• Zsolnay architectural features on the old Zoltan Csukas furniture shop Pecs ( Pécs ) - European Cultural City of The Year 2010 , Hungary
  • Zsolnay architectural features on the old Zoltan Csukas furniture shop Pecs ( Pécs ) - European Cultural City of The Year 2010 , Hungary
  • Zsolnay architectural features on the old Zoltan Csukas furniture shop Pecs ( Pécs ) - European Cultural City of The Year 2010 , Hungary
  • Zsolnay architectural features on the old Zoltan Csukas furniture shop Pecs ( Pécs ) - European Cultural City of The Year 2010 , Hungary
  • Zsolnay architectural features on Pecs ( Pécs ) - European Cultural City of The Year 2010 , Hungary
  • Zsolnay architectural features on Pecs ( Pécs ) - European Cultural City of The Year 2010 , Hungary
  • Zsolnay architectural features on Pecs ( Pécs ) - European Cultural City of The Year 2010 , Hungary
  • Zsolnay architectural features on Pecs ( Pécs ) - European Cultural City of The Year 2010 , Hungary
  • Zsolnay architectural features on Pecs ( Pécs ) - European Cultural City of The Year 2010 , Hungary
  • Zsolnay architectural features on Pecs ( Pécs ) - European Cultural City of The Year 2010 , Hungary
  • Zsolnay architectural features on Pecs ( Pécs ) - European Cultural City of The Year 2010 , Hungary
  • Zsolnay architectural features on Pecs ( Pécs ) - European Cultural City of The Year 2010 , Hungary
  • Room of The Nobility (Stanza della Nobilta). The Renaissance paintings by Federico Zuccari can be dated to 1566-67. Decorated with Trompe-l'?il Ionian Pillars & busts the figures in the panels depict "Virtue" and "Thee Liberal Arts". Villa d'Este, Tivoli, Italy. A UNESCO World Heritage Site.
  • The Hundred Fountains, 1569, Villa d'Este gardens, Tivoli, Italy - Unesco World Heritage Site.
  • The Hundred Fountains, 1569, Villa d'Este gardens, Tivoli, Italy - Unesco World Heritage Site.
  • The fountain of Aphrodite of Ephesus, Villa d'Este gardens, Tivoli
  • The fountain of Aphrodite of Ephesus, Villa d'Este gardens, Tivoli
  • The fountain of Aphrodite of Ephesus, Villa d'Este gardens, Tivoli
  • The fountain of Aphrodite of Ephesus, Villa d'Este gardens, Tivoli
  • waterfall of The oval fountain, 1567, Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • waterfall of The oval fountain, 1567, Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • waterfall of The oval fountain, 1567, Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • waterfall of The oval fountain, 1567, Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • waterfall of The oval fountain, 1567, Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • waterfall of The oval fountain, 1567, Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • The Organ fountain, 1566, housing organ pipies driven by air from the fountains. Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • The Organ fountain, 1566, housing organ pipies driven by air from the fountains. Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • Room of The Nobility (Stanza della Nobilta). The Renaissance paintings by Federico Zuccari can be dated to 1566-67. Decorated with Trompe-l'?il Ionian Pillars & busts the figures in the panels depict "Virtue" and "Thee Liberal Arts". Villa d'Este, Tivoli, Italy. A UNESCO World Heritage Site.
  • The Organ fountain, 1566, housing organ pipies driven by air from the fountains. Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • The Organ fountain, 1566, housing organ pipies driven by air from the fountains. Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • The Hundred Fountains, 1569, Villa d'Este gardens, Tivoli, Italy - Unesco World Heritage Site.
  • The Organ fountain, 1566, housing organ pipies driven by air from the fountains. Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • The fountain of Aphrodite of Ephesus, Villa d'Este gardens, Tivoli
  • waterfall of The oval fountain, 1567, Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • The Organ fountain, 1566, housing organ pipies driven by air from the fountains. Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • The Organ fountain, 1566, housing organ pipies driven by air from the fountains. Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • waterfall of The oval fountain, 1567, Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • The Organ fountain, 1566, housing organ pipies driven by air from the fountains. Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • waterfall of The oval fountain, 1567, Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • The Organ fountain, 1566, housing organ pipies driven by air from the fountains. Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • The Organ fountain, 1566, housing organ pipies driven by air from the fountains. Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • The Organ fountain, 1566, housing organ pipies driven by air from the fountains. Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • Room of Noah ( Sala di Noe ). The room was decorated with frescoes by Durante Alberti between 1570 and 1571 from drawings by Girolamo Muziano. The scenes depict Noah and the floods.  Villa d'Este, Tivoli, Italy. A UNESCO World Heritage Site.
  • Room of Noah ( Sala di Noe ). The room was decorated with frescoes by Durante Alberti between 1570 and 1571 from drawings by Girolamo Muziano. The scenes depict Noah and the floods.  Villa d'Este, Tivoli, Italy. A UNESCO World Heritage Site.
  • The water jets of the Organ fountain, 1566, housing organ pipies driven by air from the fountains. Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • Room of Noah ( Sala di Noe ). The room was decorated with frescoes by Durante Alberti between 1570 and 1571 from drawings by Girolamo Muziano. The scenes depict Noah and the floods.  Villa d'Este, Tivoli, Italy. A UNESCO World Heritage Site.
  • The Organ fountain, 1566, housing organ pipies driven by air from the fountains. Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • The water jets of the Organ fountain, 1566, housing organ pipies driven by air from the fountains. Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • The Organ fountain, 1566, housing organ pipies driven by air from the fountains. Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • . internal frescoes & decorations by Livio Agresti from Forlì (1550 to 1572)
  • Room of Noah ( Sala di Noe ). The room was decorated with frescoes by Durante Alberti between 1570 and 1571 from drawings by Girolamo Muziano. The scenes depict Noah and the floods.  Villa d'Este, Tivoli, Italy. A UNESCO World Heritage Site.
  • The water jets of the Organ fountain, 1566, housing organ pipies driven by air from the fountains. Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • The water jets of the Organ fountain, 1566, housing organ pipies driven by air from the fountains. Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • The water jets of the Organ fountain, 1566, housing organ pipies driven by air from the fountains. Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • The water jets of the Organ fountain, 1566, housing organ pipies driven by air from the fountains. Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • . internal frescoes & decorations by Livio Agresti from Forlì (1550 to 1572)
  • The water jets of the Organ fountain, 1566, housing organ pipies driven by air from the fountains. Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • First Tribune Room ( Prima stanza tribune). The room was probably decorated by Cesare Nebbia in 1569, and the depictions depict the first legendary accounts of Tivoli. Villa d'Este, Tivoli, Italy. A UNESCO World Heritage Site.
  • The water jets of the Organ fountain, 1566, housing organ pipies driven by air from the fountains. Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • First Tribune Room ( Prima stanza tribune). The room was probably decorated by Cesare Nebbia in 1569, and the depictions depict the first legendary accounts of Tivoli. Villa d'Este, Tivoli, Italy. A UNESCO World Heritage Site.
  • The water jets of the Organ fountain, 1566, housing organ pipies driven by air from the fountains. Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • The water jets of the Organ fountain, 1566, housing organ pipies driven by air from the fountains. Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • The water jets of the Organ fountain, 1566, housing organ pipies driven by air from the fountains. Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • Salon of the Fountain( Sala della Fontana ), the banquet hall of Cardinal Ipollito d"Este. The trompe-l'?il frescoes were carried out by 6 assistants of Girolamo Muziano (1532-1592) were inspired by the "Solomonic" winding columns of the Vatican Basilica to create a loggia decorated by festoons of fruit, flowers & vegetables with a landscape beyond. The rustic fountain at the end of the salon was built by fountain maker Curzio Maccarone and was completed in 1568. Villa d'Este, Tivoli, Italy. A UNESCO World Heritage Site.
  • Salon of the Fountain( Sala della Fontana ), the banquet hall of Cardinal Ipollito d"Este. The trompe-l'?il frescoes were carried out by 6 assistants of Girolamo Muziano (1532-1592) were inspired by the "Solomonic" winding columns of the Vatican Basilica to create a loggia decorated by festoons of fruit, flowers & vegetables with a landscape beyond. The rustic fountain at the end of the salon was built by fountain maker Curzio Maccarone and was completed in 1568. Villa d'Este, Tivoli, Italy. A UNESCO World Heritage Site.
  • The water jets of the Organ fountain, 1566, housing organ pipies driven by air from the fountains. Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • The water jets of the Organ fountain, 1566, housing organ pipies driven by air from the fountains. Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • The water jets of the Organ fountain, 1566, housing organ pipies driven by air from the fountains. Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • Room of Glory (Stanza della Gloria ). The Renaissance paintings by Federico Zuccari can be dated to 1566-68. The frescoes in the vaulted ceiling depict the virtues which consent the fulfilment of "Glory" with allegorical panels depicting Magnanimity, Fortune, Time and Religion. Trompe-l'?il alcoves reveal the Cardinals hat of Ippolito d'Este  . Villa d'Este, Tivoli, Italy. A UNESCO World Heritage Site.
  • The water jets of the Organ fountain, 1566, housing organ pipies driven by air from the fountains. Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • The water jets of the Organ fountain, 1566, housing organ pipies driven by air from the fountains. Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • Room of Glory (Stanza della Gloria ). The Renaissance paintings by Federico Zuccari can be dated to 1566-68. The frescoes in the vaulted ceiling depict the virtues which consent the fulfilment of "Glory" with allegorical panels depicting Magnanimity, Fortune, Time and Religion. Trompe-l'?il alcoves reveal the Cardinals hat of Ippolito d'Este  . Villa d'Este, Tivoli, Italy. A UNESCO World Heritage Site.
  • Room of Glory (Stanza della Gloria ). The Renaissance paintings by Federico Zuccari can be dated to 1566-68. . Villa d'Este, Tivoli, Italy. A UNESCO World Heritage Site.
  • The water jets of the Organ fountain, 1566, housing organ pipies driven by air from the fountains. Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • The water jets of the Organ fountain, 1566, housing organ pipies driven by air from the fountains. Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • The water jets of the Organ fountain, 1566, housing organ pipies driven by air from the fountains. Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • View of the Renaissance gardens of Villa d'Este, Tivoli, Italy
  • The water jets of the Organ fountain, 1566, housing organ pipies driven by air from the fountains. Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • View of the water jets of the Organ fountain, 1566, housing organ pipies driven by air from the fountains. Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • Room of The Nobility (Stanza della Nobilta). The Renaissance paintings by Federico Zuccari can be dated to 1566-67. Decorated with Trompe-l'?il Ionian Pillars & busts the figures in the panels depict "Virtue" and "Thee Liberal Arts". Villa d'Este, Tivoli, Italy. A UNESCO World Heritage Site.
  • Room of The Nobility (Stanza della Nobilta). The Renaissance paintings by Federico Zuccari can be dated to 1566-67. Decorated with Trompe-l'?il Ionian Pillars & busts the figures in the panels depict "Virtue" and "Thee Liberal Arts". Villa d'Este, Tivoli, Italy. A UNESCO World Heritage Site.
  • Room of Glory (Stanza della Gloria ). The Renaissance paintings by Federico Zuccari can be dated to 1566-68. The frescoes in the vaulted ceiling depict the virtues which consent the fulfilment of "Glory" with allegorical panels depicting Magnanimity, Fortune, Time and Religion. Trompe-l'?il alcoves reveal the Cardinals hat of Ippolito d'Este  . Villa d'Este, Tivoli, Italy. A UNESCO World Heritage Site.
  • Room of The Nobility (Stanza della Nobilta). The Renaissance paintings by Federico Zuccari can be dated to 1566-67. Decorated with Trompe-l'?il Ionian Pillars & busts the figures in the panels depict "Virtue" and "Thee Liberal Arts". Villa d'Este, Tivoli, Italy. A UNESCO World Heritage Site.
  • Room of The Nobility (Stanza della Nobilta). The Renaissance paintings by Federico Zuccari can be dated to 1566-67. Decorated with Trompe-l'?il Ionian Pillars & busts the figures in the panels depict "Virtue" and "Thee Liberal Arts". Villa d'Este, Tivoli, Italy. A UNESCO World Heritage Site.
  • Room of Hercules ( Sala di Ercole ) Celebrating the deeds of Hercules, the hero of Tivoli, the renaissance frecoes were carried out by 6 assistants of Girolamo Muziano (1532-1592). The central ceiling panel frescoes depict the epilogue of the myth, the Apotheosis of Hercules : the hero is welcomed by the 12 major divinities of Olympus in thanks for his labours. Villa d'Este, Tivoli, Italy. A UNESCO World Heritage Site.
  • The Hundred Fountains, 1569, Villa d'Este gardens, Tivoli, Italy - Unesco World Heritage Site.
  • Corridor with Renaissance painting of hunting scenes in the Villa d'Este, Tivoli, Italy. A UNESCO World Heritage Site.
  • The fountain of Aphrodite of Ephesus, Villa d'Este gardens, Tivoli
  • The fountain of Aphrodite of Ephesus, Villa d'Este gardens, Tivoli
  • The fountain of Aphrodite of Ephesus, Villa d'Este gardens, Tivoli
  • The fountain of Aphrodite of Ephesus, Villa d'Este gardens, Tivoli
  • The fountain of Aphrodite of Ephesus, Villa d'Este gardens, Tivoli
  • waterfall of The oval fountain, 1567, Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • waterfall of The oval fountain, 1567, Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • waterfall of The oval fountain, 1567, Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • The Organ fountain, 1566, housing organ pipies driven by air from the fountains. Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • The water jets of the Organ fountain, 1566, housing organ pipies driven by air from the fountains. Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • The Organ fountain, 1566, housing organ pipies driven by air from the fountains. Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • The Organ fountain, 1566, housing organ pipies driven by air from the fountains. Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • The water jets of the Organ fountain, 1566, housing organ pipies driven by air from the fountains. Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • The water jets of the Organ fountain, 1566, housing organ pipies driven by air from the fountains. Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • The water jets of the Organ fountain, 1566, housing organ pipies driven by air from the fountains. Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • The water jets of the Organ fountain, 1566, housing organ pipies driven by air from the fountains. Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • The water jets of the Organ fountain, 1566, housing organ pipies driven by air from the fountains. Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • The water jets of the Organ fountain, 1566, housing organ pipies driven by air from the fountains. Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • The water jets of the Organ fountain, 1566, housing organ pipies driven by air from the fountains. Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • The water jets of the Organ fountain, 1566, housing organ pipies driven by air from the fountains. Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • The water jets of the Organ fountain, 1566, housing organ pipies driven by air from the fountains. Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • The water jets of the Organ fountain, 1566, housing organ pipies driven by air from the fountains. Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • The water jets of the Organ fountain, 1566, housing organ pipies driven by air from the fountains. Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • The water jets of the Organ fountain, 1566, housing organ pipies driven by air from the fountains. Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • The water jets of the Organ fountain, 1566, housing organ pipies driven by air from the fountains. Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • View of the water jets of the Organ fountain, 1566, housing organ pipies driven by air from the fountains. Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • The water jets of the Organ fountain, 1566, housing organ pipies driven by air from the fountains. Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • The water jets of the Organ fountain, 1566, housing organ pipies driven by air from the fountains. Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • The water jets of the Organ fountain, 1566, housing organ pipies driven by air from the fountains. Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • The water jets of the Organ fountain, 1566, housing organ pipies driven by air from the fountains. Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • View of the Renaissance gardens of Villa d'Este, Tivoli, Italy
  • The water jets of the Organ fountain, 1566, housing organ pipies driven by air from the fountains. Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • Blenheim Palace  Italian Garden with topiary maize - England
  • Blenheim Palace  Italian Garden with topiary maize - England
  • Blenheim Palace  Italian Garden with topiary maize - England
  • Blenheim Palace  Italian Garden with topiary maize - England
  • Blenheim Palace  Italian Garden and Fountain - England
  • Blenheim Palace  Italian Garden and Fountain - England
  • Blenheim Palace  Italian Garden and Fountain - England
  • Blenheim Palace - Italian Garden fountain
  • Blenheim Palace - Italian Garden fountain
  • Blenheim Palace - Italian Garden  and Palace
  • Blenheim Palace  Italian Garden with topiary maize - England
  • Blenheim Palace  Italian Garden with topiary maize - England
  • Blenheim Palace  Italian Garden with topiary maize - England
  • Blenheim Palace  Italian Garden with topiary maize - England
  • Blenheim Palace  Italian Garden with topiary maize - England
  • Blenheim Palace  Italian Garden with topiary maize - England
  • Blenheim Palace  Italian Garden with topiary maize - England
  • Blenheim Palace  Italian Garden and Fountain - England
  • Blenheim Palace  Italian Garden and Fountain - England
  • Blenheim Palace  Italian Garden and Fountain - England
  • Blenheim Palace  Italian Garden and Fountain - England
  • Blenheim Palace  Italian Garden and Fountain - England
  • Blenheim Palace  Italian Garden and Fountain - England
  • Blenheim Palace - Italian Garden fountain
  • Blenheim Palace - Italian Garden fountain
  • Blenheim Palace - Italian Garden fountain
  • Blenheim Palace - Italian Garden fountain
  • Blenheim Palace - Italian Garden  and Palace
  • Blenheim Palace - Italian Garden  and Palace
  • Blenheim Palace - Italian Garden  and Palace
  • Blenheim Palace - Italian Garden  and Palace
  • Blenheim Palace - Italian Garden fountain
  • Blenheim Palace - Italian Garden fountain
  • Blenheim Palace - Italian Garden fountain
  • Blenheim Palace - Italian Garden fountain
  • Blenheim Palace - Italian Garden fountain
  • Minoan clay polychrome beak spouted nippled ewer with human and bird features, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
A characteristic Theran ewer used for libabtions this pot has both painted and plastic features. The dots around the neck represent a necklace.
  • Minoan clay polychrome beak spouted nippled ewer with human and bird features, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
A characteristic Theran ewer used for libabtions this pot has both painted and plastic features. The dots around the neck represent a necklace.
  • Minoan clay polychrome beak spouted nippled ewer with human and bird features, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
A characteristic Theran ewer used for libabtions this pot has both painted and plastic features. The dots around the neck represent a necklace.
  • Minoan clay polychrome beak spouted nippled ewer with human and bird features, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
A characteristic Theran ewer used for libabtions this pot has both painted and plastic features. The dots around the neck represent a necklace.
  • Minoan clay polychrome beak spouted nippled ewer with human and bird features, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
A characteristic Theran ewer used for libabtions this pot has both painted and plastic features. The dots around the neck represent a necklace.
  • Abstract Cycladic figurine , Louris type, from Naxos, 2800-2500 BC, Museum of Cycladic Art Athens,   Against black<br />
<br />
The figurine has no facial features and is of no determinable sex. The figureine is of the Louros typle, named after a site in Naxos and with stuby arms is considered to be an abstract development of the Plastiras type, of which it retains such traits and naturalistically separated legs and horizontal feet. The arms have been reduced to two protuberances at shoulder level and all anitomical features have virtually disappeared.
  • Abstract Cycladic figurine , Louris type, from Naxos, 2800-2500 BC, Museum of Cycladic Art Athens,  Against Grey Background. <br />
<br />
The figurine has no facial features and is of no determinable sex. The figureine is of the Louros typle, named after a site in Naxos and with stuby arms is considered to be an abstract development of the Plastiras type, of which it retains such traits and naturalistically separated legs and horizontal feet. The arms have been reduced to two protuberances at shoulder level and all anitomical features have virtually disappeared.
  • Abstract Cycladic figurine , Louris type, from Naxos, 2800-2500 BC, Museum of Cycladic Art Athens,  Against Grey Background. <br />
<br />
The figurine has no facial features and is of no determinable sex. The figureine is of the Louros typle, named after a site in Naxos and with stuby arms is considered to be an abstract development of the Plastiras type, of which it retains such traits and naturalistically separated legs and horizontal feet. The arms have been reduced to two protuberances at shoulder level and all anitomical features have virtually disappeared.
  • Roman portrait bust of a young man from 110 AD. In this portrait, the hairstyle and facial features are typical of the Trajan era of portraiture. The hairstyle is characterised by a slight central parting on the forehead . Inv 287, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young man from 110 AD. In this portrait, the hairstyle and facial features are typical of the Trajan era of portraiture. The hairstyle is characterised by a slight central parting on the forehead . Inv 287, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young man from 110 AD. In this portrait, the hairstyle and facial features are typical of the Trajan era of portraiture. The hairstyle is characterised by a slight central parting on the forehead . Inv 287, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young man from 110 AD. In this portrait, the hairstyle and facial features are typical of the Trajan era of portraiture. The hairstyle is characterised by a slight central parting on the forehead . Inv 287, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young man from 110 AD. In this portrait, the hairstyle and facial features are typical of the Trajan era of portraiture. The hairstyle is characterised by a slight central parting on the forehead . Inv 287, The National Roman Museum, Rome, Italy
  • The Ares Borghese is a Roman marble statue of the imperial era, 1st or 2nd century AD. This statue possibly preserves some features of an original work in bronze, now lost, of the 5th century BC by Alcamenes, an Athenian sculptor, or the statue may not be a copy of Alcamenes's, but instead a Roman creation according to a classicising or Neo-Attic type. Borghese collection, Inv No. MR. 373 (Usual No Ma 370), Louvre Museum, Paris.
  • The Ares Borghese is a Roman marble statue of the imperial era, 1st or 2nd century AD. This statue possibly preserves some features of an original work in bronze, now lost, of the 5th century BC by Alcamenes, an Athenian sculptor, or the statue may not be a copy of Alcamenes's, but instead a Roman creation according to a classicising or Neo-Attic type. Borghese collection, Inv No. MR. 373 (Usual No Ma 370), Louvre Museum, Paris.
  • The Ares Borghese is a Roman marble statue of the imperial era, 1st or 2nd century AD. This statue possibly preserves some features of an original work in bronze, now lost, of the 5th century BC by Alcamenes, an Athenian sculptor, or the statue may not be a copy of Alcamenes's, but instead a Roman creation according to a classicising or Neo-Attic type. Borghese collection, Inv No. MR. 373 (Usual No Ma 370), Louvre Museum, Paris.
  • The Ares Borghese is a Roman marble statue of the imperial era, 1st or 2nd century AD. This statue possibly preserves some features of an original work in bronze, now lost, of the 5th century BC by Alcamenes, an Athenian sculptor, or the statue may not be a copy of Alcamenes's, but instead a Roman creation according to a classicising or Neo-Attic type. Borghese collection, Inv No. MR. 373 (Usual No Ma 370), Louvre Museum, Paris.
  • Roman portrait bust of a young man from 110 AD. In this portrait, the hairstyle and facial features are typical of the Trajan era of portraiture. The hairstyle is characterised by a slight central parting on the forehead . Inv 287, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young man from 110 AD. In this portrait, the hairstyle and facial features are typical of the Trajan era of portraiture. The hairstyle is characterised by a slight central parting on the forehead . Inv 287, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young man from 110 AD. In this portrait, the hairstyle and facial features are typical of the Trajan era of portraiture. The hairstyle is characterised by a slight central parting on the forehead . Inv 287, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young man from 110 AD. In this portrait, the hairstyle and facial features are typical of the Trajan era of portraiture. The hairstyle is characterised by a slight central parting on the forehead . Inv 287, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young man from 110 AD. In this portrait, the hairstyle and facial features are typical of the Trajan era of portraiture. The hairstyle is characterised by a slight central parting on the forehead . Inv 287, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young man from 110 AD. In this portrait, the hairstyle and facial features are typical of the Trajan era of portraiture. The hairstyle is characterised by a slight central parting on the forehead . Inv 287, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young man from the reign of Nero, 54-68 AD. This portrait can be dated to the reign of Nero due to the facial features and hair style, with short locks and long fringe over the forehead. The young man is wearing a tunic, stopped with a small fibula (clasp) on the left shoulder. Inv 281, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young man from the reign of Nero, 54-68 AD. This portrait can be dated to the reign of Nero due to the facial features and hair style, with short locks and long fringe over the forehead. The young man is wearing a tunic, stopped with a small fibula (clasp) on the left shoulder. Inv 281, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young man from the reign of Nero, 54-68 AD. This portrait can be dated to the reign of Nero due to the facial features and hair style, with short locks and long fringe over the forehead. The young man is wearing a tunic, stopped with a small fibula (clasp) on the left shoulder. Inv 281, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young man from the reign of Nero, 54-68 AD. This portrait can be dated to the reign of Nero due to the facial features and hair style, with short locks and long fringe over the forehead. The young man is wearing a tunic, stopped with a small fibula (clasp) on the left shoulder. Inv 281, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young man from the reign of Nero, 54-68 AD. This portrait can be dated to the reign of Nero due to the facial features and hair style, with short locks and long fringe over the forehead. The young man is wearing a tunic, stopped with a small fibula (clasp) on the left shoulder. Inv 281, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young man from the reign of Nero, 54-68 AD. This portrait can be dated to the reign of Nero due to the facial features and hair style, with short locks and long fringe over the forehead. The young man is wearing a tunic, stopped with a small fibula (clasp) on the left shoulder. Inv 281, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young man from the reign of Nero, 54-68 AD. This portrait can be dated to the reign of Nero due to the facial features and hair style, with short locks and long fringe over the forehead. The young man is wearing a tunic, stopped with a small fibula (clasp) on the left shoulder. Inv 281, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young man from the reign of Nero, 54-68 AD. This portrait can be dated to the reign of Nero due to the facial features and hair style, with short locks and long fringe over the forehead. The young man is wearing a tunic, stopped with a small fibula (clasp) on the left shoulder. Inv 281, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young man from the reign of Nero, 54-68 AD. This portrait can be dated to the reign of Nero due to the facial features and hair style, with short locks and long fringe over the forehead. The young man is wearing a tunic, stopped with a small fibula (clasp) on the left shoulder. Inv 281, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young man from the reign of Nero, 54-68 AD. This portrait can be dated to the reign of Nero due to the facial features and hair style, with short locks and long fringe over the forehead. The young man is wearing a tunic, stopped with a small fibula (clasp) on the left shoulder. Inv 281, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young charioteer from the age of Domitian, 81-96AD. This statue of a young charioteer, with Oriental eastern Mediterranean features, is wearing a tunic stopped on the right shoulder by a flattened circular fibula (clasp). The hairstyle, with its ’S’ shaped curls, was made artificially with an iron (calamistrum). This style was inspired by official portrayts of a young Domitian, who emulated Neronian style during the last years of his reign. The bust was rounded to be inserted onto a modern pillar. . Inv 276, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young charioteer from the age of Domitian, 81-96AD. This statue of a young charioteer, with Oriental eastern Mediterranean features, is wearing a tunic stopped on the right shoulder by a flattened circular fibula (clasp). The hairstyle, with its ’S’ shaped curls, was made artificially with an iron (calamistrum). This style was inspired by official portrayts of a young Domitian, who emulated Neronian style during the last years of his reign. The bust was rounded to be inserted onto a modern pillar. . Inv 276, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young charioteer from the age of Domitian, 81-96AD. This statue of a young charioteer, with Oriental eastern Mediterranean features, is wearing a tunic stopped on the right shoulder by a flattened circular fibula (clasp). The hairstyle, with its ’S’ shaped curls, was made artificially with an iron (calamistrum). This style was inspired by official portrayts of a young Domitian, who emulated Neronian style during the last years of his reign. The bust was rounded to be inserted onto a modern pillar. . Inv 276, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young charioteer from the age of Domitian, 81-96AD. This statue of a young charioteer, with Oriental eastern Mediterranean features, is wearing a tunic stopped on the right shoulder by a flattened circular fibula (clasp). The hairstyle, with its ’S’ shaped curls, was made artificially with an iron (calamistrum). This style was inspired by official portrayts of a young Domitian, who emulated Neronian style during the last years of his reign. The bust was rounded to be inserted onto a modern pillar. . Inv 276, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young charioteer from the age of Domitian, 81-96AD. This statue of a young charioteer, with Oriental eastern Mediterranean features, is wearing a tunic stopped on the right shoulder by a flattened circular fibula (clasp). The hairstyle, with its ’S’ shaped curls, was made artificially with an iron (calamistrum). This style was inspired by official portrayts of a young Domitian, who emulated Neronian style during the last years of his reign. The bust was rounded to be inserted onto a modern pillar. . Inv 276, The National Roman Museum, Rome, Italy
  • The Ares Borghese is a Roman marble statue of the imperial era, 1st or 2nd century AD. This statue possibly preserves some features of an original work in bronze, now lost, of the 5th century BC by Alcamenes, an Athenian sculptor, or the statue may not be a copy of Alcamenes's, but instead a Roman creation according to a classicising or Neo-Attic type. Borghese collection, Inv No. MR. 373 (Usual No Ma 370), Louvre Museum, Paris.
  • The Ares Borghese is a Roman marble statue of the imperial era, 1st or 2nd century AD. This statue possibly preserves some features of an original work in bronze, now lost, of the 5th century BC by Alcamenes, an Athenian sculptor, or the statue may not be a copy of Alcamenes's, but instead a Roman creation according to a classicising or Neo-Attic type. Borghese collection, Inv No. MR. 373 (Usual No Ma 370), Louvre Museum, Paris.
  • The Ares Borghese is a Roman marble statue of the imperial era, 1st or 2nd century AD. This statue possibly preserves some features of an original work in bronze, now lost, of the 5th century BC by Alcamenes, an Athenian sculptor, or the statue may not be a copy of Alcamenes's, but instead a Roman creation according to a classicising or Neo-Attic type. Borghese collection, Inv No. MR. 373 (Usual No Ma 370), Louvre Museum, Paris.
  • The Ares Borghese is a Roman marble statue of the imperial era, 1st or 2nd century AD. This statue possibly preserves some features of an original work in bronze, now lost, of the 5th century BC by Alcamenes, an Athenian sculptor, or the statue may not be a copy of Alcamenes's, but instead a Roman creation according to a classicising or Neo-Attic type. Borghese collection, Inv No. MR. 373 (Usual No Ma 370), Louvre Museum, Paris.
  • Abstract Cycladic figurine , Louris type, from Naxos, 2800-2500 BC, Museum of Cycladic Art Athens,  Against white.<br />
<br />
The figurine has no facial features and is of no determinable sex. The figureine is of the Louros typle, named after a site in Naxos and with stuby arms is considered to be an abstract development of the Plastiras type, of which it retains such traits and naturalistically separated legs and horizontal feet. The arms have been reduced to two protuberances at shoulder level and all anitomical features have virtually disappeared.
  • Abstract Cycladic figurine , Louris type, from Naxos, 2800-2500 BC, Museum of Cycladic Art Athens, <br />
<br />
The figurine has no facial features and is of no determinable sex. The figureine is of the Louros typle, named after a site in Naxos and with stuby arms is considered to be an abstract development of the Plastiras type, of which it retains such traits and naturalistically separated legs and horizontal feet. The arms have been reduced to two protuberances at shoulder level and all anitomical features have virtually disappeared.
  • Close up of The Minoan ' Camp Stool' wall art fresco from the West vwing of Knossos Palace, 1450-1300 BC. Heraklion Archaeological Museum.<br />
<br />
This Minoan fresco probably depicted a typical banquet at Knossos Palace held in the Upper Hall of the West Wing. Figures seated on 'camp stools' are raising cups and kylikes. A female figure with Mediterranean features wearing vivid make up named ' La Parisienne' by Arthur Evans, has a large 'sacred knot' bunched behind her head and maybe she was a priestess.
  • The Minoan ' Camp Stool' wall art fresco from the West vwing of Knossos Palace, 1450-1300 BC. Heraklion Archaeological Museum.  Grey Background. <br />
<br />
This Minoan fresco probably depicted a typical banquet at Knossos Palace held in the Upper Hall of the West Wing. Figures seated on 'camp stools' are raising cups and kylikes. A female figure with Mediterranean features wearing vivid make up named ' La Parisienne' by Arthur Evans, has a large 'sacred knot' bunched behind her head and maybe she was a priestess.
  • Close up of The Minoan ' Camp Stool' wall art fresco from the West vwing of Knossos Palace, 1450-1300 BC. Heraklion Archaeological Museum.<br />
<br />
This Minoan fresco probably depicted a typical banquet at Knossos Palace held in the Upper Hall of the West Wing. Figures seated on 'camp stools' are raising cups and kylikes. A female figure with Mediterranean features wearing vivid make up named ' La Parisienne' by Arthur Evans, has a large 'sacred knot' bunched behind her head and maybe she was a priestess.
  • The Minoan ' Camp Stool' wall art fresco from the West vwing of Knossos Palace, 1450-1300 BC. Heraklion Archaeological Museum.  Grey Background. <br />
<br />
This Minoan fresco probably depicted a typical banquet at Knossos Palace held in the Upper Hall of the West Wing. Figures seated on 'camp stools' are raising cups and kylikes. A female figure with Mediterranean features wearing vivid make up named ' La Parisienne' by Arthur Evans, has a large 'sacred knot' bunched behind her head and maybe she was a priestess.
  • The Minoan ' Camp Stool' wall art fresco from the West vwing of Knossos Palace, 1450-1300 BC. Heraklion Archaeological Museum.  White Background. <br />
<br />
This Minoan fresco probably depicted a typical banquet at Knossos Palace held in the Upper Hall of the West Wing. Figures seated on 'camp stools' are raising cups and kylikes. A female figure with Mediterranean features wearing vivid make up named ' La Parisienne' by Arthur Evans, has a large 'sacred knot' bunched behind her head and maybe she was a priestess.
  • Close up of The Minoan ' Camp Stool' wall art fresco from the West vwing of Knossos Palace, 1450-1300 BC. Heraklion Archaeological Museum.<br />
<br />
This Minoan fresco probably depicted a typical banquet at Knossos Palace held in the Upper Hall of the West Wing. Figures seated on 'camp stools' are raising cups and kylikes. A female figure with Mediterranean features wearing vivid make up named ' La Parisienne' by Arthur Evans, has a large 'sacred knot' bunched behind her head and maybe she was a priestess.
  • The Minoan ' Camp Stool' wall art fresco from the West vwing of Knossos Palace, 1450-1300 BC. Heraklion Archaeological Museum. Black Background. <br />
<br />
This Minoan fresco probably depicted a typical banquet at Knossos Palace held in the Upper Hall of the West Wing. Figures seated on 'camp stools' are raising cups and kylikes. A female figure with Mediterranean features wearing vivid make up named ' La Parisienne' by Arthur Evans, has a large 'sacred knot' bunched behind her head and maybe she was a priestess.
  • The Minoan ' Camp Stool' wall art fresco from the West vwing of Knossos Palace, 1450-1300 BC. Heraklion Archaeological Museum.<br />
<br />
This Minoan fresco probably depicted a typical banquet at Knossos Palace held in the Upper Hall of the West Wing. Figures seated on 'camp stools' are raising cups and kylikes. A female figure with Mediterranean features wearing vivid make up named ' La Parisienne' by Arthur Evans, has a large 'sacred knot' bunched behind her head and maybe she was a priestess.
  • Female figurine statuette : Cycladic Canonical type, Spedos variety. Early Cycladic Period II, (2800-2300 BC), ' Museum of Cycladic Art Athens. Against white.<br />
<br />
The cycaldic figurine has its facial features preserved in relief. The eyes, eye brows and hair was probably painted which subsequently protected theses areas of the marble from erosion. Red pigment was found on the cheek and thighs. This is a mature work of the Spedos variety
  • Female figurine statuette : Cycladic Canonical type, Spedos variety. Early Cycladic Period II, (2800-2300 BC), ' Museum of Cycladic Art Athens.  Against black<br />
<br />
<br />
The cycaldic figurine has its facial features preserved in relief. The eyes, eye brows and hair was probably painted which subsequently protected theses areas of the marble from erosion. Red pigment was found on the cheek and thighs. This is a mature work of the Spedos variety
  • Female figurine statuette : Cycladic Canonical type, Spedos variety. Early Cycladic Period II, (2800-2300 BC), ' Museum of Cycladic Art Athens. Grey Background. <br />
<br />
The cycaldic figurine has its facial features preserved in relief. The eyes, eye brows and hair was probably painted which subsequently protected theses areas of the marble from erosion. Red pigment was found on the cheek and thighs. This is a mature work of the Spedos variety
  • Female figurine statuette : Cycladic Canonical type, Spedos variety. Early Cycladic Period II, (2800-2300 BC), ' Museum of Cycladic Art Athens.<br />
<br />
The cycaldic figurine has its facial features preserved in relief. The eyes, eye brows and hair was probably painted which subsequently protected theses areas of the marble from erosion. Red pigment was found on the cheek and thighs. This is a mature work of the Spedos variety
  • Female figurine statuette : Cycladic Canonical type, Spedos variety. Early Cycladic Period II, (2800-2300 BC), ' Museum of Cycladic Art Athens. Grey Background. <br />
<br />
The cycaldic figurine has its facial features preserved in relief. The eyes, eye brows and hair was probably painted which subsequently protected theses areas of the marble from erosion. Red pigment was found on the cheek and thighs. This is a mature work of the Spedos variety
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322. Against black<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322. Against white.<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322. Against grey.<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322.<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322. Against grey.<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322. Against white.<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322. Against black<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322. Against grey.<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322.<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322. Against grey.<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322. Against white.<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322. Against black<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322. Against grey.<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322.<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Roman bronze statue fragment of emperor Augustus, Circa 12-10 BC,  found in the Agean sea of  the Island of Euboea, Athens National Archaeological Museum. cat no X 23322. Against grey.<br />
<br />
The emperor Augustus is depicted in mature age mounting a horse. He wears a tunica with verivle purple stripes (clavus purpurea) fringed with a meander pattern. Icongraphic features of bthe Prima Porta and Actuim type of statue are incorporated in this brnze statue. The right hand is raised in a gesture of offical greeting and the left hand held the horses reigns. A ring on the finger gears has engraved the symbol of Pontifles Maximus assumed by Augustus in 12 BC
  • Cycladic statue figurine of the naturalistic 'Plastira' type of Paros from Glypha cemetery, grave 23, Cat no 4762. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens.   White background.<br />
<br />
<br />
This type of Cycladic figurine stand with feet lat to the ground with detailed facial features and ears to make a more realistic statue.
  • Cycladic statue figurine of the naturalistic 'Plastira' type of Paros from Glypha cemetery, grave 23, Cat no 4762. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens. Black background.<br />
<br />
This type of Cycladic figurine stand with feet lat to the ground with detailed facial features and ears to make a more realistic statue.
  • Cycladic statue figurine of the naturalistic 'Plastira' type of Paros from Glypha cemetery, grave 23, Cat no 4762. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens. <br />
<br />
This type of Cycladic figurine stand with feet lat to the ground with detailed facial features and ears to make a more realistic statue.
  • Cycladic statue figurine of the naturalistic 'Plastira' type of Paros from Glypha cemetery, grave 23, Cat no 4762. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens. <br />
<br />
This type of Cycladic figurine stand with feet lat to the ground with detailed facial features and ears to make a more realistic statue.
  • Cycladic statue figurine of the naturalistic 'Plastira' type of Paros from Glypha cemetery, grave 23, Cat no 4762. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens.   Gray background.<br />
<br />
<br />
This type of Cycladic figurine stand with feet lat to the ground with detailed facial features and ears to make a more realistic statue.
  • Cycladic statue figurine of the naturalistic 'Plastira' type of Paros. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens.   White background.<br />
<br />
<br />
This type of Cycladic figurine stand with feet lat to the ground with detailed facial features and ears to make a more realistic statue.
  • Cycladic statue figurine of the naturalistic 'Plastira' type of Paros. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens. Black background.<br />
<br />
This type of Cycladic figurine stand with feet lat to the ground with detailed facial features and ears to make a more realistic statue.
  • Cycladic statue figurine of the naturalistic 'Plastira' type of Paros. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens.   Grey background.<br />
<br />
<br />
This type of Cycladic figurine stand with feet lat to the ground with detailed facial features and ears to make a more realistic statue.
  • Cycladic statue figurine of the naturalistic 'Plastira' type of Paros. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens. <br />
<br />
This type of Cycladic figurine stand with feet lat to the ground with detailed facial features and ears to make a more realistic statue.
  • Cycladic statue figurine of the naturalistic 'Plastira' type of Paros. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens.   Gray background.<br />
<br />
<br />
This type of Cycladic figurine stand with feet lat to the ground with detailed facial features and ears to make a more realistic statue.
  • Cycladic statue figurine of the naturalistic 'Plastira' type of Paros. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens.   White background.<br />
<br />
<br />
This type of Cycladic figurine stand with feet lat to the ground with detailed facial features and ears to make a more realistic statue. This statue is of a hunter or warrior as it bears an incised weapon strap across its chest and holds a knife.
  • Cycladic statue figurine of the naturalistic 'Plastira' type of Paros. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens. Black background.<br />
This type of Cycladic figurine stand with feet lat to the ground with detailed facial features and ears to make a more realistic statue. This statue is of a hunter or warrior as it bears an incised weapon strap across its chest and holds a knife.
  • Cycladic statue figurine of the naturalistic 'Plastira' type of Paros. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens.   Grey background.<br />
<br />
<br />
This type of Cycladic figurine stand with feet lat to the ground with detailed facial features and ears to make a more realistic statue. This statue is of a hunter or warrior as it bears an incised weapon strap across its chest and holds a knife.
  • Cycladic statue figurine of the naturalistic 'Plastira' type of Paros. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens. <br />
<br />
This type of Cycladic figurine stand with feet lat to the ground with detailed facial features and ears to make a more realistic statue. This statue is of a hunter or warrior as it bears an incised weapon strap across its chest and holds a knife.
  • Cycladic statue figurine of the naturalistic 'Plastira' type of Paros. Early Cycladic Period I (Grotta-Pelos Phase 3200-2800 BC). National Archaeological Museum, Athens.   Gray background.<br />
<br />
<br />
This type of Cycladic figurine stand with feet lat to the ground with detailed facial features and ears to make a more realistic statue. This statue is of a hunter or warrior as it bears an incised weapon strap across its chest and holds a knife.
  • Pictures of the stone sculptured monumental tomb for the Celesia Family by sculptor D. Paernio 1899.  An adolescent angel with delicate features is examining some sheets while sitting, representing so the Study.  Sculpted in the bourgeois Realism style this gigantic statue of the worker follows Michelangelo’s heroic style, which was an obsession to many European and Italian sculptors between the end of the 19th century and the beginning of the 20th century,  Section A, no 51, The Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures of the stone sculptured monumental tomb for the Celesia Family by sculptor D. Paernio 1899. At the top back of the monument is a sculpture of the deceased. In front is an impressive male figure with a heavy club, which is an allegory of the Work, and an adolescent angel with delicate features, which is examining some sheets while sitting, representing so the Study.  Sculpted in the bourgeois Realism style this gigantic statue of the worker follows Michelangelo’s heroic style, which was an obsession to many European and Italian sculptors between the end of the 19th century and the beginning of the 20th century,  Section A, no 51, The Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures of the stone sculptured monumental tomb for the Celesia Family by sculptor D. Paernio 1899. At the top back of the monument is a sculpture of the deceased. In front is an impressive male figure with a heavy club, which is an allegory of the Work, and an adolescent angel with delicate features, which is examining some sheets while sitting, representing so the Study.  Sculpted in the bourgeois Realism style this gigantic statue of the worker follows Michelangelo’s heroic style, which was an obsession to many European and Italian sculptors between the end of the 19th century and the beginning of the 20th century,  Section A, no 51, The Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures of the stone sculptured monumental tomb for the Celesia Family by sculptor D. Paernio 1899. At the top back of the monument is a sculpture of the deceased. In front is an impressive male figure with a heavy club, which is an allegory of the Work, and an adolescent angel with delicate features, which is examining some sheets while sitting, representing so the Study.  Sculpted in the bourgeois Realism style this gigantic statue of the worker follows Michelangelo’s heroic style, which was an obsession to many European and Italian sculptors between the end of the 19th century and the beginning of the 20th century,  Section A, no 51, The Staglieno Monumental Cemetery, Genoa, Italy
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Christ changing Water into wine - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia.  Against a black background.
  • 6th-7th Century v Christian Terracotta tiles depicting Christ changing Water into wine - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Christ changing Water into wine - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia.   Against a grey background.
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Christ changing Water into wine - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia. Against a grey art background.

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