• Cycladic Canonical type, Spedos variety female figurine statuette from Naxos or Keros. Early Cycladic Period II, (2800-2300 BC), 'Goulandris Master'.  Museum of Cycladic Art Athens,  Against white.<br />
<br />
The 'Goulandris Master' was named because of the N.P Goulandris collection which had a significat number of Cycladic figureines attributed to one sculptor. The characteristic traits of his work are : statues of 32 to 98 cm tall, precise incisions demarcating the neck, the abdomen and pubic triangle asv well as knees and spinal column, the statues have a rounded outline. Traces of colour were found on the statue.
  • Cycladic Canonical type, Spedos variety female figurine statuette from Naxos or Keros. Early Cycladic Period II, (2800-2300 BC), 'Goulandris Master'.  Museum of Cycladic Art Athens,  Against Grey Background. <br />
<br />
<br />
The 'Goulandris Master' was named because of the N.P Goulandris collection which had a significat number of Cycladic figureines attributed to one sculptor. The characteristic traits of his work are : statues of 32 to 98 cm tall, precise incisions demarcating the neck, the abdomen and pubic triangle asv well as knees and spinal column, the statues have a rounded outline. Traces of colour were found on the statue.
  • Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II from Syros phase , (2800-2300 BC). Attributed to the 'Copenhagen Master' Museum of Cycladic Art Athens,  Against white.<br />
<br />
The short legs have no knees and end in rudimentary feet. The legs probably broke at the knees and an artists remodelled  the truncated legs with toes. It is a rare example of remodelling in Cycladic art
  • Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II from Syros phase , (2800-2300 BC). Attributed to the 'Copenhagen Master' Museum of Cycladic Art Athens,  Against Grey Background. <br />
<br />
The short legs have no knees and end in rudimentary feet. The legs probably broke at the knees and an artists remodelled  the truncated legs with toes. It is a rare example of remodelling in Cycladic art
  • Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II from Syros phase , (2800-2300 BC). Attributed to the 'Copenhagen Master' Museum of Cycladic Art Athens,  Against Grey Background. <br />
<br />
The short legs have no knees and end in rudimentary feet. The legs probably broke at the knees and an artists remodelled  the truncated legs with toes. It is a rare example of remodelling in Cycladic art
  • Large Cycladic Canonical type, Spedos variety female figurine head. Early Cycladic Period II from Syros phase , (2800-2300 BC). Museum of Cycladic Art Athens, cat no 284.   Against black
  • Large Cycladic Canonical type, Spedos variety female figurine head. Early Cycladic Period II from Syros phase , (2800-2300 BC). Museum of Cycladic Art Athens, cat no 284.  Against Grey Background.
  • Female Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II from Syros phase , (2800-2300 BC). Museum of Cycladic Art Athens,  Against black<br />
<br />
Traces of painted decoration in red were found on the face and trunk. The nose was painted completely and four verticle bands are visible in the forehead, three on the neck and traces of bands on the chest and oblique bands on the forearms, seven on the left four on the right.
  • Female Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II from Syros phase , (2800-2300 BC). Museum of Cycladic Art Athens,  Against Grey Background. <br />
<br />
Traces of painted decoration in red were found on the face and trunk. The nose was painted completely and four verticle bands are visible in the forehead, three on the neck and traces of bands on the chest and oblique bands on the forearms, seven on the left four on the right.
  • Large Female Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II from Syros phase , 1.4m high (2800-2300 BC). Museum of Cycladic Art Athens, <br />
<br />
This impressive Cycladic statue is distinguished by its clear outlines and perfect proportions as well as plasticity of form. A sense of movement is introduced into the staue by its left hip being raised and a slight inclination of the head to the right. This movement gives the statue an air of mysetery and makes it a precursor of the later Archaic statue forms. This sense of movement also sets this Cycladic statue apart from other of the period. It was probably a cult statue and stood at the shrine of a cult goddess.
  • Female Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II from Syros phase (2800-2300 BC). Museum of Cycladic Art Athens, cat no 282.  Against white.
  • Female Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II from Syros phase (2800-2300 BC). Museum of Cycladic Art Athens, cat no 282.  Against Grey Background.
  • Female Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II from Syros phase (2800-2300 BC). Museum of Cycladic Art Athens, cat no 282.  Against Grey Background.
  • Female Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II from Syros phase (2800-2300 BC). Museum of Cycladic Art Athens, cat no 282
  • Female Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II from Syros phase (2800-2300 BC). Museum of Cycladic Art Athens,  Against black.<br />
<br />
The cycladic figurine has a band etched high on its forehead and a large area on the back of the head of spiralling curls. The surface has probably been protected by paint and the outline of the left eye paint is still detectable as a greyish tinge. It can be assumed that both hair and eyes were painted. Canonical type, Spedos variety
  • Female Cycladic Canonical type, Spedos variety female figurine statuette. Early Cycladic Period II from Syros phase (2800-2300 BC). Museum of Cycladic Art Athens,  Against Grey Background. <br />
<br />
The cycladic figurine has a band etched high on its forehead and a large area on the back of the head of spiralling curls. The surface has probably been protected by paint and the outline of the left eye paint is still detectable as a greyish tinge. It can be assumed that both hair and eyes were painted. Canonical type, Spedos variety
  • Cycladic bronze spearhead.  Early Cycladic II (2800-2300 BC) , Amorgos. National Archaeological Museum Athens.  Black background.
  • Cycladic bronze spearhead.  Early Cycladic II (2800-2300 BC) , Amorgos. National Archaeological Museum Athens.  White background.
  • Cycladic bronze spearhead.  Early Cycladic II (2800-2300 BC) , Amorgos. National Archaeological Museum Athens.   Grey background.
  • Cycladic bronze spearhead.  Early Cycladic II (2800-2300 BC) , Amorgos. National Archaeological Museum Athens.   Gray background.
  • Cycladic bronze dagger.  Early Cycladic II (2800-2300 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat no 9337.   White background.
  • Cycladic bronze dagger.  Early Cycladic II (2800-2300 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat no 9337
  • Cycladic bronze dagger.  Early Cycladic II (2800-2300 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat no 9337.   Grey background.
  • Burnished monochrome Cycladic animal shaped wase with geometric incissions.  Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5697-8.  White background.<br />
<br />
<br />
Pottery from this Cycladic era was predominatly monochrome and burnished with linear motifs. Flower and bird designs were rare .
  • Burnished monochrome Cycladic animal shaped wase with geometric incissions.  Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5697-8. Black background.<br />
<br />
<br />
Pottery from this Cycladic era was predominatly monochrome and burnished with linear motifs. Flower and bird designs were rare .
  • Burnished monochrome Cycladic animal shaped wase with geometric incissions.  Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5697-8.<br />
<br />
Pottery from this Cycladic era was predominatly monochrome and burnished with linear motifs. Flower and bird designs were rare .
  • Burnished monochrome Cycladic animal shaped wase with geometric incissions.  Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5697-8.  Gray background.<br />
<br />
<br />
Pottery from this Cycladic era was predominatly monochrome and burnished with linear motifs. Flower and bird designs were rare .
  • Burnished monochrome Cycladic ring shaped wase with geometric incissions.  Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5697-8.  White background.<br />
<br />
<br />
Pottery from this Cycladic era was predominatly monochrome and burnished with linear motifs. Flower and bird designs were rare .
  • Burnished monochrome Cycladic ring shaped wase with geometric incissions.  Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5697-8. Black background.<br />
<br />
<br />
Pottery from this Cycladic era was predominatly monochrome and burnished with linear motifs. Flower and bird designs were rare .
  • Burnished monochrome Cycladic ring shaped wase with geometric incissions.  Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5697-8.  Grey background.<br />
<br />
<br />
Pottery from this Cycladic era was predominatly monochrome and burnished with linear motifs. Flower and bird designs were rare .
  • Burnished monochrome Cycladic ring shaped wase with geometric incissions.  Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5697-8.  Gray background.<br />
<br />
<br />
Pottery from this Cycladic era was predominatly monochrome and burnished with linear motifs. Flower and bird designs were rare .
  • Cycladic rounded alabastron top with 'marine style' decoration.   Cycladic (15th cent BC BC) , Phylakopi I-IV, Melos. National Archaeological Museum Athens.  Cat no 5777.   White background.
  • Cycladic rounded alabastron top with 'marine style' decoration.   Cycladic (15th cent BC BC) , Phylakopi I-IV, Melos. National Archaeological Museum Athens.  Cat no 5777.  Black background.
  • Cycladic rounded alabastron top with 'marine style' decoration.   Cycladic (15th cent BC BC) , Phylakopi I-IV, Melos. National Archaeological Museum Athens.  Cat no 5777.
  • Cycladic rounded alabastron top with 'marine style' decoration.   Cycladic (15th cent BC BC) , Phylakopi I-IV, Melos. National Archaeological Museum Athens.  Cat no 5777.   Gray background.
  • Cycladic ceramic spherical pyxis with impressed  linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens.  Black background.
  • Cycladic ceramic spherical pyxis with impressed  linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens.   Grey background.
  • Cycladic ceramic spherical pyxis with impressed  linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens.   Gray background.
  • Cycladic ceramic kernos with painted linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat no 6185.  White background.<br />
<br />
<br />
Composed of 8 small pyxides with painted linear decoration, this complex vessel was probably for ritual use.
  • Cycladic ceramic kernos with painted linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat no 6185.<br />
<br />
Composed of 8 small pyxides with painted linear decoration, this complex vessel was probably for ritual use.
  • Cycladic ceramic spherical pyxis with painted linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat no 5170.  Black background.
  • Cycladic ceramic spherical pyxis with painted linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat no 5170.   Grey background.
  • Cycladic 'Kastri Group' tea pot.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 6104 1-3. Black background.<br />
<br />
<br />
The 'Kastri Group' from Syros (2500-2300 BC) coincides with the introdution of anatolian shpes of table ware and with the use of the ceramic wheel. The pottery is dark burnished with incised motifs<br />
<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic 'Kastri Group' tea pot.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 6104 1-3.<br />
<br />
The 'Kastri Group' from Syros (2500-2300 BC) coincides with the introdution of anatolian shpes of table ware and with the use of the ceramic wheel. The pottery is dark burnished with incised motifs<br />
<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic 'Kastri Group' tea pot.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 6104 1-3.<br />
<br />
The 'Kastri Group' from Syros (2500-2300 BC) coincides with the introdution of anatolian shpes of table ware and with the use of the ceramic wheel. The pottery is dark burnished with incised motifs<br />
<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic 'Kastri Group' tea pot.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 6104 1-3.  Gray background.<br />
<br />
<br />
The 'Kastri Group' from Syros (2500-2300 BC) coincides with the introdution of anatolian shpes of table ware and with the use of the ceramic wheel. The pottery is dark burnished with incised motifs<br />
<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic Kernos a multiple vessel in a base.  Early Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5829.  White background.<br />
<br />
<br />
This complex vessel was used for ritual offerings. During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic Kernos a multiple vessel in a base.  Early Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5829. Black background.<br />
<br />
<br />
This complex vessel was used for ritual offerings. During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic Kernos a multiple vessel in a base.  Early Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5829.  Grey background.<br />
<br />
<br />
This complex vessel was used for ritual offerings. During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic Kernos a multiple vessel in a base.  Early Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5829.  Gray background.<br />
<br />
<br />
This complex vessel was used for ritual offerings. During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic cylindrical vase illustrated with a fisherman (1600 BC) , Phylakopi III, Melos. National Archaeological Museum Athens. Cat No 5782.  White background.<br />
<br />
<br />
The vase has a procession of 4 fishermen illustrated on iy running all the way round it.
  • Cycladic cylindrical vase illustrated with a fisherman (1600 BC) , Phylakopi III, Melos. National Archaeological Museum Athens. Cat No 5782.<br />
<br />
The vase has a procession of 4 fishermen illustrated on iy running all the way round it.
  • Cycladic cylindrical vase illustrated with a fisherman (1600 BC) , Phylakopi III, Melos. National Archaeological Museum Athens. Cat No 5782.  Grey background.<br />
<br />
<br />
The vase has a procession of 4 fishermen illustrated on iy running all the way round it.
  • Cycladic cylindrical vase illustrated with a fisherman (1600 BC) , Phylakopi III, Melos. National Archaeological Museum Athens. Cat No 5782.<br />
<br />
The vase has a procession of 4 fishermen illustrated on iy running all the way round it.
  • Cycladic ritual kernos with painted motif  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 822-833. Black background.<br />
<br />
<br />
A complec ritual vessel with multiple pithos for offerings.
  • Cycladic ritual kernos with painted motif  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 822-833.<br />
<br />
A complec ritual vessel with multiple pithos for offerings.
  • Cycladic ceramic krater with impressed  linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat No 5258.  Black background.
  • Cycladic ceramic krater with impressed  linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat No 5258.   Grey background.
  • Cycladic ceramic krater with impressed  linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat No 5258.   Gray background.
  • Cycladic ceramic krater with impressed  linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat No 5258
  • Cycladic ceramic krater with impressed  linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat No 5188.  Black background.
  • Cycladic ceramic krater with impressed  linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat No 5188.   White background.
  • Cycladic ceramic krater with impressed  linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat No 5188.   Grey background.
  • Cycladic ceramic krater with impressed  linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat No 6180.  Black background.
  • Cycladic ceramic krater with impressed  linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat No 6180.   White background.
  • Cycladic ceramic krater with impressed  linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat No 6180
  • Cycladic conical rhython with spiral decorations.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens.  Cat no 5791. Black background.<br />
<br />
<br />
Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic conical rhython with spiral decorations.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens.  Cat no 5791.<br />
<br />
Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic conical rhython with spiral decorations.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens.  Cat no 5791.  Gray background.<br />
<br />
<br />
Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic spouted cup with floral and net pattern.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens. Cat no 5755.  Black background.<br />
<br />
<br />
Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic deep bridge spouted jar with spiral decorations.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens.  Cat no 5788. Black background.<br />
<br />
<br />
Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic deep bridge spouted jar with spiral decorations.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens.  Cat no 5788.  White background.<br />
<br />
<br />
Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic beaked nippled jug with monstrous creature decoration.   Cycladic (18th-17th cent BC BC) , Phylakopi I-IV, Melos. National Archaeological Museum Athens.  Cat no 5777.  Black background.
  • Cycladic beaked nippled jug with monstrous creature decoration.   Cycladic (18th-17th cent BC BC) , Phylakopi I-IV, Melos. National Archaeological Museum Athens.  Cat no 5777.   White background.
  • Cycladic beaked nippled jug with monstrous creature decoration.   Cycladic (18th-17th cent BC BC) , Phylakopi I-IV, Melos. National Archaeological Museum Athens.  Cat no 5777.
  • Cycladic cut away jug with floral and net pattern.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens. Cat no 5757.  Black background.<br />
<br />
<br />
This jug has a strainer in the spout with floral patterns. Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic cut away jug with floral and net pattern.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens. Cat no 5757<br />
<br />
This jug has a strainer in the spout with floral patterns. Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic cut away jug with floral and net pattern.   Cycladic (1650-1450 BC) , Phylakopi III, Melos. National Archaeological Museum Athens. Cat no 5757.   Gray background.<br />
<br />
<br />
This jug has a strainer in the spout with floral patterns. Ceramic shapes and painted style are heavily influenced by Minoan styles during this period. Dark floral and spiral patterns are painted over a lighted backgound with wavy bands.
  • Cycladic ceramic jug with linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat no 5147.   White background.
  • Cycladic ceramic jug with linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat no 5147.   Grey background.
  • Cycladic ceramic jug with linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat no 5147.
  • Cycladic ceramic jug with painted linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat no 4969.  Black background.
  • Cycladic ceramic jug with painted linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat no 4969.   White background.
  • Cycladic ceramic jug with painted linear decoration. Cycladic II (2800-2300 BC) , Chalandriani, Syros. National Archaeological Museum Athens. Cat no 4969
  • Cycladic askos with hatched painted decoration.  Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat no 5826.   White background.<br />
<br />
<br />
Decorated pottery is rare during this Ccladic period. This Cycladic askos has vertical handle on top with a spout. It has painted decoration of hatched bands and a lozenge pattern
  • Cycladic askos with hatched painted decoration.  Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat no 5826. <br />
<br />
Decorated pottery is rare during this Ccladic period. This Cycladic askos has vertical handle on top with a spout. It has painted decoration of hatched bands and a lozenge pattern
  • Cycladic askos with hatched painted decoration.  Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat no 5826.   Grey background.<br />
<br />
<br />
Decorated pottery is rare during this Ccladic period. This Cycladic askos has vertical handle on top with a spout. It has painted decoration of hatched bands and a lozenge pattern
  • Cycladic askos with hatched painted decoration.  Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat no 5826.   Gray background.<br />
<br />
<br />
Decorated pottery is rare during this Ccladic period. This Cycladic askos has vertical handle on top with a spout. It has painted decoration of hatched bands and a lozenge pattern
  • Cycladic amphora with bird decoration.  Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. cat no 5748.  Black background.<br />
<br />
<br />
During this Ctcladic period pottery was predominatly monochrome and brnished , this amphora is a rare example of bird decorated pottery from the era
  • Cycladic amphora with bird decoration.  Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. cat no 5748.   Grey background.<br />
<br />
<br />
During this Ctcladic period pottery was predominatly monochrome and brnished , this amphora is a rare example of bird decorated pottery from the era
  • Cycladic amphora with bird decoration.  Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. cat no 5748. <br />
<br />
During this Ctcladic period pottery was predominatly monochrome and brnished , this amphora is a rare example of bird decorated pottery from the era
  • Cycladic amphora with 'melian' painted motifs.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens.   White background.
  • Cycladic amphora with 'melian' painted motifs.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens.  Black background.
  • Cycladic amphora with 'melian' painted motifs.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens.
  • Cycladic footed necked jar with impressed decration.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 6168.<br />
<br />
During this period pottery was often monochrome with polised slip finishes sometimes with incised or impressed decorations.
  • Cycladic monachrome polished slip 'sauce boat' from Syros.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 55, 5159.  White background.<br />
<br />
<br />
These so called 'sauce boats' were a new shape and style that appeared during this period.
  • Cycladic monachrome polished slip 'sauce boat' from Syros.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 55, 5159. Black background.<br />
<br />
<br />
These so called 'sauce boats' were a new shape and style that appeared during this period.
  • Cycladic monachrome polished slip 'sauce boat' from Syros.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 55, 5159.<br />
<br />
These so called 'sauce boats' were a new shape and style that appeared during this period.
  • Cycladic monachrome polished slip 'sauce boat' from Syros.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 55, 5159.  Gray background.<br />
<br />
<br />
These so called 'sauce boats' were a new shape and style that appeared during this period.
  • Cycladic beak spouted jug with 'melian' painted motifs.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 5725-6. Black background.
  • Cycladic beak spouted jug with 'melian' painted motifs.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 5725-6.
  • Cycladic beak spouted jug with 'melian' painted motifs.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 5725-6.  Gray background.
  • Cycladic pithos with geometric designs.  Early Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5831.  Grey background.<br />
<br />
<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic pithos with geometric designs.  Early Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5831.<br />
<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic beak spouted jug.  Early Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5726.<br />
<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic beak spouted jug.  Early Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5726.<br />
<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic beak spouted jug.  Early Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5726.  Gray background.<br />
<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Spherical jug spiral and floral decorated. Early Cycladic I (1650-1550 BC); Phylakopi; Melos. National Archaeological Museum Athens. Cat No 5818.  White background.<br />
<br />
<br />
During this Cycladic period the pottery designs were heavily influenced by Cretean minoan with pottery.
  • Small Cycladic amphora.  Early Cycladic III (2300-200 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5813.<br />
<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Small Cycladic amphora.  Early Cycladic III (2300-200 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5813.  Gray background.<br />
<br />
<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Spherical jug spiral and floral decorated. Early Cycladic I (1650-1550 BC); Phylakopi; Melos. National Archaeological Museum Athens. Cat No 5818. Black background.<br />
<br />
<br />
During this Cycladic period the pottery designs were heavily influenced by Cretean minoan with pottery.
  • Spherical jug spiral and floral decorated. Early Cycladic I (1650-1550 BC); Phylakopi; Melos. National Archaeological Museum Athens. Cat No 5818.  Grey background.<br />
<br />
<br />
During this Cycladic period the pottery designs were heavily influenced by Cretean minoan with pottery.
  • Bridge spouted jug bird decorated. Early Cycladic I (1650-1550 BC); Phylakopi; Melos. National Archaeological Museum Athens. Cat No 5768.  White background.<br />
<br />
<br />
During this Cycladic period the pottery designs were heavily influenced by Cretean minoan with pottery like this using bird patterns.
  • Beak spouted jug decorated with flowering crocus. Early Cycladic I (1650-1550 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5769. Black background.<br />
<br />
During this Cycladic period the pottery designs were heavily influenced by Cretean minoan with pottery like this using floral patterns.
  • Beak spouted jug decorated with flowering crocus. Early Cycladic I (1650-1550 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5769.  Grey background.<br />
<br />
<br />
During this Cycladic period the pottery designs were heavily influenced by Cretean minoan with pottery like this using floral patterns.
  • Beak spouted jug decorated with flowering crocus. Early Cycladic I (1650-1550 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5769.<br />
<br />
During this Cycladic period the pottery designs were heavily influenced by Cretean minoan with pottery like this using floral patterns.
  • Beak spouted jug decorated with flowering crocus. Early Cycladic I (1650-1550 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5769.  Gray background.<br />
<br />
<br />
During this Cycladic period the pottery designs were heavily influenced by Cretean minoan with pottery like this using floral patterns.
  • Cycladic terracotta 'frying pan' with incied decoration from  Syros. Early found  at Phylakopi, Melos. Cycladic period III 2300-2000 BC), National Archaeological Museum Athens, Cat No 6172.  White background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied decoration from  Syros. Early found  at Phylakopi, Melos. Cycladic period III 2300-2000 BC), National Archaeological Museum Athens, Cat No 6172. Black background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied decoration from  Syros. Early found  at Phylakopi, Melos. Cycladic period III 2300-2000 BC), National Archaeological Museum Athens, Cat No 6172.  Grey background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied decoration from  Syros. Early found  at Phylakopi, Melos. Cycladic period III 2300-2000 BC), National Archaeological Museum Athens, Cat No 6172.<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied decoration from  Syros. Early found  at Phylakopi, Melos. Cycladic period III 2300-2000 BC), National Archaeological Museum Athens, Cat No 6172.  Gray background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied star decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5153.  White background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied star decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5153. Black background.<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied star decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5153.  Gray background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied star decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5164.  White background.<br />
<br />
<br />
In the middle of the decoration is a disc surrounded by a triangle motif. Above the handle is incised a pubic triangle.<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied star decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5164.  Grey background.<br />
<br />
<br />
In the middle of the decoration is a disc surrounded by a triangle motif. Above the handle is incised a pubic triangle.<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied star decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5164.<br />
<br />
In the middle of the decoration is a disc surrounded by a triangle motif. Above the handle is incised a pubic triangle.<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied star decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5164. Black background.<br />
<br />
<br />
In the middle of the decoration is a disc surrounded by a triangle motif. Above the handle is incised a pubic triangle.<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied linear decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5012.  White background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied linear decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5012. Black background.<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied star decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5164.  Gray background.<br />
<br />
<br />
In the middle of the decoration is a disc surrounded by a triangle motif. Above the handle is incised a pubic triangle.<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5058. Black background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5058.  White background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens,  Grey background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens,<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens,  Gray background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied boat and spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5053. Black background.<br />
<br />
<br />
The incisions depict a boat below spiral patternes. <br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied boat and spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5053.  Gray background.<br />
<br />
<br />
The incisions depict a boat below spiral patternes. <br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied boat and spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 5053.<br />
<br />
The incisions depict a boat below spiral patternes. <br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 6177. Black background.<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 6177.<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 6177.  Gray background.<br />
<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Cycladic terracotta 'frying pan' with incied boat and spiral decoration from Chalandriani, Syros. Early Cycladic period II 2800-2300 BC), National Archaeological Museum Athens, Cat No 4974.   Gray background.<br />
<br />
<br />
Yje incised decorations depict a boat amongst spiral formed waves. The boats is of a Ctcladic design  found throughout the Aegean.<br />
<br />
These so called 'frying pans' wre created by the Keros-Syros culture and are their useage is uncertain. The compex geometric patterns on their bases suggest that they may have had some symbolic meaning and were used in religious of magical rituals. They could also have served practical purposes being used as dishes, mirror mounts, astrolabes or metris measured for salt traders.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-2300 BC) from Stavros cemetery, Amorgos, grave 5, Cat No 4719. National Archaeological Museum, Athens.   Grey background.<br />
<br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-2300 BC) from Stavros cemetery, Amorgos, grave 5, Cat No 4719. National Archaeological Museum, Athens.   Gray background.<br />
<br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised.
  • The 'Harpist of Keros' a seated parian marble female Cycladic figurine. Early Cycladic Period II (2800-2300 BC) from Keros, Cat no 3908. National Archaeological Museum, Athens. Black background.<br />
<br />
This elaborate three dimesional Cyladic statue known as the 'Harpist of Keros' depicts a seated figure plaung a harp. Its execution required an experienced workshop that could file away the parian marble with gronze tools.
  • The 'Harpist of Keros' a seated parian marble female Cycladic figurine. Early Cycladic Period II (2800-2300 BC) from Keros, Cat no 3908. National Archaeological Museum, Athens. <br />
<br />
This elaborate three dimesional Cyladic statue known as the 'Harpist of Keros' depicts a seated figure plaung a harp. Its execution required an experienced workshop that could file away the parian marble with gronze tools.
  • The 'Harpist of Keros' a seated parian marble female Cycladic figurine. Early Cycladic Period II (2800-2300 BC) from Keros, Cat no 3908. National Archaeological Museum, Athens.   Gray background.<br />
<br />
<br />
This elaborate three dimesional Cyladic statue known as the 'Harpist of Keros' depicts a seated figure plaung a harp. Its execution required an experienced workshop that could file away the parian marble with gronze tools.
  • The 'Harpist of Keros' a seated parian marble female Cycladic figurine. Early Cycladic Period II (2800-2300 BC) from Keros, Cat no 3908. National Archaeological Museum, Athens. <br />
<br />
This elaborate three dimesional Cyladic statue known as the 'Harpist of Keros' depicts a seated figure plaung a harp. Its execution required an experienced workshop that could file away the parian marble with gronze tools.
  • Marble female Cycladic statue figurine with folded arms. Early Cycladic Period II (2800-2300 BC) from Chalandriani, Syros. National Archaeological Museum, Athens.   White background.
  • Marble female Cycladic statue figurine with folded arms. Early Cycladic Period II (2800-2300 BC) from Chalandriani, Syros. National Archaeological Museum, Athens. Black background.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-2300 BC) from Naxos, Cat No 6195. National Archaeological Museum, Athens. <br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-2300 BC) from Naxos, Cat No 6195. National Archaeological Museum, Athens.   White background.<br />
<br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-2300 BC) from Naxos, Cat No 6195. National Archaeological Museum, Athens. <br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-2300 BC) from Naxos, Cat No 6195. National Archaeological Museum, Athens.   Grey background.<br />
<br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised.
  • Cycladic statue figurine of the naturalistic 'Plastira' type of Paros from Glypha cemetery, grave 23, Cat no 4762. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens.   White background.<br />
<br />
<br />
This type of Cycladic figurine stand with feet lat to the ground with detailed facial features and ears to make a more realistic statue.
  • Cycladic statue figurine of the naturalistic 'Plastira' type of Paros from Glypha cemetery, grave 23, Cat no 4762. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens. Black background.<br />
<br />
This type of Cycladic figurine stand with feet lat to the ground with detailed facial features and ears to make a more realistic statue.
  • Cycladic statue figurine of the naturalistic 'Plastira' type of Paros from Glypha cemetery, grave 23, Cat no 4762. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens. <br />
<br />
This type of Cycladic figurine stand with feet lat to the ground with detailed facial features and ears to make a more realistic statue.
  • Cycladic statue figurine of the naturalistic 'Plastira' type of Paros. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens.   White background.<br />
<br />
<br />
This type of Cycladic figurine stand with feet lat to the ground with detailed facial features and ears to make a more realistic statue.
  • Cycladic statue figurine of the naturalistic 'Plastira' type of Paros. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens. Black background.<br />
<br />
This type of Cycladic figurine stand with feet lat to the ground with detailed facial features and ears to make a more realistic statue.
  • Cycladic statue figurine of the naturalistic 'Plastira' type of Paros. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens.   Grey background.<br />
<br />
<br />
This type of Cycladic figurine stand with feet lat to the ground with detailed facial features and ears to make a more realistic statue.
  • Cycladic statue figurine of the naturalistic 'Plastira' type of Paros. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens. <br />
<br />
This type of Cycladic figurine stand with feet lat to the ground with detailed facial features and ears to make a more realistic statue.
  • Cycladic statue figurine of the naturalistic 'Plastira' type of Paros. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens.   Gray background.<br />
<br />
<br />
This type of Cycladic figurine stand with feet lat to the ground with detailed facial features and ears to make a more realistic statue.
  • Cycladic statue figurine of the naturalistic 'Plastira' type of Paros. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens.   White background.<br />
<br />
<br />
This type of Cycladic figurine stand with feet lat to the ground with detailed facial features and ears to make a more realistic statue. This statue is of a hunter or warrior as it bears an incised weapon strap across its chest and holds a knife.
  • Cycladic statue figurine of the naturalistic 'Plastira' type of Paros. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens. Black background.<br />
This type of Cycladic figurine stand with feet lat to the ground with detailed facial features and ears to make a more realistic statue. This statue is of a hunter or warrior as it bears an incised weapon strap across its chest and holds a knife.
  • Cycladic violin shaped figurine. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens.
  • Cycladic violin shaped figurine. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens. Black background.
  • Cycladic violin shaped figurine. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens. Black background.
  • Cycladic violin shaped figurine. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens.
  • Cycladic violin shaped figurine. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800). National Archaeological Museum, Athens. Black background.<br />
<br />
This Cycladic violin shaped figurine has two holes in its neck which were provavly used to hold its broken neck together with wire or cord.
  • Cycladic violin shaped figurine. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800). National Archaeological Museum, Athens.   White background.<br />
<br />
<br />
This Cycladic violin shaped figurine has two holes in its neck which were provavly used to hold its broken neck together with wire or cord.
  • Cycladic violin shaped figurine. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800). National Archaeological Museum, Athens.   Grey background.<br />
<br />
<br />
This Cycladic violin shaped figurine has two holes in its neck which were provavly used to hold its broken neck together with wire or cord.
  • Cycladic violin shaped figurine. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800). National Archaeological Museum, Athens. <br />
<br />
This Cycladic violin shaped figurine has two holes in its neck which were provavly used to hold its broken neck together with wire or cord.
  • Cycladic violin shaped figurine. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800). National Archaeological Museum, Athens.   Gray background.<br />
<br />
<br />
This Cycladic violin shaped figurine has two holes in its neck which were provavly used to hold its broken neck together with wire or cord.
  • Female Cycladic statue figurine with folded arms of the Spedos and Dokathismata type. Early Cycladic Period II (2800-3200) from Naxos. National Archaeological Museum, Athens.   White background.<br />
<br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised.
  • Female Cycladic statue figurine with folded arms of the Spedos and Dokathismata type. Early Cycladic Period II (2800-3200) from Naxos. National Archaeological Museum, Athens. Black background.<br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised.
  • Female Cycladic statue figurine with folded arms of the Spedos and Dokathismata type. Early Cycladic Period II (2800-3200) from Naxos. National Archaeological Museum, Athens.   Gray background.<br />
<br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised.
  • Female Cycladic statue figurine with folded arms of the Spedos and Dokathismata type. Early Cycladic Period II (2800-3200) from Amorgos. National Archaeological Museum, Athens. <br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised. This staue belongs to the Dokathismata type of Amorgos with an angular face, wide chest and slender outline.
  • Female Cycladic statue figurine with folded arms of the Spedos and Dokathismata type. Early Cycladic Period II (2800-3200) from Amorgos. National Archaeological Museum, Athens. <br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised. This staue belongs to the Dokathismata type of Amorgos with an angular face, wide chest and slender outline.
  • Female Cycladic statue figurine with folded arms of the Spedos and Dokathismata type. Early Cycladic Period II (2800-3200) from Amorgos. National Archaeological Museum, Athens.   Gray background.<br />
<br />
<br />
This Cycladic statue figurine is of the Spedos type standing on tip tie with bended knees and arms folded under the breasts with head raiised. This staue belongs to the Dokathismata type of Amorgos with an angular face, wide chest and slender outline.
  • Marble female Cycladic statue figurine with folded arms of the Spedos type. Early Cycladic Period II (2800-3200) from Naxos, Cat No 20934. National Archaeological Museum, Athens.   White background.<br />
<br />
<br />
One of the largest known Cycladic statues at 89CM tall this figurine still has traces of a colour on the hair and eyes.
  • Head of a Cycladic statue with remnants of painted eyes and right cheek, Parian Marble, Amorgos, Early Cycladic II period (2800-3200BC). National Archaeological Museum, Athens.   White background.
  • Head of a Cycladic statue with remnants of painted eyes and right cheek, Parian Marble, Amorgos, Early Cycladic II period (2800-3200BC). National Archaeological Museum, Athens.   Gray background.
  • Head of a Cycladic statue with remnants of painted eyes and right cheek, Parian Marble, Amorgos, Early Cycladic II period (2800-3200BC). National Archaeological Museum, Athens.   Grey background.
  • Mycenaean gold death mask, Mask of Agamemnon, Grave Cicle A, Mycenae, Greece.National Archaeological Museum of Athens.   Grey Art Background<br />
<br />
The mask from Grave V depicts an imposing face of a bearded man descovered by  Heinrich Schliemann who believed it was the body of Agamemnon, this is unproven to date.  The Mycenaean death mask belonged to a warrior and made of gold leaf it cocered the dead mans face held on by cord threaded tgrough the two sides of the mask.  The mask of Agamemnon was created from a single thick gold sheet, heated and hammered against a wooden background with the details chased on later with a sharp tool. The artifact dates from the 16th century BC.
  • Mycenaean gold death mask, Mask of Agamemnon, Grave Cicle A, Mycenae, Greece.National Archaeological Museum of Athens.  White background.<br />
<br />
The mask from Grave V depicts an imposing face of a bearded man descovered by  Heinrich Schliemann who believed it was the body of Agamemnon, this is unproven to date.  The Mycenaean death mask belonged to a warrior and made of gold leaf it cocered the dead mans face held on by cord threaded tgrough the two sides of the mask.  The mask of Agamemnon was created from a single thick gold sheet, heated and hammered against a wooden background with the details chased on later with a sharp tool. The artifact dates from the 16th century BC.
  • Mycenaean gold death mask, Mask of Agamemnon, Grave Cicle A, Mycenae, Greece.National Archaeological Museum of Athens.  Grey Background<br />
<br />
<br />
The mask from Grave V depicts an imposing face of a bearded man descovered by  Heinrich Schliemann who believed it was the body of Agamemnon, this is unproven to date.  The Mycenaean death mask belonged to a warrior and made of gold leaf it cocered the dead mans face held on by cord threaded tgrough the two sides of the mask.  The mask of Agamemnon was created from a single thick gold sheet, heated and hammered against a wooden background with the details chased on later with a sharp tool. The artifact dates from the 16th century BC.
  • Mycenaean gold death mask, Mask of Agamemnon, Grave Cicle A, Mycenae, Greece.National Archaeological Museum of Athens.  Black Background<br />
<br />
The mask from Grave V depicts an imposing face of a bearded man descovered by  Heinrich Schliemann who believed it was the body of Agamemnon, this is unproven to date.  The Mycenaean death mask belonged to a warrior and made of gold leaf it cocered the dead mans face held on by cord threaded tgrough the two sides of the mask.  The mask of Agamemnon was created from a single thick gold sheet, heated and hammered against a wooden background with the details chased on later with a sharp tool. The artifact dates from the 16th century BC.
  • Mycenaean gold death mask, Mask of Agamemnon, Grave Cicle A, Mycenae, Greece.National Archaeological Museum of Athens. <br />
<br />
The mask from Grave V depicts an imposing face of a bearded man descovered by  Heinrich Schliemann who believed it was the body of Agamemnon, this is unproven to date.  The Mycenaean death mask belonged to a warrior and made of gold leaf it cocered the dead mans face held on by cord threaded tgrough the two sides of the mask.  The mask of Agamemnon was created from a single thick gold sheet, heated and hammered against a wooden background with the details chased on later with a sharp tool. The artifact dates from the 16th century BC.
  • Mycenaean gold death mask, Mask of Agamemnon, Grave Cicle A, Mycenae, Greece.National Archaeological Museum of Athens.  Black Background<br />
<br />
The mask from Grave V depicts an imposing face of a bearded man descovered by  Heinrich Schliemann who believed it was the body of Agamemnon, this is unproven to date.  The Mycenaean death mask belonged to a warrior and made of gold leaf it cocered the dead mans face held on by cord threaded tgrough the two sides of the mask.  The mask of Agamemnon was created from a single thick gold sheet, heated and hammered against a wooden background with the details chased on later with a sharp tool. The artifact dates from the 16th century BC.
  • Mycenaean gold death mask, Mask of Agamemnon, Grave Cicle A, Mycenae, Greece.National Archaeological Museum of Athens.  White background.<br />
<br />
The mask from Grave V depicts an imposing face of a bearded man descovered by  Heinrich Schliemann who believed it was the body of Agamemnon, this is unproven to date.  The Mycenaean death mask belonged to a warrior and made of gold leaf it cocered the dead mans face held on by cord threaded tgrough the two sides of the mask.  The mask of Agamemnon was created from a single thick gold sheet, heated and hammered against a wooden background with the details chased on later with a sharp tool. The artifact dates from the 16th century BC.
  • Mycenaean gold death mask, Mask of Agamemnon, Grave Cicle A, Mycenae, Greece.National Archaeological Museum of Athens.  Grey Background<br />
<br />
<br />
The mask from Grave V depicts an imposing face of a bearded man descovered by  Heinrich Schliemann who believed it was the body of Agamemnon, this is unproven to date.  The Mycenaean death mask belonged to a warrior and made of gold leaf it cocered the dead mans face held on by cord threaded tgrough the two sides of the mask.  The mask of Agamemnon was created from a single thick gold sheet, heated and hammered against a wooden background with the details chased on later with a sharp tool. The artifact dates from the 16th century BC.
  • Mycenaean gold death mask, Mask of Agamemnon, Grave Cicle A, Mycenae, Greece.National Archaeological Museum of Athens.   Grey Art Background<br />
<br />
The mask from Grave V depicts an imposing face of a bearded man descovered by  Heinrich Schliemann who believed it was the body of Agamemnon, this is unproven to date.  The Mycenaean death mask belonged to a warrior and made of gold leaf it cocered the dead mans face held on by cord threaded tgrough the two sides of the mask.  The mask of Agamemnon was created from a single thick gold sheet, heated and hammered against a wooden background with the details chased on later with a sharp tool. The artifact dates from the 16th century BC.
  • Mycenaean gold death mask, Mask of Agamemnon, Grave Cicle A, Mycenae, Greece.National Archaeological Museum of Athens.<br />
<br />
The mask from Grave V depicts an imposing face of a bearded man descovered by  Heinrich Schliemann who believed it was the body of Agamemnon, this is unproven to date.  The Mycenaean death mask belonged to a warrior and made of gold leaf it cocered the dead mans face held on by cord threaded tgrough the two sides of the mask.  The mask of Agamemnon was created from a single thick gold sheet, heated and hammered against a wooden background with the details chased on later with a sharp tool. The artifact dates from the 16th century BC.
  • Gothic fresco mural painting "THE CONQUEST OF MAJORCA" 1285-1290. National Museum of Catalan Art, Barcelona, Spain, inv no: 071447-CJT. <br />
The mural paintings of the Conquest of Majorca come from the former ancestral home of the Caldes family in Carrer Montcada in Barcelona, a building later known as Palau Aguilar. Discovered and removed in 1961, these paintings are one of the most important examples of early or Linear Gothic Catalan painting. This magnificent example of painting on historical subject matter narrates the conquest of the island of Majorca by James I the Conqueror in 1229. Like a painted chronicle, the episodes follow the detailed narrative of Catalan medieval accounts such as King James I's 'Llibre dels Feits' and Bernat Desclot's 'Crònica'.
  • Gothic fresco mural painting "THE CONQUEST OF MAJORCA" 1285-1290. National Museum of Catalan Art, Barcelona, Spain, inv no: 071447-CJT. <br />
The mural paintings of the Conquest of Majorca come from the former ancestral home of the Caldes family in Carrer Montcada in Barcelona, a building later known as Palau Aguilar. Discovered and removed in 1961, these paintings are one of the most important examples of early or Linear Gothic Catalan painting. This magnificent example of painting on historical subject matter narrates the conquest of the island of Majorca by James I the Conqueror in 1229. Like a painted chronicle, the episodes follow the detailed narrative of Catalan medieval accounts such as King James I's 'Llibre dels Feits' and Bernat Desclot's 'Crònica'.
  • Gothic fresco mural painting "THE CONQUEST OF MAJORCA" 1285-1290. National Museum of Catalan Art, Barcelona, Spain, inv no: 071447-CJT. <br />
The mural paintings of the Conquest of Majorca come from the former ancestral home of the Caldes family in Carrer Montcada in Barcelona, a building later known as Palau Aguilar. Discovered and removed in 1961, these paintings are one of the most important examples of early or Linear Gothic Catalan painting. This magnificent example of painting on historical subject matter narrates the conquest of the island of Majorca by James I the Conqueror in 1229. Like a painted chronicle, the episodes follow the detailed narrative of Catalan medieval accounts such as King James I's 'Llibre dels Feits' and Bernat Desclot's 'Crònica'.
  • Gothic fresco mural painting "THE CONQUEST OF MAJORCA" 1285-1290. National Museum of Catalan Art, Barcelona, Spain, inv no: 071447-CJT. <br />
The mural paintings of the Conquest of Majorca come from the former ancestral home of the Caldes family in Carrer Montcada in Barcelona, a building later known as Palau Aguilar. Discovered and removed in 1961, these paintings are one of the most important examples of early or Linear Gothic Catalan painting. This magnificent example of painting on historical subject matter narrates the conquest of the island of Majorca by James I the Conqueror in 1229. Like a painted chronicle, the episodes follow the detailed narrative of Catalan medieval accounts such as King James I's 'Llibre dels Feits' and Bernat Desclot's 'Crònica'.
  • Gothic fresco mural painting "THE CONQUEST OF MAJORCA" 1285-1290. National Museum of Catalan Art, Barcelona, Spain, inv no: 071447-CJT. <br />
The mural paintings of the Conquest of Majorca come from the former ancestral home of the Caldes family in Carrer Montcada in Barcelona, a building later known as Palau Aguilar. Discovered and removed in 1961, these paintings are one of the most important examples of early or Linear Gothic Catalan painting. This magnificent example of painting on historical subject matter narrates the conquest of the island of Majorca by James I the Conqueror in 1229. Like a painted chronicle, the episodes follow the detailed narrative of Catalan medieval accounts such as King James I's 'Llibre dels Feits' and Bernat Desclot's 'Crònica'.
  • Gothic fresco mural painting "THE CONQUEST OF MAJORCA" 1285-1290. National Museum of Catalan Art, Barcelona, Spain, inv no: 071447-CJT. <br />
The mural paintings of the Conquest of Majorca come from the former ancestral home of the Caldes family in Carrer Montcada in Barcelona, a building later known as Palau Aguilar. Discovered and removed in 1961, these paintings are one of the most important examples of early or Linear Gothic Catalan painting. This magnificent example of painting on historical subject matter narrates the conquest of the island of Majorca by James I the Conqueror in 1229. Like a painted chronicle, the episodes follow the detailed narrative of Catalan medieval accounts such as King James I's 'Llibre dels Feits' and Bernat Desclot's 'Crònica'.
  • Gothic fresco mural painting "THE CONQUEST OF MAJORCA" 1285-1290. National Museum of Catalan Art, Barcelona, Spain, inv no: 071447-CJT. <br />
The mural paintings of the Conquest of Majorca come from the former ancestral home of the Caldes family in Carrer Montcada in Barcelona, a building later known as Palau Aguilar. Discovered and removed in 1961, these paintings are one of the most important examples of early or Linear Gothic Catalan painting. This magnificent example of painting on historical subject matter narrates the conquest of the island of Majorca by James I the Conqueror in 1229. Like a painted chronicle, the episodes follow the detailed narrative of Catalan medieval accounts such as King James I's 'Llibre dels Feits' and Bernat Desclot's 'Crònica'.
  • Gothic fresco mural painting "THE CONQUEST OF MAJORCA" 1285-1290. National Museum of Catalan Art, Barcelona, Spain, inv no: 071447-CJT. <br />
The mural paintings of the Conquest of Majorca come from the former ancestral home of the Caldes family in Carrer Montcada in Barcelona, a building later known as Palau Aguilar. Discovered and removed in 1961, these paintings are one of the most important examples of early or Linear Gothic Catalan painting. This magnificent example of painting on historical subject matter narrates the conquest of the island of Majorca by James I the Conqueror in 1229. Like a painted chronicle, the episodes follow the detailed narrative of Catalan medieval accounts such as King James I's 'Llibre dels Feits' and Bernat Desclot's 'Crònica'.
  • Gothic fresco mural painting "THE CONQUEST OF MAJORCA" 1285-1290. National Museum of Catalan Art, Barcelona, Spain, inv no: 071447-CJT. <br />
The mural paintings of the Conquest of Majorca come from the former ancestral home of the Caldes family in Carrer Montcada in Barcelona, a building later known as Palau Aguilar. Discovered and removed in 1961, these paintings are one of the most important examples of early or Linear Gothic Catalan painting. This magnificent example of painting on historical subject matter narrates the conquest of the island of Majorca by James I the Conqueror in 1229. Like a painted chronicle, the episodes follow the detailed narrative of Catalan medieval accounts such as King James I's 'Llibre dels Feits' and Bernat Desclot's 'Crònica'.
  • Gothic fresco mural painting "THE CONQUEST OF MAJORCA" 1285-1290. National Museum of Catalan Art, Barcelona, Spain, inv no: 071447-CJT. <br />
The mural paintings of the Conquest of Majorca come from the former ancestral home of the Caldes family in Carrer Montcada in Barcelona, a building later known as Palau Aguilar. Discovered and removed in 1961, these paintings are one of the most important examples of early or Linear Gothic Catalan painting. This magnificent example of painting on historical subject matter narrates the conquest of the island of Majorca by James I the Conqueror in 1229. Like a painted chronicle, the episodes follow the detailed narrative of Catalan medieval accounts such as King James I's 'Llibre dels Feits' and Bernat Desclot's 'Crònica'.
  • Gothic fresco mural painting "THE CONQUEST OF MAJORCA" 1285-1290. National Museum of Catalan Art, Barcelona, Spain, inv no: 071447-CJT. <br />
The mural paintings of the Conquest of Majorca come from the former ancestral home of the Caldes family in Carrer Montcada in Barcelona, a building later known as Palau Aguilar. Discovered and removed in 1961, these paintings are one of the most important examples of early or Linear Gothic Catalan painting. This magnificent example of painting on historical subject matter narrates the conquest of the island of Majorca by James I the Conqueror in 1229. Like a painted chronicle, the episodes follow the detailed narrative of Catalan medieval accounts such as King James I's 'Llibre dels Feits' and Bernat Desclot's 'Crònica'.
  • Gothic fresco mural painting "THE CONQUEST OF MAJORCA" 1285-1290. National Museum of Catalan Art, Barcelona, Spain, inv no: 071447-CJT. <br />
The mural paintings of the Conquest of Majorca come from the former ancestral home of the Caldes family in Carrer Montcada in Barcelona, a building later known as Palau Aguilar. Discovered and removed in 1961, these paintings are one of the most important examples of early or Linear Gothic Catalan painting. This magnificent example of painting on historical subject matter narrates the conquest of the island of Majorca by James I the Conqueror in 1229. Like a painted chronicle, the episodes follow the detailed narrative of Catalan medieval accounts such as King James I's 'Llibre dels Feits' and Bernat Desclot's 'Crònica'.
  • Gothic fresco mural painting "THE CONQUEST OF MAJORCA" 1285-1290. National Museum of Catalan Art, Barcelona, Spain, inv no: 071447-CJT. <br />
The mural paintings of the Conquest of Majorca come from the former ancestral home of the Caldes family in Carrer Montcada in Barcelona, a building later known as Palau Aguilar. Discovered and removed in 1961, these paintings are one of the most important examples of early or Linear Gothic Catalan painting. This magnificent example of painting on historical subject matter narrates the conquest of the island of Majorca by James I the Conqueror in 1229. Like a painted chronicle, the episodes follow the detailed narrative of Catalan medieval accounts such as King James I's 'Llibre dels Feits' and Bernat Desclot's 'Crònica'.
  • 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.
  • Medieval enamelled box depicting angels, circa12th century from Limoges, enamel on gold. AD.  The Louvre Museum, Paris.
  • Painted plaster statue of Saint Mary Magdalene, circa 1515-1520, suspended from the vault of the church of St. Mary Magdalene Dominican convent of Augsburg. Inspired by an engraving of Albrecht Durer which depicted Mary Magdalene nude. Inv RF 1338,  The Louvre Museum, Paris.
  • Painted stucco bust of a female possibly the Virgin of the Annonciation or Saint Catherine of Sienna. made in Florence around 1429- 1484 from Papiano, Palagio Fiorentino.  Inv  The Louvre Museum, Paris.
  • Enamelled plaque of Louis 12th known as the Sorrowful Virgin made in Limoge around 1500. inv 11170, The Louvre Museum, Paris.
  • Medieval Gothic ivory tabernacle depicting the Virgin and Child with scenes from the Annunciation, Nativity, the adoration of the Magi and the presentation at the Temple  made in Paris in second quarter of the 14th century and is a typical example of tabernacles made in Paris at that period.  inv 2587, The Louvre Museum, Paris.
  • Medieval Gothic ivory diptych depicting the Annunciation, Nativity, the adoration of the Magi and the crucifixion  made in Paris in second quarter of the 14th century.  inv 103, The Louvre Museum, Paris.
  • Medieval elephant ivory plaque with traces of paint made in Italy in the 13th or start of the 14th century.  The crucifixion is a rare example of a Gothic piece being inspired by 11th century Romanesque works.  inv 7268, The Louvre Museum, Paris.
  • Medieval Gothic ivory statuette of the Virgin and Child with traces of polychrome, third quarter of 13th century before 1279 made in Paris. From the treasury of the Saint Chapelle, Paris. inv 67, The Louvre Museum, Paris.
  • Medieval ivory Triptych relief panel depicting the Ascension, end of 11th cent. AD. Inv OA 6340, The Louvre Museum, Paris.
  • Medieval Bouquetin goats horn ivory crosier with traces of paint, circa 12th century from the south of Italy. Inv OA 11150, The Louvre Museum, Paris.
  • Medieval ivory relief panel depicting the arrest of Christ.  From the workshop of Charles-le-Chauve circa 870 AD.. Inv. OA 9526, The Louvre Museum, Paris.
  • Painted wooden relief sculptured altarpiece of two Popes, a  Cardinal, a Bishop a cannon and 7 priests praying made in 1505 by Daniel Mauch from Ulm. Inv RF 2805,  The Louvre Museum, Paris.
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • Medieval ivory relief panel from a diptych depicting a triumphant Byzantine Roman Emperor, probably Justinian. From Constantinople, 6th century. Inv. OA 9063, The Louvre Museum, Paris.
  • Medieval Christian relief Icon depicting scenes from the Nativity, A central ivory panel surrounded by beaten silver border. From Constantinople, 11th or 12th century. Inv. OA 11399, The Louvre Museum, Paris.
  • Painted Gothic wooden Fourteen Intercessors altarpiece made at the end of the 15th century in Franconia.  The panel depict 14 saints in total. Inv RF 2531,  The Louvre Museum, Paris.
  • Painted relief panel of the Annonciation of the Virgin, made at the start of the 16th century possibly in the Tyrol, Austria.  Inv 2352 The Louvre Museum, Paris.
  • Painted marble bust of Ferdinand of Aragon, King of Naples (1423-1494) from the “Porta Salvatore” Sulmona, Italy. Variously  attributed to Pietro do Milano (around 1435-1473) Francesco Laurana (circa 1430-1502) and Domenico Gagini (quote from 1448-492).  Inv RF 745, The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of Saint George sleighing the Dragon. Made in Florence around 1520. Inv RF 3096, The Louvre Museum, Paris.
  • Medieval Gothic ivory diptych with scenes from the life of Christ and the Virgin made in Paris around 1370-1380.  inv 4089, The Louvre Museum, Paris.
  • Medieval enamelled box with scenes of the Massacre of the Innocents, last quarter of the 12th century from Limoges, enamel on gold. Monflanquin, Lot-en-Gironne. AD. Inv OA 10406, The Louvre Museum, Paris.
  • Medieval case known as “of Saint Louis”,  made in Limoges around 1236. Given by Philip the Fair to the Abbey of Notre Dame du Lis with relics of Saint Louis inside., Paris. inv 253, The Louvre Museum, Paris.
  • Medieval enamelled box with scenes from the martyrdom of Saint Thomas Becket, end of the 12th beginning of the 13th century from Limoges, enamel on gold. AD. Inv OA 7745, The Louvre Museum, Paris.
  • Medieval enamelled box depicting the entombment of a Saint, beginning of the 13th century from Limoges, enamel on gold. AD. Inv OA 949, The Louvre Museum, Paris.
  • Medieval enamelled box depicting the martyrdom of Saint Thomas Becket, 12th century from Limoges, enamel on gold. AD. Inv OA 11333, The Louvre Museum, Paris.
  • Painted Gothic wooden Fourteen Intercessors altarpiece made at the end of the 15th century in Franconia.  The panel depict 14 saints in total. Inv RF 2531,  The Louvre Museum, Paris.
  • Painted wood sculpture of Saint Roch, circa 1510-1515  from Carinthie, Austria. Inv RF  4514,  The Louvre Museum, Paris.
  • Painted oak relief of three soldiers and two men in a rocky landscape below the walls of Jerusalem, from Antwerp circa 1510-1515. This is a panel from the Passion.  Inv RF  297,  The Louvre Museum, Paris.
  • Painted walnut sculpture of the decent from the Cross, circa 1470-1490 possibly from Antwerp or the Brabant region of Belgium.  Inv RF 4696,  The Louvre Museum, Paris.
  • Painted alabaster statue of the Virgin of the annunciation, made around 1495 by Tilman Riemenschneider of Heiligenstadt im Eichsfeld, Germany The statue would have originally bee accompanied by another of the  Gabriel and both would have formed part of an altarpiece. Inv RF 1384,  The Louvre Museum, Paris.
  • Painted plaster statue of Saint Mary Magdalene, circa 1515-1520, suspended from the vault of the church of St. Mary Magdalene Dominican convent of Augsburg. Inspired by an engraving of Albrecht Durer which depicted Mary Magdalene nude. Inv RF 1338,  The Louvre Museum, Paris.
  • Painted plaster statue of Saint Mary Magdalene, circa 1515-1520, suspended from the vault of the church of St. Mary Magdalene Dominican convent of Augsburg. Inspired by an engraving of Albrecht Durer which depicted Mary Magdalene nude. Inv RF 1338,  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.
  • Painted wooden relief sculptured altarpiece of two Popes, a  Cardinal, a Bishop a cannon and 7 priests praying made in 1505 by Daniel Mauch from Ulm. Inv RF 2805,  The Louvre Museum, Paris.
  • Painted panels of the Martyrdom of Saint Catherine painted in 1524 by Hans Gieng of Fribourg.  From the church of Ependes near Fribourg, Switzerland. Inv RF 4721 The Louvre Museum, Paris.
  • Painted panels of the Martyrdom of Saint Catherine painted in 1524 by Hans Gieng of Fribourg.  From the church of Ependes near Fribourg, Switzerland. Inv RF 4721 The Louvre Museum, Paris.
  • Wooden Gothic sculpture of the Virgin and Child attributeed to Martin Hoffman from the city of Basle, 1507, Switzerland. From the Commandry of Isenheim, Haut Rhin. This sculpture is probably the "big and ancient wooden statue of the Virgin” cited in 1793 in the inventory of the property of the Commandry of Isenheim.  The vervatious deep folds in the Virgins dress, the laughing child Jesus  and the style of Mary were repeatedly imitated in Basel at the beginning of the sixteenth century. This masterpiece of the German late Gothic sculpture was executed in a Basel workshop and can be attributed to Martin Hoffman. Expressive and enigmatic, the style of this masterpiece is the heir of the sculpture schools of Stragbourg and Veit Stoss Franconian art.  Inv RF 1833 The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of the Ascension of Christ made around 1490 for the Cordoni chapel in the church of Saint Agostino in the Citta de Castello, Umbria, Italy by Andrea  della Robbia of Florence.  The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of the Virgin and Child with Cherubs by Andrea  della Robbia, Florence circa 1435-1525.  Inv  Campana 32,  The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of the Virgin’s adoration of the Child in the presence of the infant Jean the Baptist by Andrea and Giovanni della Robbia, Florence circa 1500.  Inv LP 3410,  The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of the Virgin and Child with two cherubs a copy of the “Madonna de l’Impuuneta” by Luca della Robbia, Florence 1399-1482).  Inv Campana 32,  The Louvre Museum, Paris.

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