• Young nude women in bed
  • Young couple about to kiss on the steps of the Sacré-Coeur Basilica, Montmartre, Paris at sunset
  • Young Girl in Traditional costume - Hungarian Regional Gastronomic Festival 2009 - Gyor ( Gy?r ) Hungary
  • Young Girl in Traditional costume - Hungarian Regional Gastronomic Festival 2009 - Gyor ( Gy?r ) Hungary
  • Young topless women sleeping
  • Young topless women sleeping
  • Young topless women with sunflowers
  • Young nude women with towel showing breasts
  • Young topless women showing breasts
  • Young nude women showing breasts
  • Young nude women with towel showing breasts
  • Young nude women with towel showing breasts
  • Young nude women with towel showing breasts
  • Young nude women with towel showing breasts
  • Young nude women showing breasts
  • Young nude women showing breasts
  • Young nude women showing breasts
  • Young nude women with red rose
  • Young nude women with red rose
  • Young nude women in bed sleeping
  • Young nude women in bed
  • Young nude women in bed sleeping
  • Young nude women in bed sleeping
  • Young nude women in bed
  • Young nude women in bed
  • Young nude women in bed
  • Young topless women showing breasts
  • Young topless women showing breasts
  • Young topless women showing breasts
  • Young topless women showing breasts
  • Young topless women showing breasts
  • Young nude women in bed reading
  • Stock photos of Young Donkey with its mother - Dalnatian mountains - Dubrovnik Croatia
  • Young nude women.
  • Young nude women.
  • Young nude women.
  • Young nude women.
  • Young nude women.
  • Young nude women.
  • Young nude women.
  • Young nude women.
  • Young nude women.
  • Young nude women.
  • Young nude women.
  • nude young women standing examining her breast
  • nude young women standing examining her breast
  • Young nude women standing confidently
  • Young nude women holding an orange towel
  • Young nude feminine women revealing her breasts
  • Young nude feminine women revealing her breasts
  • Young nude women holding a turquoise towel
  • Young women wearing black top and revealing one nipple
  • Topless young Women from behing wearing a pair of boxer pants with the Union Jack on it. Attached to it is a ticket with the words Sale
  • Close up of young women wearing a dress with a  ticket tucked into its pocket with the word sale on it
  • Close up of young women wearing pink  pants with a  ticket with the word sale on it.
  • Close up of young women from behind lifting her mini skirt to scratch ber bare bottom. There is a  ticket attached to the skirt with the word Sale on it.
  • Close up of young women from behind lifting her mini skirt to scratch ber bare bottom. There is a  ticket attached to the skirt with the word Sale on it.
  • Close up of young women from behind lifting her mini skirt to scratch ber bare bottom. There is a  ticket attached to the skirt with the word Sale on it.
  • Close up of a  ticket tucked into a bra top being worn by a young women, with the words Sale on it
  • Topless female
  • Topless female
  • Naked female standing.
  • Nail Varnish dripping from a nail varnish brush balanced on a nail varnish bottle. Pink colour against white with a reflection
  • Close up of a  card with the words sale on it in the back pocket of blue jeans being worn by a women showing her bare waiste.
  • tanned topless sun bather sitting on a sun lounger
  • Topless female lying in bed
  • Topless female lying in bed
  • Topless female lying in bed
  • Topless female lying in bed
  • Topless female holding towel
  • Topless female holding towel
  • Topless female
  • Topless female
  • Close up of womens breast.
  • feminine nude women standing
  • Naked women sleeping in bed
  • youg women holding a sunflower revealing her breast.
  • youg bare feminine women holding a 3 red gerberra flowers reealing ger breasts
  • close up nude women's breasts sunbathing
  • close up nude women's breasts sunbathing
  • Naked women sleeping in bed
  • Nude women examining her reast whilst lying down in bed
  • Nude women sleeping in bed
  • Naked women sleeping viewed from under the sheets holding her teddy bear
  • Naked women sleeping viewed from under the sheets
  • Naked women sleeping in bed with her toy dog bear in front of her
  • Naked women sleeping in bed with her teddy bear in front of her
  • Naked women lying in bed holding a diamond engagement ring in its box in front of her
  • Naked women lying in bed reading.
  • Nude female standing against a white background
  • Naked female standing.
  • 2 Nail varnish bottles balanced on each other in a fun way
  • 2 Nail varnish bottles balanced on each other in a fun way with a nail varnish brush balanced ontop dripping nail varnish.
  • 2 Nail varnish bottles balanced on each other in a fun way with a nail varnish brush balanced ontop dripping nail varnish.
  • Nail Varnish dripping from a nail varnish brush balanced on a nail varnish bottle. Pink colour against white with a reflection
  • Nail Varnish dripping from a nail varnish brush balanced on a nail varnish bottle. Pink colour against white with a reflection
  • Nail Varnish dripping from a nail varnish brush balanced on a nail varnish bottle. Pink colour against white with a reflection
  • Nail Varnish dripping from a nail varnish brush balanced on a nail varnish bottle. Peach colour against white with a reflection
  • Close up of a  card with the words sale on it in the back pocket of blue jeans being worn by a women showing her bare waiste.
  • Close up of a ticketwith the words sale on it attached to a black bikini being worn by a women
  • Norman Romanesque exterior corbel no 1 - sculpture of a quail that it has just killed its young. This is based on a  bestiary story that tells of a Pelican that kills its young. It then pecks its breast to draw blood and sits on its dead offspring and the blood brings the young bird back to life. This is an allegory of Christ giving his blood on the cross for mankind. The Norman Romanesque Church of St Mary and St David, Kilpeck Herefordshire, England. Built around 1140
  • Roman portrait bust of a young charioteer from the age of Domitian, 81-96AD. This statue of a young charioteer, with Oriental eastern Mediterranean features, is wearing a tunic stopped on the right shoulder by a flattened circular fibula (clasp). The hairstyle, with its ’S’ shaped curls, was made artificially with an iron (calamistrum). This style was inspired by official portrayts of a young Domitian, who emulated Neronian style during the last years of his reign. The bust was rounded to be inserted onto a modern pillar. . Inv 276, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young charioteer from the age of Domitian, 81-96AD. This statue of a young charioteer, with Oriental eastern Mediterranean features, is wearing a tunic stopped on the right shoulder by a flattened circular fibula (clasp). The hairstyle, with its ’S’ shaped curls, was made artificially with an iron (calamistrum). This style was inspired by official portrayts of a young Domitian, who emulated Neronian style during the last years of his reign. The bust was rounded to be inserted onto a modern pillar. . Inv 276, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young charioteer from the age of Domitian, 81-96AD. This statue of a young charioteer, with Oriental eastern Mediterranean features, is wearing a tunic stopped on the right shoulder by a flattened circular fibula (clasp). The hairstyle, with its ’S’ shaped curls, was made artificially with an iron (calamistrum). This style was inspired by official portrayts of a young Domitian, who emulated Neronian style during the last years of his reign. The bust was rounded to be inserted onto a modern pillar. . Inv 276, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young charioteer from the age of Domitian, 81-96AD. This statue of a young charioteer, with Oriental eastern Mediterranean features, is wearing a tunic stopped on the right shoulder by a flattened circular fibula (clasp). The hairstyle, with its ’S’ shaped curls, was made artificially with an iron (calamistrum). This style was inspired by official portrayts of a young Domitian, who emulated Neronian style during the last years of his reign. The bust was rounded to be inserted onto a modern pillar. . Inv 276, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young charioteer from the age of Domitian, 81-96AD. This statue of a young charioteer, with Oriental eastern Mediterranean features, is wearing a tunic stopped on the right shoulder by a flattened circular fibula (clasp). The hairstyle, with its ’S’ shaped curls, was made artificially with an iron (calamistrum). This style was inspired by official portrayts of a young Domitian, who emulated Neronian style during the last years of his reign. The bust was rounded to be inserted onto a modern pillar. . Inv 276, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young man from the reign of Nero, 54-68 AD. This portrait can be dated to the reign of Nero due to the facial features and hair style, with short locks and long fringe over the forehead. The young man is wearing a tunic, stopped with a small fibula (clasp) on the left shoulder. Inv 281, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young man from the reign of Nero, 54-68 AD. This portrait can be dated to the reign of Nero due to the facial features and hair style, with short locks and long fringe over the forehead. The young man is wearing a tunic, stopped with a small fibula (clasp) on the left shoulder. Inv 281, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young man from the reign of Nero, 54-68 AD. This portrait can be dated to the reign of Nero due to the facial features and hair style, with short locks and long fringe over the forehead. The young man is wearing a tunic, stopped with a small fibula (clasp) on the left shoulder. Inv 281, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young man from the reign of Nero, 54-68 AD. This portrait can be dated to the reign of Nero due to the facial features and hair style, with short locks and long fringe over the forehead. The young man is wearing a tunic, stopped with a small fibula (clasp) on the left shoulder. Inv 281, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young man from the reign of Nero, 54-68 AD. This portrait can be dated to the reign of Nero due to the facial features and hair style, with short locks and long fringe over the forehead. The young man is wearing a tunic, stopped with a small fibula (clasp) on the left shoulder. Inv 281, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young man from the reign of Nero, 54-68 AD. This portrait can be dated to the reign of Nero due to the facial features and hair style, with short locks and long fringe over the forehead. The young man is wearing a tunic, stopped with a small fibula (clasp) on the left shoulder. Inv 281, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young man from the reign of Nero, 54-68 AD. This portrait can be dated to the reign of Nero due to the facial features and hair style, with short locks and long fringe over the forehead. The young man is wearing a tunic, stopped with a small fibula (clasp) on the left shoulder. Inv 281, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young man from the reign of Nero, 54-68 AD. This portrait can be dated to the reign of Nero due to the facial features and hair style, with short locks and long fringe over the forehead. The young man is wearing a tunic, stopped with a small fibula (clasp) on the left shoulder. Inv 281, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young man from the reign of Nero, 54-68 AD. This portrait can be dated to the reign of Nero due to the facial features and hair style, with short locks and long fringe over the forehead. The young man is wearing a tunic, stopped with a small fibula (clasp) on the left shoulder. Inv 281, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young man from the reign of Nero, 54-68 AD. This portrait can be dated to the reign of Nero due to the facial features and hair style, with short locks and long fringe over the forehead. The young man is wearing a tunic, stopped with a small fibula (clasp) on the left shoulder. Inv 281, The National Roman Museum, Rome, Italy
  • Picture and image  of the Realistic young grieving girl stone funary monument sculpture  commissioned by Enrico Amerigo for his sisters memory. beside the pedestal on which the sculptor set the deceased’s bust he placed, on the left, the figure of an old blind man, kneeling down and leaning on a stick; on the right he placed the figure of a young orphan girl, recognizable as such by her kindergarten uniform, portrayed in the act of making the sign of the cross. This work belongs to the Realism, a trend which was typical during the 1880s and 1890s, according to which the orphans, the poor, the sick and all those who benefited from somebody’s generosity had to be portrayed in a concrete fashion. Sculptor G Moreno 1890. Section A, no 53, The Staglieno Monumental Cemetery, Genoa, Italy
  • Roman statue of a young Satyr from the Hadranic period circa 117-138 AD excavated from an area near the via XX Settembre and Via Firenza, Rome, Italy. A young Satyr, wearing a panther’s skin tied on the right shoulder, plays the tibia oblique (flute) whist reclining next to a tree trunk. The statue is based on a Greek prototype from the school of Greek sculptor Praxiteles created around 300 BC.  Inv 551, The National Roman Museum, Rome, Italy
  • Picture and image  of the Realistic young grieving girl stone funary monument sculpture  commissioned by Enrico Amerigo for his sisters memory. beside the pedestal on which the sculptor set the deceased’s bust he placed, on the left, the figure of an old blind man, kneeling down and leaning on a stick; on the right he placed the figure of a young orphan girl, recognizable as such by her kindergarten uniform, portrayed in the act of making the sign of the cross. This work belongs to the Realism, a trend which was typical during the 1880s and 1890s, according to which the orphans, the poor, the sick and all those who benefited from somebody’s generosity had to be portrayed in a concrete fashion. Sculptor G Moreno 1890. Section A, no 53, The Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image  of the Realistic young grieving girl stone funary monument sculpture  commissioned by Enrico Amerigo for his sisters memory. beside the pedestal on which the sculptor set the deceased’s bust he placed, on the left, the figure of an old blind man, kneeling down and leaning on a stick; on the right he placed the figure of a young orphan girl, recognizable as such by her kindergarten uniform, portrayed in the act of making the sign of the cross. This work belongs to the Realism, a trend which was typical during the 1880s and 1890s, according to which the orphans, the poor, the sick and all those who benefited from somebody’s generosity had to be portrayed in a concrete fashion. Sculptor G Moreno 1890. Section A, no 53, The Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image  of the Realistic young grieving girl stone funary monument sculpture  commissioned by Enrico Amerigo for his sisters memory. beside the pedestal on which the sculptor set the deceased’s bust he placed, on the left, the figure of an old blind man, kneeling down and leaning on a stick; on the right he placed the figure of a young orphan girl, recognizable as such by her kindergarten uniform, portrayed in the act of making the sign of the cross. This work belongs to the Realism, a trend which was typical during the 1880s and 1890s, according to which the orphans, the poor, the sick and all those who benefited from somebody’s generosity had to be portrayed in a concrete fashion. Sculptor G Moreno 1890. Section A, no 53, The Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image  of the Realistic young grieving girl stone funary monument sculpture  commissioned by Enrico Amerigo for his sisters memory. beside the pedestal on which the sculptor set the deceased’s bust he placed, on the left, the figure of an old blind man, kneeling down and leaning on a stick; on the right he placed the figure of a young orphan girl, recognizable as such by her kindergarten uniform, portrayed in the act of making the sign of the cross. This work belongs to the Realism, a trend which was typical during the 1880s and 1890s, according to which the orphans, the poor, the sick and all those who benefited from somebody’s generosity had to be portrayed in a concrete fashion. Sculptor G Moreno 1890. The Staglieno Monumental Cemetery, Genoa, Italy
  • Norman Romanesque exterior corbel no 1 - sculpture of a quail that it has just killed its young. This is based on a  bestiary story that tells of a Pelican that kills its young. It then pecks its breast to draw blood and sits on its dead offspring and the blood brings the young bird back to life. This is an allegory of Christ giving his blood on the cross for mankind. The Norman Romanesque Church of St Mary and St David, Kilpeck Herefordshire, England. Built around 1140
  • Roman statue of a young Satyr from the Hadranic period circa 117-138 AD excavated from an area near the via XX Settembre and Via Firenza, Rome, Italy. A young Satyr, wearing a panther’s skin tied on the right shoulder, plays the tibia oblique (flute) whist reclining next to a tree trunk. The statue is based on a Greek prototype from the school of Greek sculptor Praxiteles created around 300 BC.  Inv 551, The National Roman Museum, Rome, Italy
  • Roman statue of a young Satyr from the Hadranic period circa 117-138 AD excavated from an area near the via XX Settembre and Via Firenza, Rome, Italy. A young Satyr, wearing a panther’s skin tied on the right shoulder, plays the tibia oblique (flute) whist reclining next to a tree trunk. The statue is based on a Greek prototype from the school of Greek sculptor Praxiteles created around 300 BC.  Inv 551, The National Roman Museum, Rome, Italy
  • Roman statue of a young Satyr from the Hadranic period circa 117-138 AD excavated from an area near the via XX Settembre and Via Firenza, Rome, Italy. A young Satyr, wearing a panther’s skin tied on the right shoulder, plays the tibia oblique (flute) whist reclining next to a tree trunk. The statue is based on a Greek prototype from the school of Greek sculptor Praxiteles created around 300 BC.  Inv 551, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young charioteer from the age of Domitian, 81-96AD. This statue of a young charioteer, with Oriental eastern Mediterranean features, is wearing a tunic stopped on the right shoulder by a flattened circular fibula (clasp). The hairstyle, with its ’S’ shaped curls, was made artificially with an iron (calamistrum). This style was inspired by official portrayts of a young Domitian, who emulated Neronian style during the last years of his reign. The bust was rounded to be inserted onto a modern pillar. . Inv 276, The National Roman Museum, Rome, Italy
  • Roman statue of a young Satyr from the Hadranic period circa 117-138 AD excavated from an area near the via XX Settembre and Via Firenza, Rome, Italy. A young Satyr, wearing a panther’s skin tied on the right shoulder, plays the tibia oblique (flute) whist reclining next to a tree trunk. The statue is based on a Greek prototype from the school of Greek sculptor Praxiteles created around 300 BC.  Inv 551, The National Roman Museum, Rome, Italy
  • Roman statue of a young Satyr from the Hadranic period circa 117-138 AD excavated from an area near the via XX Settembre and Via Firenza, Rome, Italy. A young Satyr, wearing a panther’s skin tied on the right shoulder, plays the tibia oblique (flute) whist reclining next to a tree trunk. The statue is based on a Greek prototype from the school of Greek sculptor Praxiteles created around 300 BC.  Inv 551, The National Roman Museum, Rome, Italy
  • Roman statue of a young Satyr from the Hadranic period circa 117-138 AD excavated from an area near the via XX Settembre and Via Firenza, Rome, Italy. A young Satyr, wearing a panther’s skin tied on the right shoulder, plays the tibia oblique (flute) whist reclining next to a tree trunk. The statue is based on a Greek prototype from the school of Greek sculptor Praxiteles created around 300 BC.  Inv 551, The National Roman Museum, Rome, Italy
  • Roman statue of a young Satyr from the Hadranic period circa 117-138 AD excavated from an area near the via XX Settembre and Via Firenza, Rome, Italy. A young Satyr, wearing a panther’s skin tied on the right shoulder, plays the tibia oblique (flute) whist reclining next to a tree trunk. The statue is based on a Greek prototype from the school of Greek sculptor Praxiteles created around 300 BC.  Inv 551, The National Roman Museum, Rome, Italy
  • Roman statue of a young Satyr from the Hadranic period circa 117-138 AD excavated from an area near the via XX Settembre and Via Firenza, Rome, Italy. A young Satyr, wearing a panther’s skin tied on the right shoulder, plays the tibia oblique (flute) whist reclining next to a tree trunk. The statue is based on a Greek prototype from the school of Greek sculptor Praxiteles created around 300 BC.  Inv 551, The National Roman Museum, Rome, Italy
  • Close up of a Roman Sebasteion relief  sculpture of Ares, Aphrodisias Museum, Aphrodisias, Turkey.   Against a white background.<br />
The nude and classically7 styled young god wears only a helmet and holds a spear (missing) in one hand and a shield in the other. At the left stands cuirass, and at the upper right corner hangs his sword. Ares was a god of war and was not later defaced by Christians probably because he so closely resembles a young emperor.
  • Close up of a Roman Sebasteion relief  sculpture of Ares, Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.<br />
<br />
The nude and classically7 styled young god wears only a helmet and holds a spear (missing) in one hand and a shield in the other. At the left stands cuirass, and at the upper right corner hangs his sword. Ares was a god of war and was not later defaced by Christians probably because he so closely resembles a young emperor.
  • Close up of a Roman Sebasteion relief  sculpture of Ares, Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
The nude and classically7 styled young god wears only a helmet and holds a spear (missing) in one hand and a shield in the other. At the left stands cuirass, and at the upper right corner hangs his sword. Ares was a god of war and was not later defaced by Christians probably because he so closely resembles a young emperor.
  • Close up of a Roman Sebasteion relief  sculpture of Ares, Aphrodisias Museum, Aphrodisias, Turkey.  Against an art background.<br />
<br />
The nude and classically7 styled young god wears only a helmet and holds a spear (missing) in one hand and a shield in the other. At the left stands cuirass, and at the upper right corner hangs his sword. Ares was a god of war and was not later defaced by Christians probably because he so closely resembles a young emperor.
  • Close up of a Roman Sebasteion relief  sculpture of Ares, Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
The nude and classically7 styled young god wears only a helmet and holds a spear (missing) in one hand and a shield in the other. At the left stands cuirass, and at the upper right corner hangs his sword. Ares was a god of war and was not later defaced by Christians probably because he so closely resembles a young emperor.
  • Roman Sebasteion relief  sculpture of Ares, Aphrodisias Museum, Aphrodisias, Turkey.   Against a white background.<br />
<br />
The nude and classically7 styled young god wears only a helmet and holds a spear (missing) in one hand and a shield in the other. At the left stands cuirass, and at the upper right corner hangs his sword. Ares was a god of war and was not later defaced by Christians probably because he so closely resembles a young emperor.
  • Roman Sebasteion relief  sculpture of Ares, Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.<br />
<br />
The nude and classically7 styled young god wears only a helmet and holds a spear (missing) in one hand and a shield in the other. At the left stands cuirass, and at the upper right corner hangs his sword. Ares was a god of war and was not later defaced by Christians probably because he so closely resembles a young emperor.
  • Roman Sebasteion relief  sculpture of Ares, Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
The nude and classically7 styled young god wears only a helmet and holds a spear (missing) in one hand and a shield in the other. At the left stands cuirass, and at the upper right corner hangs his sword. Ares was a god of war and was not later defaced by Christians probably because he so closely resembles a young emperor.
  • Roman Sebasteion relief  sculpture of Ares, Aphrodisias Museum, Aphrodisias, Turkey.  Against an art background.<br />
<br />
The nude and classically7 styled young god wears only a helmet and holds a spear (missing) in one hand and a shield in the other. At the left stands cuirass, and at the upper right corner hangs his sword. Ares was a god of war and was not later defaced by Christians probably because he so closely resembles a young emperor.
  • Roman Sebasteion relief  sculpture of Ares, Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
The nude and classically7 styled young god wears only a helmet and holds a spear (missing) in one hand and a shield in the other. At the left stands cuirass, and at the upper right corner hangs his sword. Ares was a god of war and was not later defaced by Christians probably because he so closely resembles a young emperor.
  • Roman statue of young Faustina. Marble. Perge. 2nd century AD. Inv no 3045 . Antalya Archaeology Museum; Turkey. Against a white background.
  • Roman statue of young Faustina. Marble. Perge. 2nd century AD. Inv no 3045 . Antalya Archaeology Museum; Turkey. Against a black background.
  • Roman statue of young Faustina. Marble. Perge. 2nd century AD. Inv no 3045 . Antalya Archaeology Museum; Turkey.
  • Roman statue of young Faustina. Marble. Perge. 2nd century AD. Inv no 3045 . Antalya Archaeology Museum; Turkey. Against a warm art background.
  • Roman statue of young Faustina. Marble. Perge. 2nd century AD. Inv no 3045 . Antalya Archaeology Museum; Turkey. Against a grey background
  • Roman statue of young Faustina. Marble. Perge. 2nd century AD. Inv no 3045 . Antalya Archaeology Museum; Turkey.
  • Roman statue of young Faustina. Marble. Perge. 2nd century AD. Inv no 3045 . Antalya Archaeology Museum; Turkey. Against a black background.
  • Roman statue of young Faustina. Marble. Perge. 2nd century AD. Inv no 3045 . Antalya Archaeology Museum; Turkey. Against a grey background
  • Roman statue of young Faustina. Marble. Perge. 2nd century AD. Inv no 3045 . Antalya Archaeology Museum; Turkey. Against a white background.
  • Roman statue of young Faustina. Marble. Perge. 2nd century AD. Inv no 3045 . Antalya Archaeology Museum; Turkey. Against a warm art background.
  • Picture and image of the stone sculpture of a young women grieving in the Borgosie Realistic style. The Gatti Tomb sculpted by G Benetti 1875. Section D no 5, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a young women grieving in the Borgosie Realistic style. The Gatti Tomb sculpted by G Benetti 1875. Section D no 5, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a young women waiting by the gates of the tomb in a Borgeois Realistic style. The Piaggio Family Tomb sculpted by G Scanzi 1885. Section D no 36, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a young women waiting by the gates of the tomb in a Borgeois Realistic style. The Piaggio Family Tomb sculpted by G Scanzi 1885. Section D no 36, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a young women waiting by the gates of the tomb in a Borgeois Realistic style. The Piaggio Family Tomb sculpted by G Scanzi 1885. Section D no 36, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a young women filling a candle stick with oil in an art Nouveau style. Family Tomb Montanari sculpted by G B Villa 1888. Section D no 31 the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a young women filling a candle stick with oil in an art Nouveau style. Family Tomb Montanari sculpted by G B Villa 1888. Section D no 31 the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a young women filling a candle stick with oil in an art Nouveau style. Family Tomb Montanari sculpted by G B Villa 1888. Section D no 31 the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a young girl picking flowers in a Borgeoise Realistic style. The Grillo Family Tomb sulpted by G Scanzi 1876. Section D No 26, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a young girl picking flowers in a Borgeoise Realistic style. The Grillo Family Tomb sulpted by G Scanzi 1876. Section D No 26, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a young giral and her dog. The Varni family tomb sculpted by S Varni 1875. Sction D No 25 the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image  of the stone sculpture  of a young couple and an angel. The Pietrafraccia Tomb sculped by G. Navone 1909. Section A, no 17, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image  of the stone sculpture  of a young couple and an angel. The Pietrafraccia Tomb sculped by G. Navone 1909. Section A, no 17, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image  of the stone sculpture  of a young couple and an angel. The Pietrafraccia Tomb sculped by G. Navone 1909. Section A, no 17, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image  of the stone sculpture  of a young couple and an angel. The Pietrafraccia Tomb sculped by G. Navone 1909. Section A, no 17, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image  of the stone sculpture  of a young couple and an angel. The Pietrafraccia Tomb sculped by G. Navone 1909. Section A, no 17, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image  of the stone sculptures of two young siblings at the doors of heaven through which their mother had to go before them by Sculptor A. Rota 1882. The theme of the monument is sorrow but also of hope as an angel guides the sould of the mouring siblings mother to heaven. As is tytpical of the Borgeois realistic style everday clothes, hairstyle and natural gestures are used in the sulpture. Section A, no 42, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image  of the stone sculptures of two young siblings at the doors of heaven through which their mother had to go before them by Sculptor A. Rota 1882. The theme of the monument is sorrow but also of hope as an angel guides the sould of the mouring siblings mother to heaven. As is tytpical of the Borgeois realistic style everday clothes, hairstyle and natural gestures are used in the sulpture. Section A, no 42, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and imabe in the Realistic Beorgeous style of a young man. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures of the stone sculptured of a young girl, monumental Pelegrini tomb of the Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures of the stone sculptured of a young girl, monumental Pelegrini tomb of the Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures of the stone sculptured of a young girl, monumental Pelegrini tomb of the Staglieno Monumental Cemetery, Genoa, Italy
  • Fifth century AD Eastern Roman Byzantine  Christian funerary mosaic of two adults and a young child. <br />
<br />
Acanthus scrollwork bearing the fruits of the vine and full of birds (border). The epitaph, set into a centred laurel wreath, reads : Constantia in peace. has lived 55 years, died on the 8th of the Ides of August (August 23); Gaudiosa in peace has lived 22 years, died on the Third ides of May (may 18) The epitaph of the child, who died without being baptised and was buried with the two adult deceased, runs at the bottom of the panel : (P)alatinus, innocent, peaceful, departed on the Fifth ides of April. <br />
<br />
From Demna pariah church, near the hallway connecting the vestibule to the choir. The Bardo National Museum, Tunis, Tunisia.  Against a white background.
  • Detail of  a fifth century AD Eastern Roman Byzantine  Christian funerary mosaic of two adults and a young child. <br />
<br />
Acanthus scrollwork bearing the fruits of the vine and full of birds (border). The epitaph, set into a centred laurel wreath, reads : Constantia in peace. has lived 55 years, died on the 8th of the Ides of August (August 23); Gaudiosa in peace has lived 22 years, died on the Third ides of May (may 18) The epitaph of the child, who died without being baptised and was buried with the two adult deceased, runs at the bottom of the panel : (P)alatinus, innocent, peaceful, departed on the Fifth ides of April. <br />
<br />
From Demna pariah church, near the hallway connecting the vestibule to the choir. The Bardo National Museum, Tunis, Tunisia
  • Fifth century AD Eastern Roman Byzantine  Christian funerary mosaic of two adults and a young child. <br />
<br />
Acanthus scrollwork bearing the fruits of the vine and full of birds (border). The epitaph, set into a centred laurel wreath, reads : Constantia in peace. has lived 55 years, died on the 8th of the Ides of August (August 23); Gaudiosa in peace has lived 22 years, died on the Third ides of May (may 18) The epitaph of the child, who died without being baptised and was buried with the two adult deceased, runs at the bottom of the panel : (P)alatinus, innocent, peaceful, departed on the Fifth ides of April. <br />
<br />
From Demna pariah church, near the hallway connecting the vestibule to the choir. The Bardo National Museum, Tunis, Tunisia.  Against a black background.
  • Fifth century AD Eastern Roman Byzantine  Christian funerary mosaic of two adults and a young child. <br />
<br />
Acanthus scrollwork bearing the fruits of the vine and full of birds (border). The epitaph, set into a centred laurel wreath, reads : Constantia in peace. has lived 55 years, died on the 8th of the Ides of August (August 23); Gaudiosa in peace has lived 22 years, died on the Third ides of May (may 18) The epitaph of the child, who died without being baptised and was buried with the two adult deceased, runs at the bottom of the panel : (P)alatinus, innocent, peaceful, departed on the Fifth ides of April. <br />
<br />
From Demna pariah church, near the hallway connecting the vestibule to the choir. The Bardo National Museum, Tunis, Tunisia
  • Fifth century AD Eastern Roman Byzantine  Christian funerary mosaic of two adults and a young child. <br />
<br />
Acanthus scrollwork bearing the fruits of the vine and full of birds (border). The epitaph, set into a centred laurel wreath, reads : Constantia in peace. has lived 55 years, died on the 8th of the Ides of August (August 23); Gaudiosa in peace has lived 22 years, died on the Third ides of May (may 18) The epitaph of the child, who died without being baptised and was buried with the two adult deceased, runs at the bottom of the panel : (P)alatinus, innocent, peaceful, departed on the Fifth ides of April. <br />
<br />
From Demna pariah church, near the hallway connecting the vestibule to the choir. The Bardo National Museum, Tunis, Tunisia.   Against a grey background.
  • Fifth century AD Eastern Roman Byzantine  Christian funerary mosaic of two adults and a young child. <br />
<br />
Acanthus scrollwork bearing the fruits of the vine and full of birds (border). The epitaph, set into a centred laurel wreath, reads : Constantia in peace. has lived 55 years, died on the 8th of the Ides of August (August 23); Gaudiosa in peace has lived 22 years, died on the Third ides of May (may 18) The epitaph of the child, who died without being baptised and was buried with the two adult deceased, runs at the bottom of the panel : (P)alatinus, innocent, peaceful, departed on the Fifth ides of April. <br />
<br />
From Demna pariah church, near the hallway connecting the vestibule to the choir. The Bardo National Museum, Tunis, Tunisia. Against a grey art background.
  • Etruscan bronze statue portraying a nearly life size young warrior dressed in armour, offering a libation of wine to a divinity ( patera style cup missing) Made in the 5th century BC in Orvieto and excavated from Todi where it had been buried after being struck by lightening, which was the custom at the time.  Inv 13886, The Vatican Museums Rome. Black Background. For use in non editorial advertising apply to the Vatican Museums for a license.
  • Etruscan bronze statue portraying a nearly life size young warrior dressed in armour, offering a libation of wine to a divinity ( patera style cup missing) Made in the 5th century BC in Orvieto and excavated from Todi where it had been buried after being struck by lightening, which was the custom at the time.  Inv 13886, The Vatican Museums Rome. White Background. For use in non editorial advertising apply to the Vatican Museums for a license.
  • Etruscan bronze statue portraying a nearly life size young warrior dressed in armour, offering a libation of wine to a divinity ( patera style cup missing) Made in the 5th century BC in Orvieto and excavated from Todi where it had been buried after being struck by lightening, which was the custom at the time.  Inv 13886, The Vatican Museums Rome. Grey Background. For use in non editorial advertising apply to the Vatican Museums for a license.
  • Etruscan bronze statue portraying a nearly life size young warrior dressed in armour, offering a libation of wine to a divinity ( patera style cup missing) Made in the 5th century BC in Orvieto and excavated from Todi where it had been buried after being struck by lightening, which was the custom at the time.  Inv 13886, The Vatican Museums Rome. Art Background. For use in non editorial advertising apply to the Vatican Museums for a license.
  • Etruscan bronze statue portraying a nearly life size young warrior dressed in armour, offering a libation of wine to a divinity ( patera style cup missing) Made in the 5th century BC in Orvieto and excavated from Todi where it had been buried after being struck by lightening, which was the custom at the time.  Inv 13886, The Vatican Museums Rome. Grey Art Background. For use in non editorial advertising apply to the Vatican Museums for a license.
  • First half of the 6th century B.C Etruscan clay head of a young man made in Chiusi, inv 94612, National Archaeological Museum Florence, Italy , white background
  • First half of the 6th century B.C Etruscan clay head of a young man made in Chiusi, inv 94612, National Archaeological Museum Florence, Italy , black background
  • First half of the 6th century B.C Etruscan clay head of a young man made in Chiusi, inv 94612, National Archaeological Museum Florence, Italy , against grey
  • First half of the 6th century B.C Etruscan clay head of a young man made in Chiusi, inv 94612, National Archaeological Museum Florence, Italy , grey art background
  • First half of the 6th century B.C Etruscan clay head of a young man made in Chiusi, inv 94612, National Archaeological Museum Florence, Italy
  • 323-300B.C Etruscan Hellenistisc style column Krater with red figure of a young man against a black background, made in Volterra (Pisa), National Archaeological Museum Florence, Italy , white background
  • 323-300B.C Etruscan Hellenistisc style column Krater with red figure of a young man against a black background, made in Volterra (Pisa), National Archaeological Museum Florence, Italy , black background
  • 323-300B.C Etruscan Hellenistisc style column Krater with red figure of a young man against a black background, made in Volterra (Pisa), National Archaeological Museum Florence, Italy, against grey
  • 323-300B.C Etruscan Hellenistisc style column Krater with red figure of a young man against a black background, made in Volterra (Pisa), National Archaeological Museum Florence, Italy , grey art background
  • 323-300B.C Etruscan Hellenistisc style column Krater with red figure of a young man against a black background, made in Volterra (Pisa), National Archaeological Museum Florence, Italy
  • Detail of the Roman fresco wall painting of a young man resting from the  triclinium,  a formal dining room, of the Villa Arianna (Adriana), Stabiae (Stabia) near Pompeii , inv 9093, Naples National Archaeological Museum, white background
  • Detail of the Roman fresco wall painting of a young man resting from the  triclinium,  a formal dining room, of the Villa Arianna (Adriana), Stabiae (Stabia) near Pompeii , inv 9093, Naples National Archaeological Museum, grey background
  • Detail of the Roman fresco wall painting of a young man resting from the  triclinium,  a formal dining room, of the Villa Arianna (Adriana), Stabiae (Stabia) near Pompeii , inv 9093, Naples National Archaeological Museum, black background
  • Detail of the Roman fresco wall painting of a young man resting from the  triclinium,  a formal dining room, of the Villa Arianna (Adriana), Stabiae (Stabia) near Pompeii , inv 9093, Naples National Archaeological Museum,  art background
  • Detail of the Roman fresco wall painting of a young man resting from the  triclinium,  a formal dining room, of the Villa Arriana (Adriana), Stabiae (Stabia) near Pompeii , inv 9093, Naples National Archaeological Museum, grey art background
  • Photo of Roman relief sculpture, Aphrodisias, Turkey, Images of Roman art bas reliefs.  Unknown hero holding a sword gazes at an unknown young heroine.
  • Photo of Roman relief sculpture, Aphrodisias, Turkey, Images of Roman art bas reliefs.  Unknown hero holding a sword gazes at an unknown young heroine.
  • Photo of Roman relief sculpture, Aphrodisias, Turkey, Images of Roman art bas reliefs.  Unknown hero holding a sword gazes at an unknown young heroine.
  • Roman statue of a young Satyr from the Hadranic period circa 117-138 AD excavated from an area near the via XX Settembre and Via Firenza, Rome, Italy. A young Satyr, wearing a panther’s skin tied on the right shoulder, plays the tibia oblique (flute) whist reclining next to a tree trunk. The statue is based on a Greek prototype from the school of Greek sculptor Praxiteles created around 300 BC.  Inv 551, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young man from 110 AD. In this portrait, the hairstyle and facial features are typical of the Trajan era of portraiture. The hairstyle is characterised by a slight central parting on the forehead . Inv 287, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young man from 110 AD. In this portrait, the hairstyle and facial features are typical of the Trajan era of portraiture. The hairstyle is characterised by a slight central parting on the forehead . Inv 287, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young man from 110 AD. In this portrait, the hairstyle and facial features are typical of the Trajan era of portraiture. The hairstyle is characterised by a slight central parting on the forehead . Inv 287, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young man from 110 AD. In this portrait, the hairstyle and facial features are typical of the Trajan era of portraiture. The hairstyle is characterised by a slight central parting on the forehead . Inv 287, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young man from 110 AD. In this portrait, the hairstyle and facial features are typical of the Trajan era of portraiture. The hairstyle is characterised by a slight central parting on the forehead . Inv 287, The National Roman Museum, Rome, Italy
  • Roman mosaic of a Young boy playing with snakes, possibly an early Christian mosaic. Syria or Lebanon, 5th century AD. Cubes of marble and limestone. Dressed in a long tunic, the child playing with two snakes could be illustrating a passage from the Book of Isai (11.6 to 8). This fragmented mosaic panel once continued in upper part, as indicated by the animal hoofs, and to the right of the mosaic are remains of a Greek inscription. inv 5094. Louvre Museum, Paris
  • Roman mosaic of a Young boy playing with snakes, possibly an early Christian mosaic. Syria or Lebanon, 5th century AD. Cubes of marble and limestone. Dressed in a long tunic, the child playing with two snakes could be illustrating a passage from the Book of Isai (11.6 to 8). This fragmented mosaic panel once continued in upper part, as indicated by the animal hoofs, and to the right of the mosaic are remains of a Greek inscription. inv 5094. Louvre Museum, Paris
  • Roman mosaic of a Young boy playing with snakes, possibly an early Christian mosaic. Syria or Lebanon, 5th century AD. Cubes of marble and limestone. Dressed in a long tunic, the child playing with two snakes could be illustrating a passage from the Book of Isai (11.6 to 8). This fragmented mosaic panel once continued in upper part, as indicated by the animal hoofs, and to the right of the mosaic are remains of a Greek inscription. inv 5094. Louvre Museum, Paris
  • Roman mosaic of a Young boy playing with snakes, possibly an early Christian mosaic. Syria or Lebanon, 5th century AD. Cubes of marble and limestone. Dressed in a long tunic, the child playing with two snakes could be illustrating a passage from the Book of Isai (11.6 to 8). This fragmented mosaic panel once continued in upper part, as indicated by the animal hoofs, and to the right of the mosaic are remains of a Greek inscription. inv 5094. Louvre Museum, Paris
  • Roman portrait bust of a young man from the rule of Trajan 98-117 AD. This bust of a man presents a hairstyle with long curls that are closely cut to the head and cover the forehead with a thick fringe that follows the shape of the face. The style comes from the official portraits of Trajan, 97-117 AD, created for his Decennalia, celebrating the tenth year of his reign. Inv 317, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young man from the rule of Trajan 98-117 AD. This bust of a man presents a hairstyle with long curls that are closely cut to the head and cover the forehead with a thick fringe that follows the shape of the face. The style comes from the official portraits of Trajan, 97-117 AD, created for his Decennalia, celebrating the tenth year of his reign. Inv 317, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young man from the rule of Trajan 98-117 AD. This bust of a man presents a hairstyle with long curls that are closely cut to the head and cover the forehead with a thick fringe that follows the shape of the face. The style comes from the official portraits of Trajan, 97-117 AD, created for his Decennalia, celebrating the tenth year of his reign. Inv 317, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young man from the rule of Trajan 98-117 AD. This bust of a man presents a hairstyle with long curls that are closely cut to the head and cover the forehead with a thick fringe that follows the shape of the face. The style comes from the official portraits of Trajan, 97-117 AD, created for his Decennalia, celebrating the tenth year of his reign. Inv 317, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young man from the rule of Trajan 98-117 AD. This bust of a man presents a hairstyle with long curls that are closely cut to the head and cover the forehead with a thick fringe that follows the shape of the face. The style comes from the official portraits of Trajan, 97-117 AD, created for his Decennalia, celebrating the tenth year of his reign. Inv 317, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young man from 110 AD. In this portrait, the hairstyle and facial features are typical of the Trajan era of portraiture. The hairstyle is characterised by a slight central parting on the forehead . Inv 287, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young man from 110 AD. In this portrait, the hairstyle and facial features are typical of the Trajan era of portraiture. The hairstyle is characterised by a slight central parting on the forehead . Inv 287, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young man from 110 AD. In this portrait, the hairstyle and facial features are typical of the Trajan era of portraiture. The hairstyle is characterised by a slight central parting on the forehead . Inv 287, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young man from 110 AD. In this portrait, the hairstyle and facial features are typical of the Trajan era of portraiture. The hairstyle is characterised by a slight central parting on the forehead . Inv 287, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young man from 110 AD. In this portrait, the hairstyle and facial features are typical of the Trajan era of portraiture. The hairstyle is characterised by a slight central parting on the forehead . Inv 287, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young man from 110 AD. In this portrait, the hairstyle and facial features are typical of the Trajan era of portraiture. The hairstyle is characterised by a slight central parting on the forehead . Inv 287, The National Roman Museum, Rome, Italy
  • Roman Bust of Antinous - late Hadrianic period circa 130-138AD. Antinous was the young Bithynian favoured by the emperor Hadrian who was deified after drowning under mysterious circumstances in the waters of the Nile circa 130AD. Thanks to the promotion of the cult Antinous portraits can be found throughout the Empire in the places most frequented by Hadrian. National Roman Museum, Rome, Italy
  • Roman Bust of Antinous - late Hadrianic period circa 130-138AD. Antinous was the young Bithynian favoured by the emperor Hadrian who was deified after drowning under mysterious circumstances in the waters of the Nile circa 130AD. Thanks to the promotion of the cult Antinous portraits can be found throughout the Empire in the places most frequented by Hadrian. National Roman Museum, Rome, Italy
  • Roman Bust of Antinous - late Hadrianic period circa 130-138AD. Antinous was the young Bithynian favoured by the emperor Hadrian who was deified after drowning under mysterious circumstances in the waters of the Nile circa 130AD. Thanks to the promotion of the cult Antinous portraits can be found throughout the Empire in the places most frequented by Hadrian. National Roman Museum, Rome, Italy
  • Roman Bust of Antinous - late Hadrianic period circa 130-138AD. Antinous was the young Bithynian favoured by the emperor Hadrian who was deified after drowning under mysterious circumstances in the waters of the Nile circa 130AD. Thanks to the promotion of the cult Antinous portraits can be found throughout the Empire in the places most frequented by Hadrian. National Roman Museum, Rome, Italy
  • Roman Bust of Antinous - late Hadrianic period circa 130-138AD. Antinous was the young Bithynian favoured by the emperor Hadrian who was deified after drowning under mysterious circumstances in the waters of the Nile circa 130AD. Thanks to the promotion of the cult Antinous portraits can be found throughout the Empire in the places most frequented by Hadrian. National Roman Museum, Rome, Italy
  • Statue known as Antonius as Aristaeus. Antinous was the young Bithynian favoured by the emperor Hadrian who was deified after drowning under mysterious circumstances in the waters of the Nile circa 130AD. Thanks to the promotion of the cult Antinous portraits can be found throughout the Empire in the places most frequented by Hadrian. This statue was part of the collection of ancient sculptors bought in Rome by Cardinal Richelieu (1585-1642) for his chateau in Poitou. The favourite of the Emperor Hadrian (117-138 AD) Antonius  is depicted here as Aristaeus, a minor Greek God of fruit trees and bee keeping. The Richelieu Collection, Inv No. MR 73 or Ma 5781, Louvre Museum, Paris.
  • Statue known as Antonius as Aristaeus. Antinous was the young Bithynian favoured by the emperor Hadrian who was deified after drowning under mysterious circumstances in the waters of the Nile circa 130AD. Thanks to the promotion of the cult Antinous portraits can be found throughout the Empire in the places most frequented by Hadrian. This statue was part of the collection of ancient sculptors bought in Rome by Cardinal Richelieu (1585-1642) for his chateau in Poitou. The favourite of the Emperor Hadrian (117-138 AD) Antonius  is depicted here as Aristaeus, a minor Greek God of fruit trees and bee keeping. The Richelieu Collection, Inv No. MR 73 or Ma 5781, Louvre Museum, Paris.
  • Statue known as Antonius as Aristaeus. Antinous was the young Bithynian favoured by the emperor Hadrian who was deified after drowning under mysterious circumstances in the waters of the Nile circa 130AD. Thanks to the promotion of the cult Antinous portraits can be found throughout the Empire in the places most frequented by Hadrian. This statue was part of the collection of ancient sculptors bought in Rome by Cardinal Richelieu (1585-1642) for his chateau in Poitou. The favourite of the Emperor Hadrian (117-138 AD) Antonius  is depicted here as Aristaeus, a minor Greek God of fruit trees and bee keeping. The Richelieu Collection, Inv No. MR 73 or Ma 5781, Louvre Museum, Paris.
  • Statue known as Antonius as Aristaeus. Antinous was the young Bithynian favoured by the emperor Hadrian who was deified after drowning under mysterious circumstances in the waters of the Nile circa 130AD. Thanks to the promotion of the cult Antinous portraits can be found throughout the Empire in the places most frequented by Hadrian. This statue was part of the collection of ancient sculptors bought in Rome by Cardinal Richelieu (1585-1642) for his chateau in Poitou. The favourite of the Emperor Hadrian (117-138 AD) Antonius  is depicted here as Aristaeus, a minor Greek God of fruit trees and bee keeping. The Richelieu Collection, Inv No. MR 73 or Ma 5781, Louvre Museum, Paris.
  • Photo of Roman relief sculpture, Aphrodisias, Turkey, Images of Roman art bas reliefs.  Unknown hero holding a sword gazes at an unknown young heroine.
  • Photo of Roman relief sculpture, Aphrodisias, Turkey, Images of Roman art bas reliefs.  Unknown hero holding a sword gazes at an unknown young heroine.
  • Photo of Roman relief sculpture, Aphrodisias, Turkey, Images of Roman art bas reliefs.  Unknown hero holding a sword gazes at an unknown young heroine.
  • Young girl and her mother wind blowing sorgum grain in a village. West Nile Uganda
  • Slim healthy young women in a swimming suit
  • Slim healthy young women in a swimming suit
  • Close up of Roman Sebasteion relief  sculpture of Nero being crowned emperor by Agrippina, Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.<br />
<br />
Agrippina crowns her young son Nero with a laurel wreath. She carries a cornucopia, a symbol of Fortune and Plenty, and he wears the armour and cloak of a Roman commander, with a helmet on the ground near his feet. The scene refers to Nero’s accession as emperor in AD 54, and belongs before AD 59 when Nero had Agrippina murdered.
  • Roman Sebasteion relief  sculpture of Nero being crowned emperor by Agrippina, Aphrodisias Museum, Aphrodisias, Turkey.  Against an art background.<br />
<br />
Agrippina crowns her young son Nero with a laurel wreath. She carries a cornucopia, a symbol of Fortune and Plenty, and he wears the armour and cloak of a Roman commander, with a helmet on the ground near his feet. The scene refers to Nero’s accession as emperor in AD 54, and belongs before AD 59 when Nero had Agrippina murdered.
  • Close up of a Roman Sebasteion relief  sculpture of Aineas’ flight from Troy, Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
Aineas in armour carries his aged farther Anchises on his shoulders and leads his young son Lulus by his hand. They are fleeing from the sack of Troy. The figure floating behind is Aphrodite, Aineas’ mother: she is helping their escape. Old Anchises carries a round box that held images of Troy’s ancestral gods.
  • Close up of a Roman Sebasteion relief  sculpture of Io and Argos Aphrodisias Museum, Aphrodisias, Turkey.     Against a white background.<br />
<br />
A powerful hero is folding a sword gazing closely at a half naked and dishevelled young heroine who sits on a chest like stool. Between, on a pillar base stood a small, separately added statue of a goddess ( now missing). The scene follows a scheme used in the relief panels “Io guarded by Argos”. Io was one of Zeus’s lovers, and Argos was a watchful giant sent to guard her by Hera, Zeus’s wife.
  • Roman mosaics - Seasons  Mosaic. Telete Villa.  2nd - 3rd century AD . Zeugma Mosaic Museum, Gaziantep, Turkey.   Against an art background.<br />
<br />
Seasons mosaic Telete, was unearthed during the rescue excavations y Gaziantep Museum in 1994 when it was about to be stolen by the traffickers. It is the floor mosaic of a villa terrace located on the western skins of Zeugma hill <br />
<br />
The pane% consists of nine parts. At the central panel, Eros, who Is a mythological character and who has a crown on his head, sits side by side with Telete, the daughter of Dionysus. This representation symbolises the preparation of a young woman who is just about to taste the love and to become mature. There are busts of seasonal gods In the square panels at the corners. The crowned head of the Spring Goddess Ear Is slightly towards right. She wears a floral necklace. Her righr shoulder is naked and the crimps of her cloak are seen on her left shoulder. There is the bust of the river god on the top-right of the Telete panel. A kid lying on the grass and a bucket are pictured in the lower rectangular panel. In the western-side rectangular panel, on the other hand, there are four fish going in and out of a game basket. There is a rabbit figure within the rectangular panel on the right. Mythical narrations and natural life are intertwined in this mosaic.
  • Hittite monumental relief sculpted orthostat stone panel of a Procession Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C.  Anatolian Civilisations Museum, Ankara, Turkey. Young male servants of Kubaba while carrying sacrificial animals on their shoulders. <br />
<br />
Against a black background.
  • Picture and image of the late borgeoise realistic style stone sculpture of the Gallino tomb sculpted by  G. Moreno 1894.  In the tomb, the bust that portrays the deceased Carolina receives the kiss of a child, probably the niece, supported by a young woman - the mother, or perhaps the elder sister - whose face is marked by pain; on the right an older man, presumably her husband, stands aside, almost absent, looking down at the ground. The most intimate tones and psychological introspection are grafted here in the language of bourgeois Realism: with undoubted technical virtuosity Moreno offers a rigorous "quantitative" description of reality, dwelling on every single detail of faces, clothing, accessories and hairstyles . Section A, no 54, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Painted colour verion of  Centaur with Eros on its back, a 1st - 2nd AD Roman sculpture in marble. Tradition has it that a centaur be a monstrous half-man half-horse mythical creature. In this Roman statue the old centaur is being ridden by Eros (Cupid), the Greek god of Love represented in the form of a young wing child. The sculpture is a copy of a Greek original  attributed to school sculpture of Aphrodisias (Turkey) can be dating in the 2nd century BC. The Borghese Collection inv MR 122 ( or Ma 562 ), Louvre Museum Paris
  • Roman Fresco with a boat decorated for a festival and marine life from the second quarter of the first century AD. (mosaico fauna marina da porto fluviale di san paolo), museo nazionale romano ( National Roman Museum), Rome, Italy. inv. 121462 .   <br />
The frescoes depict boats decorated as boats which went along the Tiber on festival days; their shape appears to be the caudicariae boats, used to transport merchandise. In the fresco fragment exhibited here (Ambiente E) the boat on the left depicts probably the group of 'side Serapide and Demetra on the stern, whereas the one on the right presents a crowned character on the bow and, on the stern, a feminine figure fluctuating in the air. Between the two boats, a young boy (a cupid or Palaimon-Portunus) rides a dolphin. All around are depicted several fish incredibly casting their shadows on the sea. The ichthyic fauna, lifeless as in still life decoration, is detailed as in a scientific catalogue. For the most part the represented species live next to the coast or were bred by the Romans in the piscinae salsac or in ponds. It is possible to recognize the rock mullet (mullus sunnuletus) and the mud one (mullus barbatu4 the scorpion fish (scorpoena) the dentex (dentex dentex), the aguglia (belone agus) the dolphin (delphinus delphis) and the golden mullet (lire curate).
  • Roman Fresco with a boat decorated for a festival and marine life from the second quarter of the first century AD. (mosaico fauna marina da porto fluviale di san paolo), museo nazionale romano ( National Roman Museum), Rome, Italy. inv. 121462 .    Against a grey background.<br />
The frescoes depict boats decorated as boats which went along the Tiber on festival days; their shape appears to be the caudicariae boats, used to transport merchandise. In the fresco fragment exhibited here (Ambiente E) the boat on the left depicts probably the group of 'side Serapide and Demetra on the stern, whereas the one on the right presents a crowned character on the bow and, on the stern, a feminine figure fluctuating in the air. Between the two boats, a young boy (a cupid or Palaimon-Portunus) rides a dolphin. All around are depicted several fish incredibly casting their shadows on the sea. The ichthyic fauna, lifeless as in still life decoration, is detailed as in a scientific catalogue. For the most part the represented species live next to the coast or were bred by the Romans in the piscinae salsac or in ponds. It is possible to recognize the rock mullet (mullus sunnuletus) and the mud one (mullus barbatu4 the scorpion fish (scorpoena) the dentex (dentex dentex), the aguglia (belone agus) the dolphin (delphinus delphis) and the golden mullet (lire curate).
  • Roman Fresco with boats and marine life from the second quarter of the first century AD. (mosaico fauna marina da porto fluviale di san paolo), museo nazionale romano ( National Roman Museum), Rome, Italy. inv. 121462 .  Against a white background.<br />
The frescoes depict boats decorated as boats which went along the Tiber on festival days; their shape appears to be the caudicariae boats, used to transport merchandise. In the fresco fragment exhibited here (Ambiente E) the boat on the left depicts probably the group of 'side Serapide and Demetra on the stern, whereas the one on the right presents a crowned character on the bow and, on the stern, a feminine figure fluctuating in the air. Between the two boats, a young boy (a cupid or Palaimon-Portunus) rides a dolphin. All around are depicted several fish incredibly casting their shadows on the sea. The ichthyic fauna, lifeless as in still life decoration, is detailed as in a scientific catalogue. For the most part the represented species live next to the coast or were bred by the Romans in the piscinae salsac or in ponds. It is possible to recognize the rock mullet (mullus sunnuletus) and the mud one (mullus barbatu4 the scorpion fish (scorpoena) the dentex (dentex dentex), the aguglia (belone agus) the dolphin (delphinus delphis) and the golden mullet (lire curate).

FunkyStock Picture Library Resource

Picture The Past

ABOUT

FunkyStock Picture Library free resource for professional editorial picture editors, picture researchers, historical scholars and students and enthusiasts who want to browse some of the best pictures and images of historic countries, historical places, archaeological sites and the very best museum antiquities and artefacts exhibits in Europe and the Middle East.

Pictures and Images can be downloaded or bought as stock photos or photo art prints.

COUNTRIES

Browse travel pictures and images of historic places and archaeological sites of countries in Europe and the Middle East.

VIEW COUNTRIES INDEX....

HISTORICAL

Explore the past through pictures and images of its historic places. See the great palaces, castles and cities of antiquity as well as the great archaeological sites where our ancestors made history.

EXPLORE HISTORICAL PLACES...

MUSEUMS

Browse pictures & images the treasured artefacts and antiquities exhibits from the great Museum of Europe and the Middle East. See the art and objects made by our ancestors.

SEE MUESEUM ANTIQUITIES....