• Paris - France - Montmatre - Antiquw shop window
  • Close up of a Gargoil sculpture - Venice - Italy
  • Roman marble bust of Commodus as Hercules. Circa191-192 AD found in an underground chamber in the Horti Lamiani area of Rome. The son of Marcus Aurelus is shown with the features of Hercules and is characterised by Greek hero’s attributes: the lion’s skin, the club, the apples of Hesperides. The character is accompanied by fantastic sea creatures in a composition symbolising his apotheosis. The work can be dated to the final period of the life of Commodus, between 191-192 AD. Commodus was one of Rome’s bad crazy Emperors being sadistic and debauched with a harem of 300 concubines to choose from. His favourite role playing character was that of Hercules and Commodus ordered many statues to be made showing him dressed as Hercules with a lion's hide and a club. He thought of himself as the reincarnation of Hercules, frequently emulating the legendary hero's feats by appearing in the arena to fight a variety of wild animals. Commodus raised the ire of many military officials in Rome for his Hercules persona in the arena. Often, wounded soldiers and amputees would be placed in the arena for Commodus to slay with a sword. Commodus's eccentric behaviour would not stop there. Citizens of Rome missing their feet through accident or illness were taken to the arena, where they were tethered together for Commodus to club to death while pretending they were giants.[17] These acts may have contributed to his assassination. Such ruthless antics probably led to the violent death of Commodus when a wrestler assassinated him by strangling him to death. MC.1120 Capitoline Museums, Rome
  • Painted colour verion of a Statue of  Atalanta a 2nd century Roman sculpture restored in the 17th century. Atalanta  is a character in Greek mythology, a virgin huntress, unwilling to marry, and loved by the hero Meleager.. The Mazarin Collection  Louvre Museum, Paris.
  • The sword of God from the Sancutary of Yazilikaza, Hattusha, Turkey. Probably the weirdest representation of the rock sanctuary Yazilikaza, shows a sword God. He is waering a high pointed cap, whose ornamented with horns showing he is a divine character. The lower part of his body is formed of two hanging lions that merge into a sword blade . The body of God seems to form the sword handle and the sword being stuck into the ground could indicate that there is a god of the underworld. Cast from the original. Vorderasiatisches Museum, Pergamon Museum, Berlin
  • Statue of  Atalanta a 2nd century Roman sculpture restored in the 17th century. Atalanta  is a character in Greek mythology, a virgin huntress, unwilling to marry, and loved by the hero Meleager.. The Mazarin Collection  Louvre Museum, Paris.
  • Statue of  Atalanta a 2nd century Roman sculpture restored in the 17th century. Atalanta  is a character in Greek mythology, a virgin huntress, unwilling to marry, and loved by the hero Meleager.. The Mazarin Collection  Louvre Museum, Paris.
  • Roman marble bust of Commodus as Hercules. Circa191-192 AD found in an underground chamber in the Horti Lamiani area of Rome. The son of Marcus Aurelus is shown with the features of Hercules and is characterised by Greek hero’s attributes: the lion’s skin, the club, the apples of Hesperides. The character is accompanied by fantastic sea creatures in a composition symbolising his apotheosis. The work can be dated to the final period of the life of Commodus, between 191-192 AD. Commodus was one of Rome’s bad crazy Emperors being sadistic and debauched with a harem of 300 concubines to choose from. His favourite role playing character was that of Hercules and Commodus ordered many statues to be made showing him dressed as Hercules with a lion's hide and a club. He thought of himself as the reincarnation of Hercules, frequently emulating the legendary hero's feats by appearing in the arena to fight a variety of wild animals. Commodus raised the ire of many military officials in Rome for his Hercules persona in the arena. Often, wounded soldiers and amputees would be placed in the arena for Commodus to slay with a sword. Commodus's eccentric behaviour would not stop there. Citizens of Rome missing their feet through accident or illness were taken to the arena, where they were tethered together for Commodus to club to death while pretending they were giants.[17] These acts may have contributed to his assassination. Such ruthless antics probably led to the violent death of Commodus when a wrestler assassinated him by strangling him to death.. MC.1120 Capitoline Museums, Rome
  • Roman marble bust of Commodus as Hercules. Circa191-192 AD found in an underground chamber in the Horti Lamiani area of Rome. The son of Marcus Aurelus is shown with the features of Hercules and is characterised by Greek hero’s attributes: the lion’s skin, the club, the apples of Hesperides. The character is accompanied by fantastic sea creatures in a composition symbolising his apotheosis. The work can be dated to the final period of the life of Commodus, between 191-192 AD. Commodus was one of Rome’s bad crazy Emperors being sadistic and debauched with a harem of 300 concubines to choose from. His favourite role playing character was that of Hercules and Commodus ordered many statues to be made showing him dressed as Hercules with a lion's hide and a club. He thought of himself as the reincarnation of Hercules, frequently emulating the legendary hero's feats by appearing in the arena to fight a variety of wild animals. Commodus raised the ire of many military officials in Rome for his Hercules persona in the arena. Often, wounded soldiers and amputees would be placed in the arena for Commodus to slay with a sword. Commodus's eccentric behaviour would not stop there. Citizens of Rome missing their feet through accident or illness were taken to the arena, where they were tethered together for Commodus to club to death while pretending they were giants.[17] These acts may have contributed to his assassination. Such ruthless antics probably led to the violent death of Commodus when a wrestler assassinated him by strangling him to death.. MC.1120 Capitoline Museums, Rome
  • Statue of  Atalanta a 2nd century Roman sculpture restored in the 17th century. Atalanta  is a character in Greek mythology, a virgin huntress, unwilling to marry, and loved by the hero Meleager.. The Mazarin Collection  Louvre Museum, Paris.
  • Statue of  Atalanta a 2nd century Roman sculpture restored in the 17th century. Atalanta  is a character in Greek mythology, a virgin huntress, unwilling to marry, and loved by the hero Meleager.. The Mazarin Collection  Louvre Museum, Paris.
  • Painted colour verion of a Statue of  Atalanta a 2nd century Roman sculpture restored in the 17th century. Atalanta  is a character in Greek mythology, a virgin huntress, unwilling to marry, and loved by the hero Meleager.. The Mazarin Collection  Louvre Museum, Paris.
  • Painted colour verion of a Statue of  Atalanta a 2nd century Roman sculpture restored in the 17th century. Atalanta  is a character in Greek mythology, a virgin huntress, unwilling to marry, and loved by the hero Meleager.. The Mazarin Collection  Louvre Museum, Paris.
  • Painted colour verion of a Statue of  Atalanta a 2nd century Roman sculpture restored in the 17th century. Atalanta  is a character in Greek mythology, a virgin huntress, unwilling to marry, and loved by the hero Meleager.. The Mazarin Collection  Louvre Museum, Paris.
  • Painted colour verion of a Statue of  Atalanta a 2nd century Roman sculpture restored in the 17th century. Atalanta  is a character in Greek mythology, a virgin huntress, unwilling to marry, and loved by the hero Meleager.. The Mazarin Collection  Louvre Museum, Paris.
  • The sword of God from the Sancutary of Yazilikaza, Hattusha, Turkey. Probably the weirdest representation of the rock sanctuary Yazilikaza, shows a sword God. He is waering a high pointed cap, whose ornamented with horns showing he is a divine character. The lower part of his body is formed of two hanging lions that merge into a sword blade . The body of God seems to form the sword handle and the sword being stuck into the ground could indicate that there is a god of the underworld. Cast from the original. Vorderasiatisches Museum, Pergamon Museum, Berlin
  • Statue of  Atalanta a 2nd century Roman sculpture restored in the 17th century. Atalanta  is a character in Greek mythology, a virgin huntress, unwilling to marry, and loved by the hero Meleager.. The Mazarin Collection  Louvre Museum, Paris.
  • Statue of  Atalanta a 2nd century Roman sculpture restored in the 17th century. Atalanta  is a character in Greek mythology, a virgin huntress, unwilling to marry, and loved by the hero Meleager.. The Mazarin Collection  Louvre Museum, Paris.
  • Roman marble bust of Commodus as Hercules. Circa191-192 AD found in an underground chamber in the Horti Lamiani area of Rome. The son of Marcus Aurelus is shown with the features of Hercules and is characterised by Greek hero’s attributes: the lion’s skin, the club, the apples of Hesperides. The character is accompanied by fantastic sea creatures in a composition symbolising his apotheosis. The work can be dated to the final period of the life of Commodus, between 191-192 AD. Commodus was one of Rome’s bad crazy Emperors being sadistic and debauched with a harem of 300 concubines to choose from. His favourite role playing character was that of Hercules and Commodus ordered many statues to be made showing him dressed as Hercules with a lion's hide and a club. He thought of himself as the reincarnation of Hercules, frequently emulating the legendary hero's feats by appearing in the arena to fight a variety of wild animals. Commodus raised the ire of many military officials in Rome for his Hercules persona in the arena. Often, wounded soldiers and amputees would be placed in the arena for Commodus to slay with a sword. Commodus's eccentric behaviour would not stop there. Citizens of Rome missing their feet through accident or illness were taken to the arena, where they were tethered together for Commodus to club to death while pretending they were giants.[17] These acts may have contributed to his assassination. Such ruthless antics probably led to the violent death of Commodus when a wrestler assassinated him by strangling him to death. MC.1120 Capitoline Museums, Rome
  • Roman marble bust of Commodus as Hercules. Circa191-192 AD found in an underground chamber in the Horti Lamiani area of Rome. The son of Marcus Aurelus is shown with the features of Hercules and is characterised by Greek hero’s attributes: the lion’s skin, the club, the apples of Hesperides. The character is accompanied by fantastic sea creatures in a composition symbolising his apotheosis. The work can be dated to the final period of the life of Commodus, between 191-192 AD.Commodus was one of Rome’s bad crazy Emperors being sadistic and debauched with a harem of 300 concubines to choose from. His favourite role playing character was that of Hercules and Commodus ordered many statues to be made showing him dressed as Hercules with a lion's hide and a club. He thought of himself as the reincarnation of Hercules, frequently emulating the legendary hero's feats by appearing in the arena to fight a variety of wild animals. Commodus raised the ire of many military officials in Rome for his Hercules persona in the arena. Often, wounded soldiers and amputees would be placed in the arena for Commodus to slay with a sword. Commodus's eccentric behaviour would not stop there. Citizens of Rome missing their feet through accident or illness were taken to the arena, where they were tethered together for Commodus to club to death while pretending they were giants.[17] These acts may have contributed to his assassination. Such ruthless antics probably led to the violent death of Commodus when a wrestler assassinated him by strangling him to death. MC.1120 Capitoline Museums, Rome
  • Statue of  Atalanta a 2nd century Roman sculpture restored in the 17th century. Atalanta  is a character in Greek mythology, a virgin huntress, unwilling to marry, and loved by the hero Meleager.. The Mazarin Collection  Louvre Museum, Paris.
  • Statue of  Atalanta a 2nd century Roman sculpture restored in the 17th century. Atalanta  is a character in Greek mythology, a virgin huntress, unwilling to marry, and loved by the hero Meleager.. The Mazarin Collection  Louvre Museum, Paris.
  • 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).
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being removed from the Cross. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being taken dwon fron the Cross and laid in a tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being taken dwon fron the Cross and laid in a tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • 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.
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being removed from the Cross. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this one shows Christ carrying the Cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped and carrying the cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Ancient Egyptian Gebelein cloth depicting a Nile boat scene, the oldest know painted fabric artefact, Predynastic Egypt, Circa 3600BC. Egyptian Museum, Turin. <br />
<br />
There are at least 4 boats depicted on this linen cloth : two small carft following behind two larger vessels. The two small boats are equipped trains with 8 to 10 oars. The bottom boat has 4 rowers with their oars but other oars hanging below the hull . The helmsman has a steering oar larger (left). Two cabins occupy the central space. Between them a person is sitting in the same position as rowers and a black line behind it may be an indication of an other oar. The upper large boat does not have rowers but a helmsman at the back. The curved stern rises high and ends with a decoration. Red and black horizontal lines appear to indicate the presence of a cabin with a flat roof. Front of the cabin a character is sitting on a kind of throne. It seems to wear something on his head while the rowers are bareheaded.
  • Close up of a Roman Sebasteion relief  sculpture of the Three Graces, Aphrodisias Museum, Aphrodisias, Turkey.  <br />
<br />
The Three Graces stand in their familiar hellenistic composition. They were handmaids of Aphrodite and appeared in this form on the decoration of her cult statue at Aphrodisias. Their names evoked their character: Euphrosyne (joy), Aglaia (Splendour) and Thaleia (Bloom).
  • Close up of a Roman Sebasteion relief  sculpture of the Three Graces, Aphrodisias Museum, Aphrodisias, Turkey.  <br />
<br />
The Three Graces stand in their familiar hellenistic composition. They were handmaids of Aphrodite and appeared in this form on the decoration of her cult statue at Aphrodisias. Their names evoked their character: Euphrosyne (joy), Aglaia (Splendour) and Thaleia (Bloom).
  • Close up of a Roman Sebasteion relief  sculpture of the Three Graces, Aphrodisias Museum, Aphrodisias, Turkey.  <br />
<br />
The Three Graces stand in their familiar hellenistic composition. They were handmaids of Aphrodite and appeared in this form on the decoration of her cult statue at Aphrodisias. Their names evoked their character: Euphrosyne (joy), Aglaia (Splendour) and Thaleia (Bloom).
  • Roman Sebasteion relief  sculpture of the Three Graces, Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.<br />
<br />
The Three Graces stand in their familiar hellenistic composition. They were handmaids of Aphrodite and appeared in this form on the decoration of her cult statue at Aphrodisias. Their names evoked their character: Euphrosyne (joy), Aglaia (Splendour) and Thaleia (Bloom).
  • Roman Sebasteion relief  sculpture of the Three Graces, Aphrodisias Museum, Aphrodisias, Turkey.     Against a white background.<br />
<br />
The Three Graces stand in their familiar hellenistic composition. They were handmaids of Aphrodite and appeared in this form on the decoration of her cult statue at Aphrodisias. Their names evoked their character: Euphrosyne (joy), Aglaia (Splendour) and Thaleia (Bloom).
  • Roman Sebasteion relief  sculpture of the Three Graces, Aphrodisias Museum, Aphrodisias, Turkey.  Against an art background.<br />
<br />
The Three Graces stand in their familiar hellenistic composition. They were handmaids of Aphrodite and appeared in this form on the decoration of her cult statue at Aphrodisias. Their names evoked their character: Euphrosyne (joy), Aglaia (Splendour) and Thaleia (Bloom).
  • Roman Sebasteion relief  sculpture of the Three Graces, Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
The Three Graces stand in their familiar hellenistic composition. They were handmaids of Aphrodite and appeared in this form on the decoration of her cult statue at Aphrodisias. Their names evoked their character: Euphrosyne (joy), Aglaia (Splendour) and Thaleia (Bloom).
  • Roman mosaics - Seasons  Mosaic. Telete Villa.  2nd - 3rd century AD . Zeugma Mosaic Museum, Gaziantep, Turkey.   Against a black background.<br />
<br />
Seasons mosaic Telete, was unearthed during the rescue excavations y Gaziantep Museum in 1994 when it was about to be stolen by the traffickers. It is the floor mosaic of a villa terrace located on the western skins of Zeugma hill <br />
<br />
The pane% consists of nine parts. At the central panel, Eros, who Is a mythological character and who has a crown on his head, sits side by side with Telete, the daughter of Dionysus. This representation symbolises the preparation of a young woman who is just about to taste the love and to become mature. There are busts of seasonal gods In the square panels at the corners. The crowned head of the Spring Goddess Ear Is slightly towards right. She wears a floral necklace. Her righr shoulder is naked and the crimps of her cloak are seen on her left shoulder. There is the bust of the river god on the top-right of the Telete panel. A kid lying on the grass and a bucket are pictured in the lower rectangular panel. In the western-side rectangular panel, on the other hand, there are four fish going in and out of a game basket. There is a rabbit figure within the rectangular panel on the right. Mythical narrations and natural life are intertwined in this mosaic.
  • Roman mosaics - Seasons  Mosaic. Telete Villa.  2nd - 3rd century AD . Zeugma Mosaic Museum, Gaziantep, Turkey.   Against an art background.<br />
<br />
Seasons mosaic Telete, was unearthed during the rescue excavations y Gaziantep Museum in 1994 when it was about to be stolen by the traffickers. It is the floor mosaic of a villa terrace located on the western skins of Zeugma hill <br />
<br />
The pane% consists of nine parts. At the central panel, Eros, who Is a mythological character and who has a crown on his head, sits side by side with Telete, the daughter of Dionysus. This representation symbolises the preparation of a young woman who is just about to taste the love and to become mature. There are busts of seasonal gods In the square panels at the corners. The crowned head of the Spring Goddess Ear Is slightly towards right. She wears a floral necklace. Her righr shoulder is naked and the crimps of her cloak are seen on her left shoulder. There is the bust of the river god on the top-right of the Telete panel. A kid lying on the grass and a bucket are pictured in the lower rectangular panel. In the western-side rectangular panel, on the other hand, there are four fish going in and out of a game basket. There is a rabbit figure within the rectangular panel on the right. Mythical narrations and natural life are intertwined in this mosaic.
  • Roman mosaics - Seasons  Mosaic. Telete Villa.  2nd - 3rd century AD . Zeugma Mosaic Museum, Gaziantep, Turkey.<br />
<br />
Seasons mosaic Telete, was unearthed during the rescue excavations y Gaziantep Museum in 1994 when it was about to be stolen by the traffickers. It is the floor mosaic of a villa terrace located on the western skins of Zeugma hill <br />
<br />
The pane% consists of nine parts. At the central panel, Eros, who Is a mythological character and who has a crown on his head, sits side by side with Telete, the daughter of Dionysus. This representation symbolises the preparation of a young woman who is just about to taste the love and to become mature. There are busts of seasonal gods In the square panels at the corners. The crowned head of the Spring Goddess Ear Is slightly towards right. She wears a floral necklace. Her righr shoulder is naked and the crimps of her cloak are seen on her left shoulder. There is the bust of the river god on the top-right of the Telete panel. A kid lying on the grass and a bucket are pictured in the lower rectangular panel. In the western-side rectangular panel, on the other hand, there are four fish going in and out of a game basket. There is a rabbit figure within the rectangular panel on the right. Mythical narrations and natural life are intertwined in this mosaic.
  • 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 .    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 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 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 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 .  <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 marble bust of Commodus as Hercules. Circa191-192 AD found in an underground chamber in the Horti Lamiani area of Rome. The son of Marcus Aurelus is shown with the features of Hercules and is characterised by Greek hero’s attributes: the lion’s skin, the club, the apples of Hesperides. The character is accompanied by fantastic sea creatures in a composition symbolising his apotheosis. The work can be dated to the final period of the life of Commodus, between 191-192 AD. . MC.1120 Capitoline Museums, Rome
  • Roman marble bust of Commodus as Hercules. Circa191-192 AD found in an underground chamber in the Horti Lamiani area of Rome. The son of Marcus Aurelus is shown with the features of Hercules and is characterised by Greek hero’s attributes: the lion’s skin, the club, the apples of Hesperides. The character is accompanied by fantastic sea creatures in a composition symbolising his apotheosis. The work can be dated to the final period of the life of Commodus, between 191-192 AD. . MC.1120 Capitoline Museums, Rome
  • Roman marble bust of Commodus as Hercules. Circa191-192 AD found in an underground chamber in the Horti Lamiani area of Rome. The son of Marcus Aurelus is shown with the features of Hercules and is characterised by Greek hero’s attributes: the lion’s skin, the club, the apples of Hesperides. The character is accompanied by fantastic sea creatures in a composition symbolising his apotheosis. The work can be dated to the final period of the life of Commodus, between 191-192 AD. . MC.1120 Capitoline Museums, Rome
  • Roman marble bust of Commodus as Hercules. Circa191-192 AD found in an underground chamber in the Horti Lamiani area of Rome. The son of Marcus Aurelus is shown with the features of Hercules and is characterised by Greek hero’s attributes: the lion’s skin, the club, the apples of Hesperides. The character is accompanied by fantastic sea creatures in a composition symbolising his apotheosis. The work can be dated to the final period of the life of Commodus, between 191-192 AD. . MC.1120 Capitoline Museums, Rome
  • Roman marble bust of Commodus as Hercules. Circa191-192 AD found in an underground chamber in the Horti Lamiani area of Rome. The son of Marcus Aurelus is shown with the features of Hercules and is characterised by Greek hero’s attributes: the lion’s skin, the club, the apples of Hesperides. The character is accompanied by fantastic sea creatures in a composition symbolising his apotheosis. The work can be dated to the final period of the life of Commodus, between 191-192 AD. . MC.1120 Capitoline Museums, Rome
  • The Sword God from the Sancutary of Yazilikaza, Hattusha, Turkey. Probably the weirdest representation of the rock sanctuary Yazilikaza, shows a sword God. He is waering a high pointed cap, whose ornamented with horns showing he is a divine character. The lower part of his body is formed of two hanging lions that merge into a sword blade . The body of God seems to form the sword handle and the sword being stuck into the ground could indicate that there is a god of the underworld. Cast from the original. Vorderasiatisches Museum, Pergamon Museum, Berlin
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this one shows Christ carrying the Cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this one shows Christ carrying the Cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this one shows Christ carrying the Cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, the whipping on the Road to Calvary, Crucifixion, Descent and Mourning of the Dead Body of Christ and the Mary discovering the empty tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, the whipping on the Road to Calvary, Crucifixion, Descent and Mourning of the Dead Body of Christ and the Mary discovering the empty tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, the whipping on the Road to Calvary, Crucifixion, Descent and Mourning of the Dead Body of Christ and the Mary discovering the empty tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being taken dwon fron the Cross and laid in a tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped and carrying the cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped and carrying the cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped and carrying the cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Statue of  Atalanta a 2nd century Roman sculpture restored in the 17th century. Atalanta  is a character in Greek mythology, a virgin huntress, unwilling to marry, and loved by the hero Meleager.. The Mazarin Collection  Louvre Museum, Paris.
  • 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.
  • Statue of  Atalanta a 2nd century Roman sculpture restored in the 17th century. Atalanta  is a character in Greek mythology, a virgin huntress, unwilling to marry, and loved by the hero Meleager.. The Mazarin Collection  Louvre Museum, Paris.
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, the whipping on the Road to Calvary, Crucifixion, Descent and Mourning of the Dead Body of Christ and the Mary discovering the empty tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being removed from the Cross. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being removed from the Cross. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being removed from the Cross. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this one shows Christ carrying the Cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, the whipping on the Road to Calvary, Crucifixion, Descent and Mourning of the Dead Body of Christ and the Mary discovering the empty tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, the whipping on the Road to Calvary, Crucifixion, Descent and Mourning of the Dead Body of Christ and the Mary discovering the empty tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being taken dwon fron the Cross and laid in a tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being taken dwon fron the Cross and laid in a tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped and carrying the cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped and carrying the cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped and carrying the cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being removed from the Cross. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this one shows Christ carrying the Cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, the whipping on the Road to Calvary, Crucifixion, Descent and Mourning of the Dead Body of Christ and the Mary discovering the empty tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, the whipping on the Road to Calvary, Crucifixion, Descent and Mourning of the Dead Body of Christ and the Mary discovering the empty tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being taken dwon fron the Cross and laid in a tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being taken dwon fron the Cross and laid in a tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being taken dwon fron the Cross and laid in a tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped and carrying the cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped and carrying the cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Close up of a Roman Sebasteion relief  sculpture of the Three Graces, Aphrodisias Museum, Aphrodisias, Turkey.  <br />
<br />
The Three Graces stand in their familiar hellenistic composition. They were handmaids of Aphrodite and appeared in this form on the decoration of her cult statue at Aphrodisias. Their names evoked their character: Euphrosyne (joy), Aglaia (Splendour) and Thaleia (Bloom).
  • Close up of a Roman Sebasteion relief  sculpture of the Three Graces, Aphrodisias Museum, Aphrodisias, Turkey.  <br />
<br />
The Three Graces stand in their familiar hellenistic composition. They were handmaids of Aphrodite and appeared in this form on the decoration of her cult statue at Aphrodisias. Their names evoked their character: Euphrosyne (joy), Aglaia (Splendour) and Thaleia (Bloom).
  • Roman Sebasteion relief  sculpture of the Three Graces, Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
The Three Graces stand in their familiar hellenistic composition. They were handmaids of Aphrodite and appeared in this form on the decoration of her cult statue at Aphrodisias. Their names evoked their character: Euphrosyne (joy), Aglaia (Splendour) and Thaleia (Bloom).
  • Roman mosaics - Seasons  Mosaic. Telete Villa.  2nd - 3rd century AD . Zeugma Mosaic Museum, Gaziantep, Turkey.<br />
<br />
Seasons mosaic Telete, was unearthed during the rescue excavations y Gaziantep Museum in 1994 when it was about to be stolen by the traffickers. It is the floor mosaic of a villa terrace located on the western skins of Zeugma hill <br />
<br />
The pane% consists of nine parts. At the central panel, Eros, who Is a mythological character and who has a crown on his head, sits side by side with Telete, the daughter of Dionysus. This representation symbolises the preparation of a young woman who is just about to taste the love and to become mature. There are busts of seasonal gods In the square panels at the corners. The crowned head of the Spring Goddess Ear Is slightly towards right. She wears a floral necklace. Her righr shoulder is naked and the crimps of her cloak are seen on her left shoulder. There is the bust of the river god on the top-right of the Telete panel. A kid lying on the grass and a bucket are pictured in the lower rectangular panel. In the western-side rectangular panel, on the other hand, there are four fish going in and out of a game basket. There is a rabbit figure within the rectangular panel on the right. Mythical narrations and natural life are intertwined in this mosaic.
  • Roman mosaics - Seasons  Mosaic. Telete Villa.  2nd - 3rd century AD . Zeugma Mosaic Museum, Gaziantep, Turkey.  Against a white background.<br />
<br />
Seasons mosaic Telete, was unearthed during the rescue excavations y Gaziantep Museum in 1994 when it was about to be stolen by the traffickers. It is the floor mosaic of a villa terrace located on the western skins of Zeugma hill <br />
<br />
The pane% consists of nine parts. At the central panel, Eros, who Is a mythological character and who has a crown on his head, sits side by side with Telete, the daughter of Dionysus. This representation symbolises the preparation of a young woman who is just about to taste the love and to become mature. There are busts of seasonal gods In the square panels at the corners. The crowned head of the Spring Goddess Ear Is slightly towards right. She wears a floral necklace. Her righr shoulder is naked and the crimps of her cloak are seen on her left shoulder. There is the bust of the river god on the top-right of the Telete panel. A kid lying on the grass and a bucket are pictured in the lower rectangular panel. In the western-side rectangular panel, on the other hand, there are four fish going in and out of a game basket. There is a rabbit figure within the rectangular panel on the right. Mythical narrations and natural life are intertwined in this mosaic.
  • 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 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 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 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 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).
  • The sword of God from the Sancutary of Yazilikaza, Hattusha, Turkey. Probably the weirdest representation of the rock sanctuary Yazilikaza, shows a sword God. He is waering a high pointed cap, whose ornamented with horns showing he is a divine character. The lower part of his body is formed of two hanging lions that merge into a sword blade . The body of God seems to form the sword handle and the sword being stuck into the ground could indicate that there is a god of the underworld. Cast from the original. Vorderasiatisches Museum, Pergamon Museum, Berlin
  • The sword of God from the Sancutary of Yazilikaza, Hattusha, Turkey. Probably the weirdest representation of the rock sanctuary Yazilikaza, shows a sword God. He is waering a high pointed cap, whose ornamented with horns showing he is a divine character. The lower part of his body is formed of two hanging lions that merge into a sword blade . The body of God seems to form the sword handle and the sword being stuck into the ground could indicate that there is a god of the underworld. Cast from the original. Vorderasiatisches Museum, Pergamon Museum, Berlin
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being removed from the Cross. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being removed from the Cross. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being removed from the Cross. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this one shows Christ carrying the Cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, the whipping on the Road to Calvary, Crucifixion, Descent and Mourning of the Dead Body of Christ and the Mary discovering the empty tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being taken dwon fron the Cross and laid in a tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped and carrying the cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • 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.
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being removed from the Cross. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this one shows Christ carrying the Cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this one shows Christ carrying the Cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this one shows Christ carrying the Cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, the whipping on the Road to Calvary, Crucifixion, Descent and Mourning of the Dead Body of Christ and the Mary discovering the empty tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being taken dwon fron the Cross and laid in a tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being taken dwon fron the Cross and laid in a tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped and carrying the cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being removed from the Cross. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being removed from the Cross. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon

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