• The recessed box beds and harth of one of the 8 houses of the Neolithic Barnhouse Settlement archaeological site, circa 3000 BC,  Loch of Harray, Orkney Mainland, Scotland,
  • The recessed box beds and harth of one of the 8 houses of the Neolithic Barnhouse Settlement archaeological site, circa 3000 BC,  Loch of Harray, Orkney Mainland, Scotland,
  • The recessed box beds and harth of one of the 8 houses of the Neolithic Barnhouse Settlement archaeological site, circa 3000 BC,  Loch of Harray, Orkney Mainland, Scotland,
  • Neolithic Barnhouse Settlement archaeological site, circa 3000 BC,  Loch of Harray, Orkney Mainland, Scotland,
  • Neolithic Barnhouse Settlement archaeological site, circa 3000 BC,  Loch of Harray, Orkney Mainland, Scotland,
  • The recessed box beds and harth of one of the 8 houses of the Neolithic Barnhouse Settlement archaeological site, circa 3000 BC,  Loch of Harray, Orkney Mainland, Scotland,
  • The Corintian columns of Capitoline Temple dedicated to the three chief divinities of the Roman state, Jupiter, Juno and Minerva.  Volubilis Archaeological Site, near Meknes, Morocco
  • The Corintian columns of Capitoline Temple dedicated to the three chief divinities of the Roman state, Jupiter, Juno and Minerva.  Volubilis Archaeological Site, near Meknes, Morocco
  • The Corintian columns of Capitoline Temple dedicated to the three chief divinities of the Roman state, Jupiter, Juno and Minerva.  Volubilis Archaeological Site, near Meknes, Morocco
  • Roman mosaic of a hunter. Volubilis Archaeological Site, near Meknes, Morocco
  • Roman mosaic from The House of Orpheus showing Orpheus playing a lute in the centre with wild African animals surrounding him. From the triclinium or the dining room of the villa. Volubilis Archaeological Site, near Meknes, Morocco
  • Structure 8 of the Neolithic Barnhouse Settlement archaeological site, circa 3000 BC,  Loch of Harray, Orkney Mainland, Scotland,
  • The recessed box beds and harth of one of the 8 houses of the Neolithic Barnhouse Settlement archaeological site, circa 3000 BC,  Loch of Harray, Orkney Mainland, Scotland,
  • The recessed box beds and harth of one of the 8 houses of the Neolithic Barnhouse Settlement archaeological site, circa 3000 BC,  Loch of Harray, Orkney Mainland, Scotland,
  • The recessed box beds and harth of one of the 8 houses of the Neolithic Barnhouse Settlement archaeological site, circa 3000 BC,  Loch of Harray, Orkney Mainland, Scotland,
  • The recessed box beds and harth of one of the 8 houses of the Neolithic Barnhouse Settlement archaeological site, circa 3000 BC,  Loch of Harray, Orkney Mainland, Scotland,
  • The recessed box beds and harth of one of the 8 houses of the Neolithic Barnhouse Settlement archaeological site, circa 3000 BC,  Loch of Harray, Orkney Mainland, Scotland,
  • Structure 8 of the Neolithic Barnhouse Settlement archaeological site, circa 3000 BC,  Loch of Harray, Orkney Mainland, Scotland,
  • Latin Inscription on a Roman stone. Volubilis Archaeological Site, near Meknes, Morocco
  • The Arch of Caracalla, built in 217 by the city's governor, Marcus Aurelius Sebastenus, to honour the emperor Caracalla and his mother Julia Domna.Volubilis Archaeological Site, near Meknes, Morocco
  • The Arch of Caracalla, built in 217 by the city's governor, Marcus Aurelius Sebastenus, to honour the emperor Caracalla and his mother Julia Domna.Volubilis Archaeological Site, near Meknes, Morocco
  • The Corintian columns of Capitoline Temple dedicated to the three chief divinities of the Roman state, Jupiter, Juno and Minerva.  Volubilis Archaeological Site, near Meknes, Morocco
  • The Corintian columns of Capitoline Temple dedicated to the three chief divinities of the Roman state, Jupiter, Juno and Minerva.  Volubilis Archaeological Site, near Meknes, Morocco
  • Exterior of the Basilica at Volubilis.  Completed during the reign of Macrinus in the early 3rd century, it is one of the finest Roman basilicas in Africa and is probably modelled on the one at Leptis Magna in Libya, Volubilis Archaeological Site, near Meknes, Morocco
  • Exterior of the Basilica at Volubilis.  Completed during the reign of Macrinus in the early 3rd century, it is one of the finest Roman basilicas in Africa and is probably modelled on the one at Leptis Magna in Libya, Volubilis Archaeological Site, near Meknes, Morocco
  • Latin Inscription on a Roman stone. Volubilis Archaeological Site, near Meknes, Morocco
  • The Corintian columns of Capitoline Temple dedicated to the three chief divinities of the Roman state, Jupiter, Juno and Minerva.  Volubilis Archaeological Site, near Meknes, Morocco
  • Tiwsted Corintian Roman column and capital. Volubilis Archaeological Site, near Meknes, Morocco
  • The Corintian columns of Capitoline Temple dedicated to the three chief divinities of the Roman state, Jupiter, Juno and Minerva.  Volubilis Archaeological Site, near Meknes, Morocco
  • Exterior of the Basilica at Volubilis.  Completed during the reign of Macrinus in the early 3rd century, it is one of the finest Roman basilicas in Africa and is probably modelled on the one at Leptis Magna in Libya, Volubilis Archaeological Site, near Meknes, Morocco
  • Exterior of the Basilica at Volubilis.  Completed during the reign of Macrinus in the early 3rd century, it is one of the finest Roman basilicas in Africa and is probably modelled on the one at Leptis Magna in Libya, Volubilis Archaeological Site, near Meknes, Morocco
  • Exterior of the Basilica at Volubilis.  Completed during the reign of Macrinus in the early 3rd century, it is one of the finest Roman basilicas in Africa and is probably modelled on the one at Leptis Magna in Libya, Volubilis Archaeological Site, near Meknes, Morocco
  • Exterior of the Basilica at Volubilis.  Completed during the reign of Macrinus in the early 3rd century, it is one of the finest Roman basilicas in Africa and is probably modelled on the one at Leptis Magna in Libya, Volubilis Archaeological Site, near Meknes, Morocco
  • Geometric designed Roman floor mosaic. Volubilis Archaeological Site, near Meknes, Morocco
  • Roman mosaic of a fish. Volubilis Archaeological Site, near Meknes, Morocco
  • Roman Mosaics of Bacchus encountering the sleeping Ariadne from the House of the Ephebe.  Volubilis Archaeological Site, near Meknes, Morocco
  • Roman mosaics of Dolphins, a Roman good luck symbol from The House of Orpheus. Volubilis Archaeological Site, near Meknes, Morocco
  • Roman Mosaics of Bacchus encountering the sleeping Ariadne from the House of the Ephebe.  Volubilis Archaeological Site, near Meknes, Morocco
  • Roman mosaic from The House of Orpheus showing Orpheus playing a lute in the centre with wild African animals surrounding him. From the triclinium or the dining room of the villa. Volubilis Archaeological Site, near Meknes, Morocco
  • Roman mosaic from The House of Orpheus showing Orpheus playing a lute in the centre with wild African animals surrounding him. From the triclinium or the dining room of the villa. Volubilis Archaeological Site, near Meknes, Morocco
  • Roman mosaic from The House of Orpheus showing Orpheus playing a lute in the centre with wild African animals surrounding him. From the triclinium or the dining room of the villa. Volubilis Archaeological Site, near Meknes, Morocco
  • The recessed box beds and harth of one of the 8 houses of the Neolithic Barnhouse Settlement archaeological site, circa 3000 BC,  Loch of Harray, Orkney Mainland, Scotland,
  • The recessed box beds and harth of one of the 8 houses of the Neolithic Barnhouse Settlement archaeological site, circa 3000 BC,  Loch of Harray, Orkney Mainland, Scotland,
  • The recessed box beds and harth of one of the 8 houses of the Neolithic Barnhouse Settlement archaeological site, circa 3000 BC,  Loch of Harray, Orkney Mainland, Scotland,
  • The recessed box beds and harth of one of the 8 houses of the Neolithic Barnhouse Settlement archaeological site, circa 3000 BC,  Loch of Harray, Orkney Mainland, Scotland,
  • The Arch of Caracalla, built in 217 by the city's governor, Marcus Aurelius Sebastenus, to honour the emperor Caracalla and his mother Julia Domna.Volubilis Archaeological Site, near Meknes, Morocco
  • Latin Inscription on a Roman stone. Volubilis Archaeological Site, near Meknes, Morocco
  • The Corintian columns of Capitoline Temple dedicated to the three chief divinities of the Roman state, Jupiter, Juno and Minerva.  Volubilis Archaeological Site, near Meknes, Morocco
  • The Corintian columns of Capitoline Temple dedicated to the three chief divinities of the Roman state, Jupiter, Juno and Minerva.  Volubilis Archaeological Site, near Meknes, Morocco
  • Exterior of the Basilica at Volubilis.  Completed during the reign of Macrinus in the early 3rd century, it is one of the finest Roman basilicas in Africa and is probably modelled on the one at Leptis Magna in Libya, Volubilis Archaeological Site, near Meknes, Morocco
  • Roman mosaic in the House of the Athlete or Desultor, located near the forum, contains a humorous mosaic of an athlete or acrobat riding a donkey back to front while holding a cup in his outstretched hand. It may possibly represent Silenus also known as the wine God Dionysus or Bacchus. Volubilis Archaeological Site, near Meknes, Morocco
  • Roman Frescos of Pompei arhaeological site.
  • Roman Frescos of Pompei arhaeological site.
  • Roman Temple of Apollo  Pompeii archaeological site, Italy
  • Cobbled street of Pompeii archaeological site.
  • Cobbled street of Pompeii archaeological site.
  • Doric & Corinthian columns of the Roman colonade in the Forum of Pompeii.
  • The Roman Columns of The Building of Eumachia, Pompeii. The inscription on lintel above the columns is to Concordia Augusta, wife of Emperor Augustus, from the priestess Eumachia the patron of the "fullones", an artisan association of dyers. The building was a prototype of medieval hostels were travelling merchant rented accommodation.
  • The Roman Columns of The Building of Eumachia, Pompeii. The inscription on lintel above the columns is to Concordia Augusta, wife of Emperor Augustus, from the priestess Eumachia the patron of the "fullones", an artisan association of dyers. The building was a prototype of medieval hostels were travelling merchant rented accommodation.
  • The Roman Corinthian Porticus, columns & tables of the money changers at the entrance of the Macellum in the Forum of Pompeii archaeological site, Italy.
  • The Roman Corinthian Porticus, columns & tables of the money changers at the entrance of the Macellum in the Forum of Pompeii archaeological site, Italy.
  • The Roman Corinthian Porticus, columns & tables of the money changers at the entrance of the Macellum in the Forum of Pompeii archaeological site, Italy.
  • The columns of the 2nd cent. B.C Roman Basilica of Pompeii which was the Roman courts of justice and the core of economic life in Pompeii.
  • The columns of the 2nd cent. B.C Roman Basilica of Pompeii which was the Roman courts of justice and the core of economic life in Pompeii.
  • Peristyle of `Roman Villa of Pompeii
  • Doric & Corinthian columns of the Roman colonade in the Forum of Pompeii.
  • The Thermopolium of Lucius Vetutius Placidus on the Via del Abbondante, with the serving counter with holes that contained amphora of food for sale. The Thermopolium was an eating & drinking house. The painting depicts at the centre the God of the patron and on either side are the lars or protectors of the house, Mercury , God of Commerce & Dionysus, God of wine.
  • Doric & Corinthian columns of the Roman colonade in the Forum of Pompeii.
  • Roman Frescos of Pompei arhaeological site.
  • Stone dying baths of the Fullery of Stephanus on the Via del Abbondante, Pompeii. Fulleries were an important business in ancient Pompeii.  Fullers processed, dyed, and washed cloth. 
  • The Thermopolium of Lucius Vetutius Placidus on the Via del Abbondante, with the serving counter with holes that contained amphora of food for sale. The Thermopolium was an eating & drinking house. The painting depicts at the centre the God of the patron and on either side are the lars or protectors of the house, Mercury , God of Commerce & Dionysus, God of wine.
  • The Thermopolium of Lucius Vetutius Placidus on the Via del Abbondante, with the serving counter with holes that contained amphora of food for sale. The Thermopolium was an eating & drinking house. The painting depicts at the centre the God of the patron and on either side are the lars or protectors of the house, Mercury , God of Commerce & Dionysus, God of wine.
  • Well in the street of Pompeii archaeological site.
  • Street of Pompeii archaeological site.
  • Street of Pompeii archaeological site.
  • The Arch of Tiberius at the entrance to the Forum of Pompeii.
  • Doric & Corinthian columns of the Roman colonade in the Forum of Pompeii.
  • Cobbled street of Pompeii archaeological site.
  • The Arch of Tiberius at the entrance to the Forum of Pompeii.
  • Doric & Corinthian columns of the Roman colonade in the Forum of Pompeii.
  • Doric & Corinthian columns of the Roman colonade in the Forum of Pompeii.
  • Doric & Corinthian columns of the Roman colonade in the Forum of Pompeii.
  • Doric & Corinthian columns of the Roman colonade in the Forum of Pompeii.
  • Doric & Corinthian columns of the Roman colonade in the Forum of Pompeii.
  • Doric & Corinthian columns of the Roman colonade in the Forum of Pompeii.
  • The Roman Columns of The Building of Eumachia, Pompeii. The inscription on lintel above the columns is to Concordia Augusta, wife of Emperor Augustus, from the priestess Eumachia the patron of the "fullones", an artisan association of dyers. The building was a prototype of medieval hostels were travelling merchant rented accommodation.
  • Doric & Corinthian columns of the Roman colonade in the Forum of Pompeii.
  • The Roman Columns of The Building of Eumachia, Pompeii. The inscription on lintel above the columns is to Concordia Augusta, wife of Emperor Augustus, from the priestess Eumachia the patron of the "fullones", an artisan association of dyers. The building was a prototype of medieval hostels were travelling merchant rented accommodation.
  • The Roman Columns of The Building of Eumachia, Pompeii. The inscription on lintel above the columns is to Concordia Augusta, wife of Emperor Augustus, from the priestess Eumachia the patron of the "fullones", an artisan association of dyers. The building was a prototype of medieval hostels were travelling merchant rented accommodation.
  • The Roman Columns of The Building of Eumachia, Pompeii. The inscription on lintel above the columns is to Concordia Augusta, wife of Emperor Augustus, from the priestess Eumachia the patron of the "fullones", an artisan association of dyers. The building was a prototype of medieval hostels were travelling merchant rented accommodation.
  • The Roman Columns of The Building of Eumachia, Pompeii. The inscription on lintel above the columns is to Concordia Augusta, wife of Emperor Augustus, from the priestess Eumachia the patron of the "fullones", an artisan association of dyers. The building was a prototype of medieval hostels were travelling merchant rented accommodation.
  • The Roman Corinthian Porticus, columns & tables of the money changers at the entrance of the Macellum in the Forum of Pompeii archaeological site, Italy.
  • The Roman Corinthian Porticus, columns & tables of the money changers at the entrance of the Macellum in the Forum of Pompeii archaeological site, Italy.
  • The Roman Great Theatre of Pompeii. Seating up to 5000 spectators the theatre was originally built in Hellanistic time (200-150 B.C)
  • The Roman Great Theatre of Pompeii. Seating up to 5000 spectators the theatre was originally built in Hellanistic time (200-150 B.C)
  • The columns of the 2nd cent. B.C Roman Basilica of Pompeii which was the Roman courts of justice and the core of economic life in Pompeii.
  • The Roman Great Theatre of Pompeii. Seating up to 5000 spectators the theatre was originally built in Hellanistic time (200-150 B.C)
  • The columns of the 2nd cent. B.C Roman Basilica of Pompeii which was the Roman courts of justice and the core of economic life in Pompeii.
  • The columns of the 2nd cent. B.C Roman Basilica of Pompeii which was the Roman courts of justice and the core of economic life in Pompeii.
  • Graffitti on buildings along the Via del Abbondante, Pompeii.
  • The Roman tombs & mausoleums on the street of Tombs in the Herculaneum cemetry, Pompeii
  • The Roman tombs & mausoleums on the street of Tombs in the Herculaneum cemetry, Pompeii
  • Roman road of Via Consolare , Pompeii, with a well and a surgeons house.
  • Peristyle of `Roman Villa of Pompeii
  • Graffitti on buildings along the Via del Abbondante, Pompeii.
  • Graffitti on buildings along the Via del Abbondante, Pompeii.
  • Roman Temple of Apollo  Pompeii archaeological site, Italy
  • Fullery of Stephanus on the Via del Abbondante, Pompeii. Fulleries were an important business in ancient Pompeii.  Fullers processed, dyed, and washed cloth. 
  • Cobbled street of Pompeii archaeological site.
  • The Arch of Tiberius at the entrance to the Forum of Pompeii.
  • Doric & Corinthian columns of the Roman colonade in the Forum of Pompeii.
  • The Roman Columns of The Building of Eumachia, Pompeii. The inscription on lintel above the columns is to Concordia Augusta, wife of Emperor Augustus, from the priestess Eumachia the patron of the "fullones", an artisan association of dyers. The building was a prototype of medieval hostels were travelling merchant rented accommodation.
  • Excavations of the Temple of Artimis Sardis, originally the fourth largest Ionic temple when it was originally built in 300 B.C. In 150 AD under Roman rule when the worship  of the Emperor required all Roman cities to have a Temple dedicated to the Imperial family. The temple of Artimis was split into two sections with one half for Artemis and the Empress Faustina and the other for Zeus and Emperor Antoninus Pius and the present construction shows elements of Greek and Roman styles. Sardis archaeological site, Hermus valley, Turkey. A Harvard Art Museum excavation project.
  • Excavations of the Temple of Artimis Sardis, originally the fourth largest Ionic temple when it was originally built in 300 B.C. In 150 AD under Roman rule when the worship  of the Emperor required all Roman cities to have a Temple dedicated to the Imperial family. The temple of Artimis was split into two sections with one half for Artemis and the Empress Faustina and the other for Zeus and Emperor Antoninus Pius and the present construction shows elements of Greek and Roman styles. Sardis archaeological site, Hermus valley, Turkey. A Harvard Art Museum excavation project.
  • 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
  • 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
  • Protective roof constructed to protect the north excavation area, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • 9th century BC Giants of Mont'e Prama  Nuragic stone statue of a boxer, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia
  • 9th century BC Giants of Mont'e Prama  Nuragic stone statue of a boxer, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia. Art grey background
  • 9th century BC Giants of Mont'e Prama  Nuragic stone statue of a boxer, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia. Grey background
  • 9th century BC Giants of Mont'e Prama  Nuragic stone statue of a boxer, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia
  • 9th century BC Giants of Mont'e Prama  Nuragic stone statue of a boxer, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia. Grey background
  • 9th century BC Giants of Mont'e Prama  Nuragic stone statue of a boxer, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia
  • 9th century BC Giants of Mont'e Prama  Nuragic model of a cetral tower of a Nuraghe with 4 towers around its base, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia. White background
  • 9th century BC Giants of Mont'e Prama  Nuragic model of a cetral tower of a Nuraghe with 4 towers around its base, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia
  • 9th century BC Giants of Mont'e Prama  Nuragic model of a cetral tower of a Nuraghe with 4 towers around its base, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia
  • 4th cent. AD geometric floor mosaics of the late Roman period Jewish synagogue of Sardis.  Sardis archaeological site, Hermus valley, Turkey. Discovered in 1962 as part of an on going  Harvard Art Museum excavation project.
  • 4th cent. AD geometric floor mosaics of the late Roman period Jewish synagogue of Sardis.  Sardis archaeological site, Hermus valley, Turkey. Discovered in 1962 as part of an on going  Harvard Art Museum excavation project.
  • 4th cent. AD geometric floor mosaics of the late Roman period Jewish synagogue of Sardis.  Sardis archaeological site, Hermus valley, Turkey. Discovered in 1962 as part of an on going  Harvard Art Museum excavation project.
  • 4th cent. AD geometric floor mosaics of the late Roman period Jewish synagogue of Sardis.  Sardis archaeological site, Hermus valley, Turkey. Discovered in 1962 as part of an on going  Harvard Art Museum excavation project.
  • 4th cent. AD geometric floor mosaics of the late Roman period Jewish synagogue of Sardis.  Sardis archaeological site, Hermus valley, Turkey. Discovered in 1962 as part of an on going  Harvard Art Museum excavation project.
  • 4th cent. AD geometric floor mosaics of the late Roman period Jewish synagogue of Sardis.  Sardis archaeological site, Hermus valley, Turkey. Discovered in 1962 as part of an on going  Harvard Art Museum excavation project.
  • 4th cent. AD geometric floor mosaics of the late Roman period Jewish synagogue of Sardis.  Sardis archaeological site, Hermus valley, Turkey. Discovered in 1962 as part of an on going  Harvard Art Museum excavation project.
  • 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
  • 4th cent. AD geometric floor mosaics of the late Roman period Jewish synagogue of Sardis.  Sardis archaeological site, Hermus valley, Turkey. Discovered in 1962 as part of an on going  Harvard Art Museum excavation project.
  • 4th cent. AD geometric floor mosaics of the late Roman period Jewish synagogue of Sardis.  Sardis archaeological site, Hermus valley, Turkey. Discovered in 1962 as part of an on going  Harvard Art Museum excavation project.
  • South Agora pool excavation, a public park,  Aphrodisias Archaeological Site, Aydin Province, Turkey.
  • Protective roof constructed to protect the south excavation area, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • 9th century BC Giants of Mont'e Prama  Nuragic stone statue of a boxer, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia. Art grey background
  • 9th century BC Giants of Mont'e Prama  Nuragic model of a cetral tower of a Nuraghe with 4 towers around its base, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia
  • 9th century BC Giants of Mont'e Prama  Nuragic stone statue of a boxer, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia. Black background
  • 9th century BC Giants of Mont'e Prama  Nuragic stone statue of a boxer, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia. Grey background
  • 9th century BC Giants of Mont'e Prama  Nuragic stone statue of a boxer, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia
  • 9th century BC Giants of Mont'e Prama  Nuragic stone statue of a boxer, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia
  • 9th century BC Giants of Mont'e Prama  Nuragic stone statue of a boxer, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia. Black background
  • 9th century BC Giants of Mont'e Prama  Nuragic stone statue of a boxer, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia
  • 9th century BC Giants of Mont'e Prama  Nuragic stone statue of a boxer, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia. Art grey background
  • 9th century BC Giants of Mont'e Prama  Nuragic stone statue of a boxer, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia. White background
  • 9th century BC Giants of Mont'e Prama  Nuragic stone statue of a boxer, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia. Black background
  • 9th century BC Giants of Mont'e Prama  Nuragic stone statue of a boxer, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia
  • 9th century BC Giants of Mont'e Prama  Nuragic stone statue of a boxer, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia. Art grey background
  • 9th century BC Giants of Mont'e Prama  Nuragic stone statue of a boxer, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia. White background
  • 9th century BC Giants of Mont'e Prama  Nuragic stone statue of a boxer, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia
  • 9th century BC Giants of Mont'e Prama  Nuragic stone statue of a boxer, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia
  • 9th century BC Giants of Mont'e Prama  Nuragic stone statue of a boxer, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia. White background
  • 9th century BC Giants of Mont'e Prama  Nuragic stone statue of a boxer, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia
  • 9th century BC Giants of Mont'e Prama  Nuragic stone statue of a boxer, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia. Black background
  • 9th century BC Giants of Mont'e Prama  Nuragic stone statue of a boxer, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia. White background
  • 9th century BC Giants of Mont'e Prama  Nuragic stone statue of a boxer, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia. Black background
  • 9th century BC Giants of Mont'e Prama  Nuragic stone statue of a boxer, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia. Grey background
  • 9th century BC Giants of Mont'e Prama  Nuragic stone statue of a boxer, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia
  • 9th century BC Giants of Mont'e Prama  Nuragic stone statue of a boxer, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia. Art grey background
  • Close up of head of 9th century BC Giants of Mont'e Prama  Nuragic stone statue of a boxer, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia. White background
  • Close up of head of 9th century BC Giants of Mont'e Prama  Nuragic stone statue of a boxer, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia. Black background
  • Close up of head of 9th century BC Giants of Mont'e Prama  Nuragic stone statue of a boxer, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia
  • 9th century BC Giants of Mont'e Prama  Nuragic stone statue of a boxer, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia. White background
  • Close up of head of 9th century BC Giants of Mont'e Prama  Nuragic stone statue of a boxer, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia. Art grey background
  • 9th century BC Giants of Mont'e Prama  Nuragic stone statue of a boxer, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia. Black background
  • 9th century BC Giants of Mont'e Prama  Nuragic stone statue of a boxer, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia. Grey background
  • 9th century BC Giants of Mont'e Prama  Nuragic stone statue of a boxer, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia
  • 9th century BC Giants of Mont'e Prama  Nuragic stone statue of a boxer, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia
  • 9th century BC Giants of Mont'e Prama  Nuragic stone statue of a boxer, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia. Black background
  • 9th century BC Giants of Mont'e Prama  Nuragic stone statue of a boxer, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia
  • 9th century BC Giants of Mont'e Prama  Nuragic stone statue of a boxer, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia. White background
  • 9th century BC Giants of Mont'e Prama  Nuragic stone statue of a boxer, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia. Black background
  • 9th century BC Giants of Mont'e Prama  Nuragic stone statue of a boxer, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia. Grey background
  • 9th century BC Giants of Mont'e Prama  Nuragic stone statue of a boxer, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia
  • 9th century BC Giants of Mont'e Prama  Nuragic stone statue of a boxer, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia
  • 9th century BC Giants of Mont'e Prama  Nuragic stone statue of a boxer, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia. Black background
  • 9th century BC Giants of Mont'e Prama  Nuragic stone statue of a boxer, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia. White background
  • 9th century BC Giants of Mont'e Prama  Nuragic stone statue of a boxer, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia
  • 9th century BC Giants of Mont'e Prama  Nuragic model of a cetral tower of a Nuraghe with 4 towers around its base, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia. Black background
  • 9th century BC Giants of Mont'e Prama  Nuragic model of a cetral tower of a Nuraghe with 4 towers around its base, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia
  • 9th century BC Giants of Mont'e Prama  Nuragic model of a cetral tower of a Nuraghe with 4 towers around its base, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia. Grey background
  • 4th cent. AD geometric floor mosaics of the late Roman period Jewish synagogue of Sardis.  Sardis archaeological site, Hermus valley, Turkey. Discovered in 1962 as part of an on going  Harvard Art Museum excavation project.
  • 4th cent. AD geometric floor mosaics of the late Roman period Jewish synagogue of Sardis.  Sardis archaeological site, Hermus valley, Turkey. Discovered in 1962 as part of an on going  Harvard Art Museum excavation project.
  • 4th cent. AD geometric floor mosaics of the late Roman period Jewish synagogue of Sardis.  Sardis archaeological site, Hermus valley, Turkey. Discovered in 1962 as part of an on going  Harvard Art Museum excavation project.
  • 4th cent. AD geometric floor mosaics of the late Roman period Jewish synagogue of Sardis.  Sardis archaeological site, Hermus valley, Turkey. Discovered in 1962 as part of an on going  Harvard Art Museum excavation project.
  • 4th cent. AD geometric floor mosaics of the late Roman period Jewish synagogue of Sardis.  Sardis archaeological site, Hermus valley, Turkey. Discovered in 1962 as part of an on going  Harvard Art Museum excavation project.
  • 4th cent. AD geometric floor mosaics of the late Roman period Jewish synagogue of Sardis.  Sardis archaeological site, Hermus valley, Turkey. Discovered in 1962 as part of an on going  Harvard Art Museum excavation project.
  • 4th cent. AD geometric floor mosaics of the late Roman period Jewish synagogue of Sardis.  Sardis archaeological site, Hermus valley, Turkey. Discovered in 1962 as part of an on going  Harvard Art Museum excavation project.
  • 4th cent. AD geometric floor mosaics of the late Roman period Jewish synagogue of Sardis.  Sardis archaeological site, Hermus valley, Turkey. Discovered in 1962 as part of an on going  Harvard Art Museum excavation project.
  • 4th cent. AD geometric floor mosaics of the late Roman period Jewish synagogue of Sardis.  Sardis archaeological site, Hermus valley, Turkey. Discovered in 1962 as part of an on going  Harvard Art Museum excavation project.
  • 4th cent. AD geometric floor mosaics of the late Roman period Jewish synagogue of Sardis.  Sardis archaeological site, Hermus valley, Turkey. Discovered in 1962 as part of an on going  Harvard Art Museum excavation project.
  • 4th cent. AD geometric floor mosaics of the late Roman period Jewish synagogue of Sardis.  Sardis archaeological site, Hermus valley, Turkey. Discovered in 1962 as part of an on going  Harvard Art Museum excavation project.
  • 4th cent. AD geometric floor mosaics of the late Roman period Jewish synagogue of Sardis.  Sardis archaeological site, Hermus valley, Turkey. Discovered in 1962 as part of an on going  Harvard Art Museum excavation project.
  • 4th cent. AD geometric floor mosaics of the late Roman period Jewish synagogue of Sardis.  Sardis archaeological site, Hermus valley, Turkey. Discovered in 1962 as part of an on going  Harvard Art Museum excavation project.
  • 4th cent. AD geometric floor mosaics of the late Roman period Jewish synagogue of Sardis.  Sardis archaeological site, Hermus valley, Turkey. Discovered in 1962 as part of an on going  Harvard Art Museum excavation project.
  • 4th cent. AD geometric floor mosaics of the late Roman period Jewish synagogue of Sardis.  Sardis archaeological site, Hermus valley, Turkey. Discovered in 1962 as part of an on going  Harvard Art Museum excavation project.
  • 4th cent. AD geometric floor mosaics of the late Roman period Jewish synagogue of Sardis.  Sardis archaeological site, Hermus valley, Turkey. Discovered in 1962 as part of an on going  Harvard Art Museum excavation project.
  • 4th cent. AD geometric floor mosaics of the late Roman period Jewish synagogue of Sardis.  Sardis archaeological site, Hermus valley, Turkey. Discovered in 1962 as part of an on going  Harvard Art Museum excavation project.
  • 4th cent. AD geometric floor mosaics of the late Roman period Jewish synagogue of Sardis.  Sardis archaeological site, Hermus valley, Turkey. Discovered in 1962 as part of an on going  Harvard Art Museum excavation project.
  • 4th cent. AD geometric floor mosaics of the late Roman period Jewish synagogue of Sardis.  Sardis archaeological site, Hermus valley, Turkey. Discovered in 1962 as part of an on going  Harvard Art Museum excavation project.
  • 4th cent. AD geometric floor mosaics of the late Roman period Jewish synagogue of Sardis.  Sardis archaeological site, Hermus valley, Turkey. Discovered in 1962 as part of an on going  Harvard Art Museum excavation project.
  • 4th cent. AD geometric floor mosaics of the late Roman period Jewish synagogue of Sardis.  Sardis archaeological site, Hermus valley, Turkey. Discovered in 1962 as part of an on going  Harvard Art Museum excavation project.
  • 4th cent. AD geometric floor mosaics of the late Roman period Jewish synagogue of Sardis.  Sardis archaeological site, Hermus valley, Turkey. Discovered in 1962 as part of an on going  Harvard Art Museum excavation project.
  • 4th cent. AD geometric floor mosaics of the late Roman period Jewish synagogue of Sardis.  Sardis archaeological site, Hermus valley, Turkey. Discovered in 1962 as part of an on going  Harvard Art Museum excavation project.
  • 4th cent. AD geometric floor mosaics of the late Roman period Jewish synagogue of Sardis.  Sardis archaeological site, Hermus valley, Turkey. Discovered in 1962 as part of an on going  Harvard Art Museum excavation project.
  • 4th cent. AD geometric floor mosaics of the late Roman period Jewish synagogue of Sardis.  Sardis archaeological site, Hermus valley, Turkey. Discovered in 1962 as part of an on going  Harvard Art Museum excavation project.
  • Early Christian Byzantine Basin with Crosses in the Byzantine shop area next to the gymnasium of Sardis.  Sardis archaeological site, Hermus valley, Turkey. Part of an on going  Harvard Art Museum excavation project.
  • Early Christian Byzantine Basin with Crosses in the Byzantine shop area next to the gymnasium of Sardis.  Sardis archaeological site, Hermus valley, Turkey. Part of an on going  Harvard Art Museum excavation project.
  • Early Christian Byzantine Basin with Crosses in the Byzantine shop area next to the gymnasium of Sardis.  Sardis archaeological site, Hermus valley, Turkey. Part of an on going  Harvard Art Museum excavation project.
  • 4th cent. AD eagle decorated column base of the late Roman period Jewish synagogue of Sardis.  Sardis archaeological site, Hermus valley, Turkey. Discovered in 1962 as part of an on going  Harvard Art Museum excavation project.
  • 4th cent. AD geometric floor mosaics of the late Roman period Jewish synagogue of Sardis.  Sardis archaeological site, Hermus valley, Turkey. Discovered in 1962 as part of an on going  Harvard Art Museum excavation project.
  • 4th cent. AD geometric floor mosaics of the late Roman period Jewish synagogue of Sardis.  Sardis archaeological site, Hermus valley, Turkey. Discovered in 1962 as part of an on going  Harvard Art Museum excavation project.
  • 4th cent. AD geometric floor mosaics of the late Roman period Jewish synagogue of Sardis.  Sardis archaeological site, Hermus valley, Turkey. Discovered in 1962 as part of an on going  Harvard Art Museum excavation project.
  • 4th cent. AD geometric floor mosaics of the late Roman period Jewish synagogue of Sardis.  Sardis archaeological site, Hermus valley, Turkey. Discovered in 1962 as part of an on going  Harvard Art Museum excavation project.
  • 4th cent. AD geometric floor mosaics of the late Roman period Jewish synagogue of Sardis.  Sardis archaeological site, Hermus valley, Turkey. Discovered in 1962 as part of an on going  Harvard Art Museum excavation project.
  • 4th cent. AD geometric floor mosaics of the late Roman period Jewish synagogue of Sardis.  Sardis archaeological site, Hermus valley, Turkey. Discovered in 1962 as part of an on going  Harvard Art Museum excavation project.
  • 4th cent. AD geometric floor mosaics of the late Roman period Jewish synagogue of Sardis.  Sardis archaeological site, Hermus valley, Turkey. Discovered in 1962 as part of an on going  Harvard Art Museum excavation project.
  • 4th cent. AD geometric floor mosaics of the late Roman period Jewish synagogue of Sardis.  Sardis archaeological site, Hermus valley, Turkey. Discovered in 1962 as part of an on going  Harvard Art Museum excavation project.
  • 4th cent. AD geometric floor mosaics of the late Roman period Jewish synagogue of Sardis.  Sardis archaeological site, Hermus valley, Turkey. Discovered in 1962 as part of an on going  Harvard Art Museum excavation project.
  • 9th century BC Giants of Mont'e Prama  Nuragic stone statue of a boxer, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia. White background
  • 9th century BC Giants of Mont'e Prama  Nuragic stone statue of a boxer, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia. Grey background
  • 9th century BC Giants of Mont'e Prama  Nuragic stone statue of a boxer, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia. Grey background
  • 9th century BC Giants of Mont'e Prama  Nuragic stone statue of a boxer, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia. Black background
  • 9th century BC Giants of Mont'e Prama  Nuragic stone statue of a boxer, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia. Grey background
  • 9th century BC Giants of Mont'e Prama  Nuragic stone statue of a boxer, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia. Black background
  • 9th century BC Giants of Mont'e Prama  Nuragic stone statue of a boxer, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia
  • 9th century BC Giants of Mont'e Prama  Nuragic stone statue of a boxer, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia
  • 9th century BC Giants of Mont'e Prama  Nuragic stone statue of a boxer, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia. Grey background
  • Close up of head of 9th century BC Giants of Mont'e Prama  Nuragic stone statue of a boxer, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia. Grey background
  • 9th century BC Giants of Mont'e Prama  Nuragic stone statue of a boxer, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia. White background
  • 9th century BC Giants of Mont'e Prama  Nuragic model of a cetral tower of a Nuraghe with 4 towers around its base, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia. Grey background
  • 9th century BC Giants of Mont'e Prama  Nuragic model of a cetral tower of a Nuraghe with 4 towers around its base, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia
  • 9th century BC Giants of Mont'e Prama  Nuragic model of a cetral tower of a Nuraghe with 4 towers around its base, Mont'e Prama archaeological site, Cabras. 2014 excavation. Civico Museo Archeologico Giovanni Marongiu - Cabras, Sardinia. White background
  • 4th cent. AD geometric floor mosaics of the late Roman period Jewish synagogue of Sardis.  Sardis archaeological site, Hermus valley, Turkey. Discovered in 1962 as part of an on going  Harvard Art Museum excavation project.
  • 4th cent. AD geometric floor mosaics of the late Roman period Jewish synagogue of Sardis.  Sardis archaeological site, Hermus valley, Turkey. Discovered in 1962 as part of an on going  Harvard Art Museum excavation project.
  • 4th cent. AD geometric floor mosaics of the late Roman period Jewish synagogue of Sardis.  Sardis archaeological site, Hermus valley, Turkey. Discovered in 1962 as part of an on going  Harvard Art Museum excavation project.
  • 4th cent. AD geometric floor mosaics of the late Roman period Jewish synagogue of Sardis.  Sardis archaeological site, Hermus valley, Turkey. Discovered in 1962 as part of an on going  Harvard Art Museum excavation project.
  • 4th cent. AD geometric floor mosaics of the late Roman period Jewish synagogue of Sardis.  Sardis archaeological site, Hermus valley, Turkey. Discovered in 1962 as part of an on going  Harvard Art Museum excavation project.
  • Excavations of the Temple of Artimis Sardis, originally the fourth largest Ionic temple when it was originally built in 300 B.C. In 150 AD under Roman rule when the worship  of the Emperor required all Roman cities to have a Temple dedicated to the Imperial family. The temple of Artimis was split into two sections with one half for Artemis and the Empress Faustina and the other for Zeus and Emperor Antoninus Pius and the present construction shows elements of Greek and Roman styles. Sardis archaeological site, Hermus valley, Turkey. A Harvard Art Museum excavation project.
  • Roman mosaics - The Wedding of Dionysus mosaic. Dionysus Villa Ancient Zeugama, 2nd  century AD . Zeugma Mosaic Museum, Gaziantep, Turkey.<br />
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The Wedding of Dionysus and Ariadne Mosaic, which belongs to the House of Dionysus, is one of the most special mosaics around the world. In the scene, Dionysus and Ariadne are sitting on a sofa. There are three maenads, musician, the wedding god and two sirens around them. <br />
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The mosaic gives the impression of a painting due to the rich variety of colors and luminous/shadow effects used. The fact that there are many figures within the mosaic and their high pictorial quality, on the other hand, makes the mosaic much more special. <br />
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The House of Dionysus is the villa where a rescue excavation was conducted in 1992 upon the received intelligence telling that traffickers had been digging the area. After the excavations, the mosaic now you behold was unearthed along with some geometric mosaics. In terms of the exactness in the anatomy of the figures, the perspective, and the rich variety of colors it is among the most precious and important mosaic around the world. <br />
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The Museum had conducted activities in order to display the mosaic where it belongs and in a natural manner. However, such a big portion of the mosaic as two thirds was stolen by the historical artefact traffickers in 1998 from the place of display. The parts of the mosaic are not found yet. After the robbery, the remaining parts were transported to Gaziantep Museum and displayed after restoration. The stolen part of the mosaic was left blank. The searches continue in order to find the missing parts through the Interpol.

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