• Pictures of the statues of around the tomb of Commagene King Antochus 1 on the top of Mount Nemrut, Turkey. Stock photos & Photo art prints. In 62 BC, King Antiochus I Theos of Commagene built on the mountain top a tomb-sanctuary flanked by huge statues (8–9 m/26–30 ft high) of himself, two lions, two eagles and various Greek, Armenian, and Iranian gods. The photos show the broken statues on the  2,134 m (7,001 ft)  mountain. 5
  • Pictures of the statues of around the tomb of Commagene King Antochus 1 on the top of Mount Nemrut, Turkey. Stock photos & Photo art prints. In 62 BC, King Antiochus I Theos of Commagene built on the mountain top a tomb-sanctuary flanked by huge statues (8–9 m/26–30 ft high) of himself, two lions, two eagles and various Greek, Armenian, and Iranian gods. The photos show the broken statues on the  2,134 m (7,001 ft)  mountain. 1
  • Pictures of the statues of around the tomb of Commagene King Antochus 1 on the top of Mount Nemrut, Turkey. Stock photos & Photo art prints. In 62 BC, King Antiochus I Theos of Commagene built on the mountain top a tomb-sanctuary flanked by huge statues (8–9 m/26–30 ft high) of himself, two lions, two eagles and various Greek, Armenian, and Iranian gods. The photos show the broken statues on the  2,134 m (7,001 ft)  mountain. 7
  • Pictures of the statues of around the tomb of Commagene King Antochus 1 on the top of Mount Nemrut, Turkey. Stock photos & Photo art prints. In 62 BC, King Antiochus I Theos of Commagene built on the mountain top a tomb-sanctuary flanked by huge statues (8–9 m/26–30 ft high) of himself, two lions, two eagles and various Greek, Armenian, and Iranian gods. The photos show the broken statues on the  2,134 m (7,001 ft)  mountain. 5
  • Image of the statues of around the tomb of Commagene King Antochus 1 on the top of Mount Nemrut, Turkey. Stock photos & Photo art prints. In 62 BC, King Antiochus I Theos of Commagene built on the mountain top a tomb-sanctuary flanked by huge statues (8–9 m/26–30 ft high) of himself, two lions, two eagles and various Greek, Armenian, and Iranian gods. The photos show the broken statues on the  2,134 m (7,001 ft)  mountain. 2
  • Pictures of the statues of around the tomb of Commagene King Antochus 1 on the top of Mount Nemrut, Turkey. Stock photos & Photo art prints. In 62 BC, King Antiochus I Theos of Commagene built on the mountain top a tomb-sanctuary flanked by huge statues (8–9 m/26–30 ft high) of himself, two lions, two eagles and various Greek, Armenian, and Iranian gods. The photos show the broken statues on the  2,134 m (7,001 ft)  mountain. 6
  • Pictures of the statues of around the tomb of Commagene King Antochus 1 on the top of Mount Nemrut, Turkey. Stock photos & Photo art prints. In 62 BC, King Antiochus I Theos of Commagene built on the mountain top a tomb-sanctuary flanked by huge statues (8–9 m/26–30 ft high) of himself, two lions, two eagles and various Greek, Armenian, and Iranian gods. The photos show the broken statues on the  2,134 m (7,001 ft)  mountain.
  • Picture & Photo of The library of Celsus at sunrise . Images of the Roman ruins of Ephasus, Turkey. Stock Picture & Photo art prints
  • Picture & Photo of The library of Celsus at sunrise . Images of the Roman ruins of Ephasus, Turkey. Stock Picture & Photo art prints
  • Picture & Photo of The library of Celsus at sunrise . Images of the Roman ruins of Ephasus, Turkey. Stock Picture & Photo art prints
  • Picture & Photo of The library of Celsus at sunrise . Images of the Roman ruins of Ephasus, Turkey. Stock Picture & Photo art prints
  • Byzantine mosaics at the Palatine Chapel ( Capella Palatina ) Norman Palace Palermo, Sicily, Italy. Christ above the Alter.
  • Byzantine Christian Mosaics of The Palatine Chapel  ( Capella Palatina) in The Norman Palace (Palazzo dei Normanni), Palermo, Sicily. Scenes of Christ and from the Bible.
  • The Duomo & Leaning Tower of Pisa, Italy
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • The Doges Palace  and Campinale of St Mark from the Saint Mark's Basin Venice
  • Patio de las Doncellas (Courtyard of the Maidens) an Italian Renaissance courtyard (1540-72) with Arabesque Mudéjar style plaster work, Alcazar of Seville, Seville, Spain
  • The early renaissance clock tower of Torre dell' Orologio, San Marco district, Venice, UNESCO World Heritage Site, Venetia, Italy, Europe
  • The Roman Corinthian Porticus, columns & tables of the money changers at the entrance of the Macellum in the Forum of Pompeii archaeological site, Italy.
  • Courtyard of the 18th Century Ottoman architecture of the Ishak Pasha Palace (Turkish: İshak Paşa Sarayı) ,  Ağrı province of eastern Turkey.
  • Greek Orthodox Rosanou Monastery, Meteora Mountains, Greece
  • Greek Orthodox Rosanou Monastery, Meteora Mountains, Greece
  • Odeon of Herodes Atticus, amphitheater on the slopes of the Acropolis, Athens Greece
  • The Erechtheum Temple, the Acropolis of Athens in Greece.
  • Patio de las Doncellas (Courtyard of the Maidens) an Italian Renaissance courtyard (1540-72) with Arabesque Mudéjar style plaster work, Alcazar of Seville, Seville, Spain
  • Patio de las Doncellas (Courtyard of the Maidens) an Italian Renaissance courtyard (1540-72) with Arabesque Mudéjar style plaster work, Alcazar of Seville, Seville, Spain
  • Doric & Corinthian columns of the Roman colonade in the Forum of Pompeii.
  • Architectural details of the 18th Century Ottoman architecture of the Ishak Pasha Palace (Turkish: İshak Paşa Sarayı) ,  Ağrı province of eastern Turkey.
  • Courtyard of the 18th Century Ottoman architecture of the Ishak Pasha Palace (Turkish: İshak Paşa Sarayı) ,  Ağrı province of eastern Turkey.
  • Courtyard of the 18th Century Ottoman architecture of the Ishak Pasha Palace (Turkish: İshak Paşa Sarayı) ,  Ağrı province of eastern Turkey.
  • Agia Triada Monastery, Monasteries of Meteora, Thessalia, Greek Mainland,
  • Greek Orthodox Rosanou Monastery, Meteora Mountains, Greece
  • Patio de las Doncellas (Courtyard of the Maidens) an Italian Renaissance courtyard (1540-72) with Arabesque Mudéjar style plaster work, Alcazar of Seville, Seville, Spain
  • Patio de las Doncellas (Courtyard of the Maidens) an Italian Renaissance courtyard (1540-72) with Arabesque Mudéjar style plaster work, Alcazar of Seville, Seville, Spain
  • Ancient hill fort next to the  the Ishak Pasha Palace (Turkish: İshak Paşa Sarayı) ,  Ağrı province of eastern Turkey.
  • Greek Orthodox Rosanou Monastery, Meteora Mountains, Greece
  • Minarete of the Mosque of the 18th Century Ottoman architecture of the Ishak Pasha Palace (Turkish: İshak Paşa Sarayı) ,  Ağrı province of eastern Turkey.
  • Remains of medieval Artukid Old Tigris Bridge – Built in 1116 by Artukid Fahrettin Karaaslan, the biggest in Anatolia at the time, with the old town Hasankeyf and its ruins on the cliffs abover the river Tigris. The minaret is of the El Rizk Mosque built 1409.  Turkey. 3
  • Mycenae Lion Gate & citadel walls built in 1350 B.C and known as cyclopean style walls due to the vast size of the blocks it was assumed by visitors in ancientb times that only giant Cycopse could have built them. Excavated by the archaeologist Heinrich Schliemann in 1876.  Mycenae UNESCO World Heritage  Archaeological Site, Peloponnese, Greece
  • Gothic fresco mural painting "THE CONQUEST OF MAJORCA" 1285-1290. National Museum of Catalan Art, Barcelona, Spain, inv no: 071447-CJT. <br />
The mural paintings of the Conquest of Majorca come from the former ancestral home of the Caldes family in Carrer Montcada in Barcelona, a building later known as Palau Aguilar. Discovered and removed in 1961, these paintings are one of the most important examples of early or Linear Gothic Catalan painting. This magnificent example of painting on historical subject matter narrates the conquest of the island of Majorca by James I the Conqueror in 1229. Like a painted chronicle, the episodes follow the detailed narrative of Catalan medieval accounts such as King James I's 'Llibre dels Feits' and Bernat Desclot's 'Crònica'.
  • Gothic fresco mural painting "THE CONQUEST OF MAJORCA" 1285-1290. National Museum of Catalan Art, Barcelona, Spain, inv no: 071447-CJT. <br />
The mural paintings of the Conquest of Majorca come from the former ancestral home of the Caldes family in Carrer Montcada in Barcelona, a building later known as Palau Aguilar. Discovered and removed in 1961, these paintings are one of the most important examples of early or Linear Gothic Catalan painting. This magnificent example of painting on historical subject matter narrates the conquest of the island of Majorca by James I the Conqueror in 1229. Like a painted chronicle, the episodes follow the detailed narrative of Catalan medieval accounts such as King James I's 'Llibre dels Feits' and Bernat Desclot's 'Crònica'.
  • Gothic fresco mural painting "THE CONQUEST OF MAJORCA" 1285-1290. National Museum of Catalan Art, Barcelona, Spain, inv no: 071447-CJT. <br />
The mural paintings of the Conquest of Majorca come from the former ancestral home of the Caldes family in Carrer Montcada in Barcelona, a building later known as Palau Aguilar. Discovered and removed in 1961, these paintings are one of the most important examples of early or Linear Gothic Catalan painting. This magnificent example of painting on historical subject matter narrates the conquest of the island of Majorca by James I the Conqueror in 1229. Like a painted chronicle, the episodes follow the detailed narrative of Catalan medieval accounts such as King James I's 'Llibre dels Feits' and Bernat Desclot's 'Crònica'.
  • Gothic fresco mural painting "THE CONQUEST OF MAJORCA" 1285-1290. National Museum of Catalan Art, Barcelona, Spain, inv no: 071447-CJT. <br />
The mural paintings of the Conquest of Majorca come from the former ancestral home of the Caldes family in Carrer Montcada in Barcelona, a building later known as Palau Aguilar. Discovered and removed in 1961, these paintings are one of the most important examples of early or Linear Gothic Catalan painting. This magnificent example of painting on historical subject matter narrates the conquest of the island of Majorca by James I the Conqueror in 1229. Like a painted chronicle, the episodes follow the detailed narrative of Catalan medieval accounts such as King James I's 'Llibre dels Feits' and Bernat Desclot's 'Crònica'.
  • Gothic fresco mural painting "THE CONQUEST OF MAJORCA" 1285-1290. National Museum of Catalan Art, Barcelona, Spain, inv no: 071447-CJT. <br />
The mural paintings of the Conquest of Majorca come from the former ancestral home of the Caldes family in Carrer Montcada in Barcelona, a building later known as Palau Aguilar. Discovered and removed in 1961, these paintings are one of the most important examples of early or Linear Gothic Catalan painting. This magnificent example of painting on historical subject matter narrates the conquest of the island of Majorca by James I the Conqueror in 1229. Like a painted chronicle, the episodes follow the detailed narrative of Catalan medieval accounts such as King James I's 'Llibre dels Feits' and Bernat Desclot's 'Crònica'.
  • Gothic fresco mural painting "THE CONQUEST OF MAJORCA" 1285-1290. National Museum of Catalan Art, Barcelona, Spain, inv no: 071447-CJT. <br />
The mural paintings of the Conquest of Majorca come from the former ancestral home of the Caldes family in Carrer Montcada in Barcelona, a building later known as Palau Aguilar. Discovered and removed in 1961, these paintings are one of the most important examples of early or Linear Gothic Catalan painting. This magnificent example of painting on historical subject matter narrates the conquest of the island of Majorca by James I the Conqueror in 1229. Like a painted chronicle, the episodes follow the detailed narrative of Catalan medieval accounts such as King James I's 'Llibre dels Feits' and Bernat Desclot's 'Crònica'.
  • Gothic fresco mural painting "THE CONQUEST OF MAJORCA" 1285-1290. National Museum of Catalan Art, Barcelona, Spain, inv no: 071447-CJT. <br />
The mural paintings of the Conquest of Majorca come from the former ancestral home of the Caldes family in Carrer Montcada in Barcelona, a building later known as Palau Aguilar. Discovered and removed in 1961, these paintings are one of the most important examples of early or Linear Gothic Catalan painting. This magnificent example of painting on historical subject matter narrates the conquest of the island of Majorca by James I the Conqueror in 1229. Like a painted chronicle, the episodes follow the detailed narrative of Catalan medieval accounts such as King James I's 'Llibre dels Feits' and Bernat Desclot's 'Crònica'.
  • Gothic fresco mural painting "THE CONQUEST OF MAJORCA" 1285-1290. National Museum of Catalan Art, Barcelona, Spain, inv no: 071447-CJT. <br />
The mural paintings of the Conquest of Majorca come from the former ancestral home of the Caldes family in Carrer Montcada in Barcelona, a building later known as Palau Aguilar. Discovered and removed in 1961, these paintings are one of the most important examples of early or Linear Gothic Catalan painting. This magnificent example of painting on historical subject matter narrates the conquest of the island of Majorca by James I the Conqueror in 1229. Like a painted chronicle, the episodes follow the detailed narrative of Catalan medieval accounts such as King James I's 'Llibre dels Feits' and Bernat Desclot's 'Crònica'.
  • Gothic fresco mural painting "THE CONQUEST OF MAJORCA" 1285-1290. National Museum of Catalan Art, Barcelona, Spain, inv no: 071447-CJT. <br />
The mural paintings of the Conquest of Majorca come from the former ancestral home of the Caldes family in Carrer Montcada in Barcelona, a building later known as Palau Aguilar. Discovered and removed in 1961, these paintings are one of the most important examples of early or Linear Gothic Catalan painting. This magnificent example of painting on historical subject matter narrates the conquest of the island of Majorca by James I the Conqueror in 1229. Like a painted chronicle, the episodes follow the detailed narrative of Catalan medieval accounts such as King James I's 'Llibre dels Feits' and Bernat Desclot's 'Crònica'.
  • Gothic fresco mural painting "THE CONQUEST OF MAJORCA" 1285-1290. National Museum of Catalan Art, Barcelona, Spain, inv no: 071447-CJT. <br />
The mural paintings of the Conquest of Majorca come from the former ancestral home of the Caldes family in Carrer Montcada in Barcelona, a building later known as Palau Aguilar. Discovered and removed in 1961, these paintings are one of the most important examples of early or Linear Gothic Catalan painting. This magnificent example of painting on historical subject matter narrates the conquest of the island of Majorca by James I the Conqueror in 1229. Like a painted chronicle, the episodes follow the detailed narrative of Catalan medieval accounts such as King James I's 'Llibre dels Feits' and Bernat Desclot's 'Crònica'.
  • Gothic fresco mural painting "THE CONQUEST OF MAJORCA" 1285-1290. National Museum of Catalan Art, Barcelona, Spain, inv no: 071447-CJT. <br />
The mural paintings of the Conquest of Majorca come from the former ancestral home of the Caldes family in Carrer Montcada in Barcelona, a building later known as Palau Aguilar. Discovered and removed in 1961, these paintings are one of the most important examples of early or Linear Gothic Catalan painting. This magnificent example of painting on historical subject matter narrates the conquest of the island of Majorca by James I the Conqueror in 1229. Like a painted chronicle, the episodes follow the detailed narrative of Catalan medieval accounts such as King James I's 'Llibre dels Feits' and Bernat Desclot's 'Crònica'.
  • Gothic fresco mural painting "THE CONQUEST OF MAJORCA" 1285-1290. National Museum of Catalan Art, Barcelona, Spain, inv no: 071447-CJT. <br />
The mural paintings of the Conquest of Majorca come from the former ancestral home of the Caldes family in Carrer Montcada in Barcelona, a building later known as Palau Aguilar. Discovered and removed in 1961, these paintings are one of the most important examples of early or Linear Gothic Catalan painting. This magnificent example of painting on historical subject matter narrates the conquest of the island of Majorca by James I the Conqueror in 1229. Like a painted chronicle, the episodes follow the detailed narrative of Catalan medieval accounts such as King James I's 'Llibre dels Feits' and Bernat Desclot's 'Crònica'.
  • Gothic fresco mural painting "THE CONQUEST OF MAJORCA" 1285-1290. National Museum of Catalan Art, Barcelona, Spain, inv no: 071447-CJT. <br />
The mural paintings of the Conquest of Majorca come from the former ancestral home of the Caldes family in Carrer Montcada in Barcelona, a building later known as Palau Aguilar. Discovered and removed in 1961, these paintings are one of the most important examples of early or Linear Gothic Catalan painting. This magnificent example of painting on historical subject matter narrates the conquest of the island of Majorca by James I the Conqueror in 1229. Like a painted chronicle, the episodes follow the detailed narrative of Catalan medieval accounts such as King James I's 'Llibre dels Feits' and Bernat Desclot's 'Crònica'.
  • Folk art paintings depicting Sicilian historical stories, Palermo Pupet museum, Sicily
  • Folk art paintings depicting Sicilian historical stories, Palermo Pupet museum, Sicily
  • Folk art paintings depicting Sicilian historical stories, Palermo Pupet museum, Sicily
  • Folk art paintings depicting Sicilian historical stories, Palermo Pupet museum, Sicily
  • Pictures and images of bas relief sculpture of archangels on the chapel in the historic medieval Kintsvisi Monastery Georgian Orthodox Monastery complex, Shida Kartli Region, Georgia (country).<br />
<br />
Kintsvisi Monastery is the best preserved example of Georgian architecture of the 12th and 15th centuries, the so called Georgian Golden Age.
  • Pictures and images of the chapel in the historic medieval Kintsvisi Monastery Georgian Orthodox Monastery complex, Shida Kartli Region, Georgia (country).<br />
<br />
Kintsvisi Monastery is the best preserved example of Georgian architecture of the 12th and 15th centuries, the so called Georgian Golden Age.
  • Pictures and images of the chapel in the historic medieval Kintsvisi Monastery Georgian Orthodox Monastery complex, Shida Kartli Region, Georgia (country).<br />
<br />
Kintsvisi Monastery is the best preserved example of Georgian architecture of the 12th and 15th centuries, the so called Georgian Golden Age.
  • Pictures and images of the chapel in the historic medieval Kintsvisi Monastery Georgian Orthodox Monastery complex, Shida Kartli Region, Georgia (country).<br />
<br />
Kintsvisi Monastery is the best preserved example of Georgian architecture of the 12th and 15th centuries, the so called Georgian Golden Age.
  • Pictures and images of the historic frescoes of St Nicholas Church interior in the medieval Kintsvisi Monastery Georgian Orthodox Monastery complex, Shida Kartli Region, Georgia (country).
  • Pictures and images of St Nicholas Church in the historic medieval Kintsvisi Monastery Georgian Orthodox Monastery complex, Shida Kartli Region, Georgia (country).<br />
<br />
Kintsvisi Monastery is the best preserved example of Georgian architecture of the 12th and 15th centuries, the so called Georgian Golden Age.
  • Pictures and images of St Nicholas Church in the historic medieval Kintsvisi Monastery Georgian Orthodox Monastery complex, Shida Kartli Region, Georgia (country).<br />
<br />
Kintsvisi Monastery is the best preserved example of Georgian architecture of the 12th and 15th centuries, the so called Georgian Golden Age.
  • Pictures and images of St Nicholas Church in the historic medieval Kintsvisi Monastery Georgian Orthodox Monastery complex, Shida Kartli Region, Georgia (country).<br />
<br />
Kintsvisi Monastery is the best preserved example of Georgian architecture of the 12th and 15th centuries, the so called Georgian Golden Age.
  • Pictures and images of St Nicholas Church in the historic medieval Kintsvisi Monastery Georgian Orthodox Monastery complex, Shida Kartli Region, Georgia (country).<br />
<br />
Kintsvisi Monastery is the best preserved example of Georgian architecture of the 12th and 15th centuries, the so called Georgian Golden Age.
  • Pictures and images of bas relief sculpture of archangels on the chapel in the historic medieval Kintsvisi Monastery Georgian Orthodox Monastery complex, Shida Kartli Region, Georgia (country).<br />
<br />
Kintsvisi Monastery is the best preserved example of Georgian architecture of the 12th and 15th centuries, the so called Georgian Golden Age.
  • Pictures and images of the chapel in the historic medieval Kintsvisi Monastery Georgian Orthodox Monastery complex, Shida Kartli Region, Georgia (country).<br />
<br />
Kintsvisi Monastery is the best preserved example of Georgian architecture of the 12th and 15th centuries, the so called Georgian Golden Age.
  • Pictures and images of the chapel in the historic medieval Kintsvisi Monastery Georgian Orthodox Monastery complex, Shida Kartli Region, Georgia (country).<br />
<br />
Kintsvisi Monastery is the best preserved example of Georgian architecture of the 12th and 15th centuries, the so called Georgian Golden Age.
  • Pictures and images of the historic medieval Gate house and chapel of Kintsvisi Monastery Georgian Orthodox Monastery complex, Shida Kartli Region, Georgia (country).
  • Pictures and images of the historic frescoes of St Nicholas Church interior in the medieval Kintsvisi Monastery Georgian Orthodox Monastery complex, depicting  the Virgin Mary also contains an enthroned Hodegetria with a Communion of the Apostles in iits apse. Shida Kartli Region, Georgia (country).
  • Pictures and images of St Nicholas Church in the historic medieval Kintsvisi Monastery Georgian Orthodox Monastery complex, Shida Kartli Region, Georgia (country).<br />
<br />
Kintsvisi Monastery is the best preserved example of Georgian architecture of the 12th and 15th centuries, the so called Georgian Golden Age.
  • Pictures and images of St Nicholas Church in the historic medieval Kintsvisi Monastery Georgian Orthodox Monastery complex, Shida Kartli Region, Georgia (country).<br />
<br />
Kintsvisi Monastery is the best preserved example of Georgian architecture of the 12th and 15th centuries, the so called Georgian Golden Age.
  • Pictures and images of St Nicholas Church in the historic medieval Kintsvisi Monastery Georgian Orthodox Monastery complex, Shida Kartli Region, Georgia (country).<br />
<br />
Kintsvisi Monastery is the best preserved example of Georgian architecture of the 12th and 15th centuries, the so called Georgian Golden Age.
  • Pictures and images of St Nicholas Church in the historic medieval Kintsvisi Monastery Georgian Orthodox Monastery complex, Shida Kartli Region, Georgia (country).<br />
<br />
Kintsvisi Monastery is the best preserved example of Georgian architecture of the 12th and 15th centuries, the so called Georgian Golden Age.
  • Pictures and images of St Nicholas Church in the historic medieval Kintsvisi Monastery Georgian Orthodox Monastery complex, Shida Kartli Region, Georgia (country).<br />
<br />
Kintsvisi Monastery is the best preserved example of Georgian architecture of the 12th and 15th centuries, the so called Georgian Golden Age.
  • Pictures and images of St Nicholas Church in the historic medieval Kintsvisi Monastery Georgian Orthodox Monastery complex, Shida Kartli Region, Georgia (country).<br />
<br />
Kintsvisi Monastery is the best preserved example of Georgian architecture of the 12th and 15th centuries, the so called Georgian Golden Age.
  • Pictures and images of frescoes inside the chapel in the historic medieval Kintsvisi Monastery Georgian Orthodox Monastery complex, Shida Kartli Region, Georgia (country).<br />
<br />
Kintsvisi Monastery is the best preserved example of Georgian architecture of the 12th and 15th centuries, the so called Georgian Golden Age.
  • Pictures and images of bas relief sculpture of the chapel in the historic medieval Kintsvisi Monastery Georgian Orthodox Monastery complex, Shida Kartli Region, Georgia (country).<br />
<br />
Kintsvisi Monastery is the best preserved example of Georgian architecture of the 12th and 15th centuries, the so called Georgian Golden Age.
  • Pictures and images of the chapel in the historic medieval Kintsvisi Monastery Georgian Orthodox Monastery complex, Shida Kartli Region, Georgia (country).<br />
<br />
Kintsvisi Monastery is the best preserved example of Georgian architecture of the 12th and 15th centuries, the so called Georgian Golden Age.
  • Pictures and images of the historic medieval Gate house and chapel of Kintsvisi Monastery Georgian Orthodox Monastery complex, Shida Kartli Region, Georgia (country).
  • Pictures and images of the historic frescoes of St Nicholas Church interior in the medieval Kintsvisi Monastery Georgian Orthodox Monastery complex, Shida Kartli Region, Georgia (country).
  • Pictures and images of St Nicholas Church in the historic medieval Kintsvisi Monastery Georgian Orthodox Monastery complex, Shida Kartli Region, Georgia (country).<br />
<br />
Kintsvisi Monastery is the best preserved example of Georgian architecture of the 12th and 15th centuries, the so called Georgian Golden Age.
  • Pictures and images of St Nicholas Church in the historic medieval Kintsvisi Monastery Georgian Orthodox Monastery complex, Shida Kartli Region, Georgia (country).<br />
<br />
Kintsvisi Monastery is the best preserved example of Georgian architecture of the 12th and 15th centuries, the so called Georgian Golden Age.
  • Pictures and images of St Nicholas Church in the historic medieval Kintsvisi Monastery Georgian Orthodox Monastery complex, Shida Kartli Region, Georgia (country).<br />
<br />
Kintsvisi Monastery is the best preserved example of Georgian architecture of the 12th and 15th centuries, the so called Georgian Golden Age.
  • Pictures and images of St Nicholas Church in the historic medieval Kintsvisi Monastery Georgian Orthodox Monastery complex, Shida Kartli Region, Georgia (country).<br />
<br />
Kintsvisi Monastery is the best preserved example of Georgian architecture of the 12th and 15th centuries, the so called Georgian Golden Age.
  • Bay Hotel & fishermans houses of the historic fishing village of Robin Hood's Bay, Near Whitby, North Yorkshire, England.
  • Bay Hotel & fishermans houses of the historic fishing village of Robin Hood's Bay, Near Whitby, North Yorkshire, England.
  • Bay Hotel Pub, village & beach of historic fishing village of Robin Hood's Bay, Near Whitby, North Yorkshire, England.
  • Harbour  of historic fishing village of Robin Hood's Bay, Near Whitby, North Yorkshire, England.
  • Rock pools on the beach of the historic fishing village of Robin Hood's Bay, Near Whitby, North Yorkshire, England.
  • Harbour  of historic fishing village of Robin Hood's Bay, Near Whitby, North Yorkshire, England.
  • Harbour  of historic fishing village of Robin Hood's Bay, Near Whitby, North Yorkshire, England.
  • Beach & slipway of historic fishing village of Robin Hood's Bay, Near Whitby, North Yorkshire, England.
  • Picture & image of the exterior with stone walls and thatched roof of The historic Blackhouse, 24 Arnol, Bragar, Isle of Lewis, Scotland.
  • Picture & image of the exterior with stone walls and thatched roof of The historic Blackhouse, 24 Arnol, Bragar, Isle of Lewis, Scotland.
  • Picture and image of the Tuscan Romanesque Pisan style basilica of Santissima Trinita di Saccargia, historicated pillar capitals, consecrated 1116, Codrongianos, Sardinia.
  • Picture and image of the Tuscan Romanesque Pisan style basilica of Santissima Trinita di Saccargia, historicated pillar capitals, consecrated 1116, Codrongianos, Sardinia.
  • Picture and image of the Tuscan Romanesque Pisan style basilica of Santissima Trinita di Saccargia, historicated pillar capitals, consecrated 1116, Codrongianos, Sardinia.
  • Picture & image peat pile oustide the exterior with stone walls and thatched roof of The historic Blackhouse, 24 Arnol, Bragar, Isle of Lewis, Scotland.
  • Picture & image of the exterior with stone walls and thatched roof of The historic Blackhouse, 24 Arnol, Bragar, Isle of Lewis, Scotland.
  • Picture & image of the exterior with stone walls and thatched roof of The historic Blackhouse, 24 Arnol, Bragar, Isle of Lewis, Scotland.
  • Picture & image of the exterior with stone walls and thatched roof of The historic Blackhouse, 24 Arnol, Bragar, Isle of Lewis, Scotland.
  • Picture and image of the Tuscan Romanesque Pisan style basilica of Santissima Trinita di Saccargia, historicated pillar capitals, consecrated 1116, Codrongianos, Sardinia.
  • Statue heads, from right, Herekles & Apollo  in front of the stone pyramid 62 BC Royal Tomb of King Antiochus I Theos of Commagene, east Terrace, Mount Nemrut or Nemrud Dagi summit, near Adıyaman, Turkey
  • Statue heads at sunrise, from right, Eagle, Herekles, Apollo, Zeus, Commagene, Antiochus, & Eagle, 62 BC Royal Tomb of King Antiochus I Theos of Commagene, east Terrace, Mount Nemrut or Nemrud Dagi summit, near Adıyaman, Turkey
  • Statue head of from left, Zeus, Commagene, Apollo, Herekles & Eagle in front of the 62 BC Royal Tomb of King Antiochus I Theos of Commagene, west Terrace, Mount Nemrut or Nemrud Dagi summit, near Adıyaman, Turkey
  • Statue head at sunset of Zeus & Antiocchus behind, in front of the 62 BC Royal Tomb of King Antiochus I Theos of Commagene, west Terrace, Mount Nemrut or Nemrud Dagi summit, near Adıyaman, Turkey
  • Statue head of  Antiochus, the 62 BC Royal Tomb of King Antiochus I Theos of Commagene, west Terrace, Mount Nemrut or Nemrud Dagi summit, near Adıyaman, Turkey
  • Late Hittite (Aramaean)  Basalt relief sculpture of an Aslan Lion from 9th Cent B.C, excavated from the west side of the citadel gate of Sam'al (Hittite: Yadiya) located at Zincirli Höyük in the Anti-Taurus Mountains of modern Turkey's Gaziantep Province. Istanbul Archaeological Museum Inv. No 7727.
  • Statue head of Herekles in front of the stone pyramid 62 BC Royal Tomb of King Antiochus I Theos of Commagene, east Terrace, Mount Nemrut or Nemrud Dagi summit, near Adıyaman, Turkey
  • Statue head of Zeus in front of the stone pyramid 62 BC Royal Tomb of King Antiochus I Theos of Commagene, east Terrace, Mount Nemrut or Nemrud Dagi summit, near Adıyaman, Turkey
  • Statue head of Commagene in front of the stone pyramid 62 BC Royal Tomb of King Antiochus I Theos of Commagene, east Terrace, Mount Nemrut or Nemrud Dagi summit, near Adıyaman, Turkey
  • Statue heads at sunset, from left,  Eagle, Antiochus, Commagene, Zeus, Apollo, & Herekles with headless seated statues in front of the stone pyramid 62 BC Royal Tomb of King Antiochus I Theos of Commagene, east Terrace, Mount Nemrut or Nemrud Dagi summit, near Adıyaman, Turkey
  • Statue head of from left, Apollo, Herekles & Eagle in front of the 62 BC Royal Tomb of King Antiochus I Theos of Commagene, west Terrace, Mount Nemrut or Nemrud Dagi summit, near Adıyaman, Turkey
  • 9th Cent BC Neo- Hittite basalt slabs with Hieroglyphic Inscriptions about the activities of King Urhilina & his son. from Hama, Syria. Istanbul Archaeological Museum.
  • 9th Cent BC Neo- Hittite basalt slabs with Hieroglyphic Inscriptions about the activities of King Urhilina & his son. from Hama, Syria. Istanbul Archaeological Museum.
  • Late Hittite (Aramaean)  Basalt relief sculpture of a Bull from 9th Cent B.C, excavated from the west side of the citadel gate of Sam'al (Hittite: Yadiya) located at Zincirli Höyük in the Anti-Taurus Mountains of modern Turkey's Gaziantep Province. Istanbul Archaeological Museum Inv. No 7709.
  • Late Hittite (Aramaean)  Basalt relief sculpture of a Bull from 9th Cent B.C, excavated from the west side of the citadel gate of Sam'al (Hittite: Yadiya) located at Zincirli Höyük in the Anti-Taurus Mountains of modern Turkey's Gaziantep Province. Istanbul Archaeological Museum Inv. No 7709.
  • Moulding of 8th Cent. BC late Hittite rock relief . Warpalas, King of Tyana land, praying in front of a plant & storm god Tarhunza. From Ivriz (Konya, Ergeli) Turkey. Istanbul Archaeological Museum Inv. No 7869.
  • Late Hittite (Aramaean)  Basalt relief sculptures  from 9th Cent B.C, excavated from the west side of the citadel gate of Sam'al (Hittite: Yadiya) located at Zincirli Höyük in the Anti-Taurus Mountains of modern Turkey's Gaziantep Province. Left Deer Buck, Inv no 7712, Middle Winged Lion inv no. 7706, Left Male with Axe Inv No. 7727. Istanbul Archaeological Museum.
  • Late Hittite (Aramaean)  Basalt relief sculpture of an Aslan Lion from 9th Cent B.C, excavated from the west side of the citadel gate of Sam'al (Hittite: Yadiya) located at Zincirli Höyük in the Anti-Taurus Mountains of modern Turkey's Gaziantep Province. Istanbul Archaeological Museum Inv. No 7727.
  • Late Hittite Basalt funereal Steel with a relief sculpture of a warrior from 9 - 8th Cent B.C, excavated from Arslan Tash (Turkish; Arslan Lion, Taş Stone), ancient Hadātu, is an archaeological site in northern Syria 30km east of the Euphrates River and nearby the town of Ain al-Arab. Istanbul Archaeological Museum Inv. No 1981.
  • Late Hittite (Aramaean) Basalt funereal Steel with a relief sculpture of a man from 9 - 8th Cent B.C, excavated from Um-Shershuh, Syria.  Istanbul Archaeological Museum Inv. No 7786.
  • Phrygian relief fragment depicting a walking animal. 8th-7th century BC . Çorum Archaeological Museum, Corum, Turkey
  • Phrygian relief fragment depicting two griffins. 8th-7th century BC . Çorum Archaeological Museum, Corum, Turkey
  • Pictures of a geometric Roman mosaics with animals & fruit, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against an art background
  • Pictures of a geometric Roman doorstep mosaics depicting five fishes surrounded by bars and a medallion, from the ancient Roman city of Thysdrus. 3rd century AD The Small Baths in the M'barek Rhaiem area. El Djem Archaeological Museum, El Djem, Tunisia. Against a white background<br />
<br />
The mosaic depicts the emblem of the Pentasii, a powerful Nortyh African Roman association that organised and  maintained the wild animals and hired animal killers to carry on the games in ampitheatres.
  • Pictures of a geometric Roman mosaic, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against a grey 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 black background
  • Picture of a Roman mosaics design depicting Endymion sleeping while Selene, the moon goddess, admires him, from the ancient Roman city of Thysdrus House in Jilani Guirat area. End of 2nd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting scenes from mythology, from the ancient Roman city of Thysdrus House in Jilani Guirat area. End of 2nd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against an art background<br />
<br />
Detail from a mosaic which depicts Polyphene playing a lyre to charm Galate ; Dionysus drunk ; Alpheus attacking the nymph Arethusa
  • Picture of a Roman mosaics design depicting Orpheus, god of music, playing his lyre,  from the ancient Roman city of Thysdrus, Bir Zid area. 2nd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting Orpheus, god of music, playing his lyre,  from the ancient Roman city of Thysdrus, Bir Zid area. 2nd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against an art background
  • Picture of a Roman mosaics design depicting Orpheus, god of music, playing his lyre,  from the ancient Roman city of Thysdrus, Bir Zid area. 2nd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against a grey background
  • Picture of a Roman mosaics design depicting scenes from the Life of Dionysus, from the ancient Roman city of Thysdrus, House of Silenus. Late 2nd to early 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
<br />
In the central panel of this Roman mosaic Dionysus is being crowned whilst his teacher, Silenus, is being carried towards a donkey.
  • Picture of a Roman mosaics design depicting scenes from the Life of Dionysus, from the ancient Roman city of Thysdrus, House of Silenus. Late 2nd to early 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
<br />
In the central panel of this Roman mosaic the  teacher of Dionysus, Silenus, is being carried towards a donkey.
  • Picture of a Roman mosaics design depicting scenes from the Life of Dionysus, from the ancient Roman city of Thysdrus, House of Silenus. Late 2nd to early 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against a grey background<br />
<br />
In the central panel of this Roman mosaic the  teacher of Dionysus, Silenus, is being carried towards a donkey.
  • Picture of a Roman mosaics design depicting the cupid owner of a cockerell at a cock fight, from the ancient Roman city of Thysdrus. 2nd half of the 2nd century AD, House of Tertulla. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting Dionysus drunk being transported on a chariot pulled by a centaur, from the ancient Roman city of Thysdrus. 3rd century AD House of Tertulla. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting Dionysus drunk being transported on a chariot pulled by a centaur, they are followed by a Bacchante, follower of Bacchus, and a Satyr, from the ancient Roman city of Thysdrus. 3rd century AD House of Tertulla. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting a fish in a medallion, 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 a Satyr persuing Bacchante, from the ancient Roman city of Thysdrus. End of 2nd century AD, House in Jiliani Guirat area. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting a Satyr persuing Bacchante, from the ancient Roman city of Thysdrus. End of 2nd century AD, House in Jiliani Guirat area. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting scenes from mythology, from the ancient Roman city of Thysdrus. End of 2nd century AD, House in Jiliani Guirat area. El Djem Archaeological Museum, El Djem, Tunisia. Against a black background<br />
<br />
This Roman mosaic depicts Aurore enticing Cephane, Apollo enticing Cyrene and Apollo persuing Daphne
  • 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 animals killing people in an ampitheatre, from the ancient Roman city of Thysdrus. End of 2nd century AD, Sollertiana Domus. El Djem Archaeological Museum, El Djem, Tunisia. Against a black background
  • Picture of a Roman mosaics design depicting the Abduction of Ganymede, from the ancient Roman city of Thysdrus. End od 2nd century AD, Sollertiana Domus. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting the Abduction of Ganymede, from the ancient Roman city of Thysdrus. End od 2nd century AD, Sollertiana Domus. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting the Abduction of Ganymede, from the ancient Roman city of Thysdrus. End od 2nd century AD, Sollertiana Domus. El Djem Archaeological Museum, El Djem, Tunisia. Against an art background
  • Picture of a Roman mosaics design depicting the Abduction of Ganymede, from the ancient Roman city of Thysdrus. End od 2nd century AD, Sollertiana Domus. El Djem Archaeological Museum, El Djem, Tunisia. Against a grey 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. Against a grey background
  • Picture of a Roman mosaics design depicting cupids picking grapes, from the ancient Roman city of Thysdrus. 3rd century AD, House of Dolphins. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a geometric Roman mosaics design using dolphins and swans designs, from the ancient Roman city of Thysdrus. 3rd century AD, House of Dolphins. El Djem Archaeological Museum, El Djem, Tunisia. Against a white background
  • Picture of a geometric Roman mosaics design using dolphins and swans designs, from the ancient Roman city of Thysdrus. 3rd century AD, House of Dolphins. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a geometric Roman mosaics design using dolphins and swans designs, from the ancient Roman city of Thysdrus. 3rd century AD, House of Dolphins. 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 black 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 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 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 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 an art 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 Aion and 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 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 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 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 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 shells and birds, from the ancient Roman city of Thysdrus. 3rd century AD, House of Selinus. El Djem Archaeological Museum, El Djem, Tunisia. Against a white background
  • Picture of a Roman mosaics design depicting Dionysus, God of wine, surrounded by women's busts representing 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 the Muses inside medallions, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting the Muses inside medallions, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting the Muses inside medallions, 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 wreaths running around medallions of birds and fishes, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting wreaths running around medallions of birds and fishes, from the 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 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 cupids amongst vines, from the House of Sienus, ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting Silenus and Cupids, from the House of Sienus, ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
<br />
The Silenus Roman mosaic depicts multiple scenes : the tying up of Silenus, who is permanently drunk, and is depicted in the middle of the mosaic lying on a bed of leaves. Around him children are trying to tie his hands and legs with garlands of flowers.
  • Picture of a Roman mosaics design depicting Silenus and Cupids, from the House of Sienus, ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against a white background<br />
<br />
The Silenus Roman mosaic depicts multiple scenes : the tying up of Silenus, who is permanently drunk, and is depicted in the middle of the mosaic lying on a bed of leaves. Around him children are trying to tie his hands and legs with garlands of flowers.
  • Pictures of the geometric border  Roman mosaic using 3d blocks and a swastica design from a Four Seasons mosaic, from the Maison de la Procession Dionysiaque, ancient Roman city of Thysdrus. 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 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.
  • Pictures of a geometric crosses Roman mosaics design, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Pictures of a geometric crosses Roman mosaics design, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Pictures of a geometric crosses Roman mosaics design, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Pictures of a geometric  Roman mosaics design, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Hittite statue head of the Sun Goddess . Basalt, Hittie Period 1650 - 1450 BC. Hattusa Boğazkale. Çorum Archaeological Museum, Corum, Turkey. Against a white bacground.
  • Hittite statue head of the Sun Goddess . Basalt, Hittie Period 1650 - 1450 BC. Hattusa Boğazkale. Çorum Archaeological Museum, Corum, Turkey
  • Hittite orthostat relief depicting a god. Hittie Period 1450 - 1200 BC. Hattusa Boğazkale. Çorum Archaeological Museum, Corum, Turkey. Çorum Archaeological Museum, Corum, Turkey. Against a grey bacground.
  • Hittite orthostat relief depicting a god. Hittie Period 1450 - 1200 BC. Hattusa Boğazkale. Hattusa Boğazkale. Çorum Archaeological Museum, Corum, Turkey. Çorum Archaeological Museum, Corum, Turkey. Against a white bacground.
  • Neo Hittite Period Hieroglyphic inscription on a stone orthostat - Anatolian Civilisations Museum, Ankara, Turkey. Against a black background.
  • Hittite cuneiform tablet. Adana Archaeology Museum, Turkey.
  • Hittite monumental statue probably of Tarhunda, the Storm God, standing on a cart being pulled by two bulls. Adana Archaeology Museum, Turkey. Against a grey art background
  • Hittite monumental statue probably of Tarhunda, the Storm God, standing on a cart being pulled by two bulls. Adana Archaeology Museum, Turkey. Against a grey art background
  • Hittite monumental statue probably of Tarhunda, the Storm God, standing on a cart being pulled by two bulls. Adana Archaeology Museum, Turkey. Against a white background
  • Hittite monumental statue probably of Tarhunda, the Storm God, standing on a cart being pulled by two bulls. Adana Archaeology Museum, Turkey. Against a grey background
  • Hittite monumental relief sculpture of a lion. Adana Archaeology Museum, Turkey. Against a white background
  • Hittite monumental relief sculpture of a lion. Adana Archaeology Museum, Turkey. Against a black background
  • Hittite cuneiform tablet. Adana Archaeology Museum, Turkey. Against a grey background
  • Hittite cuneiform tablet. Adana Archaeology Museum, Turkey.
  • Hittite cuneiform tablet. Adana Archaeology Museum, Turkey. Against a grey art background
  • Hittite cuneiform tablet. Adana Archaeology Museum, Turkey.
  • Hittite baslat sculptute of a male, late Hittite Period - 900-700 BC. Adana Archaeology Museum, Turkey. Against a white background
  • Hittite monumental statue probably of Tarhunda, the Storm God, standing on a cart being pulled by two bulls. Adana Archaeology Museum, Turkey. Against a black background
  • Hittite monumental statue probably of Tarhunda, the Storm God, standing on a cart being pulled by two bulls. Adana Archaeology Museum, Turkey. Against a white background
  • Hittite monumental statue probably of Tarhunda, the Storm God, standing on a cart being pulled by two bulls. Adana Archaeology Museum, Turkey. Against a grey art background
  • Close up pictures & Images of the wall stones of Alaca Hoyuk (Alacahoyuk) Hittite archaeological site  Alaca, Çorum Province, Turkey, Also known as Alacahüyük, Aladja-Hoyuk, Euyuk, or Evuk
  • Pictures & Images Hittite relief sculpted orthostat panels of the Sphinx Gate. Panel depicts a lion god. Alaca Hoyuk (Alacahoyuk) Hittite archaeological site  Alaca, Çorum Province, Turkey, Also known as Alacahüyük, Aladja-Hoyuk, Euyuk, or Evuk
  • Pictures & Images Hittite relief sculpted orthostat panels of the Sphinx Gate. Left panel depicts jugglers next panel depicts a procession following (right) a man leading goats to be sacrificed.  Alaca Hoyuk (Alacahoyuk) Hittite archaeological site  Alaca, Çorum Province, Turkey, Also known as Alacahüyük, Aladja-Hoyuk, Euyuk, or Evuk
  • Pictures & Images Hittite relief sculpted orthostat panels of the Sphinx Gate. A king and Queen make offerings to a Bull God.  Alaca Hoyuk (Alacahoyuk) Hittite archaeological site  Alaca, Çorum Province, Turkey, Also known as Alacahüyük, Aladja-Hoyuk, Euyuk, or Evuk
  • Pictures & Images of the Sphinx gate Hittite sculpture, Alaca Hoyuk (Alacahoyuk) Hittite archaeological site  Alaca, Çorum Province, Turkey, Also known as Alacahüyük, Aladja-Hoyuk, Euyuk, or Evuk
  • Pictures & Images of the Sphinx gate Hittite sculpture, Alaca Hoyuk (Alacahoyuk) Hittite archaeological site  Alaca, Çorum Province, Turkey, Also known as Alacahüyük, Aladja-Hoyuk, Euyuk, or Evuk
  • Pictures & Images of the Sphinx gate Hittite sculpture, Alaca Hoyuk (Alacahoyuk) Hittite archaeological site Alaca, Çorum Province, Turkey, Also known as Alacahüyük, Aladja-Hoyuk, Euyuk, or Evuk
  • Pictures & Images of the Sphinx gate Hittite sculpture, Alaca Hoyuk (Alacahoyuk) Hittite archaeological site  Alaca, Çorum Province, Turkey, Also known as Alacahüyük, Aladja-Hoyuk, Euyuk, or Evuk
  • Picture of the Ivriz Hittite rock relief sculpture monument  dedicated to King Warpalawas in which he talks to Tarhundas the God of Thunder. The king is positioned in the opposite of god, smaller and in a praying position. Warpalawas is saying "1 am Warpalawas the king of Tuwana, the ruler and a hero. I planted these grapes while I was a young prince in the palace. Let the god Tarhundas give plenitude and fertility.” Ivriz, Turkey
  • Close up of Hittite relief scultures of Hittite godsEflatun Pınar ( Eflatunpınar) Ancient Hittite relief sculpture monument and sacred pool.  Between 15th to 13th centuries BC. Lake Beysehir National Park, Konya, Turkey.
  • Close up of Hittite relief scultures of Hittite godsEflatun Pınar ( Eflatunpınar) Ancient Hittite relief sculpture monument and sacred pool.  Between 15th to 13th centuries BC. Lake Beysehir National Park, Konya, Turkey.
  • Close up of Hittite relief scultures of Hittite godsEflatun Pınar ( Eflatunpınar) Ancient Hittite relief sculpture monument and sacred pool.  Between 15th to 13th centuries BC. Lake Beysehir National Park, Konya, Turkey.
  • Eflatun Pınar ( Eflatunpınar) Ancient Hittite relief sculpture monument and sacred pool, and its Hittite relief scultures of Hittite gods.  Between 15th to 13th centuries BC. Lake Beysehir National Park, Konya, Turkey.
  • Statues of bulls and Eflatun Pınar ( Eflatunpınar) Ancient Hittite relief sculpture monument and sacred pool, and its Hittite relief scultures of Hittite gods.  Between 15th to 13th centuries BC. Lake Beysehir National Park, Konya, Turkey.
  • Phrygian relief sculpted orthostat stone panel. Andesite, Kucukevler, Ankara., 1200-700 B.C. Walking horse. Muscles in the legs of the figure are schematic. Anatolian Civilizations Museum, Ankara, Turkey.<br />
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Against a black background.
  • Phygian relief sculpted orthostat stone panel. Andesite, Etimesgut, Ankara. Phrygian. 1200-700 BC. Anatolian Civilisations Museum, Ankara, Turkey.<br />
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Figure of a roaring lion. The cross mark on the chest draws attention. The muscles in his legs are schematic. There are frame edges in front and behind the lion. <br />
<br />
Against a grey art background.
  • Photo of Phrygian relief sculpted orthostat stone panel Andesite, Atateirk Orman ciftligi, Ankara, 12OO-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
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Winged griffin with a bird's head and a lion's body. There is a bird's head at the end of its tail. The chest was processed like fish scales. Its wing extends along the body. Muscles in its legs are schematic. <br />
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Against a brown art background.

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