• The 8th century Greek cross domed Basilica of The Hagia Sophia, γία Σοφία, orHoly Wisdom. A Palaeochristian and Byzantine Monuments of Thessaloniki, Greece. A UNESCO World Heritage Site.
  • The 8th century Greek cross domed Basilica of The Hagia Sophia,  , orHoly Wisdom. A Palaeochristian and Byzantine Monuments of Thessaloniki, Greece. A UNESCO World Heritage Site.
  • The 8th century Greek cross domed Basilica of The Hagia Sophia,  , orHoly Wisdom. A Palaeochristian and Byzantine Monuments of Thessaloniki, Greece. A UNESCO World Heritage Site.
  • The 8th century Greek cross domed Basilica of The Hagia Sophia,  , orHoly Wisdom. A Palaeochristian and Byzantine Monuments of Thessaloniki, Greece. A UNESCO World Heritage Site.
  • The 8th century Greek cross domed Basilica of The Hagia Sophia,  , orHoly Wisdom. A Palaeochristian and Byzantine Monuments of Thessaloniki, Greece. A UNESCO World Heritage Site.
  • The 8th century Greek cross domed Basilica of The Hagia Sophia,  , orHoly Wisdom. A Palaeochristian and Byzantine Monuments of Thessaloniki, Greece. A UNESCO World Heritage Site.
  • The 8th century Greek cross domed Basilica of The Hagia Sophia,  , orHoly Wisdom. A Palaeochristian and Byzantine Monuments of Thessaloniki, Greece. A UNESCO World Heritage Site.
  • The 8th century Greek cross domed Basilica of The Hagia Sophia,  , orHoly Wisdom. A Palaeochristian and Byzantine Monuments of Thessaloniki, Greece. A UNESCO World Heritage Site.
  • Pictures and images of St Giorgi (St George) Church, Samtsevrisi, Georgia (country). A perfect example of a 7th century Byzantine “Tree Cross” church  with a horseshoe apse laid out as in the Greek Cross style.
  • Pictures and images of St Giorgi (St George) Church, Samtsevrisi, Georgia (country). A perfect example of a 7th century Byzantine “Tree Cross” church  with a horseshoe apse laid out as in the Greek Cross style.
  • Pictures and images of St Giorgi (St George) Church, Samtsevrisi, Georgia (country). A perfect example of a 7th century Byzantine “Tree Cross” church  with a horseshoe apse laid out as in the Greek Cross style.
  • Pictures and images of St Giorgi (St George) Church, Samtsevrisi, Georgia (country). A perfect example of a 7th century Byzantine “Tree Cross” church  with a horseshoe apse laid out as in the Greek Cross style.
  • Pictures and images of St Giorgi (St George) Church, Samtsevrisi, Georgia (country). A perfect example of a 7th century Byzantine “Tree Cross” church  with a horseshoe apse laid out as in the Greek Cross style.
  • Pictures and images of St Giorgi (St George) Church, Samtsevrisi, Georgia (country). A perfect example of a 7th century Byzantine “Tree Cross” church  with a horseshoe apse laid out as in the Greek Cross style.
  • Pictures and images of St Giorgi (St George) Church, Samtsevrisi, Georgia (country). A perfect example of a 7th century Byzantine “Tree Cross” church  with a horseshoe apse laid out as in the Greek Cross style.
  • Pictures and images of St Giorgi (St George) Church, Samtsevrisi, Georgia (country). A perfect example of a 7th century Byzantine “Tree Cross” church  with a horseshoe apse laid out as in the Greek Cross style.
  • Pictures and images of St Giorgi (St George) Church, Samtsevrisi, Georgia (country). A perfect example of a 7th century Byzantine “Tree Cross” church  with a horseshoe apse laid out as in the Greek Cross style.
  • Pictures and images of St Giorgi (St George) Church, Samtsevrisi, Georgia (country). A perfect example of a 7th century Byzantine “Tree Cross” church  with a horseshoe apse laid out as in the Greek Cross style.
  • Pictures and images of St Giorgi (St George) Church, Samtsevrisi, Georgia (country). A perfect example of a 7th century Byzantine “Tree Cross” church  with a horseshoe apse laid out as in the Greek Cross style.
  • Pictures and images of St Giorgi (St George) Church, Samtsevrisi, Georgia (country). A perfect example of a 7th century Byzantine “Tree Cross” church  with a horseshoe apse laid out as in the Greek Cross style.
  • Pictures and images of St Giorgi (St George) Church, Samtsevrisi, Georgia (country). A perfect example of a 7th century Byzantine “Tree Cross” church  with a horseshoe apse laid out as in the Greek Cross style.
  • Crouching Aphrodite (Venus). 2nd Century Imperial Roman Marble Statue from Italy. Louvre Museum, Paris. Cat No MR 371 
<br />
This sculpture  is a variation on the Classic Hellanistic 3rd to Ist century BC style of Aphrodite crouching to bathe. Aphrodite crouches with her right knee close to the ground, turns her head to the right and, in most versions, reaches her right arm over to her left shoulder to cover her breasts. The sculpture here changes the pattern by raising the right arm to the neck, rather than making her arm cross her chest, this flattens the composition.
  • Fresco in the 8th century Greek cross domed Basilica of The Hagia Sophia, γία Σοφία, orHoly Wisdom. A Palaeochristian and Byzantine Monuments of Thessaloniki, Greece. A UNESCO World Heritage Site.
  • Fresco in the 8th century Greek cross domed Basilica of The Hagia Sophia,  , orHoly Wisdom. A Palaeochristian and Byzantine Monuments of Thessaloniki, Greece. A UNESCO World Heritage Site.
  • Lely's Venus (Aphrodite). 1st or 2nd cent. AD Roman copy of a Greek original. The goddess Venus id surprised whilst bathing and she nervously turns. Her hair is in the style typical of the time and her pose has been designed to be unrevealing from any angle.  British Museum exhibit, London.<br />
<br />
This sculpture  is a variation on the Classic Hellanistic 3rd to Ist century BC style of Aphrodite crouching to bathe. Aphrodite crouches with her right knee close to the ground, turns her head to the right and, in most versions, reaches her right arm over to her left shoulder to cover her breasts. The sculpture here changes the pattern by raising the right arm to the neck, rather than making her arm cross her chest, this flattens the composition.
  • Crouching Aphrodite (Venus). 2nd Century Imperial Roman Marble Statue from Italy. Louvre Museum, Paris. Cat No MR 371 
<br />
This sculpture  is a variation on the Classic Hellanistic 3rd to Ist century BC style of Aphrodite crouching to bathe. Aphrodite crouches with her right knee close to the ground, turns her head to the right and, in most versions, reaches her right arm over to her left shoulder to cover her breasts. The sculpture here changes the pattern by raising the right arm to the neck, rather than making her arm cross her chest, this flattens the composition.
  • Crouching Aphrodite (Venus). 2nd Century Imperial Roman Marble Statue from Italy. Louvre Museum, Paris. Cat No MR 371 
<br />
This sculpture  is a variation on the Classic Hellanistic 3rd to Ist century BC style of Aphrodite crouching to bathe. Aphrodite crouches with her right knee close to the ground, turns her head to the right and, in most versions, reaches her right arm over to her left shoulder to cover her breasts. The sculpture here changes the pattern by raising the right arm to the neck, rather than making her arm cross her chest, this flattens the composition.
  • Crouching Aphrodite (Venus). 2nd Century Imperial Roman Marble Statue from Italy. Louvre Museum, Paris. Cat No MR 371 
<br />
This sculpture  is a variation on the Classic Hellanistic 3rd to Ist century BC style of Aphrodite crouching to bathe. Aphrodite crouches with her right knee close to the ground, turns her head to the right and, in most versions, reaches her right arm over to her left shoulder to cover her breasts. The sculpture here changes the pattern by raising the right arm to the neck, rather than making her arm cross her chest, this flattens the composition.
  • Crouching Aphrodite (Venus). 2nd Century Imperial Roman Marble Statue from Italy. Louvre Museum, Paris. Cat No MR 371 
<br />
This sculpture  is a variation on the Classic Hellanistic 3rd to Ist century BC style of Aphrodite crouching to bathe. Aphrodite crouches with her right knee close to the ground, turns her head to the right and, in most versions, reaches her right arm over to her left shoulder to cover her breasts. The sculpture here changes the pattern by raising the right arm to the neck, rather than making her arm cross her chest, this flattens the composition.
  • Crouching Aphrodite (Venus). 2nd Century Imperial Roman Marble Statue from Italy. Louvre Museum, Paris. Cat No MR 371 
<br />
This sculpture  is a variation on the Classic Hellanistic 3rd to Ist century BC style of Aphrodite crouching to bathe. Aphrodite crouches with her right knee close to the ground, turns her head to the right and, in most versions, reaches her right arm over to her left shoulder to cover her breasts. The sculpture here changes the pattern by raising the right arm to the neck, rather than making her arm cross her chest, this flattens the composition.
  • Crouching Aphrodite (Venus). 2nd Century Imperial Roman Marble Statue from Italy. Louvre Museum, Paris. Cat No MR 371 
<br />
This sculpture  is a variation on the Classic Hellanistic 3rd to Ist century BC style of Aphrodite crouching to bathe. Aphrodite crouches with her right knee close to the ground, turns her head to the right and, in most versions, reaches her right arm over to her left shoulder to cover her breasts. The sculpture here changes the pattern by raising the right arm to the neck, rather than making her arm cross her chest, this flattens the composition.
  • Crouching Aphrodite (Venus). 2nd Century Imperial Roman Marble Statue from Italy. Louvre Museum, Paris. Cat No MR 371 
<br />
This sculpture  is a variation on the Classic Hellanistic 3rd to Ist century BC style of Aphrodite crouching to bathe. Aphrodite crouches with her right knee close to the ground, turns her head to the right and, in most versions, reaches her right arm over to her left shoulder to cover her breasts. The sculpture here changes the pattern by raising the right arm to the neck, rather than making her arm cross her chest, this flattens the composition.
  • The 5th-century 3 aisled Byzantine  Basilica  of the Acheiropoietos, , with its rare simple Iconoclastic cross above the altar. a Palaeochristian and Byzantine Monuments of Thessaloniki, Greece. A UNESCO World Heritage Site.
  • The 5th-century 3 aisled Byzantine  Basilica  of the Acheiropoietos, , with its rare simple Iconoclastic cross above the altar. a Palaeochristian and Byzantine Monuments of Thessaloniki, Greece. A UNESCO World Heritage Site.
  • The 5th-century 3 aisled Byzantine  Basilica  of the Acheiropoietos, , with its rare simple Iconoclastic cross above the altar. a Palaeochristian and Byzantine Monuments of Thessaloniki, Greece. A UNESCO World Heritage Site.
  • The 5th-century 3 aisled Byzantine  Basilica  of the Acheiropoietos, , with its rare simple Iconoclastic cross above the altar. a Palaeochristian and Byzantine Monuments of Thessaloniki, Greece. A UNESCO World Heritage Site.
  • Byzantine fresco of Christ on the cross in the church of  Saint Nicolas.   Mystras ,  Sparta, the Peloponnese, Greece. A UNESCO World Heritage Site
  • Post canonical ancient Greek Cycladic warrior or hunter figurine, Late Ccladic prioc II to Cycladic period II (2500-2000 BC)Museum of Cycladic Art Athens, cat no 308. Against white.<br />
<br />
The relif of a baldric crossing the body left to righ suggest the figure was of a warrior or hunter. A small triangular dagger is incised as if hanging from the baldric.
  • Post canonical ancient Greek Cycladic warrior or hunter figurine, Late Ccladic prioc II to Cycladic period II (2500-2000 BC)Museum of Cycladic Art Athens, cat no 308.  Against black<br />
<br />
The relif of a baldric crossing the body left to righ suggest the figure was of a warrior or hunter. A small triangular dagger is incised as if hanging from the baldric.
  • Post canonical ancient Greek Cycladic warrior or hunter figurine, Late Ccladic prioc II to Cycladic period II (2500-2000 BC)Museum of Cycladic Art Athens, cat no 308. Against Grey Background. <br />
<br />
The relif of a baldric crossing the body left to righ suggest the figure was of a warrior or hunter. A small triangular dagger is incised as if hanging from the baldric.
  • Post canonical ancient Greek Cycladic warrior or hunter figurine, Late Ccladic prioc II to Cycladic period II (2500-2000 BC)Museum of Cycladic Art Athens, cat no 308.<br />
<br />
The relif of a baldric crossing the body left to righ suggest the figure was of a warrior or hunter. A small triangular dagger is incised as if hanging from the baldric.
  • Post canonical ancient Greek Cycladic warrior or hunter figurine, Late Ccladic prioc II to Cycladic period II (2500-2000 BC)Museum of Cycladic Art Athens, cat no 308. Against Grey Background. <br />
<br />
The relif of a baldric crossing the body left to righ suggest the figure was of a warrior or hunter. A small triangular dagger is incised as if hanging from the baldric.
  • Early Christian Byzantine Basin with Crosses in the Byzantine shop area next to the gymnasium of Sardis.  Sardis archaeological site, Hermus valley, Turkey. Part of an on going  Harvard Art Museum excavation project.
  • Early Christian Byzantine Basin with Crosses in the Byzantine shop area next to the gymnasium of Sardis.  Sardis archaeological site, Hermus valley, Turkey. Part of an on going  Harvard Art Museum excavation project.
  • Early Christian Byzantine Basin with Crosses in the Byzantine shop area next to the gymnasium of Sardis.  Sardis archaeological site, Hermus valley, Turkey. Part of an on going  Harvard Art Museum excavation project.
  • Early Christian Byzantine Basin with Crosses in the Byzantine shop area next to the gymnasium of Sardis.  Sardis archaeological site, Hermus valley, Turkey. Part of an on going  Harvard Art Museum excavation project.
  • Early Christian Byzantine Basin with Crosses in the Byzantine shop area next to the gymnasium of Sardis.  Sardis archaeological site, Hermus valley, Turkey. Part of an on going  Harvard Art Museum excavation project.
  • Early Christian Byzantine Basin with Crosses in the Byzantine shop area next to the gymnasium of Sardis.  Sardis archaeological site, Hermus valley, Turkey. Part of an on going  Harvard Art Museum excavation project.
  • Pictures & images of Guzelyurt Chuch Mosque, formely St Gregorius church,  9th century, the Vadisi Monastery Valley, "Manastır Vadisi”,  of the Ihlara Valley, Guzelyurt , Aksaray Province, Turkey.<br />
<br />
Guzelyurt Chuch Mosque, formely St Gregorius church is among the most beautiful early Christian buildings in Cappadocia.  Built in 385 by Emperor Theodosius it is dedicated to St Gregory of Nazianzus, a classically trained theologian. The original church has been altered into the Greek Cross floor plan of today.
  • Pictures & images of Guzelyurt Chuch Mosque, formely St Gregorius church,  9th century, the Vadisi Monastery Valley, "Manastır Vadisi”,  of the Ihlara Valley, Guzelyurt , Aksaray Province, Turkey.<br />
<br />
Guzelyurt Chuch Mosque, formely St Gregorius church is among the most beautiful early Christian buildings in Cappadocia.  Built in 385 by Emperor Theodosius it is dedicated to St Gregory of Nazianzus, a classically trained theologian. The original church has been altered into the Greek Cross floor plan of today.
  • Eastern Roman Byzantine walk in baptismal font from the 6th century AD Parish Church of Demna near Kalibia, Cape Bon, Tunisia. <br />
<br />
The baptismal font was removed from the church and restored in the Bardo Museum Tunis in 1955. <br />
<br />
The mosaic iconographic decorations represent the salvation of the neophyte, newcomer, who by being baptised is admitted into the Church of Christ whilst being illuminated by faith, represented the mosaic lit candle illustrations.<br />
<br />
The P with a cross through it is the Chi Rho, a Christian symbol which represent the first two letters of Jesus Christ's name in Greek. The Christogram also has the Greek letters Alpha and Omega which represent the passage from the book of revelations: “I am the Alpha and Omega" Chapter 1 verse 8, which is clarified by "the beginning and the end" (Revelation 21:6, 22:13). <br />
<br />
In these type of baptismal fonts those being baptised would have been fully immersed in water as John the Baptist immersed Jesus. <br />
<br />
The font was paid for by donation by Iuliana and Aquinius who dedicated the font to St Cyprian, the martyed Bishop of Carthage, circa 258,  and the author of a treatise on baptism rites<br />
<br />
The Bardo Museum Tunis
  • Eastern Roman Byzantine walk in baptismal font from the 6th century AD Parish Church of Demna near Kalibia, Cape Bon, Tunisia. <br />
<br />
The baptismal font was removed from the church and restored in the Bardo Museum Tunis in 1955. <br />
<br />
The mosaic iconographic decorations represent the salvation of the neophyte, newcomer, who by being baptised is admitted into the Church of Christ whilst being illuminated by faith, represented the mosaic lit candle illustrations.<br />
<br />
The P with a cross through it is the Chi Rho, a Christian symbol which represent the first two letters of Jesus Christ's name in Greek. The Christogram also has the Greek letters Alpha and Omega which represent the passage from the book of revelations: “I am the Alpha and Omega" Chapter 1 verse 8, which is clarified by "the beginning and the end" (Revelation 21:6, 22:13). <br />
<br />
In these type of baptismal fonts those being baptised would have been fully immersed in water as John the Baptist immersed Jesus. <br />
<br />
The font was paid for by donation by Iuliana and Aquinius who dedicated the font to St Cyprian, the martyed Bishop of Carthage, circa 258,  and the author of a treatise on baptism rites<br />
<br />
The Bardo Museum Tunis
  • Eastern Roman Byzantine walk in baptismal font from the 6th century AD Parish Church of Demna near Kalibia, Cape Bon, Tunisia. <br />
<br />
The baptismal font was removed from the church and restored in the Bardo Museum Tunis in 1955. <br />
<br />
The mosaic iconographic decorations represent the salvation of the neophyte, newcomer, who by being baptised is admitted into the Church of Christ whilst being illuminated by faith, represented the mosaic lit candle illustrations.<br />
<br />
The P with a cross through it is the Chi Rho, a Christian symbol which represent the first two letters of Jesus Christ's name in Greek. The Christogram also has the Greek letters Alpha and Omega which represent the passage from the book of revelations: “I am the Alpha and Omega" Chapter 1 verse 8, which is clarified by "the beginning and the end" (Revelation 21:6, 22:13). <br />
<br />
In these type of baptismal fonts those being baptised would have been fully immersed in water as John the Baptist immersed Jesus. <br />
<br />
The font was paid for by donation by Iuliana and Aquinius who dedicated the font to St Cyprian, the martyed Bishop of Carthage, circa 258,  and the author of a treatise on baptism rites<br />
<br />
The Bardo Museum Tunis
  • Eastern Roman Byzantine walk in baptismal font from the 6th century AD Parish Church of Demna near Kalibia, Cape Bon, Tunisia. <br />
<br />
The baptismal font was removed from the church and restored in the Bardo Museum Tunis in 1955. <br />
<br />
The mosaic iconographic decorations represent the salvation of the neophyte, newcomer, who by being baptised is admitted into the Church of Christ whilst being illuminated by faith, represented the mosaic lit candle illustrations.<br />
<br />
The P with a cross through it is the Chi Rho, a Christian symbol which represent the first two letters of Jesus Christ's name in Greek. The Christogram also has the Greek letters Alpha and Omega which represent the passage from the book of revelations: “I am the Alpha and Omega" Chapter 1 verse 8, which is clarified by "the beginning and the end" (Revelation 21:6, 22:13). <br />
<br />
In these type of baptismal fonts those being baptised would have been fully immersed in water as John the Baptist immersed Jesus. <br />
<br />
The font was paid for by donation by Iuliana and Aquinius who dedicated the font to St Cyprian, the martyed Bishop of Carthage, circa 258,  and the author of a treatise on baptism rites<br />
<br />
The Bardo Museum Tunis
  • Roman mosaic of the inside of a church, Eastern Mediterranean, 5th century AD. This abstract representation of a church choir shows two columns, a low lattice  divider and a pair of oriental designed curtains at the top. beyond is the inner sanctum of the church with a Mandorla surrounded by flames with a cross in it. In the foreground is a a hare and devouring a bunch of grapes next to Greek letter that translate to 'Christ rescues'. Inv 5093, The Louvre Museum, Paris

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