Egyptian wall paintings of the Tomb of Iti and Neferu, Ritual slaughter scene Scene, Thebes, First Intermediate Period (2118 – 1980BC). Egyptian Museum, Turin. Schiapelli excavations cat 14345/15.<br />
<br />
The ritual slaughter scene depicts an ox being held down with blodd being collected in a bowl. 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. 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.
  • Ancient Egyptian wall paintings of the Tomb of Iti and Neferu, Ritual slaughter scene Scene, Thebes, First Intermediate Period (2118 – 1980BC). Egyptian Museum, Turin. Schiapelli excavations cat 14345/15.<br />
<br />
The ritual slaughter scene depicts an ox being held down with blodd being collected in a bowl. 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. 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.
  • Picture & image of Georgian style exterior stonework of the Cathedral Of Transfiguration, Medieval Georgian Orthodox, 7-9th century,  Ruisi, Georgia.<br />
<br />
A typical Georgian cruciform & cupola church Ruisi Cathedral Of Transfiguration was built by King Vakhtang Gorgasali in a typical 7th century style.
  • Picture & image of the medieval fortified gate to the Cathedral Of Transfiguration, Medieval Georgian Orthodox, 7-9th century,  Ruisi, Georgia.<br />
<br />
A typical Georgian cruciform & cupola church Ruisi Cathedral Of Transfiguration was built by King Vakhtang Gorgasali in a typical 7th century style.
  • Picture & image of the central cupola of the Cathedral Of Transfiguration, Medieval Georgian Orthodox, 7-9th century,  Ruisi, Georgia.<br />
<br />
A typical Georgian cruciform & cupola church Ruisi Cathedral Of Transfiguration was built by King Vakhtang Gorgasali in a typical 7th century style.
  • Picture & image of the Cathedral Of Transfiguration, Medieval Georgian Orthodox, 7-9th century,  Ruisi, Georgia.<br />
<br />
A typical Georgian cruciform & cupola church Ruisi Cathedral Of Transfiguration was built by King Vakhtang Gorgasali in a typical 7th century style.
  • Cafeteria Balkonlu a typical fairy chimney cave house, Uchisar, near Goreme, Cappadocia, Nevsehir, Turkey
  • Roman relief garland  sculpted sarcophagus, style typical of Pamphylia, 3rd Century AD, Konya Archaeological Museum, Turkey. Against a white background.
  • Side panel of a Roman relief garland  sculpted sarcophagus, style typical of Pamphylia, 3rd Century AD, Konya Archaeological Museum, Turkey. Against a warm art background.
  • Statue of Aphrodite, a 2nd century Roman Copy. This sculpture depicts Aphrodite in the typical pose known as the Modest Aphrodite style or Capitoline type and is a copy of a lost 4th century BC Aphrodite of Cnidos sculpture by Athenian sculpture Praxiteles. Naples National Archaeological Museum, Italy
  • Torso of Venus (Greek goddess of love), 2nd century Roma copy found near Florence. This sculpture depicts Aphrodite in the typical pose known as the Modest Aphrodite style and is a copy of a lost 4th century BC Aphrodite of Cnidos sculpture by Athenian sculpture Praxiteles.This copy follows the style of the late Hellanistic type known as the “Medici Venus”. Altes Museum Berlin
  • Statue of Venus Marina (Greek Goddess of love), 1st century Roma copy found near Florence. This high quality statue of Venus of Aphrodite This sculpture depicts Aphrodite in the typical pose known as the Modest Aphrodite style and is a copy of a lost 4th century BC Aphrodite of Cnidos sculpture by Athenian sculpture Praxiteles. In this aviation there is evidence that Venus leaned on a pillar with a dolphin which was a pointer to her having been born in the sea. Altes Museum Berlin
  • Statue of Venus Marina (Greek Goddess of love), 1st century Roma copy found near Florence. This high quality statue of Venus of Aphrodite This sculpture depicts Aphrodite in the typical pose known as the Modest Aphrodite style and is a copy of a lost 4th century BC Aphrodite of Cnidos sculpture by Athenian sculpture Praxiteles. In this aviation there is evidence that Venus leaned on a pillar with a dolphin which was a pointer to her having been born in the sea. Altes Museum Berlin
  • Roman statue of Augustus as Pontifex Maximus, circa 17-14 BC.  This statue of Augustus was typical of the approved style that Augustus used to control his public image. As Pontifex Maximus the statue emphasises the piety of the ruler and his reverence for the gods and traditions of Rome. Augustus thus revitalised the role and function of the most ancient Roman priesthoods and exalted the myths that narrated the origins of Rome. The statue is part of the political propaganda that Augustus used to cement his position of first amongst equals to the very conservative Romans.  National Roman Museum, Rome.
  • Roman statue of Augustus as Pontifex Maximus, circa 17-14 BC.  This statue of Augustus was typical of the approved style that Augustus used to control his public image. As Pontifex Maximus the statue emphasises the piety of the ruler and his reverence for the gods and traditions of Rome. Augustus thus revitalised the role and function of the most ancient Roman priesthoods and exalted the myths that narrated the origins of Rome. The statue is part of the political propaganda that Augustus used to cement his position of first amongst equals to the very conservative Romans.  National Roman Museum, Rome.
  • Roman statue of Augustus as Pontifex Maximus, circa 17-14 BC.  This statue of Augustus was typical of the approved style that Augustus used to control his public image. As Pontifex Maximus the statue emphasises the piety of the ruler and his reverence for the gods and traditions of Rome. Augustus thus revitalised the role and function of the most ancient Roman priesthoods and exalted the myths that narrated the origins of Rome. The statue is part of the political propaganda that Augustus used to cement his position of first amongst equals to the very conservative Romans.  National Roman Museum, Rome.
  • Roman portrait bust of a young man from 110 AD. In this portrait, the hairstyle and facial features are typical of the Trajan era of portraiture. The hairstyle is characterised by a slight central parting on the forehead . Inv 287, The National Roman Museum, Rome, Italy
  • Statue of Aphrodite, a 2nd century Roman Copy. This sculpture depicts Aphrodite in the typical pose known as the Modest Aphrodite style or Dresden-Capitoline type and is a copy of a lost 4th century BC Aphrodite of Cnidos sculpture by Athenian sculpture Praxiteles. Naples National Archaeological Museum, Italy
  • Statue of Aphrodite, a 2nd century Roman Copy. This sculpture depicts Aphrodite in the typical pose known as the Modest Aphrodite style or Dresden-Capitoline type and is a copy of a lost 4th century BC Aphrodite of Cnidos sculpture by Athenian sculpture Praxiteles. Naples National Archaeological Museum, Italy
  • Statue of Aphrodite, a 2nd century Roman Copy. This sculpture depicts Aphrodite in the typical pose known as the Modest Aphrodite style or Dresden-Capitoline type and is a copy of a lost 4th century BC Aphrodite of Cnidos sculpture by Athenian sculpture Praxiteles. Naples National Archaeological Museum, Italy
  • Statue of Aphrodite, a 1st century Roman Copy with a portrait head. This sculpture depicts Aphrodite in the typical pose known as the Modest Aphrodite style or Capitoline type and is a copy of a lost 4th century BC Aphrodite of Cnidos sculpture by Athenian sculpture Praxiteles. Naples National Archaeological Museum, Italy
  • Statue of Aphrodite, a 2nd century Roman Copy. This sculpture depicts Aphrodite in the typical pose known as the Modest Aphrodite style or Dresden-Capitoline type and is a copy of a lost 4th century BC Aphrodite of Cnidos sculpture by Athenian sculpture Praxiteles. Naples National Archaeological Museum, Italy
  • Romanesque frescoes of a Griffen typical of Catalan Court painting from 1200. From the ancient monastery of San Pedro de Arlanza, Buros, Spain. Painted around 1210. National Art Museum of Catalonia, Barcelona. MNAC 40142
  • Corinthian columns of the Bath Gymnasium complex of Sardis, a typical example of the colonnaded palaestra front of a Hellenistic 1st cent. AD Greco Roman baths of the western & southern region of Anatolia. Sardis archaeological site, Hermus valley, Turkey. A Harvard Art Museum excavation project.
  • The Bath Gymnasium complex of Sardis, a typical example of the colonnaded palaestra front of a Hellenistic 1st cent. AD Greco Roman baths of the western & southern region of Anatolia. Sardis archaeological site, Hermus valley, Turkey. A Harvard Art Museum excavation project.
  • The Bath Gymnasium complex of Sardis, a typical example of the colonnaded palaestra front of a Hellenistic 1st cent. AD Greco Roman baths of the western & southern region of Anatolia. Sardis archaeological site, Hermus valley, Turkey. A Harvard Art Museum excavation project.
  • Lely's Venus (Aphrodite). 1st or 2nd cent. AD Roman copy of a Greek original. The goddess Venus id surprised whilst bathing and she nervously turns. Her hair is in the style typical of the time and her pose has been designed to be unrevealing from any angle.  British Museum Assyrian  Archaeological exhibit.
  • Lely's Venus (Aphrodite). 1st or 2nd cent. AD Roman copy of a Greek original. The goddess Venus id surprised whilst bathing and she nervously turns. Her hair is in the style typical of the time and her pose has been designed to be unrevealing from any angle.  British Museum Assyrian  Archaeological exhibit.
  • Lely's Venus (Aphrodite). 1st or 2nd cent. AD Roman copy of a Greek original. The goddess Venus id surprised whilst bathing and she nervously turns. Her hair is in the style typical of the time and her pose has been designed to be unrevealing from any angle.  British Museum Assyrian  Archaeological exhibit.
  • Early Minoan rounded teapot with typical brownish red painted bhatched lines,  Hagios Onouphrios 2900-1900 BC BC, Heraklion Archaeological  Museum, white background.
  • Early Minoan rounded teapot with typical brownish red painted bhatched lines,  Hagios Onouphrios 2900-1900 BC BC, Heraklion Archaeological  Museum.
  • Early Minoan rounded jug with typical brownish red painted converging daigonal lines,  Hagios Onouphrios 2900-1900 BC BC, Heraklion Archaeological  Museum, grey background.
  • Early Minoan rounded jug with typical brownish red painted converging daigonal lines,  Hagios Onouphrios 2900-1900 BC BC, Heraklion Archaeological  Museum, black background.
  • Early Minoan rounded jug with typical brownish red painted converging daigonal lines,  Hagios Onouphrios 2900-1900 BC BC, Heraklion Archaeological  Museum.
  • Early Minoan rounded jug with typical brownish red painted converging daigonal lines,  Hagios Onouphrios 2900-1900 BC BC, Heraklion Archaeological  Museum, white background.
  • Cafeteria Balkonlu a typical fairy chimney cave house, Uchisar, near Goreme, Cappadocia, Nevsehir, Turkey
  • Cafeteria Balkonlu a typical fairy chimney cave house, Uchisar, near Goreme, Cappadocia, Nevsehir, Turkey
  • Roman relief garland  sculpted sarcophagus, style typical of Pamphylia, 3rd Century AD, Konya Archaeological Museum, Turkey.
  • Roman relief garland  sculpted sarcophagus, style typical of Pamphylia, 3rd Century AD, Konya Archaeological Museum, Turkey. Against a grey background
  • Roman relief garland  sculpted sarcophagus, style typical of Pamphylia, 3rd Century AD, Konya Archaeological Museum, Turkey.
  • End panel of a Roman relief garland  sculpted sarcophagus, style typical of Pamphylia, 3rd Century AD, Konya Archaeological Museum, Turkey. Against a black background
  • End panel of a Roman relief garland  sculpted sarcophagus, style typical of Pamphylia, 3rd Century AD, Konya Archaeological Museum, Turkey. Against a grey background
  • End panel of a Roman relief garland  sculpted sarcophagus, style typical of Pamphylia, 3rd Century AD, Konya Archaeological Museum, Turkey. Against a warm art background.
  • End panel of a Roman relief garland  sculpted sarcophagus, style typical of Pamphylia, 3rd Century AD, Konya Archaeological Museum, Turkey.
  • Side panel of a Roman relief garland  sculpted sarcophagus, style typical of Pamphylia, 3rd Century AD, Konya Archaeological Museum, Turkey. Against a black background
  • Side panel of a Roman relief garland  sculpted sarcophagus, style typical of Pamphylia, 3rd Century AD, Konya Archaeological Museum, Turkey. Against a white background.
  • Side panel of a Roman relief garland  sculpted sarcophagus, style typical of Pamphylia, 3rd Century AD, Konya Archaeological Museum, Turkey. Against a grey background
  • Wild boar heads outside a typical Norcineria shop, Norcia, Umbria, Italy
  • 1st Century BC statue of Aphordite by Menophantos. The casket of the sculpture is inscribed “ of the Aphrodite which is situated in the Troad (Troy) Menophantos made it”. This sculpture depicts Aphrodite in the typical pose known as the Modest Aphrodite style and is a copy of a lost 4th century BC Aphrodite of Cnidos sculpture by Athenian sculpture Praxiteles. Capitoline Museums, Rome
  • 1st Century BC statue of Aphordite by Menophantos. The casket of the sculpture is inscribed “ of the Aphrodite which is situated in the Troad (Troy) Menophantos made it”. This sculpture depicts Aphrodite in the typical pose known as the Modest Aphrodite style and is a copy of a lost 4th century BC Aphrodite of Cnidos sculpture by Athenian sculpture Praxiteles. Capitoline Museums, Rome
  • 1st Century BC statue of Aphordite by Menophantos. The casket of the sculpture is inscribed “ of the Aphrodite which is situated in the Troad (Troy) Menophantos made it”. This sculpture depicts Aphrodite in the typical pose known as the Modest Aphrodite style and is a copy of a lost 4th century BC Aphrodite of Cnidos sculpture by Athenian sculpture Praxiteles. Capitoline Museums, Rome
  • 1st Century BC statue of Aphordite by Menophantos. The casket of the sculpture is inscribed “ of the Aphrodite which is situated in the Troad (Troy) Menophantos made it”. This sculpture depicts Aphrodite in the typical pose known as the Modest Aphrodite style and is a copy of a lost 4th century BC Aphrodite of Cnidos sculpture by Athenian sculpture Praxiteles. Capitoline Museums, Rome
  • 1st Century BC statue of Aphordite by Menophantos. The casket of the sculpture is inscribed “ of the Aphrodite which is situated in the Troad (Troy) Menophantos made it”. This sculpture depicts Aphrodite in the typical pose known as the Modest Aphrodite style and is a copy of a lost 4th century BC Aphrodite of Cnidos sculpture by Athenian sculpture Praxiteles. Capitoline Museums, Rome
  • Statue of Aphrodite, a 2nd century Roman Copy. This sculpture depicts Aphrodite in the typical pose known as the Modest Aphrodite style or Capitoline type and is a copy of a lost 4th century BC Aphrodite of Cnidos sculpture by Athenian sculpture Praxiteles. Naples National Archaeological Museum, Italy
  • Statue of Aphrodite, a 1st century Roman Copy with a portrait head. This sculpture depicts Aphrodite in the typical pose known as the Modest Aphrodite style or Capitoline type and is a copy of a lost 4th century BC Aphrodite of Cnidos sculpture by Athenian sculpture Praxiteles. Naples National Archaeological Museum, Italy
  • Statue of Aphrodite, a 1st century Roman Copy with a portrait head. This sculpture depicts Aphrodite in the typical pose known as the Modest Aphrodite style or Capitoline type and is a copy of a lost 4th century BC Aphrodite of Cnidos sculpture by Athenian sculpture Praxiteles. Naples National Archaeological Museum, Italy
  • Statue of Aphrodite, a 1st century Roman Copy with a portrait head. This sculpture depicts Aphrodite in the typical pose known as the Modest Aphrodite style or Capitoline type and is a copy of a lost 4th century BC Aphrodite of Cnidos sculpture by Athenian sculpture Praxiteles. Naples National Archaeological Museum, Italy
  • Statue of Aphrodite, a 2nd century Roman Copy. This sculpture depicts Aphrodite in the typical pose known as the Modest Aphrodite style or Dresden-Capitoline type and is a copy of a lost 4th century BC Aphrodite of Cnidos sculpture by Athenian sculpture Praxiteles. Farnese Collection, Naples  National Archaeological Museum, Italy
  • Statue of Aphrodite, a 2nd century Roman Copy. This sculpture depicts Aphrodite in the typical pose known as the Modest Aphrodite style or Dresden-Capitoline type and is a copy of a lost 4th century BC Aphrodite of Cnidos sculpture by Athenian sculpture Praxiteles. Naples National Archaeological Museum, Italy
  • Statue of Aphrodite, a 2nd century Roman Copy. This sculpture depicts Aphrodite in the typical pose known as the Modest Aphrodite style or Dresden-Capitoline type and is a copy of a lost 4th century BC Aphrodite of Cnidos sculpture by Athenian sculpture Praxiteles. Naples National Archaeological Museum, Italy
  • Statue of Aphrodite, a 2nd century Roman Copy. This sculpture depicts Aphrodite in the typical pose known as the Modest Aphrodite style or Dresden-Capitoline type and is a copy of a lost 4th century BC Aphrodite of Cnidos sculpture by Athenian sculpture Praxiteles. Inv 6283 - Farnese Collection. Naples National Archaeological Museum, Italy
  • Roman portrait bust of a flavian women possibly Domita, circa 69-96 AD excavated from Terracina. This portrait can be dated from the typical hairstyle made popular by Flavian women. It may be of Domitia Longina who was  wife to the Roman Emperor Domitian. The National Roman Museum, Rome, Italy
  • Roman portrait bust of a flavian women possibly Domita, circa 69-96 AD excavated from Terracina. This portrait can be dated from the typical hairstyle made popular by Flavian women. It may be of Domitia Longina who was  wife to the Roman Emperor Domitian. The National Roman Museum, Rome, Italy
  • Roman portrait bust of a flavian women possibly Domita, circa 69-96 AD excavated from Terracina. This portrait can be dated from the typical hairstyle made popular by Flavian women. It may be of Domitia Longina who was  wife to the Roman Emperor Domitian. The National Roman Museum, Rome, Italy
  • Roman portrait bust of a flavian women possibly Domita, circa 69-96 AD excavated from Terracina. This portrait can be dated from the typical hairstyle made popular by Flavian women. It may be of Domitia Longina who was  wife to the Roman Emperor Domitian. The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young man from 110 AD. In this portrait, the hairstyle and facial features are typical of the Trajan era of portraiture. The hairstyle is characterised by a slight central parting on the forehead . Inv 287, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young man from 110 AD. In this portrait, the hairstyle and facial features are typical of the Trajan era of portraiture. The hairstyle is characterised by a slight central parting on the forehead . Inv 287, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young man from 110 AD. In this portrait, the hairstyle and facial features are typical of the Trajan era of portraiture. The hairstyle is characterised by a slight central parting on the forehead . Inv 287, The National Roman Museum, Rome, Italy
  • Enamelled terracotta panel depicting Saint Anne, the Virgin Mary and Child with Saint Anthony made in the 2nd half of the 16th century by Santi Bugloni of Florence. This is a typical Tuscan theme of the period. Saint Anne was particularly venerated during the expulsion of the tyrant Gaultier de Brienne, Duke of Athens. .  Inv Camp 38,  The Louvre Museum, Paris.
  • Enamelled terracotta panel depicting Saint Anne, the Virgin Mary and Child with Saint Anthony made in the 2nd half of the 16th century by Santi Bugloni of Florence. This is a typical Tuscan theme of the period. Saint Anne was particularly venerated during the expulsion of the tyrant Gaultier de Brienne, Duke of Athens. .  Inv Camp 38,  The Louvre Museum, Paris.
  • Enamelled terracotta panel depicting Saint Anne, the Virgin Mary and Child with Saint Anthony made in the 2nd half of the 16th century by Santi Bugloni of Florence. This is a typical Tuscan theme of the period. Saint Anne was particularly venerated during the expulsion of the tyrant Gaultier de Brienne, Duke of Athens. .  Inv Camp 38,  The Louvre Museum, Paris.
  • Enamelled terracotta panel depicting Saint Anne, the Virgin Mary and Child with Saint Anthony made in the 2nd half of the 16th century by Santi Bugloni of Florence. This is a typical Tuscan theme of the period. Saint Anne was particularly venerated during the expulsion of the tyrant Gaultier de Brienne, Duke of Athens. .  Inv Camp 38,  The Louvre Museum, Paris.
  • Painted Gothic gilded wooden statue altarpiece of Saint Catherine, circa 1520-1525 by Niklaus Weckmann from Ulm, Germany. The young Christian martyr is represented with his usual attributes, crown, book, wheel, sword, which make reference to her legendary life and her martyrdom. The bas-relief of Saint Catherine was originally part of an altarpiece. The treatment  and refined painted facial highlights executed the prettiness of the saint. The style is typical of  Niklaus Weckmann, one great masters of late Gothic Swabian art . Inv RF 2207.6,  The Louvre Museum, Paris.
  • Romanesque frescoes of a Griffen typical of Catalan Court painting from 1200. From the ancient monastery of San Pedro de Arlanza, Buros, Spain. Painted around 1210. National Art Museum of Catalonia, Barcelona. MNAC 40142
  • a 2nd century Roman Copy Statue of Aphrodite or Venus, . This sculpture depicts Aphrodite in the typical pose known as the Modest Aphrodite style  and is a copy of a lost 4th century BC Aphrodite of Cnidos sculpture by Athenian sculpture Praxiteles. Merida Archaeological Museum, Spain
  • a 2nd century Roman Copy Statue of Aphrodite or Venus, . This sculpture depicts Aphrodite in the typical pose known as the Modest Aphrodite style  and is a copy of a lost 4th century BC Aphrodite of Cnidos sculpture by Athenian sculpture Praxiteles. Merida Archaeological Museum, Spain
  • a 2nd century Roman Copy Statue of Aphrodite or Venus, . This sculpture depicts Aphrodite in the typical pose known as the Modest Aphrodite style  and is a copy of a lost 4th century BC Aphrodite of Cnidos sculpture by Athenian sculpture Praxiteles. Merida Archaeological Museum, Spain
  • a 2nd century Roman Copy Statue of Aphrodite or Venus, . This sculpture depicts Aphrodite in the typical pose known as the Modest Aphrodite style  and is a copy of a lost 4th century BC Aphrodite of Cnidos sculpture by Athenian sculpture Praxiteles. Merida Archaeological Museum, Spain
  • a 2nd century Roman Copy Statue of Aphrodite or Venus, . This sculpture depicts Aphrodite in the typical pose known as the Modest Aphrodite style  and is a copy of a lost 4th century BC Aphrodite of Cnidos sculpture by Athenian sculpture Praxiteles. Merida Archaeological Museum, Spain
  • a 2nd century Roman Copy Statue of Aphrodite or Venus, . This sculpture depicts Aphrodite in the typical pose known as the Modest Aphrodite style  and is a copy of a lost 4th century BC Aphrodite of Cnidos sculpture by Athenian sculpture Praxiteles. Merida Archaeological Museum, Spain
  • a 2nd century Roman Copy Statue of Aphrodite or Venus, . This sculpture depicts Aphrodite in the typical pose known as the Modest Aphrodite style  and is a copy of a lost 4th century BC Aphrodite of Cnidos sculpture by Athenian sculpture Praxiteles. Merida Archaeological Museum, Spain
  • Torso of Venus (Greek goddess of love), 2nd century Roma copy found near Florence. This sculpture depicts Aphrodite in the typical pose known as the Modest Aphrodite style and is a copy of a lost 4th century BC Aphrodite of Cnidos sculpture by Athenian sculpture Praxiteles.This copy follows the style of the late Hellanistic type known as the “Medici Venus”. Altes Museum Berlin
  • Statue of Venus Marina (Greek Goddess of love), 1st century Roma copy found near Florence. This high quality statue of Venus of Aphrodite This sculpture depicts Aphrodite in the typical pose known as the Modest Aphrodite style and is a copy of a lost 4th century BC Aphrodite of Cnidos sculpture by Athenian sculpture Praxiteles. In this aviation there is evidence that Venus leaned on a pillar with a dolphin which was a pointer to her having been born in the sea. Altes Museum Berlin
  • Torso of Venus (Greek goddess of love), 2nd century Roma copy found near Florence. This sculpture depicts Aphrodite in the typical pose known as the Modest Aphrodite style and is a copy of a lost 4th century BC Aphrodite of Cnidos sculpture by Athenian sculpture Praxiteles.This copy follows the style of the late Hellanistic type known as the “Medici Venus”. Altes Museum Berlin
  • Roman statue of Augustus as Pontifex Maximus, circa 17-14 BC.  This statue of Augustus was typical of the approved style that Augustus used to control his public image. As Pontifex Maximus the statue emphasises the piety of the ruler and his reverence for the gods and traditions of Rome. Augustus thus revitalised the role and function of the most ancient Roman priesthoods and exalted the myths that narrated the origins of Rome. The statue is part of the political propaganda that Augustus used to cement his position of first amongst equals to the very conservative Romans.  National Roman Museum, Rome.
  • Roman statue of Augustus as Pontifex Maximus, circa 17-14 BC.  This statue of Augustus was typical of the approved style that Augustus used to control his public image. As Pontifex Maximus the statue emphasises the piety of the ruler and his reverence for the gods and traditions of Rome. Augustus thus revitalised the role and function of the most ancient Roman priesthoods and exalted the myths that narrated the origins of Rome. The statue is part of the political propaganda that Augustus used to cement his position of first amongst equals to the very conservative Romans.  National Roman Museum, Rome.
  • Roman statue of Augustus as Pontifex Maximus, circa 17-14 BC.  This statue of Augustus was typical of the approved style that Augustus used to control his public image. As Pontifex Maximus the statue emphasises the piety of the ruler and his reverence for the gods and traditions of Rome. Augustus thus revitalised the role and function of the most ancient Roman priesthoods and exalted the myths that narrated the origins of Rome. The statue is part of the political propaganda that Augustus used to cement his position of first amongst equals to the very conservative Romans.  National Roman Museum, Rome.
  • Roman statue of Augustus as Pontifex Maximus, circa 17-14 BC.  This statue of Augustus was typical of the approved style that Augustus used to control his public image. As Pontifex Maximus the statue emphasises the piety of the ruler and his reverence for the gods and traditions of Rome. Augustus thus revitalised the role and function of the most ancient Roman priesthoods and exalted the myths that narrated the origins of Rome. The statue is part of the political propaganda that Augustus used to cement his position of first amongst equals to the very conservative Romans.  National Roman Museum, Rome.
  • Roman statue of Augustus as Pontifex Maximus, circa 17-14 BC.  This statue of Augustus was typical of the approved style that Augustus used to control his public image. As Pontifex Maximus the statue emphasises the piety of the ruler and his reverence for the gods and traditions of Rome. Augustus thus revitalised the role and function of the most ancient Roman priesthoods and exalted the myths that narrated the origins of Rome. The statue is part of the political propaganda that Augustus used to cement his position of first amongst equals to the very conservative Romans.  National Roman Museum, Rome.
  • Roman statue of Augustus as Pontifex Maximus, circa 17-14 BC.  This statue of Augustus was typical of the approved style that Augustus used to control his public image. As Pontifex Maximus the statue emphasises the piety of the ruler and his reverence for the gods and traditions of Rome. Augustus thus revitalised the role and function of the most ancient Roman priesthoods and exalted the myths that narrated the origins of Rome. The statue is part of the political propaganda that Augustus used to cement his position of first amongst equals to the very conservative Romans.  National Roman Museum, Rome.
  • Roman portrait bust of a flavian women possibly Domita, circa 69-96 AD excavated from Terracina. This portrait can be dated from the typical hairstyle made popular by Flavian women. It may be of Domitia Longina who was  wife to the Roman Emperor Domitian. The National Roman Museum, Rome, Italy
  • Roman portrait bust of a flavian women possibly Domita, circa 69-96 AD excavated from Terracina. This portrait can be dated from the typical hairstyle made popular by Flavian women. It may be of Domitia Longina who was  wife to the Roman Emperor Domitian. The National Roman Museum, Rome, Italy
  • Roman portrait bust of a flavian women possibly Domita, circa 69-96 AD excavated from Terracina. This portrait can be dated from the typical hairstyle made popular by Flavian women. It may be of Domitia Longina who was  wife to the Roman Emperor Domitian. The National Roman Museum, Rome, Italy
  • Roman portrait bust of a flavian women possibly Domita, circa 69-96 AD excavated from Terracina. This portrait can be dated from the typical hairstyle made popular by Flavian women. It may be of Domitia Longina who was  wife to the Roman Emperor Domitian. The National Roman Museum, Rome, Italy
  • Roman portrait bust of a flavian women possibly Domita, circa 69-96 AD excavated from Terracina. This portrait can be dated from the typical hairstyle made popular by Flavian women. It may be of Domitia Longina who was  wife to the Roman Emperor Domitian. The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young man from 110 AD. In this portrait, the hairstyle and facial features are typical of the Trajan era of portraiture. The hairstyle is characterised by a slight central parting on the forehead . Inv 287, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young man from 110 AD. In this portrait, the hairstyle and facial features are typical of the Trajan era of portraiture. The hairstyle is characterised by a slight central parting on the forehead . Inv 287, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young man from 110 AD. In this portrait, the hairstyle and facial features are typical of the Trajan era of portraiture. The hairstyle is characterised by a slight central parting on the forehead . Inv 287, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young man from 110 AD. In this portrait, the hairstyle and facial features are typical of the Trajan era of portraiture. The hairstyle is characterised by a slight central parting on the forehead . Inv 287, The National Roman Museum, Rome, Italy
  • Statue of Aphrodite, a 2nd century Roman Copy. This sculpture depicts Aphrodite in the typical pose known as the Modest Aphrodite style or Capitoline type and is a copy of a lost 4th century BC Aphrodite of Cnidos sculpture by Athenian sculpture Praxiteles. Naples National Archaeological Museum, Italy
  • Statue of Aphrodite, a 1st century Roman Copy with a portrait head. This sculpture depicts Aphrodite in the typical pose known as the Modest Aphrodite style or Capitoline type and is a copy of a lost 4th century BC Aphrodite of Cnidos sculpture by Athenian sculpture Praxiteles. Naples National Archaeological Museum, Italy
  • 1st Century BC statue of Aphordite by Menophantos. The casket of the sculpture is inscribed “ of the Aphrodite which is situated in the Troad (Troy) Menophantos made it”. This sculpture depicts Aphrodite in the typical pose known as the Modest Aphrodite style and is a copy of a lost 4th century BC Aphrodite of Cnidos sculpture by Athenian sculpture Praxiteles. Capitoline Museums, Rome
  • 1st Century BC statue of Aphordite by Menophantos. The casket of the sculpture is inscribed “ of the Aphrodite which is situated in the Troad (Troy) Menophantos made it”. This sculpture depicts Aphrodite in the typical pose known as the Modest Aphrodite style and is a copy of a lost 4th century BC Aphrodite of Cnidos sculpture by Athenian sculpture Praxiteles. Capitoline Museums, Rome
  • 1st Century BC statue of Aphordite by Menophantos. The casket of the sculpture is inscribed “ of the Aphrodite which is situated in the Troad (Troy) Menophantos made it”. This sculpture depicts Aphrodite in the typical pose known as the Modest Aphrodite style and is a copy of a lost 4th century BC Aphrodite of Cnidos sculpture by Athenian sculpture Praxiteles. Capitoline Museums, Rome
  • 1st Century BC statue of Aphordite by Menophantos. The casket of the sculpture is inscribed “ of the Aphrodite which is situated in the Troad (Troy) Menophantos made it”. This sculpture depicts Aphrodite in the typical pose known as the Modest Aphrodite style and is a copy of a lost 4th century BC Aphrodite of Cnidos sculpture by Athenian sculpture Praxiteles. Capitoline Museums, Rome
  • 1st Century BC statue of Aphordite by Menophantos. The casket of the sculpture is inscribed “ of the Aphrodite which is situated in the Troad (Troy) Menophantos made it”. This sculpture depicts Aphrodite in the typical pose known as the Modest Aphrodite style and is a copy of a lost 4th century BC Aphrodite of Cnidos sculpture by Athenian sculpture Praxiteles. Capitoline Museums, Rome
  • 1st Century BC statue of Aphordite by Menophantos. The casket of the sculpture is inscribed “ of the Aphrodite which is situated in the Troad (Troy) Menophantos made it”. This sculpture depicts Aphrodite in the typical pose known as the Modest Aphrodite style and is a copy of a lost 4th century BC Aphrodite of Cnidos sculpture by Athenian sculpture Praxiteles. Capitoline Museums, Rome
  • Romanesque frescoes of a Griffen typical of Catalan Court painting from 1200. From the ancient monastery of San Pedro de Arlanza, Buros, Spain. Painted around 1210. National Art Museum of Catalonia, Barcelona. MNAC 40142
  • Romanesque frescoes of a Griffen typical of Catalan Court painting from 1200. From the ancient monastery of San Pedro de Arlanza, Buros, Spain. Painted around 1210. National Art Museum of Catalonia, Barcelona. MNAC 40142
  • Romanesque frescoes of a Griffen typical of Catalan Court painting from 1200. From the ancient monastery of San Pedro de Arlanza, Buros, Spain. Painted around 1210. National Art Museum of Catalonia, Barcelona. MNAC 40142
  • Romanesque frescoes of a Griffen typical of Catalan Court painting from 1200. From the ancient monastery of San Pedro de Arlanza, Buros, Spain. Painted around 1210. National Art Museum of Catalonia, Barcelona. MNAC 40142
  • Portico & Ionic columns of the Bath Gymnasium complex of Sardis, a typical example of the colonnaded palaestra front of a Hellenistic 1st cent. AD Greco Roman baths of the western & southern region of Anatolia. Sardis archaeological site, Hermus valley, Turkey. A Harvard Art Museum excavation project.
  • Ionic  columns of the Bath Gymnasium complex of Sardis, a typical example of the colonnaded palaestra front of a Hellenistic 1st cent. AD Greco Roman baths of the western & southern region of Anatolia. Sardis archaeological site, Hermus valley, Turkey. A Harvard Art Museum excavation project.
  • Architectural detail of The Bath Gymnasium complex of Sardis, a typical example of the colonnaded palaestra front of a Hellenistic 1st cent. AD Greco Roman baths of the western & southern region of Anatolia. Sardis archaeological site, Hermus valley, Turkey. A Harvard Art Museum excavation project.
  • Portico & Ionic columns of the Bath Gymnasium complex of Sardis, a typical example of the colonnaded palaestra front of a Hellenistic 1st cent. AD Greco Roman baths of the western & southern region of Anatolia. Sardis archaeological site, Hermus valley, Turkey. A Harvard Art Museum excavation project.
  • The Bath Gymnasium complex of Sardis, a typical example of the colonnaded palaestra front of a Hellenistic 1st cent. AD Greco Roman baths of the western & southern region of Anatolia. Sardis archaeological site, Hermus valley, Turkey. A Harvard Art Museum excavation project.
  • Lely's Venus (Aphrodite). 1st or 2nd cent. AD Roman copy of a Greek original. The goddess Venus id surprised whilst bathing and she nervously turns. Her hair is in the style typical of the time and her pose has been designed to be unrevealing from any angle.  British Museum Assyrian  Archaeological exhibit.
  • Lely's Venus (Aphrodite). 1st or 2nd cent. AD Roman copy of a Greek original. The goddess Venus id surprised whilst bathing and she nervously turns. Her hair is in the style typical of the time and her pose has been designed to be unrevealing from any angle.  British Museum Assyrian  Archaeological exhibit.
  • Lely's Venus (Aphrodite). 1st or 2nd cent. AD Roman copy of a Greek original. The goddess Venus id surprised whilst bathing and she nervously turns. Her hair is in the style typical of the time and her pose has been designed to be unrevealing from any angle.  British Museum Assyrian  Archaeological exhibit.
  • Early Minoan rounded teapot with typical brownish red painted bhatched lines,  Hagios Onouphrios 2900-1900 BC BC, Heraklion Archaeological  Museum, grey background.
  • Early Minoan rounded teapot with typical brownish red painted bhatched lines,  Hagios Onouphrios 2900-1900 BC BC, Heraklion Archaeological  Museum, black background.
  • Early Minoan rounded teapot with typical brownish red painted bhatched lines,  Hagios Onouphrios 2900-1900 BC BC, Heraklion Archaeological  Museum, grey background.
  • Early Minoan rounded jug with typical brownish red painted converging daigonal lines,  Hagios Onouphrios 2900-1900 BC BC, Heraklion Archaeological  Museum, grey background.
  • Cafeteria Balkonlu a typical fairy chimney cave house, Uchisar, near Goreme, Cappadocia, Nevsehir, Turkey
  • Roman relief garland  sculpted sarcophagus, style typical of Pamphylia, 3rd Century AD, Konya Archaeological Museum, Turkey. Against a warm art background.
  • Roman relief garland  sculpted sarcophagus, style typical of Pamphylia, 3rd Century AD, Konya Archaeological Museum, Turkey.
  • End panel of a Roman relief garland  sculpted sarcophagus, style typical of Pamphylia, 3rd Century AD, Konya Archaeological Museum, Turkey. Against a white background.
  • Side panel of a Roman relief garland  sculpted sarcophagus, style typical of Pamphylia, 3rd Century AD, Konya Archaeological Museum, Turkey.
  • Wild boar heads outside a typical Norcineria shop, Norcia, Umbria, Italy
  • 1st Century BC statue of Aphordite by Menophantos. The casket of the sculpture is inscribed “ of the Aphrodite which is situated in the Troad (Troy) Menophantos made it”. This sculpture depicts Aphrodite in the typical pose known as the Modest Aphrodite style and is a copy of a lost 4th century BC Aphrodite of Cnidos sculpture by Athenian sculpture Praxiteles. Capitoline Museums, Rome
  • Statue of Aphrodite, a 2nd century Roman Copy. This sculpture depicts Aphrodite in the typical pose known as the Modest Aphrodite style or Capitoline type and is a copy of a lost 4th century BC Aphrodite of Cnidos sculpture by Athenian sculpture Praxiteles. Naples National Archaeological Museum, Italy
  • Statue of Aphrodite, a 2nd century Roman Copy. This sculpture depicts Aphrodite in the typical pose known as the Modest Aphrodite style or Capitoline type and is a copy of a lost 4th century BC Aphrodite of Cnidos sculpture by Athenian sculpture Praxiteles. Naples National Archaeological Museum, Italy
  • Roman portrait bust of a young man from 110 AD. In this portrait, the hairstyle and facial features are typical of the Trajan era of portraiture. The hairstyle is characterised by a slight central parting on the forehead . Inv 287, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young man from 110 AD. In this portrait, the hairstyle and facial features are typical of the Trajan era of portraiture. The hairstyle is characterised by a slight central parting on the forehead . Inv 287, The National Roman Museum, Rome, Italy
  • Enamelled terracotta panel depicting Saint Anne, the Virgin Mary and Child with Saint Anthony made in the 2nd half of the 16th century by Santi Bugloni of Florence. This is a typical Tuscan theme of the period. Saint Anne was particularly venerated during the expulsion of the tyrant Gaultier de Brienne, Duke of Athens. .  Inv Camp 38,  The Louvre Museum, Paris.
  • a 2nd century Roman Copy Statue of Aphrodite or Venus, . This sculpture depicts Aphrodite in the typical pose known as the Modest Aphrodite style  and is a copy of a lost 4th century BC Aphrodite of Cnidos sculpture by Athenian sculpture Praxiteles. Merida Archaeological Museum, Spain
  • Statue of Venus Marina (Greek Goddess of love), 1st century Roma copy found near Florence. This high quality statue of Venus of Aphrodite This sculpture depicts Aphrodite in the typical pose known as the Modest Aphrodite style and is a copy of a lost 4th century BC Aphrodite of Cnidos sculpture by Athenian sculpture Praxiteles. In this aviation there is evidence that Venus leaned on a pillar with a dolphin which was a pointer to her having been born in the sea. Altes Museum Berlin
  • Torso of Venus (Greek goddess of love), 2nd century Roma copy found near Florence. This sculpture depicts Aphrodite in the typical pose known as the Modest Aphrodite style and is a copy of a lost 4th century BC Aphrodite of Cnidos sculpture by Athenian sculpture Praxiteles.This copy follows the style of the late Hellanistic type known as the “Medici Venus”. Altes Museum Berlin
  • Roman portrait bust of a young man from 110 AD. In this portrait, the hairstyle and facial features are typical of the Trajan era of portraiture. The hairstyle is characterised by a slight central parting on the forehead . Inv 287, The National Roman Museum, Rome, Italy
  • Statue of Aphrodite, a 2nd century Roman Copy. This sculpture depicts Aphrodite in the typical pose known as the Modest Aphrodite style or Capitoline type and is a copy of a lost 4th century BC Aphrodite of Cnidos sculpture by Athenian sculpture Praxiteles. Naples National Archaeological Museum, Italy
  • Statue of Aphrodite, a 2nd century Roman Copy. This sculpture depicts Aphrodite in the typical pose known as the Modest Aphrodite style or Dresden-Capitoline type and is a copy of a lost 4th century BC Aphrodite of Cnidos sculpture by Athenian sculpture Praxiteles. Naples National Archaeological Museum, Italy
  • 1st Century BC statue of Aphordite by Menophantos. The casket of the sculpture is inscribed “ of the Aphrodite which is situated in the Troad (Troy) Menophantos made it”. This sculpture depicts Aphrodite in the typical pose known as the Modest Aphrodite style and is a copy of a lost 4th century BC Aphrodite of Cnidos sculpture by Athenian sculpture Praxiteles. Capitoline Museums, Rome
  • 1st Century BC statue of Aphordite by Menophantos. The casket of the sculpture is inscribed “ of the Aphrodite which is situated in the Troad (Troy) Menophantos made it”. This sculpture depicts Aphrodite in the typical pose known as the Modest Aphrodite style and is a copy of a lost 4th century BC Aphrodite of Cnidos sculpture by Athenian sculpture Praxiteles. Capitoline Museums, Rome
  • Corinthian columns of the Bath Gymnasium complex of Sardis, a typical example of the colonnaded palaestra front of a Hellenistic 1st cent. AD Greco Roman baths of the western & southern region of Anatolia. Sardis archaeological site, Hermus valley, Turkey. A Harvard Art Museum excavation project.
  • Lely's Venus (Aphrodite). 1st or 2nd cent. AD Roman copy of a Greek original. The goddess Venus id surprised whilst bathing and she nervously turns. Her hair is in the style typical of the time and her pose has been designed to be unrevealing from any angle.  British Museum Assyrian  Archaeological exhibit.
  • Lely's Venus (Aphrodite). 1st or 2nd cent. AD Roman copy of a Greek original. The goddess Venus id surprised whilst bathing and she nervously turns. Her hair is in the style typical of the time and her pose has been designed to be unrevealing from any angle.  British Museum Assyrian  Archaeological exhibit.
  • Lely's Venus (Aphrodite). 1st or 2nd cent. AD Roman copy of a Greek original. The goddess Venus id surprised whilst bathing and she nervously turns. Her hair is in the style typical of the time and her pose has been designed to be unrevealing from any angle.  British Museum Assyrian  Archaeological exhibit.
  • The Tomb of Payava ( 360 B.C), a typical Gothic arch shaped double barrel vaulted pillar tomb. From an inscription on the Tomb Payava was a ruler under Persian rule of Xanthos.  From Xanthos UNESCO World Heritage site, south west Turkey. A British Museum exhibit excavated by Charles Fellows in 1844.
  • The Tomb of Payava ( 360 B.C), a typical Gothic arch shaped double barrel vaulted pillar tomb. From an inscription on the Tomb Payava was a ruler under Persian rule of Xanthos.  From Xanthos UNESCO World Heritage site, south west Turkey. A British Museum exhibit excavated by Charles Fellows in 1844.
  • Lely's Venus (Aphrodite). 1st or 2nd cent. AD Roman copy of a Greek original. The goddess Venus id surprised whilst bathing and she nervously turns. Her hair is in the style typical of the time and her pose has been designed to be unrevealing from any angle.  British Museum Assyrian  Archaeological exhibit.
  • Lely's Venus (Aphrodite). 1st or 2nd cent. AD Roman copy of a Greek original. The goddess Venus id surprised whilst bathing and she nervously turns. Her hair is in the style typical of the time and her pose has been designed to be unrevealing from any angle.  British Museum Assyrian  Archaeological exhibit.
  • Lely's Venus (Aphrodite). 1st or 2nd cent. AD Roman copy of a Greek original. The goddess Venus id surprised whilst bathing and she nervously turns. Her hair is in the style typical of the time and her pose has been designed to be unrevealing from any angle.  British Museum Assyrian  Archaeological exhibit.
  • Lely's Venus (Aphrodite). 1st or 2nd cent. AD Roman copy of a Greek original. The goddess Venus id surprised whilst bathing and she nervously turns. Her hair is in the style typical of the time and her pose has been designed to be unrevealing from any angle.  British Museum Assyrian  Archaeological exhibit.
  • 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.
  • Ancient Egyptian wooden model boat from tomb of Shemes,  Middle Kingdom (1980-1700 BC), Asyut. Egyptian Museum, Turin.  white background<br />
<br />
In 1908 in Asyut, Egypt an intact tomb was discovered of an official named Shemes, it contained many rich grave goods. Two rectangular Coffins, one for Shemes and the other for a woman called Rehuerausen, possibly his wife. They carry typical Middle Kingdom decorations,
  • Ancient Egyptian wooden statue of Shemes,  Middle Kingdom (1980-1700 BC), tomb of Shimes, Asyut. Egyptian Museum, Turin.  white background<br />
<br />
In 1908 in Asyut, Egypt an intact tomb was discovered of an official named Shemes, it contained many rich grave goods. Two rectangular Coffins, one for Shemes and the other for a woman called Rehuerausen, possibly his wife. They carry typical Middle Kingdom decorations,
  • 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 princess Redji, grandorite, Saqqara, Old Kingdom, 3rd Dynasty (2592-2543 BC). Egyptian Museum, Turin. grey background.<br />
<br />
The inscriptions at the base of the statue indicates that the statue is of the Kings Daughter named Redji. Never intended as a faithful depiction of the deceased , the statue was placed in the tomb to substitute for the deceased. The statue is in the typical rigid style of the old kingdom with a voluminous wig.
  • Ancient Egyptian wooden sarcophagus - the tomb of Tagiaset, Iuefdi & Harwa circa 22nd Dynasty (943 - 716 BC.) Thebes. Egyptian Museum, Turin. black background.<br />
<br />
Coffin lid of the eldest woman buried in the tomb, probably Tagiasettahekat, wife of Padiau. The sarcophagus decoration includes representation of strips crossed over her chest typical of "stoa coffin" of the 22nd dynasty.
  • Ancient Egyptian wooden sarcophagus - the tomb of Tagiaset, Iuefdi & Harwa circa 22nd Dynasty (943 - 716 BC.) Thebes. Egyptian Museum, Turin. Grey background.<br />
<br />
Coffin lid of the eldest woman buried in the tomb, probably Tagiasettahekat, wife of Padiau. The sarcophagus decoration includes representation of strips crossed over her chest typical of "stoa coffin" of the 22nd dynasty.
  • Ancient Egyptian wooden sarcophagus - the tomb of Tagiaset, Iuefdi & Harwa circa 22nd Dynasty (943 - 716 BC.) Thebes. Egyptian Museum, Turin. Grey background.<br />
<br />
Coffin lid of the eldest woman buried in the tomb, probably Tagiasettahekat, wife of Padiau. The sarcophagus decoration includes representation of strips crossed over her chest typical of "stoa coffin" of the 22nd dynasty.
  • The Minoan ' Camp Stool' wall art fresco from the West vwing of Knossos Palace, 1450-1300 BC. Heraklion Archaeological Museum.  Grey Background. <br />
<br />
This Minoan fresco probably depicted a typical banquet at Knossos Palace held in the Upper Hall of the West Wing. Figures seated on 'camp stools' are raising cups and kylikes. A female figure with Mediterranean features wearing vivid make up named ' La Parisienne' by Arthur Evans, has a large 'sacred knot' bunched behind her head and maybe she was a priestess.

FunkyStock Picture Library Resource

Picture The Past

ABOUT

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

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

COUNTRIES

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

VIEW COUNTRIES INDEX....

HISTORICAL

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

EXPLORE HISTORICAL PLACES...

MUSEUMS

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

SEE MUESEUM ANTIQUITIES....