• Roman Mosaic of Satyr and Ninfa from the Casa del Fauno (House of the Faun) Pompeii, inv 27707 , Naples National Archaeological Museum , white background
  • Roman Mosaic of Satyr and Ninfa from the Casa del Fauno (House of the Faun) Pompeii, inv 27707 , Naples National Archaeological Museum , grey background
  • Roman Mosaic of Satyr and Ninfa from the Casa del Fauno (House of the Faun) Pompeii, inv 27707 , Naples National Archaeological Museum , black background
  • Roman Mosaic with the head of Medusa, from Casa delle Vestali, Pompeii , Naples National Archaeological Museum ,  art background
  • Opus Sectile Roman of a Dionysian scene, Pompeii, inv 9979 , Naples National Archaeological Museum
  • Opus Sectile Roman Venus loosing a sandal, Pompeii, inv 2109678 , Naples National Archaeological Museum
  • Roman Mosaic of Satyr and Ninfa from the Casa del Fauno (House of the Faun) Pompeii, inv 27707 , Naples National Archaeological Museum , grey art background
  • Roman Mosaic of Satyr and Ninfa from the Casa del Fauno (House of the Faun) Pompeii, inv 27707 , Naples National Archaeological Museum ,  art background
  • Roman Mosaic with the head of Medusa , Naples National Archaeological Museum ,
  • Roman Mosaic with the head of Medusa, from Casa delle Vestali, Pompeii , Naples National Archaeological Museum , white background
  • Roman Mosaic with the head of Medusa, from Casa delle Vestali, Pompeii , Naples National Archaeological Museum , grey background
  • Roman Mosaic with the head of Medusa, from Casa delle Vestali, Pompeii , Naples National Archaeological Museum , black background
  • Roman Mosaic with the head of Medusa, from Casa delle Vestali, Pompeii , Naples National Archaeological Museum , grey art background
  • Erotic Roman Mosaic of Pigmies in boats fornicating on the River Nile from Rome, inv 122861,  Secret Museum or Secret Cabinet, Naples National Archaeological Museum , white background
  • Erotic Roman Mosaic of Pigmies in boats fornicating on the River Nile from Rome, inv 122861,  Secret Museum or Secret Cabinet, Naples National Archaeological Museum , black background
  • Erotic Roman Mosaic of Pigmies in boats fornicating on the River Nile from Rome, inv 122861,  Secret Museum or Secret Cabinet, Naples National Archaeological Museum , art background
  • Roman mosaic of Pan and Hamadryad, a Greek mythological being that lives in trees , found in Pompeii, from the Farnese Collection, inv no 227708, Naples Archaeological Museum
  • Erotic Roman Mosaic of Pigmies in boats fornicating on the River Nile from Rome, inv 122861,  Secret Museum or Secret Cabinet, Naples National Archaeological Museum , grey background
  • Erotic Roman Mosaic of Pigmies in boats fornicating on the River Nile from Rome, inv 122861,  Secret Museum or Secret Cabinet, Naples National Archaeological Museum , grey background
  • Erotic Roman Mosaic of Pigmies in boats fornicating on the River Nile from Rome, inv 122861,  Secret Museum or Secret Cabinet, Naples National Archaeological Museum , grey background
  • A Roman erotic fresco painting from Pompeii form the venereum, a room for sexual activities, of Casa di Cecilio Giocondo 50-79 AD  , inv no 10569 , Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • A satyr caressing a maiden a Roman erotic fresco painting from Pompeii 1st cent AD , from the Casa di L Cecilio Giocondo, inv no 110590 , Secret Museum or Secret Cabinet, Naples Archaeological Museum
  • A satyr caressing a maiden a Roman erotic fresco painting from Pompeii 1st cent AD , from the Casa di L Cecilio Giocondo, inv no 110590 , Secret Museum or Secret Cabinet, Naples Archaeological Museum
  • A satyr caressing a maiden a Roman erotic fresco painting from Pompeii 1st cent AD , from the Casa di L Cecilio Giocondo, inv no 110590 , Secret Museum or Secret Cabinet, Naples Archaeological Museum
  • Satyr surprising a maiden, a Roman erotic fresco painting from Pompeii, 50-79 AD , inv no 27693 , Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • Roman Erotic Fresco from Pompeii, 1st cent AD , workshop Banner showing Mercury with a massive phalus , Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • Satyr being rejected by Hermaphrodite, a Roman erotic fresco painting from Pompeii, 50-79 AD , inv no 110878 , Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • Pan and  Hermaphrodite, a Roman erotic fresco painting from Pompeii, 50-79 AD , inv no 27700 , Naples National Secret Museum or Secret Cabinet, Archaeological Museum
  • Satyr caressing Hermaphrodite, a Roman erotic fresco painting from Pompeii, 50-79 AD , from the tablium of the Casa di Epidio Sabino, inv no 27875 ,Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • Roman Erotic Fresco from Pompeii, 1st cent AD , workshop Banner showing Mercury with a massive phalus , Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • Roman erotic fresco painting of Hermaphrodite from Heraculeum, 1-50 AD , inv no 9224 , Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • Polyphemus caressing Galatea, a Roman erotic fresco painting from Pompeii, 50-79 AD , from the Casa dei Capitelli colorati, inv no 27687 , Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • Mars caressing Venus  a Roman erotic fresco painting from Pompeii 1st cent AD , from the Casa del Meleagro, inv no 9250 , Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • A Roman erotic fresco painting from Pompeii form a private house venereum, a room for sexual activities, 50-79 AD , , inv no 27696 , Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • Mars caressing Venus  a Roman erotic fresco painting from Pompeii 1st cent AD , from the Casa del Meleagro, inv no 9250 , Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • Alexander the Great from the Roman mosaic  of Battle beween Alexander the Great and Persian King Darius, 120-125 BC, Casa del Fauno, Pompeii, inv 10020, Naples National Archaeological Museum
  • King Darius from the Roman mosaic  of Battle beween Alexander the Great and Persian King Darius, 120-125 BC, Casa del Fauno, Pompeii, inv 10020, Naples National Archaeological Museum
  • King Darius from the Roman mosaic  of Battle beween Alexander the Great and Persian King Darius, 120-125 BC, Casa del Fauno, Pompeii, inv 10020, Naples National Archaeological Museum
  • "Pan & Goat" Roman Mythical erotic sculpture from Pompeii. Naples Archaeological inv no: 27709
  • Workshop Banner showing Mercury with a massive phalus. Erotic Fresco from Pompeii, Naples Archaeological Museum 1st cent AD
  • Polyphemus caressing Galatea, a Roman erotic fresco painting from Pompeii, 50-79 AD , from the Casa dei Capitelli colorati, inv no 27687 , Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • Satyr caressing Hermaphrodite, a Roman erotic fresco painting from Pompeii, 50-79 AD , from the tablium of the Casa di Epidio Sabino, inv no 27875 ,Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • Satyr caressing Hermaphrodite, a Roman erotic fresco painting from Pompeii, 50-79 AD , from the tablium of the Casa di Epidio Sabino, inv no 27875 ,Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • Satyr being rejected by Hermaphrodite, a Roman erotic fresco painting from Pompeii, 50-79 AD , inv no 110878 , Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • 1 cent AD Roman Erotic  fresco from a house in Pompeii. Naples Archaological Museum
  • 1 cent AD Roman Erotic fresco depicting Pan and Hermaphrodite, Pompeii (VI, 9, 6,) Casa die Dioscuri, inv 27700, 1-50 AD, Naples Archaological Museum, Italy
  • 1 cent AD Roman Erotic  Mythical fresco from a house in Pompeii. Naples Archaological Museum inv no: 110590
  • 1 cent AD Roman Erotic  fresco from a house in Pompeii. Naples Archaological Museum
  • 1 cent AD Roman Erotic  Mythical fresco  from a house in Pompeii. Naples Archaological Museum  inv no: 27697
  • 1 cent AD Roman Erotic  fresco from a house in Pompeii. Naples Archaological Museum
  • 1 cent AD Roman Erotic  fresco from a house in Pompeii. Naples Archaological Museum
  • 1 cent AD Roman Mythical Erotic  fresco from a house in Pompeii. Naples Archaological Museum inv no: 110590
  • 1 cent AD Roman Erotic  fresco depicting Mars and Venus  Pompeii (VI, 9, 2,) Casa die Meleagro, inv 9250, 1st century AD, Naples Archaological Museum , Italy
  • 1 cent AD Roman Erotic  fresco depicting Mars and Venus  Pompeii (VI, 9, 2,) Casa die Meleagro, inv 9250, 1st century AD, Naples Archaological Museum , Italy
  • 1 cent AD Roman Erotic  fresco depicting Mars and Venus  Pompeii (VI, 9, 2,) Casa die Meleagro, inv 9250, 1st century AD, Naples Archaological Museum , Italy
  • 1 cent AD Roman Erotic fresco depicting Pan and Hermaphrodite, Pompeii (VI, 9, 6,) Casa die Dioscuri, inv 27700, 1-50 AD, Naples Archaological Museum, Italy
  • 1 cent AD Roman Erotic fresco depicting Pan and Hermaphrodite, Pompeii (VI, 9, 6,) Casa die Dioscuri, inv 27700, 1-50 AD, Naples Archaological Museum, Italy
  • 1 cent AD Roman Erotic  fresco from a house in Pompeii. Naples Archaological Museum
  • 1 cent AD Roman Erotic  fresco from a house in Pompeii. Naples Archaological Museum
  • 1 cent AD Roman Erotic Mosaic from a house in Pompeii. Naples Archaological Museum
  • 1 cent AD Roman Erotic Mosaic from a house in Pompeii. Naples Archaological Museum
  • 1 cent AD Roman Erotic  fresco depicting Mars and Venus  Pompeii (VI, 9, 2,) Casa die Meleagro, inv 9250, 1st century AD, Naples Archaological Museum , Italy
  • 1 cent AD Roman Erotic  fresco from a house in Pompeii. Naples Archaological Museum
  • 1 cent AD Roman Erotic Mosaic from a house in Pompeii. Naples Archaological Museum
  • 1 cent AD Roman Erotic  fresco of a man & woman having sex  from a house in Pompeii. Naples Archaological Museum inv no: 27696
  • 1 cent AD Roman Erotic  fresco of a man & woman having sex  from a house in Pompeii. Naples Archaological Museum inv no: 27696
  • 1 cent AD Roman Erotic  fresco from a house in Pompeii. Naples Archaological Museum inv no 27875
  • 1 cent AD Roman Erotic  fresco of a man & woman having sex  from a house in Pompeii. Naples Archaological Museum inv no: 27686
  • 1 cent AD Roman Erotic  fresco from a house in Pompeii. Naples Archaological Museum
  • Roman Erotic  fresco with pigmies from Csa Detto del Medico Peristyle in Pompeii. 50-97 AD, Naples Archaological Museum inv no: 113196
  • 1 cent AD Roman Erotic  fresco from a house in Pompeii. Naples Archaological Museum
  • 1 cent AD Roman Mythical Erotic  fresco from a house in Pompeii. Naples Archaological Museum inv no: 110590
  • 1 cent AD Roman Erotic  Mythical fresco  from a house in Pompeii. Naples Archaological Museum  inv no: 27697
  • End panel of a Roman relief garland  sculpted sarcophagus, style typical of Pamphylia, 3rd Century AD, Konya Archaeological Museum, Turkey. Against a white background
  • End panel of a Roman relief garland  sculpted sarcophagus, style typical of Pamphylia, 3rd Century AD, Konya Archaeological Museum, Turkey. Against a black background
  • End panel of a Roman relief garland  sculpted sarcophagus, style typical of Pamphylia, 3rd Century AD, Konya Archaeological Museum, Turkey. Against a grey background
  • End panel of a Roman relief garland  sculpted sarcophagus, style typical of Pamphylia, 3rd Century AD, Konya Archaeological Museum, Turkey.
  • End panel of a Roman relief garland  sculpted sarcophagus, style typical of Pamphylia, 3rd Century AD, Konya Archaeological Museum, Turkey. Against a warm art background.
  • End panel of a Roman relief garland  sculpted sarcophagus, style typical of Pamphylia, 3rd Century AD, Konya Archaeological Museum, Turkey. Against a black background
  • End panel of a Roman relief garland  sculpted sarcophagus, style typical of Pamphylia, 3rd Century AD, Konya Archaeological Museum, Turkey. Against a grey background
  • End panel of a Roman relief garland  sculpted sarcophagus, style typical of Pamphylia, 3rd Century AD, Konya Archaeological Museum, Turkey. Against a warm art background.
  • End panel of a  Roman relief garland  sculpted sarcophagus, style typical of Pamphylia, 3rd Century AD, Konya Archaeological Museum, Turkey.
  • End panel of a Roman relief garland  sculpted sarcophagus, style typical of Pamphylia, 3rd Century AD, Konya Archaeological Museum, Turkey. Against a white background.
  • End panel of a Roman relief garland  sculpted sarcophagus, style typical of Pamphylia, 3rd Century AD, Konya Archaeological Museum, Turkey. Against a black background
  • End panel of a Roman relief garland  sculpted sarcophagus, style typical of Pamphylia, 3rd Century AD, Konya Archaeological Museum, Turkey. Against a grey background
  • End panel of a Roman relief garland  sculpted sarcophagus, style typical of Pamphylia, 3rd Century AD, Konya Archaeological Museum, Turkey. Against a warm art background.
  • End panel of a Roman relief garland  sculpted sarcophagus, style typical of Pamphylia, 3rd Century AD, Konya Archaeological Museum, Turkey.
  • Side panel of a Roman relief garland  sculpted sarcophagus, style typical of Pamphylia, 3rd Century AD, Konya Archaeological Museum, Turkey. Against a black background
  • Side panel of a Roman relief garland  sculpted sarcophagus, style typical of Pamphylia, 3rd Century AD, Konya Archaeological Museum, Turkey. Against a white background.
  • Side panel of a Roman relief garland  sculpted sarcophagus, style typical of Pamphylia, 3rd Century AD, Konya Archaeological Museum, Turkey. Against a warm art background.
  • End panel of a Roman relief garland  sculpted sarcophagus, style typical of Pamphylia, 3rd Century AD, Konya Archaeological Museum, Turkey. Against a white background
  • Side panel of a Roman relief garland  sculpted sarcophagus, style typical of Pamphylia, 3rd Century AD, Konya Archaeological Museum, Turkey. Against a grey background
  • Side panel of a Roman relief garland  sculpted sarcophagus, style typical of Pamphylia, 3rd Century AD, Konya Archaeological Museum, Turkey.
  • Pictures of a Roman mosaics from an apse depicting a fan of multicoloured triangles and vine foliated scrolls, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against a black background
  • Pictures of a Roman mosaics from an apse depicting a fan of multicoloured triangles and vine foliated scrolls, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against a white background
  • Pictures of a Roman mosaics from an apse depicting a fan of multicoloured triangles and vine foliated scrolls, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Pictures of a Roman mosaics from an apse depicting a fan of multicoloured triangles and vine foliated scrolls, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against an art background
  • Pictures of a Roman mosaics from an apse depicting a fan of multicoloured triangles and vine foliated scrolls, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against a grey background
  • Picture of a Dionysiac Roman mosaics design depicting a panther in front of a wine crater, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting a lion attacking two onagers or Asiatic wild ass, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against a white background
  • Picture of a Roman mosaics design depicting a lion attacking two onagers or Asiatic wild ass, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting a lion attacking two onagers or Asiatic wild ass, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against a black background
  • Picture of a Roman mosaics design depicting a lion attacking two onagers or Asiatic wild ass, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against an art background
  • Picture of a Roman mosaics design depicting a lion attacking two onagers or Asiatic wild ass, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against a grey background
  • Picture of a Roman mosaics design depicting Dionysus riding a lion; from the ancient Roman city of Thysdrus. 2nd century AD House of the Dionysus Proccession. El Djem Archaeological Museum; El Djem; Tunisia. Against a white background
  • Picture of a Roman mosaics design depicting Silenus riding a camel, from the ancient Roman city of Thysdrus. 2nd century AD, House of the Dionysus Proccession. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting Dionysus riding a lion, from the ancient Roman city of Thysdrus. 2nd century AD House of the Dionysus Proccession. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting Dionysus riding a lion; from the ancient Roman city of Thysdrus. 2nd century AD House of the Dionysus Proccession. El Djem Archaeological Museum; El Djem; Tunisia. Against a black background
  • Picture of a Roman mosaics design depicting Dionysus riding a lion; from the ancient Roman city of Thysdrus. 2nd century AD House of the Dionysus Proccession. El Djem Archaeological Museum; El Djem; Tunisia.
  • Picture of a Roman mosaics design depicting Dionysus riding a lion; from the ancient Roman city of Thysdrus. 2nd century AD House of the Dionysus Proccession. El Djem Archaeological Museum; El Djem; Tunisia.
  • Picture of a Roman mosaics design depicting Dionysus riding a lion; from the ancient Roman city of Thysdrus. 2nd century AD House of the Dionysus Proccession. El Djem Archaeological Museum; El Djem; Tunisia. Against an art background
  • Picture of a Roman mosaics design depicting Dionysus riding a lion; from the ancient Roman city of Thysdrus. 2nd century AD House of the Dionysus Proccession. El Djem Archaeological Museum; El Djem; Tunisia. Against a grey background
  • Picture of a Roman mosaics design depicting Lions eating a boar, from the ancient Roman city of Thysdrus. 2nd century AD, House of the Dionysus Proccession. El Djem Archaeological Museum, El Djem, Tunisia. Against a white background
  • Picture of a Roman mosaics design depicting Lions eating a boar, from the ancient Roman city of Thysdrus. 2nd century AD, House of the Dionysus Proccession. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting Lions eating a boar, from the ancient Roman city of Thysdrus. 2nd century AD, House of the Dionysus Proccession. El Djem Archaeological Museum, El Djem, Tunisia. Against a black background
  • Picture of a Roman mosaics design depicting Lions eating a boar, from the ancient Roman city of Thysdrus. 2nd century AD, House of the Dionysus Proccession. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting Lions eating a boar, from the ancient Roman city of Thysdrus. 2nd century AD, House of the Dionysus Proccession. El Djem Archaeological Museum, El Djem, Tunisia. Against a grey background
  • Picture of a Roman mosaics design depicting Lions eating a boar, from the ancient Roman city of Thysdrus. 2nd century AD, House of the Dionysus Proccession. El Djem Archaeological Museum, El Djem, Tunisia. Against an art background
  • Picture of a Roman mosaics design depicting Bacchante, Satyrs and a peacock dancing, from the ancient Roman city of Thysdrus. 3rd century AD House of Silenus. El Djem Archaeological Museum, El Djem, Tunisia.
  • Detail of a Roman mosaics design depicting Silenus and Cupids showing 2 figures, from the House of Sienus, ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Detail of a Roman mosaics design depicting Silenus and Cupids showing a lion, from the House of Sienus, ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a satyr wearing a panther skin playing a flute from a Roman mosaic depicting Dionysus Riding a Panther, from Abdel Jelil. 2nd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Detail picture of a Roman mosaics design depicting the Four Seasons, from the Maison de la Procession Dionysiaque, ancient Roman city of Thysdrus. 2nd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Detail of a Roman mosaics design depicting the nine muses, from the Maison du Mois, ancient Roman city of Thysdrus. 2nd half of 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
<br />
The Roman mosaic depicts the nine muses and their attributes: Clio the muse of history ; Uranie the muse of Astronomy; Melpomene, tragedy; Thalie, comedy; Terpsichore, dancing; Calliope, epic poetry; Erato, love poetry; Polymnie, religious songs and rhetoric; Euterpe, lyrical poetry and music
  • Detail of a  Roman mosaics design depicting the nine muses, from the Maison du Mois, ancient Roman city of Thysdrus. 2nd half of 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
<br />
The Roman mosaic depicts the nine muses and their attributes: Clio the muse of history ; Uranie the muse of Astronomy; Melpomene, tragedy; Thalie, comedy; Terpsichore, dancing; Calliope, epic poetry; Erato, love poetry; Polymnie, religious songs and rhetoric; Euterpe, lyrical poetry and music
  • Detail of a  Roman mosaics design depicting the nine muses, from the Maison du Mois, ancient Roman city of Thysdrus. 2nd half of 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
The Roman mosaic depicts the nine muses and their attributes: Clio the muse of history ; Uranie the muse of Astronomy; Melpomene, tragedy; Thalie, comedy; Terpsichore, dancing; Calliope, epic poetry; Erato, love poetry; Polymnie, religious songs and rhetoric; Euterpe, lyrical poetry and music
  • Detail of a  Roman mosaics design depicting the nine muses, from the Maison du Mois, ancient Roman city of Thysdrus. 2nd half of 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
The Roman mosaic depicts the nine muses and their attributes: Clio the muse of history ; Uranie the muse of Astronomy; Melpomene, tragedy; Thalie, comedy; Terpsichore, dancing; Calliope, epic poetry; Erato, love poetry; Polymnie, religious songs and rhetoric; Euterpe, lyrical poetry and music
  • Detail of a  Roman mosaics design depicting the nine muses, from the Maison du Mois, ancient Roman city of Thysdrus. 2nd half of 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
The Roman mosaic depicts the nine muses and their attributes: Clio the muse of history ; Uranie the muse of Astronomy; Melpomene, tragedy; Thalie, comedy; Terpsichore, dancing; Calliope, epic poetry; Erato, love poetry; Polymnie, religious songs and rhetoric; Euterpe, lyrical poetry and music
  • Detail of a  Roman mosaics design depicting the nine muses, from the Maison du Mois, ancient Roman city of Thysdrus. 2nd half of 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
The Roman mosaic depicts the nine muses and their attributes: Clio the muse of history ; Uranie the muse of Astronomy; Melpomene, tragedy; Thalie, comedy; Terpsichore, dancing; Calliope, epic poetry; Erato, love poetry; Polymnie, religious songs and rhetoric; Euterpe, lyrical poetry and music
  • Detail of a  Roman mosaics design depicting the nine muses, from the Maison du Mois, ancient Roman city of Thysdrus. 2nd half of 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
The Roman mosaic depicts the nine muses and their attributes: Clio the muse of history ; Uranie the muse of Astronomy; Melpomene, tragedy; Thalie, comedy; Terpsichore, dancing; Calliope, epic poetry; Erato, love poetry; Polymnie, religious songs and rhetoric; Euterpe, lyrical poetry and music
  • Detail of a  Roman mosaics design depicting the nine muses, from the Maison du Mois, ancient Roman city of Thysdrus. 2nd half of 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
The Roman mosaic depicts the nine muses and their attributes: Clio the muse of history ; Uranie the muse of Astronomy; Melpomene, tragedy; Thalie, comedy; Terpsichore, dancing; Calliope, epic poetry; Erato, love poetry; Polymnie, religious songs and rhetoric; Euterpe, lyrical poetry and music
  • Detail of a  Roman mosaics design depicting the nine muses, from the Maison du Mois, ancient Roman city of Thysdrus. 2nd half of 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
The Roman mosaic depicts the nine muses and their attributes: Clio the muse of history ; Uranie the muse of Astronomy; Melpomene, tragedy; Thalie, comedy; Terpsichore, dancing; Calliope, epic poetry; Erato, love poetry; Polymnie, religious songs and rhetoric; Euterpe, lyrical poetry and music
  • Picture of a Roman mosaics design depicting a lion attacking two onagers or Asiatic wild ass, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting a lion attacking two onagers or Asiatic wild ass, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting a lion attacking two onagers or Asiatic wild ass, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting Silenus riding a camel, from the ancient Roman city of Thysdrus. 2nd century AD, House of the Dionysus Proccession. El Djem Archaeological Museum, El Djem, Tunisia.
  • Detail picture of a Roman mosaics design depicting the Four Seasons, from the Maison de la Procession Dionysiaque, ancient Roman city of Thysdrus. 2nd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Detail of a  Roman mosaics design depicting the nine muses, from the Maison du Mois, ancient Roman city of Thysdrus. 2nd half of 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
The Roman mosaic depicts the nine muses and their attributes: Clio the muse of history ; Uranie the muse of Astronomy; Melpomene, tragedy; Thalie, comedy; Terpsichore, dancing; Calliope, epic poetry; Erato, love poetry; Polymnie, religious songs and rhetoric; Euterpe, lyrical poetry and music
  • Detail of a  Roman mosaics design depicting the nine muses, from the Maison du Mois, ancient Roman city of Thysdrus. 2nd half of 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
The Roman mosaic depicts the nine muses and their attributes: Clio the muse of history ; Uranie the muse of Astronomy; Melpomene, tragedy; Thalie, comedy; Terpsichore, dancing; Calliope, epic poetry; Erato, love poetry; Polymnie, religious songs and rhetoric; Euterpe, lyrical poetry and music
  • Detail of a  Roman mosaics design depicting the nine muses, from the Maison du Mois, ancient Roman city of Thysdrus. 2nd half of 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
The Roman mosaic depicts the nine muses and their attributes: Clio the muse of history ; Uranie the muse of Astronomy; Melpomene, tragedy; Thalie, comedy; Terpsichore, dancing; Calliope, epic poetry; Erato, love poetry; Polymnie, religious songs and rhetoric; Euterpe, lyrical poetry and music
  • Pictures of a  Roman mosaics design depicting the nine muses, from the Maison du Mois, ancient Roman city of Thysdrus. 2nd half of 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
<br />
The Roman mosaic depicts the nine muses and their attributes: Clio the muse of history ; Uranie the muse of Astronomy; Melpomene, tragedy; Thalie, comedy; Terpsichore, dancing; Calliope, epic poetry; Erato, love poetry; Polymnie, religious songs and rhetoric; Euterpe, lyrical poetry and music
  • Detail of a  Roman mosaics design depicting the nine muses, from the Maison du Mois, ancient Roman city of Thysdrus. 2nd half of 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
The Roman mosaic depicts the nine muses and their attributes: Clio the muse of history ; Uranie the muse of Astronomy; Melpomene, tragedy; Thalie, comedy; Terpsichore, dancing; Calliope, epic poetry; Erato, love poetry; Polymnie, religious songs and rhetoric; Euterpe, lyrical poetry and music
  • Detail of a  Roman mosaics design depicting the nine muses, from the Maison du Mois, ancient Roman city of Thysdrus. 2nd half of 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
The Roman mosaic depicts the nine muses and their attributes: Clio the muse of history ; Uranie the muse of Astronomy; Melpomene, tragedy; Thalie, comedy; Terpsichore, dancing; Calliope, epic poetry; Erato, love poetry; Polymnie, religious songs and rhetoric; Euterpe, lyrical poetry and music
  • Hüseyindede vases, Old Hittite Polychrome Relief vessel, second frieze down close up depicting two people on a "bed throne" who are performing some sort of ritual, 16th century BC. . Çorum Archaeological Museum, Corum, Turkey. Against a white bacground.
  • Hüseyindede vases, Old Hittite Polychrome Relief vessel, second frieze down close up depicting two people on a "bed throne" who are performing some sort of ritual, 16th century BC. . Çorum Archaeological Museum, Corum, Turkey. Against a black bacground.
  • Hüseyindede vases, Old Hittite Polychrome Relief vessel, second frieze down close up depicting two people on a "bed throne" who are performing some sort of ritual, 16th century BC. . Çorum Archaeological Museum, Corum, Turkey. Against a grey bacground.
  • Hüseyindede vases, Old Hittite Polychrome Relief vessel, second frieze down close up depicting two people on a "bed throne" who are performing some sort of ritual, 16th century BC. . Çorum Archaeological Museum, Corum, Turkey
  • Hüseyindede vases, Old Hittite Polychrome Relief vessel, second frieze down close up depicting two people on a "bed throne" who are performing some sort of ritual, 16th century BC. . Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Kouros Statues of the Archaic Period. Early 6th c. B.C. (circa 580 B.C.)  Known as Kleovis and Biton, the two boys who heroically pulled their mother on her chariot to the sanctuary where she was to worship. They pulled the chariot for a distance of about 8km. They died the same night peacefully in their sleep according to Herodotus. Delphi Archaeological Museum.
  • Kouros Statues of the Archaic Period. Early 6th c. B.C. (circa 580 B.C.)  Known as Kleovis and Biton, the two boys who heroically pulled their mother on her chariot to the sanctuary where she was to worship. They pulled the chariot for a distance of about 8km. They died the same night peacefully in their sleep according to Herodotus. Delphi Archaeological Museum.
  • Kouros Statues of the Archaic Period. Early 6th c. B.C. (circa 580 B.C.)  Known as Kleovis and Biton, the two boys who heroically pulled their mother on her chariot to the sanctuary where she was to worship. They pulled the chariot for a distance of about 8km. They died the same night peacefully in their sleep according to Herodotus. Delphi Archaeological Museum.
  • Kouros Statues of the Archaic Period. Early 6th c. B.C. (circa 580 B.C.)  Known as Kleovis and Biton, the two boys who heroically pulled their mother on her chariot to the sanctuary where she was to worship. They pulled the chariot for a distance of about 8km. They died the same night peacefully in their sleep according to Herodotus. Delphi Archaeological Museum.
  • Kouros Statues of the Archaic Period. Early 6th c. B.C. (circa 580 B.C.)  Known as Kleovis and Biton, the two boys who heroically pulled their mother on her chariot to the sanctuary where she was to worship. They pulled the chariot for a distance of about 8km. They died the same night peacefully in their sleep according to Herodotus. Delphi Archaeological Museum.
  • 3rd century black & white Roman Mosaics from Merida, Merida Archaeological Museum, Spain
  • 3rd century black & white Roman Mosaics from Merida, Merida Archaeological Museum, Spain
  • Roman relief sculpted Ostothec cremation sarcophagus, 2nd century AD, Perge. An ostothec is used to preserve the ashes and bones of the dead bodies after their cremation, takes its form from a small sarcophagus. This ostothec is a miniature example of the garland sarcophagus. Antalya Archaeology Museum, Turkey
  • Roman relief sculpted Ostothec cremation sarcophagus, 2nd century AD, Perge. An ostothec is used to preserve the ashes and bones of the dead bodies after their cremation, takes its form from a small sarcophagus. This ostothec is a miniature example of the garland sarcophagus. Antalya Archaeology Museum, Turkey. Against a white background.
  • Roman relief sculpted Ostothec cremation sarcophagus, 2nd century AD, Perge. An ostothec is used to preserve the ashes and bones of the dead bodies after their cremation, takes its form from a small sarcophagus. This ostothec is a miniature example of the garland sarcophagus. Antalya Archaeology Museum, Turkey.  Against a black background.
  • Roman relief sculpted Ostothec cremation sarcophagus, 2nd century AD, Perge. An ostothec is used to preserve the ashes and bones of the dead bodies after their cremation, takes its form from a small sarcophagus. This ostothec is a miniature example of the garland sarcophagus. Antalya Archaeology Museum, Turkey
  • Roman relief sculpted Ostothec cremation sarcophagus, 2nd century AD, Perge. An ostothec is used to preserve the ashes and bones of the dead bodies after their cremation, takes its form from a small sarcophagus. This ostothec is a miniature example of the garland sarcophagus. Antalya Archaeology Museum, Turkey. Against a warm art background.
  • Roman relief sculpted Ostothec cremation sarcophagus, 2nd century AD, Perge. An ostothec is used to preserve the ashes and bones of the dead bodies after their cremation, takes its form from a small sarcophagus. This ostothec is a miniature example of the garland sarcophagus. Antalya Archaeology Museum, Turkey. Against a white background.
  • Roman relief sculpted Ostothec cremation sarcophagus, 2nd century AD, Perge. An ostothec is used to preserve the ashes and bones of the dead bodies after their cremation, takes its form from a small sarcophagus. This ostothec is a miniature example of the garland sarcophagus. Antalya Archaeology Museum, Turkey.  Against a black background.
  • Roman relief sculpted Ostothec cremation sarcophagus, 2nd century AD, Perge. An ostothec is used to preserve the ashes and bones of the dead bodies after their cremation, takes its form from a small sarcophagus. This ostothec is a miniature example of the garland sarcophagus. Antalya Archaeology Museum, Turkey. Against a grey background.. Against a warm art background.
  • Roman relief sculpted Ostothec cremation sarcophagus, 2nd century AD, Perge. An ostothec is used to preserve the ashes and bones of the dead bodies after their cremation, takes its form from a small sarcophagus. This ostothec is a miniature example of the garland sarcophagus. Antalya Archaeology Museum, Turkey
  • Roman relief sculpted Ostothec cremation sarcophagus, 2nd century AD, Perge. An ostothec is used to preserve the ashes and bones of the dead bodies after their cremation, takes its form from a small sarcophagus. This ostothec is a miniature example of the garland sarcophagus. Antalya Archaeology Museum, Turkey
  • Ornamental Etruscan fans excavated from the Tomb of the Fans in Flabelli (Tomba dei Flabelli), late 7th - early 6th century B.C,   National Archaeological Museum Florence, Italy
  • Ornamental Etruscan fans excavated from the Tomb of the Fans in Flabelli (Tomba dei Flabelli), late 7th - early 6th century B.C,   National Archaeological Museum Florence, Italy , grey art background
  • Ornamental Etruscan fans excavated from the Tomb of the Fans in Flabelli (Tomba dei Flabelli), late 7th - early 6th century B.C,   National Archaeological Museum Florence, Italy, black background
  • Ornamental Etruscan fans excavated from the Tomb of the Fans in Flabelli (Tomba dei Flabelli), late 7th - early 6th century B.C,   National Archaeological Museum Florence, Italy, white background
  • Ornamental Etruscan fans excavated from the Tomb of the Fans in Flabelli (Tomba dei Flabelli), late 7th - early 6th century B.C,   National Archaeological Museum Florence, Italy, against grey
  • Ornamental Etruscan fans excavated from the Tomb of the Fans in Flabelli (Tomba dei Flabelli), late 7th - early 6th century B.C,   National Archaeological Museum Florence, Italy , against grey
  • Ornamental Etruscan fans excavated from the Tomb of the Fans in Flabelli (Tomba dei Flabelli), late 7th - early 6th century B.C,   National Archaeological Museum Florence, Italy , grey art background
  • Ornamental Etruscan fans excavated from the Tomb of the Fans in Flabelli (Tomba dei Flabelli), late 7th - early 6th century B.C,   National Archaeological Museum Florence, Italy , white background
  • Ornamental Etruscan fans excavated from the Tomb of the Fans in Flabelli (Tomba dei Flabelli), late 7th - early 6th century B.C,   National Archaeological Museum Florence, Italy, black background
  • Ornamental Etruscan fans excavated from the Tomb of the Fans in Flabelli (Tomba dei Flabelli), late 7th - early 6th century B.C,   National Archaeological Museum Florence, Italy
  • Picture of a Roman mosaics design depicting a geometric plant design, from the ancient Roman city of Thysdrus. 3rd century AD, House in Jiliani Guirat area. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting Sileuns and two of the Four Seasons, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against a black background
  • Picture of a Roman mosaics design depicting Sileuns and two of the Four Seasons, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting Sileuns and two of the Four Seasons, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against an art background
  • Picture of a Roman mosaics design depicting Silenus and fishing cupids, from the ancient Roman city of Thysdrus. 3rd century AD, House of Silenus. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting Silenus and fishing cupids, from the ancient Roman city of Thysdrus. 3rd century AD, House of Silenus. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting Silenus and fishing cupids, from the ancient Roman city of Thysdrus. 3rd century AD, House of Silenus. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting Silenus and fishing cupids, from the ancient Roman city of Thysdrus. 3rd century AD, House of Silenus. El Djem Archaeological Museum, El Djem, Tunisia. Against a white background
  • Picture of a Roman mosaics design depicting Silenus and fishing cupids, from the ancient Roman city of Thysdrus. 3rd century AD, House of Silenus. El Djem Archaeological Museum, El Djem, Tunisia. Against a black background
  • Picture of a Roman mosaics design depicting Silenus and fishing cupids, from the ancient Roman city of Thysdrus. 3rd century AD, House of Silenus. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting Silenus and fishing cupids, from the ancient Roman city of Thysdrus. 3rd century AD, House of Silenus. El Djem Archaeological Museum, El Djem, Tunisia. Against an art background
  • Picture of a Roman mosaics design depicting Silenus and fishing cupids, from the ancient Roman city of Thysdrus. 3rd century AD, House of Silenus. El Djem Archaeological Museum, El Djem, Tunisia. Against a grey background
  • Picture of a Roman Dionysiac mosaics design depicting masks and birds, from the ancient Roman city of Thysdrus. 3rd century AD, House of Silenus. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman Dionysiac mosaics design depicting masks and birds, from the ancient Roman city of Thysdrus. 3rd century AD, House of Silenus. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman Dionysiac mosaics design depicting masks and birds, from the ancient Roman city of Thysdrus. 3rd century AD, House of Silenus. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman Dionysiac mosaics design depicting masks and birds, from the ancient Roman city of Thysdrus. 3rd century AD, House of Silenus. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman Dionysiac mosaics design depicting masks and birds, from the ancient Roman city of Thysdrus. 3rd century AD, House of Silenus. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman Dionysiac mosaics design depicting masks and birds, from the ancient Roman city of Thysdrus. 3rd century AD, House of Silenus. El Djem Archaeological Museum, El Djem, Tunisia. Against a white background
  • Picture of a Roman Dionysiac mosaics design depicting masks and birds, from the ancient Roman city of Thysdrus. 3rd century AD, House of Silenus. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman Dionysiac mosaics design depicting masks and birds, from the ancient Roman city of Thysdrus. 3rd century AD, House of Silenus. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman Dionysiac mosaics design depicting masks and birds, from the ancient Roman city of Thysdrus. 3rd century AD, House of Silenus. El Djem Archaeological Museum, El Djem, Tunisia. Against an art background
  • Picture of a Roman Dionysiac mosaics design depicting masks and birds, from the ancient Roman city of Thysdrus. 3rd century AD, House of Silenus. El Djem Archaeological Museum, El Djem, Tunisia. Against a grey background
  • Picture of a Roman mosaics design depicting a geometric tendril designs from a Dionysus mosaic. The ancient Roman city of Thysdrus. 2nd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting Sileuns and two of the Four Seasons, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting Sileuns and two of the Four Seasons, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against a white background
  • Picture of a Roman mosaics design depicting Sileuns and two of the Four Seasons, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting Sileuns and two of the Four Seasons, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against a grey background
  • Picture of a Roman mosaics design depicting Silenus and fishing cupids, from the ancient Roman city of Thysdrus. 3rd century AD, House of Silenus. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman Dionysiac mosaics design depicting masks and birds, from the ancient Roman city of Thysdrus. 3rd century AD, House of Silenus. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman Dionysiac mosaics design depicting masks and birds, from the ancient Roman city of Thysdrus. 3rd century AD, House of Silenus. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman Dionysiac mosaics design depicting masks and birds, from the ancient Roman city of Thysdrus. 3rd century AD, House of Silenus. El Djem Archaeological Museum, El Djem, Tunisia. Against a black background
  • Picture of a Roman mosaics design depicting a geometric tendril designs from a Dionysus mosaic. The ancient Roman city of Thysdrus. 2nd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting a geometric tendril designs from a Dionysus mosaic. The ancient Roman city of Thysdrus. 2nd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting a geometric tendril designs from a Dionysus mosaic. The ancient Roman city of Thysdrus. 2nd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Hittite monumental relief sculpture of a seated figure. Late Hittite Period - 900-700 BC. Adana Archaeology Museum, Turkey. Against a black background
  • Hittite monumental relief sculpture of a seated figure. Late Hittite Period - 900-700 BC. Adana Archaeology Museum, Turkey. Against a white background
  • Hittite monumental relief sculpture of a seated figure. Late Hittite Period - 900-700 BC. Adana Archaeology Museum, Turkey. Against a grey background
  • Hittite monumental relief sculpture of a seated figure. Late Hittite Period - 900-700 BC. Adana Archaeology Museum, Turkey.
  • Hittite monumental relief sculpture of a seated figure. Late Hittite Period - 900-700 BC. Adana Archaeology Museum, Turkey. Against a grey art background
  • Nile Scene Roman Mosaic ( Scena Nileotica )  from Pompei Archaeological Site. Naples Archaeological Museum inv 9990
  • Nile Scene Roman Mosaic ( Scena Nileotica )  from Pompei Archaeological Site. Naples Archaeological Museum inv 9990
  • Nile Scene Roman Mosaic ( Scena Nileotica )  from Pompei Archaeological Site. Naples Archaeological Museum inv 9990
  • Nile Scene Roman Mosaic ( Scena Nileotica )  from Pompei Archaeological Site. Naples Archaeological Museum inv 9990
  • Greek relief sculpture of a lion hunt  on Alexander The Great ( Alexander III of Macedon )4th Cent BC. Sarcophagus calved from Pentelic Marble from the Royal Necropolis of Sidon, Chamber no.III, Lebanon. Istanbul Archaeological Museum Inv. 370T Cat. Mendel 68
  • Gold Death Mask Known from Grave IV, Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC. Cat No 253 Athens Archaeological Museum.
  • Gold Death Mask Known from Grave IV, Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC. Cat No 253 Athens Archaeological Museum.
  • Gold Death Mask Known from Grave IV, Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC. Cat No 253 Athens Archaeological Museum.
  • Gold Death Mask Known from Grave IV, Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC. Cat No 253 Athens Archaeological Museum.
  • Gold Death Mask Known from Grave IV, Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC. Cat No 253 Athens Archaeological Museum.
  • 5th century Eastern Roman Byzantine   funerary mosaic from Tarbaka in the Roman province of Africa Proconsularis , present day Tunisia, with a crown at the top probably a Christogram  (Latin Monogramma Christi ) is a monogram used as an abbreviation for the name of Jesus Christ, with a figure below and a latin text for the deceased " Covuldeus in peace". Either side of the figure are a lit candle which symbolises eternal faith. The Bardo National Museum, Tunis Tunisia.  Against a white background.<br />
<br />
Christian burial grounds The ingenuity and expertise of mosaic schools, particularly those operating in Proconsular Africa and By-zacena, led to the dissemination of a mosaic trend which was very well tailored to the needs of a Christian clientele, who was authorised by the Church to use the basilica area and its ancillaries for burial, particularly in the sacred spaces such as the baptistery and the choir.
  • 5th century Eastern Roman Byzantine  funerary mosaic from Tarbaka in the Roman province of Africa Proconsularis , present day Tunisia, with a crown at the top probably a Christogram  (Latin Monogramma Christi ) is a monogram used as an abbreviation for the name of Jesus Christ, with a figure below and a latin text for the deceased " Covuldeus in peace". Either side of the figure are a lit candle which symbolises eternal faith. The Bardo National Museum, Tunis Tunisia.<br />
<br />
Christian burial grounds The ingenuity and expertise of mosaic schools, particularly those operating in Proconsular Africa and By-zacena, led to the dissemination of a mosaic trend which was very well tailored to the needs of a Christian clientele, who was authorised by the Church to use the basilica area and its ancillaries for burial, particularly in the sacred spaces such as the baptistery and the choir.
  • 5th century Eastern Roman Byzantine  funerary mosaic from Tarbaka in the Roman province of Africa Proconsularis , present day Tunisia, with a crown at the top probably a Christogram  (Latin Monogramma Christi ) is a monogram used as an abbreviation for the name of Jesus Christ, with a figure below and a latin text for the deceased " Covuldeus in peace". Either side of the figure are a lit candle which symbolises eternal faith. The Bardo National Museum, Tunis Tunisia.   Against a grey background.<br />
<br />
Christian burial grounds The ingenuity and expertise of mosaic schools, particularly those operating in Proconsular Africa and By-zacena, led to the dissemination of a mosaic trend which was very well tailored to the needs of a Christian clientele, who was authorised by the Church to use the basilica area and its ancillaries for burial, particularly in the sacred spaces such as the baptistery and the choir.
  • 5th century Eastern Roman Byzantine  funerary mosaic from Tarbaka in the Roman province of Africa Proconsularis , present day Tunisia, with a crown at the top probably a Christogram  (Latin Monogramma Christi ) is a monogram used as an abbreviation for the name of Jesus Christ, with a figure below and a latin text for the deceased " Covuldeus in peace". Either side of the figure are a lit candle which symbolises eternal faith. The Bardo National Museum, Tunis Tunisia.<br />
<br />
Christian burial grounds The ingenuity and expertise of mosaic schools, particularly those operating in Proconsular Africa and By-zacena, led to the dissemination of a mosaic trend which was very well tailored to the needs of a Christian clientele, who was authorised by the Church to use the basilica area and its ancillaries for burial, particularly in the sacred spaces such as the baptistery and the choir.
  • 5th century Eastern Roman Byzantine  funerary mosaic from Tarbaka in the Roman province of Africa Proconsularis , present day Tunisia, with a crown at the top probably a Christogram  (Latin Monogramma Christi ) is a monogram used as an abbreviation for the name of Jesus Christ, with a figure below and a latin text for the deceased " Covuldeus in peace". Either side of the figure are a lit candle which symbolises eternal faith. The Bardo National Museum, Tunis Tunisia. Against a grey art background.<br />
<br />
Christian burial grounds The ingenuity and expertise of mosaic schools, particularly those operating in Proconsular Africa and By-zacena, led to the dissemination of a mosaic trend which was very well tailored to the needs of a Christian clientele, who was authorised by the Church to use the basilica area and its ancillaries for burial, particularly in the sacred spaces such as the baptistery and the choir.
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Abraham about to offer his son Isaac as a sacrifice<br />
  - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia.  Against a white background.
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Abraham about to offer his son Isaac as a sacrifice<br />
  - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia.  Against a black background.
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Abraham about to offer his son Isaac as a sacrifice<br />
  - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia.   Against a grey background.
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Abraham about to offer his son Isaac as a sacrifice<br />
  - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Abraham about to offer his son Isaac as a sacrifice<br />
  - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia. Against a grey art background.
  • Detail of a 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Christ changing Water into wine - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional atti-tudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additio-nal details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia
  • Female Portrait (Antioch, Antakya, Turkey), 1st half of 3rd century AD. Marble cubes, limestone and glass. The mosaic bust of a female with a billowing sail that surrounds her head that it could represent the wind. The mosaic decorated the entrance of a dining room and was once flanked it with now lost representations of the marine deities Thalassa and Okeanosinv 3460, Louvre Museum, Paris
  • Birds around a  vase From Daphne, a suburb of Antioch, Antakya, Turkey, 1st half of 3rd century AD. Marble cubes, limestone and glass. A border of geometric perspective cubes surround a scene with one bird sitting on the vase of Daphne whilst the other surround it. The naturalistic skill of the Roman Antioch mosaic artists is so good that it is possible to tell the species of each bird. inv 3461, Louvre Museum, Paris
  • Birds around a  vase From Daphne, a suburb of Antioch, Antakya, Turkey, 1st half of 3rd century AD. Marble cubes, limestone and glass. A border of geometric perspective cubes surround a scene with one bird sitting on the vase of Daphne whilst the other surround it. The naturalistic skill of the Roman Antioch mosaic artists is so good that it is possible to tell the species of each bird. inv 3461, Louvre Museum, Paris
  • Birds around a  vase From Daphne, a suburb of Antioch, Antakya, Turkey, 1st half of 3rd century AD. Marble cubes, limestone and glass. A border of geometric perspective cubes surround a scene with one bird sitting on the vase of Daphne whilst the other surround it. The naturalistic skill of the Roman Antioch mosaic artists is so good that it is possible to tell the species of each bird. inv 3461, Louvre Museum, Paris
  • Birds around a  vase From Daphne, a suburb of Antioch, Antakya, Turkey, 1st half of 3rd century AD. Marble cubes, limestone and glass. A border of geometric perspective cubes surround a scene with one bird sitting on the vase of Daphne whilst the other surround it. The naturalistic skill of the Roman Antioch mosaic artists is so good that it is possible to tell the species of each bird. inv 3461, Louvre Museum, Paris
  • 4th century Roman moisaic from Merida, Merida Archaeological Museum, Spain
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite 2nd - 1st century BC Roman marble sculpture of Aphrodite (Venus), ‘Marine Venus' Type with a dolphin, copied from a Hellanistic Greek original,  inv 6296, Naples Museum of Archaeology, Italy, white background
  • Painted colour verion of end of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • Painted colour verion of end of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • Painted colour verion of end of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • Painted colour verion of end of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • Painted colour verion of end of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • Painted colour verion of end of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • Painted colour verion of end of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • Painted colour verion of end of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy

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