• Four Seasons Hotel in The Art Nouveau Gresham Palace, Budapest, Hungary
  • Four Seasons Hotel in The Art Nouveau Gresham Palace, Budapest, Hungary
  • Four Seasons Hotel- Gresham Palace - Budapest - Hungary
  • Piazza Navona Fountain of the Four Rivers (Fontana dei Quattro Fiumi), Rome, Italy
  • Statue of the four seasons - Tapolca, Balaton, Hungary
  • Statue of the four seasons - Tapolca, Balaton, Hungary
  • Statue of the four seasons - Tapolca, Balaton, Hungary
  • Gresham Palace ; Four Seasons ; Budapest; Hungary; night
  • Picture of a Roman mosaics design depicting the Four Seasons, from the ancient Roman city of Thysdrus. 3rd century AD, House in Jiliani Guirat area. El Djem Archaeological Museum, El Djem, Tunisia. Against a white background
  • Picture of a Roman mosaics design depicting the Four Seasons, from the ancient Roman city of Thysdrus. 3rd century AD, House in Jiliani Guirat area. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting the Four Seasons, from the ancient Roman city of Thysdrus. 3rd century AD, House in Jiliani Guirat area. El Djem Archaeological Museum, El Djem, Tunisia. Against a black background
  • Picture of a Roman mosaics design depicting the Four Seasons, from the ancient Roman city of Thysdrus. 3rd century AD, House in Jiliani Guirat area. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting the Four Seasons, from the ancient Roman city of Thysdrus. 3rd century AD, House in Jiliani Guirat area. El Djem Archaeological Museum, El Djem, Tunisia. Against an art background
  • Picture of a Roman mosaics design depicting the Four Seasons, from the ancient Roman city of Thysdrus. 3rd century AD, House in Jiliani Guirat area. El Djem Archaeological Museum, El Djem, Tunisia. Against a grey background
  • Picture of a Roman mosaics design depicting the Four Seasons, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting in the centre Aion, god of eternity, with Artemis and Apollo to his left and right and the Four Seasons, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting Aion and the Four Seasons, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting the Four Seasons, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting the Four Seasons, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting the Four Seasons, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting the Four Seasons, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting the Four Seasons, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting the Four Seasons; from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum; El Djem; Tunisia. Against a white background
  • Picture of a Roman mosaics design depicting the Four Seasons, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting the Four Seasons; from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum; El Djem; Tunisia. Against a black background
  • Picture of a Roman mosaics design depicting the Four Seasons, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting the Four Seasons; from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum; El Djem; Tunisia.
  • Picture of a Roman mosaics design depicting the Four Seasons; from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum; El Djem; Tunisia. Against an art background
  • Picture of a Roman mosaics design depicting the Four Seasons; from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum; El Djem; Tunisia. Against a grey background
  • Picture of a Roman mosaics design depicting Dionysus, God of wine, surrounded by women's busts representing the Four Seasons, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against a white background
  • Picture of a Roman mosaics design depicting Dionysus, God of wine, surrounded by women's busts representing the Four Seasons, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting Dionysus, God of wine, surrounded by women's busts representing the Four Seasons, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against a blackbackground
  • Picture of a Roman mosaics design depicting Dionysus, God of wine, surrounded by women's busts representing the Four Seasons, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting Dionysus, God of wine, surrounded by women's busts representing the Four Seasons, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting Dionysus, God of wine, surrounded by women's busts representing the Four Seasons, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against a grey background
  • Picture of a Roman mosaics design depicting Dionysus, God of wine, surrounded by women's busts representing the Four Seasons, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against an art background
  • Wide picture of the Roman mosaics of The Four Seasons, room no 23 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.
  • Wide picture of the Roman mosaics of The Four Seasons, room no 23 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.
  • Close up picture of the Roman mosaics of The Four Seasons, room no 23 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.
  • wide shot of the Roman mosaics of the room of the Small Circus depicting Roman boys riding small chariots pulled by birds in a small circus, The Vestibule of The Smnall Circus, room no 41  at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Roman mosaic know as the Small Circus at the Villa Romana del Casale depicts a scene of a chariot race from the Circus Maximus in Rome. Two wheeled chariots, driven by children,  are racing around a central Pina (barrier) being drawn by fowl and web footed birds. The four chariots represent the four factions that raced against each other at the Circus and the tunics of the cild charioteers and the birds pulling their chariots are distinguished by the four different colours used by each faction.
  • Close up picture of the Roman mosaics of the room of the Small Circus depicting Roman boys riding small chariots pulled by birds in a small circus, The Vestibule of The Smnall Circus, room no 41  at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Roman mosaic know as the Small Circus at the Villa Romana del Casale depicts a scene of a chariot race from the Circus Maximus in Rome. Two wheeled chariots, driven by children,  are racing around a central Pina (barrier) being drawn by fowl and web footed birds. The four chariots represent the four factions that raced against each other at the Circus and the tunics of the cild charioteers and the birds pulling their chariots are distinguished by the four different colours used by each faction.
  • Close up picture of the Roman mosaics of the room of the Small Circus depicting Roman boys riding small chariots pulled by birds in a small circus, The Vestibule of The Smnall Circus, room no 41  at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Roman mosaic know as the Small Circus at the Villa Romana del Casale depicts a scene of a chariot race from the Circus Maximus in Rome. Two wheeled chariots, driven by children,  are racing around a central Pina (barrier) being drawn by fowl and web footed birds. The four chariots represent the four factions that raced against each other at the Circus and the tunics of the cild charioteers and the birds pulling their chariots are distinguished by the four different colours used by each faction.
  • Close up picture of the Roman mosaics of the room of the Small Circus depicting Roman boys riding small chariots pulled by geese in a small circus, The Vestibule of The Smnall Circus, room no 41  at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Roman mosaic know as the Small Circus at the Villa Romana del Casale depicts a scene of a chariot race from the Circus Maximus in Rome. Two wheeled chariots, driven by children,  are racing around a central Pina (barrier) being drawn by fowl and web footed birds. The four chariots represent the four factions that raced against each other at the Circus and the tunics of the cild charioteers and the birds pulling their chariots are distinguished by the four different colours used by each faction.
  • Close up picture of the Roman mosaics of the room of the Small Circus depicting Roman boys riding small chariots pulled by geese in a small circus, The Vestibule of The Smnall Circus, room no 41  at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Roman mosaic know as the Small Circus at the Villa Romana del Casale depicts a scene of a chariot race from the Circus Maximus in Rome. Two wheeled chariots, driven by children,  are racing around a central Pina (barrier) being drawn by fowl and web footed birds. The four chariots represent the four factions that raced against each other at the Circus and the tunics of the cild charioteers and the birds pulling their chariots are distinguished by the four different colours used by each faction.
  • Close up picture of the Roman mosaics of the room of the Small Circus depicting Roman boys riding small chariots pulled by birds in a small circus, The Vestibule of The Smnall Circus, room no 41  at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Roman mosaic know as the Small Circus at the Villa Romana del Casale depicts a scene of a chariot race from the Circus Maximus in Rome. Two wheeled chariots, driven by children,  are racing around a central Pina (barrier) being drawn by fowl and web footed birds. The four chariots represent the four factions that raced against each other at the Circus and the tunics of the cild charioteers and the birds pulling their chariots are distinguished by the four different colours used by each faction.
  • Close up picture of the Roman mosaics of the room of the Small Circus depicting Roman boys riding small chariots pulled by pigeons in a small circus, The Vestibule of The Smnall Circus, room no 41  at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Roman mosaic know as the Small Circus at the Villa Romana del Casale depicts a scene of a chariot race from the Circus Maximus in Rome. Two wheeled chariots, driven by children,  are racing around a central Pina (barrier) being drawn by fowl and web footed birds. The four chariots represent the four factions that raced against each other at the Circus and the tunics of the cild charioteers and the birds pulling their chariots are distinguished by the four different colours used by each faction.
  • Close up picture of the Roman mosaics of the room of the Small Circus depicting Roman boys riding small chariots pulled by birds in a small circus, The Vestibule of The Smnall Circus, room no 41  at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Roman mosaic know as the Small Circus at the Villa Romana del Casale depicts a scene of a chariot race from the Circus Maximus in Rome. Two wheeled chariots, driven by children,  are racing around a central Pina (barrier) being drawn by fowl and web footed birds. The four chariots represent the four factions that raced against each other at the Circus and the tunics of the cild charioteers and the birds pulling their chariots are distinguished by the four different colours used by each faction.
  • Wide picture of the Roman mosaics of the room of the Small Circus depicting Roman boys riding small chariots pulled by birds in a small circus, The Vestibule of The Smnall Circus, room no 41  at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Roman mosaic know as the Small Circus at the Villa Romana del Casale depicts a scene of a chariot race from the Circus Maximus in Rome. Two wheeled chariots, driven by children,  are racing around a central Pina (barrier) being drawn by fowl and web footed birds. The four chariots represent the four factions that raced against each other at the Circus and the tunics of the cild charioteers and the birds pulling their chariots are distinguished by the four different colours used by each faction.
  • Wide picture of the Roman mosaics of the room of the Small Circus depicting Roman boys riding small chariots pulled by birds in a small circus, The Vestibule of The Smnall Circus, room no 41  at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Roman mosaic know as the Small Circus at the Villa Romana del Casale depicts a scene of a chariot race from the Circus Maximus in Rome. Two wheeled chariots, driven by children,  are racing around a central Pina (barrier) being drawn by fowl and web footed birds. The four chariots represent the four factions that raced against each other at the Circus and the tunics of the cild charioteers and the birds pulling their chariots are distinguished by the four different colours used by each faction.
  • Medieval Rose  Window of the South Transept of the Gothic Cathedral of Chartres, France- Circa 1225-30. A UNESCO World Heritage Site. Dedicated to Christ, who is shown in the central oculus, right hand raised in benediction, surrounded by adoring angels. Two outer rings of twelve circles each contain the 24 Elders of the Apocalypse, crowned and carrying phials and musical instruments. The central lancet beneath the rose shows the Virgin carrying the infant Christ. Either side of this are four lancets showing the four evangelists sitting on the shoulders of four Prophets - a rare literal illustration of the theological principle that the New Testament builds upon the Old Testament. This window was a donation of the Mauclerc family, the Counts of Dreux-Bretagne, who are depicted with their arms in the bases of the lancets
  • Medieval Rose  Window of the South Transept of the Gothic Cathedral of Chartres, France- Circa 1225-30. A UNESCO World Heritage Site. Dedicated to Christ, who is shown in the central oculus, right hand raised in benediction, surrounded by adoring angels. Two outer rings of twelve circles each contain the 24 Elders of the Apocalypse, crowned and carrying phials and musical instruments. The central lancet beneath the rose shows the Virgin carrying the infant Christ. Either side of this are four lancets showing the four evangelists sitting on the shoulders of four Prophets - a rare literal illustration of the theological principle that the New Testament builds upon the Old Testament. This window was a donation of the Mauclerc family, the Counts of Dreux-Bretagne, who are depicted with their arms in the bases of the lancets
  • Medieval Rose  Window of the South Transept of the Gothic Cathedral of Chartres, France- Circa 1225-30. A UNESCO World Heritage Site. Dedicated to Christ, who is shown in the central oculus, right hand raised in benediction, surrounded by adoring angels. Two outer rings of twelve circles each contain the 24 Elders of the Apocalypse, crowned and carrying phials and musical instruments. The central lancet beneath the rose shows the Virgin carrying the infant Christ. Either side of this are four lancets showing the four evangelists sitting on the shoulders of four Prophets - a rare literal illustration of the theological principle that the New Testament builds upon the Old Testament. This window was a donation of the Mauclerc family, the Counts of Dreux-Bretagne, who are depicted with their arms in the bases of the lancets
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Close up of the pediments of the Tetrapylon monumental gateway to  the Temple of Aphrodite. The Tetrapylon consisted of four rows of four columns and It connects the major street to the sacred way heading toward the sanctuary of Aphrodite. <br />
<br />
Aphrodisias Archaeological Site, Aydin Province, Turkey.
  • Tetrapylon monumental gateway to  the Temple of Aphrodite. The Tetrapylon consisted of four rows of four columns and It connects the major street to the sacred way heading toward the sanctuary of Aphrodite. <br />
<br />
Aphrodisias Archaeological Site, Aydin Province, Turkey.
  • Pictures of a Roman mosaics design depicting the Four Seasons, from the Maison de la Procession Dionysiaque, ancient Roman city of Thysdrus. 2nd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting one of the Four Seasons, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting one of the Four Seasons, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting one of the Four Seasons, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting one of the Four Seasons, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Pictures of the geometric border  Roman mosaic using 3d blocks and a swastica design from a Four Seasons mosaic, from the Maison de la Procession Dionysiaque, ancient Roman city of Thysdrus. 2nd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Pictures of the geometric border  Roman mosaic using 3d blocks and a swastica design from a Four Seasons mosaic, from the Maison de la Procession Dionysiaque, ancient Roman city of Thysdrus. 2nd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Pictures of a Roman mosaics design depicting the Four Seasons, from the Maison de la Procession Dionysiaque, ancient Roman city of Thysdrus. 2nd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Detail picture of a Roman mosaics design depicting the Four Seasons, from the Maison de la Procession Dionysiaque, ancient Roman city of Thysdrus. 2nd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Pictures of a Roman mosaics design depicting the Four Seasons, from the Maison de la Procession Dionysiaque, ancient Roman city of Thysdrus. 2nd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Hittite terra cotta four handled pot. Hittite Empire, Alaca Hoyuk, 1450 - 1200 BC. Alaca Hoyuk. Çorum Archaeological Museum, Corum, Turkey
  • Hittite terra cotta four handled pot. Hittite Empire, Alaca Hoyuk, 1450 - 1200 BC. Alaca Hoyuk. Çorum Archaeological Museum, Corum, Turkey. Against a white bacground.
  • Hittite terra cotta four handled pot. Hittite Empire, Alaca Hoyuk, 1450 - 1200 BC. Alaca Hoyuk. Çorum Archaeological Museum, Corum, Turkey. Against a black bacground.
  • Hittite terra cotta four handled pot. Hittite Empire, Alaca Hoyuk, 1450 - 1200 BC. Alaca Hoyuk. Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hittite terra cotta four handled pot. Hittite Empire, Alaca Hoyuk, 1450 - 1200 BC. Alaca Hoyuk. Çorum Archaeological Museum, Corum, Turkey. Against a grey bacground.
  • Bronze Age Anatolian four headed alabaster Goddess figurine - 19th to 17th century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey. Against a white background.
  • Bronze Age Anatolian four headed alabaster Goddess figurine - 19th to 17th century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey. Against a grey background.
  • Bronze Age Anatolian four handled terra cotta vase with reliefs - 19th - 17th century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey. Against a grey background.
  • Bronze Age Anatolian four handled terra cotta vase with reliefs - 19th - 17th century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.  Against a warn art background.
  • Bronze Age Anatolian four handled terra cotta vase with reliefs - 19th - 17th century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.
  • Stone relief of four figures. Catalhoyuk Collections. Museum of Anatolian Civilisations, Ankara. Against a white background
  • Stone relief of four figures. Catalhoyuk Collections. Museum of Anatolian Civilisations, Ankara. Against a black background
  • 6th century Eastern Roman Byzantine  Christian mosaic of the mosaic of the Most Holy Sepulchre and the memorial of Golgotha in Jerusalem .<br />
<br />
In the foreground is the dome of Golgotha, erected at the site of the crucifixion ofJesus Christ, from where  the four rivers of Paradise flow: the Geon = Gihon, the Fison = Pishon, the Tigris and Euphrates, symbolically referring to the Word (the four gospels). Sheep, representing the faithfuls, are drinking from the rivers. In the background are depictions of the the Holy Sepulchre with its door ajar, and two other buildings, symbolising Bethlehem and Jerusalem. <br />
<br />
From the threshold of the martyrdom erected in honour of Jesus Christ at the church of Iunca - Younga (in present the day region of Mahres in Tunisia). The Bardo National Museum, Tunis, Tunisia.  Against a white background.
  • 6th century Eastern Roman Byzantine  Christian mosaic of the mosaic of the Most Holy Sepulchre and the memorial of Golgotha in Jerusalem .<br />
<br />
In the foreground is the dome of Golgotha, erected at the site of the crucifixion ofJesus Christ, from where  the four rivers of Paradise flow: the Geon = Gihon, the Fison = Pishon, the Tigris and Euphrates, symbolically referring to the Word (the four gospels). Sheep, representing the faithfuls, are drinking from the rivers. In the background are depictions of the the Holy Sepulchre with its door ajar, and two other buildings, symbolising Bethlehem and Jerusalem. <br />
<br />
From the threshold of the martyrdom erected in honour of Jesus Christ at the church of Iunca - Younga (in present the day region of Mahres in Tunisia). The Bardo National Museum, Tunis, Tunisia.   Against a grey background.
  • 6th century Eastern Roman Byzantine  Christian mosaic of the mosaic of the Most Holy Sepulchre and the memorial of Golgotha in Jerusalem .<br />
<br />
In the foreground is the dome of Golgotha, erected at the site of the crucifixion ofJesus Christ, from where  the four rivers of Paradise flow: the Geon = Gihon, the Fison = Pishon, the Tigris and Euphrates, symbolically referring to the Word (the four gospels). Sheep, representing the faithfuls, are drinking from the rivers. In the background are depictions of the the Holy Sepulchre with its door ajar, and two other buildings, symbolising Bethlehem and Jerusalem. <br />
<br />
From the threshold of the martyrdom erected in honour of Jesus Christ at the church of Iunca - Younga (in present the day region of Mahres in Tunisia). The Bardo National Museum, Tunis, Tunisia.
  • 6th century Eastern Roman Byzantine  Christian mosaic of the mosaic of the Most Holy Sepulchre and the memorial of Golgotha in Jerusalem .<br />
<br />
In the foreground is the dome of Golgotha, erected at the site of the crucifixion ofJesus Christ, from where  the four rivers of Paradise flow: the Geon = Gihon, the Fison = Pishon, the Tigris and Euphrates, symbolically referring to the Word (the four gospels). Sheep, representing the faithfuls, are drinking from the rivers. In the background are depictions of the the Holy Sepulchre with its door ajar, and two other buildings, symbolising Bethlehem and Jerusalem. <br />
<br />
From the threshold of the martyrdom erected in honour of Jesus Christ at the church of Iunca - Younga (in present the day region of Mahres in Tunisia). The Bardo National Museum, Tunis, Tunisia. Against a grey art background.
  • Detail from the Roman mosaic panel of the Triumph of Neptune and  the mytrhical legend of The Four Seasons. From the private baths at Caput Vada (La Chebbs). End of the reign of Antoninus Pius, 138-161 AD. From Cheba, Tunisia.  The Thugga Room of The Bardo Museum, Tunis, Tunisia.
  • Detail from the Roman mosaic panel of the Triumph of Neptune and  the mytrhical legend of The Four Seasons. From the private baths at Caput Vada (La Chebbs). End of the reign of Antoninus Pius, 138-161 AD. From Cheba, Tunisia.  The Thugga Room of The Bardo Museum, Tunis, Tunisia.
  • Detail from the Roman mosaic panel of the Triumph of Neptune and  the mytrhical legend of The Four Seasons. From the private baths at Caput Vada (La Chebbs). End of the reign of Antoninus Pius, 138-161 AD. From Cheba, Tunisia.  The Thugga Room of The Bardo Museum, Tunis, Tunisia.
  • Roman mosaic panel of the Triumph of Neptune and  the mytrhical legend of The Four Seasons. From the private baths at Caput Vada (La Chebbs). End of the reign of Antoninus Pius, 138-161 AD. From Cheba, Tunisia.  The Thugga Room of The Bardo Museum, Tunis, Tunisia.
  • Roman mosaic panel of the Triumph of Neptune and  the mytrhical legend of The Four Seasons. From the private baths at Caput Vada (La Chebbs). End of the reign of Antoninus Pius, 138-161 AD. From Cheba, Tunisia.  The Thugga Room of The Bardo Museum, Tunis, Tunisia. White background
  • Roman mosaic panel of the Triumph of Neptune and  the mytrhical legend of The Four Seasons. From the private baths at Caput Vada (La Chebbs). End of the reign of Antoninus Pius, 138-161 AD. From Cheba, Tunisia.  The Thugga Room of The Bardo Museum, Tunis, Tunisia.
  • Roman mosaic depicting in its centre panel the victory of Apollo who is being crowned Marsyas in the mytrhical legend of The Four Seasons. Late 2nd centruy AD from Thysdrus (El Jem). Roman mosaics from the north African Roman province of Africanus . Inv 529 Bardo Museum, Tunis, Tunisia.
  • Roman mosaic depicting in its centre panel the victory of Apollo who is being crowned Marsyas in the mytrhical legend of The Four Seasons. Late 2nd centruy AD from Thysdrus (El Jem). Roman mosaics from the north African Roman province of Africanus . Inv 529 Bardo Museum, Tunis, Tunisia.
  • Roman mosaic depicting in its centre panel the victory of Apollo who is being crowned Marsyas in the mytrhical legend of The Four Seasons. Late 2nd centruy AD from Thysdrus (El Jem). Roman mosaics from the north African Roman province of Africanus . Inv 529 Bardo Museum, Tunis, Tunisia.
  • Roman mosaic depicting the Four Seasons (spring is destroyed). Late 3rd century AD, Thysdrus (El Jem). Roman mosaics from the north African Roman province of Africanus . Bardo Museum, Tunis, Tunisia.
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • Romanesque thirteenth century painted altar front of Saint Roma de Vila, Encamp, Andorra, showing Christ Paontocrator in a Mandorla flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle.  National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 1587.
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • Romanesque thirteenth century painted altar front of Saint Roma de Vila, Encamp, Andorra, showing Christ Paontocrator in a Mandorla flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle.  National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 1587.
  • Romanesque thirteenth century painted altar front of Saint Roma de Vila, Encamp, Andorra, showing Christ Paontocrator in a Mandorla flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle.  National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 1587.
  • Altar of Esquius - Painted wooden panel<br />
<br />
Second quarter of the twelfth century<br />
<br />
Probably comes from the ancient Chapel of Santa Maria of Besora Castle <br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1958. Ref: 65502 MNAC.<br />
<br />
<br />
The use of valuable pigments (lapis lazuli, orpiment, cinabri) on the Altar panel, suggests that this front was painted in an important monastery scriptorium like Ripoll. The poetic inscription that runs around the mandorla surrounding Christ is very characteristic of the intellectual environment of Ripoll "This is the God of Alfa and Omega. Come, O merciful with Your mercy, and remove the chains of missery. Amen." This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The rest of the panel depicts the 12 apostles.
  • Altar of Esquius - Painted wooden panel<br />
<br />
Second quarter of the twelfth century<br />
<br />
Probably comes from the ancient Chapel of Santa Maria of Besora Castle <br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1958. Ref: 65502 MNAC.<br />
<br />
<br />
The use of valuable pigments (lapis lazuli, orpiment, cinabri) on the Altar panel, suggests that this front was painted in an important monastery scriptorium like Ripoll. The poetic inscription that runs around the mandorla surrounding Christ is very characteristic of the intellectual environment of Ripoll "This is the God of Alfa and Omega. Come, O merciful with Your mercy, and remove the chains of missery. Amen." This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The rest of the panel depicts the 12 apostles.
  • Romanesque thirteenth century painted altar front of Saint Roma de Vila, Encamp, Andorra, showing Christ Paontocrator in a Mandorla flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle.  National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 1587.
  • Altar of Esquius - Painted wooden panel<br />
<br />
Second quarter of the twelfth century<br />
<br />
Probably comes from the ancient Chapel of Santa Maria of Besora Castle <br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1958. Ref: 65502 MNAC.<br />
<br />
<br />
The use of valuable pigments (lapis lazuli, orpiment, cinabri) on the Altar panel, suggests that this front was painted in an important monastery scriptorium like Ripoll. The poetic inscription that runs around the mandorla surrounding Christ is very characteristic of the intellectual environment of Ripoll "This is the God of Alfa and Omega. Come, O merciful with Your mercy, and remove the chains of missery. Amen." This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The rest of the panel depicts the 12 apostles.
  • Medieval Window of the South Transept of the Gothic Cathedral of Chartres, France- Circa 1225-30. A UNESCO World Heritage Site. This window was a donation of the Mauclerc family, the Counts of Dreux-Bretagne, who are depicted with their arms in the bases of the lancets above it shows one of the four evangelists sitting on the shoulders of four Prophets - a rare literal illustration of the theological principle that the New Testament builds upon the Old Testament.
  • Picture of the double Tetrapylon Gate, Aphrodisias, Turkey. A tetrapylon (Greek: Τετράπυλον, "four gates") is an ancient type of Roman monument of cubic shape, with a gate on each of the four sides: generally it was built on a crossroads. stock photos & photo art prints. 10
  • Picture of the double Tetrapylon Gate, Aphrodisias, Turkey. A tetrapylon (Greek: Τετράπυλον, "four gates") is an ancient type of Roman monument of cubic shape, with a gate on each of the four sides: generally it was built on a crossroads. stock photos & photo art prints. 8
  • Picture of the double Tetrapylon Gate, Aphrodisias, Turkey. A tetrapylon (Greek: Τετράπυλον, "four gates") is an ancient type of Roman monument of cubic shape, with a gate on each of the four sides: generally it was built on a crossroads. stock photos & photo art prints. 6
  • Picture of the double Tetrapylon Gate, Aphrodisias, Turkey. A tetrapylon (Greek: Τετράπυλον, "four gates") is an ancient type of Roman monument of cubic shape, with a gate on each of the four sides: generally it was built on a crossroads. stock photos & photo art prints. 5
  • Picture of the double Tetrapylon Gate, Aphrodisias, Turkey. A tetrapylon (Greek: Τετράπυλον, "four gates") is an ancient type of Roman monument of cubic shape, with a gate on each of the four sides: generally it was built on a crossroads. stock photos & photo art prints. 3
  • Picture of the double Tetrapylon Gate 2, Aphrodisias, Turkey. A tetrapylon (Greek: Τετράπυλον, "four gates") is an ancient type of Roman monument of cubic shape, with a gate on each of the four sides: generally it was built on a crossroads. stock photos & photo art prints.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Pictures & images of Jvari Monastery, a 6th century Georgian Orthodox monastery near Mtskheta, eastern Georgia. A UNESCO World Heritage Site.<br />
<br />
The Jvari church is an early example of a four apse church with four niches domed tetraconch. The Jvari church had a great impact on the further development of Georgian architecture and served as a model for many other churches.<br />
<br />
The Historical Monuments of Jvari Monastery Mtskheta is located in the cultural landscape overlooking the confluence of the Aragvi and Mtkvari Rivers, in Central-Eastern Georgia, some 20km northwest of Tbilisi.
  • Close up of the pediments of the Tetrapylon monumental gateway to  the Temple of Aphrodite. The Tetrapylon consisted of four rows of four columns and It connects the major street to the sacred way heading toward the sanctuary of Aphrodite. <br />
<br />
Aphrodisias Archaeological Site, Aydin Province, Turkey.
  • Tetrapylon monumental gateway to  the Temple of Aphrodite. The Tetrapylon consisted of four rows of four columns and It connects the major street to the sacred way heading toward the sanctuary of Aphrodite. <br />
<br />
Aphrodisias Archaeological Site, Aydin Province, Turkey.
  • Tetrapylon monumental gateway to  the Temple of Aphrodite. The Tetrapylon consisted of four rows of four columns and It connects the major street to the sacred way heading toward the sanctuary of Aphrodite. <br />
<br />
Aphrodisias Archaeological Site, Aydin Province, Turkey.
  • Tetrapylon monumental gateway to  the Temple of Aphrodite. The Tetrapylon consisted of four rows of four columns and It connects the major street to the sacred way heading toward the sanctuary of Aphrodite. <br />
<br />
Aphrodisias Archaeological Site, Aydin Province, Turkey.
  • Tetrapylon monumental gateway to  the Temple of Aphrodite. The Tetrapylon consisted of four rows of four columns and It connects the major street to the sacred way heading toward the sanctuary of Aphrodite. <br />
<br />
Aphrodisias Archaeological Site, Aydin Province, Turkey.
  • Tetrapylon monumental gateway to  the Temple of Aphrodite. The Tetrapylon consisted of four rows of four columns and It connects the major street to the sacred way heading toward the sanctuary of Aphrodite. <br />
<br />
Aphrodisias Archaeological Site, Aydin Province, Turkey.
  • Tetrapylon monumental gateway to  the Temple of Aphrodite. The Tetrapylon consisted of four rows of four columns and It connects the major street to the sacred way heading toward the sanctuary of Aphrodite. <br />
<br />
Aphrodisias Archaeological Site, Aydin Province, Turkey.
  • Pictures of a Roman mosaics design depicting the Four Seasons, from the Maison de la Procession Dionysiaque, ancient Roman city of Thysdrus. 2nd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Pictures of a Roman mosaics design depicting the Four Seasons, from the Maison de la Procession Dionysiaque, ancient Roman city of Thysdrus. 2nd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Pictures of a Roman mosaics design depicting the Four Seasons, from the Maison de la Procession Dionysiaque, ancient Roman city of Thysdrus. 2nd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting one of the Four Seasons, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting one of the Four Seasons, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting one of the Four Seasons, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting one of the Four Seasons, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting one of the Four Seasons, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Pictures of a Roman mosaics design depicting the Four Seasons, from the Maison de la Procession Dionysiaque, ancient Roman city of Thysdrus. 2nd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Detail picture of a Roman mosaics design depicting the Four Seasons, from the Maison de la Procession Dionysiaque, ancient Roman city of Thysdrus. 2nd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Pictures of a Roman mosaics design depicting the Four Seasons, from the Maison de la Procession Dionysiaque, ancient Roman city of Thysdrus. 2nd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Pictures of a Roman mosaics design depicting the Four Seasons, from the Maison de la Procession Dionysiaque, ancient Roman city of Thysdrus. 2nd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Bronze Age Anatolian four headed alabaster Goddess figurine - 19th to 17th century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.  Against a black background.
  • Bronze Age Anatolian four headed alabaster Goddess figurine - 19th to 17th century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.  Against a warn art background.
  • Bronze Age Anatolian four headed alabaster Goddess figurine - 19th to 17th century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.
  • Bronze Age Anatolian four handled terra cotta vase with reliefs - 19th - 17th century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey. Against a white background.
  • Bronze Age Anatolian four handled terra cotta vase with reliefs - 19th - 17th century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.  Against a black background.
  • Stone relief of four figures. Catalhoyuk Collections. Museum of Anatolian Civilisations, Ankara. Against a grey background
  • Stone relief of four figures. Catalhoyuk Collections. Museum of Anatolian Civilisations, Ankara
  • Stone relief of four figures. Catalhoyuk Collections. Museum of Anatolian Civilisations, Ankara. Against a gray mottled background
  • Detail from the Roman mosaic panel of the Triumph of Neptune and  the mytrhical legend of The Four Seasons. From the private baths at Caput Vada (La Chebbs). End of the reign of Antoninus Pius, 138-161 AD. From Cheba, Tunisia.  The Thugga Room of The Bardo Museum, Tunis, Tunisia.
  • Detail from the Roman mosaic panel of the Triumph of Neptune and  the mytrhical legend of The Four Seasons. From the private baths at Caput Vada (La Chebbs). End of the reign of Antoninus Pius, 138-161 AD. From Cheba, Tunisia.  The Thugga Room of The Bardo Museum, Tunis, Tunisia.
  • Detail from the Roman mosaic panel of the Triumph of Neptune and  the mytrhical legend of The Four Seasons. From the private baths at Caput Vada (La Chebbs). End of the reign of Antoninus Pius, 138-161 AD. From Cheba, Tunisia.  The Thugga Room of The Bardo Museum, Tunis, Tunisia.
  • Detail from the Roman mosaic panel of the Triumph of Neptune and  the mytrhical legend of The Four Seasons. From the private baths at Caput Vada (La Chebbs). End of the reign of Antoninus Pius, 138-161 AD. From Cheba, Tunisia.  The Thugga Room of The Bardo Museum, Tunis, Tunisia.
  • Roman mosaic panel of the Triumph of Neptune and  the mytrhical legend of The Four Seasons. From the private baths at Caput Vada (La Chebbs). End of the reign of Antoninus Pius, 138-161 AD. From Cheba, Tunisia.  The Thugga Room of The Bardo Museum, Tunis, Tunisia. Grey background
  • Roman mosaic panel of the Triumph of Neptune and  the mytrhical legend of The Four Seasons. From the private baths at Caput Vada (La Chebbs). End of the reign of Antoninus Pius, 138-161 AD. From Cheba, Tunisia.  The Thugga Room of The Bardo Museum, Tunis, Tunisia. Black background
  • Corner panel from a Roman mosaic depicting the mytrhical legend of The Four Seasons. Late 2nd centruy AD from Thysdrus (El Jem). Roman mosaics from the north African Roman province of Africanus .Inv 529 Bardo Museum, Tunis, Tunisia.
  • Roman mosaic depicting in its centre panel the victory of Apollo who is being crowned Marsyas in the mytrhical legend of The Four Seasons. Late 2nd centruy AD from Thysdrus (El Jem). Roman mosaics from the north African Roman province of Africanus . Inv 529 Bardo Museum, Tunis, Tunisia.
  • Roman mosaic depicting in its centre panel the victory of Apollo who is being crowned Marsyas in the mytrhical legend of The Four Seasons. Late 2nd centruy AD from Thysdrus (El Jem). Roman mosaics from the north African Roman province of Africanus . Inv 529 Bardo Museum, Tunis, Tunisia.
  • Roman mosaic depicting the Four Seasons (spring is destroyed). Late 3rd century AD, Thysdrus (El Jem). Roman mosaics from the north African Roman province of Africanus . Bardo Museum, Tunis, Tunisia.
  • Roman mosaic depicting the Four Seasons (spring is destroyed). Late 3rd century AD, Thysdrus (El Jem). Roman mosaics from the north African Roman province of Africanus . Bardo Museum, Tunis, Tunisia.
  • Roman mosaic depicting the Four Seasons (spring is destroyed). Late 3rd century AD, Thysdrus (El Jem). Roman mosaics from the north African Roman province of Africanus . Bardo Museum, Tunis, Tunisia.
  • Limestone Sculpted relief Stele with inscription to King Sennacherib. The relief shows Assyrian King Sennacherib  praying in front of divine symbols. 705 - 681 B.C Nineveh ( Kuyunjik ) . The inscription tells of King Sennacherib's great feats of war and the building works in Nineveh. It starts " Sennacheribs, the great king, mighty king, king of the universe, king of the Assyria, king of the four regions of the wold, favourite of the great gods". It continues " I led my armies from one end of the earth to the other and brought in submission at my feet all princes, dwelling in palaces, of the four quarters of the world". of his great worked " I enlarged the site of Nineveh, my royal city, I made its market streets wider". further " The wall and outer wall I caused skilfully constructed and raised them mountain high. I widened them to 100 cubits ( 50m )". Istanbul Archaeological Exhibit no. 1.
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • Altar of Esquius - Painted wooden panel<br />
<br />
Second quarter of the twelfth century<br />
<br />
Probably comes from the ancient Chapel of Santa Maria of Besora Castle <br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1958. Ref: 65502 MNAC.<br />
<br />
<br />
The use of valuable pigments (lapis lazuli, orpiment, cinabri) on the Altar panel, suggests that this front was painted in an important monastery scriptorium like Ripoll. The poetic inscription that runs around the mandorla surrounding Christ is very characteristic of the intellectual environment of Ripoll "This is the God of Alfa and Omega. Come, O merciful with Your mercy, and remove the chains of missery. Amen." This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The rest of the panel depicts the 12 apostles.
  • Romanesque thirteenth century painted altar front of Saint Roma de Vila, Encamp, Andorra, showing Christ Paontocrator in a Mandorla flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle.  National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 1587.
  • Romanesque thirteenth century painted altar front of Saint Roma de Vila, Encamp, Andorra, showing Christ Paontocrator in a Mandorla flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle.  National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 1587.
  • Romanesque thirteenth century painted altar front of Saint Roma de Vila, Encamp, Andorra, showing Christ Paontocrator in a Mandorla flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle.  National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 1587.
  • Altar of Esquius - Painted wooden panel<br />
<br />
Second quarter of the twelfth century<br />
<br />
Probably comes from the ancient Chapel of Santa Maria of Besora Castle <br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1958. Ref: 65502 MNAC.<br />
<br />
<br />
The use of valuable pigments (lapis lazuli, orpiment, cinabri) on the Altar panel, suggests that this front was painted in an important monastery scriptorium like Ripoll. The poetic inscription that runs around the mandorla surrounding Christ is very characteristic of the intellectual environment of Ripoll "This is the God of Alfa and Omega. Come, O merciful with Your mercy, and remove the chains of missery. Amen." This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The rest of the panel depicts the 12 apostles.
  • Altar of Esquius - Painted wooden panel<br />
<br />
Second quarter of the twelfth century<br />
<br />
Probably comes from the ancient Chapel of Santa Maria of Besora Castle <br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1958. Ref: 65502 MNAC.<br />
<br />
<br />
The use of valuable pigments (lapis lazuli, orpiment, cinabri) on the Altar panel, suggests that this front was painted in an important monastery scriptorium like Ripoll. The poetic inscription that runs around the mandorla surrounding Christ is very characteristic of the intellectual environment of Ripoll "This is the God of Alfa and Omega. Come, O merciful with Your mercy, and remove the chains of missery. Amen." This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The rest of the panel depicts the 12 apostles.
  • Altar of Esquius - Painted wooden panel<br />
<br />
Second quarter of the twelfth century<br />
<br />
Probably comes from the ancient Chapel of Santa Maria of Besora Castle <br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1958. Ref: 65502 MNAC.<br />
<br />
<br />
The use of valuable pigments (lapis lazuli, orpiment, cinabri) on the Altar panel, suggests that this front was painted in an important monastery scriptorium like Ripoll. The poetic inscription that runs around the mandorla surrounding Christ is very characteristic of the intellectual environment of Ripoll "This is the God of Alfa and Omega. Come, O merciful with Your mercy, and remove the chains of missery. Amen." This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The rest of the panel depicts the 12 apostles.
  • Romanesque thirteenth century painted altar front of Saint Roma de Vila, Encamp, Andorra, showing Christ Paontocrator in a Mandorla flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle.  National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 1587.
  • Romanesque thirteenth century painted altar front of Saint Roma de Vila, Encamp, Andorra, showing Christ Paontocrator in a Mandorla flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle.  National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 1587.
  • Altar of Esquius - Painted wooden panel<br />
<br />
Second quarter of the twelfth century<br />
<br />
Probably comes from the ancient Chapel of Santa Maria of Besora Castle <br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1958. Ref: 65502 MNAC.<br />
<br />
<br />
The use of valuable pigments (lapis lazuli, orpiment, cinabri) on the Altar panel, suggests that this front was painted in an important monastery scriptorium like Ripoll. The poetic inscription that runs around the mandorla surrounding Christ is very characteristic of the intellectual environment of Ripoll "This is the God of Alfa and Omega. Come, O merciful with Your mercy, and remove the chains of missery. Amen." This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The rest of the panel depicts the 12 apostles.
  • Altar of Esquius - Painted wooden panel<br />
<br />
Second quarter of the twelfth century<br />
<br />
Probably comes from the ancient Chapel of Santa Maria of Besora Castle <br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1958. Ref: 65502 MNAC.<br />
<br />
<br />
The use of valuable pigments (lapis lazuli, orpiment, cinabri) on the Altar panel, suggests that this front was painted in an important monastery scriptorium like Ripoll. The poetic inscription that runs around the mandorla surrounding Christ is very characteristic of the intellectual environment of Ripoll "This is the God of Alfa and Omega. Come, O merciful with Your mercy, and remove the chains of missery. Amen." This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The rest of the panel depicts the 12 apostles.
  • Medieval Window of the South Transept of the Gothic Cathedral of Chartres, France- Circa 1225-30. A UNESCO World Heritage Site. These windows were a donation of the Mauclerc family, the Counts of Dreux-Bretagne, who are depicted with their arms in the bases of the lancets above (centre) is the Virgin Mary & Child and on either side are the four evangelists sitting on the shoulders of four Prophets - a rare literal illustration of the theological principle that the New Testament builds upon the Old Testament.
  • Picture of the double Tetrapylon Gate, Aphrodisias, Turkey. A tetrapylon (Greek: Τετράπυλον, "four gates") is an ancient type of Roman monument of cubic shape, with a gate on each of the four sides: generally it was built on a crossroads. stock photos & photo art prints. 9
  • Picture of the double Tetrapylon Gate, Aphrodisias, Turkey. A tetrapylon (Greek: Τετράπυλον, "four gates") is an ancient type of Roman monument of cubic shape, with a gate on each of the four sides: generally it was built on a crossroads. stock photos & photo art prints. 7
  • Picture of the double Tetrapylon Gate 1, Aphrodisias, Turkey. A tetrapylon (Greek: Τετράπυλον, "four gates") is an ancient type of Roman monument of cubic shape, with a gate on each of the four sides: generally it was built on a crossroads. stock photos & photo art prints.
  • West Facade, Central Portal Tympanum - General View c. 1145. Cathedral of Chartres, France . The tympanum shows gothic sculptures of Christ in Majesty surrounded by the four Evangelist Symbols. The inner archivolt contains angels. On the two outer archivolts are the twenty-four elders of the Apocalypse. On the lintel are the twelve Apostles flanked by two other figures holding scrolls (Elisha and Enoch?). A UNESCO World Heritage Site. .
  • West Facade, Central Portal Tympanum - General View c. 1145. Cathedral of Chartres, France . The tympanum shows gothic sculptures of Christ in Majesty surrounded by the four Evangelist Symbols. The inner archivolt contains angels. On the two outer archivolts are the twenty-four elders of the Apocalypse. On the lintel are the twelve Apostles flanked by two other figures holding scrolls (Elisha and Enoch?). A UNESCO World Heritage Site. .
  • West Facade, Central Portal Tympanum - General View c. 1145. Cathedral of Chartres, France . The tympanum shows gothic sculptures of Christ in Majesty surrounded by the four Evangelist Symbols. The inner archivolt contains angels. On the two outer archivolts are the twenty-four elders of the Apocalypse. On the lintel are the twelve Apostles flanked by two other figures holding scrolls (Elisha and Enoch?). A UNESCO World Heritage Site. .
  • West Facade, Central Portal Tympanum - General View c. 1145. Cathedral of Chartres, France . The tympanum shows gothic sculptures of Christ in Majesty surrounded by the four Evangelist Symbols. The inner archivolt contains angels. On the two outer archivolts are the twenty-four elders of the Apocalypse. On the lintel are the twelve Apostles flanked by two other figures holding scrolls (Elisha and Enoch?). A UNESCO World Heritage Site. .
  • West Facade, Central Portal Tympanum - General View c. 1145. Cathedral of Chartres, France . The tympanum shows gothic sculptures of Christ in Majesty surrounded by the four Evangelist Symbols. The inner archivolt contains angels. On the two outer archivolts are the twenty-four elders of the Apocalypse. On the lintel are the twelve Apostles flanked by two other figures holding scrolls (Elisha and Enoch?). A UNESCO World Heritage Site. .
  • West Facade, Central Portal Tympanum - General View c. 1145. Cathedral of Chartres, France . The tympanum shows gothic sculptures of Christ in Majesty surrounded by the four Evangelist Symbols. The inner archivolt contains angels. On the two outer archivolts are the twenty-four elders of the Apocalypse. On the lintel are the twelve Apostles flanked by two other figures holding scrolls (Elisha and Enoch?). A UNESCO World Heritage Site. .
  • Stone medieval Svaneti tower houses of Murkmeli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia.  Murkmeli is a village near Ushguli is a group of four remote villages. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Murkmeli has well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Murkmeli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia.  Murkmeli is a village near Ushguli is a group of four remote villages. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Murkmeli has well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Murkmeli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia.  Murkmeli is a village near Ushguli is a group of four remote villages. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Murkmeli has well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Murkmeli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia.  Murkmeli is a village near Ushguli is a group of four remote villages. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Murkmeli has well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Murkmeli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia.  Murkmeli is a village near Ushguli is a group of four remote villages. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Murkmeli has well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Murkmeli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia.  Murkmeli is a village near Ushguli is a group of four remote villages. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Murkmeli has well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Murkmeli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia.  Murkmeli is a village near Ushguli is a group of four remote villages. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Murkmeli has well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Murkmeli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia.  Murkmeli is a village near Ushguli is a group of four remote villages. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Murkmeli has well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Murkmeli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia.  Murkmeli is a village near Ushguli is a group of four remote villages. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Murkmeli has well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Murkmeli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia.  Murkmeli is a village near Ushguli is a group of four remote villages. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Murkmeli has well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Murkmeli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia.  Murkmeli is a village near Ushguli is a group of four remote villages. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Murkmeli has well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Murkmeli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia.  Murkmeli is a village near Ushguli is a group of four remote villages. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Murkmeli has well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Murkmeli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia.  Murkmeli is a village near Ushguli is a group of four remote villages. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Murkmeli has well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Murkmeli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia.  Murkmeli is a village near Ushguli is a group of four remote villages. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Murkmeli has well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Murkmeli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia.  Murkmeli is a village near Ushguli is a group of four remote villages. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Murkmeli has well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Murkmeli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia.  Murkmeli is a village near Ushguli is a group of four remote villages. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Murkmeli has well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Murkmeli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia.  Murkmeli is a village near Ushguli is a group of four remote villages. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Murkmeli has well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Murkmeli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia.  Murkmeli is a village near Ushguli is a group of four remote villages. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Murkmeli has well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Picture & image of Ateni Sioni Georgian Orthodox tetraconch Church, 7th century, Ateni, Georgia.<br />
<br />
Built in the 7th century following the ground plan of Jvari Monastery Ateni Sioni Georgian Orthodox follows a tetraconch cruciform layout with four apse with niches between each and a central cupola.
  • Picture & image of medieval bas relief sculpture,  Ateni Sioni Georgian Orthodox tetraconch Church, 7th century, Ateni, Georgia.<br />
<br />
Built in the 7th century following the ground plan of Jvari Monastery Ateni Sioni Georgian Orthodox follows a tetraconch cruciform layout with four apse with niches between each and a central cupola.
  • Picture & image of Ateni Sioni Georgian Orthodox tetraconch Church, 7th century, Ateni, Georgia.<br />
<br />
Built in the 7th century following the ground plan of Jvari Monastery Ateni Sioni Georgian Orthodox follows a tetraconch cruciform layout with four apse with niches between each and a central cupola.
  • Picture & image of Ateni Sioni Georgian Orthodox tetraconch Church, 7th century, Ateni, Georgia.<br />
<br />
Built in the 7th century following the ground plan of Jvari Monastery Ateni Sioni Georgian Orthodox follows a tetraconch cruciform layout with four apse with niches between each and a central cupola.
  • Picture & image of Ateni Sioni Georgian Orthodox tetraconch Church, 7th century, Ateni, Georgia.<br />
<br />
Built in the 7th century following the ground plan of Jvari Monastery Ateni Sioni Georgian Orthodox follows a tetraconch cruciform layout with four apse with niches between each and a central cupola.
  • Picture & image of Ateni Sioni Georgian Orthodox tetraconch Church, 7th century, Ateni, Georgia.<br />
<br />
Built in the 7th century following the ground plan of Jvari Monastery Ateni Sioni Georgian Orthodox follows a tetraconch cruciform layout with four apse with niches between each and a central cupola.
  • Picture & image of Ateni Sioni Georgian Orthodox tetraconch Church, 7th century, Ateni, Georgia.<br />
<br />
Built in the 7th century following the ground plan of Jvari Monastery Ateni Sioni Georgian Orthodox follows a tetraconch cruciform layout with four apse with niches between each and a central cupola.
  • Picture & image of Ateni Sioni Georgian Orthodox tetraconch Church, 7th century, Ateni, Georgia.<br />
<br />
Built in the 7th century following the ground plan of Jvari Monastery Ateni Sioni Georgian Orthodox follows a tetraconch cruciform layout with four apse with niches between each and a central cupola.
  • Picture & image of Ateni Sioni Georgian Orthodox tetraconch Church, 7th century, Ateni, Georgia.<br />
<br />
Built in the 7th century following the ground plan of Jvari Monastery Ateni Sioni Georgian Orthodox follows a tetraconch cruciform layout with four apse with niches between each and a central cupola.
  • Stone medieval Svaneti tower houses of Murkmeli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia.  Murkmeli is a village near Ushguli is a group of four remote villages. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Murkmeli has well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Murkmeli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia.  Murkmeli is a village near Ushguli is a group of four remote villages. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Murkmeli has well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Murkmeli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia.  Murkmeli is a village near Ushguli is a group of four remote villages. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Murkmeli has well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Murkmeli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia.  Murkmeli is a village near Ushguli is a group of four remote villages. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Murkmeli has well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Murkmeli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia.  Murkmeli is a village near Ushguli is a group of four remote villages. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Murkmeli has well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Chvibiani with mount Shkhara (5193m) behind, Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia.  Chvibiani is a group of four remote villages. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chvibiani has well preserved stone Svanetian defensive tower houses attached to stone family houses. Mount Shkhara is the highest mountain in the Caucasus range.  A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Chvibiani with mount Shkhara (5193m) behind, Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia.  Chvibiani is a group of four remote villages. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chvibiani has well preserved stone Svanetian defensive tower houses attached to stone family houses. Mount Shkhara is the highest mountain in the Caucasus range.  A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Chvibiani with mount Shkhara (5193m) behind, Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia.  Chvibiani is a group of four remote villages. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chvibiani has well preserved stone Svanetian defensive tower houses attached to stone family houses. Mount Shkhara is the highest mountain in the Caucasus range.  A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Chvibiani with mount Shkhara (5193m) behind, Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia.  Chvibiani is a group of four remote villages. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chvibiani has well preserved stone Svanetian defensive tower houses attached to stone family houses. Mount Shkhara is the highest mountain in the Caucasus range.  A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Chvibiani with mount Shkhara (5193m) behind, Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia.  Chvibiani is a group of four remote villages. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chvibiani has well preserved stone Svanetian defensive tower houses attached to stone family houses. Mount Shkhara is the highest mountain in the Caucasus range.  A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Chvibiani with mount Shkhara (5193m) behind, Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia.  Chvibiani is a group of four remote villages. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chvibiani has well preserved stone Svanetian defensive tower houses attached to stone family houses. Mount Shkhara is the highest mountain in the Caucasus range.  A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Chazhashi, Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia. Chazhashi is the main village of a group of four remote villages known collectively as Ushguli. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chazhashi has 13 well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Chazhashi, Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia. Chazhashi is the main village of a group of four remote villages known collectively as Ushguli. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chazhashi has 13 well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Chazhashi, Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia. Chazhashi is the main village of a group of four remote villages known collectively as Ushguli. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chazhashi has 13 well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Chazhashi, Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia. Chazhashi is the main village of a group of four remote villages known collectively as Ushguli. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chazhashi has 13 well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Chazhashi, Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia. Chazhashi is the main village of a group of four remote villages known collectively as Ushguli. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chazhashi has 13 well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Chazhashi, Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia. Chazhashi is the main village of a group of four remote villages known collectively as Ushguli. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chazhashi has 13 well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Chazhashi, Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia. Chazhashi is the main village of a group of four remote villages known collectively as Ushguli. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chazhashi has 13 well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Chazhashi, Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia. Chazhashi is the main village of a group of four remote villages known collectively as Ushguli. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chazhashi has 13 well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Chazhashi, Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia. Chazhashi is the main village of a group of four remote villages known collectively as Ushguli. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chazhashi has 13 well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Chazhashi, Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia. Chazhashi is the main village of a group of four remote villages known collectively as Ushguli. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chazhashi has 13 well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Chazhashi, Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia. Chazhashi is the main village of a group of four remote villages known collectively as Ushguli. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chazhashi has 13 well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Chazhashi, Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia. Chazhashi is the main village of a group of four remote villages known collectively as Ushguli. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chazhashi has 13 well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Chazhashi, Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia. Chazhashi is the main village of a group of four remote villages known collectively as Ushguli. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chazhashi has 13 well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of  Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia. Ushguli is a group of four remote villages. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chazhashi has 13 well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of  Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia. Ushguli is a group of four remote villages. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chazhashi has 13 well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of  Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia. Ushguli is a group of four remote villages. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chazhashi has 13 well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of  Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia. Ushguli is a group of four remote villages. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chazhashi has 13 well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.

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