• Green Boy and a dog Statue Polaroid Lift
  • festive christmas star with toys and presents
  • children playing - Runswick Bay - North Yorkshire - England
  • Runswick Bay - North Yorkshire - England - children jumping waves
  • Wide picture of the Roman mosaics of the Room of the Chidrens's Hunt depicting children hunting animals, room no 44 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Roman mosaic on the floor of the cubicle of the Child Hunt in the Villa Romana del Casale is divided into three registers with a floral theme.<br />
<br />
In the first register boys are spearing a hare with a venabulum ( spear) while to their right another boy has trapped a duckling. <br />
<br />
In the second register tree young hunters are portrayed being attacked by animals, one boy has fallen down having been bitten on the calf by a weasel. The boy in the middle has his hands raised calling for help and to his right a boy is about to be attacked bu a cockerel.<br />
<br />
In the lower register a boy is holding a raised club about to hit a peacock while another boy is spearing a goat and another is using a shield to protect himself from a Great Bustard.
  • Close up detail picture of the Roman mosaics of the Room of the Chidrens's Hunt depicting children hunting animals, room no 44 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Roman mosaic on the floor of the cubicle of the Child Hunt in the Villa Romana del Casale is divided into three registers with a floral theme.<br />
<br />
In the first register boys are spearing a hare with a venabulum ( spear) while to their right another boy has trapped a duckling. <br />
<br />
In the second register tree young hunters are portrayed being attacked by animals, one boy has fallen down having been bitten on the calf by a weasel. The boy in the middle has his hands raised calling for help and to his right a boy is about to be attacked bu a cockerel.<br />
<br />
In the lower register a boy is holding a raised club about to hit a peacock while another boy is spearing a goat and another is using a shield to protect himself from a Great Bustard.
  • Close up detail picture of the Roman mosaics of the Room of the Chidrens's Hunt depicting children hunting animals, room no 44 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Roman mosaic on the floor of the cubicle of the Child Hunt in the Villa Romana del Casale is divided into three registers with a floral theme.<br />
<br />
In the first register boys are spearing a hare with a venabulum ( spear) while to their right another boy has trapped a duckling. <br />
<br />
In the second register tree young hunters are portrayed being attacked by animals, one boy has fallen down having been bitten on the calf by a weasel. The boy in the middle has his hands raised calling for help and to his right a boy is about to be attacked bu a cockerel.<br />
<br />
In the lower register a boy is holding a raised club about to hit a peacock while another boy is spearing a goat and another is using a shield to protect himself from a Great Bustard.
  • Close up detail picture of the Roman mosaics of the Room of the Chidrens's Hunt depicting children hunting animals, room no 44 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Roman mosaic on the floor of the cubicle of the Child Hunt in the Villa Romana del Casale is divided into three registers with a floral theme.<br />
<br />
In the first register boys are spearing a hare with a venabulum ( spear) while to their right another boy has trapped a duckling. <br />
<br />
In the second register tree young hunters are portrayed being attacked by animals, one boy has fallen down having been bitten on the calf by a weasel. The boy in the middle has his hands raised calling for help and to his right a boy is about to be attacked bu a cockerel.<br />
<br />
In the lower register a boy is holding a raised club about to hit a peacock while another boy is spearing a goat and another is using a shield to protect himself from a Great Bustard.
  • Close up detail picture of the Roman mosaics of the Room of the Chidrens's Hunt depicting children hunting animals, room no 44 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Roman mosaic on the floor of the cubicle of the Child Hunt in the Villa Romana del Casale is divided into three registers with a floral theme.<br />
<br />
In the first register boys are spearing a hare with a venabulum ( spear) while to their right another boy has trapped a duckling. <br />
<br />
In the second register tree young hunters are portrayed being attacked by animals, one boy has fallen down having been bitten on the calf by a weasel. The boy in the middle has his hands raised calling for help and to his right a boy is about to be attacked bu a cockerel.<br />
<br />
In the lower register a boy is holding a raised club about to hit a peacock while another boy is spearing a goat and another is using a shield to protect himself from a Great Bustard.
  • Close up detail picture of the Roman mosaics of the Room of the Chidrens's Hunt depicting children hunting animals, room no 44 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Roman mosaic on the floor of the cubicle of the Child Hunt in the Villa Romana del Casale is divided into three registers with a floral theme.<br />
<br />
In the first register boys are spearing a hare with a venabulum ( spear) while to their right another boy has trapped a duckling. <br />
<br />
In the second register tree young hunters are portrayed being attacked by animals, one boy has fallen down having been bitten on the calf by a weasel. The boy in the middle has his hands raised calling for help and to his right a boy is about to be attacked bu a cockerel.<br />
<br />
In the lower register a boy is holding a raised club about to hit a peacock while another boy is spearing a goat and another is using a shield to protect himself from a Great Bustard.
  • Close up detail picture of the Roman mosaics of the Room of the Chidrens's Hunt depicting children hunting animals, room no 44 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Roman mosaic on the floor of the cubicle of the Child Hunt in the Villa Romana del Casale is divided into three registers with a floral theme.<br />
<br />
In the first register boys are spearing a hare with a venabulum ( spear) while to their right another boy has trapped a duckling. <br />
<br />
In the second register tree young hunters are portrayed being attacked by animals, one boy has fallen down having been bitten on the calf by a weasel. The boy in the middle has his hands raised calling for help and to his right a boy is about to be attacked bu a cockerel.<br />
<br />
In the lower register a boy is holding a raised club about to hit a peacock while another boy is spearing a goat and another is using a shield to protect himself from a Great Bustard.
  • The Minoan 'Blue Boy' or 'Saffron Gatherer' wall art fresco from Knossos Palace, 1600-1300 BC. Heraklion Archaeological Museum.  Grey Background.
  • The Minoan 'Blue Boy' or 'Saffron Gatherer' wall art fresco from Knossos Palace, 1600-1300 BC. Heraklion Archaeological Museum.  Grey Background.
  • The Minoan 'Blue Boy' or 'Saffron Gatherer' wall art fresco from Knossos Palace, 1600-1300 BC. Heraklion Archaeological Museum.
  • The Minoan 'Blue Boy' or 'Saffron Gatherer' wall art fresco from Knossos Palace, 1600-1300 BC. Heraklion Archaeological Museum.
  • The Minoan 'Blue Boy' or 'Saffron Gatherer' wall art fresco from Knossos Palace, 1600-1300 BC. Heraklion Archaeological Museum.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177. Against grey<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177. Against grey<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177, Against white, <br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177, Against white, <br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177. Against grey<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177. Against grey<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177. Against grey<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177. Against grey<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177. Against grey<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177, Against white, <br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177. Against grey<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177. Against white, <br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177. Against grey<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • Roman statue of a Boy strangling a goose, a Roman copy of a late 3rd century Hellenistic bronze statue attributed to Boethos. Excavated from the Villa dei Quintilli on the Appian Way, inv 2655, Vatican Museum Rome, Italy,  white background
  • Roman statue of a Boy strangling a goose, a Roman copy of a late 3rd century Hellenistic bronze statue attributed to Boethos. Excavated from the Villa dei Quintilli on the Appian Way, inv 2655, Vatican Museum Rome, Italy,  black background
  • Roman statue of a Boy strangling a goose, a Roman copy of a late 3rd century Hellenistic bronze statue attributed to Boethos. Excavated from the Villa dei Quintilli on the Appian Way, inv 2655, Vatican Museum Rome, Italy,  grey  background
  • Roman statue of a Boy strangling a goose, a Roman copy of a late 3rd century Hellenistic bronze statue attributed to Boethos. Excavated from the Villa dei Quintilli on the Appian Way, inv 2655, Vatican Museum Rome, Italy,  grey art background
  • Roman statue of a Boy strangling a goose, a Roman copy of a late 3rd century Hellenistic bronze statue attributed to Boethos. Excavated from the Villa dei Quintilli on the Appian Way, inv 2655, Vatican Museum Rome, Italy,  art background
  • 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
  • The Minoan 'Blue Boy' or 'Saffron Gatherer' wall art fresco from Knossos Palace, 1600-1300 BC. Heraklion Archaeological Museum.  White Background.
  • The Minoan 'Blue Boy' or 'Saffron Gatherer' wall art fresco from Knossos Palace, 1600-1300 BC. Heraklion Archaeological Museum.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177, Against white, <br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177, Against white, <br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • 'Jockey of Artrmision' a Hellenistic bronze statue of a boy riding a horse. National Archaeological Museum Athens. Circa 140 BC. Cat No X 15177. Against grey<br />
<br />
Retrieved in pieces from a shipwreck of Cape Artemision in Euboea. The young jockey holds a rein in his left hand and a whip in his right. His face has a passionate expression with furrowas on his face. The pieces of the Bronze sculpture were reassembled in 1971.
  • Minoan 'Boxing Children' fresco Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens artefact. 17th-16th cent BC.<br />
<br />
The 'Boxing Children' fresco depicts two naked boys wearing belts and boxing gloves. Their heads are shaved but for two long locks at the back and two shorter ones on their forehead. Their dark complexion indicated thair gender. The boy on the left is the more reserved of the two and wears jewelry consisting of a necklace and two bracelets, one on his arm and the other around his ankle, which indicated his higher social status. From room B1 of building B.
  • Minoan 'Boxing Children' fresco Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens artefact. 17th-16th cent BC.<br />
<br />
The 'Boxing Children' fresco depicts two naked boys wearing belts and boxing gloves. Their heads are shaved but for two long locks at the back and two shorter ones on their forehead. Their dark complexion indicated thair gender. The boy on the left is the more reserved of the two and wears jewelry consisting of a necklace and two bracelets, one on his arm and the other around his ankle, which indicated his higher social status. From room B1 of building B.
  • Minoan 'Boxing Children' fresco Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens artefact. 17th-16th cent BC.<br />
<br />
The 'Boxing Children' fresco depicts two naked boys wearing belts and boxing gloves. Their heads are shaved but for two long locks at the back and two shorter ones on their forehead. Their dark complexion indicated thair gender. The boy on the left is the more reserved of the two and wears jewelry consisting of a necklace and two bracelets, one on his arm and the other around his ankle, which indicated his higher social status. From room B1 of building B.
  • Minoan 'Boxing Children' fresco Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens artefact. 17th-16th cent BC.<br />
<br />
The 'Boxing Children' fresco depicts two naked boys wearing belts and boxing gloves. Their heads are shaved but for two long locks at the back and two shorter ones on their forehead. Their dark complexion indicated thair gender. The boy on the left is the more reserved of the two and wears jewelry consisting of a necklace and two bracelets, one on his arm and the other around his ankle, which indicated his higher social status. From room B1 of building B.
  • Minoan 'Boxing Children' fresco Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens artefact. 17th-16th cent BC.<br />
<br />
The 'Boxing Children' fresco depicts two naked boys wearing belts and boxing gloves. Their heads are shaved but for two long locks at the back and two shorter ones on their forehead. Their dark complexion indicated thair gender. The boy on the left is the more reserved of the two and wears jewelry consisting of a necklace and two bracelets, one on his arm and the other around his ankle, which indicated his higher social status. From room B1 of building B.
  • Minoan 'Boxing Children' fresco Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens artefact. 17th-16th cent BC.<br />
<br />
The 'Boxing Children' fresco depicts two naked boys wearing belts and boxing gloves. Their heads are shaved but for two long locks at the back and two shorter ones on their forehead. Their dark complexion indicated thair gender. The boy on the left is the more reserved of the two and wears jewelry consisting of a necklace and two bracelets, one on his arm and the other around his ankle, which indicated his higher social status. From room B1 of building B.
  • Minoan 'Boxing Children' fresco Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens artefact. 17th-16th cent BC.<br />
<br />
The 'Boxing Children' fresco depicts two naked boys wearing belts and boxing gloves. Their heads are shaved but for two long locks at the back and two shorter ones on their forehead. Their dark complexion indicated thair gender. The boy on the left is the more reserved of the two and wears jewelry consisting of a necklace and two bracelets, one on his arm and the other around his ankle, which indicated his higher social status. From room B1 of building B.
  • Minoan 'Boxing Children' fresco Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens artefact. 17th-16th cent BC.<br />
<br />
The 'Boxing Children' fresco depicts two naked boys wearing belts and boxing gloves. Their heads are shaved but for two long locks at the back and two shorter ones on their forehead. Their dark complexion indicated thair gender. The boy on the left is the more reserved of the two and wears jewelry consisting of a necklace and two bracelets, one on his arm and the other around his ankle, which indicated his higher social status. From room B1 of building B.
  • Minoan 'Boxing Children' fresco Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens artefact. 17th-16th cent BC.<br />
<br />
The 'Boxing Children' fresco depicts two naked boys wearing belts and boxing gloves. Their heads are shaved but for two long locks at the back and two shorter ones on their forehead. Their dark complexion indicated thair gender. The boy on the left is the more reserved of the two and wears jewelry consisting of a necklace and two bracelets, one on his arm and the other around his ankle, which indicated his higher social status. From room B1 of building B.
  • Minoan 'Boxing Children' fresco Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens artefact. 17th-16th cent BC.<br />
<br />
The 'Boxing Children' fresco depicts two naked boys wearing belts and boxing gloves. Their heads are shaved but for two long locks at the back and two shorter ones on their forehead. Their dark complexion indicated thair gender. The boy on the left is the more reserved of the two and wears jewelry consisting of a necklace and two bracelets, one on his arm and the other around his ankle, which indicated his higher social status. From room B1 of building B.
  • Minoan 'Boxing Children' fresco Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens artefact. 17th-16th cent BC.<br />
<br />
The 'Boxing Children' fresco depicts two naked boys wearing belts and boxing gloves. Their heads are shaved but for two long locks at the back and two shorter ones on their forehead. Their dark complexion indicated thair gender. The boy on the left is the more reserved of the two and wears jewelry consisting of a necklace and two bracelets, one on his arm and the other around his ankle, which indicated his higher social status. From room B1 of building B.
  • Minoan 'Boxing Children' fresco Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens artefact. 17th-16th cent BC.<br />
<br />
The 'Boxing Children' fresco depicts two naked boys wearing belts and boxing gloves. Their heads are shaved but for two long locks at the back and two shorter ones on their forehead. Their dark complexion indicated thair gender. The boy on the left is the more reserved of the two and wears jewelry consisting of a necklace and two bracelets, one on his arm and the other around his ankle, which indicated his higher social status. From room B1 of building B.
  • Minoan 'Boxing Children' fresco Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens artefact. 17th-16th cent BC.<br />
<br />
The 'Boxing Children' fresco depicts two naked boys wearing belts and boxing gloves. Their heads are shaved but for two long locks at the back and two shorter ones on their forehead. Their dark complexion indicated thair gender. The boy on the left is the more reserved of the two and wears jewelry consisting of a necklace and two bracelets, one on his arm and the other around his ankle, which indicated his higher social status. From room B1 of building B.
  • Minoan 'Boxing Children' fresco Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens artefact. 17th-16th cent BC.<br />
<br />
The 'Boxing Children' fresco depicts two naked boys wearing belts and boxing gloves. Their heads are shaved but for two long locks at the back and two shorter ones on their forehead. Their dark complexion indicated thair gender. The boy on the left is the more reserved of the two and wears jewelry consisting of a necklace and two bracelets, one on his arm and the other around his ankle, which indicated his higher social status. From room B1 of building B.
  • Detail of a Roman Sebasteion relief  sculpture of Emperor Nero , Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
Naked warrior emperor Nero holds the orb of world rule in one hand and crowns the military trophy with the other. Between the trophy and the emperor stands a bound captive boy. He wears long barbarian trousers and looks up at Nero.
  • Detail of a Roman Sebasteion relief  sculpture of Emperor Nero , Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
Naked warrior emperor Nero holds the orb of world rule in one hand and crowns the military trophy with the other. Between the trophy and the emperor stands a bound captive boy. He wears long barbarian trousers and looks up at Nero.
  • Detail of a Roman Sebasteion relief  sculpture of Emperor Nero , Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
Naked warrior emperor Nero holds the orb of world rule in one hand and crowns the military trophy with the other. Between the trophy and the emperor stands a bound captive boy. He wears long barbarian trousers and looks up at Nero.
  • Detail of a Roman Sebasteion relief  sculpture of Emperor Nero , Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
Naked warrior emperor Nero holds the orb of world rule in one hand and crowns the military trophy with the other. Between the trophy and the emperor stands a bound captive boy. He wears long barbarian trousers and looks up at Nero.
  • Detail of a Roman Sebasteion relief  sculpture of Emperor Nero , Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
Naked warrior emperor Nero holds the orb of world rule in one hand and crowns the military trophy with the other. Between the trophy and the emperor stands a bound captive boy. He wears long barbarian trousers and looks up at Nero.
  • Close up of a Roman Sebasteion relief  sculpture of Emperor Nero with captive, Aphrodisias Museum, Aphrodisias, Turkey.   Against a white background.<br />
<br />
Naked warrior emperor Nero holds the orb of world rule in one hand and crowns the military trophy with the other. Between the trophy and the emperor stands a bound captive boy. He wears long barbarian trousers and looks up at Nero.
  • Close up of a Roman Sebasteion relief  sculpture of Emperor Nero with captive, Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.<br />
<br />
Naked warrior emperor Nero holds the orb of world rule in one hand and crowns the military trophy with the other. Between the trophy and the emperor stands a bound captive boy. He wears long barbarian trousers and looks up at Nero.
  • Close up of a Roman Sebasteion relief  sculpture of Emperor Nero with captive, Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
Naked warrior emperor Nero holds the orb of world rule in one hand and crowns the military trophy with the other. Between the trophy and the emperor stands a bound captive boy. He wears long barbarian trousers and looks up at Nero.
  • Close up of a Roman Sebasteion relief  sculpture of Emperor Nero with captive, Aphrodisias Museum, Aphrodisias, Turkey.  Against an art background.<br />
<br />
Naked warrior emperor Nero holds the orb of world rule in one hand and crowns the military trophy with the other. Between the trophy and the emperor stands a bound captive boy. He wears long barbarian trousers and looks up at Nero.
  • Close up of a Roman Sebasteion relief  sculpture of Emperor Nero with captive, Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
Naked warrior emperor Nero holds the orb of world rule in one hand and crowns the military trophy with the other. Between the trophy and the emperor stands a bound captive boy. He wears long barbarian trousers and looks up at Nero.
  • Detail of a Roman Sebasteion relief  sculpture of Emperor Nero with captive, Aphrodisias Museum, Aphrodisias, Turkey.   Against a white background.<br />
<br />
Naked warrior emperor Nero holds the orb of world rule in one hand and crowns the military trophy with the other. Between the trophy and the emperor stands a bound captive boy. He wears long barbarian trousers and looks up at Nero.
  • Roman Sebasteion relief  sculpture of Emperor Nero with captive, Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.<br />
<br />
Naked warrior emperor Nero holds the orb of world rule in one hand and crowns the military trophy with the other. Between the trophy and the emperor stands a bound captive boy. He wears long barbarian trousers and looks up at Nero.
  • Detail of a Roman Sebasteion relief  sculpture of Emperor Nero with captive, Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
Naked warrior emperor Nero holds the orb of world rule in one hand and crowns the military trophy with the other. Between the trophy and the emperor stands a bound captive boy. He wears long barbarian trousers and looks up at Nero.
  • Detail of a Roman Sebasteion relief  sculpture of Emperor Nero with captive, Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
Naked warrior emperor Nero holds the orb of world rule in one hand and crowns the military trophy with the other. Between the trophy and the emperor stands a bound captive boy. He wears long barbarian trousers and looks up at Nero.
  • Detail of a Roman Sebasteion relief  sculpture of Emperor Nero with captive, Aphrodisias Museum, Aphrodisias, Turkey.  Against an art background.<br />
<br />
Naked warrior emperor Nero holds the orb of world rule in one hand and crowns the military trophy with the other. Between the trophy and the emperor stands a bound captive boy. He wears long barbarian trousers and looks up at Nero.
  • Roman Sebasteion relief  sculpture of Emperor Nero with captive, Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.<br />
<br />
Naked warrior emperor Nero holds the orb of world rule in one hand and crowns the military trophy with the other. Between the trophy and the emperor stands a bound captive boy. He wears long barbarian trousers and looks up at Nero.
  • Roman Sebasteion relief  sculpture of Emperor Nero with captive, Aphrodisias Museum, Aphrodisias, Turkey.   Against a white background.<br />
<br />
Naked warrior emperor Nero holds the orb of world rule in one hand and crowns the military trophy with the other. Between the trophy and the emperor stands a bound captive boy. He wears long barbarian trousers and looks up at Nero.
  • Roman Sebasteion relief  sculpture of Emperor Nero with captive, Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
Naked warrior emperor Nero holds the orb of world rule in one hand and crowns the military trophy with the other. Between the trophy and the emperor stands a bound captive boy. He wears long barbarian trousers and looks up at Nero.
  • Roman Sebasteion relief  sculpture of Emperor Nero with captive, Aphrodisias Museum, Aphrodisias, Turkey.  Against an art background.<br />
<br />
Naked warrior emperor Nero holds the orb of world rule in one hand and crowns the military trophy with the other. Between the trophy and the emperor stands a bound captive boy. He wears long barbarian trousers and looks up at Nero.
  • Roman Sebasteion relief  sculpture of Emperor Nero with captive, Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
Naked warrior emperor Nero holds the orb of world rule in one hand and crowns the military trophy with the other. Between the trophy and the emperor stands a bound captive boy. He wears long barbarian trousers and looks up at Nero.
  • 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 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).
  • 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 .   <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 black 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 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 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 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).
  • 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 an art 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 black 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 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 .  <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 an art 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).
  • 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 black 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 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 .  <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 an art 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).
  • 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 black 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 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 .  <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).
  • 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 black 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 .  <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 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 .  <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 .  <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 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
  • " Smile No: 2". Boy & Lion, Trafalgar Square London, England. Selective colour street photo art pribt by photographer Paul E Williams.
  • "Unreliable Sightings No: 36 " - Little boy at a Wedding Siracusa Duomo, Sicily. Selective colour photo art print by photographer Paul E Williams.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Ksar Ouled Soltane, a traditional Berber and Arab fortified adobe vaulted granary cellars, or ghorfas, situated on the edge of the northern Sahara in the Tataouine district. Tunisia, Africa. Used as a film set Star Wars: The Phantom Menace as the slave quarters of Mos Espa where the character Anakin Skywalker lived as a boy.
  • Hungarian Sokácok boy on the Tuesday procession of the Busojaras  ( Busójárás )  Spring  festival 2010 Mohacs Hungary - Stock photos
  • Boy  in Hungarian Regional Gastronomic at the Gastronomic Festival 2009 - Gyor ( Gy?r ) Hungary
  • boy fishing off the shingle beach at Aldeborough, Suffolk, England
  • boy fishing off the shingle beach at Aldeborough, Suffolk, England
  • Kouros Statues of the Archaic Period. Early 6th c. B.C. (circa 580 B.C.)  Known as Kleovis and Biton, the two boys who heroically pulled their mother on her chariot to the sanctuary where she was to worship. They pulled the chariot for a distance of about 8km. They died the same night peacefully in their sleep according to Herodotus. Delphi Archaeological Museum.
  • Kouros Statues of the Archaic Period. Early 6th c. B.C. (circa 580 B.C.)  Known as Kleovis and Biton, the two boys who heroically pulled their mother on her chariot to the sanctuary where she was to worship. They pulled the chariot for a distance of about 8km. They died the same night peacefully in their sleep according to Herodotus. Delphi Archaeological Museum.
  • Kouros Statues of the Archaic Period. Early 6th c. B.C. (circa 580 B.C.)  Known as Kleovis and Biton, the two boys who heroically pulled their mother on her chariot to the sanctuary where she was to worship. They pulled the chariot for a distance of about 8km. They died the same night peacefully in their sleep according to Herodotus. Delphi Archaeological Museum.
  • Kouros Statues of the Archaic Period. Early 6th c. B.C. (circa 580 B.C.)  Known as Kleovis and Biton, the two boys who heroically pulled their mother on her chariot to the sanctuary where she was to worship. They pulled the chariot for a distance of about 8km. They died the same night peacefully in their sleep according to Herodotus. Delphi Archaeological Museum.
  • Kouros Statues of the Archaic Period. Early 6th c. B.C. (circa 580 B.C.)  Known as Kleovis and Biton, the two boys who heroically pulled their mother on her chariot to the sanctuary where she was to worship. They pulled the chariot for a distance of about 8km. They died the same night peacefully in their sleep according to Herodotus. Delphi Archaeological Museum.
  • Close up detail picture of the Roman mosaics of the small hunt depicting boys hunting a song bird in a tree, room no 24 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Small Hunt room was used as a living room for guests of the Villa Romana del Casale. The Small hunt mosaic design has 4 registers running across the mosaic depicting hunting scenes. In the first register two servants are handling hunting dogs. In the second register figures are depicted burning incense at an altar to Diana, the goddess of hunting, before the hunt starts. The offering is being made by Constantius Clorus , the Caesar of Emperor Maximianus who owned the Villa Romana del Casale. Behind him is his son the future Emperor Constantine. To the right of the altar is a figure holding the reins of a horse dressed in a clavi decorated with ivy leaves indicating that he belongs to the family of Maximianus.
  • wide shot of the Roman mosaics of the room of the Small Circus depicting Roman boys riding small chariots pulled by birds in a small circus, The Vestibule of The Smnall Circus, room no 41  at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Roman mosaic know as the Small Circus at the Villa Romana del Casale depicts a scene of a chariot race from the Circus Maximus in Rome. Two wheeled chariots, driven by children,  are racing around a central Pina (barrier) being drawn by fowl and web footed birds. The four chariots represent the four factions that raced against each other at the Circus and the tunics of the cild charioteers and the birds pulling their chariots are distinguished by the four different colours used by each faction.
  • Close up picture of the Roman mosaics of the room of the Small Circus depicting Roman boys riding small chariots pulled by birds in a small circus, The Vestibule of The Smnall Circus, room no 41  at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Roman mosaic know as the Small Circus at the Villa Romana del Casale depicts a scene of a chariot race from the Circus Maximus in Rome. Two wheeled chariots, driven by children,  are racing around a central Pina (barrier) being drawn by fowl and web footed birds. The four chariots represent the four factions that raced against each other at the Circus and the tunics of the cild charioteers and the birds pulling their chariots are distinguished by the four different colours used by each faction.
  • Close up picture of the Roman mosaics of the room of the Small Circus depicting Roman boys riding small chariots pulled by birds in a small circus, The Vestibule of The Smnall Circus, room no 41  at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Roman mosaic know as the Small Circus at the Villa Romana del Casale depicts a scene of a chariot race from the Circus Maximus in Rome. Two wheeled chariots, driven by children,  are racing around a central Pina (barrier) being drawn by fowl and web footed birds. The four chariots represent the four factions that raced against each other at the Circus and the tunics of the cild charioteers and the birds pulling their chariots are distinguished by the four different colours used by each faction.
  • Close up picture of the Roman mosaics of the room of the Small Circus depicting Roman boys riding small chariots pulled by geese in a small circus, The Vestibule of The Smnall Circus, room no 41  at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Roman mosaic know as the Small Circus at the Villa Romana del Casale depicts a scene of a chariot race from the Circus Maximus in Rome. Two wheeled chariots, driven by children,  are racing around a central Pina (barrier) being drawn by fowl and web footed birds. The four chariots represent the four factions that raced against each other at the Circus and the tunics of the cild charioteers and the birds pulling their chariots are distinguished by the four different colours used by each faction.
  • Close up picture of the Roman mosaics of the room of the Small Circus depicting Roman boys riding small chariots pulled by geese in a small circus, The Vestibule of The Smnall Circus, room no 41  at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Roman mosaic know as the Small Circus at the Villa Romana del Casale depicts a scene of a chariot race from the Circus Maximus in Rome. Two wheeled chariots, driven by children,  are racing around a central Pina (barrier) being drawn by fowl and web footed birds. The four chariots represent the four factions that raced against each other at the Circus and the tunics of the cild charioteers and the birds pulling their chariots are distinguished by the four different colours used by each faction.
  • Close up picture of the Roman mosaics of the room of the Small Circus depicting Roman boys riding small chariots pulled by birds in a small circus, The Vestibule of The Smnall Circus, room no 41  at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Roman mosaic know as the Small Circus at the Villa Romana del Casale depicts a scene of a chariot race from the Circus Maximus in Rome. Two wheeled chariots, driven by children,  are racing around a central Pina (barrier) being drawn by fowl and web footed birds. The four chariots represent the four factions that raced against each other at the Circus and the tunics of the cild charioteers and the birds pulling their chariots are distinguished by the four different colours used by each faction.
  • Close up picture of the Roman mosaics of the room of the Small Circus depicting Roman boys riding small chariots pulled by pigeons in a small circus, The Vestibule of The Smnall Circus, room no 41  at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Roman mosaic know as the Small Circus at the Villa Romana del Casale depicts a scene of a chariot race from the Circus Maximus in Rome. Two wheeled chariots, driven by children,  are racing around a central Pina (barrier) being drawn by fowl and web footed birds. The four chariots represent the four factions that raced against each other at the Circus and the tunics of the cild charioteers and the birds pulling their chariots are distinguished by the four different colours used by each faction.
  • Close up picture of the Roman mosaics of the room of the Small Circus depicting Roman boys riding small chariots pulled by birds in a small circus, The Vestibule of The Smnall Circus, room no 41  at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Roman mosaic know as the Small Circus at the Villa Romana del Casale depicts a scene of a chariot race from the Circus Maximus in Rome. Two wheeled chariots, driven by children,  are racing around a central Pina (barrier) being drawn by fowl and web footed birds. The four chariots represent the four factions that raced against each other at the Circus and the tunics of the cild charioteers and the birds pulling their chariots are distinguished by the four different colours used by each faction.
  • Wide picture of the Roman mosaics of the room of the Small Circus depicting Roman boys riding small chariots pulled by birds in a small circus, The Vestibule of The Smnall Circus, room no 41  at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Roman mosaic know as the Small Circus at the Villa Romana del Casale depicts a scene of a chariot race from the Circus Maximus in Rome. Two wheeled chariots, driven by children,  are racing around a central Pina (barrier) being drawn by fowl and web footed birds. The four chariots represent the four factions that raced against each other at the Circus and the tunics of the cild charioteers and the birds pulling their chariots are distinguished by the four different colours used by each faction.
  • Wide picture of the Roman mosaics of the room of the Small Circus depicting Roman boys riding small chariots pulled by birds in a small circus, The Vestibule of The Smnall Circus, room no 41  at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Roman mosaic know as the Small Circus at the Villa Romana del Casale depicts a scene of a chariot race from the Circus Maximus in Rome. Two wheeled chariots, driven by children,  are racing around a central Pina (barrier) being drawn by fowl and web footed birds. The four chariots represent the four factions that raced against each other at the Circus and the tunics of the cild charioteers and the birds pulling their chariots are distinguished by the four different colours used by each faction.
  • Kouros Statues of the Archaic Period. Early 6th c. B.C. (circa 580 B.C.)  Known as Kleovis and Biton, the two boys who heroically pulled their mother on her chariot to the sanctuary where she was to worship. They pulled the chariot for a distance of about 8km. They died the same night peacefully in their sleep according to Herodotus. Delphi Archaeological Museum.
  • Kouros Statues of the Archaic Period. Early 6th c. B.C. (circa 580 B.C.)  Known as Kleovis and Biton, the two boys who heroically pulled their mother on her chariot to the sanctuary where she was to worship. They pulled the chariot for a distance of about 8km. They died the same night peacefully in their sleep according to Herodotus. Delphi Archaeological Museum.
  • Kouros Statues of the Archaic Period. Early 6th c. B.C. (circa 580 B.C.)  Known as Kleovis and Biton, the two boys who heroically pulled their mother on her chariot to the sanctuary where she was to worship. They pulled the chariot for a distance of about 8km. They died the same night peacefully in their sleep according to Herodotus. Delphi Archaeological Museum.
  • Kouros Statues of the Archaic Period. Early 6th c. B.C. (circa 580 B.C.)  Known as Kleovis and Biton, the two boys who heroically pulled their mother on her chariot to the sanctuary where she was to worship. They pulled the chariot for a distance of about 8km. They died the same night peacefully in their sleep according to Herodotus. Delphi Archaeological Museum.
  • Kouros Statues of the Archaic Period. Early 6th c. B.C. (circa 580 B.C.)  Known as Kleovis and Biton, the two boys who heroically pulled their mother on her chariot to the sanctuary where she was to worship. They pulled the chariot for a distance of about 8km. They died the same night peacefully in their sleep according to Herodotus. Delphi Archaeological Museum.

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