• date and dried fruit museli
  • Museli with dates and berries
  • Whole tamarind Indian spices - stock Photos
  • Whole tamarind Indian spices - stock Photos
  • Whole tamarind Indian spices - stock Photos
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  • Fresh whole dates
  • Fresh whole dates
  • Fresh whole dates
  • Fresh whole dates
  • Fresh whole dates
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  • Gothic painted bas-relief of Life of St Peter by Joan Gasco. Polycchrome and gold leaf on wood. Date Circa 1516.  From the church of Santa Maria of Palautordera (Valles Oriental). National Museum of Catalan Art, Barcelona, Spain, inv no: 015934-000
  • Gothic painted bas-relief of Life of St Peter by Joan Gasco. Polycchrome and gold leaf on wood. Date Circa 1516.  From the church of Santa Maria of Palautordera (Valles Oriental). National Museum of Catalan Art, Barcelona, Spain, inv no: 015934-000
  • Gothic painted bas-relief of Life of St Peter by Joan Gasco. Polycchrome and gold leaf on wood. Date Circa 1516.  From the church of Santa Maria of Palautordera (Valles Oriental). National Museum of Catalan Art, Barcelona, Spain, inv no: 015934-000
  • Gothic painted bas-relief of Life of St Peter by Joan Gasco. Polycchrome and gold leaf on wood. Date Circa 1516.  From the church of Santa Maria of Palautordera (Valles Oriental). National Museum of Catalan Art, Barcelona, Spain, inv no: 015934-000
  • Gothic painted wood panels with scenes of the Martyrdom of Saint Lucy<br />
Circa 1300. Tempera on wood. Date Circa 1300. Dimensions 66 x 25.8 x 2 cm. From the parish church of Santa Llúcia de Mur (Guàrdia de Noguera, Pallars Jussà). National Museum of Catalan Art, Barcelona, Spain, inv no: 035703-CJT
  • Gothic painted wood panels with scenes of the Martyrdom of Saint Lucy<br />
Circa 1300. Tempera on wood. Date Circa 1300. Dimensions 68.3 x 25.3 x 1 cm. From the parish church of Santa Llúcia de Mur (Guàrdia de Noguera, Pallars Jussà). National Museum of Catalan Art, Barcelona, Spain, inv no: 035703-CJT
  • Gothic painted Panel Virgin of the "Consellers" by Lluis Dalmau. Tempera and gold leaf on wood. Date 1443-1445. Dimesions 316 x 312.5 x 32.5 cm. From the altar of the chapel of Barcelona City Hall. <br />
The prestige attached to Burgundian courtly culture and the painter Jan van Eyck explain why in 1431 King Alfons the Magnanimous sent his official painter, the Valencian Lluís Dalmau, to Flanders, to learn the new realist language at first hand. In 1443, Dalmau was commissioned to paint this altarpiece for the chapel of the City Hall. This work was a breakthrough in Catalonia on account of the format, the technique used, as it was painted in oil, and the skilful illusionism of a figurative space in which that year's five councillors, painted from life, are represented on the same scale as the Virgin and the Saints. National Museum of Catalan Art, Barcelona, Spain, inv no: 015938-000
  • Gothic painted Panel Virgin of the "Consellers" by Lluis Dalmau. Tempera and gold leaf on wood. Date 1443-1445. Dimesions 316 x 312.5 x 32.5 cm. From the altar of the chapel of Barcelona City Hall. <br />
The prestige attached to Burgundian courtly culture and the painter Jan van Eyck explain why in 1431 King Alfons the Magnanimous sent his official painter, the Valencian Lluís Dalmau, to Flanders, to learn the new realist language at first hand. In 1443, Dalmau was commissioned to paint this altarpiece for the chapel of the City Hall. This work was a breakthrough in Catalonia on account of the format, the technique used, as it was painted in oil, and the skilful illusionism of a figurative space in which that year's five councillors, painted from life, are represented on the same scale as the Virgin and the Saints. National Museum of Catalan Art, Barcelona, Spain, inv no: 015938-000
  • Gothic painted Panel Virgin of the "Consellers" by Lluis Dalmau. Tempera and gold leaf on wood. Date 1443-1445. Dimesions 316 x 312.5 x 32.5 cm. From the altar of the chapel of Barcelona City Hall. <br />
The prestige attached to Burgundian courtly culture and the painter Jan van Eyck explain why in 1431 King Alfons the Magnanimous sent his official painter, the Valencian Lluís Dalmau, to Flanders, to learn the new realist language at first hand. In 1443, Dalmau was commissioned to paint this altarpiece for the chapel of the City Hall. This work was a breakthrough in Catalonia on account of the format, the technique used, as it was painted in oil, and the skilful illusionism of a figurative space in which that year's five councillors, painted from life, are represented on the same scale as the Virgin and the Saints. National Museum of Catalan Art, Barcelona, Spain, inv no: 015938-000
  • Gothic painted Panel Virgin of the "Consellers" by Lluis Dalmau. Tempera and gold leaf on wood. Date 1443-1445. Dimesions 316 x 312.5 x 32.5 cm. From the altar of the chapel of Barcelona City Hall. <br />
The prestige attached to Burgundian courtly culture and the painter Jan van Eyck explain why in 1431 King Alfons the Magnanimous sent his official painter, the Valencian Lluís Dalmau, to Flanders, to learn the new realist language at first hand. In 1443, Dalmau was commissioned to paint this altarpiece for the chapel of the City Hall. This work was a breakthrough in Catalonia on account of the format, the technique used, as it was painted in oil, and the skilful illusionism of a figurative space in which that year's five councillors, painted from life, are represented on the same scale as the Virgin and the Saints. National Museum of Catalan Art, Barcelona, Spain, inv no: 015938-000
  • Gothic painted Panel Altarpiece of Saint Barbara by Goncal Peris Sarria. Tempera and gold leaf on wood. Date Circa 1410-1425. Dimesions 278 x 207.7 x 17 cm. At the beginning of the 20th century, the altarpiece was kept in the parish church of Puertomingalvo (Teruel), but it could originally have come from the chapel of Santa Bárbara near this town. This altarpiece is attributed to the painter Gonçal Peris Sarrià, one of the chief representatives of Valencian International Gothic. His style is marked by expressive and picturesque elements, the flowing line and the charm of the colour. The main compartment of the altarpiece represents the titular saint with her distinctive attributes –the tower, in allusion to her imprisonment, and the palm, as she is considered a martyr-- and above her the Calvary. On either side are depicted various episodes from the life of Saint Barbara, who was called on to keep away lightning and storms. . National Museum of Catalan Art, Barcelona, Spain, inv no: 035672-CJT
  • Gothic painted Panel Altarpiece of Saint Barbara by Goncal Peris Sarria. Tempera and gold leaf on wood. Date Circa 1410-1425. Dimesions 278 x 207.7 x 17 cm. At the beginning of the 20th century, the altarpiece was kept in the parish church of Puertomingalvo (Teruel), but it could originally have come from the chapel of Santa Bárbara near this town. This altarpiece is attributed to the painter Gonçal Peris Sarrià, one of the chief representatives of Valencian International Gothic. His style is marked by expressive and picturesque elements, the flowing line and the charm of the colour. The main compartment of the altarpiece represents the titular saint with her distinctive attributes –the tower, in allusion to her imprisonment, and the palm, as she is considered a martyr-- and above her the Calvary. On either side are depicted various episodes from the life of Saint Barbara, who was called on to keep away lightning and storms. . National Museum of Catalan Art, Barcelona, Spain, inv no: 035672-CJT
  • Gothic painted Panel Altarpiece of Saint Barbara by Goncal Peris Sarria. Tempera and gold leaf on wood. Date Circa 1410-1425. Dimesions 278 x 207.7 x 17 cm. At the beginning of the 20th century, the altarpiece was kept in the parish church of Puertomingalvo (Teruel), but it could originally have come from the chapel of Santa Bárbara near this town. This altarpiece is attributed to the painter Gonçal Peris Sarrià, one of the chief representatives of Valencian International Gothic. His style is marked by expressive and picturesque elements, the flowing line and the charm of the colour. The main compartment of the altarpiece represents the titular saint with her distinctive attributes –the tower, in allusion to her imprisonment, and the palm, as she is considered a martyr-- and above her the Calvary. On either side are depicted various episodes from the life of Saint Barbara, who was called on to keep away lightning and storms. . National Museum of Catalan Art, Barcelona, Spain, inv no: 035672-CJT
  • Gothic painted Panel Altarpiece of Saint Barbara by Goncal Peris Sarria. Tempera and gold leaf on wood. Date Circa 1410-1425. Dimesions 278 x 207.7 x 17 cm. At the beginning of the 20th century, the altarpiece was kept in the parish church of Puertomingalvo (Teruel), but it could originally have come from the chapel of Santa Bárbara near this town. This altarpiece is attributed to the painter Gonçal Peris Sarrià, one of the chief representatives of Valencian International Gothic. His style is marked by expressive and picturesque elements, the flowing line and the charm of the colour. The main compartment of the altarpiece represents the titular saint with her distinctive attributes –the tower, in allusion to her imprisonment, and the palm, as she is considered a martyr-- and above her the Calvary. On either side are depicted various episodes from the life of Saint Barbara, who was called on to keep away lightning and storms. . National Museum of Catalan Art, Barcelona, Spain, inv no: 035672-CJT
  • Gothic painted Panel Altarpiece of the Virgin Suckling the Child, Saint Clare and Saint Anthony the Abbott by the Workshop of Llorenc Saragossa. Tempera and gold leaf on wood. Date Last quarter of 14th century. Dimesions 207 x 187.5 x 10 cm. From Xelva (Valencia). National Museum of Catalan Art, Barcelona, Spain, inv no: 064027-CJT
  • Gothic painted Panel Altarpiece of the Virgin Suckling the Child, Saint Clare and Saint Anthony the Abbott by the Workshop of Llorenc Saragossa. Tempera and gold leaf on wood. Date Last quarter of 14th century. Dimesions 207 x 187.5 x 10 cm. From Xelva (Valencia). National Museum of Catalan Art, Barcelona, Spain, inv no: 064027-CJT
  • Gothic painted Panel Altarpiece of the Virgin Suckling the Child, Saint Clare and Saint Anthony the Abbott by the Workshop of Llorenc Saragossa. Tempera and gold leaf on wood. Date Last quarter of 14th century. Dimesions 207 x 187.5 x 10 cm. From Xelva (Valencia). National Museum of Catalan Art, Barcelona, Spain, inv no: 064027-CJT
  • Gothic painted Panel Altarpiece of the Virgin Suckling the Child, Saint Clare and Saint Anthony the Abbott by the Workshop of Llorenc Saragossa. Tempera and gold leaf on wood. Date Last quarter of 14th century. Dimesions 207 x 187.5 x 10 cm. From Xelva (Valencia). National Museum of Catalan Art, Barcelona, Spain, inv no: 064027-CJT
  • Gothic cast bronze statue of Christ. Date circa 1180 probably comes from Cerdanya.  National Museum of Catalan Art, Barcelona, Spain inv no: MNAC 4553
  • Gothic cast bronze statue of Christ. Date circa 1180 probably comes from Cerdanya.  National Museum of Catalan Art, Barcelona, Spain inv no: MNAC 4553
  • Gothic painted bas-relief of Life of St Peter by Joan Gasco. Polycchrome and gold leaf on wood. Date Circa 1516.  From the church of Santa Maria of Palautordera (Valles Oriental). National Museum of Catalan Art, Barcelona, Spain, inv no: 015934-000
  • Gothic painted bas-relief of Life of St Peter by Joan Gasco. Polycchrome and gold leaf on wood. Date Circa 1516.  From the church of Santa Maria of Palautordera (Valles Oriental). National Museum of Catalan Art, Barcelona, Spain, inv no: 015934-000
  • Gothic painted bas-relief of Life of St Peter by Joan Gasco. Polycchrome and gold leaf on wood. Date Circa 1516.  From the church of Santa Maria of Palautordera (Valles Oriental). National Museum of Catalan Art, Barcelona, Spain, inv no: 015934-000
  • Gothic painted wood panels with scenes of the Martyrdom of Saint Lucy<br />
Circa 1300. Tempera on wood. Date Circa 1300. Dimensions 66 x 25.8 x 2 cm. From the parish church of Santa Llúcia de Mur (Guàrdia de Noguera, Pallars Jussà). National Museum of Catalan Art, Barcelona, Spain, inv no: 035703-CJT
  • Gothic painted wood panels with scenes of the Martyrdom of Saint Lucy<br />
Circa 1300. Tempera on wood. Date Circa 1300. Dimensions 68.3 x 25.3 x 1 cm. From the parish church of Santa Llúcia de Mur (Guàrdia de Noguera, Pallars Jussà). National Museum of Catalan Art, Barcelona, Spain, inv no: 035703-CJT
  • Gothic painted Panel Altarpiece of Saint Barbara by Goncal Peris Sarria. Tempera and gold leaf on wood. Date Circa 1410-1425. Dimesions 278 x 207.7 x 17 cm. At the beginning of the 20th century, the altarpiece was kept in the parish church of Puertomingalvo (Teruel), but it could originally have come from the chapel of Santa Bárbara near this town. This altarpiece is attributed to the painter Gonçal Peris Sarrià, one of the chief representatives of Valencian International Gothic. His style is marked by expressive and picturesque elements, the flowing line and the charm of the colour. The main compartment of the altarpiece represents the titular saint with her distinctive attributes –the tower, in allusion to her imprisonment, and the palm, as she is considered a martyr-- and above her the Calvary. On either side are depicted various episodes from the life of Saint Barbara, who was called on to keep away lightning and storms. . National Museum of Catalan Art, Barcelona, Spain, inv no: 035672-CJT
  • Gothic painted Panel Altarpiece of Saint Barbara by Goncal Peris Sarria. Tempera and gold leaf on wood. Date Circa 1410-1425. Dimesions 278 x 207.7 x 17 cm. At the beginning of the 20th century, the altarpiece was kept in the parish church of Puertomingalvo (Teruel), but it could originally have come from the chapel of Santa Bárbara near this town. This altarpiece is attributed to the painter Gonçal Peris Sarrià, one of the chief representatives of Valencian International Gothic. His style is marked by expressive and picturesque elements, the flowing line and the charm of the colour. The main compartment of the altarpiece represents the titular saint with her distinctive attributes –the tower, in allusion to her imprisonment, and the palm, as she is considered a martyr-- and above her the Calvary. On either side are depicted various episodes from the life of Saint Barbara, who was called on to keep away lightning and storms. . National Museum of Catalan Art, Barcelona, Spain, inv no: 035672-CJT
  • Gothic painted Panel Altarpiece of Saint Barbara by Goncal Peris Sarria. Tempera and gold leaf on wood. Date Circa 1410-1425. Dimesions 278 x 207.7 x 17 cm. At the beginning of the 20th century, the altarpiece was kept in the parish church of Puertomingalvo (Teruel), but it could originally have come from the chapel of Santa Bárbara near this town. This altarpiece is attributed to the painter Gonçal Peris Sarrià, one of the chief representatives of Valencian International Gothic. His style is marked by expressive and picturesque elements, the flowing line and the charm of the colour. The main compartment of the altarpiece represents the titular saint with her distinctive attributes –the tower, in allusion to her imprisonment, and the palm, as she is considered a martyr-- and above her the Calvary. On either side are depicted various episodes from the life of Saint Barbara, who was called on to keep away lightning and storms. . National Museum of Catalan Art, Barcelona, Spain, inv no: 035672-CJT
  • Mycenaean gold death mask, Mask of Agamemnon, Grave Cicle A, Mycenae, Greece.National Archaeological Museum of Athens.  White background.<br />
<br />
The mask from Grave V depicts an imposing face of a bearded man descovered by  Heinrich Schliemann who believed it was the body of Agamemnon, this is unproven to date.  The Mycenaean death mask belonged to a warrior and made of gold leaf it cocered the dead mans face held on by cord threaded tgrough the two sides of the mask.  The mask of Agamemnon was created from a single thick gold sheet, heated and hammered against a wooden background with the details chased on later with a sharp tool. The artifact dates from the 16th century BC.
  • Mycenaean gold death mask, Mask of Agamemnon, Grave Cicle A, Mycenae, Greece.National Archaeological Museum of Athens.  Grey Background<br />
<br />
<br />
The mask from Grave V depicts an imposing face of a bearded man descovered by  Heinrich Schliemann who believed it was the body of Agamemnon, this is unproven to date.  The Mycenaean death mask belonged to a warrior and made of gold leaf it cocered the dead mans face held on by cord threaded tgrough the two sides of the mask.  The mask of Agamemnon was created from a single thick gold sheet, heated and hammered against a wooden background with the details chased on later with a sharp tool. The artifact dates from the 16th century BC.
  • Mycenaean gold death mask, Mask of Agamemnon, Grave Cicle A, Mycenae, Greece.National Archaeological Museum of Athens.  Black Background<br />
<br />
The mask from Grave V depicts an imposing face of a bearded man descovered by  Heinrich Schliemann who believed it was the body of Agamemnon, this is unproven to date.  The Mycenaean death mask belonged to a warrior and made of gold leaf it cocered the dead mans face held on by cord threaded tgrough the two sides of the mask.  The mask of Agamemnon was created from a single thick gold sheet, heated and hammered against a wooden background with the details chased on later with a sharp tool. The artifact dates from the 16th century BC.
  • Mycenaean gold death mask, Mask of Agamemnon, Grave Cicle A, Mycenae, Greece.National Archaeological Museum of Athens. <br />
<br />
The mask from Grave V depicts an imposing face of a bearded man descovered by  Heinrich Schliemann who believed it was the body of Agamemnon, this is unproven to date.  The Mycenaean death mask belonged to a warrior and made of gold leaf it cocered the dead mans face held on by cord threaded tgrough the two sides of the mask.  The mask of Agamemnon was created from a single thick gold sheet, heated and hammered against a wooden background with the details chased on later with a sharp tool. The artifact dates from the 16th century BC.
  • Mycenaean gold death mask, Mask of Agamemnon, Grave Cicle A, Mycenae, Greece.National Archaeological Museum of Athens.   Grey Art Background<br />
<br />
The mask from Grave V depicts an imposing face of a bearded man descovered by  Heinrich Schliemann who believed it was the body of Agamemnon, this is unproven to date.  The Mycenaean death mask belonged to a warrior and made of gold leaf it cocered the dead mans face held on by cord threaded tgrough the two sides of the mask.  The mask of Agamemnon was created from a single thick gold sheet, heated and hammered against a wooden background with the details chased on later with a sharp tool. The artifact dates from the 16th century BC.
  • Mycenaean gold death mask, Mask of Agamemnon, Grave Cicle A, Mycenae, Greece.National Archaeological Museum of Athens.  Black Background<br />
<br />
The mask from Grave V depicts an imposing face of a bearded man descovered by  Heinrich Schliemann who believed it was the body of Agamemnon, this is unproven to date.  The Mycenaean death mask belonged to a warrior and made of gold leaf it cocered the dead mans face held on by cord threaded tgrough the two sides of the mask.  The mask of Agamemnon was created from a single thick gold sheet, heated and hammered against a wooden background with the details chased on later with a sharp tool. The artifact dates from the 16th century BC.
  • Mycenaean gold death mask, Mask of Agamemnon, Grave Cicle A, Mycenae, Greece.National Archaeological Museum of Athens.  White background.<br />
<br />
The mask from Grave V depicts an imposing face of a bearded man descovered by  Heinrich Schliemann who believed it was the body of Agamemnon, this is unproven to date.  The Mycenaean death mask belonged to a warrior and made of gold leaf it cocered the dead mans face held on by cord threaded tgrough the two sides of the mask.  The mask of Agamemnon was created from a single thick gold sheet, heated and hammered against a wooden background with the details chased on later with a sharp tool. The artifact dates from the 16th century BC.
  • Mycenaean gold death mask, Mask of Agamemnon, Grave Cicle A, Mycenae, Greece.National Archaeological Museum of Athens.  Grey Background<br />
<br />
<br />
The mask from Grave V depicts an imposing face of a bearded man descovered by  Heinrich Schliemann who believed it was the body of Agamemnon, this is unproven to date.  The Mycenaean death mask belonged to a warrior and made of gold leaf it cocered the dead mans face held on by cord threaded tgrough the two sides of the mask.  The mask of Agamemnon was created from a single thick gold sheet, heated and hammered against a wooden background with the details chased on later with a sharp tool. The artifact dates from the 16th century BC.
  • Mycenaean gold death mask, Mask of Agamemnon, Grave Cicle A, Mycenae, Greece.National Archaeological Museum of Athens.   Grey Art Background<br />
<br />
The mask from Grave V depicts an imposing face of a bearded man descovered by  Heinrich Schliemann who believed it was the body of Agamemnon, this is unproven to date.  The Mycenaean death mask belonged to a warrior and made of gold leaf it cocered the dead mans face held on by cord threaded tgrough the two sides of the mask.  The mask of Agamemnon was created from a single thick gold sheet, heated and hammered against a wooden background with the details chased on later with a sharp tool. The artifact dates from the 16th century BC.
  • Mycenaean gold death mask, Mask of Agamemnon, Grave Cicle A, Mycenae, Greece.National Archaeological Museum of Athens.<br />
<br />
The mask from Grave V depicts an imposing face of a bearded man descovered by  Heinrich Schliemann who believed it was the body of Agamemnon, this is unproven to date.  The Mycenaean death mask belonged to a warrior and made of gold leaf it cocered the dead mans face held on by cord threaded tgrough the two sides of the mask.  The mask of Agamemnon was created from a single thick gold sheet, heated and hammered against a wooden background with the details chased on later with a sharp tool. The artifact dates from the 16th century BC.
  • Pictures & imagse of the interior frescoes depicting the Assumption of the Virgin in the Timotesubani medieval Orthodox monastery Church of the Holy Dormition (Assumption), dedcated to the Virgin Mary, 1184-1213, Samtskhe-Javakheti region, Georgia (country).<br />
<br />
Built during the reigh of Queen Tamar during the “Golden Age of Georgia”, Timotesubani Church of the Holy Dormition is one of the most important examples of medieval Georgian architecture and art. <br />
<br />
The interior frescoes of date from the 11th - 13th century so the Timotesubani church of the Dormition is a treasure trove of medieval Georgian art created during the reign of Queen Tamar. The fresco murals have been rescued and preserved by the Global Fund of Cultural Heritage.
  • Pictures & imagse of the interior frescoes depicting the Assumption of the Virgin in the Timotesubani medieval Orthodox monastery Church of the Holy Dormition (Assumption), dedcated to the Virgin Mary, 1184-1213, Samtskhe-Javakheti region, Georgia (country).<br />
<br />
Built during the reigh of Queen Tamar during the “Golden Age of Georgia”, Timotesubani Church of the Holy Dormition is one of the most important examples of medieval Georgian architecture and art. <br />
<br />
The interior frescoes of date from the 11th - 13th century so the Timotesubani church of the Dormition is a treasure trove of medieval Georgian art created during the reign of Queen Tamar. The fresco murals have been rescued and preserved by the Global Fund of Cultural Heritage.
  • Pictures & imagse of the interior frescoes depicting the Assumption of the Virgin in the Timotesubani medieval Orthodox monastery Church of the Holy Dormition (Assumption), dedcated to the Virgin Mary, 1184-1213, Samtskhe-Javakheti region, Georgia (country).<br />
<br />
Built during the reigh of Queen Tamar during the “Golden Age of Georgia”, Timotesubani Church of the Holy Dormition is one of the most important examples of medieval Georgian architecture and art. <br />
<br />
The interior frescoes of date from the 11th - 13th century so the Timotesubani church of the Dormition is a treasure trove of medieval Georgian art created during the reign of Queen Tamar. The fresco murals have been rescued and preserved by the Global Fund of Cultural Heritage.
  • Pictures & imagse of the interior frescoes depicting the Assumption of the Virgin in the Timotesubani medieval Orthodox monastery Church of the Holy Dormition (Assumption), dedcated to the Virgin Mary, 1184-1213, Samtskhe-Javakheti region, Georgia (country).<br />
<br />
Built during the reigh of Queen Tamar during the “Golden Age of Georgia”, Timotesubani Church of the Holy Dormition is one of the most important examples of medieval Georgian architecture and art. <br />
<br />
The interior frescoes of date from the 11th - 13th century so the Timotesubani church of the Dormition is a treasure trove of medieval Georgian art created during the reign of Queen Tamar. The fresco murals have been rescued and preserved by the Global Fund of Cultural Heritage.
  • Pictures & imagse of the interior frescoes depicting the Assumption of the Virgin in the Timotesubani medieval Orthodox monastery Church of the Holy Dormition (Assumption), dedcated to the Virgin Mary, 1184-1213, Samtskhe-Javakheti region, Georgia (country).<br />
<br />
Built during the reigh of Queen Tamar during the “Golden Age of Georgia”, Timotesubani Church of the Holy Dormition is one of the most important examples of medieval Georgian architecture and art. <br />
<br />
The interior frescoes of date from the 11th - 13th century so the Timotesubani church of the Dormition is a treasure trove of medieval Georgian art created during the reign of Queen Tamar. The fresco murals have been rescued and preserved by the Global Fund of Cultural Heritage.
  • Pictures & imagse of the interior frescoes of the Timotesubani medieval Orthodox monastery Church of the Holy Dormition (Assumption), dedcated to the Virgin Mary, 1184-1213, Samtskhe-Javakheti region, Georgia (country).<br />
<br />
Built during the reigh of Queen Tamar during the “Golden Age of Georgia”, Timotesubani Church of the Holy Dormition is one of the most important examples of medieval Georgian architecture and art. <br />
<br />
The interior frescoes of date from the 11th - 13th century so the Timotesubani church of the Dormition is a treasure trove of medieval Georgian art created during the reign of Queen Tamar. The fresco murals have been rescued and preserved by the Global Fund of Cultural Heritage.
  • Pictures & imagse of the interior frescoes of the Timotesubani medieval Orthodox monastery Church of the Holy Dormition (Assumption), dedcated to the Virgin Mary, 1184-1213, Samtskhe-Javakheti region, Georgia (country).<br />
<br />
Built during the reigh of Queen Tamar during the “Golden Age of Georgia”, Timotesubani Church of the Holy Dormition is one of the most important examples of medieval Georgian architecture and art. <br />
<br />
The interior frescoes of date from the 11th - 13th century so the Timotesubani church of the Dormition is a treasure trove of medieval Georgian art created during the reign of Queen Tamar. The fresco murals have been rescued and preserved by the Global Fund of Cultural Heritage.
  • Pictures & imagse of the interior frescoes of the Timotesubani medieval Orthodox monastery Church of the Holy Dormition (Assumption), dedcated to the Virgin Mary, 1184-1213, Samtskhe-Javakheti region, Georgia (country).<br />
<br />
Built during the reigh of Queen Tamar during the “Golden Age of Georgia”, Timotesubani Church of the Holy Dormition is one of the most important examples of medieval Georgian architecture and art. <br />
<br />
The interior frescoes of date from the 11th - 13th century so the Timotesubani church of the Dormition is a treasure trove of medieval Georgian art created during the reign of Queen Tamar. The fresco murals have been rescued and preserved by the Global Fund of Cultural Heritage.
  • Pictures & imagse of the interior frescoes of the Timotesubani medieval Orthodox monastery Church of the Holy Dormition (Assumption), dedcated to the Virgin Mary, 1184-1213, Samtskhe-Javakheti region, Georgia (country).<br />
<br />
Built during the reigh of Queen Tamar during the “Golden Age of Georgia”, Timotesubani Church of the Holy Dormition is one of the most important examples of medieval Georgian architecture and art. <br />
<br />
The interior frescoes of date from the 11th - 13th century so the Timotesubani church of the Dormition is a treasure trove of medieval Georgian art created during the reign of Queen Tamar. The fresco murals have been rescued and preserved by the Global Fund of Cultural Heritage.
  • Pictures & imagse of the interior cupola frescoes of the Timotesubani medieval Orthodox monastery Church of the Holy Dormition (Assumption), dedcated to the Virgin Mary, 1184-1213, Samtskhe-Javakheti region, Georgia (country).<br />
<br />
Built during the reigh of Queen Tamar during the “Golden Age of Georgia”, Timotesubani Church of the Holy Dormition is one of the most important examples of medieval Georgian architecture and art. <br />
<br />
The interior frescoes of date from the 11th - 13th century so the Timotesubani church of the Dormition is a treasure trove of medieval Georgian art created during the reign of Queen Tamar. The fresco murals have been rescued and preserved by the Global Fund of Cultural Heritage.
  • Pictures & imagse of the interior frescoes of the Timotesubani medieval Orthodox monastery Church of the Holy Dormition (Assumption), dedcated to the Virgin Mary, 1184-1213, Samtskhe-Javakheti region, Georgia (country).<br />
<br />
Built during the reigh of Queen Tamar during the “Golden Age of Georgia”, Timotesubani Church of the Holy Dormition is one of the most important examples of medieval Georgian architecture and art. <br />
<br />
The interior frescoes of date from the 11th - 13th century so the Timotesubani church of the Dormition is a treasure trove of medieval Georgian art created during the reign of Queen Tamar. The fresco murals have been rescued and preserved by the Global Fund of Cultural Heritage.
  • Pictures & imagse of the interior cupola frescoes of the Timotesubani medieval Orthodox monastery Church of the Holy Dormition (Assumption), dedcated to the Virgin Mary, 1184-1213, Samtskhe-Javakheti region, Georgia (country).<br />
<br />
Built during the reigh of Queen Tamar during the “Golden Age of Georgia”, Timotesubani Church of the Holy Dormition is one of the most important examples of medieval Georgian architecture and art. <br />
<br />
The interior frescoes of date from the 11th - 13th century so the Timotesubani church of the Dormition is a treasure trove of medieval Georgian art created during the reign of Queen Tamar. The fresco murals have been rescued and preserved by the Global Fund of Cultural Heritage.
  • Pictures & imagse of the interior cupola frescoes of the Timotesubani medieval Orthodox monastery Church of the Holy Dormition (Assumption), dedcated to the Virgin Mary, 1184-1213, Samtskhe-Javakheti region, Georgia (country).<br />
<br />
Built during the reigh of Queen Tamar during the “Golden Age of Georgia”, Timotesubani Church of the Holy Dormition is one of the most important examples of medieval Georgian architecture and art. <br />
<br />
The interior frescoes of date from the 11th - 13th century so the Timotesubani church of the Dormition is a treasure trove of medieval Georgian art created during the reign of Queen Tamar. The fresco murals have been rescued and preserved by the Global Fund of Cultural Heritage.
  • Pictures & imagse of the interior frescoes depicting the Virgin and Child in the Timotesubani medieval Orthodox monastery Church of the Holy Dormition (Assumption), dedcated to the Virgin Mary, 1184-1213, Samtskhe-Javakheti region, Georgia (country).<br />
<br />
Built during the reigh of Queen Tamar during the “Golden Age of Georgia”, Timotesubani Church of the Holy Dormition is one of the most important examples of medieval Georgian architecture and art. <br />
<br />
The interior frescoes of date from the 11th - 13th century so the Timotesubani church of the Dormition is a treasure trove of medieval Georgian art created during the reign of Queen Tamar. The fresco murals have been rescued and preserved by the Global Fund of Cultural Heritage.
  • Pictures & imagse of the interior frescoes of the Timotesubani medieval Orthodox monastery Church of the Holy Dormition (Assumption), dedcated to the Virgin Mary, 1184-1213, Samtskhe-Javakheti region, Georgia (country).<br />
<br />
Built during the reigh of Queen Tamar during the “Golden Age of Georgia”, Timotesubani Church of the Holy Dormition is one of the most important examples of medieval Georgian architecture and art. <br />
<br />
The interior frescoes of date from the 11th - 13th century so the Timotesubani church of the Dormition is a treasure trove of medieval Georgian art created during the reign of Queen Tamar. The fresco murals have been rescued and preserved by the Global Fund of Cultural Heritage.
  • Pictures & imagse of the interior frescoes of the Timotesubani medieval Orthodox monastery Church of the Holy Dormition (Assumption), dedcated to the Virgin Mary, 1184-1213, Samtskhe-Javakheti region, Georgia (country).<br />
<br />
Built during the reigh of Queen Tamar during the “Golden Age of Georgia”, Timotesubani Church of the Holy Dormition is one of the most important examples of medieval Georgian architecture and art. <br />
<br />
The interior frescoes of date from the 11th - 13th century so the Timotesubani church of the Dormition is a treasure trove of medieval Georgian art created during the reign of Queen Tamar. The fresco murals have been rescued and preserved by the Global Fund of Cultural Heritage.
  • Pictures & imagse of the interior frescoes of the Timotesubani medieval Orthodox monastery Church of the Holy Dormition (Assumption), dedcated to the Virgin Mary, 1184-1213, Samtskhe-Javakheti region, Georgia (country).<br />
<br />
Built during the reigh of Queen Tamar during the “Golden Age of Georgia”, Timotesubani Church of the Holy Dormition is one of the most important examples of medieval Georgian architecture and art. <br />
<br />
The interior frescoes of date from the 11th - 13th century so the Timotesubani church of the Dormition is a treasure trove of medieval Georgian art created during the reign of Queen Tamar. The fresco murals have been rescued and preserved by the Global Fund of Cultural Heritage.
  • Pictures & imagse of the interior frescoes of the Timotesubani medieval Orthodox monastery Church of the Holy Dormition (Assumption), dedcated to the Virgin Mary, 1184-1213, Samtskhe-Javakheti region, Georgia (country).<br />
<br />
Built during the reigh of Queen Tamar during the “Golden Age of Georgia”, Timotesubani Church of the Holy Dormition is one of the most important examples of medieval Georgian architecture and art. <br />
<br />
The interior frescoes of date from the 11th - 13th century so the Timotesubani church of the Dormition is a treasure trove of medieval Georgian art created during the reign of Queen Tamar. The fresco murals have been rescued and preserved by the Global Fund of Cultural Heritage.
  • Pictures & imagse of the interior frescoes of the Timotesubani medieval Orthodox monastery Church of the Holy Dormition (Assumption), dedcated to the Virgin Mary, 1184-1213, Samtskhe-Javakheti region, Georgia (country).<br />
<br />
Built during the reigh of Queen Tamar during the “Golden Age of Georgia”, Timotesubani Church of the Holy Dormition is one of the most important examples of medieval Georgian architecture and art. <br />
<br />
The interior frescoes of date from the 11th - 13th century so the Timotesubani church of the Dormition is a treasure trove of medieval Georgian art created during the reign of Queen Tamar. The fresco murals have been rescued and preserved by the Global Fund of Cultural Heritage.
  • Pictures & imagse of the interior frescoes of the Timotesubani medieval Orthodox monastery Church of the Holy Dormition (Assumption), dedcated to the Virgin Mary, 1184-1213, Samtskhe-Javakheti region, Georgia (country).<br />
<br />
Built during the reigh of Queen Tamar during the “Golden Age of Georgia”, Timotesubani Church of the Holy Dormition is one of the most important examples of medieval Georgian architecture and art. <br />
<br />
The interior frescoes of date from the 11th - 13th century so the Timotesubani church of the Dormition is a treasure trove of medieval Georgian art created during the reign of Queen Tamar. The fresco murals have been rescued and preserved by the Global Fund of Cultural Heritage.
  • Pictures & imagse of the interior frescoes of the Timotesubani medieval Orthodox monastery Church of the Holy Dormition (Assumption), dedcated to the Virgin Mary, 1184-1213, Samtskhe-Javakheti region, Georgia (country).<br />
<br />
Built during the reigh of Queen Tamar during the “Golden Age of Georgia”, Timotesubani Church of the Holy Dormition is one of the most important examples of medieval Georgian architecture and art. <br />
<br />
The interior frescoes of date from the 11th - 13th century so the Timotesubani church of the Dormition is a treasure trove of medieval Georgian art created during the reign of Queen Tamar. The fresco murals have been rescued and preserved by the Global Fund of Cultural Heritage.
  • Prehistoric Steinacleit Standing Stones, with a stone circle of a burial mount, date unknown but anywhere between 1500-3000BC, Lewis, Outer Hebrides, Scotland
  • Prehistoric Steinacleit Standing Stones, with a stone circle of a burial mount, date unknown but anywhere between 1500-3000BC, Lewis, Outer Hebrides, Scotland
  • Prehistoric Steinacleit Standing Stones, with a stone circle of a burial mount, date unknown but anywhere between 1500-3000BC, Lewis, Outer Hebrides, Scotland
  • Prehistoric Steinacleit Standing Stones, with a stone circle of a burial mount, date unknown but anywhere between 1500-3000BC, Lewis, Outer Hebrides, Scotland
  • Prehistoric Steinacleit Standing Stones, with a stone circle of a burial mount, date unknown but anywhere between 1500-3000BC, Lewis, Outer Hebrides, Scotland
  • Prehistoric Steinacleit Standing Stones, with a stone circle of a burial mount, date unknown but anywhere between 1500-3000BC, Lewis, Outer Hebrides, Scotland
  • Prehistoric Steinacleit Standing Stones, with a stone circle of a burial mount, date unknown but anywhere between 1500-3000BC, Lewis, Outer Hebrides, Scotland
  • Prehistoric Steinacleit Standing Stones, with a stone circle of a burial mount, date unknown but anywhere between 1500-3000BC, Lewis, Outer Hebrides, Scotland
  • Prehistoric Steinacleit Standing Stones, with a stone circle of a burial mount, date unknown but anywhere between 1500-3000BC, Lewis, Outer Hebrides, Scotland
  • Prehistoric Steinacleit Standing Stones, with a stone circle of a burial mount, date unknown but anywhere between 1500-3000BC, Lewis, Outer Hebrides, Scotland
  • Pictures of Dun Carloway Broch on the Isle of Lewis in the Outer Hebrides, Scotland. Brochs are among Scotland's most impressive prehistoric buildings and were the precursors of the Medieval Scottish Tower Houses. The world Broch is derived from lowland scots who called forts Brough from the old Norse Borg. <br />
<br />
Broch stone roundhouses date from about 2,300 to 1,900 years ago, and are found mainly in north and west Scotland. Dun Carloway Broch was probably built around the time of the Roman occupation in Britain in 43AD and was probably the primary dwelling-places for the principal family in the area. Dun Carloway Broch would have provided some protection against sporadic raiding, but were not purely defensive structure but a focal point for the clan of the area.
  • Pictures of Dun Carloway Broch on the Isle of Lewis in the Outer Hebrides, Scotland. Brochs are among Scotland's most impressive prehistoric buildings and were the precursors of the Medieval Scottish Tower Houses. The world Broch is derived from lowland scots who called forts Brough from the old Norse Borg. <br />
<br />
Broch stone roundhouses date from about 2,300 to 1,900 years ago, and are found mainly in north and west Scotland. Dun Carloway Broch was probably built around the time of the Roman occupation in Britain in 43AD and was probably the primary dwelling-places for the principal family in the area. Dun Carloway Broch would have provided some protection against sporadic raiding, but were not purely defensive structure but a focal point for the clan of the area.
  • Pictures of Dun Carloway Broch on the Isle of Lewis in the Outer Hebrides; Scotland. Brochs are among Scotland's most impressive prehistoric buildings and were the precursors of the Medieval Scottish Tower Houses. The world Broch is derived from lowland scots who called forts Brough from the old Norse Borg.; Broch stone roundhouses date from about 2; 300 to 1; 900 years ago; and are found mainly in north and west Scotland. Dun Carloway Broch was probably built around the time of the Roman occupation in Britain in 43AD and was probably the primary dwelling-places for the principal family in the area. Dun Carloway Broch would have provided some protection against sporadic raiding; but were not purely defensive structure but a focal point for the clan of the area.
  • Pictures of Dun Carloway Broch on the Isle of Lewis in the Outer Hebrides, Scotland. Brochs are among Scotland's most impressive prehistoric buildings and were the precursors of the Medieval Scottish Tower Houses. The world Broch is derived from lowland scots who called forts Brough from the old Norse Borg. <br />
<br />
Broch stone roundhouses date from about 2,300 to 1,900 years ago, and are found mainly in north and west Scotland. Dun Carloway Broch was probably built around the time of the Roman occupation in Britain in 43AD and was probably the primary dwelling-places for the principal family in the area. Dun Carloway Broch would have provided some protection against sporadic raiding, but were not purely defensive structure but a focal point for the clan of the area.
  • Pictures of Dun Carloway Broch on the Isle of Lewis in the Outer Hebrides; Scotland. Brochs are among Scotland's most impressive prehistoric buildings and were the precursors of the Medieval Scottish Tower Houses. The world Broch is derived from lowland scots who called forts Brough from the old Norse Borg.; Broch stone roundhouses date from about 2; 300 to 1; 900 years ago; and are found mainly in north and west Scotland. Dun Carloway Broch was probably built around the time of the Roman occupation in Britain in 43AD and was probably the primary dwelling-places for the principal family in the area. Dun Carloway Broch would have provided some protection against sporadic raiding; but were not purely defensive structure but a focal point for the clan of the area.
  • Pictures of Dun Carloway Broch on the Isle of Lewis in the Outer Hebrides, Scotland. Brochs are among Scotland's most impressive prehistoric buildings and were the precursors of the Medieval Scottish Tower Houses. The world Broch is derived from lowland scots who called forts Brough from the old Norse Borg. <br />
<br />
Broch stone roundhouses date from about 2,300 to 1,900 years ago, and are found mainly in north and west Scotland. Dun Carloway Broch was probably built around the time of the Roman occupation in Britain in 43AD and was probably the primary dwelling-places for the principal family in the area. Dun Carloway Broch would have provided some protection against sporadic raiding, but were not purely defensive structure but a focal point for the clan of the area.
  • Pictures of Dun Carloway Broch on the Isle of Lewis in the Outer Hebrides, Scotland. Brochs are among Scotland's most impressive prehistoric buildings and were the precursors of the Medieval Scottish Tower Houses. The world Broch is derived from lowland scots who called forts Brough from the old Norse Borg. <br />
<br />
Broch stone roundhouses date from about 2,300 to 1,900 years ago, and are found mainly in north and west Scotland. Dun Carloway Broch was probably built around the time of the Roman occupation in Britain in 43AD and was probably the primary dwelling-places for the principal family in the area. Dun Carloway Broch would have provided some protection against sporadic raiding, but were not purely defensive structure but a focal point for the clan of the area.
  • Pictures of Dun Carloway Broch on the Isle of Lewis in the Outer Hebrides, Scotland. Brochs are among Scotland's most impressive prehistoric buildings and were the precursors of the Medieval Scottish Tower Houses. The world Broch is derived from lowland scots who called forts Brough from the old Norse Borg. <br />
<br />
Broch stone roundhouses date from about 2,300 to 1,900 years ago, and are found mainly in north and west Scotland. Dun Carloway Broch was probably built around the time of the Roman occupation in Britain in 43AD and was probably the primary dwelling-places for the principal family in the area. Dun Carloway Broch would have provided some protection against sporadic raiding, but were not purely defensive structure but a focal point for the clan of the area.
  • Pictures of Dun Carloway Broch on the Isle of Lewis in the Outer Hebrides, Scotland. Brochs are among Scotland's most impressive prehistoric buildings and were the precursors of the Medieval Scottish Tower Houses. The world Broch is derived from lowland scots who called forts Brough from the old Norse Borg. <br />
<br />
Broch stone roundhouses date from about 2,300 to 1,900 years ago, and are found mainly in north and west Scotland. Dun Carloway Broch was probably built around the time of the Roman occupation in Britain in 43AD and was probably the primary dwelling-places for the principal family in the area. Dun Carloway Broch would have provided some protection against sporadic raiding, but were not purely defensive structure but a focal point for the clan of the area.
  • Pictures of Dun Carloway Broch on the Isle of Lewis in the Outer Hebrides, Scotland. Brochs are among Scotland's most impressive prehistoric buildings and were the precursors of the Medieval Scottish Tower Houses. The world Broch is derived from lowland scots who called forts Brough from the old Norse Borg. <br />
<br />
Broch stone roundhouses date from about 2,300 to 1,900 years ago, and are found mainly in north and west Scotland. Dun Carloway Broch was probably built around the time of the Roman occupation in Britain in 43AD and was probably the primary dwelling-places for the principal family in the area. Dun Carloway Broch would have provided some protection against sporadic raiding, but were not purely defensive structure but a focal point for the clan of the area.
  • Pictures of Dun Carloway Broch on the Isle of Lewis in the Outer Hebrides, Scotland. Brochs are among Scotland's most impressive prehistoric buildings and were the precursors of the Medieval Scottish Tower Houses. The world Broch is derived from lowland scots who called forts Brough from the old Norse Borg. <br />
<br />
Broch stone roundhouses date from about 2,300 to 1,900 years ago, and are found mainly in north and west Scotland. Dun Carloway Broch was probably built around the time of the Roman occupation in Britain in 43AD and was probably the primary dwelling-places for the principal family in the area. Dun Carloway Broch would have provided some protection against sporadic raiding, but were not purely defensive structure but a focal point for the clan of the area.
  • Pictures of Dun Carloway Broch on the Isle of Lewis in the Outer Hebrides, Scotland. Brochs are among Scotland's most impressive prehistoric buildings and were the precursors of the Medieval Scottish Tower Houses. The world Broch is derived from lowland scots who called forts Brough from the old Norse Borg. <br />
<br />
Broch stone roundhouses date from about 2,300 to 1,900 years ago, and are found mainly in north and west Scotland. Dun Carloway Broch was probably built around the time of the Roman occupation in Britain in 43AD and was probably the primary dwelling-places for the principal family in the area. Dun Carloway Broch would have provided some protection against sporadic raiding, but were not purely defensive structure but a focal point for the clan of the area.
  • Pictures of Dun Carloway Broch on the Isle of Lewis in the Outer Hebrides, Scotland. Brochs are among Scotland's most impressive prehistoric buildings and were the precursors of the Medieval Scottish Tower Houses. The world Broch is derived from lowland scots who called forts Brough from the old Norse Borg. <br />
<br />
Broch stone roundhouses date from about 2,300 to 1,900 years ago, and are found mainly in north and west Scotland. Dun Carloway Broch was probably built around the time of the Roman occupation in Britain in 43AD and was probably the primary dwelling-places for the principal family in the area. Dun Carloway Broch would have provided some protection against sporadic raiding, but were not purely defensive structure but a focal point for the clan of the area.
  • Pictures of Dun Carloway Broch on the Isle of Lewis in the Outer Hebrides, Scotland. Brochs are among Scotland's most impressive prehistoric buildings and were the precursors of the Medieval Scottish Tower Houses. The world Broch is derived from lowland scots who called forts Brough from the old Norse Borg. <br />
<br />
Broch stone roundhouses date from about 2,300 to 1,900 years ago, and are found mainly in north and west Scotland. Dun Carloway Broch was probably built around the time of the Roman occupation in Britain in 43AD and was probably the primary dwelling-places for the principal family in the area. Dun Carloway Broch would have provided some protection against sporadic raiding, but were not purely defensive structure but a focal point for the clan of the area.
  • Pictures of Dun Carloway Broch on the Isle of Lewis in the Outer Hebrides, Scotland. Brochs are among Scotland's most impressive prehistoric buildings and were the precursors of the Medieval Scottish Tower Houses. The world Broch is derived from lowland scots who called forts Brough from the old Norse Borg. <br />
<br />
Broch stone roundhouses date from about 2,300 to 1,900 years ago, and are found mainly in north and west Scotland. Dun Carloway Broch was probably built around the time of the Roman occupation in Britain in 43AD and was probably the primary dwelling-places for the principal family in the area. Dun Carloway Broch would have provided some protection against sporadic raiding, but were not purely defensive structure but a focal point for the clan of the area.
  • Pictures of Dun Carloway Broch on the Isle of Lewis in the Outer Hebrides, Scotland. Brochs are among Scotland's most impressive prehistoric buildings and were the precursors of the Medieval Scottish Tower Houses. The world Broch is derived from lowland scots who called forts Brough from the old Norse Borg. <br />
<br />
Broch stone roundhouses date from about 2,300 to 1,900 years ago, and are found mainly in north and west Scotland. Dun Carloway Broch was probably built around the time of the Roman occupation in Britain in 43AD and was probably the primary dwelling-places for the principal family in the area. Dun Carloway Broch would have provided some protection against sporadic raiding, but were not purely defensive structure but a focal point for the clan of the area.
  • Pictures of Dun Carloway Broch on the Isle of Lewis in the Outer Hebrides, Scotland. Brochs are among Scotland's most impressive prehistoric buildings and were the precursors of the Medieval Scottish Tower Houses. The world Broch is derived from lowland scots who called forts Brough from the old Norse Borg. <br />
<br />
Broch stone roundhouses date from about 2,300 to 1,900 years ago, and are found mainly in north and west Scotland. Dun Carloway Broch was probably built around the time of the Roman occupation in Britain in 43AD and was probably the primary dwelling-places for the principal family in the area. Dun Carloway Broch would have provided some protection against sporadic raiding, but were not purely defensive structure but a focal point for the clan of the area.
  • Pictures of Dun Carloway Broch on the Isle of Lewis in the Outer Hebrides, Scotland. Brochs are among Scotland's most impressive prehistoric buildings and were the precursors of the Medieval Scottish Tower Houses. The world Broch is derived from lowland scots who called forts Brough from the old Norse Borg. <br />
<br />
Broch stone roundhouses date from about 2,300 to 1,900 years ago, and are found mainly in north and west Scotland. Dun Carloway Broch was probably built around the time of the Roman occupation in Britain in 43AD and was probably the primary dwelling-places for the principal family in the area. Dun Carloway Broch would have provided some protection against sporadic raiding, but were not purely defensive structure but a focal point for the clan of the area.
  • Pictures of Dun Carloway Broch on the Isle of Lewis in the Outer Hebrides, Scotland. Brochs are among Scotland's most impressive prehistoric buildings and were the precursors of the Medieval Scottish Tower Houses. The world Broch is derived from lowland scots who called forts Brough from the old Norse Borg. <br />
<br />
Broch stone roundhouses date from about 2,300 to 1,900 years ago, and are found mainly in north and west Scotland. Dun Carloway Broch was probably built around the time of the Roman occupation in Britain in 43AD and was probably the primary dwelling-places for the principal family in the area. Dun Carloway Broch would have provided some protection against sporadic raiding, but were not purely defensive structure but a focal point for the clan of the area.
  • Pictures of Dun Carloway Broch on the Isle of Lewis in the Outer Hebrides, Scotland. Brochs are among Scotland's most impressive prehistoric buildings and were the precursors of the Medieval Scottish Tower Houses. The world Broch is derived from lowland scots who called forts Brough from the old Norse Borg. <br />
<br />
Broch stone roundhouses date from about 2,300 to 1,900 years ago, and are found mainly in north and west Scotland. Dun Carloway Broch was probably built around the time of the Roman occupation in Britain in 43AD and was probably the primary dwelling-places for the principal family in the area. Dun Carloway Broch would have provided some protection against sporadic raiding, but were not purely defensive structure but a focal point for the clan of the area.
  • Pictures of Dun Carloway Broch on the Isle of Lewis in the Outer Hebrides, Scotland. Brochs are among Scotland's most impressive prehistoric buildings and were the precursors of the Medieval Scottish Tower Houses. The world Broch is derived from lowland scots who called forts Brough from the old Norse Borg. <br />
<br />
Broch stone roundhouses date from about 2,300 to 1,900 years ago, and are found mainly in north and west Scotland. Dun Carloway Broch was probably built around the time of the Roman occupation in Britain in 43AD and was probably the primary dwelling-places for the principal family in the area. Dun Carloway Broch would have provided some protection against sporadic raiding, but were not purely defensive structure but a focal point for the clan of the area.
  • Gothic painted Panel Altarpiece of Saint Barbara by Goncal Peris Sarria. Tempera and gold leaf on wood. Date Circa 1410-1425. Dimensions 278 x 207.7 x 17 cm. At the beginning of the 20th century, the altarpiece was kept in the parish church of Puertomingalvo (Teruel), but it could originally have come from the chapel of Santa Bárbara near this town. This altarpiece is attributed to the painter Gonçal Peris Sarrià, one of the chief representatives of Valencian International Gothic. His style is marked by expressive and picturesque elements, the flowing line and the charm of the colour. The main compartment of the altarpiece represents the titular saint with her distinctive attributes –the tower, in allusion to her imprisonment, and the palm, as she is considered a martyr-- and above her the Calvary. On either side are depicted various episodes from the life of Saint Barbara, who was called on to keep away lightning and storms. . National Museum of Catalan Art, Barcelona, Spain, inv no: 035672-CJT
  • 8th Cent. B.C Babylonian limestone funereal stele with inscription & relief sculpture of the governor of Mari and Suhi praying to the Gods from the Palace Museum Babylon, Iraq. The inscription states that the governor reigned for 13 years and built the city of Gabarri-ibni also making canals for new date palm cultivation in different cities, and working on the development of agriculture in the city of Suhi. Istanbul Archaeological Museum Inv. 7815
  • 8th Cent. B.C Babylonian limestone funereal stele with inscription & relief sculpture of the governor of Mari and Suhi praying to the Gods from the Palace Museum Babylon, Iraq. The inscription states that the governor reigned for 13 years and built the city of Gabarri-ibni also making canals for new date palm cultivation in different cities, and working on the development of agriculture in the city of Suhi. Istanbul Archaeological Museum Inv. 7815
  • 8th Cent. B.C Babylonian limestone  stele with inscription & relief sculpture of the governor of Mari and Suhi praying to the Gods from the Palace Museum Babylon, Iraq. The inscription states that the governor reigned for 13 years and built the city of Gabarri-ibni also making canals for new date palm cultivation in different cities, and working on the development of agriculture in the city of Suhi. Istanbul Archaeological Museum Inv. 7815
  • 8th Cent. B.C Babylonian limestone funereal stele with inscription & relief sculpture of the governor of Mari and Suhi praying to the Gods from the Palace Museum Babylon, Iraq. The inscription states that the governor reigned for 13 years and built the city of Gabarri-ibni also making canals for new date palm cultivation in different cities, and working on the development of agriculture in the city of Suhi. Istanbul Archaeological Museum Inv. 7815
  • 8th Cent. B.C Babylonian limestone funereal stele with inscription & relief sculpture of the governor of Mari and Suhi praying to the Gods from the Palace Museum Babylon, Iraq. The inscription states that the governor reigned for 13 years and built the city of Gabarri-ibni also making canals for new date palm cultivation in different cities, and working on the development of agriculture in the city of Suhi. Istanbul Archaeological Museum Inv. 7815
  • Roman Portrait statue of the so-called General Tivoli a Roman commander circa 70-70BC made in Greek marble and found in the excavation of the Temple of Hercules, Tivoli, Italy. A masterpiece of hoary sculpture from the late Republican period, this statue portrays an elderly person with a young, nude body. The cape (paludamentum) which covers part of the stomach and legs, and the cuirass embossed with the head of Medusa (lorica) which functions as a support, identify it as a high-ranking soldier. It can be presumed that the right arm is raised, as suggested by the chest muscles holdingg the shoulder, and that the figure was leaning on a lance. The style derives from Hellenistic designs pf ‘hero nudity’ (effigies schilleae) used, starting in the 2nd century BC, by members of the Roman ruling class which has a strong political need of self-representation. The authoritarian, imposing stance together with the marked realism of the facial features, is one of the best examples of Hellenistic bravura combined with realistic Italic tradition. Stylistic considerations and the fact that the statue was found in the excavation of the Temple of Hercules which was built during the dictatorship of Cornelius Sulla, date the statue to between 90 and 70 BC. Its commemoration in Tivoli leads us to believe that it may have been someone from the area, probably a lieutenant of Sulla who paid for the portrait himself, or that it was a public honour, in the most important shrine in the city, dedicated to the god-hero called ‘Victor’, i.e, the protector of military expeditions. The National Roman Museum, Rome, Italy
  • Roman Portrait statue of the so-called General Tivoli a Roman commander circa 70-70BC made in Greek marble and found in the excavation of the Temple of Hercules, Tivoli, Italy. A masterpiece of hoary sculpture from the late Republican period, this statue portrays an elderly person with a young, nude body. The cape (paludamentum) which covers part of the stomach and legs, and the cuirass embossed with the head of Medusa (lorica) which functions as a support, identify it as a high-ranking soldier. It can be presumed that the right arm is raised, as suggested by the chest muscles holdingg the shoulder, and that the figure was leaning on a lance. The style derives from Hellenistic designs pf ‘hero nudity’ (effigies schilleae) used, starting in the 2nd century BC, by members of the Roman ruling class which has a strong political need of self-representation. The authoritarian, imposing stance together with the marked realism of the facial features, is one of the best examples of Hellenistic bravura combined with realistic Italic tradition. Stylistic considerations and the fact that the statue was found in the excavation of the Temple of Hercules which was built during the dictatorship of Cornelius Sulla, date the statue to between 90 and 70 BC. Its commemoration in Tivoli leads us to believe that it may have been someone from the area, probably a lieutenant of Sulla who paid for the portrait himself, or that it was a public honour, in the most important shrine in the city, dedicated to the god-hero called ‘Victor’, i.e, the protector of military expeditions. The National Roman Museum, Rome, Italy
  • Roman Portrait statue of the so-called General Tivoli a Roman commander circa 70-70BC made in Greek marble and found in the excavation of the Temple of Hercules, Tivoli, Italy. A masterpiece of hoary sculpture from the late Republican period, this statue portrays an elderly person with a young, nude body. The cape (paludamentum) which covers part of the stomach and legs, and the cuirass embossed with the head of Medusa (lorica) which functions as a support, identify it as a high-ranking soldier. It can be presumed that the right arm is raised, as suggested by the chest muscles holdingg the shoulder, and that the figure was leaning on a lance. The style derives from Hellenistic designs pf ‘hero nudity’ (effigies schilleae) used, starting in the 2nd century BC, by members of the Roman ruling class which has a strong political need of self-representation. The authoritarian, imposing stance together with the marked realism of the facial features, is one of the best examples of Hellenistic bravura combined with realistic Italic tradition. Stylistic considerations and the fact that the statue was found in the excavation of the Temple of Hercules which was built during the dictatorship of Cornelius Sulla, date the statue to between 90 and 70 BC. Its commemoration in Tivoli leads us to believe that it may have been someone from the area, probably a lieutenant of Sulla who paid for the portrait himself, or that it was a public honour, in the most important shrine in the city, dedicated to the god-hero called ‘Victor’, i.e, the protector of military expeditions. The National Roman Museum, Rome, Italy
  • Roman Portrait statue of the so-called General Tivoli a Roman commander circa 70-70BC made in Greek marble and found in the excavation of the Temple of Hercules, Tivoli, Italy. A masterpiece of hoary sculpture from the late Republican period, this statue portrays an elderly person with a young, nude body. The cape (paludamentum) which covers part of the stomach and legs, and the cuirass embossed with the head of Medusa (lorica) which functions as a support, identify it as a high-ranking soldier. It can be presumed that the right arm is raised, as suggested by the chest muscles holdingg the shoulder, and that the figure was leaning on a lance. The style derives from Hellenistic designs pf ‘hero nudity’ (effigies schilleae) used, starting in the 2nd century BC, by members of the Roman ruling class which has a strong political need of self-representation. The authoritarian, imposing stance together with the marked realism of the facial features, is one of the best examples of Hellenistic bravura combined with realistic Italic tradition. Stylistic considerations and the fact that the statue was found in the excavation of the Temple of Hercules which was built during the dictatorship of Cornelius Sulla, date the statue to between 90 and 70 BC. Its commemoration in Tivoli leads us to believe that it may have been someone from the area, probably a lieutenant of Sulla who paid for the portrait himself, or that it was a public honour, in the most important shrine in the city, dedicated to the god-hero called ‘Victor’, i.e, the protector of military expeditions. The National Roman Museum, Rome, Italy
  • Roman Portrait statue of the so-called General Tivoli a Roman commander circa 70-70BC made in Greek marble and found in the excavation of the Temple of Hercules, Tivoli, Italy. A masterpiece of hoary sculpture from the late Republican period, this statue portrays an elderly person with a young, nude body. The cape (paludamentum) which covers part of the stomach and legs, and the cuirass embossed with the head of Medusa (lorica) which functions as a support, identify it as a high-ranking soldier. It can be presumed that the right arm is raised, as suggested by the chest muscles holdingg the shoulder, and that the figure was leaning on a lance. The style derives from Hellenistic designs pf ‘hero nudity’ (effigies schilleae) used, starting in the 2nd century BC, by members of the Roman ruling class which has a strong political need of self-representation. The authoritarian, imposing stance together with the marked realism of the facial features, is one of the best examples of Hellenistic bravura combined with realistic Italic tradition. Stylistic considerations and the fact that the statue was found in the excavation of the Temple of Hercules which was built during the dictatorship of Cornelius Sulla, date the statue to between 90 and 70 BC. Its commemoration in Tivoli leads us to believe that it may have been someone from the area, probably a lieutenant of Sulla who paid for the portrait himself, or that it was a public honour, in the most important shrine in the city, dedicated to the god-hero called ‘Victor’, i.e, the protector of military expeditions. The National Roman Museum, Rome, Italy
  • Gothic cast bronze statue of Christ. Date circa 1180 probably comes from Cerdanya.  National Museum of Catalan Art, Barcelona, Spain inv no: MNAC 4553
  • Gothic cast bronze statue of Christ. Date circa 1180 probably comes from Cerdanya.  National Museum of Catalan Art, Barcelona, Spain inv no: MNAC 4553
  • Gothic cast bronze statue of Christ. Date circa 1180 probably comes from Cerdanya.  National Museum of Catalan Art, Barcelona, Spain inv no: MNAC 4553
  • Gothic cast bronze statue of Christ. Date circa 1180 probably comes from Cerdanya.  National Museum of Catalan Art, Barcelona, Spain inv no: MNAC 4553
  • Gothic statue of the Virgin Mary and Child. Polychrome and gold leaf on alabaster. Date - Second half of the 14th century. National Museum of Catalan Art, Barcelona, Spain inv no: 9874
  • Gothic statue of the Virgin Mary and Child. Polychrome and gold leaf on alabaster. Date - Second half of the 14th century. National Museum of Catalan Art, Barcelona, Spain inv no: 9874
  • Gothic statue of the Virgin Mary and Child. Polychrome and gold leaf on alabaster. Date - Second half of the 14th century. National Museum of Catalan Art, Barcelona, Spain inv no: 9874
  • Gothic wood statue of the Virgin Mary and Child. Polychrome wood carving with varnished metal-plating. Date - First quarter of the 13th century. National Museum of Catalan Art, Barcelona, Spain inv no: 3924
  • Gothic statue of the Virgin Mary and Child. Polychrome and gold leaf on alabaster. Date - Second half of the 14th century. National Museum of Catalan Art, Barcelona, Spain inv no: 9874
  • Gothic wood statue of the Virgin Mary and Child. Polychrome wood carving with varnished metal-plating. Date - First quarter of the 13th century. National Museum of Catalan Art, Barcelona, Spain inv no: 3924
  • Gothic wood statue of the Virgin Mary and Child. Polychrome wood carving with varnished metal-plating. Date - First quarter of the 13th century. National Museum of Catalan Art, Barcelona, Spain inv no: 3924
  • Gothic wood statue of the Virgin Mary and Child. Polychrome wood carving with varnished metal-plating. Date - First quarter of the 13th century. National Museum of Catalan Art, Barcelona, Spain inv no: 3924
  • Gothic painted wood panels with scenes of the Martyrdom of Saint Lucy<br />
Circa 1300. Tempera on wood. Date Circa 1300. Dimensions 66 x 25.8 x 2 cm. From the parish church of Santa Llúcia de Mur (Guàrdia de Noguera, Pallars Jussà). National Museum of Catalan Art, Barcelona, Spain, inv no: 035703-CJT
  • Gothic painted wood panels with scenes of the Martyrdom of Saint Lucy<br />
Circa 1300. Tempera on wood. Date Circa 1300. From the parish church of Santa Llúcia de Mur (Guàrdia de Noguera, Pallars Jussà). National Museum of Catalan Art, Barcelona, Spain, inv no: 035703-CJT
  • Gothic painted wood panels with scenes of the Martyrdom of Saint Lucy<br />
Circa 1300. Tempera on wood. Date Circa 1300. Dimensions 68.3 x 25.3 x 1 cm. From the parish church of Santa Llúcia de Mur (Guàrdia de Noguera, Pallars Jussà). National Museum of Catalan Art, Barcelona, Spain, inv no: 035703-CJT
  • Gothic wood statue of Virgin and Child by tan anontmous Catalan Artist. Carved alabaster with remains of polychrome and gold leaf. Date Second half of 14th century. Dimensions 117.5 x 38.6 x 28.4 cm.  Probably comes from Sanaüja (Segarra). National Museum of Catalan Art, Barcelona, Spain inv no: 004359-000
  • Gothic wood statue of Virgin and Child by tan anontmous Catalan Artist. Carved alabaster with remains of polychrome and gold leaf. Date Second half of 14th century. Dimensions 117.5 x 38.6 x 28.4 cm.  Probably comes from Sanaüja (Segarra). National Museum of Catalan Art, Barcelona, Spain inv no: 004359-000
  • Gothic wood statue of Virgin and Child by tan anontmous Catalan Artist. Carved alabaster with remains of polychrome and gold leaf. Date Second half of 14th century. Dimensions 117.5 x 38.6 x 28.4 cm.  Probably comes from Sanaüja (Segarra). National Museum of Catalan Art, Barcelona, Spain inv no: 004359-000
  • Gothic wood statue of Virgin and Child by tan anontmous Catalan Artist. Carved alabaster with remains of polychrome and gold leaf. Date Second half of 14th century. Dimensions 117.5 x 38.6 x 28.4 cm.  Probably comes from Sanaüja (Segarra). National Museum of Catalan Art, Barcelona, Spain inv no: 004359-000
  • Gothic statue of Saint Peter by Joan Gasco. Tempera, oil, and stucco reliefs in gold leaf on wood. Date circa 1516. From the church of Santa Maria of Palautordera (Valles Oriental).  National Museum of Catalan Art, Barcelona, Spain inv no: 15934
  • Gothic statue of Saint Peter by Joan Gasco. Tempera, oil, and stucco reliefs in gold leaf on wood. Date circa 1516. From the church of Santa Maria of Palautordera (Valles Oriental).  National Museum of Catalan Art, Barcelona, Spain inv no: 15934
  • Gothic statue of Saint Peter by Joan Gasco. Tempera, oil, and stucco reliefs in gold leaf on wood. Date circa 1516. From the church of Santa Maria of Palautordera (Valles Oriental).  National Museum of Catalan Art, Barcelona, Spain inv no: 15934
  • Gothic statue of Saint Peter by Joan Gasco. Tempera, oil, and stucco reliefs in gold leaf on wood. Date circa 1516. From the church of Santa Maria of Palautordera (Valles Oriental).  National Museum of Catalan Art, Barcelona, Spain inv no: 15934
  • Early Anglo Saxon sulptures of the Apostles now part of the south porch of Malmesbury Abbey, Wiltshire, England. The apostles, apart from Peter who holds a crude key, have no distinguishing feature to allow identification. Some are holding books, none have halos and some hold their heads at awkward angles. These three styles are typical of Anglo Saxon art. The two panels are 10 ft long and 4ft 6" high are date from the original Ango Saxon church of 705. They were probablbly built into the proch during the Norman rebuilding. The style of these sculptures is of the Roman Byzantine style and were probably sculpted by masions from Gaul.  Malmesbury Abbey, Wiltshire, England
  • Early Anglo Saxon sulptures of Christ and the  Apostles now part of the south porch of Malmesbury Abbey, Wiltshire, England. The apostles, apart from Peter who holds a crude key, have no distinguishing feature to allow identification. Some are holding books, none have halos and some hold their heads at awkward angles. These three styles are typical of Anglo Saxon art. The two panels are 10 ft long and 4ft 6" high are date from the original Ango Saxon church of 705. They were probablbly built into the proch during the Norman rebuilding. The style of these sculptures is of the Roman Byzantine style and were probably sculpted by masions from Gaul.  Malmesbury Abbey, Wiltshire, England
  • Early Anglo Saxon sulptures of Christ and the  Apostles now part of the south porch of Malmesbury Abbey, Wiltshire, England. The apostles, apart from Peter who holds a crude key, have no distinguishing feature to allow identification. Some are holding books, none have halos and some hold their heads at awkward angles. These three styles are typical of Anglo Saxon art. The two panels are 10 ft long and 4ft 6" high are date from the original Ango Saxon church of 705. They were probablbly built into the proch during the Norman rebuilding. The style of these sculptures is of the Roman Byzantine style and were probably sculpted by masions from Gaul.  Malmesbury Abbey, Wiltshire, England
  • Early Anglo Saxon sulptures of an Apostle holding a book now part of the south porch of Malmesbury Abbey, Wiltshire, England. The apostles, apart from Peter who holds a crude key, have no distinguishing feature to allow identification. Some are holding books, none have halos and some hold their heads at awkward angles. These three styles are typical of Anglo Saxon art. The two panels are 10 ft long and 4ft 6" high are date from the original Ango Saxon church of 705. They were probablbly built into the proch during the Norman rebuilding. The style of these sculptures is of the Roman Byzantine style and were probably sculpted by masions from Gaul.  Malmesbury Abbey, Wiltshire, England
  • Early Anglo Saxon sulptures of an Apostle holding a book now part of the south porch of Malmesbury Abbey, Wiltshire, England. The apostles, apart from Peter who holds a crude key, have no distinguishing feature to allow identification. Some are holding books, none have halos and some hold their heads at awkward angles. These three styles are typical of Anglo Saxon art. The two panels are 10 ft long and 4ft 6" high are date from the original Ango Saxon church of 705. They were probablbly built into the proch during the Norman rebuilding. The style of these sculptures is of the Roman Byzantine style and were probably sculpted by masions from Gaul.  Malmesbury Abbey, Wiltshire, England
  • Early Anglo Saxon sulptures of an Apostle holding a book now part of the south porch of Malmesbury Abbey, Wiltshire, England. The apostles, apart from Peter who holds a crude key, have no distinguishing feature to allow identification. Some are holding books, none have halos and some hold their heads at awkward angles. These three styles are typical of Anglo Saxon art. The two panels are 10 ft long and 4ft 6" high are date from the original Ango Saxon church of 705. They were probablbly built into the proch during the Norman rebuilding. The style of these sculptures is of the Roman Byzantine style and were probably sculpted by masions from Gaul.  Malmesbury Abbey, Wiltshire, England
  • Early Anglo Saxon sulptures of the Apostles now part of the south porch of Malmesbury Abbey, Wiltshire, England. The apostles, apart from Peter who holds a crude key, have no distinguishing feature to allow identification. Some are holding books, none have halos and some hold their heads at awkward angles. These three styles are typical of Anglo Saxon art. The two panels are 10 ft long and 4ft 6" high are date from the original Ango Saxon church of 705. They were probablbly built into the proch during the Norman rebuilding. The style of these sculptures is of the Roman Byzantine style and were probably sculpted by masions from Gaul.  Malmesbury Abbey, Wiltshire, England
  • Early Anglo Saxon sulptures of the Apostles now part of the south porch of Malmesbury Abbey, Wiltshire, England. The apostles, apart from Peter who holds a crude key, have no distinguishing feature to allow identification. Some are holding books, none have halos and some hold their heads at awkward angles. These three styles are typical of Anglo Saxon art. The two panels are 10 ft long and 4ft 6" high are date from the original Ango Saxon church of 705. They were probablbly built into the proch during the Norman rebuilding. The style of these sculptures is of the Roman Byzantine style and were probably sculpted by masions from Gaul.  Malmesbury Abbey, Wiltshire, England
  • Early Anglo Saxon sulptures of the Apostles now part of the south porch of Malmesbury Abbey, Wiltshire, England. The apostles, apart from Peter who holds a crude key, have no distinguishing feature to allow identification. Some are holding books, none have halos and some hold their heads at awkward angles. These three styles are typical of Anglo Saxon art. The two panels are 10 ft long and 4ft 6" high are date from the original Ango Saxon church of 705. They were probablbly built into the proch during the Norman rebuilding. The style of these sculptures is of the Roman Byzantine style and were probably sculpted by masions from Gaul.  Malmesbury Abbey, Wiltshire, England
  • A waterfall amongst the date palms of the Sahara desert oasis of Mides, Tunisia, North Africa
  • The date palms of the Sahara desert oasis of Mides, Tunisia, North Africa
  • A waterfall amongst the date palms of the Sahara desert oasis of Mides, Tunisia, North Africa
  • A waterfall amongst the date palms of the Sahara desert oasis of Mides, Tunisia, North Africa
  • The date palms of the Sahara desert oasis of Mides, Tunisia, North Africa
  • A waterfall amongst the date palms of the Sahara desert oasis of Mides, Tunisia, North Africa
  • The date palms of the Sahara desert oasis of Mides, Tunisia, North Africa
  • The date palms of the Sahara desert oasis of Mides, Tunisia, North Africa
  • Roman Portrait statue of the so-called General Tivoli a Roman commander circa 70-70BC made in Greek marble and found in the excavation of the Temple of Hercules, Tivoli, Italy. A masterpiece of hoary sculpture from the late Republican period, this statue portrays an elderly person with a young, nude body. The cape (paludamentum) which covers part of the stomach and legs, and the cuirass embossed with the head of Medusa (lorica) which functions as a support, identify it as a high-ranking soldier. It can be presumed that the right arm is raised, as suggested by the chest muscles holdingg the shoulder, and that the figure was leaning on a lance. The style derives from Hellenistic designs pf ‘hero nudity’ (effigies schilleae) used, starting in the 2nd century BC, by members of the Roman ruling class which has a strong political need of self-representation. The authoritarian, imposing stance together with the marked realism of the facial features, is one of the best examples of Hellenistic bravura combined with realistic Italic tradition. Stylistic considerations and the fact that the statue was found in the excavation of the Temple of Hercules which was built during the dictatorship of Cornelius Sulla, date the statue to between 90 and 70 BC. Its commemoration in Tivoli leads us to believe that it may have been someone from the area, probably a lieutenant of Sulla who paid for the portrait himself, or that it was a public honour, in the most important shrine in the city, dedicated to the god-hero called ‘Victor’, i.e, the protector of military expeditions. The National Roman Museum, Rome, Italy
  • Roman Portrait statue of the so-called General Tivoli a Roman commander circa 70-70BC made in Greek marble and found in the excavation of the Temple of Hercules, Tivoli, Italy. A masterpiece of hoary sculpture from the late Republican period, this statue portrays an elderly person with a young, nude body. The cape (paludamentum) which covers part of the stomach and legs, and the cuirass embossed with the head of Medusa (lorica) which functions as a support, identify it as a high-ranking soldier. It can be presumed that the right arm is raised, as suggested by the chest muscles holdingg the shoulder, and that the figure was leaning on a lance. The style derives from Hellenistic designs pf ‘hero nudity’ (effigies schilleae) used, starting in the 2nd century BC, by members of the Roman ruling class which has a strong political need of self-representation. The authoritarian, imposing stance together with the marked realism of the facial features, is one of the best examples of Hellenistic bravura combined with realistic Italic tradition. Stylistic considerations and the fact that the statue was found in the excavation of the Temple of Hercules which was built during the dictatorship of Cornelius Sulla, date the statue to between 90 and 70 BC. Its commemoration in Tivoli leads us to believe that it may have been someone from the area, probably a lieutenant of Sulla who paid for the portrait himself, or that it was a public honour, in the most important shrine in the city, dedicated to the god-hero called ‘Victor’, i.e, the protector of military expeditions. The National Roman Museum, Rome, Italy
  • Roman Portrait statue of the so-called General Tivoli a Roman commander circa 70-70BC made in Greek marble and found in the excavation of the Temple of Hercules, Tivoli, Italy. A masterpiece of hoary sculpture from the late Republican period, this statue portrays an elderly person with a young, nude body. The cape (paludamentum) which covers part of the stomach and legs, and the cuirass embossed with the head of Medusa (lorica) which functions as a support, identify it as a high-ranking soldier. It can be presumed that the right arm is raised, as suggested by the chest muscles holdingg the shoulder, and that the figure was leaning on a lance. The style derives from Hellenistic designs pf ‘hero nudity’ (effigies schilleae) used, starting in the 2nd century BC, by members of the Roman ruling class which has a strong political need of self-representation. The authoritarian, imposing stance together with the marked realism of the facial features, is one of the best examples of Hellenistic bravura combined with realistic Italic tradition. Stylistic considerations and the fact that the statue was found in the excavation of the Temple of Hercules which was built during the dictatorship of Cornelius Sulla, date the statue to between 90 and 70 BC. Its commemoration in Tivoli leads us to believe that it may have been someone from the area, probably a lieutenant of Sulla who paid for the portrait himself, or that it was a public honour, in the most important shrine in the city, dedicated to the god-hero called ‘Victor’, i.e, the protector of military expeditions. The National Roman Museum, Rome, Italy
  • Roman Portrait statue of the so-called General Tivoli a Roman commander circa 70-70BC made in Greek marble and found in the excavation of the Temple of Hercules, Tivoli, Italy. A masterpiece of hoary sculpture from the late Republican period, this statue portrays an elderly person with a young, nude body. The cape (paludamentum) which covers part of the stomach and legs, and the cuirass embossed with the head of Medusa (lorica) which functions as a support, identify it as a high-ranking soldier. It can be presumed that the right arm is raised, as suggested by the chest muscles holdingg the shoulder, and that the figure was leaning on a lance. The style derives from Hellenistic designs pf ‘hero nudity’ (effigies schilleae) used, starting in the 2nd century BC, by members of the Roman ruling class which has a strong political need of self-representation. The authoritarian, imposing stance together with the marked realism of the facial features, is one of the best examples of Hellenistic bravura combined with realistic Italic tradition. Stylistic considerations and the fact that the statue was found in the excavation of the Temple of Hercules which was built during the dictatorship of Cornelius Sulla, date the statue to between 90 and 70 BC. Its commemoration in Tivoli leads us to believe that it may have been someone from the area, probably a lieutenant of Sulla who paid for the portrait himself, or that it was a public honour, in the most important shrine in the city, dedicated to the god-hero called ‘Victor’, i.e, the protector of military expeditions. The National Roman Museum, Rome, Italy
  • Roman Portrait statue of the so-called General Tivoli a Roman commander circa 70-70BC made in Greek marble and found in the excavation of the Temple of Hercules, Tivoli, Italy. A masterpiece of hoary sculpture from the late Republican period, this statue portrays an elderly person with a young, nude body. The cape (paludamentum) which covers part of the stomach and legs, and the cuirass embossed with the head of Medusa (lorica) which functions as a support, identify it as a high-ranking soldier. It can be presumed that the right arm is raised, as suggested by the chest muscles holdingg the shoulder, and that the figure was leaning on a lance. The style derives from Hellenistic designs pf ‘hero nudity’ (effigies schilleae) used, starting in the 2nd century BC, by members of the Roman ruling class which has a strong political need of self-representation. The authoritarian, imposing stance together with the marked realism of the facial features, is one of the best examples of Hellenistic bravura combined with realistic Italic tradition. Stylistic considerations and the fact that the statue was found in the excavation of the Temple of Hercules which was built during the dictatorship of Cornelius Sulla, date the statue to between 90 and 70 BC. Its commemoration in Tivoli leads us to believe that it may have been someone from the area, probably a lieutenant of Sulla who paid for the portrait himself, or that it was a public honour, in the most important shrine in the city, dedicated to the god-hero called ‘Victor’, i.e, the protector of military expeditions. The National Roman Museum, Rome, Italy
  • Gothic cast bronze statue of Christ. Date circa 1180 probably comes from Cerdanya.  National Museum of Catalan Art, Barcelona, Spain inv no: MNAC 4553
  • Gothic cast bronze statue of Christ. Date circa 1180 probably comes from Cerdanya.  National Museum of Catalan Art, Barcelona, Spain inv no: MNAC 4553
  • Gothic statue of the Virgin Mary and Child. Polychrome and gold leaf on alabaster. Date - Second half of the 14th century. National Museum of Catalan Art, Barcelona, Spain inv no: 9874
  • Gothic statue of the Virgin Mary and Child. Polychrome and gold leaf on alabaster. Date - Second half of the 14th century. National Museum of Catalan Art, Barcelona, Spain inv no: 9874
  • Gothic statue of the Virgin Mary and Child. Polychrome and gold leaf on alabaster. Date - Second half of the 14th century. National Museum of Catalan Art, Barcelona, Spain inv no: 9874
  • Gothic wood statue of the Virgin Mary and Child. Polychrome wood carving with varnished metal-plating. Date - First quarter of the 13th century. National Museum of Catalan Art, Barcelona, Spain inv no: 3924
  • Gothic wood statue of the Virgin Mary and Child. Polychrome wood carving with varnished metal-plating. Date - First quarter of the 13th century. National Museum of Catalan Art, Barcelona, Spain inv no: 3924
  • Gothic wood statue of the Virgin Mary and Child. Polychrome wood carving with varnished metal-plating. Date - First quarter of the 13th century. National Museum of Catalan Art, Barcelona, Spain inv no: 3924
  • Gothic wood statue of the Virgin Mary and Child. Polychrome wood carving with varnished metal-plating. Date - First quarter of the 13th century. National Museum of Catalan Art, Barcelona, Spain inv no: 3924
  • Gothic painted bas-relief of Life of St Peter by Joan Gasco. Polycchrome and gold leaf on wood. Date Circa 1516.  From the church of Santa Maria of Palautordera (Valles Oriental). National Museum of Catalan Art, Barcelona, Spain, inv no: 015934-000
  • Gothic painted wood panels with scenes of the Martyrdom of Saint Lucy<br />
Circa 1300. Tempera on wood. Date Circa 1300. Dimensions 66 x 25.8 x 2 cm. From the parish church of Santa Llúcia de Mur (Guàrdia de Noguera, Pallars Jussà). National Museum of Catalan Art, Barcelona, Spain, inv no: 035703-CJT
  • Gothic painted wood panels with scenes of the Martyrdom of Saint Lucy<br />
Circa 1300. Tempera on wood. Date Circa 1300. From the parish church of Santa Llúcia de Mur (Guàrdia de Noguera, Pallars Jussà). National Museum of Catalan Art, Barcelona, Spain, inv no: 035703-CJT
  • Gothic painted wood panels with scenes of the Martyrdom of Saint Lucy<br />
Circa 1300. Tempera on wood. Date Circa 1300. Dimensions 68.3 x 25.3 x 1 cm. From the parish church of Santa Llúcia de Mur (Guàrdia de Noguera, Pallars Jussà). National Museum of Catalan Art, Barcelona, Spain, inv no: 035703-CJT
  • Gothic painted Panel Virgin of the "Consellers" by Lluis Dalmau. Tempera and gold leaf on wood. Date 1443-1445. Dimesions 316 x 312.5 x 32.5 cm. From the altar of the chapel of Barcelona City Hall. <br />
The prestige attached to Burgundian courtly culture and the painter Jan van Eyck explain why in 1431 King Alfons the Magnanimous sent his official painter, the Valencian Lluís Dalmau, to Flanders, to learn the new realist language at first hand. In 1443, Dalmau was commissioned to paint this altarpiece for the chapel of the City Hall. This work was a breakthrough in Catalonia on account of the format, the technique used, as it was painted in oil, and the skilful illusionism of a figurative space in which that year's five councillors, painted from life, are represented on the same scale as the Virgin and the Saints. National Museum of Catalan Art, Barcelona, Spain, inv no: 015938-000
  • Gothic painted Panel Virgin of the "Consellers" by Lluis Dalmau. Tempera and gold leaf on wood. Date 1443-1445. Dimesions 316 x 312.5 x 32.5 cm. From the altar of the chapel of Barcelona City Hall. <br />
The prestige attached to Burgundian courtly culture and the painter Jan van Eyck explain why in 1431 King Alfons the Magnanimous sent his official painter, the Valencian Lluís Dalmau, to Flanders, to learn the new realist language at first hand. In 1443, Dalmau was commissioned to paint this altarpiece for the chapel of the City Hall. This work was a breakthrough in Catalonia on account of the format, the technique used, as it was painted in oil, and the skilful illusionism of a figurative space in which that year's five councillors, painted from life, are represented on the same scale as the Virgin and the Saints. National Museum of Catalan Art, Barcelona, Spain, inv no: 015938-000
  • Gothic painted Panel Virgin of the "Consellers" by Lluis Dalmau. Tempera and gold leaf on wood. Date 1443-1445. Dimesions 316 x 312.5 x 32.5 cm. From the altar of the chapel of Barcelona City Hall. <br />
The prestige attached to Burgundian courtly culture and the painter Jan van Eyck explain why in 1431 King Alfons the Magnanimous sent his official painter, the Valencian Lluís Dalmau, to Flanders, to learn the new realist language at first hand. In 1443, Dalmau was commissioned to paint this altarpiece for the chapel of the City Hall. This work was a breakthrough in Catalonia on account of the format, the technique used, as it was painted in oil, and the skilful illusionism of a figurative space in which that year's five councillors, painted from life, are represented on the same scale as the Virgin and the Saints. National Museum of Catalan Art, Barcelona, Spain, inv no: 015938-000
  • Gothic painted Panel Virgin of the "Consellers" by Lluis Dalmau. Tempera and gold leaf on wood. Date 1443-1445. Dimesions 316 x 312.5 x 32.5 cm. From the altar of the chapel of Barcelona City Hall. <br />
The prestige attached to Burgundian courtly culture and the painter Jan van Eyck explain why in 1431 King Alfons the Magnanimous sent his official painter, the Valencian Lluís Dalmau, to Flanders, to learn the new realist language at first hand. In 1443, Dalmau was commissioned to paint this altarpiece for the chapel of the City Hall. This work was a breakthrough in Catalonia on account of the format, the technique used, as it was painted in oil, and the skilful illusionism of a figurative space in which that year's five councillors, painted from life, are represented on the same scale as the Virgin and the Saints. National Museum of Catalan Art, Barcelona, Spain, inv no: 015938-000
  • Gothic painted Panel Altarpiece of Saint Barbara by Goncal Peris Sarria. Tempera and gold leaf on wood. Date Circa 1410-1425. Dimesions 278 x 207.7 x 17 cm. At the beginning of the 20th century, the altarpiece was kept in the parish church of Puertomingalvo (Teruel), but it could originally have come from the chapel of Santa Bárbara near this town. This altarpiece is attributed to the painter Gonçal Peris Sarrià, one of the chief representatives of Valencian International Gothic. His style is marked by expressive and picturesque elements, the flowing line and the charm of the colour. The main compartment of the altarpiece represents the titular saint with her distinctive attributes –the tower, in allusion to her imprisonment, and the palm, as she is considered a martyr-- and above her the Calvary. On either side are depicted various episodes from the life of Saint Barbara, who was called on to keep away lightning and storms. . National Museum of Catalan Art, Barcelona, Spain, inv no: 035672-CJT
  • Gothic painted Panel Altarpiece of the Virgin Suckling the Child, Saint Clare and Saint Anthony the Abbott by the Workshop of Llorenc Saragossa. Tempera and gold leaf on wood. Date Last quarter of 14th century. Dimesions 207 x 187.5 x 10 cm. From Xelva (Valencia). National Museum of Catalan Art, Barcelona, Spain, inv no: 064027-CJT
  • Gothic painted Panel Altarpiece of the Virgin Suckling the Child, Saint Clare and Saint Anthony the Abbott by the Workshop of Llorenc Saragossa. Tempera and gold leaf on wood. Date Last quarter of 14th century. Dimesions 207 x 187.5 x 10 cm. From Xelva (Valencia). National Museum of Catalan Art, Barcelona, Spain, inv no: 064027-CJT
  • Gothic painted Panel Altarpiece of the Virgin Suckling the Child, Saint Clare and Saint Anthony the Abbott by the Workshop of Llorenc Saragossa. Tempera and gold leaf on wood. Date Last quarter of 14th century. Dimesions 207 x 187.5 x 10 cm. From Xelva (Valencia). National Museum of Catalan Art, Barcelona, Spain, inv no: 064027-CJT
  • Gothic painted Panel Altarpiece of the Virgin Suckling the Child, Saint Clare and Saint Anthony the Abbott by the Workshop of Llorenc Saragossa. Tempera and gold leaf on wood. Date Last quarter of 14th century. Dimesions 207 x 187.5 x 10 cm. From Xelva (Valencia). National Museum of Catalan Art, Barcelona, Spain, inv no: 064027-CJT
  • Gothic wood statue of Virgin and Child by tan anontmous Catalan Artist. Carved alabaster with remains of polychrome and gold leaf. Date Second half of 14th century. Dimensions 117.5 x 38.6 x 28.4 cm.  Probably comes from Sanaüja (Segarra). National Museum of Catalan Art, Barcelona, Spain inv no: 004359-000
  • Gothic wood statue of Virgin and Child by tan anontmous Catalan Artist. Carved alabaster with remains of polychrome and gold leaf. Date Second half of 14th century. Dimensions 117.5 x 38.6 x 28.4 cm.  Probably comes from Sanaüja (Segarra). National Museum of Catalan Art, Barcelona, Spain inv no: 004359-000
  • Gothic wood statue of Virgin and Child by tan anontmous Catalan Artist. Carved alabaster with remains of polychrome and gold leaf. Date Second half of 14th century. Dimensions 117.5 x 38.6 x 28.4 cm.  Probably comes from Sanaüja (Segarra). National Museum of Catalan Art, Barcelona, Spain inv no: 004359-000
  • Gothic wood statue of Virgin and Child by tan anontmous Catalan Artist. Carved alabaster with remains of polychrome and gold leaf. Date Second half of 14th century. Dimensions 117.5 x 38.6 x 28.4 cm.  Probably comes from Sanaüja (Segarra). National Museum of Catalan Art, Barcelona, Spain inv no: 004359-000
  • Gothic statue of Saint Peter by Joan Gasco. Tempera, oil, and stucco reliefs in gold leaf on wood. Date circa 1516. From the church of Santa Maria of Palautordera (Valles Oriental).  National Museum of Catalan Art, Barcelona, Spain inv no: 15934
  • Gothic statue of Saint Peter by Joan Gasco. Tempera, oil, and stucco reliefs in gold leaf on wood. Date circa 1516. From the church of Santa Maria of Palautordera (Valles Oriental).  National Museum of Catalan Art, Barcelona, Spain inv no: 15934
  • Gothic statue of the Virgin Mary and Child. Polychrome and gold leaf on alabaster. Date - Second half of the 14th century. National Museum of Catalan Art, Barcelona, Spain inv no: 9874
  • Interior The cathedral of Ani, Also known as Surp Asdvadzadzin (church of the Holy Mother of God), its construction was started in the year 989, under King Smbat II.  The Gothic clustered arches & pointed arches pre date the European Gothic and are thought to be an influence for Western European Gothic. Ani archaelogical site on the Ancient Silk Road , Kars , Anatolia, Turkey
  • Interior The cathedral of Ani, Also known as Surp Asdvadzadzin (church of the Holy Mother of God), its construction was started in the year 989, under King Smbat II.  The Gothic clustered arches & pointed arches pre date the European Gothic and are thought to be an influence for Western European Gothic. Ani archaelogical site on the Ancient Silk Road , Kars , Anatolia, Turkey
  • Interior The cathedral of Ani, Also known as Surp Asdvadzadzin (church of the Holy Mother of God), its construction was started in the year 989, under King Smbat II.  The Gothic clustered arches & pointed arches pre date the European Gothic and are thought to be an influence for Western European Gothic. Ani archaelogical site on the Ancient Silk Road , Kars , Anatolia, Turkey
  • Ruined Armenian Gothic doorway. The Gothic  pointed arches in Ani pre date the European Gothic and are thought to be an influence for Western European Gothic. Ani archaelogical site on the Ancient Silk Road , Kars , Anatolia, Turkey
  • Romaesque facade of the church of St Mary - date from 1105 - Zadar, Croatia
  • Romaesque facade of the church of St Mary - date from 1105 - Zadar, Croatia
  • Romaesque facade of the church of St Mary - date from 1105 - Zadar, Croatia
  • Romaesque facade of the church of St Mary - date from 1105 - Zadar, Croatia
  • Romaesque facade of the church of St Mary - date from 1105 - Zadar, Croatia
  • Romaesque facade of the church of St Mary - date from 1105 - Zadar, Croatia
  • Romaesque facade of the church of St Mary - date from 1105 - Zadar, Croatia
  • Romaesque facade of the church of St Mary - date from 1105 - Zadar, Croatia
  • The Broch of Gurness is a rare example of a well preserved iron age Broch village. Dating from 500 to 200BC the central round tower probably reached 10 meters (30ft). This was surrounded by thatched roofed houses. The settlement was surrounded by walls and two deep ditches. Gurness was probably the most important settlement on Orkney 2000 years ago.
  • The Broch of Gurness is a rare example of a well preserved iron age Broch village. Dating from 500 to 200BC the central round tower probably reached 10 meters (30ft). This was surrounded by thatched roofed houses. The settlement was surrounded by walls and two deep ditches. Gurness was probably the most important settlement on Orkney 2000 years ago.
  • The Broch of Gurness is a rare example of a well preserved iron age Broch village. Dating from 500 to 200BC the central round tower probably reached 10 meters (30ft). This was surrounded by thatched roofed houses. The settlement was surrounded by walls and two deep ditches. Gurness was probably the most important settlement on Orkney 2000 years ago.
  • The Broch of Gurness is a rare example of a well preserved iron age Broch village. Dating from 500 to 200BC the central round tower probably reached 10 meters (30ft). This was surrounded by thatched roofed houses. The settlement was surrounded by walls and two deep ditches. Gurness was probably the most important settlement on Orkney 2000 years ago.
  • The Broch of Gurness is a rare example of a well preserved iron age Broch village. Dating from 500 to 200BC the central round tower probably reached 10 meters (30ft). This was surrounded by thatched roofed houses. The settlement was surrounded by walls and two deep ditches. Gurness was probably the most important settlement on Orkney 2000 years ago.
  • The Broch of Gurness is a rare example of a well preserved iron age Broch village. Dating from 500 to 200BC the central round tower probably reached 10 meters (30ft). This was surrounded by thatched roofed houses. The settlement was surrounded by walls and two deep ditches. Gurness was probably the most important settlement on Orkney 2000 years ago.
  • The Broch of Gurness is a rare example of a well preserved iron age Broch village. Dating from 500 to 200BC the central round tower probably reached 10 meters (30ft). This was surrounded by thatched roofed houses. The settlement was surrounded by walls and two deep ditches. Gurness was probably the most important settlement on Orkney 2000 years ago.
  • The Broch of Gurness is a rare example of a well preserved iron age Broch village. Dating from 500 to 200BC the central round tower probably reached 10 meters (30ft). This was surrounded by thatched roofed houses. The settlement was surrounded by walls and two deep ditches. Gurness was probably the most important settlement on Orkney 2000 years ago.
  • The Broch of Gurness is a rare example of a well preserved iron age Broch village. Dating from 500 to 200BC the central round tower probably reached 10 meters (30ft). This was surrounded by thatched roofed houses. The settlement was surrounded by walls and two deep ditches. Gurness was probably the most important settlement on Orkney 2000 years ago.
  • The Broch of Gurness is a rare example of a well preserved iron age Broch village. Dating from 500 to 200BC the central round tower probably reached 10 meters (30ft). This was surrounded by thatched roofed houses. The settlement was surrounded by walls and two deep ditches. Gurness was probably the most important settlement on Orkney 2000 years ago.
  • Panoramic long view across "la Gravina" ravine to the Sassi of Matera at sunrise, Basilicata, Italy. A UNESCO World Heritage site.<br />
<br />
The area of Matera has been occupied since the Palaeolithic (10th millennium BC) making it one of the oldest continually inhabited settlements in the world. <br />
The town of Matera was founded by the Roman Lucius Caecilius Metellus in 251 BC and remained a Roman town until  was conquered by the Lombards In AD 664 becoming part of the Duchy of Benevento.  Matera was subject to the power struggles of southern Italy coming under the rule of the Byzantine Roman, the Germans and finally Matera was ruled by the Normans from 1043 until the Aragonese took possession in the 15th century. <br />
<br />
At the ancient heart of Matera are cave dwellings known as Sassi. As the fortunes of Matera failed the sassy became slum dwelling and the appalling living conditions became be the disgrace of Italy. From the 1970’s families were forcibly removed from the Sassi and rehoused in the new town of Matera. Today tourism has regenerated Matera and the sassi have been modernised and are lived in again making them probably the longest inhabited houses in the world dating back 9000 years.
  • Long view across "la Gravina" ravine to the Sassi of Matera at sunrise, Basilicata, Italy. A UNESCO World Heritage site.<br />
<br />
The area of Matera has been occupied since the Palaeolithic (10th millennium BC) making it one of the oldest continually inhabited settlements in the world. <br />
The town of Matera was founded by the Roman Lucius Caecilius Metellus in 251 BC and remained a Roman town until  was conquered by the Lombards In AD 664 becoming part of the Duchy of Benevento.  Matera was subject to the power struggles of southern Italy coming under the rule of the Byzantine Roman, the Germans and finally Matera was ruled by the Normans from 1043 until the Aragonese took possession in the 15th century. <br />
<br />
At the ancient heart of Matera are cave dwellings known as Sassi. As the fortunes of Matera failed the sassy became slum dwelling and the appalling living conditions became be the disgrace of Italy. From the 1970’s families were forcibly removed from the Sassi and rehoused in the new town of Matera. Today tourism has regenerated Matera and the sassi have been modernised and are lived in again making them probably the longest inhabited houses in the world dating back 9000 years.
  • Long view across "la Gravina" ravine to the Sassi of Matera at sunrise, Basilicata, Italy. A UNESCO World Heritage site.<br />
<br />
The area of Matera has been occupied since the Palaeolithic (10th millennium BC) making it one of the oldest continually inhabited settlements in the world. <br />
The town of Matera was founded by the Roman Lucius Caecilius Metellus in 251 BC and remained a Roman town until  was conquered by the Lombards In AD 664 becoming part of the Duchy of Benevento.  Matera was subject to the power struggles of southern Italy coming under the rule of the Byzantine Roman, the Germans and finally Matera was ruled by the Normans from 1043 until the Aragonese took possession in the 15th century. <br />
<br />
At the ancient heart of Matera are cave dwellings known as Sassi. As the fortunes of Matera failed the sassy became slum dwelling and the appalling living conditions became be the disgrace of Italy. From the 1970’s families were forcibly removed from the Sassi and rehoused in the new town of Matera. Today tourism has regenerated Matera and the sassi have been modernised and are lived in again making them probably the longest inhabited houses in the world dating back 9000 years.
  • Panoramic long view across "la Gravina" ravine to the Sassi of Matera at sunrise, Basilicata, Italy. A UNESCO World Heritage site.<br />
<br />
The area of Matera has been occupied since the Palaeolithic (10th millennium BC) making it one of the oldest continually inhabited settlements in the world. <br />
The town of Matera was founded by the Roman Lucius Caecilius Metellus in 251 BC and remained a Roman town until  was conquered by the Lombards In AD 664 becoming part of the Duchy of Benevento.  Matera was subject to the power struggles of southern Italy coming under the rule of the Byzantine Roman, the Germans and finally Matera was ruled by the Normans from 1043 until the Aragonese took possession in the 15th century. <br />
<br />
At the ancient heart of Matera are cave dwellings known as Sassi. As the fortunes of Matera failed the sassy became slum dwelling and the appalling living conditions became be the disgrace of Italy. From the 1970’s families were forcibly removed from the Sassi and rehoused in the new town of Matera. Today tourism has regenerated Matera and the sassi have been modernised and are lived in again making them probably the longest inhabited houses in the world dating back 9000 years.
  • Panoramic long view across "la Gravina" ravine to the Sassi of Matera at sunrise, Basilicata, Italy. A UNESCO World Heritage site.<br />
<br />
The area of Matera has been occupied since the Palaeolithic (10th millennium BC) making it one of the oldest continually inhabited settlements in the world. <br />
The town of Matera was founded by the Roman Lucius Caecilius Metellus in 251 BC and remained a Roman town until  was conquered by the Lombards In AD 664 becoming part of the Duchy of Benevento.  Matera was subject to the power struggles of southern Italy coming under the rule of the Byzantine Roman, the Germans and finally Matera was ruled by the Normans from 1043 until the Aragonese took possession in the 15th century. <br />
<br />
At the ancient heart of Matera are cave dwellings known as Sassi. As the fortunes of Matera failed the sassy became slum dwelling and the appalling living conditions became be the disgrace of Italy. From the 1970’s families were forcibly removed from the Sassi and rehoused in the new town of Matera. Today tourism has regenerated Matera and the sassi have been modernised and are lived in again making them probably the longest inhabited houses in the world dating back 9000 years.
  • Panoramic long view across "la Gravina" ravine to the Sassi of Matera at sunrise, Basilicata, Italy. A UNESCO World Heritage site.<br />
<br />
The area of Matera has been occupied since the Palaeolithic (10th millennium BC) making it one of the oldest continually inhabited settlements in the world. <br />
The town of Matera was founded by the Roman Lucius Caecilius Metellus in 251 BC and remained a Roman town until  was conquered by the Lombards In AD 664 becoming part of the Duchy of Benevento.  Matera was subject to the power struggles of southern Italy coming under the rule of the Byzantine Roman, the Germans and finally Matera was ruled by the Normans from 1043 until the Aragonese took possession in the 15th century. <br />
<br />
At the ancient heart of Matera are cave dwellings known as Sassi. As the fortunes of Matera failed the sassy became slum dwelling and the appalling living conditions became be the disgrace of Italy. From the 1970’s families were forcibly removed from the Sassi and rehoused in the new town of Matera. Today tourism has regenerated Matera and the sassi have been modernised and are lived in again making them probably the longest inhabited houses in the world dating back 9000 years.
  • Roman funerary statue of a women in the Large Herculaneum style, Found in the cemetery of Stagiou Street, Athens, Athens Archaeological Museum, cat no 32622. Against black<br />
<br />
This statue is the typle known as the Large Herculaneum Wome. She wears a full length chiton and himation that covers her head and entire body. Dating from the 1st cent AD it is a copy of an earlier statue circa 320 BC, probably by Praxiteles
  • Roman funerary statue of a women in the Large Herculaneum style, Found in the cemetery of Stagiou Street, Athens, Athens Archaeological Museum, cat no 32622. Against white, <br />
<br />
This statue is the typle known as the Large Herculaneum Wome. She wears a full length chiton and himation that covers her head and entire body. Dating from the 1st cent AD it is a copy of an earlier statue circa 320 BC, probably by Praxiteles
  • Roman funerary statue of a women in the Large Herculaneum style, Found in the cemetery of Stagiou Street, Athens, Athens Archaeological Museum, cat no 32622.  against grey<br />
<br />
This statue is the typle known as the Large Herculaneum Wome. She wears a full length chiton and himation that covers her head and entire body. Dating from the 1st cent AD it is a copy of an earlier statue circa 320 BC, probably by Praxiteles
  • Roman funerary statue of a women in the Large Herculaneum style, Found in the cemetery of Stagiou Street, Athens, Athens Archaeological Museum, cat no 32622.<br />
<br />
This statue is the typle known as the Large Herculaneum Wome. She wears a full length chiton and himation that covers her head and entire body. Dating from the 1st cent AD it is a copy of an earlier statue circa 320 BC, probably by Praxiteles
  • Roman funerary statue of a women in the Large Herculaneum style, Found in the cemetery of Stagiou Street, Athens, Athens Archaeological Museum, cat no 32622.  against grey<br />
<br />
This statue is the typle known as the Large Herculaneum Wome. She wears a full length chiton and himation that covers her head and entire body. Dating from the 1st cent AD it is a copy of an earlier statue circa 320 BC, probably by Praxiteles
  • Statue of a female inj the Small Herculaneum Style, Athens Archaeological Museum, Cat no 242. Pentelic marble.  Against white, <br />
<br />
Copy of earlier famous Greek statue dated 300 BC. The women is depicted wearing a full length chiton and a himation that covers her entire body.
  • Statue of a female inj the Small Herculaneum Style, Athens Archaeological Museum, Cat no 242. Pentelic marble. Against black<br />
<br />
Copy of earlier famous Greek statue dated 300 BC. The women is depicted wearing a full length chiton and a himation that covers her entire body.
  • Statue of a female inj the Small Herculaneum Style, Athens Archaeological Museum, Cat no 242. Pentelic marble. Against grey<br />
<br />
Copy of earlier famous Greek statue dated 300 BC. The women is depicted wearing a full length chiton and a himation that covers her entire body.
  • Statue of a female inj the Small Herculaneum Style, Athens Archaeological Museum, Cat no 242. Pentelic marble. <br />
<br />
Copy of earlier famous Greek statue dated 300 BC. The women is depicted wearing a full length chiton and a himation that covers her entire body.
  • Statue of a female inj the Small Herculaneum Style, Athens Archaeological Museum, Cat no 242. Pentelic marble.  Against grey<br />
<br />
Copy of earlier famous Greek statue dated 300 BC. The women is depicted wearing a full length chiton and a himation that covers her entire body.
  • Ancient Greek funerary statue of a women, type Small Herculaneum Woman style. From Delos circa 2nd Cent BC. Athens National Archaeological Museum. Cat No 1827. against black<br />
<br />
This marble statue from Delos shopws a women wearing a full length chiton and a himation that covers her entire body and arms. This style of statue is known os 'Small Herculaneum Woman' and is a copy of a famous original dating from 300 BC.
  • Ancient Greek funerary statue of a women, type Small Herculaneum Woman style. From Delos circa 2nd Cent BC. Athens National Archaeological Museum. Cat No 1827. Against grey<br />
<br />
This marble statue from Delos shopws a women wearing a full length chiton and a himation that covers her entire body and arms. This style of statue is known os 'Small Herculaneum Woman' and is a copy of a famous original dating from 300 BC.
  • Ancient Greek funerary statue of a women, type Small Herculaneum Woman style. From Delos circa 2nd Cent BC. Athens National Archaeological Museum. Cat No 1827, Against white, <br />
<br />
This marble statue from Delos shopws a women wearing a full length chiton and a himation that covers her entire body and arms. This style of statue is known os 'Small Herculaneum Woman' and is a copy of a famous original dating from 300 BC.
  • Ancient Greek funerary statue of a women, type Small Herculaneum Woman style. From Delos circa 2nd Cent BC. Athens National Archaeological Museum. Cat No 1827<br />
<br />
This marble statue from Delos shopws a women wearing a full length chiton and a himation that covers her entire body and arms. This style of statue is known os 'Small Herculaneum Woman' and is a copy of a famous original dating from 300 BC.
  • Ancient Greek funerary statue of a women, type Small Herculaneum Woman style. From Delos circa 2nd Cent BC. Athens National Archaeological Museum. Cat No 1827. Against grey<br />
<br />
This marble statue from Delos shopws a women wearing a full length chiton and a himation that covers her entire body and arms. This style of statue is known os 'Small Herculaneum Woman' and is a copy of a famous original dating from 300 BC.
  • Panoramic long view across "la Gravina" ravine to the Sassi of Matera at sunrise, Basilicata, Italy. A UNESCO World Heritage site.<br />
<br />
The area of Matera has been occupied since the Palaeolithic (10th millennium BC) making it one of the oldest continually inhabited settlements in the world. <br />
The town of Matera was founded by the Roman Lucius Caecilius Metellus in 251 BC and remained a Roman town until  was conquered by the Lombards In AD 664 becoming part of the Duchy of Benevento.  Matera was subject to the power struggles of southern Italy coming under the rule of the Byzantine Roman, the Germans and finally Matera was ruled by the Normans from 1043 until the Aragonese took possession in the 15th century. <br />
<br />
At the ancient heart of Matera are cave dwellings known as Sassi. As the fortunes of Matera failed the sassy became slum dwelling and the appalling living conditions became be the disgrace of Italy. From the 1970’s families were forcibly removed from the Sassi and rehoused in the new town of Matera. Today tourism has regenerated Matera and the sassi have been modernised and are lived in again making them probably the longest inhabited houses in the world dating back 9000 years.
  • Panoramic long view across "la Gravina" ravine to the Sassi of Matera at sunrise, Basilicata, Italy. A UNESCO World Heritage site.<br />
<br />
The area of Matera has been occupied since the Palaeolithic (10th millennium BC) making it one of the oldest continually inhabited settlements in the world. <br />
The town of Matera was founded by the Roman Lucius Caecilius Metellus in 251 BC and remained a Roman town until  was conquered by the Lombards In AD 664 becoming part of the Duchy of Benevento.  Matera was subject to the power struggles of southern Italy coming under the rule of the Byzantine Roman, the Germans and finally Matera was ruled by the Normans from 1043 until the Aragonese took possession in the 15th century. <br />
<br />
At the ancient heart of Matera are cave dwellings known as Sassi. As the fortunes of Matera failed the sassy became slum dwelling and the appalling living conditions became be the disgrace of Italy. From the 1970’s families were forcibly removed from the Sassi and rehoused in the new town of Matera. Today tourism has regenerated Matera and the sassi have been modernised and are lived in again making them probably the longest inhabited houses in the world dating back 9000 years.
  • Panoramic long view across "la Gravina" ravine to the Sassi of Matera at sunrise, Basilicata, Italy. A UNESCO World Heritage site.<br />
<br />
The area of Matera has been occupied since the Palaeolithic (10th millennium BC) making it one of the oldest continually inhabited settlements in the world. <br />
The town of Matera was founded by the Roman Lucius Caecilius Metellus in 251 BC and remained a Roman town until  was conquered by the Lombards In AD 664 becoming part of the Duchy of Benevento.  Matera was subject to the power struggles of southern Italy coming under the rule of the Byzantine Roman, the Germans and finally Matera was ruled by the Normans from 1043 until the Aragonese took possession in the 15th century. <br />
<br />
At the ancient heart of Matera are cave dwellings known as Sassi. As the fortunes of Matera failed the sassy became slum dwelling and the appalling living conditions became be the disgrace of Italy. From the 1970’s families were forcibly removed from the Sassi and rehoused in the new town of Matera. Today tourism has regenerated Matera and the sassi have been modernised and are lived in again making them probably the longest inhabited houses in the world dating back 9000 years.
  • Panoramic view of the ancient Sassi of Matera area exterior, Basilicata, Italy. <br />
<br />
The area of Matera has been occupied since the Palaeolithic (10th millennium BC) making it one of the oldest continually inhabited settlements in the world. <br />
<br />
The town of Matera was founded by the Roman Lucius Caecilius Metellus in 251 BC and remained a Roman town until  was conquered by the Lombards In AD 664 becoming part of the Duchy of Benevento.  Matera was subject to the power struggles of southern Italy coming under the rule of the Byzantine Roman, the Germans and finally Matera was ruled by the Normans from 1043 until the Aragonese took possession in the 15th century. <br />
<br />
At the ancient heart of Matera are cave dwellings known as Sassi. As the fortunes of Matera failed the sassy became slum dwelling and the appalling living conditions became be the disgrace of Italy. From the 1970’s families were forcibly removed from the Sassi and rehoused in the new town of Matera. Today tourism has regenerated Matera and the sassi have been modernised and are lived in again making them probably the longest inhabited houses in the world dating back 9000 years.
  • Rock cave Christian church of St Agnes and its altar fresco dating from 11th century. Matera, Basilicata, Italy
  • Long view across "la Gravina" ravine to the Sassi of Matera at sunrise, Basilicata, Italy. A UNESCO World Heritage site.<br />
<br />
The area of Matera has been occupied since the Palaeolithic (10th millennium BC) making it one of the oldest continually inhabited settlements in the world. <br />
The town of Matera was founded by the Roman Lucius Caecilius Metellus in 251 BC and remained a Roman town until  was conquered by the Lombards In AD 664 becoming part of the Duchy of Benevento.  Matera was subject to the power struggles of southern Italy coming under the rule of the Byzantine Roman, the Germans and finally Matera was ruled by the Normans from 1043 until the Aragonese took possession in the 15th century. <br />
<br />
At the ancient heart of Matera are cave dwellings known as Sassi. As the fortunes of Matera failed the sassy became slum dwelling and the appalling living conditions became be the disgrace of Italy. From the 1970’s families were forcibly removed from the Sassi and rehoused in the new town of Matera. Today tourism has regenerated Matera and the sassi have been modernised and are lived in again making them probably the longest inhabited houses in the world dating back 9000 years.
  • Long view across "la Gravina" ravine to the Sassi of Matera at sunrise, Basilicata, Italy. A UNESCO World Heritage site.<br />
<br />
The area of Matera has been occupied since the Palaeolithic (10th millennium BC) making it one of the oldest continually inhabited settlements in the world. <br />
The town of Matera was founded by the Roman Lucius Caecilius Metellus in 251 BC and remained a Roman town until  was conquered by the Lombards In AD 664 becoming part of the Duchy of Benevento.  Matera was subject to the power struggles of southern Italy coming under the rule of the Byzantine Roman, the Germans and finally Matera was ruled by the Normans from 1043 until the Aragonese took possession in the 15th century. <br />
<br />
At the ancient heart of Matera are cave dwellings known as Sassi. As the fortunes of Matera failed the sassy became slum dwelling and the appalling living conditions became be the disgrace of Italy. From the 1970’s families were forcibly removed from the Sassi and rehoused in the new town of Matera. Today tourism has regenerated Matera and the sassi have been modernised and are lived in again making them probably the longest inhabited houses in the world dating back 9000 years.
  • Vew of "la Gravina" ravine and the Sassi of Matera, Basilicata, Italy. A UNESCO World Heritage site.<br />
<br />
The area of Matera has been occupied since the Palaeolithic (10th millennium BC) making it one of the oldest continually inhabited settlements in the world. <br />
The town of Matera was founded by the Roman Lucius Caecilius Metellus in 251 BC and remained a Roman town until  was conquered by the Lombards In AD 664 becoming part of the Duchy of Benevento.  Matera was subject to the power struggles of southern Italy coming under the rule of the Byzantine Roman, the Germans and finally Matera was ruled by the Normans from 1043 until the Aragonese took possession in the 15th century. <br />
<br />
At the ancient heart of Matera are cave dwellings known as Sassi. As the fortunes of Matera failed the sassy became slum dwelling and the appalling living conditions became be the disgrace of Italy. From the 1970’s families were forcibly removed from the Sassi and rehoused in the new town of Matera. Today tourism has regenerated Matera and the sassi have been modernised and are lived in again making them probably the longest inhabited houses in the world dating back 9000 years.
  • Panoramic ew of "la Gravina" ravine and the Sassi of Matera, Basilicata, Italy. A UNESCO World Heritage site.<br />
<br />
The area of Matera has been occupied since the Palaeolithic (10th millennium BC) making it one of the oldest continually inhabited settlements in the world. <br />
The town of Matera was founded by the Roman Lucius Caecilius Metellus in 251 BC and remained a Roman town until  was conquered by the Lombards In AD 664 becoming part of the Duchy of Benevento.  Matera was subject to the power struggles of southern Italy coming under the rule of the Byzantine Roman, the Germans and finally Matera was ruled by the Normans from 1043 until the Aragonese took possession in the 15th century. <br />
<br />
At the ancient heart of Matera are cave dwellings known as Sassi. As the fortunes of Matera failed the sassy became slum dwelling and the appalling living conditions became be the disgrace of Italy. From the 1970’s families were forcibly removed from the Sassi and rehoused in the new town of Matera. Today tourism has regenerated Matera and the sassi have been modernised and are lived in again making them probably the longest inhabited houses in the world dating back 9000 years.
  • Panoramic ew of "la Gravina" ravine and the Sassi of Matera, Basilicata, Italy. A UNESCO World Heritage site.<br />
<br />
The area of Matera has been occupied since the Palaeolithic (10th millennium BC) making it one of the oldest continually inhabited settlements in the world. <br />
The town of Matera was founded by the Roman Lucius Caecilius Metellus in 251 BC and remained a Roman town until  was conquered by the Lombards In AD 664 becoming part of the Duchy of Benevento.  Matera was subject to the power struggles of southern Italy coming under the rule of the Byzantine Roman, the Germans and finally Matera was ruled by the Normans from 1043 until the Aragonese took possession in the 15th century. <br />
<br />
At the ancient heart of Matera are cave dwellings known as Sassi. As the fortunes of Matera failed the sassy became slum dwelling and the appalling living conditions became be the disgrace of Italy. From the 1970’s families were forcibly removed from the Sassi and rehoused in the new town of Matera. Today tourism has regenerated Matera and the sassi have been modernised and are lived in again making them probably the longest inhabited houses in the world dating back 9000 years.
  • Panoramic view of the ancient Sassi of Matera area exterior, Basilicata, Italy. <br />
<br />
The area of Matera has been occupied since the Palaeolithic (10th millennium BC) making it one of the oldest continually inhabited settlements in the world. <br />
<br />
The town of Matera was founded by the Roman Lucius Caecilius Metellus in 251 BC and remained a Roman town until  was conquered by the Lombards In AD 664 becoming part of the Duchy of Benevento.  Matera was subject to the power struggles of southern Italy coming under the rule of the Byzantine Roman, the Germans and finally Matera was ruled by the Normans from 1043 until the Aragonese took possession in the 15th century. <br />
<br />
At the ancient heart of Matera are cave dwellings known as Sassi. As the fortunes of Matera failed the sassy became slum dwelling and the appalling living conditions became be the disgrace of Italy. From the 1970’s families were forcibly removed from the Sassi and rehoused in the new town of Matera. Today tourism has regenerated Matera and the sassi have been modernised and are lived in again making them probably the longest inhabited houses in the world dating back 9000 years.
  • View of the ancient Sassi of Matera area exterior, Basilicata, Italy. <br />
<br />
The area of Matera has been occupied since the Palaeolithic (10th millennium BC) making it one of the oldest continually inhabited settlements in the world. <br />
<br />
The town of Matera was founded by the Roman Lucius Caecilius Metellus in 251 BC and remained a Roman town until  was conquered by the Lombards In AD 664 becoming part of the Duchy of Benevento.  Matera was subject to the power struggles of southern Italy coming under the rule of the Byzantine Roman, the Germans and finally Matera was ruled by the Normans from 1043 until the Aragonese took possession in the 15th century. <br />
<br />
At the ancient heart of Matera are cave dwellings known as Sassi. As the fortunes of Matera failed the sassy became slum dwelling and the appalling living conditions became be the disgrace of Italy. From the 1970’s families were forcibly removed from the Sassi and rehoused in the new town of Matera. Today tourism has regenerated Matera and the sassi have been modernised and are lived in again making them probably the longest inhabited houses in the world dating back 9000 years.
  • Vew of "la Gravina" ravine and the Sassi of Matera, Basilicata, Italy. A UNESCO World Heritage site.<br />
<br />
The area of Matera has been occupied since the Palaeolithic (10th millennium BC) making it one of the oldest continually inhabited settlements in the world. <br />
The town of Matera was founded by the Roman Lucius Caecilius Metellus in 251 BC and remained a Roman town until  was conquered by the Lombards In AD 664 becoming part of the Duchy of Benevento.  Matera was subject to the power struggles of southern Italy coming under the rule of the Byzantine Roman, the Germans and finally Matera was ruled by the Normans from 1043 until the Aragonese took possession in the 15th century. <br />
<br />
At the ancient heart of Matera are cave dwellings known as Sassi. As the fortunes of Matera failed the sassy became slum dwelling and the appalling living conditions became be the disgrace of Italy. From the 1970’s families were forcibly removed from the Sassi and rehoused in the new town of Matera. Today tourism has regenerated Matera and the sassi have been modernised and are lived in again making them probably the longest inhabited houses in the world dating back 9000 years.
  • View of the ancient Sassi of Matera area exterior, Basilicata, Italy. <br />
<br />
The area of Matera has been occupied since the Palaeolithic (10th millennium BC) making it one of the oldest continually inhabited settlements in the world. <br />
<br />
The town of Matera was founded by the Roman Lucius Caecilius Metellus in 251 BC and remained a Roman town until  was conquered by the Lombards In AD 664 becoming part of the Duchy of Benevento.  Matera was subject to the power struggles of southern Italy coming under the rule of the Byzantine Roman, the Germans and finally Matera was ruled by the Normans from 1043 until the Aragonese took possession in the 15th century. <br />
<br />
At the ancient heart of Matera are cave dwellings known as Sassi. As the fortunes of Matera failed the sassy became slum dwelling and the appalling living conditions became be the disgrace of Italy. From the 1970’s families were forcibly removed from the Sassi and rehoused in the new town of Matera. Today tourism has regenerated Matera and the sassi have been modernised and are lived in again making them probably the longest inhabited houses in the world dating back 9000 years.
  • View of the ancient Sassi of Matera area exterior, Basilicata, Italy. <br />
<br />
The area of Matera has been occupied since the Palaeolithic (10th millennium BC) making it one of the oldest continually inhabited settlements in the world. <br />
<br />
The town of Matera was founded by the Roman Lucius Caecilius Metellus in 251 BC and remained a Roman town until  was conquered by the Lombards In AD 664 becoming part of the Duchy of Benevento.  Matera was subject to the power struggles of southern Italy coming under the rule of the Byzantine Roman, the Germans and finally Matera was ruled by the Normans from 1043 until the Aragonese took possession in the 15th century. <br />
<br />
At the ancient heart of Matera are cave dwellings known as Sassi. As the fortunes of Matera failed the sassy became slum dwelling and the appalling living conditions became be the disgrace of Italy. From the 1970’s families were forcibly removed from the Sassi and rehoused in the new town of Matera. Today tourism has regenerated Matera and the sassi have been modernised and are lived in again making them probably the longest inhabited houses in the world dating back 9000 years.
  • View of the ancient Sassi of Matera area exterior, Basilicata, Italy. <br />
<br />
The area of Matera has been occupied since the Palaeolithic (10th millennium BC) making it one of the oldest continually inhabited settlements in the world. <br />
<br />
The town of Matera was founded by the Roman Lucius Caecilius Metellus in 251 BC and remained a Roman town until  was conquered by the Lombards In AD 664 becoming part of the Duchy of Benevento.  Matera was subject to the power struggles of southern Italy coming under the rule of the Byzantine Roman, the Germans and finally Matera was ruled by the Normans from 1043 until the Aragonese took possession in the 15th century. <br />
<br />
At the ancient heart of Matera are cave dwellings known as Sassi. As the fortunes of Matera failed the sassy became slum dwelling and the appalling living conditions became be the disgrace of Italy. From the 1970’s families were forcibly removed from the Sassi and rehoused in the new town of Matera. Today tourism has regenerated Matera and the sassi have been modernised and are lived in again making them probably the longest inhabited houses in the world dating back 9000 years.

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