On display at an exhibition on site.

Following the Persian invasion, Caria was ruled by a King named Mausolus (c 376-353 BC), who moved the capital to Bodrum from Mylasa and called the town Halicarnassus. When he died, his wife oversaw the construction of a monumental tomb planned by Mausolus himself.

The Mausoleum - an enormous white marble structur topped by a pyrimid - was designated by Roman historian Pliny the Elder as one of the Seven Wonders of the World. It stood relatively intact for almost 19 centuries, until it was broken up by the Crusaders in 1522 - the pieces were used as building material for Bodrum's Castle of St Peter.
(Source: Lonely Planet)

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"The large size and gold foil inlays decorating the upper surface of the bow make this fibula especially noteworthy. The large catch-plate is incised on both sides with a delicate linear design of three fishes within a border. Like all fibulae, it functioned as a clothing fastener, usually worn a pair on each shoulder." - Walters Art Museum

Photographed at the Walters Art Museum, Baltimore, Maryland.

"This handle in the form of a nude male athlete was part of a metal "oinochoe," or jug, with a trefoil mouth, many of which were manufactured in the Peloponnese, renowned for its metallurgists. A nude male is holding the tails of two lionesses, which were attached on the lip of the vessel, while trampling a "gorgoneion," the head of the Medusa, who turned whoever looked at her face into stone. His domination over the lions suggests that he is a deity, perhaps the god Apollo." - Walters Art Museum

Photographed at the Walters Art Museum, Baltimore, Maryland.

"This head decorated a "hydria" (water jug) at the place where the handle attached to the rim. The facial characteristics are typical of Corinthian works, especially the high, prominent brow, long nose, and shallow, curved chin. The delicately etched arrangement of the hair, the thickly rimmed eyelids, and the horizontal mouth date this piece to the late Archaic period." - Walters Art Museum

Photographed at the Walters Art Museum, Baltimore, Maryland.

"The broad stance, bent rear legs, and extended tail of this miniature bronze horse give this small sculpture a sense of motion. While the rest of the body is smooth, the horse's mane is indicated by a series of short, incised lines in a chevron pattern; zig-zag patterns are inscribed on each cheek. The eyes are deeply recessed and may have once been inlaid with another material. Horse figurines were popular votive offerings, found at almost every known Geometric period sanctuary in Arcadia. The high cost of maintaining horses made them status symbols that indicated the wealth and high social standing of their dedicators (Langdon 1993, 155)." - Walters Art Museum

Photographed at the Walters Art Museum, Baltimore, Maryland.

Terracotta lekythos (oil flask).
Greek, Attic, red-figure, ca. 440-30 BC.
Attributed to Phiale Painter.
Youth Arming.
.
The sureness and fluency of the Phiale Painter's drawing is evident in this representation. The placement of the helmet within a large area of black glaze in the center of the composition effectively suggests that the warrior may not return. By contrast with many lekythoi of the second quarter of the fifth century BC that are entirely covered with glaze, the clay-colored shoulder with black-figure decoration presents a lighter aspect.

Terracotta squat lekythos (oil flask).
Greek, Attic, red-figure, ca. 420 BC.
Philoktetes on Lemnos.
.
The painter, as yet unidentified, has created an exceptionally expressive composition on this vase. It concerns Philoktetes, a Greek hero who inherites the arrows of Herakles, thus their prominence here. In the sory of the Trojan War, these arrows were necessary for the conquest of the city. On the way from Greece, Philoktetes was bitten by a snake that caused such a painful and foul-smelling wound that he had to be left behind on the island of Lemnos. Philoktetes, downcast, sits under a barren tree and holds his bandaged foot - a picture of utter despondency. Ultimately, he would be rescued and healed.

Terracotta squat lekythos (oil flask).
Greek, Attic, red-figure, ca. 420 BC.
Philoktetes on Lemnos.
.
The painter, as yet unidentified, has created an exceptionally expressive composition on this vase. It concerns Philoktetes, a Greek hero who inherites the arrows of Herakles, thus their prominence here. In the sory of the Trojan War, these arrows were necessary for the conquest of the city. On the way from Greece, Philoktetes was bitten by a snake that caused such a painful and foul-smelling wound that he had to be left behind on the island of Lemnos. Philoktetes, downcast, sits under a barren tree and holds his bandaged foot - a picture of utter despondency. Ultimately, he would be rescued and healed.

Terracotta squat lekythos (oil flask).
Greek, Attic, red-figure, ca. 420 BC.
Philoktetes on Lemnos.
.
The painter, as yet unidentified, has created an exceptionally expressive composition on this vase. It concerns Philoktetes, a Greek hero who inherites the arrows of Herakles, thus their prominence here. In the sory of the Trojan War, these arrows were necessary for the conquest of the city. On the way from Greece, Philoktetes was bitten by a snake that caused such a painful and foul-smelling wound that he had to be left behind on the island of Lemnos. Philoktetes, downcast, sits under a barren tree and holds his bandaged foot - a picture of utter despondency. Ultimately, he would be rescued and healed.

Terracotta Calyx-Krater (bowl for mixing wine and water).
Greek, Attic, red-figure, ca. 460-450 BC.
Attributed to the Painter of the Berlin Hydria.
Obverse and reverse, Amazonomachy (battle between Greeks and Amazons).
.
The number of figures and the complexity of poses here reflect an innovation that entered vase painting about the middle of the fifth century BC and is generally attributed to the influence of monumental wall painting. The frontal mounted Amazon in the middle of the composition, her falling comrade to the left, and the overlapping of figures, shields and weapons dramatically convey the tumult of battle. At the same time, the many spatial planes strain the implicitly shallow stage provided by the black background of a vase. The fundamental incompatibility between naturalistic representation and the expressive possibilities offered by vase-painting led to the latter demise - although that would come at the end of the fourth century BC. In the meantime, artists exploited every possibility to depict motion and emotion in the human figure.

Terracotta Calyx-Krater (bowl for mixing wine and water).
Greek, Attic, red-figure, ca. 460-450 BC.
Attributed to the Painter of the Berlin Hydria.
Obverse and reverse, Amazonomachy (battle between Greeks and Amazons).
.
The number of figures and the complexity of poses here reflect an innovation that entered vase painting about the middle of the fifth century BC and is generally attributed to the influence of monumental wall painting. The frontal mounted Amazon in the middle of the composition, her falling comrade to the left, and the overlapping of figures, shields and weapons dramatically convey the tumult of battle. At the same time, the many spatial planes strain the implicitly shallow stage provided by the black background of a vase. The fundamental incompatibility between naturalistic representation and the expressive possibilities offered by vase-painting led to the latter demise - although that would come at the end of the fourth century BC. In the meantime, artists exploited every possibility to depict motion and emotion in the human figure.

Terracotta Calyx-Krater (bowl for mixing wine and water).
Greek, Attic, red-figure, ca. 460-450 BC.
Attributed to the Painter of the Berlin Hydria.
Obverse and reverse, Amazonomachy (battle between Greeks and Amazons).
.
The number of figures and the complexity of poses here reflect an innovation that entered vase painting about the middle of the fifth century BC and is generally attributed to the influence of monumental wall painting. The frontal mounted Amazon in the middle of the composition, her falling comrade to the left, and the overlapping of figures, shields and weapons dramatically convey the tumult of battle. At the same time, the many spatial planes strain the implicitly shallow stage provided by the black background of a vase. The fundamental incompatibility between naturalistic representation and the expressive possibilities offered by vase-painting led to the latter demise - although that would come at the end of the fourth century BC. In the meantime, artists exploited every possibility to depict motion and emotion in the human figure.

Peristyle or monumental court of the Diocletian's Palace, Split, Croatia.

Crowded peristyle or monumental court of the Diocletian's Palace, Split, Croatia.

Gate of the Cathedral of St. Duje, and Diocletian's mausoleum, Split, Croatia.

Vault of the Cathedral of St. Duje, and Diocletian's mausoleum, Split, Croatia.

The basement of the Diocletian's Palace, Split, Croatia.

Silver Gate (Porta argentea) of the Diocletian's Palace, Split, Croatia.

Gates (Porta argentea) of the Diocletian's Palace, Split, Croatia.

At the time I was annoyed that I could never get a photo without someone being in it.This was taken in a small gap in a constant stream of visitors. Now I'm quite pleased because they give an element of human scale to the photo.

I think the people really add a sense of scale. It's easy to overlook what a stunning engineering feat this is. If there was just one temple like this in the world we'd have loads of TV documentaries asking how it was built. Because there's so many we tend to be less curious.

Temple E is the temple that's still standing.