• Half a kiwi fruit
  • Coconut half
  • Coconut half
  • Century Half Plate wooden View Camera
  • Century Half Plate wooden View Camera
  • Lancaster International Half Plate wooden View Camera with film slides
  • Sanderson double movement Half Plate wooden View Camera with film slides
  • Thornton Pickard Half Plate wooden View Camera with film slides
  • Sanderson tropical Half Plate wooden View Camera
  • Sanderson tropical Half Plate wooden View Camera
  • Sanderson tropical Half Plate wooden View Camera close up of lens and shutter
  • Sanderson tropical Half Plate wooden View Camera
  • Sanderson tropical Half Plate wooden View Camera close up of lens and shutter
  • Sanderson tropical Half Plate wooden View Camera close up of lens and shutter
  • Sanderson tropical Half Plate wooden View Camera on a wooden tripod
  • Bilclife Half Plate wooden View Camera on a wooden tripod
  • heart shaped strawberry half
  • Century Half Plate wooden View Camera close up of lens and shutter
  • Sanderson double movement Half Plate wooden View Camera with film slides
  • Sanderson tropical Half Plate wooden View Camera close up of lens and shutter
  • Sanderson tropical Half Plate wooden View Camera
  • Sanderson tropical Half Plate wooden View Camera on a wooden tripod
  • Close up of a  card with the words sale on it in the back pocket of blue jeans being worn by a women showing her bare waiste.
  • Fresh Orange halves
  • Thornton Pickard wooden bellows view camera
  • Thornton Pickard wooden bellows view camera
  • Topless young Women from behing wearing a pair of boxer pants with the Union Jack on it. Attached to it is a ticket with the words Sale
  • Close up of a  card with the words sale on it in the back pocket of blue jeans being worn by a women showing her bare waiste.
  • Close up of young women wearing a dress with a  ticket tucked into its pocket with the word sale on it
  • Close up of young women wearing pink  pants with a  ticket with the word sale on it.
  • Close up of young women from behind lifting her mini skirt to scratch ber bare bottom. There is a  ticket attached to the skirt with the word Sale on it.
  • Close up of young women from behind lifting her mini skirt to scratch ber bare bottom. There is a  ticket attached to the skirt with the word Sale on it.
  • Close up of young women from behind lifting her mini skirt to scratch ber bare bottom. There is a  ticket attached to the skirt with the word Sale on it.
  • Close up of a  ticket tucked into a bra top being worn by a young women, with the words Sale on it
  • Close up of a ticketwith the words sale on it attached to a black bikini being worn by a women
  • Close up of  card with the words Sale on it in the back pocket of blue jeans being worn by a women showing her bare waiste. For over printing Sale, discount or business name.
  • Close up of Sale  etched into the leather swatch on a pair of blue jeans being worn by a women showing her bare waiste
  • Close up of leather swatch on a pair of blue jeans being worn by a women showing her bare waiste. For overlaying Sale, discount or business name.
  • Close up of Sale  etched into the leather swatch on a pair of blue jeans being worn by a women showing her bare waiste
  • Roman relief sculpture panel decorated on both sides with masks from the second half of the 1st cent. AD excavated from the Valle Giardino, Nemi, Italy. The panel is sculpted on both sides; the front side depicts the half moon shaped face of a deity wearing a crown.  Inv 112158, The National Roman Museum, Rome, Italy
  • Roman relief sculpture panel decorated on both sides with masks from the second half of the 1st cent. AD excavated from the Valle Giardino, Nemi, Italy. The panel is sculpted on both sides; the front side depicts the half moon shaped face of a deity wearing a crown.  Inv 112158, The National Roman Museum, Rome, Italy
  • Roman relief sculpture panel decorated on both sides with masks from the second half of the 1st cent. AD excavated from the Valle Giardino, Nemi, Italy. The panel is sculpted on both sides; the front side depicts the half moon shaped face of a deity wearing a crown.  Inv 112158, The National Roman Museum, Rome, Italy
  • Roman relief sculpture panel decorated on both sides with masks from the second half of the 1st cent. AD excavated from the Valle Giardino, Nemi, Italy. The panel is sculpted on both sides; the front side depicts the half moon shaped face of a deity wearing a crown.  Inv 112158, The National Roman Museum, Rome, Italy
  • Norman Romanesque exterior corbel no 14 - sculpture of a head, half man half lion. The Norman Romanesque Church of St Mary and St David, Kilpeck Herefordshire, England. Built around 1140
  • Norman Romanesque exterior corbel no 46 - sculpture of head, half man half pig. The Norman Romanesque Church of St Mary and St David, Kilpeck Herefordshire, England. Built around 1140
  • Norman Romanesque exterior corbel no 38 - sculpture of a head, half man half lion with a mouth like a theatrical mask. The Norman Romanesque Church of St Mary and St David, Kilpeck Herefordshire, England. Built around 1140
  • Norman Romanesque exterior corbel no 14 - sculpture of head, half man half lion. The Norman Romanesque Church of St Mary and St David, Kilpeck Herefordshire, England. Built around 1140
  • Norman Romanesque exterior corbel no 3 - sculpture of a head, half man half lion. The wide mouth is the same style as theatrical masks. The Norman Romanesque Church of St Mary and St David, Kilpeck Herefordshire, England. Built around 1140
  • Norman Romanesque exterior corbel no 38 - sculpture of a head, half man half lion with a mouth like a theatrical mask. The Norman Romanesque Church of St Mary and St David, Kilpeck Herefordshire, England. Built around 1140
  • Roman relief sculpture panel decorated on both sides with masks from the second half of the 1st cent. AD excavated from the Valle Giardino, Nemi, Italy. The panel is sculpted on both sides; the front side depicts the half moon shaped face of a deity wearing a crown.  Inv 112158, The National Roman Museum, Rome, Italy
  • Roman relief sculpture panel decorated on both sides with masks from the second half of the 1st cent. AD excavated from the Valle Giardino, Nemi, Italy. The panel is sculpted on both sides; the front side depicts the half moon shaped face of a deity wearing a crown.  Inv 112158, The National Roman Museum, Rome, Italy
  • Roman relief sculpture panel decorated on both sides with masks from the second half of the 1st cent. AD excavated from the Valle Giardino, Nemi, Italy. The panel is sculpted on both sides; the front side depicts the half moon shaped face of a deity wearing a crown.  Inv 112158, The National Roman Museum, Rome, Italy
  • Roman relief sculpture panel decorated on both sides with masks from the second half of the 1st cent. AD excavated from the Valle Giardino, Nemi, Italy. The panel is sculpted on both sides; the front side depicts the half moon shaped face of a deity wearing a crown.  Inv 112158, The National Roman Museum, Rome, Italy
  • Roman relief sculpture panel decorated on both sides with masks from the second half of the 1st cent. AD excavated from the Valle Giardino, Nemi, Italy. The panel is sculpted on both sides; the front side depicts the half moon shaped face of a deity wearing a crown.  Inv 112158, The National Roman Museum, Rome, Italy
  • Satrap Sarcophagus, Paros marble from the Royal Necropolis of Sidon, Chamber no. VI. Second half of the 5th cent. B.C.  Istanbul Archaeological museum Inv 367 T.  Cat. Mendel 9
  • Satrap Sarcophagus, Paros marble from the Royal Necropolis of Sidon, Chamber no. VI. Second half of the 5th cent. B.C.  Istanbul Archaeological museum Inv 367 T.  Cat. Mendel 9
  • Satrap Sarcophagus, Paros marble from the Royal Necropolis of Sidon, Chamber no. VI. Second half of the 5th cent. B.C.  Istanbul Archaeological museum Inv 367 T.  Cat. Mendel 9
  • Painted colour verion of end of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • Painted colour verion of end of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • Painted colour verion of end of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Naples  Museum of Archaeology, Italy
  • Painted colour verion of end of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • Painted colour verion of end of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • Painted colour verion of end of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • Painted colour verion of end of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Naples Museum of Archaeology, Italy
  • Painted colour verion of end of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • Underground Etruscan tomb no 5636 made about 1second half of the 3rd century BC. This tomb has a flat roof and stone benches on each side. On the right wall is a scene with protraits of the dead buried in the tomb followed by a female demon of death carrying a torch to light the way to the after life. Excavated 1969 , Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb no 5636 made about 1second half of the 3rd century BC. This tomb has a flat roof and stone benches on each side. On the pillar is painted a threatening Caronte grasping a hammer. Excavated 1969 , Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb no 5636 made about 1second half of the 3rd century BC. This tomb has a flat roof and stone benches on each side. On the right wall is a scene with protraits of the dead buried in the tomb followed by a female demon of death carrying a torch to light the way to the after life. Excavated 1969 , Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Etruscan Terracotta sarcophagus lid with a female figure reclining, first half of 2nd century BC, inv 15428, The Vatican Museums Rome, Black Background. For use in non editorial advertising apply to the Vatican Museums for a license.
  • Etruscan Terracotta sarcophagus lid with a female figure reclining, first half of 2nd century BC, inv 15428, The Vatican Museums Rome, Art Background. For use in non editorial advertising apply to the Vatican Museums for a license.
  • Etruscan Terracotta sarcophagus lid with a female figure reclining, first half of 2nd century BC, inv 15428, The Vatican Museums Rome, Grey Art Background. For use in non editorial advertising apply to the Vatican Museums for a license.
  • First half of the 6th century B.C Etruscan clay head of a young man made in Chiusi, inv 94612, National Archaeological Museum Florence, Italy , white background
  • First half of the 6th century B.C Etruscan clay head of a young man made in Chiusi, inv 94612, National Archaeological Museum Florence, Italy , black background
  • First half of the 6th century B.C Etruscan clay head of a young man made in Chiusi, inv 94612, National Archaeological Museum Florence, Italy , grey art background
  • First half of the 6th century B.C Etruscan clay head of a young man made in Chiusi, inv 94612, National Archaeological Museum Florence, Italy
  • End of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy, white background
  • End of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • End of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy, grey background
  • End of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy, grey art background
  • End of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • End of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy, black background
  • Full length view of end of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • Full length view of end of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy, grey art background
  • End of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy, grey background
  • Medieval relief sculptures of mythical half man half dragon creature on the exterior of the Romanesque Baptistery of Parma, circa 1196, (Battistero di Parma), Italy
  • Medieval relief sculptures of mythical half man half dragon creature on the exterior of the Romanesque Baptistery of Parma, circa 1196, (Battistero di Parma), Italy
  • First half of the 3rd century AD Roman mosaic depiction  a wild boar and hare hunt. From Hadrumetum (Sousse), Tunisia.  The Bardo Museum, Tunis, Tunisia. black background
  • First half of the 3rd century AD Roman mosaic depiction  a wild boar and hare hunt. From Hadrumetum (Sousse), Tunisia.  The Bardo Museum, Tunis, Tunisia. Grey background
  • First half of the 3rd century AD Roman mosaic depiction  a wild boar and hare hunt. From Hadrumetum (Sousse), Tunisia.  The Bardo Museum, Tunis, Tunisia.
  • Second half of the 4th century AD Roman mosaic depiction of a Peacock with raised tail feathers, and horses from the four fractions of the circus . From the House of the Peacock, Cathage, Tunisia.  The Bardo Museum, Tunis, Tunisia. White background
  • Second half of the 4th century AD Roman mosaic depiction of a Peacock with raised tail feathers, and horses from the four fractions of the circus . From the House of the Peacock, Cathage, Tunisia.  The Bardo Museum, Tunis, Tunisia. Grey background
  • 4th century Roman mosaic panel of the Goddess Venus from Ulules (Elles), Tunisia. Venus of Aphrodite is accompanied by 2 female centaurs, half women half horse creatures, known as Am(azoniu) and Titonius. The are crowning Venus The Bardo Museum, Tunis, Tunisia. The Bardo Museum, Tunis, Tunisia
  • 4th century Roman mosaic panel of the Goddess Venus from Ulules (Elles), Tunisia. Venus of Aphrodite is accompanied by 2 female centaurs, half women half horse creatures, known as Am(azoniu) and Titonius. The are crowning Venus The Bardo Museum, Tunis, Tunisia. The Bardo Museum, Tunis, Tunisia
  • 4th century Roman mosaic panel of the Goddess Venus from Ulules (Elles), Tunisia. Venus of Aphrodite is accompanied by 2 female centaurs, half women half horse creatures, known as Am(azoniu) and Titonius. The are crowning Venus The Bardo Museum, Tunis, Tunisia. The Bardo Museum, Tunis, Tunisia. White background
  • 4th century Roman mosaic panel of the Goddess Venus from Ulules (Elles), Tunisia. Venus of Aphrodite is accompanied by 2 female centaurs, half women half horse creatures, known as Am(azoniu) and Titonius. The are crowning Venus The Bardo Museum, Tunis, Tunisia. The Bardo Museum, Tunis, Tunisia
  • 4th century Roman mosaic panel of the Goddess Venus from Ulules (Elles), Tunisia. Venus of Aphrodite is accompanied by 2 female centaurs, half women half horse creatures, known as Am(azoniu) and Titonius. The are crowning Venus The Bardo Museum, Tunis, Tunisia. The Bardo Museum, Tunis, Tunisia
  • 4th century Roman mosaic panel of the Goddess Venus from Ulules (Elles), Tunisia. Venus of Aphrodite is accompanied by 2 female centaurs, half women half horse creatures, known as Am(azoniu) and Titonius. The are crowning Venus The Bardo Museum, Tunis, Tunisia. The Bardo Museum, Tunis, Tunisia Grey background
  • 4th century Roman mosaic panel of the Goddess Venus from Ulules (Elles), Tunisia. Venus of Aphrodite is accompanied by 2 female centaurs, half women half horse creatures, known as Am(azoniu) and Titonius. The are crowning Venus The Bardo Museum, Tunis, Tunisia. The Bardo Museum, Tunis, Tunisia
  • Norman Romanesque exterior corbel no 46 - sculpture of head, half man half pig. The Norman Romanesque Church of St Mary and St David, Kilpeck Herefordshire, England. Built around 1140
  • Norman Romanesque exterior corbel no 38 - sculpture of a head, half man half lion with a mouth like a theatrical mask. The Norman Romanesque Church of St Mary and St David, Kilpeck Herefordshire, England. Built around 1140
  • Norman Romanesque exterior corbel no 14 - sculpture of head, half man half lion. The Norman Romanesque Church of St Mary and St David, Kilpeck Herefordshire, England. Built around 1140
  • Norman Romanesque exterior corbel no 3 - sculpture of a head, half man half lion. The wide mouth is the same style as theatrical masks. The Norman Romanesque Church of St Mary and St David, Kilpeck Herefordshire, England. Built around 1140
  • Norman Romanesque exterior corbel no 38 - sculpture of a head, half man half lion with a mouth like a theatrical mask. The Norman Romanesque Church of St Mary and St David, Kilpeck Herefordshire, England. Built around 1140
  • Roman statue of Silenus or Papposilenus from the second half of the 2nd cent. AD excavated from the Villa Marittima, Torre Astura Italy.  Silenus was the tutor to Dionysus is portrayed here as he was portrayed on stage in the Roman theatres. His mask is that of the theatre and he is wearing a lambskin cloak and hairy tights.  Inv 135769, The National Roman Museum, Rome, Italy
  • Roman statue of Silenus or Papposilenus from the second half of the 2nd cent. AD excavated from the Villa Marittima, Torre Astura Italy.  Silenus was the tutor to Dionysus is portrayed here as he was portrayed on stage in the Roman theatres. His mask is that of the theatre and he is wearing a lambskin cloak and hairy tights.  Inv 135769, The National Roman Museum, Rome, Italy
  • Roman statue of Silenus or Papposilenus from the second half of the 2nd cent. AD excavated from the Villa Marittima, Torre Astura Italy.  Silenus was the tutor to Dionysus is portrayed here as he was portrayed on stage in the Roman theatres. His mask is that of the theatre and he is wearing a lambskin cloak and hairy tights.  Inv 135769, The National Roman Museum, Rome, Italy
  • Female Portrait (Antioch, Antakya, Turkey), 1st half of 3rd century AD. Marble cubes, limestone and glass. The mosaic bust of a female with a billowing sail that surrounds her head that it could represent the wind. The mosaic decorated the entrance of a dining room and was once flanked it with now lost representations of the marine deities Thalassa and Okeanosinv 3460, Louvre Museum, Paris
  • Female Portrait (Antioch, Antakya, Turkey), 1st half of 3rd century AD. Marble cubes, limestone and glass. The mosaic bust of a female with a billowing sail that surrounds her head that it could represent the wind. The mosaic decorated the entrance of a dining room and was once flanked it with now lost representations of the marine deities Thalassa and Okeanosinv 3460, Louvre Museum, Paris
  • Birds around a  vase From Daphne, a suburb of Antioch, Antakya, Turkey, 1st half of 3rd century AD. Marble cubes, limestone and glass. A border of geometric perspective cubes surround a scene with one bird sitting on the vase of Daphne whilst the other surround it. The naturalistic skill of the Roman Antioch mosaic artists is so good that it is possible to tell the species of each bird. inv 3461, Louvre Museum, Paris
  • Birds around a  vase From Daphne, a suburb of Antioch, Antakya, Turkey, 1st half of 3rd century AD. Marble cubes, limestone and glass. A border of geometric perspective cubes surround a scene with one bird sitting on the vase of Daphne whilst the other surround it. The naturalistic skill of the Roman Antioch mosaic artists is so good that it is possible to tell the species of each bird. inv 3461, Louvre Museum, Paris
  • Birds around a  vase From Daphne, a suburb of Antioch, Antakya, Turkey, 1st half of 3rd century AD. Marble cubes, limestone and glass. A border of geometric perspective cubes surround a scene with one bird sitting on the vase of Daphne whilst the other surround it. The naturalistic skill of the Roman Antioch mosaic artists is so good that it is possible to tell the species of each bird. inv 3461, Louvre Museum, Paris
  • End of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules hand copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • End of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules hand copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • End of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules hand copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • End of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • End of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • End of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • Enamelled terracotta panel depicting Saint Anne, the Virgin Mary and Child with Saint Anthony made in the 2nd half of the 16th century by Santi Bugloni of Florence. This is a typical Tuscan theme of the period. Saint Anne was particularly venerated during the expulsion of the tyrant Gaultier de Brienne, Duke of Athens. .  Inv Camp 38,  The Louvre Museum, Paris.
  • Enamelled terracotta panel depicting Saint Anne, the Virgin Mary and Child with Saint Anthony made in the 2nd half of the 16th century by Santi Bugloni of Florence. This is a typical Tuscan theme of the period. Saint Anne was particularly venerated during the expulsion of the tyrant Gaultier de Brienne, Duke of Athens. .  Inv Camp 38,  The Louvre Museum, Paris.
  • Hispano-Moresque ware dish with an eagle motif. Faience lustre ware, an islamic pottery style produced in Manises, Al Andalus, present day Spain in the second half of the 14th century.  inv 1438, The Louvre Museum, Paris.
  • Hispano-Moresque ware dish with an eagle motif. Faience lustre ware, an islamic pottery style produced in Manises, Al Andalus, present day Spain in the second half of the 14th century.  inv 1438, The Louvre Museum, Paris.
  • A Gothic stone carving of St. Andrew Bishop bring tempted by the devil. Second half of the fourteenth century by Bartomeu de Robio.From the church of Santa Maria de Castello Farfanya (Noguera). Inv MNAC 122485. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Gothic painted bas-relief of the Presentation of Jesus at the Templeby Master of Albesa, Active in Lleida. Polychrome and gilded limestone bas-relief. Second half of 14th century. Dimesions 57 x 69 x 11 cm. Compartment of a sculptural altarpiece devoted to the Virgin. From the crypt of the collegiate church of Sant Pere d'Àger (Noguera). National Museum of Catalan Art, Barcelona, Spain, inv no: 017343-000
  • Gothic painted bas-relief of the Nativity by Master of Albesa, Active in Lleida. Polychrome and gilded limestone bas-relief. Second half of 14th century. Dimesions 57 x 69 x 11 cm.Compartment of a sculptural altarpiece devoted to the Virgin. From the crypt of the collegiate church of Sant Pere d'Àger (Noguera). National Museum of Catalan Art, Barcelona, Spain, inv no: 017342-000
  • Gothic painted bas-relief of the Nativity by Master of Albesa, Active in Lleida. Polychrome and gilded limestone bas-relief. Second half of 14th century. Dimesions 57 x 69 x 11 cm.Compartment of a sculptural altarpiece devoted to the Virgin. From the crypt of the collegiate church of Sant Pere d'Àger (Noguera). National Museum of Catalan Art, Barcelona, Spain, inv no: 017342-000
  • Gothic painted bas-relief of the Nativity by Master of Albesa, Active in Lleida. Polychrome and gilded limestone bas-relief. Second half of 14th century. Dimesions 57 x 69 x 11 cm.Compartment of a sculptural altarpiece devoted to the Virgin. From the crypt of the collegiate church of Sant Pere d'Àger (Noguera). National Museum of Catalan Art, Barcelona, Spain, inv no: 017342-000
  • Gothic painted bas-relief of the Nativity by Master of Albesa, Active in Lleida. Polychrome and gilded limestone bas-relief. Second half of 14th century. Dimesions 57 x 69 x 11 cm.Compartment of a sculptural altarpiece devoted to the Virgin. From the crypt of the collegiate church of Sant Pere d'Àger (Noguera). National Museum of Catalan Art, Barcelona, Spain, inv no: 017342-000
  • Roman statue of Silenus or Papposilenus from the second half of the 2nd cent. AD excavated from the Villa Marittima, Torre Astura Italy.  Silenus was the tutor to Dionysus is portrayed here as he was portrayed on stage in the Roman theatres. His mask is that of the theatre and he is wearing a lambskin cloak and hairy tights.  Inv 135769, The National Roman Museum, Rome, Italy
  • Roman statue of Silenus or Papposilenus from the second half of the 2nd cent. AD excavated from the Villa Marittima, Torre Astura Italy.  Silenus was the tutor to Dionysus is portrayed here as he was portrayed on stage in the Roman theatres. His mask is that of the theatre and he is wearing a lambskin cloak and hairy tights.  Inv 135769, The National Roman Museum, Rome, Italy
  • Roman statue of Silenus or Papposilenus from the second half of the 2nd cent. AD excavated from the Villa Marittima, Torre Astura Italy.  Silenus was the tutor to Dionysus is portrayed here as he was portrayed on stage in the Roman theatres. His mask is that of the theatre and he is wearing a lambskin cloak and hairy tights.  Inv 135769, The National Roman Museum, Rome, Italy
  • A Gothic stone carving of St. Andrew Bishop bring tempted by the devil. Second half of the fourteenth century by Bartomeu de Robio.From the church of Santa Maria de Castello Farfanya (Noguera). Inv MNAC 122485. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • A Gothic stone carving of St. Andrew Bishop bring tempted by the devil. Second half of the fourteenth century by Bartomeu de Robio.From the church of Santa Maria de Castello Farfanya (Noguera). Inv MNAC 122485. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Satrap Sarcophagus, Paros marble from the Royal Necropolis of Sidon, Chamber no. VI. Second half of the 5th cent. B.C.  Istanbul Archaeological museum Inv 367 T.  Cat. Mendel 9
  • Satrap Sarcophagus, Paros marble from the Royal Necropolis of Sidon, Chamber no. VI. Second half of the 5th cent. B.C.  Istanbul Archaeological museum Inv 367 T.  Cat. Mendel 9
  • Painted colour verion of end of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • Painted colour verion of end of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • Underground Etruscan tomb no 5636 made about 1second half of the 3rd century BC. This tomb has a flat roof and stone benches on each side. On the right wall is a scene with protraits of the dead buried in the tomb followed by a female demon of death carrying a torch to light the way to the after life. Excavated 1969 , Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Etruscan Terracotta sarcophagus lid with a female figure reclining, first half of 2nd century BC, inv 15428, The Vatican Museums Rome, White Background. For use in non editorial advertising apply to the Vatican Museums for a license.
  • Etruscan Terracotta sarcophagus lid with a female figure reclining, first half of 2nd century BC, inv 15428, The Vatican Museums Rome, Grey Background. For use in non editorial advertising apply to the Vatican Museums for a license.
  • First half of the 6th century B.C Etruscan clay head of a young man made in Chiusi, inv 94612, National Archaeological Museum Florence, Italy , against grey
  • End of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy, grey background
  • End of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy, black background
  • End of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy, white background
  • End of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy, grey art background
  • End of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy, black background
  • End of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy, white background
  • Medieval relief sculptures of mythical half man half dragon creature on the exterior of the Romanesque Baptistery of Parma, circa 1196, (Battistero di Parma), Italy
  • First half of the 3rd century AD Roman mosaic depiction  a wild boar and hare hunt. From Hadrumetum (Sousse), Tunisia.  The Bardo Museum, Tunis, Tunisia. White Background.
  • Second half of the 4th century AD Roman mosaic depiction of a Peacock with raised tail feathers, and horses from the four fractions of the circus . From the House of the Peacock, Cathage, Tunisia.  The Bardo Museum, Tunis, Tunisia.
  • Second half of the 4th century AD Roman mosaic depiction of a Peacock with raised tail feathers, and horses from the four fractions of the circus . From the House of the Peacock, Cathage, Tunisia.  The Bardo Museum, Tunis, Tunisia.
  • 4th century Roman mosaic panel of the Goddess Venus from Ulules (Elles), Tunisia. Venus of Aphrodite is accompanied by 2 female centaurs, half women half horse creatures, known as Am(azoniu) and Titonius. The are crowning Venus The Bardo Museum, Tunis, Tunisia. The Bardo Museum, Tunis, Tunisia
  • 4th century Roman mosaic panel of the Goddess Venus from Ulules (Elles), Tunisia. Venus of Aphrodite is accompanied by 2 female centaurs, half women half horse creatures, known as Am(azoniu) and Titonius. The are crowning Venus The Bardo Museum, Tunis, Tunisia. The Bardo Museum, Tunis, Tunisia. Grey background
  • 4th century Roman mosaic panel of the Goddess Venus from Ulules (Elles), Tunisia. Venus of Aphrodite is accompanied by 2 female centaurs, half women half horse creatures, known as Am(azoniu) and Titonius. The are crowning Venus The Bardo Museum, Tunis, Tunisia. The Bardo Museum, Tunis, Tunisia. Black background
  • 4th century Roman mosaic panel of the Goddess Venus from Ulules (Elles), Tunisia. Venus of Aphrodite is accompanied by 2 female centaurs, half women half horse creatures, known as Am(azoniu) and Titonius. The are crowning Venus The Bardo Museum, Tunis, Tunisia. The Bardo Museum, Tunis, Tunisia. White background
  • 4th century Roman mosaic panel of the Goddess Venus from Ulules (Elles), Tunisia. Venus of Aphrodite is accompanied by 2 female centaurs, half women half horse creatures, known as Am(azoniu) and Titonius. The are crowning Venus The Bardo Museum, Tunis, Tunisia. The Bardo Museum, Tunis, Tunisia. Black background
  • Norman Romanesque exterior corbel no 14 - sculpture of a head, half man half lion. The Norman Romanesque Church of St Mary and St David, Kilpeck Herefordshire, England. Built around 1140
  • Roman statue of Silenus or Papposilenus from the second half of the 2nd cent. AD excavated from the Villa Marittima, Torre Astura Italy.  Silenus was the tutor to Dionysus is portrayed here as he was portrayed on stage in the Roman theatres. His mask is that of the theatre and he is wearing a lambskin cloak and hairy tights.  Inv 135769, The National Roman Museum, Rome, Italy
  • Roman relief sculpture panel decorated on both sides with masks from the second half of the 1st cent. AD excavated from the Valle Giardino, Nemi, Italy. The panel is sculpted on both sides; the front side depicts the half moon shaped face of a deity wearing a crown.  Inv 112158, The National Roman Museum, Rome, Italy
  • Female Portrait (Antioch, Antakya, Turkey), 1st half of 3rd century AD. Marble cubes, limestone and glass. The mosaic bust of a female with a billowing sail that surrounds her head that it could represent the wind. The mosaic decorated the entrance of a dining room and was once flanked it with now lost representations of the marine deities Thalassa and Okeanosinv 3460, Louvre Museum, Paris
  • Female Portrait (Antioch, Antakya, Turkey), 1st half of 3rd century AD. Marble cubes, limestone and glass. The mosaic bust of a female with a billowing sail that surrounds her head that it could represent the wind. The mosaic decorated the entrance of a dining room and was once flanked it with now lost representations of the marine deities Thalassa and Okeanosinv 3460, Louvre Museum, Paris
  • Birds around a  vase From Daphne, a suburb of Antioch, Antakya, Turkey, 1st half of 3rd century AD. Marble cubes, limestone and glass. A border of geometric perspective cubes surround a scene with one bird sitting on the vase of Daphne whilst the other surround it. The naturalistic skill of the Roman Antioch mosaic artists is so good that it is possible to tell the species of each bird. inv 3461, Louvre Museum, Paris
  • End of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules hand copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • End of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules hand copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • End of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • End of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • Enamelled terracotta panel depicting Saint Anne, the Virgin Mary and Child with Saint Anthony made in the 2nd half of the 16th century by Santi Bugloni of Florence. This is a typical Tuscan theme of the period. Saint Anne was particularly venerated during the expulsion of the tyrant Gaultier de Brienne, Duke of Athens. .  Inv Camp 38,  The Louvre Museum, Paris.
  • Enamelled terracotta panel depicting Saint Anne, the Virgin Mary and Child with Saint Anthony made in the 2nd half of the 16th century by Santi Bugloni of Florence. This is a typical Tuscan theme of the period. Saint Anne was particularly venerated during the expulsion of the tyrant Gaultier de Brienne, Duke of Athens. .  Inv Camp 38,  The Louvre Museum, Paris.
  • Enamelled terracotta panel depicting Saint Anne, the Virgin Mary and Child with Saint Anthony made in the 2nd half of the 16th century by Santi Bugloni of Florence. This is a typical Tuscan theme of the period. Saint Anne was particularly venerated during the expulsion of the tyrant Gaultier de Brienne, Duke of Athens. .  Inv Camp 38,  The Louvre Museum, Paris.
  • Hispano-Moresque ware dish with an eagle motif. Faience lustre ware, an islamic pottery style produced in Manises, Al Andalus, present day Spain in the second half of the 14th century.  inv 1438, The Louvre Museum, Paris.
  • Hispano-Moresque ware dish with an eagle motif. Faience lustre ware, an islamic pottery style produced in Manises, Al Andalus, present day Spain in the second half of the 14th century.  inv 1438, The Louvre Museum, Paris.
  • Gothic painted bas-relief of the Nativity by Master of Albesa, Active in Lleida. Polychrome and gilded limestone bas-relief. Second half of 14th century. Dimesions 57 x 69 x 11 cm.Compartment of a sculptural altarpiece devoted to the Virgin. From the crypt of the collegiate church of Sant Pere d'Àger (Noguera). National Museum of Catalan Art, Barcelona, Spain, inv no: 017342-000
  • Gothic painted bas-relief of the Presentation of Jesus at the Templeby Master of Albesa, Active in Lleida. Polychrome and gilded limestone bas-relief. Second half of 14th century. Dimesions 57 x 69 x 11 cm. Compartment of a sculptural altarpiece devoted to the Virgin. From the crypt of the collegiate church of Sant Pere d'Àger (Noguera). National Museum of Catalan Art, Barcelona, Spain, inv no: 017343-000
  • Gothic painted bas-relief of the Presentation of Jesus at the Templeby Master of Albesa, Active in Lleida. Polychrome and gilded limestone bas-relief. Second half of 14th century. Dimesions 57 x 69 x 11 cm. Compartment of a sculptural altarpiece devoted to the Virgin. From the crypt of the collegiate church of Sant Pere d'Àger (Noguera). National Museum of Catalan Art, Barcelona, Spain, inv no: 017343-000
  • Gothic painted bas-relief of the Presentation of Jesus at the Templeby Master of Albesa, Active in Lleida. Polychrome and gilded limestone bas-relief. Second half of 14th century. Dimesions 57 x 69 x 11 cm. Compartment of a sculptural altarpiece devoted to the Virgin. From the crypt of the collegiate church of Sant Pere d'Àger (Noguera). National Museum of Catalan Art, Barcelona, Spain, inv no: 017343-000
  • Roman statue of Silenus or Papposilenus from the second half of the 2nd cent. AD excavated from the Villa Marittima, Torre Astura Italy.  Silenus was the tutor to Dionysus is portrayed here as he was portrayed on stage in the Roman theatres. His mask is that of the theatre and he is wearing a lambskin cloak and hairy tights.  Inv 135769, The National Roman Museum, Rome, Italy
  • Roman statue of Silenus or Papposilenus from the second half of the 2nd cent. AD excavated from the Villa Marittima, Torre Astura Italy.  Silenus was the tutor to Dionysus is portrayed here as he was portrayed on stage in the Roman theatres. His mask is that of the theatre and he is wearing a lambskin cloak and hairy tights.  Inv 135769, The National Roman Museum, Rome, Italy
  • Roman Sebasteion relief  sculpture of the goddess Roma and Ge (Earth),  Aphrodisias Museum, Aphrodisias, Turkey.  Against a black background. <br />
<br />
The goddess Roma holds a spear and wears a crown in the form of a city wall. Earth reclines half naked leaning on a pile of fruit. She holds a cornucopia full of more fruit. A baby child (now damaged) climbs up the horn she holds. The relief represents Earths fertility and abundance overseen by Rome.
  • Close up of a Roman Sebasteion relief  sculpture of Io and Argos Aphrodisias Museum, Aphrodisias, Turkey.     Against a white background.<br />
<br />
A powerful hero is folding a sword gazing closely at a half naked and dishevelled young heroine who sits on a chest like stool. Between, on a pillar base stood a small, separately added statue of a goddess ( now missing). The scene follows a scheme used in the relief panels “Io guarded by Argos”. Io was one of Zeus’s lovers, and Argos was a watchful giant sent to guard her by Hera, Zeus’s wife.
  • Picture of a Roman mosaics design depicting the cupid owner of a cockerell at a cock fight, from the ancient Roman city of Thysdrus. 2nd half of the 2nd century AD, House of Tertulla. El Djem Archaeological Museum, El Djem, Tunisia.
  • Detail of a  Roman mosaics design depicting the nine muses, from the Maison du Mois, ancient Roman city of Thysdrus. 2nd half of 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
The Roman mosaic depicts the nine muses and their attributes: Clio the muse of history ; Uranie the muse of Astronomy; Melpomene, tragedy; Thalie, comedy; Terpsichore, dancing; Calliope, epic poetry; Erato, love poetry; Polymnie, religious songs and rhetoric; Euterpe, lyrical poetry and music
  • Second century Roman Christian funerary stele for 3 dead people from Africa Proconsularis. The stele depicts the deceased:  Fausata who died age 75, a man who died age 70 and a child who died age 2 years 6 months. From the first half of the second century AD from the region of Bou Arada in present day Tunisia. The Bardo National Museum, Tunis, Tunisia.   Against a grey background.
  • Second century Roman Christian funerary stele for 3 dead people from Africa Proconsularis. The stele depicts the deceased:  Fausata who died age 75, a man who died age 70 and a child who died age 2 years 6 months. From the first half of the second century AD from the region of Bou Arada in present day Tunisia. The Bardo National Museum, Tunis, Tunisia. Against a grey art background.
  • Roman Frescoes of the The Large Columbarium in Villa Doria Panphilj, Rome. A columbarium is usually a type of tomb with walls lined by niches that hold urns containing the ashes of the dead.  Large columbaria were built in Rome between the end of the Republican Era and the Flavio Principality (second half of the first century AD).  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.
  • Roman Fresco of an exotic bird from  The Large Columbarium in Villa Doria Panphilj, Rome. A columbarium is usually a type of tomb with walls lined by niches that hold urns containing the ashes of the dead.  Large columbaria were built in Rome between the end of the Republican Era and the Flavio Principality (second half of the first century AD).  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.
  • Roman Fresco of an exotic bird from The Large Columbarium in Villa Doria Panphilj, Rome. A columbarium is usually a type of tomb with walls lined by niches that hold urns containing the ashes of the dead.  Large columbaria were built in Rome between the end of the Republican Era and the Flavio Principality (second half of the first century AD).  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.
  • Roman Frescoes of the The Large Columbarium in Villa Doria Panphilj, Rome. A columbarium is usually a type of tomb with walls lined by niches that hold urns containing the ashes of the dead.  Large columbaria were built in Rome between the end of the Republican Era and the Flavio Principality (second half of the first century AD).  Museo Nazionale Romano ( National Roman Museum), Rome, Italy. Against a white background.
  • Roman Frescoes of the The Large Columbarium in Villa Doria Panphilj, Rome. A columbarium is usually a type of tomb with walls lined by niches that hold urns containing the ashes of the dead.  Large columbaria were built in Rome between the end of the Republican Era and the Flavio Principality (second half of the first century AD).  Museo Nazionale Romano ( National Roman Museum), Rome, Italy. Against an art background.
  • Gothic marble statue of Mary Magdelane (Magdelena) by Mestre de Pedralbes of Barcelona, 2nd half of 14th Century, from the cemetery of the cathedral of Barcelona.  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  9797.
  • Medieval relief sculptures of mythical half human creatures on the exterior of the Romanesque Baptistery of Parma, circa 1196, (Battistero di Parma), Italy
  • Excavations of the Temple of Artimis Sardis, originally the fourth largest Ionic temple when it was originally built in 300 B.C. In 150 AD under Roman rule when the worship  of the Emperor required all Roman cities to have a Temple dedicated to the Imperial family. The temple of Artimis was split into two sections with one half for Artemis and the Empress Faustina and the other for Zeus and Emperor Antoninus Pius and the present construction shows elements of Greek and Roman styles. Sardis archaeological site, Hermus valley, Turkey. A Harvard Art Museum excavation project.
  • Gothic painted bas-relief of the Nativity by Master of Albesa, Active in Lleida. Polychrome and gilded limestone bas-relief. Second half of 14th century. Dimesions 57 x 69 x 11 cm.Compartment of a sculptural altarpiece devoted to the Virgin. From the crypt of the collegiate church of Sant Pere d'Àger (Noguera). National Museum of Catalan Art, Barcelona, Spain, inv no: 017342-000
  • Romanesque painted Canopy of Tavèrnoles.<br />
<br />
Second quarter of the thirteenth century  from the ancient monastery of St. Sernin Tavèrnoles valleys Valira Alt Urgell, Spain<br />
<br />
Acquired by the National Art Museum of Catalonia, Barcelona 1906. Ref: 24060 MNAC.<br />
<br />
Romanesque canopy-type panel with its cut supporting beams still visible. The panel is decorated with a painted image of Christ in Majesty or Christ Pantocrator in a mandorla which is supported by four angelic figures that evoke the theme of the Ascension. The canopy was discovered in the early twentieth century in the monastery of St. Sernin Tavernoles, half hidden by a Gothic altarpiece.
  • The half timbered north tower built in the 1280s, the  finest fortified medieval manor house in England, Stokesay Castle, Shropshire, England
  • The half timbered north tower built in the 1280s, the  finest fortified medieval manor house in England, Stokesay Castle, Shropshire, England
  • Enamelled terracotta panel depicting Saint Anne, the Virgin Mary and Child with Saint Anthony made in the 2nd half of the 16th century by Santi Bugloni of Florence. This is a typical Tuscan theme of the period. Saint Anne was particularly venerated during the expulsion of the tyrant Gaultier de Brienne, Duke of Athens. .  Inv Camp 38,  The Louvre Museum, Paris.
  • Roman Statue of an Amazon on horseback and a Barbarian, Circa mid 2nd cent AD excavated from the  Imperial villa near Faro, Italy. An Amazon perched on a rearing horse clashes with a barbarian who attempts to deal a final blow before dying. The work is based on a Hellenistic original from the Pergamon school from the second half of the 2nd cent. B.C, The group was displayed in the Imperial villa  with another of the same theme now in the Borghese collection. The National Roman Museum, Rome, Italy
  • Gothic painted bas-relief of the Nativity by Master of Albesa, Active in Lleida. Polychrome and gilded limestone bas-relief. Second half of 14th century. Dimesions 57 x 69 x 11 cm.Compartment of a sculptural altarpiece devoted to the Virgin. From the crypt of the collegiate church of Sant Pere d'Àger (Noguera). National Museum of Catalan Art, Barcelona, Spain, inv no: 017342-000
  • Romanesque painted Canopy of Tavèrnoles.<br />
<br />
Second quarter of the thirteenth century  from the ancient monastery of St. Sernin Tavèrnoles valleys Valira Alt Urgell, Spain<br />
<br />
Acquired by the National Art Museum of Catalonia, Barcelona 1906. Ref: 24060 MNAC.<br />
<br />
Romanesque canopy-type panel with its cut supporting beams still visible. The panel is decorated with a painted image of Christ in Majesty or Christ Pantocrator in a mandorla which is supported by four angelic figures that evoke the theme of the Ascension. The canopy was discovered in the early twentieth century in the monastery of St. Sernin Tavernoles, half hidden by a Gothic altarpiece.
  • Neo-Hittite orthostat describing the legend of Gilgamesh from Karkamis,, Turkey. Ancora Archaeological Museum. Symetrical mythological Scene depicting "Winged Griffin Demons", half men with birds heads & wings. Their hands are raised above their heads supposidly carrying the sky. 1
  • Photo of Roman releif sculpture of Emperor Tiberius with captive About to vanquish Britanica from Aphrodisias, Turkey, Images of Roman art bas releifs. Buy as stock or photo art prints.  Emperor Tiberius stands with a barbarian captive depicted half the height of Tiberius.  art
  • Roman theatre of Aphrodisias dedicated to Aphrodite and the people of the city by Julius Zoilos in the  2nd half of 1st century BC. Seats over 8000 people. Aphrodisias Archaeological Site, Aydin Province, Turkey.
  • Roman theatre of Aphrodisias dedicated to Aphrodite and the people of the city by Julius Zoilos in the  2nd half of 1st century BC. Seats over 8000 people. Aphrodisias Archaeological Site, Aydin Province, Turkey.
  • Roman theatre of Aphrodisias dedicated to Aphrodite and the people of the city by Julius Zoilos in the  2nd half of 1st century BC. Seats over 8000 people. Aphrodisias Archaeological Site, Aydin Province, Turkey.
  • Roman theatre of Aphrodisias dedicated to Aphrodite and the people of the city by Julius Zoilos in the  2nd half of 1st century BC. Seats over 8000 people. Aphrodisias Archaeological Site, Aydin Province, Turkey.
  • Roman theatre of Aphrodisias dedicated to Aphrodite and the people of the city by Julius Zoilos in the  2nd half of 1st century BC. Seats over 8000 people. Aphrodisias Archaeological Site, Aydin Province, Turkey.
  • Roman theatre of Aphrodisias dedicated to Aphrodite and the people of the city by Julius Zoilos in the  2nd half of 1st century BC. Seats over 8000 people. Aphrodisias Archaeological Site, Aydin Province, Turkey.
  • Roman theatre of Aphrodisias dedicated to Aphrodite and the people of the city by Julius Zoilos in the  2nd half of 1st century BC. Seats over 8000 people. Aphrodisias Archaeological Site, Aydin Province, Turkey.
  • Roman theatre of Aphrodisias dedicated to Aphrodite and the people of the city by Julius Zoilos in the  2nd half of 1st century BC. Seats over 8000 people. Aphrodisias Archaeological Site, Aydin Province, Turkey.
  • Roman theatre of Aphrodisias dedicated to Aphrodite and the people of the city by Julius Zoilos in the  2nd half of 1st century BC. Seats over 8000 people. Aphrodisias Archaeological Site, Aydin Province, Turkey.
  • Roman theatre of Aphrodisias dedicated to Aphrodite and the people of the city by Julius Zoilos in the  2nd half of 1st century BC. Seats over 8000 people. Aphrodisias Archaeological Site, Aydin Province, Turkey.
  • Roman Sebasteion relief  sculpture of the goddess Roma and Ge (Earth),  Aphrodisias Museum, Aphrodisias, Turkey.  Against a white background. <br />
<br />
The goddess Roma holds a spear and wears a crown in the form of a city wall. Earth reclines half naked leaning on a pile of fruit. She holds a cornucopia full of more fruit. A baby child (now damaged) climbs up the horn she holds. The relief represents Earths fertility and abundance overseen by Rome.
  • Roman Sebasteion relief  sculpture of the goddess Roma and Ge (Earth),  Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
The goddess Roma holds a spear and wears a crown in the form of a city wall. Earth reclines half naked leaning on a pile of fruit. She holds a cornucopia full of more fruit. A baby child (now damaged) climbs up the horn she holds. The relief represents Earths fertility and abundance overseen by Rome.
  • Roman Sebasteion relief  sculpture of the goddess Roma and Ge (Earth),  Aphrodisias Museum, Aphrodisias, Turkey. Against an art background. <br />
<br />
The goddess Roma holds a spear and wears a crown in the form of a city wall. Earth reclines half naked leaning on a pile of fruit. She holds a cornucopia full of more fruit. A baby child (now damaged) climbs up the horn she holds. The relief represents Earths fertility and abundance overseen by Rome.
  • Roman Sebasteion relief  sculpture of the goddess Roma and Ge (Earth),  Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background. <br />
<br />
The goddess Roma holds a spear and wears a crown in the form of a city wall. Earth reclines half naked leaning on a pile of fruit. She holds a cornucopia full of more fruit. A baby child (now damaged) climbs up the horn she holds. The relief represents Earths fertility and abundance overseen by Rome.
  • Roman Sebasteion relief  sculpture of Victory of the Emperors, Aphrodisias Museum, Aphrodisias, Turkey.   Against a white background.<br />
<br />
The inscription identifies the subject of the relief panel as the “Victory of the Emperors” (Neike Sebaston), and refers to the conquest of Armenia and Britannica in its adjacent relief panels. A half naked Victory flies diagonally across the panel, carrying a military trophy over her shoulder. A small winged Eros, now damaged was clinging to the end of the trophy pole. Victory was a key imperial attribute
  • Roman Sebasteion relief  sculpture of Victory of the Emperors, Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.<br />
<br />
The inscription identifies the subject of the relief panel as the “Victory of the Emperors” (Neike Sebaston), and refers to the conquest of Armenia and Britannica in its adjacent relief panels. A half naked Victory flies diagonally across the panel, carrying a military trophy over her shoulder. A small winged Eros, now damaged was clinging to the end of the trophy pole. Victory was a key imperial attribute
  • Roman Sebasteion relief  sculpture of Victory of the Emperors, Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
The inscription identifies the subject of the relief panel as the “Victory of the Emperors” (Neike Sebaston), and refers to the conquest of Armenia and Britannica in its adjacent relief panels. A half naked Victory flies diagonally across the panel, carrying a military trophy over her shoulder. A small winged Eros, now damaged was clinging to the end of the trophy pole. Victory was a key imperial attribute
  • Roman Sebasteion relief  sculpture of Victory of the Emperors, Aphrodisias Museum, Aphrodisias, Turkey.  Against an art background.<br />
<br />
The inscription identifies the subject of the relief panel as the “Victory of the Emperors” (Neike Sebaston), and refers to the conquest of Armenia and Britannica in its adjacent relief panels. A half naked Victory flies diagonally across the panel, carrying a military trophy over her shoulder. A small winged Eros, now damaged was clinging to the end of the trophy pole. Victory was a key imperial attribute
  • Roman Sebasteion relief  sculpture of Victory of the Emperors, Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
The inscription identifies the subject of the relief panel as the “Victory of the Emperors” (Neike Sebaston), and refers to the conquest of Armenia and Britannica in its adjacent relief panels. A half naked Victory flies diagonally across the panel, carrying a military trophy over her shoulder. A small winged Eros, now damaged was clinging to the end of the trophy pole. Victory was a key imperial attribute
  • Close up of a Roman Sebasteion relief  sculpture of Io and Argos Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.<br />
<br />
A powerful hero is folding a sword gazing closely at a half naked and dishevelled young heroine who sits on a chest like stool. Between, on a pillar base stood a small, separately added statue of a goddess ( now missing). The scene follows a scheme used in the relief panels “Io guarded by Argos”. Io was one of Zeus’s lovers, and Argos was a watchful giant sent to guard her by Hera, Zeus’s wife.
  • Close up of a Roman Sebasteion relief  sculpture of Io and Argos Aphrodisias Museum, Aphrodisias, Turkey.  Against an art background.<br />
<br />
A powerful hero is folding a sword gazing closely at a half naked and dishevelled young heroine who sits on a chest like stool. Between, on a pillar base stood a small, separately added statue of a goddess ( now missing). The scene follows a scheme used in the relief panels “Io guarded by Argos”. Io was one of Zeus’s lovers, and Argos was a watchful giant sent to guard her by Hera, Zeus’s wife.
  • Close up of a Roman Sebasteion relief  sculpture of Io and Argos Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
A powerful hero is folding a sword gazing closely at a half naked and dishevelled young heroine who sits on a chest like stool. Between, on a pillar base stood a small, separately added statue of a goddess ( now missing). The scene follows a scheme used in the relief panels “Io guarded by Argos”. Io was one of Zeus’s lovers, and Argos was a watchful giant sent to guard her by Hera, Zeus’s wife.
  • Close up of a Roman Sebasteion relief  sculpture of Io and Argos Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
A powerful hero is folding a sword gazing closely at a half naked and dishevelled young heroine who sits on a chest like stool. Between, on a pillar base stood a small, separately added statue of a goddess ( now missing). The scene follows a scheme used in the relief panels “Io guarded by Argos”. Io was one of Zeus’s lovers, and Argos was a watchful giant sent to guard her by Hera, Zeus’s wife.
  • Roman Sebasteion relief  sculpture of Io and Argos Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.<br />
<br />
A powerful hero is folding a sword gazing closely at a half naked and dishevelled young heroine who sits on a chest like stool. Between, on a pillar base stood a small, separately added statue of a goddess ( now missing). The scene follows a scheme used in the relief panels “Io guarded by Argos”. Io was one of Zeus’s lovers, and Argos was a watchful giant sent to guard her by Hera, Zeus’s wife.
  • Roman Sebasteion relief  sculpture of Io and Argos Aphrodisias Museum, Aphrodisias, Turkey.     Against a white background.<br />
<br />
A powerful hero is folding a sword gazing closely at a half naked and dishevelled young heroine who sits on a chest like stool. Between, on a pillar base stood a small, separately added statue of a goddess ( now missing). The scene follows a scheme used in the relief panels “Io guarded by Argos”. Io was one of Zeus’s lovers, and Argos was a watchful giant sent to guard her by Hera, Zeus’s wife.
  • Roman Sebasteion relief  sculpture of Io and Argos Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
A powerful hero is folding a sword gazing closely at a half naked and dishevelled young heroine who sits on a chest like stool. Between, on a pillar base stood a small, separately added statue of a goddess ( now missing). The scene follows a scheme used in the relief panels “Io guarded by Argos”. Io was one of Zeus’s lovers, and Argos was a watchful giant sent to guard her by Hera, Zeus’s wife.
  • Roman Sebasteion relief  sculpture of Io and Argos Aphrodisias Museum, Aphrodisias, Turkey. Against an art background.<br />
<br />
A powerful hero is folding a sword gazing closely at a half naked and dishevelled young heroine who sits on a chest like stool. Between, on a pillar base stood a small, separately added statue of a goddess ( now missing). The scene follows a scheme used in the relief panels “Io guarded by Argos”. Io was one of Zeus’s lovers, and Argos was a watchful giant sent to guard her by Hera, Zeus’s wife.
  • Roman Sebasteion relief  sculpture of Io and Argos Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
A powerful hero is folding a sword gazing closely at a half naked and dishevelled young heroine who sits on a chest like stool. Between, on a pillar base stood a small, separately added statue of a goddess ( now missing). The scene follows a scheme used in the relief panels “Io guarded by Argos”. Io was one of Zeus’s lovers, and Argos was a watchful giant sent to guard her by Hera, Zeus’s wife.
  • Picture of a Roman mosaics design depicting the cupid owner of a cockerell at a cock fight, from the ancient Roman city of Thysdrus. 2nd half of the 2nd century AD, House of Tertulla. El Djem Archaeological Museum, El Djem, Tunisia.
  • Detail of a Roman mosaics design depicting the nine muses, from the Maison du Mois, ancient Roman city of Thysdrus. 2nd half of 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
<br />
The Roman mosaic depicts the nine muses and their attributes: Clio the muse of history ; Uranie the muse of Astronomy; Melpomene, tragedy; Thalie, comedy; Terpsichore, dancing; Calliope, epic poetry; Erato, love poetry; Polymnie, religious songs and rhetoric; Euterpe, lyrical poetry and music
  • Detail of a  Roman mosaics design depicting the nine muses, from the Maison du Mois, ancient Roman city of Thysdrus. 2nd half of 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
<br />
The Roman mosaic depicts the nine muses and their attributes: Clio the muse of history ; Uranie the muse of Astronomy; Melpomene, tragedy; Thalie, comedy; Terpsichore, dancing; Calliope, epic poetry; Erato, love poetry; Polymnie, religious songs and rhetoric; Euterpe, lyrical poetry and music
  • Detail of a  Roman mosaics design depicting the nine muses, from the Maison du Mois, ancient Roman city of Thysdrus. 2nd half of 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
The Roman mosaic depicts the nine muses and their attributes: Clio the muse of history ; Uranie the muse of Astronomy; Melpomene, tragedy; Thalie, comedy; Terpsichore, dancing; Calliope, epic poetry; Erato, love poetry; Polymnie, religious songs and rhetoric; Euterpe, lyrical poetry and music
  • Detail of a  Roman mosaics design depicting the nine muses, from the Maison du Mois, ancient Roman city of Thysdrus. 2nd half of 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
The Roman mosaic depicts the nine muses and their attributes: Clio the muse of history ; Uranie the muse of Astronomy; Melpomene, tragedy; Thalie, comedy; Terpsichore, dancing; Calliope, epic poetry; Erato, love poetry; Polymnie, religious songs and rhetoric; Euterpe, lyrical poetry and music
  • Detail of a  Roman mosaics design depicting the nine muses, from the Maison du Mois, ancient Roman city of Thysdrus. 2nd half of 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
The Roman mosaic depicts the nine muses and their attributes: Clio the muse of history ; Uranie the muse of Astronomy; Melpomene, tragedy; Thalie, comedy; Terpsichore, dancing; Calliope, epic poetry; Erato, love poetry; Polymnie, religious songs and rhetoric; Euterpe, lyrical poetry and music
  • Detail of a  Roman mosaics design depicting the nine muses, from the Maison du Mois, ancient Roman city of Thysdrus. 2nd half of 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
The Roman mosaic depicts the nine muses and their attributes: Clio the muse of history ; Uranie the muse of Astronomy; Melpomene, tragedy; Thalie, comedy; Terpsichore, dancing; Calliope, epic poetry; Erato, love poetry; Polymnie, religious songs and rhetoric; Euterpe, lyrical poetry and music
  • Detail of a  Roman mosaics design depicting the nine muses, from the Maison du Mois, ancient Roman city of Thysdrus. 2nd half of 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
The Roman mosaic depicts the nine muses and their attributes: Clio the muse of history ; Uranie the muse of Astronomy; Melpomene, tragedy; Thalie, comedy; Terpsichore, dancing; Calliope, epic poetry; Erato, love poetry; Polymnie, religious songs and rhetoric; Euterpe, lyrical poetry and music
  • Detail of a  Roman mosaics design depicting the nine muses, from the Maison du Mois, ancient Roman city of Thysdrus. 2nd half of 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
The Roman mosaic depicts the nine muses and their attributes: Clio the muse of history ; Uranie the muse of Astronomy; Melpomene, tragedy; Thalie, comedy; Terpsichore, dancing; Calliope, epic poetry; Erato, love poetry; Polymnie, religious songs and rhetoric; Euterpe, lyrical poetry and music
  • Pictures of a  Roman mosaics design depicting the nine muses, from the Maison du Mois, ancient Roman city of Thysdrus. 2nd half of 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
<br />
The Roman mosaic depicts the nine muses and their attributes: Clio the muse of history ; Uranie the muse of Astronomy; Melpomene, tragedy; Thalie, comedy; Terpsichore, dancing; Calliope, epic poetry; Erato, love poetry; Polymnie, religious songs and rhetoric; Euterpe, lyrical poetry and music
  • Detail of a  Roman mosaics design depicting the nine muses, from the Maison du Mois, ancient Roman city of Thysdrus. 2nd half of 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
The Roman mosaic depicts the nine muses and their attributes: Clio the muse of history ; Uranie the muse of Astronomy; Melpomene, tragedy; Thalie, comedy; Terpsichore, dancing; Calliope, epic poetry; Erato, love poetry; Polymnie, religious songs and rhetoric; Euterpe, lyrical poetry and music
  • Detail of a  Roman mosaics design depicting the nine muses, from the Maison du Mois, ancient Roman city of Thysdrus. 2nd half of 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
The Roman mosaic depicts the nine muses and their attributes: Clio the muse of history ; Uranie the muse of Astronomy; Melpomene, tragedy; Thalie, comedy; Terpsichore, dancing; Calliope, epic poetry; Erato, love poetry; Polymnie, religious songs and rhetoric; Euterpe, lyrical poetry and music
  • Detail of a  Roman mosaics design depicting the nine muses, from the Maison du Mois, ancient Roman city of Thysdrus. 2nd half of 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
The Roman mosaic depicts the nine muses and their attributes: Clio the muse of history ; Uranie the muse of Astronomy; Melpomene, tragedy; Thalie, comedy; Terpsichore, dancing; Calliope, epic poetry; Erato, love poetry; Polymnie, religious songs and rhetoric; Euterpe, lyrical poetry and music
  • Detail of a  Roman mosaics design depicting the nine muses, from the Maison du Mois, ancient Roman city of Thysdrus. 2nd half of 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
The Roman mosaic depicts the nine muses and their attributes: Clio the muse of history ; Uranie the muse of Astronomy; Melpomene, tragedy; Thalie, comedy; Terpsichore, dancing; Calliope, epic poetry; Erato, love poetry; Polymnie, religious songs and rhetoric; Euterpe, lyrical poetry and music
  • Detail of a  Roman mosaics design depicting the nine muses, from the Maison du Mois, ancient Roman city of Thysdrus. 2nd half of 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
The Roman mosaic depicts the nine muses and their attributes: Clio the muse of history ; Uranie the muse of Astronomy; Melpomene, tragedy; Thalie, comedy; Terpsichore, dancing; Calliope, epic poetry; Erato, love poetry; Polymnie, religious songs and rhetoric; Euterpe, lyrical poetry and music
  • Picture of Tomb Tomb 114 "tomb of curses" of the North Necropolis. Hierapolis archaeological site near Pamukkale in Turkey.<br />
<br />
TOMB 114 (Second half of the 2nd century AD) <br />
<br />
The tomb lies on the left hand side of the road and is enclosed by a perimeter wall; it rests on a base withifiree steps, with a bench piked(1 front of it. Inside are three beds and the ossuary. On the roof, a sarcophagus, broken as result of an <br />
earthquake, bears an inscription mentioning the occupant Aelios Apollinarios and his wife Neratia Apollonis. On the facade is an inscription of great interest which refers to the punishment inflicted on those who violate the sepulchre: as well as the usual fines, it invokes diseases, misfortunes and punishments in the next world. This inscription has led to the building being named the Tomb of the Curses.
  • Second century Roman Christian funerary stele for 3 dead people from Africa Proconsularis. The stele depicts the deceased:  Fausata who died age 75, a man who died age 70 and a child who died age 2 years 6 months. From the first half of the second century AD from the region of Bou Arada in present day Tunisia. The Bardo National Museum, Tunis, Tunisia.  Against a white background.
  • Second century Roman Christian funerary stele for 3 dead people from Africa Proconsularis. The stele depicts the deceased:  Fausata who died age 75, a man who died age 70 and a child who died age 2 years 6 months. From the first half of the second century AD from the region of Bou Arada in present day Tunisia. The Bardo National Museum, Tunis, Tunisia.  Against a black background.
  • Second century Roman Christian funerary stele for 3 dead people from Africa Proconsularis. The stele depicts the deceased:  Fausata who died age 75, a man who died age 70 and a child who died age 2 years 6 months. From the first half of the second century AD from the region of Bou Arada in present day Tunisia. The Bardo National Museum, Tunis, Tunisia.
  • Roman Frescoes of the The Large Columbarium in Villa Doria Panphilj, Rome. A columbarium is usually a type of tomb with walls lined by niches that hold urns containing the ashes of the dead.  Large columbaria were built in Rome between the end of the Republican Era and the Flavio Principality (second half of the first century AD).  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.
  • Roman Frescoes of the The Large Columbarium in Villa Doria Panphilj, Rome. A columbarium is usually a type of tomb with walls lined by niches that hold urns containing the ashes of the dead.  Large columbaria were built in Rome between the end of the Republican Era and the Flavio Principality (second half of the first century AD).  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.
  • Roman Fresco of a cat killing a bird from  The Large Columbarium in Villa Doria Panphilj, Rome. A columbarium is usually a type of tomb with walls lined by niches that hold urns containing the ashes of the dead.  Large columbaria were built in Rome between the end of the Republican Era and the Flavio Principality (second half of the first century AD).  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.

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