• Decorated medieval historicated column capitals in the clositers of Monreale Cathedral - Palermo - Sicily Pictures, photos, images & fotos photography
  • Decorated medieval historicated column capitals in the clositers of Monreale Cathedral - Palermo - Sicily Pictures, photos, images & fotos photography
  • Decorated medieval historicated column capitals in the clositers of Monreale Cathedral - Palermo - Sicily Pictures, photos, images & fotos photography
  • Decorated medieval historicated column capitals in the clositers of Monreale Cathedral - Palermo - Sicily Pictures, photos, images & fotos photography
  • Decorated medieval historicated column capitals in the clositers of Monreale Cathedral - Palermo - Sicily Pictures, photos, images & fotos photography
  • Decorated medieval historicated column capitals in the clositers of Monreale Cathedral - Palermo - Sicily Pictures, photos, images & fotos photography
  • Decorated medieval historicated column capitals in the clositers of Monreale Cathedral - Palermo - Sicily Pictures, photos, images & fotos photography
  • Decorated medieval historicated column capitals in the clositers of Monreale Cathedral - Palermo - Sicily Pictures, photos, images & fotos photography
  • Decorated medieval historicated column capitals in the clositers of Monreale Cathedral - Palermo - Sicily Pictures, photos, images & fotos photography
  • Decorated medieval historicated column capitals in the clositers of Monreale Cathedral - Palermo - Sicily Pictures, photos, images & fotos photography
  • Decorated medieval historicated column capitals in the clositers of Monreale Cathedral - Palermo - Sicily Pictures, photos, images & fotos photography
  • Decorated medieval historicated column capitals in the clositers of Monreale Cathedral - Palermo - Sicily Pictures, photos, images & fotos photography
  • Decorated medieval historicated column capitals in the clositers of Monreale Cathedral - Palermo - Sicily Pictures, photos, images & fotos photography
  • Decorated medieval historicated column capitals in the clositers of Monreale Cathedral - Palermo - Sicily Pictures, photos, images & fotos photography
  • Decorated medieval historicated column capitals in the clositers of Monreale Cathedral - Palermo - Sicily Pictures, photos, images & fotos photography
  • Decorated medieval historicated column capitals in the clositers of Monreale Cathedral - Palermo - Sicily Pictures, photos, images & fotos photography
  • Decorated medieval historicated column capitals in the clositers of Monreale Cathedral - Palermo - Sicily Pictures, photos, images & fotos photography
  • Decorated medieval historicated column capitals in the clositers of Monreale Cathedral - Palermo - Sicily Pictures, photos, images & fotos photography
  • Decorated medieval historicated column capitals in the clositers of Monreale Cathedral - Palermo - Sicily Pictures, photos, images & fotos photography
  • Decorated medieval historicated column capitals in the clositers of Monreale Cathedral - Palermo - Sicily Pictures, photos, images & fotos photography
  • Decorated medieval historicated column capitals in the clositers of Monreale Cathedral - Palermo - Sicily Pictures, photos, images & fotos photography
  • Decorated medieval historicated column capitals in the clositers of Monreale Cathedral - Palermo - Sicily Pictures, photos, images & fotos photography
  • Decorated medieval historicated column capitals in the clositers of Monreale Cathedral - Palermo - Sicily Pictures, photos, images & fotos photography
  • Decorated medieval historicated column capitals in the clositers of Monreale Cathedral - Palermo - Sicily Pictures, photos, images & fotos photography
  • Decorated medieval historicated column capitals in the clositers of Monreale Cathedral - Palermo - Sicily
  • Decorated medieval historicated column capitals in the clositers of Monreale Cathedral - Palermo - Sicily Pictures, photos, images & fotos photography
  • Decorated medieval historicated column capitals in the clositers of Monreale Cathedral - Palermo - Sicily Pictures, photos, images & fotos photography
  • Decorated medieval historicated column capitals in the clositers of Monreale Cathedral - Palermo - Sicily Pictures, photos, images & fotos photography
  • Decorated medieval historicated column capitals in the clositers of Monreale Cathedral - Palermo - Sicily Pictures, photos, images & fotos photography
  • Stock photos of Sculptured animal historiated Romanesque column Capitals - Franciscan Monatery cloisters - Dubrovnik
  • Stock photos of Sculptured animal historiated Romanesque column Capitals - Franciscan Monatery cloisters - Dubrovnik
  • Stock photos of Sculptured face historiated Romanesque column Capitals - Franciscan Monatery cloisters - Dubrovnik
  • Stock photos of Sculptured dragon historiated Romanesque column Capitals - Franciscan Monatery cloisters - Dubrovnik
  • Stock photos of Sculptured dragon historiated Romanesque column Capitals - Franciscan Monatery cloisters - Dubrovnik
  • Stock photos of Sculptured horse historiated Romanesque column Capitals - Franciscan Monatery cloisters - Dubrovnik
  • Stock photos of Sculptured face historiated Romanesque column Capitals - Franciscan Monatery cloisters - Dubrovnik
  • Stock photos of Sculptured face historiated Romanesque column Capitals - Franciscan Monatery cloisters - Dubrovnik
  • Stock photos of Sculptured face historiated Romanesque column Capitals - Franciscan Monatery cloisters - Dubrovnik
  • Stock photos of Sculptured historiated Romanesque column Capitals - Franciscan Monatery cloisters - Dubrovnik
  • Stock photos of Sculptured face historiated Romanesque column Capitals - Franciscan Monatery cloisters - Dubrovnik
  • Ionic Column capitals of the Baroque Church of St George designed by Gagliardi 1702 , Modica, Sicily
  • Ionic Column capitals of the Baroque Church of St George designed by Gagliardi 1702 , Modica, Sicily
  • Ionic Column capitals of the Baroque Church of St George designed by Gagliardi 1702 , Modica, Sicily
  • Medieval cloister column capitals  of the Cathedral, Duomo of Cefalu [Cefaú] Sicily
  • Medieval cloister column capitals  of the Cathedral, Duomo of Cefalu [Cefaú] Sicily
  • Medieval cloister column capitals  of the Cathedral, Duomo of Cefalu [Cefaú] Sicily
  • Medieval cloister column capitals  of the Cathedral, Duomo of Cefalu [Cefaú] Sicily
  • Medieval cloister column capitals  of the Cathedral, Duomo of Cefalu [Cefaú] Sicily
  • Medieval cloister column capitals  of the Cathedral, Duomo of Cefalu [Cefaú] Sicily
  • Medieval cloister column capitals  of the Cathedral, Duomo of Cefalu [Cefaú] Sicily
  • Medieval cloister column capitals  of the Cathedral, Duomo of Cefalu [Cefaú] Sicily
  • Greek Dorik capitals upside down at Temple F at Selinunte, Sicily photography, pictures, photos, images & fotos. 26 Greek Dorik Temple columns of the ruins of the Temple of Hera, Temple E, Selinunte, Sicily
  • Greek Dorik capitals upside down at Temple F at Selinunte, Sicily photography, pictures, photos, images & fotos. 25 Greek Dorik Temple columns of the ruins of the Temple of Hera, Temple E, Selinunte, Sicily
  • Greek Dorik capitals upside down at Temple F at Selinunte, Sicily Greek Dorik Temple columns of the ruins of the Temple of Hera, Temple E, Selinunte, Sicily
  • Greek Dorik capitals upside down at Temple F at Selinunte, Sicily
  • The 14th Century Gothic style column capitals of The Doge's Palace on St Marks Square, Palazzo Ducale, Venice Italy
  • The 14th Century Gothic style column capitals of The Doge's Palace on St Marks Square, Palazzo Ducale, Venice Italy
  • The 14th Century Gothic style column capitals of The Doge's Palace on St Marks Square, Palazzo Ducale, Venice Italy
  • The 14th Century Gothic style column capitals of The Doge's Palace on St Marks Square, Palazzo Ducale, Venice Italy
  • The 14th Century Gothic style column capitals of The Doge's Palace on St Marks Square, Palazzo Ducale, Venice Italy
  • The 14th Century Gothic style column capitals of The Doge's Palace on St Marks Square, Palazzo Ducale, Venice Italy
  • The 14th Century Gothic style column capitals of The Doge's Palace on St Marks Square, Palazzo Ducale, Venice Italy
  • Berber Muqarnas Arabesque stalactite plaster work ceiling and Mocarabe Honeycomb work plaster columns and capitals of the inner courtyard of  the Kashah of Telouet, Morocco
  • Berber Mocarabe Honeycomb work plaster columns and capitals in the Riad of the Kasbah of Telouet, Atlas Mountains, Morocco
  • Berber Muqarnas Arabesque stalactite plaster work ceiling and Mocarabe Honeycomb work plaster columns and capitals of the inner courtyard of  the Kashah of Telouet, Morocco
  • Berber Muqarnas Arabesque stalactite plaster work ceiling and Mocarabe Honeycomb work plaster columns and capitals of the inner courtyard of  the Kashah of Telouet, Morocco
  • Berber Mocarabe Honeycomb work plaster columns and capitals in the Riad of the Kasbah of Telouet, Atlas Mountains, Morocco
  • Berber Mocarabe Honeycomb work plaster columns and capitals in the Riad of the Kasbah of Telouet, Atlas Mountains, Morocco
  • Berber Mocarabe Honeycomb work plaster columns and capitals in the Riad of the Kasbah of Telouet, Atlas Mountains, Morocco
  • Berber Muqarnas Arabesque stalactite plaster work ceiling and Mocarabe Honeycomb work plaster columns and capitals of the inner courtyard of  the Kashah of Telouet, Morocco
  • Berber Mocarabe Honeycomb work plaster columns and capitals in the Riad of the Kasbah of Telouet, Atlas Mountains, Morocco
  • Berber Muqarnas Arabesque stalactite plaster work ceiling and Mocarabe Honeycomb work plaster columns and capitals of the inner courtyard of  the Kashah of Telouet, Morocco
  • Berber Muqarnas Arabesque stalactite plaster work ceiling and Mocarabe Honeycomb work plaster columns and capitals of the inner courtyard of  the Kashah of Telouet, Morocco
  • Berber Muqarnas Arabesque stalactite plaster work ceiling and Mocarabe Honeycomb work plaster columns and capitals of the inner courtyard of  the Kashah of Telouet, Morocco
  • Berber Muqarnas Arabesque stalactite plaster work ceiling and Mocarabe Honeycomb work plaster columns and capitals of the inner courtyard of  the Kashah of Telouet, Morocco
  • Berber Muqarnas Arabesque stalactite plaster work ceiling and Mocarabe Honeycomb work plaster columns and capitals of the inner courtyard of  the Kashah of Telouet, Morocco
  • Berber Muqarnas Arabesque stalactite plaster work ceiling and Mocarabe Honeycomb work plaster columns and capitals of the inner courtyard of  the Kashah of Telouet, Morocco
  • Berber Muqarnas Arabesque stalactite plaster work ceiling and Mocarabe Honeycomb work plaster columns and capitals of the inner courtyard of  the Kashah of Telouet, Morocco
  • Berber Muqarnas Arabesque stalactite plaster work ceiling and Mocarabe Honeycomb work plaster columns and capitals of the inner courtyard of  the Kashah of Telouet, Morocco
  • Berber Mocarabe Honeycomb work plaster columns and capitals in the Riad of the Kasbah of Telouet, Atlas Mountains, Morocco
  • Berber Mocarabe Honeycomb work plaster columns and capitals in the Riad of the Kasbah of Telouet, Atlas Mountains, Morocco
  • Berber Mocarabe Honeycomb work plaster columns and capitals in the Riad of the Kasbah of Telouet, Atlas Mountains, Morocco
  • The cenotaph and memoria;l column in H?sök tere, ( Heroes Square ), Budapest, Hungary
  • The cenotaph and memoria;l column in H?sök tere, ( Heroes Square ), Budapest, Hungary
  • The cenotaph and memoria;l column in H?sök tere, ( Heroes Square ), Budapest, Hungary
  • The cenotaph and memoria;l column in H?sök tere, ( Heroes Square ), Budapest, Hungary
  • Capital of a Greek Dorik Column - Selinunte Sicily . Selinunte, Sicily travel photos & pictures available as stock photos, pictures & images & also to download as photo art prints. Greek Dorik Temple columns of the ruins of the Temple of Hera, Temple E, Selinunte, Sicily
  • Capital of a Greek Dorik Column - Selanute Sicily photography, pictures, photos, images & fotos. Greek Dorik Temple columns of the ruins of the Temple of Hera, Temple E, Selinunte, Sicily
  • Arabesque Moorish plasterwork column capitals of the Dar Jamai Museum  a typical dwellings of high Moroccan bourgeoisie at the end of XIX century. located in the old Medina built by Mohamed Ben Larbi Jamai grend vizier of Sultan Moulay Hassan (1873-1894). Meknes, Morocco
  • Arabesque Moorish plasterwork column capitals of the Dar Jamai Museum  a typical dwellings of high Moroccan bourgeoisie at the end of XIX century. located in the old Medina built by Mohamed Ben Larbi Jamai grend vizier of Sultan Moulay Hassan (1873-1894). Meknes, Morocco
  • Arabesque Moorish plasterwork column capitals and zellij tiles of the Dar Jamai Museum  a typical dwellings of high Moroccan bourgeoisie at the end of XIX century. located in the old Medina built by Mohamed Ben Larbi Jamai grend vizier of Sultan Moulay Hassan (1873-1894). Meknes, Morocco
  • Arabesque Moorish plasterwork column capitals and zellij tiles of the Dar Jamai Museum  a typical dwellings of high Moroccan bourgeoisie at the end of XIX century. located in the old Medina built by Mohamed Ben Larbi Jamai grend vizier of Sultan Moulay Hassan (1873-1894). Meknes, Morocco
  • Arabesque Moorish plasterwork column capitals and zellij tiles of the Dar Jamai Museum  a typical dwellings of high Moroccan bourgeoisie at the end of XIX century. located in the old Medina built by Mohamed Ben Larbi Jamai grend vizier of Sultan Moulay Hassan (1873-1894). Meknes, Morocco
  • Arabesque Moorish plasterwork column capitals and zellij tiles of the Dar Jamai Museum  a typical dwellings of high Moroccan bourgeoisie at the end of XIX century. located in the old Medina built by Mohamed Ben Larbi Jamai grend vizier of Sultan Moulay Hassan (1873-1894). Meknes, Morocco
  • Arabesque Moorish plasterwork column capitals and zellij tiles of the Dar Jamai Museum  a typical dwellings of high Moroccan bourgeoisie at the end of XIX century. located in the old Medina built by Mohamed Ben Larbi Jamai grend vizier of Sultan Moulay Hassan (1873-1894). Meknes, Morocco
  • Arabesque Moorish plasterwork column capitals and zellij tiles of the Dar Jamai Museum  a typical dwellings of high Moroccan bourgeoisie at the end of XIX century. located in the old Medina built by Mohamed Ben Larbi Jamai grend vizier of Sultan Moulay Hassan (1873-1894). Meknes, Morocco
  • Gothic sculpted illustrated column capitals  from the Cathedral of Chartres, France. . A UNESCO World Heritage Site. .
  • Gothic sculpted illustrated column capitals  from the Cathedral of Chartres, France. . A UNESCO World Heritage Site. .
  • Gothic sculpted illustrated column capitals  from the Cathedral of Chartres, France. . A UNESCO World Heritage Site. .
  • Gothic sculpted illustrated column capitals  from the Cathedral of Chartres, France. . A UNESCO World Heritage Site. .
  • Gothic sculpted illustrated column capitals  from the Cathedral of Chartres, France. . A UNESCO World Heritage Site. .
  • Romanesque column capital in the 8th century Romanesque Basilica church of St Peters, Tuscania, Lazio, Italy
  • Romanesque column capital in the 8th century Romanesque Basilica church of St Peters, Tuscania, Lazio, Italy
  • Romanesque column capital in the 8th century Romanesque Basilica church of St Peters, Tuscania, Lazio, Italy
  • Ornate Byzantine column capital in the Hagia Sophia ( Ayasofya ) , Istanbul, Turkey
  • Ornate Byzantine column capital in the Hagia Sophia ( Ayasofya ) , Istanbul, Turkey
  • Ornate Byzantine column capital in the Hagia Sophia ( Ayasofya ) , Istanbul, Turkey
  • Picture of the ruins of the Byzantine Martyrion of St Philip church and healing centre. Hierapolis archaeological site near Pamukkale in Turkey.<br />
<br />
Martyrion of St Philip. This church with an octagonal core was built at the beginning of the 5th century on the summit of the hill. This is probably where, according to tradition, the Apostlie was martyred. The building has an eight-sided central room surmounted by a wooden cupola. From each of the eight sides of the central space there was access to a rectangular room through three arches supported by marble columns with capitals decorated with acanthus leaves The shape of the central room is a reference to the number eight which symbolists eternity. The church is situated inside a square composed of 28 rooms for housing pilgrims which were accessed from the outside. As in other Byzantine sanctuaries associated with heating powers (eg that of Saints Cosmas and Damian in Constantinople), in these rooms incubation rites were practised: during sleep, the Saint cured the sick and made prophecies concerning the future.
  • Picture of the ruins of the Byzantine Martyrion of St Philip church and healing centre. Hierapolis archaeological site near Pamukkale in Turkey.<br />
<br />
Martyrion of St Philip. This church with an octagonal core was built at the beginning of the 5th century on the summit of the hill. This is probably where, according to tradition, the Apostlie was martyred. The building has an eight-sided central room surmounted by a wooden cupola. From each of the eight sides of the central space there was access to a rectangular room through three arches supported by marble columns with capitals decorated with acanthus leaves The shape of the central room is a reference to the number eight which symbolists eternity. The church is situated inside a square composed of 28 rooms for housing pilgrims which were accessed from the outside. As in other Byzantine sanctuaries associated with heating powers (eg that of Saints Cosmas and Damian in Constantinople), in these rooms incubation rites were practised: during sleep, the Saint cured the sick and made prophecies concerning the future.
  • Picture of the ruins of the Byzantine Martyrion of St Philip church and healing centre. Hierapolis archaeological site near Pamukkale in Turkey.<br />
<br />
Martyrion of St Philip. This church with an octagonal core was built at the beginning of the 5th century on the summit of the hill. This is probably where, according to tradition, the Apostlie was martyred. The building has an eight-sided central room surmounted by a wooden cupola. From each of the eight sides of the central space there was access to a rectangular room through three arches supported by marble columns with capitals decorated with acanthus leaves The shape of the central room is a reference to the number eight which symbolists eternity. The church is situated inside a square composed of 28 rooms for housing pilgrims which were accessed from the outside. As in other Byzantine sanctuaries associated with heating powers (eg that of Saints Cosmas and Damian in Constantinople), in these rooms incubation rites were practised: during sleep, the Saint cured the sick and made prophecies concerning the future.
  • Picture of the ruins of the Byzantine Martyrion of St Philip church and healing centre. Hierapolis archaeological site near Pamukkale in Turkey.<br />
<br />
Martyrion of St Philip. This church with an octagonal core was built at the beginning of the 5th century on the summit of the hill. This is probably where, according to tradition, the Apostlie was martyred. The building has an eight-sided central room surmounted by a wooden cupola. From each of the eight sides of the central space there was access to a rectangular room through three arches supported by marble columns with capitals decorated with acanthus leaves The shape of the central room is a reference to the number eight which symbolists eternity. The church is situated inside a square composed of 28 rooms for housing pilgrims which were accessed from the outside. As in other Byzantine sanctuaries associated with heating powers (eg that of Saints Cosmas and Damian in Constantinople), in these rooms incubation rites were practised: during sleep, the Saint cured the sick and made prophecies concerning the future.
  • Picture of the ruins of the Byzantine Martyrion of St Philip church and healing centre. Hierapolis archaeological site near Pamukkale in Turkey.<br />
<br />
Martyrion of St Philip. This church with an octagonal core was built at the beginning of the 5th century on the summit of the hill. This is probably where, according to tradition, the Apostlie was martyred. The building has an eight-sided central room surmounted by a wooden cupola. From each of the eight sides of the central space there was access to a rectangular room through three arches supported by marble columns with capitals decorated with acanthus leaves The shape of the central room is a reference to the number eight which symbolists eternity. The church is situated inside a square composed of 28 rooms for housing pilgrims which were accessed from the outside. As in other Byzantine sanctuaries associated with heating powers (eg that of Saints Cosmas and Damian in Constantinople), in these rooms incubation rites were practised: during sleep, the Saint cured the sick and made prophecies concerning the future.
  • Roman fresco wall decorations of the Triclinium C, Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
In the center of the dining room was a table, with three couches (klinai in Greek, hence the name "triclinium") on which the diners reclined as they ate. The southern exposure of the room and its main color suggest it was meant to be used in the winter. The architect Vitruvius, writing in the 1st century after Christ, recommends a dark background that will absorb heat to make the rooms warmer in cold weather. The black color (atramentum), made from a mixture of charcoal and glue, was resistant to smoke from the fire and soot from the lamps. On the dark background delicate landscapes are painted in light colors: cityscapes with buildings, arches, and gateways, and rural scenes showing huts, animals, and rustic shrines. The lavish decoration is broken up by slender columns festooned with ivy. The capitals are crowned by graceful female figures (caryatids). A frieze at eye level has scenes in which the same figures keep reappearing: popular tales depicted in a lively fashion. The scenes of the frieze start with the rear of the right wall. Also on this wall, near the doorway. can be seen a restoration made in antiquity to close off another entrance. We can identify a part of the polychrome mosaic pavement of this room. with meanders and stacked cubes rendered in perspective. The modem arrangement does not reproduce the or final. but is intended to suggest the effect of the pavement in the room
  • Roman fresco wall decorations of the Triclinium C, Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
In the center of the dining room was a table, with three couches (klinai in Greek, hence the name "triclinium") on which the diners reclined as they ate. The southern exposure of the room and its main color suggest it was meant to be used in the winter. The architect Vitruvius, writing in the 1st century after Christ, recommends a dark background that will absorb heat to make the rooms warmer in cold weather. The black color (atramentum), made from a mixture of charcoal and glue, was resistant to smoke from the fire and soot from the lamps. On the dark background delicate landscapes are painted in light colors: cityscapes with buildings, arches, and gateways, and rural scenes showing huts, animals, and rustic shrines. The lavish decoration is broken up by slender columns festooned with ivy. The capitals are crowned by graceful female figures (caryatids). A frieze at eye level has scenes in which the same figures keep reappearing: popular tales depicted in a lively fashion. The scenes of the frieze start with the rear of the right wall. Also on this wall, near the doorway. can be seen a restoration made in antiquity to close off another entrance. We can identify a part of the polychrome mosaic pavement of this room. with meanders and stacked cubes rendered in perspective. The modem arrangement does not reproduce the or final. but is intended to suggest the effect of the pavement in the room
  • Roman fresco wall decorations of the Triclinium C, Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
In the center of the dining room was a table, with three couches (klinai in Greek, hence the name "triclinium") on which the diners reclined as they ate. The southern exposure of the room and its main color suggest it was meant to be used in the winter. The architect Vitruvius, writing in the 1st century after Christ, recommends a dark background that will absorb heat to make the rooms warmer in cold weather. The black color (atramentum), made from a mixture of charcoal and glue, was resistant to smoke from the fire and soot from the lamps. On the dark background delicate landscapes are painted in light colors: cityscapes with buildings, arches, and gateways, and rural scenes showing huts, animals, and rustic shrines. The lavish decoration is broken up by slender columns festooned with ivy. The capitals are crowned by graceful female figures (caryatids). A frieze at eye level has scenes in which the same figures keep reappearing: popular tales depicted in a lively fashion. The scenes of the frieze start with the rear of the right wall. Also on this wall, near the doorway. can be seen a restoration made in antiquity to close off another entrance. We can identify a part of the polychrome mosaic pavement of this room. with meanders and stacked cubes rendered in perspective. The modem arrangement does not reproduce the or final. but is intended to suggest the effect of the pavement in the room
  • Roman fresco wall decorations of the Triclinium C, Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
In the center of the dining room was a table, with three couches (klinai in Greek, hence the name "triclinium") on which the diners reclined as they ate. The southern exposure of the room and its main color suggest it was meant to be used in the winter. The architect Vitruvius, writing in the 1st century after Christ, recommends a dark background that will absorb heat to make the rooms warmer in cold weather. The black color (atramentum), made from a mixture of charcoal and glue, was resistant to smoke from the fire and soot from the lamps. On the dark background delicate landscapes are painted in light colors: cityscapes with buildings, arches, and gateways, and rural scenes showing huts, animals, and rustic shrines. The lavish decoration is broken up by slender columns festooned with ivy. The capitals are crowned by graceful female figures (caryatids). A frieze at eye level has scenes in which the same figures keep reappearing: popular tales depicted in a lively fashion. The scenes of the frieze start with the rear of the right wall. Also on this wall, near the doorway. can be seen a restoration made in antiquity to close off another entrance. We can identify a part of the polychrome mosaic pavement of this room. with meanders and stacked cubes rendered in perspective. The modem arrangement does not reproduce the or final. but is intended to suggest the effect of the pavement in the room
  • Roman fresco wall decorations of the Triclinium C, Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
In the center of the dining room was a table, with three couches (klinai in Greek, hence the name "triclinium") on which the diners reclined as they ate. The southern exposure of the room and its main color suggest it was meant to be used in the winter. The architect Vitruvius, writing in the 1st century after Christ, recommends a dark background that will absorb heat to make the rooms warmer in cold weather. The black color (atramentum), made from a mixture of charcoal and glue, was resistant to smoke from the fire and soot from the lamps. On the dark background delicate landscapes are painted in light colors: cityscapes with buildings, arches, and gateways, and rural scenes showing huts, animals, and rustic shrines. The lavish decoration is broken up by slender columns festooned with ivy. The capitals are crowned by graceful female figures (caryatids). A frieze at eye level has scenes in which the same figures keep reappearing: popular tales depicted in a lively fashion. The scenes of the frieze start with the rear of the right wall. Also on this wall, near the doorway. can be seen a restoration made in antiquity to close off another entrance. We can identify a part of the polychrome mosaic pavement of this room. with meanders and stacked cubes rendered in perspective. The modem arrangement does not reproduce the or final. but is intended to suggest the effect of the pavement in the room
  • Roman fresco wall decorations of the Triclinium C, Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
In the center of the dining room was a table, with three couches (klinai in Greek, hence the name "triclinium") on which the diners reclined as they ate. The southern exposure of the room and its main color suggest it was meant to be used in the winter. The architect Vitruvius, writing in the 1st century after Christ, recommends a dark background that will absorb heat to make the rooms warmer in cold weather. The black color (atramentum), made from a mixture of charcoal and glue, was resistant to smoke from the fire and soot from the lamps. On the dark background delicate landscapes are painted in light colors: cityscapes with buildings, arches, and gateways, and rural scenes showing huts, animals, and rustic shrines. The lavish decoration is broken up by slender columns festooned with ivy. The capitals are crowned by graceful female figures (caryatids). A frieze at eye level has scenes in which the same figures keep reappearing: popular tales depicted in a lively fashion. The scenes of the frieze start with the rear of the right wall. Also on this wall, near the doorway. can be seen a restoration made in antiquity to close off another entrance. We can identify a part of the polychrome mosaic pavement of this room. with meanders and stacked cubes rendered in perspective. The modem arrangement does not reproduce the or final. but is intended to suggest the effect of the pavement in the room
  • Roman fresco wall decorations of the Triclinium C, Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
In the center of the dining room was a table, with three couches (klinai in Greek, hence the name "triclinium") on which the diners reclined as they ate. The southern exposure of the room and its main color suggest it was meant to be used in the winter. The architect Vitruvius, writing in the 1st century after Christ, recommends a dark background that will absorb heat to make the rooms warmer in cold weather. The black color (atramentum), made from a mixture of charcoal and glue, was resistant to smoke from the fire and soot from the lamps. On the dark background delicate landscapes are painted in light colors: cityscapes with buildings, arches, and gateways, and rural scenes showing huts, animals, and rustic shrines. The lavish decoration is broken up by slender columns festooned with ivy. The capitals are crowned by graceful female figures (caryatids). A frieze at eye level has scenes in which the same figures keep reappearing: popular tales depicted in a lively fashion. The scenes of the frieze start with the rear of the right wall. Also on this wall, near the doorway. can be seen a restoration made in antiquity to close off another entrance. We can identify a part of the polychrome mosaic pavement of this room. with meanders and stacked cubes rendered in perspective. The modem arrangement does not reproduce the or final. but is intended to suggest the effect of the pavement in the room
  • Roman fresco wall decorations of the Triclinium C, Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
In the center of the dining room was a table, with three couches (klinai in Greek, hence the name "triclinium") on which the diners reclined as they ate. The southern exposure of the room and its main color suggest it was meant to be used in the winter. The architect Vitruvius, writing in the 1st century after Christ, recommends a dark background that will absorb heat to make the rooms warmer in cold weather. The black color (atramentum), made from a mixture of charcoal and glue, was resistant to smoke from the fire and soot from the lamps. On the dark background delicate landscapes are painted in light colors: cityscapes with buildings, arches, and gateways, and rural scenes showing huts, animals, and rustic shrines. The lavish decoration is broken up by slender columns festooned with ivy. The capitals are crowned by graceful female figures (caryatids). A frieze at eye level has scenes in which the same figures keep reappearing: popular tales depicted in a lively fashion. The scenes of the frieze start with the rear of the right wall. Also on this wall, near the doorway. can be seen a restoration made in antiquity to close off another entrance. We can identify a part of the polychrome mosaic pavement of this room. with meanders and stacked cubes rendered in perspective. The modem arrangement does not reproduce the or final. but is intended to suggest the effect of the pavement in the room
  • Roman fresco wall decorations of the Triclinium C, Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
In the center of the dining room was a table, with three couches (klinai in Greek, hence the name "triclinium") on which the diners reclined as they ate. The southern exposure of the room and its main color suggest it was meant to be used in the winter. The architect Vitruvius, writing in the 1st century after Christ, recommends a dark background that will absorb heat to make the rooms warmer in cold weather. The black color (atramentum), made from a mixture of charcoal and glue, was resistant to smoke from the fire and soot from the lamps. On the dark background delicate landscapes are painted in light colors: cityscapes with buildings, arches, and gateways, and rural scenes showing huts, animals, and rustic shrines. The lavish decoration is broken up by slender columns festooned with ivy. The capitals are crowned by graceful female figures (caryatids). A frieze at eye level has scenes in which the same figures keep reappearing: popular tales depicted in a lively fashion. The scenes of the frieze start with the rear of the right wall. Also on this wall, near the doorway. can be seen a restoration made in antiquity to close off another entrance. We can identify a part of the polychrome mosaic pavement of this room. with meanders and stacked cubes rendered in perspective. The modem arrangement does not reproduce the or final. but is intended to suggest the effect of the pavement in the room
  • Roman fresco wall decorations of the Triclinium C, Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
In the center of the dining room was a table, with three couches (klinai in Greek, hence the name "triclinium") on which the diners reclined as they ate. The southern exposure of the room and its main color suggest it was meant to be used in the winter. The architect Vitruvius, writing in the 1st century after Christ, recommends a dark background that will absorb heat to make the rooms warmer in cold weather. The black color (atramentum), made from a mixture of charcoal and glue, was resistant to smoke from the fire and soot from the lamps. On the dark background delicate landscapes are painted in light colors: cityscapes with buildings, arches, and gateways, and rural scenes showing huts, animals, and rustic shrines. The lavish decoration is broken up by slender columns festooned with ivy. The capitals are crowned by graceful female figures (caryatids). A frieze at eye level has scenes in which the same figures keep reappearing: popular tales depicted in a lively fashion. The scenes of the frieze start with the rear of the right wall. Also on this wall, near the doorway. can be seen a restoration made in antiquity to close off another entrance. We can identify a part of the polychrome mosaic pavement of this room. with meanders and stacked cubes rendered in perspective. The modem arrangement does not reproduce the or final. but is intended to suggest the effect of the pavement in the room
  • Roman fresco wall decorations of the Triclinium C, Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
In the center of the dining room was a table, with three couches (klinai in Greek, hence the name "triclinium") on which the diners reclined as they ate. The southern exposure of the room and its main color suggest it was meant to be used in the winter. The architect Vitruvius, writing in the 1st century after Christ, recommends a dark background that will absorb heat to make the rooms warmer in cold weather. The black color (atramentum), made from a mixture of charcoal and glue, was resistant to smoke from the fire and soot from the lamps. On the dark background delicate landscapes are painted in light colors: cityscapes with buildings, arches, and gateways, and rural scenes showing huts, animals, and rustic shrines. The lavish decoration is broken up by slender columns festooned with ivy. The capitals are crowned by graceful female figures (caryatids). A frieze at eye level has scenes in which the same figures keep reappearing: popular tales depicted in a lively fashion. The scenes of the frieze start with the rear of the right wall. Also on this wall, near the doorway. can be seen a restoration made in antiquity to close off another entrance. We can identify a part of the polychrome mosaic pavement of this room. with meanders and stacked cubes rendered in perspective. The modem arrangement does not reproduce the or final. but is intended to suggest the effect of the pavement in the room
  • Roman fresco wall decorations of Corridor F-G  of the Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy. Against a white background.<br />
<br />
The corridor was a covered passageway that connected the two wings of the villa, partly straight and partly curved, following the shape of the central esedra. The elements that remain are from the inner walkway. The wall is divided by slender columns. Their capitals support female figures whose architectural function is in turn to support the columns of the superstructure. The female figures hold floral garlands that link them to one another. They may be meant to represent Caryatids, the women of Caria sold into slavery, who gave the name to female figures used as supports instead of columns. The most important part of the decoration is the small pictures in the upper zone: still lifes with masks from the theater alternate with imaginary landscapes, shrines, statues of divinities, little aedicula, and altars, the whole populated by figures of peasants, fishermen, and shepherds. The scene depicting a naval battle on the curved part may well refer to the battle of Actium that led to Rome's conquest of Egypt.
  • Roman fresco wall decorations of Corridor F-G  of the Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy. Against a grey background.<br />
<br />
The corridor was a covered passageway that connected the two wings of the villa, partly straight and partly curved, following the shape of the central esedra. The elements that remain are from the inner walkway. The wall is divided by slender columns. Their capitals support female figures whose architectural function is in turn to support the columns of the superstructure. The female figures hold floral garlands that link them to one another. They may be meant to represent Caryatids, the women of Caria sold into slavery, who gave the name to female figures used as supports instead of columns. The most important part of the decoration is the small pictures in the upper zone: still lifes with masks from the theater alternate with imaginary landscapes, shrines, statues of divinities, little aedicula, and altars, the whole populated by figures of peasants, fishermen, and shepherds. The scene depicting a naval battle on the curved part may well refer to the battle of Actium that led to Rome's conquest of Egypt.
  • Roman fresco wall decorations of Corridor F-G  of the Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy. Against a black background.<br />
<br />
The corridor was a covered passageway that connected the two wings of the villa, partly straight and partly curved, following the shape of the central esedra. The elements that remain are from the inner walkway. The wall is divided by slender columns. Their capitals support female figures whose architectural function is in turn to support the columns of the superstructure. The female figures hold floral garlands that link them to one another. They may be meant to represent Caryatids, the women of Caria sold into slavery, who gave the name to female figures used as supports instead of columns. The most important part of the decoration is the small pictures in the upper zone: still lifes with masks from the theater alternate with imaginary landscapes, shrines, statues of divinities, little aedicula, and altars, the whole populated by figures of peasants, fishermen, and shepherds. The scene depicting a naval battle on the curved part may well refer to the battle of Actium that led to Rome's conquest of Egypt.
  • Roman fresco wall decorations of Corridor F-G  of the Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
The corridor was a covered passageway that connected the two wings of the villa, partly straight and partly curved, following the shape of the central esedra. The elements that remain are from the inner walkway. The wall is divided by slender columns. Their capitals support female figures whose architectural function is in turn to support the columns of the superstructure. The female figures hold floral garlands that link them to one another. They may be meant to represent Caryatids, the women of Caria sold into slavery, who gave the name to female figures used as supports instead of columns. The most important part of the decoration is the small pictures in the upper zone: still lifes with masks from the theater alternate with imaginary landscapes, shrines, statues of divinities, little aedicula, and altars, the whole populated by figures of peasants, fishermen, and shepherds. The scene depicting a naval battle on the curved part may well refer to the battle of Actium that led to Rome's conquest of Egypt.
  • Roman fresco wall decorations of Corridor F-G  of the Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy. Against an art background.<br />
<br />
The corridor was a covered passageway that connected the two wings of the villa, partly straight and partly curved, following the shape of the central esedra. The elements that remain are from the inner walkway. The wall is divided by slender columns. Their capitals support female figures whose architectural function is in turn to support the columns of the superstructure. The female figures hold floral garlands that link them to one another. They may be meant to represent Caryatids, the women of Caria sold into slavery, who gave the name to female figures used as supports instead of columns. The most important part of the decoration is the small pictures in the upper zone: still lifes with masks from the theater alternate with imaginary landscapes, shrines, statues of divinities, little aedicula, and altars, the whole populated by figures of peasants, fishermen, and shepherds. The scene depicting a naval battle on the curved part may well refer to the battle of Actium that led to Rome's conquest of Egypt.
  • Roman fresco wall decorations of Corridor F-G  of the Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
The corridor was a covered passageway that connected the two wings of the villa, partly straight and partly curved, following the shape of the central esedra. The elements that remain are from the inner walkway. The wall is divided by slender columns. Their capitals support female figures whose architectural function is in turn to support the columns of the superstructure. The female figures hold floral garlands that link them to one another. They may be meant to represent Caryatids, the women of Caria sold into slavery, who gave the name to female figures used as supports instead of columns. The most important part of the decoration is the small pictures in the upper zone: still lifes with masks from the theater alternate with imaginary landscapes, shrines, statues of divinities, little aedicula, and altars, the whole populated by figures of peasants, fishermen, and shepherds. The scene depicting a naval battle on the curved part may well refer to the battle of Actium that led to Rome's conquest of Egypt.
  • Romanesque columns and sculpted Anthropomorphic capitals of main entrance of the 8th century Romanesque Basilica church of St Peters, Tuscania, Lazio, Italy
  • Romanesque columns and sculpted Anthropomorphic capitals of main entrance of the 8th century Romanesque Basilica church of St Peters, Tuscania, Lazio, Italy
  • Romanesque columns and sculpted Anthropomorphic capitals of main entrance of the 8th century Romanesque Basilica church of St Peters, Tuscania, Lazio, Italy
  • Romanesque columns and sculpted Anthropomorphic capitals of main entrance of the 8th century Romanesque Basilica church of St Peters, Tuscania, Lazio, Italy
  • Romanesque columns and sculpted Anthropomorphic capitals of main entrance of the 8th century Romanesque Basilica church of St Peters, Tuscania, Lazio, Italy
  • Close up of the ancient Doric Greek capitals & columns of the  Temple of Hera of Paestum built in about 460–450 BC. Paestum archaeological site, Italy.
  • Close up of the ancient Doric Greek capitals & columns of the  Temple of Hera of Paestum built in about 460–450 BC. Paestum archaeological site, Italy.
  • Close up of the ancient Doric Greek capitals & columns of the  Temple of Hera of Paestum built in about 460–450 BC. Paestum archaeological site, Italy.
  • Close up of the ancient Doric Greek capitals & columns of the  Temple of Hera of Paestum built in about 460–450 BC. Paestum archaeological site, Italy.
  • Tiwsted Corintian Roman column and capital. Volubilis Archaeological Site, near Meknes, Morocco
  • Close up of the ancient Doric Greek capitals & columns of the  Temple of Hera of Paestum built in about 460-450 BC. Paestum archaeological site, Italy.
  • Close up of the ancient Doric Greek capitals & columns of the  Temple of Hera of Paestrum built in about 460-450 BC. Paestrum archaeological site, Italy.
  • Close up of the ancient Doric Greek capitals & columns of the  Temple of Hera of Paestum built in about 460-450 BC. Paestrum archaeological site, Italy.
  • Close up of the ancient Doric Greek capitals & columns of the  Temple of Hera of Paestrum built in about 460-450 BC. Paestrum archaeological site, Italy.

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