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Fighting 6th Stock Photos and Images
Greek Art. Archaic Age. 6th century BCE. Bronze tripod foot with six reliefs depicting: 1-Woman holding a horse by the reins, 2 - Lion and Scorpion, 3 - Odysseus escapes the Cyclops hidden under a ram, 4 - Goat and Bird, 5 - Two faced fighting birds, 6 - Pegasus Gorgon with her son. Archaeological Museum of Olympia. Greece. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/greek-art-archaic-age-6th-century-bce-bronze-tripod-foot-with-six-reliefs-depicting-1-woman-holding-a-horse-by-the-reins-2-lion-and-scorpion-3-odysseus-escapes-the-cyclops-hidden-under-a-ram-4-goat-and-bird-5-two-faced-fighting-birds-6-pegasus-gorgon-with-her-son-archaeological-museum-of-olympia-greece-image220373341.htmlRMPPETCD–Greek Art. Archaic Age. 6th century BCE. Bronze tripod foot with six reliefs depicting: 1-Woman holding a horse by the reins, 2 - Lion and Scorpion, 3 - Odysseus escapes the Cyclops hidden under a ram, 4 - Goat and Bird, 5 - Two faced fighting birds, 6 - Pegasus Gorgon with her son. Archaeological Museum of Olympia. Greece.
Treasure of the Athenians. 510-500 BC. Metope depicting Theseus fighting the amazon Antiope. Delphi Museum. Greece. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/treasure-of-the-athenians-510-500-bc-metope-depicting-theseus-fighting-the-amazon-antiope-delphi-museum-greece-image209620713.htmlRMP511A1–Treasure of the Athenians. 510-500 BC. Metope depicting Theseus fighting the amazon Antiope. Delphi Museum. Greece.
Great Palace Mosaic Museum. 4th-6th centuries. Detail of a mosaic. Istanbul. Turkey. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/great-palace-mosaic-museum-4th-6th-centuries-detail-of-a-mosaic-istanbul-turkey-image220260593.htmlRMPP9MHN–Great Palace Mosaic Museum. 4th-6th centuries. Detail of a mosaic. Istanbul. Turkey.
Great Palace Mosaic Museum. 4th-6th centuries. Detail of a mosaic. Istanbul. Turkey. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/great-palace-mosaic-museum-4th-6th-centuries-detail-of-a-mosaic-istanbul-turkey-image220260362.htmlRMPP9M9E–Great Palace Mosaic Museum. 4th-6th centuries. Detail of a mosaic. Istanbul. Turkey.
Great Palace Mosaic Museum. 4th-6th centuries. Detail of a mosaic. Istanbul. Turkey. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/great-palace-mosaic-museum-4th-6th-centuries-detail-of-a-mosaic-istanbul-turkey-image220260968.htmlRMPP9N34–Great Palace Mosaic Museum. 4th-6th centuries. Detail of a mosaic. Istanbul. Turkey.
Siphnian Treasury. 530 BC. Relief depicting a scene of Troy War. Ajax and Achilles fighting Aeneas and Memnon. Archaeological Museum. Delphi. Greece. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/siphnian-treasury-530-bc-relief-depicting-a-scene-of-troy-war-ajax-and-achilles-fighting-aeneas-and-memnon-archaeological-museum-delphi-greece-image220316556.htmlRMPPC80C–Siphnian Treasury. 530 BC. Relief depicting a scene of Troy War. Ajax and Achilles fighting Aeneas and Memnon. Archaeological Museum. Delphi. Greece.
Great Palace Mosaic Museum. 4th-6th centuries. Detail of a mosaic depicting a group of animals. Istanbul. Turkey. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/great-palace-mosaic-museum-4th-6th-centuries-detail-of-a-mosaic-depicting-a-group-of-animals-istanbul-turkey-image220261032.htmlRMPP9N5C–Great Palace Mosaic Museum. 4th-6th centuries. Detail of a mosaic depicting a group of animals. Istanbul. Turkey.
Great Palace Mosaic Museum. Mosaics of pavement of a peristyle court (Great Palace of Constantinople). 4th-6th centuries. Byzantine period. Detail. Hunting leopards. South-western hall. Istanbul. Turkey. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/great-palace-mosaic-museum-mosaics-of-pavement-of-a-peristyle-court-great-palace-of-constantinople-4th-6th-centuries-byzantine-period-detail-hunting-leopards-south-western-hall-istanbul-turkey-image210573850.htmlRMP6GD2J–Great Palace Mosaic Museum. Mosaics of pavement of a peristyle court (Great Palace of Constantinople). 4th-6th centuries. Byzantine period. Detail. Hunting leopards. South-western hall. Istanbul. Turkey.
Terracotta alabastron (perfume vase). Culture: Etruscan. Dimensions: H. 7 1/8 in. (18.1 cm). Date: 6th century B.C.. Upper frieze, Herakles and centaurs Lower frieze, flutist leading procession of women The upper frieze, depicting Herakles in the company of three centaurs, is perhaps a reference to the story of the Greek hero's battle with Pholos and his fellow centaurs. The scene below has no obvious narrative connection to that one. This shape, frequently made of alabaster and copied by Corinthian potters, is rare with Etruscan potters working in Southern Etruria. Museum: Metropolitan Mus Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/terracotta-alabastron-perfume-vase-culture-etruscan-dimensions-h-7-18-in-181-cm-date-6th-century-bc-upper-frieze-herakles-and-centaurs-lower-frieze-flutist-leading-procession-of-women-the-upper-frieze-depicting-herakles-in-the-company-of-three-centaurs-is-perhaps-a-reference-to-the-story-of-the-greek-heros-battle-with-pholos-and-his-fellow-centaurs-the-scene-below-has-no-obvious-narrative-connection-to-that-one-this-shape-frequently-made-of-alabaster-and-copied-by-corinthian-potters-is-rare-with-etruscan-potters-working-in-southern-etruria-museum-metropolitan-mus-image212895520.htmlRMPAA6BC–Terracotta alabastron (perfume vase). Culture: Etruscan. Dimensions: H. 7 1/8 in. (18.1 cm). Date: 6th century B.C.. Upper frieze, Herakles and centaurs Lower frieze, flutist leading procession of women The upper frieze, depicting Herakles in the company of three centaurs, is perhaps a reference to the story of the Greek hero's battle with Pholos and his fellow centaurs. The scene below has no obvious narrative connection to that one. This shape, frequently made of alabaster and copied by Corinthian potters, is rare with Etruscan potters working in Southern Etruria. Museum: Metropolitan Mus
Terracotta neck-amphora of Nicosthenic shape (jar). Culture: Greek, Attic. Dimensions: H. 11 1/4 in. (28.5 cm); diameter of mouth 5 1/4 in. (13.3 cm); diameter of foot 3 3/8 in. (8.5 cm). Date: ca. 510 B.C.. Obverse, Herakles fighting Amazons; on the neck, fight Reverse, Dionysos and satyrs; on the neck, courting scene The Nicosthenic neck-amphora is characterized by ribbon handles that are attached at the top of the lip and on the shoulder. In addition the body tends to be egg-shaped and the neck quite narrow. The shape is named after Nikosthenes, the enterprising owner of a potter's es Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/terracotta-neck-amphora-of-nicosthenic-shape-jar-culture-greek-attic-dimensions-h-11-14-in-285-cm-diameter-of-mouth-5-14-in-133-cm-diameter-of-foot-3-38-in-85-cm-date-ca-510-bc-obverse-herakles-fighting-amazons-on-the-neck-fight-reverse-dionysos-and-satyrs-on-the-neck-courting-scene-the-nicosthenic-neck-amphora-is-characterized-by-ribbon-handles-that-are-attached-at-the-top-of-the-lip-and-on-the-shoulder-in-addition-the-body-tends-to-be-egg-shaped-and-the-neck-quite-narrow-the-shape-is-named-after-nikosthenes-the-enterprising-owner-of-a-potters-es-image212910569.htmlRMPAAWGW–Terracotta neck-amphora of Nicosthenic shape (jar). Culture: Greek, Attic. Dimensions: H. 11 1/4 in. (28.5 cm); diameter of mouth 5 1/4 in. (13.3 cm); diameter of foot 3 3/8 in. (8.5 cm). Date: ca. 510 B.C.. Obverse, Herakles fighting Amazons; on the neck, fight Reverse, Dionysos and satyrs; on the neck, courting scene The Nicosthenic neck-amphora is characterized by ribbon handles that are attached at the top of the lip and on the shoulder. In addition the body tends to be egg-shaped and the neck quite narrow. The shape is named after Nikosthenes, the enterprising owner of a potter's es
![Infographic about Byzantine cataphracts, that is, the elite cavalry force that was part of the Byzantine army (6th - 11th centuries). [Adobe InDesign (.indd); 5078x3188]. Stock Photo](https://c8.alamy.com/comp/2NEBK7B/infographic-about-byzantine-cataphracts-that-is-the-elite-cavalry-force-that-was-part-of-the-byzantine-army-6th-11th-centuries-adobe-indesign-indd-5078x3188-2NEBK7B.jpg "Infographic about Byzantine cataphracts, that is, the elite cavalry force that was part of the Byzantine army (6th - 11th centuries). [Adobe InDesign (.indd); 5078x3188]. Stock Photo")
Infographic about Byzantine cataphracts, that is, the elite cavalry force that was part of the Byzantine army (6th - 11th centuries). [Adobe InDesign (.indd); 5078x3188]. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/infographic-about-byzantine-cataphracts-that-is-the-elite-cavalry-force-that-was-part-of-the-byzantine-army-6th-11th-centuries-adobe-indesign-indd-5078x3188-image525172799.htmlRM2NEBK7B–Infographic about Byzantine cataphracts, that is, the elite cavalry force that was part of the Byzantine army (6th - 11th centuries). [Adobe InDesign (.indd); 5078x3188].
ROMAN ART. EMPIRE EAST. TURKEY. Detail of one of the existing mosaics in the old palace of the Byzantine Empire. Dated between the 5th-6th century. 'FIGHT BETWEEN A LION AND AN ELEPHANT'. Museum of the Mosaics (Mozaik Uzesi). Istanbul. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/roman-art-empire-east-turkey-detail-of-one-of-the-existing-mosaics-in-the-old-palace-of-the-byzantine-empire-dated-between-the-5th-6th-century-fight-between-a-lion-and-an-elephant-museum-of-the-mosaics-mozaik-uzesi-istanbul-image220373470.htmlRMPPETH2–ROMAN ART. EMPIRE EAST. TURKEY. Detail of one of the existing mosaics in the old palace of the Byzantine Empire. Dated between the 5th-6th century. 'FIGHT BETWEEN A LION AND AN ELEPHANT'. Museum of the Mosaics (Mozaik Uzesi). Istanbul.
RELIEVE BATALLA DE LOS GIGANTES-DET HERA(PERTENECE AL TESORO DE LOS SIFNIOS) - 525 AC. Location: MUSEO. DELPHI. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/relieve-batalla-de-los-gigantes-det-herapertenece-al-tesoro-de-los-sifnios-525-ac-location-museo-delphi-image220152536.htmlRMPP4PPG–RELIEVE BATALLA DE LOS GIGANTES-DET HERA(PERTENECE AL TESORO DE LOS SIFNIOS) - 525 AC. Location: MUSEO. DELPHI.
Terracotta kyathos (cup-shaped ladle). Culture: Greek, Attic. Dimensions: 4 15/16in. (12.5cm). Date: ca. 530-500 B.C.. Battle of Lapiths and centaurs Although kyathoi were made in Athens for export to Etruria, the decoration seems to be typically Greek. Museum: Metropolitan Museum of Art, New York, USA. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/terracotta-kyathos-cup-shaped-ladle-culture-greek-attic-dimensions-4-1516in-125cm-date-ca-530-500-bc-battle-of-lapiths-and-centaurs-although-kyathoi-were-made-in-athens-for-export-to-etruria-the-decoration-seems-to-be-typically-greek-museum-metropolitan-museum-of-art-new-york-usa-image212898537.htmlRMPAAA75–Terracotta kyathos (cup-shaped ladle). Culture: Greek, Attic. Dimensions: 4 15/16in. (12.5cm). Date: ca. 530-500 B.C.. Battle of Lapiths and centaurs Although kyathoi were made in Athens for export to Etruria, the decoration seems to be typically Greek. Museum: Metropolitan Museum of Art, New York, USA.
Siphnian Treasury. 530 BC. Gigantomachy. Hera between warriors. Delphi. Greece. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/siphnian-treasury-530-bc-gigantomachy-hera-between-warriors-delphi-greece-image209578447.htmlRMP4Y3CF–Siphnian Treasury. 530 BC. Gigantomachy. Hera between warriors. Delphi. Greece.
Terracotta column-krater (bowl for mixing wine and water). Culture: Greek, Attic. Dimensions: H. 19 7/8 in. (50.5 cm) diameter of mouth 18 3/4 in. (47.6 cm). Date: ca. 540 B.C.. Obverse, Gigantomachy (battle of gods and giants) Reverse, Dionysos with satyrs and maenads During the latter part of the sixth century B.C., black-figure artists mastered their medium sufficiently to create compositions with many figures in action and in complex spatial relationships. Battle scenes were ideal subjects. The presence of Athena identifies the combatants here. The arms and armor are those that contem Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/terracotta-column-krater-bowl-for-mixing-wine-and-water-culture-greek-attic-dimensions-h-19-78-in-505-cm-diameter-of-mouth-18-34-in-476-cm-date-ca-540-bc-obverse-gigantomachy-battle-of-gods-and-giants-reverse-dionysos-with-satyrs-and-maenads-during-the-latter-part-of-the-sixth-century-bc-black-figure-artists-mastered-their-medium-sufficiently-to-create-compositions-with-many-figures-in-action-and-in-complex-spatial-relationships-battle-scenes-were-ideal-subjects-the-presence-of-athena-identifies-the-combatants-here-the-arms-and-armor-are-those-that-contem-image213258049.htmlRMPAXMPW–Terracotta column-krater (bowl for mixing wine and water). Culture: Greek, Attic. Dimensions: H. 19 7/8 in. (50.5 cm) diameter of mouth 18 3/4 in. (47.6 cm). Date: ca. 540 B.C.. Obverse, Gigantomachy (battle of gods and giants) Reverse, Dionysos with satyrs and maenads During the latter part of the sixth century B.C., black-figure artists mastered their medium sufficiently to create compositions with many figures in action and in complex spatial relationships. Battle scenes were ideal subjects. The presence of Athena identifies the combatants here. The arms and armor are those that contem
Treasury of Siphnos (525 B.C.). Detail from the north frieze that depicts the battle between gods and giants. Delphi Archaeological Museum. Greece. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/treasury-of-siphnos-525-bc-detail-from-the-north-frieze-that-depicts-the-battle-between-gods-and-giants-delphi-archaeological-museum-greece-image220373330.htmlRMPPETC2–Treasury of Siphnos (525 B.C.). Detail from the north frieze that depicts the battle between gods and giants. Delphi Archaeological Museum. Greece.
Terracotta amphora (jar). Culture: Greek, Attic. Dimensions: H. 26 in. (66 cm). Date: ca. 530-520 B.C.. Obverse, Athena and Herakles in the gigantomachy (battle of gods and giants) Reverse, Poseidon, Leto, Apollo, Artemis, Dionysos On the lip, obverse and reverse, chariot races Of particular interest on this vase is the frieze of racing chariots on the lip. Subordinate bands of figural decoration were introduced at various times and on various shapes in Athenian vase-painting. At the end of the sixth century B.C. and in the early fifth, decoration on the lip occasionally appears, especiall Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/terracotta-amphora-jar-culture-greek-attic-dimensions-h-26-in-66-cm-date-ca-530-520-bc-obverse-athena-and-herakles-in-the-gigantomachy-battle-of-gods-and-giants-reverse-poseidon-leto-apollo-artemis-dionysos-on-the-lip-obverse-and-reverse-chariot-races-of-particular-interest-on-this-vase-is-the-frieze-of-racing-chariots-on-the-lip-subordinate-bands-of-figural-decoration-were-introduced-at-various-times-and-on-various-shapes-in-athenian-vase-painting-at-the-end-of-the-sixth-century-bc-and-in-the-early-fifth-decoration-on-the-lip-occasionally-appears-especiall-image213320337.htmlRMPB1G7D–Terracotta amphora (jar). Culture: Greek, Attic. Dimensions: H. 26 in. (66 cm). Date: ca. 530-520 B.C.. Obverse, Athena and Herakles in the gigantomachy (battle of gods and giants) Reverse, Poseidon, Leto, Apollo, Artemis, Dionysos On the lip, obverse and reverse, chariot races Of particular interest on this vase is the frieze of racing chariots on the lip. Subordinate bands of figural decoration were introduced at various times and on various shapes in Athenian vase-painting. At the end of the sixth century B.C. and in the early fifth, decoration on the lip occasionally appears, especiall
ARTE ROMANO. IMPERIO DE ORIENTE. TURQUIA. Detalle de uno de los mosaicos que decoraban los pavimentos del antiguo Palacio del Imperio Bizantino construido por orden de Constantino (s. IV), llamado el Gran Palacio Imperial. Gladiadores con lanzas luchando contra un tigre. Fechado entre los siglos IV-VI. MUSEO DE LOS MOSAICOS. Estambul. Turquía. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/arte-romano-imperio-de-oriente-turquia-detalle-de-uno-de-los-mosaicos-que-decoraban-los-pavimentos-del-antiguo-palacio-del-imperio-bizantino-construido-por-orden-de-constantino-s-iv-llamado-el-gran-palacio-imperial-gladiadores-con-lanzas-luchando-contra-un-tigre-fechado-entre-los-siglos-iv-vi-museo-de-los-mosaicos-estambul-turqua-image210573840.htmlRMP6GD28–ARTE ROMANO. IMPERIO DE ORIENTE. TURQUIA. Detalle de uno de los mosaicos que decoraban los pavimentos del antiguo Palacio del Imperio Bizantino construido por orden de Constantino (s. IV), llamado el Gran Palacio Imperial. Gladiadores con lanzas luchando contra un tigre. Fechado entre los siglos IV-VI. MUSEO DE LOS MOSAICOS. Estambul. Turquía.
Horatius Cocles defending the Bridge. Date/Period: Ca.1642/43. Painting. Oil on canvas Oil. Height: 1,219 mm (47.99 in); Width: 1,718 mm (67.63 in). Author: LE BRUN, CHARLES. Charles Le Brun. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/horatius-cocles-defending-the-bridge-dateperiod-ca164243-painting-oil-on-canvas-oil-height-1219-mm-4799-in-width-1718-mm-6763-in-author-le-brun-charles-charles-le-brun-image219749742.htmlRMPNED12–Horatius Cocles defending the Bridge. Date/Period: Ca.1642/43. Painting. Oil on canvas Oil. Height: 1,219 mm (47.99 in); Width: 1,718 mm (67.63 in). Author: LE BRUN, CHARLES. Charles Le Brun.
San Millan de la Cogolla, La Rioja, Spain. Yuso Monastery. Relief of Saint Emilian the Moor-Slayer by Spanish sculptor Diego Lizarraga, 1661-1665. Baroque portico, detail.(472-573) by Spanish sculptor Diego Lizarraga, 1661-1665. Baroque portico, detail. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/san-millan-de-la-cogolla-la-rioja-spain-yuso-monastery-relief-of-saint-emilian-the-moor-slayer-by-spanish-sculptor-diego-lizarraga-1661-1665-baroque-portico-detail472-573-by-spanish-sculptor-diego-lizarraga-1661-1665-baroque-portico-detail-image220325985.htmlRMPPCM15–San Millan de la Cogolla, La Rioja, Spain. Yuso Monastery. Relief of Saint Emilian the Moor-Slayer by Spanish sculptor Diego Lizarraga, 1661-1665. Baroque portico, detail.(472-573) by Spanish sculptor Diego Lizarraga, 1661-1665. Baroque portico, detail.
The Victory of Heraclius and the Execution of Chosroes, 628 AD, from the True Cross Cycle - 1455/66 - 329x742 cm - fresco. Author: Piero della Francesca (c. 1415-1492). Location: IGLESIA DE SAN FRANCISCO, AREZZO. Also known as: HISTORIA DE LA VERA CRUZ-BATALLA DE HERACLIO Y COSROES EN EL AÑO 615. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/the-victory-of-heraclius-and-the-execution-of-chosroes-628-ad-from-the-true-cross-cycle-145566-329x742-cm-fresco-author-piero-della-francesca-c-1415-1492-location-iglesia-de-san-francisco-arezzo-also-known-as-historia-de-la-vera-cruz-batalla-de-heraclio-y-cosroes-en-el-ao-615-image209327166.htmlRMP4FJX6–The Victory of Heraclius and the Execution of Chosroes, 628 AD, from the True Cross Cycle - 1455/66 - 329x742 cm - fresco. Author: Piero della Francesca (c. 1415-1492). Location: IGLESIA DE SAN FRANCISCO, AREZZO. Also known as: HISTORIA DE LA VERA CRUZ-BATALLA DE HERACLIO Y COSROES EN EL AÑO 615.
Greek art. Attic krater painted with black figures representing an Homeric battle around the body of a dead warrior (possibly Patroclus). Found at Pharsala. Dated circa 530 BCE. National Archaeological Museum. Athens. Greece. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/greek-art-attic-krater-painted-with-black-figures-representing-an-homeric-battle-around-the-body-of-a-dead-warrior-possibly-patroclus-found-at-pharsala-dated-circa-530-bce-national-archaeological-museum-athens-greece-image220288543.htmlRMPPB07Y–Greek art. Attic krater painted with black figures representing an Homeric battle around the body of a dead warrior (possibly Patroclus). Found at Pharsala. Dated circa 530 BCE. National Archaeological Museum. Athens. Greece.
Greek art. Attic krater painted with black figures representing an Homeric battle around the body of a dead warrior (possibly Patroclus). Found at Pharsala. Dated circa 530 BCE. Detail. National Archaeological Museum. Athens. Greece. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/greek-art-attic-krater-painted-with-black-figures-representing-an-homeric-battle-around-the-body-of-a-dead-warrior-possibly-patroclus-found-at-pharsala-dated-circa-530-bce-detail-national-archaeological-museum-athens-greece-image231210029.htmlRMRC4EN1–Greek art. Attic krater painted with black figures representing an Homeric battle around the body of a dead warrior (possibly Patroclus). Found at Pharsala. Dated circa 530 BCE. Detail. National Archaeological Museum. Athens. Greece.
Palace of Darius I (522-486 BC). Reliefs of the outer wall of the staircase of the Apadana or Reception hall depicting a fight between a lion and a bull. Persepolis. Copy of the original preserved in their original place (Iran), 1892. British Museum. London. England. United Kingdom. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/palace-of-darius-i-522-486-bc-reliefs-of-the-outer-wall-of-the-staircase-of-the-apadana-or-reception-hall-depicting-a-fight-between-a-lion-and-a-bull-persepolis-copy-of-the-original-preserved-in-their-original-place-iran-1892-british-museum-london-england-united-kingdom-image220392169.htmlRMPPFMCW–Palace of Darius I (522-486 BC). Reliefs of the outer wall of the staircase of the Apadana or Reception hall depicting a fight between a lion and a bull. Persepolis. Copy of the original preserved in their original place (Iran), 1892. British Museum. London. England. United Kingdom.
Aegina West Pediment. Sanctuary of Aphaia, Aegina Island, Greece. Reconstruction by Bertel Thorvaldsen (1770-1884). 19th century. Glyptothek Museum. Munich. Germany. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/aegina-west-pediment-sanctuary-of-aphaia-aegina-island-greece-reconstruction-by-bertel-thorvaldsen-1770-1884-19th-century-glyptothek-museum-munich-germany-image220442505.htmlRMPPJ0JH–Aegina West Pediment. Sanctuary of Aphaia, Aegina Island, Greece. Reconstruction by Bertel Thorvaldsen (1770-1884). 19th century. Glyptothek Museum. Munich. Germany.
Palace of Darius I (522-486 BC). Reliefs of the outer wall of the staircase of the Apadana or Reception hall depicting a fight between a lion and a bull. Persepolis. Copy by the original preserved in their original place (Iran), 1892. British Museum. London. England. United Kingdom. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/palace-of-darius-i-522-486-bc-reliefs-of-the-outer-wall-of-the-staircase-of-the-apadana-or-reception-hall-depicting-a-fight-between-a-lion-and-a-bull-persepolis-copy-by-the-original-preserved-in-their-original-place-iran-1892-british-museum-london-england-united-kingdom-image220392451.htmlRMPPFMPY–Palace of Darius I (522-486 BC). Reliefs of the outer wall of the staircase of the Apadana or Reception hall depicting a fight between a lion and a bull. Persepolis. Copy by the original preserved in their original place (Iran), 1892. British Museum. London. England. United Kingdom.
Aegina West Pediment. Sanctuary of Aphaia, Aegina Island, Greece. Reconstruction by Bertel Thorvaldsen (1770-1884). 19th century. Athena and warriors. Glyptothek Museum. Munich. Germany. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/aegina-west-pediment-sanctuary-of-aphaia-aegina-island-greece-reconstruction-by-bertel-thorvaldsen-1770-1884-19th-century-athena-and-warriors-glyptothek-museum-munich-germany-image220442214.htmlRMPPJ086–Aegina West Pediment. Sanctuary of Aphaia, Aegina Island, Greece. Reconstruction by Bertel Thorvaldsen (1770-1884). 19th century. Athena and warriors. Glyptothek Museum. Munich. Germany.
Aegina West Pediment. Sanctuary of Aphaia, Aegina Island, Greece. Reconstruction by Bertel Thorvaldsen (1770-1884). 19th century. Athena and warriors. Glyptothek Museum. Munich. Germany. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/aegina-west-pediment-sanctuary-of-aphaia-aegina-island-greece-reconstruction-by-bertel-thorvaldsen-1770-1884-19th-century-athena-and-warriors-glyptothek-museum-munich-germany-image220442297.htmlRMPPJ0B5–Aegina West Pediment. Sanctuary of Aphaia, Aegina Island, Greece. Reconstruction by Bertel Thorvaldsen (1770-1884). 19th century. Athena and warriors. Glyptothek Museum. Munich. Germany.
Roman army officer Publius Horatius Cocles defending the Pons Sublicius bridge in Rome from the invading army of Etruscan King Lars Porsena of Clusium, 6th century BC. With Spurius Larcius and Titus Herminius Aquilinus. Defence du Pont de Rome par Horatius-Cocles et deux autres guerriers intrepides. Copperplate engraving by Martin Poltzel after a design by Gabriel de St. Aubin from Professor Joseph Rudolf Zappes Gemalde aus der romischen Geschichte, Pictures of Roman History, Joseph Schalbacher, Vienna, 1800. German edition of Abbe Claude Francois Xavier Millots Abrege de lHistoire Romaine. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/roman-army-officer-publius-horatius-cocles-defending-the-pons-sublicius-bridge-in-rome-from-the-invading-army-of-etruscan-king-lars-porsena-of-clusium-6th-century-bc-with-spurius-larcius-and-titus-herminius-aquilinus-defence-du-pont-de-rome-par-horatius-cocles-et-deux-autres-guerriers-intrepides-copperplate-engraving-by-martin-poltzel-after-a-design-by-gabriel-de-st-aubin-from-professor-joseph-rudolf-zappes-gemalde-aus-der-romischen-geschichte-pictures-of-roman-history-joseph-schalbacher-vienna-1800-german-edition-of-abbe-claude-francois-xavier-millots-abrege-de-lhistoire-romaine-image571833371.htmlRM2T6978B–Roman army officer Publius Horatius Cocles defending the Pons Sublicius bridge in Rome from the invading army of Etruscan King Lars Porsena of Clusium, 6th century BC. With Spurius Larcius and Titus Herminius Aquilinus. Defence du Pont de Rome par Horatius-Cocles et deux autres guerriers intrepides. Copperplate engraving by Martin Poltzel after a design by Gabriel de St. Aubin from Professor Joseph Rudolf Zappes Gemalde aus der romischen Geschichte, Pictures of Roman History, Joseph Schalbacher, Vienna, 1800. German edition of Abbe Claude Francois Xavier Millots Abrege de lHistoire Romaine.
Ivory box from San Millan de la Cogolla. Capture of the Cantabria by Leovigildo. 11th century. Romanesque art. Madrid, National Museum of Archeology. Location: MUSEO ARQUEOLOGICO NACIONAL-COLECCION, MADRID, SPAIN. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/ivory-box-from-san-millan-de-la-cogolla-capture-of-the-cantabria-by-leovigildo-11th-century-romanesque-art-madrid-national-museum-of-archeology-location-museo-arqueologico-nacional-coleccion-madrid-spain-image208349009.htmlRMP2Y381–Ivory box from San Millan de la Cogolla. Capture of the Cantabria by Leovigildo. 11th century. Romanesque art. Madrid, National Museum of Archeology. Location: MUSEO ARQUEOLOGICO NACIONAL-COLECCION, MADRID, SPAIN.
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