• Chicken Tikka marinated chicken strips being cooked over hot charcoals. Indian food photos, pictures & images.
  • BBQ spare ribs being cooked over open flames. Food bbq photos, pictures & images.
  • BBQ chicken wings
  • Spicy BBQ Chicken wings and thights on a plate with a blue edge and stars
  • BBQ chicken wings being cooked on a bbq grill. Funky Stock library chicken wings images of bbq food.
  • Barbecue chicken legs & thighs on a BBQ grill
  • Barbecue chicken legs & thighs on a barbecue grill and bbq sauce
  • Barbecue chicken legs & thighs on a barbecue grill and bbq sauce
  • Stock photos of BBQ lamb with rosemary. Funky Stock library images of bbq food.
  • Stock photos of BBQ lamb with rosemary. Funky Stock library images of bbq food.
  • BBQ chicken wings being cooked on a bbq grill. Funky Stock library chicken wings images of bbq food.
  • BBQ Lamb cutlets being cooked on a bbq grill. Funky Stock library images of bbq food.
  • Runswick Bay - North Yorkshire - Captain Cooke house
  • Runswick Bay - North Yorkshire - Captain Cooke house
  • Italian party buffet food with sundried tomatoes, bread sticks, olives and  marinated wild mushrooms
  • Italian party buffet food with sundried tomatoes, bread sticks, olives and  marinated wild mushrooms
  • Italian party buffet food with sundried tomatoes, bread sticks, olives and  marinated wild mushrooms
  • Italian party buffet food with sundried tomatoes, bread sticks, olives and  marinated wild mushrooms
  • Photo of a Three handles "Palace Style" amphora with three large octopuses within a marines cape of rocks and seaweed. A mycenaean copy of a Minoan Marine Style.   Mycenae tomb 2, Greece. 15th century BC,  cat no: 6725, National Archaeological Museum, Athens.
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite 2nd - 1st century BC Roman marble sculpture of Aphrodite (Venus), ‘Marine Venus' Type with a dolphin, copied from a Hellanistic Greek original,  inv 6296, Naples Museum of Archaeology, Italy, white background
  • Photo of a Three handles "Palace Style" amphora with three large octopuses within a marines cape of rocks and seaweed. A mycenaean copy of a Minoan Marine Style.   Mycenae tomb 2, Greece. 15th century BC,  cat no: 6725, National Archaeological Museum, Athens.
  • Photo of a Three handles "Palace Style" amphora with three large octopuses within a marines cape of rocks and seaweed. A mycenaean copy of a Minoan Marine Style.   Mycenae tomb 2, Greece. 15th century BC,  cat no: 6725, National Archaeological Museum, Athens.
  • Photo of a Three handles "Palace Style" amphora with three large octopuses within a marines cape of rocks and seaweed. A mycenaean copy of a Minoan Marine Style.   Mycenae tomb 2, Greece. 15th century BC,  cat no: 6725, National Archaeological Museum, Athens.
  • Photo of a Three handles "Palace Style" amphora with three large octopuses within a marines cape of rocks and seaweed. A mycenaean copy of a Minoan Marine Style.   Mycenae tomb 2, Greece. 15th century BC,  cat no: 6725, National Archaeological Museum, Athens.
  • Photo of a Three handles "Palace Style" amphora with three large octopuses within a marines cape of rocks and seaweed. A mycenaean copy of a Minoan Marine Style.   Mycenae tomb 2, Greece. 15th century BC,  cat no: 6725, National Archaeological Museum, Athens.
  • Three handled Mycenaean  Palace Style amphora with three large octopuses within a marinescape of rocks and seaweed. A Mycenaean imitation of Minoan Marine Style. From the Mycenaean cemetery of Argive Prosymna, tomb 2, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Three handled Mycenaean  Palace Style amphora with three large octopuses within a marinescape of rocks and seaweed. A Mycenaean imitation of Minoan Marine Style. From the Mycenaean cemetery of Argive Prosymna, tomb 2, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Three handled Mycenaean  Palace Style amphora with three large octopuses within a marinescape of rocks and seaweed. A Mycenaean imitation of Minoan Marine Style. From the Mycenaean cemetery of Argive Prosymna, tomb 2, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Three handled Mycenaean  Palace Style amphora with three large octopuses within a marinescape of rocks and seaweed. A Mycenaean imitation of Minoan Marine Style. From the Mycenaean cemetery of Argive Prosymna, tomb 2, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Three handled Mycenaean  Palace Style amphora with three large octopuses within a marinescape of rocks and seaweed. A Mycenaean imitation of Minoan Marine Style. From the Mycenaean cemetery of Argive Prosymna, tomb 2, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite 2nd - 1st century BC Roman marble sculpture of Aphrodite (Venus), ‘Marine Venus' Type with a dolphin, copied from a Hellanistic Greek original,  inv 6296, Museum of Archaeology, Italy, white background
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite 2nd - 1st century BC Roman marble sculpture of Aphrodite (Venus), ‘Marine Venus' Type with a dolphin, copied from a Hellanistic Greek original,  inv 6296, Museum of Archaeology, Italy, white background
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite 2nd - 1st century BC Roman marble sculpture of Aphrodite (Venus), ‘Marine Venus' Type with a dolphin, copied from a Hellanistic Greek original,  inv 6296, Museum of Archaeology, Italy, white background
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite 2nd - 1st century BC Roman marble sculpture of Aphrodite (Venus), ‘Marine Venus' Type with a dolphin, copied from a Hellanistic Greek original,  inv 6296, Museum of Archaeology, Italy, white background
  • Roman Fresco detail of fishes marine life from the second quarter of the first century AD. (mosaico fauna marina da porto fluviale di san paolo), museo nazionale romano ( National Roman Museum), Rome, Italy. inv. 121462 .
  • Roman Fresco detail of fishes marine life from the second quarter of the first century AD. (mosaico fauna marina da porto fluviale di san paolo), museo nazionale romano ( National Roman Museum), Rome, Italy. inv. 121462 .
  • Roman Fresco detail of fishes marine life from the second quarter of the first century AD. (mosaico fauna marina da porto fluviale di san paolo), museo nazionale romano ( National Roman Museum), Rome, Italy. inv. 121462 .
  • Roman Fresco detail of fishes marine life from the second quarter of the first century AD. (mosaico fauna marina da porto fluviale di san paolo), museo nazionale romano ( National Roman Museum), Rome, Italy. inv. 121462 .
  • Roman Fresco with boats and marine life from the second quarter of the first century AD. (mosaico fauna marina da porto fluviale di san paolo), museo nazionale romano ( National Roman Museum), Rome, Italy. inv. 121462 .  Against a white background.<br />
The frescoes depict boats decorated as boats which went along the Tiber on festival days; their shape appears to be the caudicariae boats, used to transport merchandise. In the fresco fragment exhibited here (Ambiente E) the boat on the left depicts probably the group of 'side Serapide and Demetra on the stern, whereas the one on the right presents a crowned character on the bow and, on the stern, a feminine figure fluctuating in the air. Between the two boats, a young boy (a cupid or Palaimon-Portunus) rides a dolphin. All around are depicted several fish incredibly casting their shadows on the sea. The ichthyic fauna, lifeless as in still life decoration, is detailed as in a scientific catalogue. For the most part the represented species live next to the coast or were bred by the Romans in the piscinae salsac or in ponds. It is possible to recognize the rock mullet (mullus sunnuletus) and the mud one (mullus barbatu4 the scorpion fish (scorpoena) the dentex (dentex dentex), the aguglia (belone agus) the dolphin (delphinus delphis) and the golden mullet (lire curate).
  • Roman Fresco with boats and marine life from the second quarter of the first century AD. (mosaico fauna marina da porto fluviale di san paolo), museo nazionale romano ( National Roman Museum), Rome, Italy. inv. 121462 .  Against a black background.<br />
The frescoes depict boats decorated as boats which went along the Tiber on festival days; their shape appears to be the caudicariae boats, used to transport merchandise. In the fresco fragment exhibited here (Ambiente E) the boat on the left depicts probably the group of 'side Serapide and Demetra on the stern, whereas the one on the right presents a crowned character on the bow and, on the stern, a feminine figure fluctuating in the air. Between the two boats, a young boy (a cupid or Palaimon-Portunus) rides a dolphin. All around are depicted several fish incredibly casting their shadows on the sea. The ichthyic fauna, lifeless as in still life decoration, is detailed as in a scientific catalogue. For the most part the represented species live next to the coast or were bred by the Romans in the piscinae salsac or in ponds. It is possible to recognize the rock mullet (mullus sunnuletus) and the mud one (mullus barbatu4 the scorpion fish (scorpoena) the dentex (dentex dentex), the aguglia (belone agus) the dolphin (delphinus delphis) and the golden mullet (lire curate).
  • Roman Fresco with boats and marine life from the second quarter of the first century AD. (mosaico fauna marina da porto fluviale di san paolo), museo nazionale romano ( National Roman Museum), Rome, Italy. inv. 121462 .  Against a grey background.<br />
The frescoes depict boats decorated as boats which went along the Tiber on festival days; their shape appears to be the caudicariae boats, used to transport merchandise. In the fresco fragment exhibited here (Ambiente E) the boat on the left depicts probably the group of 'side Serapide and Demetra on the stern, whereas the one on the right presents a crowned character on the bow and, on the stern, a feminine figure fluctuating in the air. Between the two boats, a young boy (a cupid or Palaimon-Portunus) rides a dolphin. All around are depicted several fish incredibly casting their shadows on the sea. The ichthyic fauna, lifeless as in still life decoration, is detailed as in a scientific catalogue. For the most part the represented species live next to the coast or were bred by the Romans in the piscinae salsac or in ponds. It is possible to recognize the rock mullet (mullus sunnuletus) and the mud one (mullus barbatu4 the scorpion fish (scorpoena) the dentex (dentex dentex), the aguglia (belone agus) the dolphin (delphinus delphis) and the golden mullet (lire curate).
  • Roman Fresco with boats and marine life from the second quarter of the first century AD. (mosaico fauna marina da porto fluviale di san paolo), museo nazionale romano ( National Roman Museum), Rome, Italy. inv. 121462 .  <br />
The frescoes depict boats decorated as boats which went along the Tiber on festival days; their shape appears to be the caudicariae boats, used to transport merchandise. In the fresco fragment exhibited here (Ambiente E) the boat on the left depicts probably the group of 'side Serapide and Demetra on the stern, whereas the one on the right presents a crowned character on the bow and, on the stern, a feminine figure fluctuating in the air. Between the two boats, a young boy (a cupid or Palaimon-Portunus) rides a dolphin. All around are depicted several fish incredibly casting their shadows on the sea. The ichthyic fauna, lifeless as in still life decoration, is detailed as in a scientific catalogue. For the most part the represented species live next to the coast or were bred by the Romans in the piscinae salsac or in ponds. It is possible to recognize the rock mullet (mullus sunnuletus) and the mud one (mullus barbatu4 the scorpion fish (scorpoena) the dentex (dentex dentex), the aguglia (belone agus) the dolphin (delphinus delphis) and the golden mullet (lire curate).
  • Roman Fresco with boats and marine life from the second quarter of the first century AD. (mosaico fauna marina da porto fluviale di san paolo), museo nazionale romano ( National Roman Museum), Rome, Italy. inv. 121462 .  Against an art background.<br />
The frescoes depict boats decorated as boats which went along the Tiber on festival days; their shape appears to be the caudicariae boats, used to transport merchandise. In the fresco fragment exhibited here (Ambiente E) the boat on the left depicts probably the group of 'side Serapide and Demetra on the stern, whereas the one on the right presents a crowned character on the bow and, on the stern, a feminine figure fluctuating in the air. Between the two boats, a young boy (a cupid or Palaimon-Portunus) rides a dolphin. All around are depicted several fish incredibly casting their shadows on the sea. The ichthyic fauna, lifeless as in still life decoration, is detailed as in a scientific catalogue. For the most part the represented species live next to the coast or were bred by the Romans in the piscinae salsac or in ponds. It is possible to recognize the rock mullet (mullus sunnuletus) and the mud one (mullus barbatu4 the scorpion fish (scorpoena) the dentex (dentex dentex), the aguglia (belone agus) the dolphin (delphinus delphis) and the golden mullet (lire curate).
  • Roman Fresco with boats and marine life from the second quarter of the first century AD. (mosaico fauna marina da porto fluviale di san paolo), museo nazionale romano ( National Roman Museum), Rome, Italy. inv. 121462 .  Against a white background.<br />
The frescoes depict boats decorated as boats which went along the Tiber on festival days; their shape appears to be the caudicariae boats, used to transport merchandise. In the fresco fragment exhibited here (Ambiente E) the boat on the left depicts probably the group of 'side Serapide and Demetra on the stern, whereas the one on the right presents a crowned character on the bow and, on the stern, a feminine figure fluctuating in the air. Between the two boats, a young boy (a cupid or Palaimon-Portunus) rides a dolphin. All around are depicted several fish incredibly casting their shadows on the sea. The ichthyic fauna, lifeless as in still life decoration, is detailed as in a scientific catalogue. For the most part the represented species live next to the coast or were bred by the Romans in the piscinae salsac or in ponds. It is possible to recognize the rock mullet (mullus sunnuletus) and the mud one (mullus barbatu4 the scorpion fish (scorpoena) the dentex (dentex dentex), the aguglia (belone agus) the dolphin (delphinus delphis) and the golden mullet (lire curate).
  • Roman Fresco with boats and marine life from the second quarter of the first century AD. (mosaico fauna marina da porto fluviale di san paolo), museo nazionale romano ( National Roman Museum), Rome, Italy. inv. 121462 .  Against a black background.<br />
The frescoes depict boats decorated as boats which went along the Tiber on festival days; their shape appears to be the caudicariae boats, used to transport merchandise. In the fresco fragment exhibited here (Ambiente E) the boat on the left depicts probably the group of 'side Serapide and Demetra on the stern, whereas the one on the right presents a crowned character on the bow and, on the stern, a feminine figure fluctuating in the air. Between the two boats, a young boy (a cupid or Palaimon-Portunus) rides a dolphin. All around are depicted several fish incredibly casting their shadows on the sea. The ichthyic fauna, lifeless as in still life decoration, is detailed as in a scientific catalogue. For the most part the represented species live next to the coast or were bred by the Romans in the piscinae salsac or in ponds. It is possible to recognize the rock mullet (mullus sunnuletus) and the mud one (mullus barbatu4 the scorpion fish (scorpoena) the dentex (dentex dentex), the aguglia (belone agus) the dolphin (delphinus delphis) and the golden mullet (lire curate).
  • Roman Fresco with boats and marine life from the second quarter of the first century AD. (mosaico fauna marina da porto fluviale di san paolo), museo nazionale romano ( National Roman Museum), Rome, Italy. inv. 121462 .  Against a grey background.<br />
The frescoes depict boats decorated as boats which went along the Tiber on festival days; their shape appears to be the caudicariae boats, used to transport merchandise. In the fresco fragment exhibited here (Ambiente E) the boat on the left depicts probably the group of 'side Serapide and Demetra on the stern, whereas the one on the right presents a crowned character on the bow and, on the stern, a feminine figure fluctuating in the air. Between the two boats, a young boy (a cupid or Palaimon-Portunus) rides a dolphin. All around are depicted several fish incredibly casting their shadows on the sea. The ichthyic fauna, lifeless as in still life decoration, is detailed as in a scientific catalogue. For the most part the represented species live next to the coast or were bred by the Romans in the piscinae salsac or in ponds. It is possible to recognize the rock mullet (mullus sunnuletus) and the mud one (mullus barbatu4 the scorpion fish (scorpoena) the dentex (dentex dentex), the aguglia (belone agus) the dolphin (delphinus delphis) and the golden mullet (lire curate).
  • Roman Fresco with boats and marine life from the second quarter of the first century AD. (mosaico fauna marina da porto fluviale di san paolo), museo nazionale romano ( National Roman Museum), Rome, Italy. inv. 121462 .  <br />
The frescoes depict boats decorated as boats which went along the Tiber on festival days; their shape appears to be the caudicariae boats, used to transport merchandise. In the fresco fragment exhibited here (Ambiente E) the boat on the left depicts probably the group of 'side Serapide and Demetra on the stern, whereas the one on the right presents a crowned character on the bow and, on the stern, a feminine figure fluctuating in the air. Between the two boats, a young boy (a cupid or Palaimon-Portunus) rides a dolphin. All around are depicted several fish incredibly casting their shadows on the sea. The ichthyic fauna, lifeless as in still life decoration, is detailed as in a scientific catalogue. For the most part the represented species live next to the coast or were bred by the Romans in the piscinae salsac or in ponds. It is possible to recognize the rock mullet (mullus sunnuletus) and the mud one (mullus barbatu4 the scorpion fish (scorpoena) the dentex (dentex dentex), the aguglia (belone agus) the dolphin (delphinus delphis) and the golden mullet (lire curate).
  • Roman Fresco with boats and marine life from the second quarter of the first century AD. (mosaico fauna marina da porto fluviale di san paolo), museo nazionale romano ( National Roman Museum), Rome, Italy. inv. 121462 .  Against an art background.<br />
The frescoes depict boats decorated as boats which went along the Tiber on festival days; their shape appears to be the caudicariae boats, used to transport merchandise. In the fresco fragment exhibited here (Ambiente E) the boat on the left depicts probably the group of 'side Serapide and Demetra on the stern, whereas the one on the right presents a crowned character on the bow and, on the stern, a feminine figure fluctuating in the air. Between the two boats, a young boy (a cupid or Palaimon-Portunus) rides a dolphin. All around are depicted several fish incredibly casting their shadows on the sea. The ichthyic fauna, lifeless as in still life decoration, is detailed as in a scientific catalogue. For the most part the represented species live next to the coast or were bred by the Romans in the piscinae salsac or in ponds. It is possible to recognize the rock mullet (mullus sunnuletus) and the mud one (mullus barbatu4 the scorpion fish (scorpoena) the dentex (dentex dentex), the aguglia (belone agus) the dolphin (delphinus delphis) and the golden mullet (lire curate).
  • Roman Fresco with boats and marine life from the second quarter of the first century AD. (mosaico fauna marina da porto fluviale di san paolo), museo nazionale romano ( National Roman Museum), Rome, Italy. inv. 121462 .  Against a white background.<br />
The frescoes depict boats decorated as boats which went along the Tiber on festival days; their shape appears to be the caudicariae boats, used to transport merchandise. In the fresco fragment exhibited here (Ambiente E) the boat on the left depicts probably the group of 'side Serapide and Demetra on the stern, whereas the one on the right presents a crowned character on the bow and, on the stern, a feminine figure fluctuating in the air. Between the two boats, a young boy (a cupid or Palaimon-Portunus) rides a dolphin. All around are depicted several fish incredibly casting their shadows on the sea. The ichthyic fauna, lifeless as in still life decoration, is detailed as in a scientific catalogue. For the most part the represented species live next to the coast or were bred by the Romans in the piscinae salsac or in ponds. It is possible to recognize the rock mullet (mullus sunnuletus) and the mud one (mullus barbatu4 the scorpion fish (scorpoena) the dentex (dentex dentex), the aguglia (belone agus) the dolphin (delphinus delphis) and the golden mullet (lire curate).
  • Roman Fresco with boats and marine life from the second quarter of the first century AD. (mosaico fauna marina da porto fluviale di san paolo), museo nazionale romano ( National Roman Museum), Rome, Italy. inv. 121462 .  Against a black background.<br />
The frescoes depict boats decorated as boats which went along the Tiber on festival days; their shape appears to be the caudicariae boats, used to transport merchandise. In the fresco fragment exhibited here (Ambiente E) the boat on the left depicts probably the group of 'side Serapide and Demetra on the stern, whereas the one on the right presents a crowned character on the bow and, on the stern, a feminine figure fluctuating in the air. Between the two boats, a young boy (a cupid or Palaimon-Portunus) rides a dolphin. All around are depicted several fish incredibly casting their shadows on the sea. The ichthyic fauna, lifeless as in still life decoration, is detailed as in a scientific catalogue. For the most part the represented species live next to the coast or were bred by the Romans in the piscinae salsac or in ponds. It is possible to recognize the rock mullet (mullus sunnuletus) and the mud one (mullus barbatu4 the scorpion fish (scorpoena) the dentex (dentex dentex), the aguglia (belone agus) the dolphin (delphinus delphis) and the golden mullet (lire curate).
  • Roman Fresco with boats and marine life from the second quarter of the first century AD. (mosaico fauna marina da porto fluviale di san paolo), museo nazionale romano ( National Roman Museum), Rome, Italy. inv. 121462 .  Against a grey background.<br />
The frescoes depict boats decorated as boats which went along the Tiber on festival days; their shape appears to be the caudicariae boats, used to transport merchandise. In the fresco fragment exhibited here (Ambiente E) the boat on the left depicts probably the group of 'side Serapide and Demetra on the stern, whereas the one on the right presents a crowned character on the bow and, on the stern, a feminine figure fluctuating in the air. Between the two boats, a young boy (a cupid or Palaimon-Portunus) rides a dolphin. All around are depicted several fish incredibly casting their shadows on the sea. The ichthyic fauna, lifeless as in still life decoration, is detailed as in a scientific catalogue. For the most part the represented species live next to the coast or were bred by the Romans in the piscinae salsac or in ponds. It is possible to recognize the rock mullet (mullus sunnuletus) and the mud one (mullus barbatu4 the scorpion fish (scorpoena) the dentex (dentex dentex), the aguglia (belone agus) the dolphin (delphinus delphis) and the golden mullet (lire curate).
  • Roman Fresco with boats and marine life from the second quarter of the first century AD. (mosaico fauna marina da porto fluviale di san paolo), museo nazionale romano ( National Roman Museum), Rome, Italy. inv. 121462 .  <br />
The frescoes depict boats decorated as boats which went along the Tiber on festival days; their shape appears to be the caudicariae boats, used to transport merchandise. In the fresco fragment exhibited here (Ambiente E) the boat on the left depicts probably the group of 'side Serapide and Demetra on the stern, whereas the one on the right presents a crowned character on the bow and, on the stern, a feminine figure fluctuating in the air. Between the two boats, a young boy (a cupid or Palaimon-Portunus) rides a dolphin. All around are depicted several fish incredibly casting their shadows on the sea. The ichthyic fauna, lifeless as in still life decoration, is detailed as in a scientific catalogue. For the most part the represented species live next to the coast or were bred by the Romans in the piscinae salsac or in ponds. It is possible to recognize the rock mullet (mullus sunnuletus) and the mud one (mullus barbatu4 the scorpion fish (scorpoena) the dentex (dentex dentex), the aguglia (belone agus) the dolphin (delphinus delphis) and the golden mullet (lire curate).
  • Roman Fresco with boats and marine life from the second quarter of the first century AD. (mosaico fauna marina da porto fluviale di san paolo), museo nazionale romano ( National Roman Museum), Rome, Italy. inv. 121462 .  Against a white background.<br />
The frescoes depict boats decorated as boats which went along the Tiber on festival days; their shape appears to be the caudicariae boats, used to transport merchandise. In the fresco fragment exhibited here (Ambiente E) the boat on the left depicts probably the group of 'side Serapide and Demetra on the stern, whereas the one on the right presents a crowned character on the bow and, on the stern, a feminine figure fluctuating in the air. Between the two boats, a young boy (a cupid or Palaimon-Portunus) rides a dolphin. All around are depicted several fish incredibly casting their shadows on the sea. The ichthyic fauna, lifeless as in still life decoration, is detailed as in a scientific catalogue. For the most part the represented species live next to the coast or were bred by the Romans in the piscinae salsac or in ponds. It is possible to recognize the rock mullet (mullus sunnuletus) and the mud one (mullus barbatu4 the scorpion fish (scorpoena) the dentex (dentex dentex), the aguglia (belone agus) the dolphin (delphinus delphis) and the golden mullet (lire curate).
  • Roman Fresco with boats and marine life from the second quarter of the first century AD. (mosaico fauna marina da porto fluviale di san paolo), museo nazionale romano ( National Roman Museum), Rome, Italy. inv. 121462 .  Against a black background.<br />
The frescoes depict boats decorated as boats which went along the Tiber on festival days; their shape appears to be the caudicariae boats, used to transport merchandise. In the fresco fragment exhibited here (Ambiente E) the boat on the left depicts probably the group of 'side Serapide and Demetra on the stern, whereas the one on the right presents a crowned character on the bow and, on the stern, a feminine figure fluctuating in the air. Between the two boats, a young boy (a cupid or Palaimon-Portunus) rides a dolphin. All around are depicted several fish incredibly casting their shadows on the sea. The ichthyic fauna, lifeless as in still life decoration, is detailed as in a scientific catalogue. For the most part the represented species live next to the coast or were bred by the Romans in the piscinae salsac or in ponds. It is possible to recognize the rock mullet (mullus sunnuletus) and the mud one (mullus barbatu4 the scorpion fish (scorpoena) the dentex (dentex dentex), the aguglia (belone agus) the dolphin (delphinus delphis) and the golden mullet (lire curate).
  • Roman Fresco with boats and marine life from the second quarter of the first century AD. (mosaico fauna marina da porto fluviale di san paolo), museo nazionale romano ( National Roman Museum), Rome, Italy. inv. 121462 .  <br />
The frescoes depict boats decorated as boats which went along the Tiber on festival days; their shape appears to be the caudicariae boats, used to transport merchandise. In the fresco fragment exhibited here (Ambiente E) the boat on the left depicts probably the group of 'side Serapide and Demetra on the stern, whereas the one on the right presents a crowned character on the bow and, on the stern, a feminine figure fluctuating in the air. Between the two boats, a young boy (a cupid or Palaimon-Portunus) rides a dolphin. All around are depicted several fish incredibly casting their shadows on the sea. The ichthyic fauna, lifeless as in still life decoration, is detailed as in a scientific catalogue. For the most part the represented species live next to the coast or were bred by the Romans in the piscinae salsac or in ponds. It is possible to recognize the rock mullet (mullus sunnuletus) and the mud one (mullus barbatu4 the scorpion fish (scorpoena) the dentex (dentex dentex), the aguglia (belone agus) the dolphin (delphinus delphis) and the golden mullet (lire curate).
  • Roman Fresco with boats and marine life from the second quarter of the first century AD. (mosaico fauna marina da porto fluviale di san paolo), museo nazionale romano ( National Roman Museum), Rome, Italy. inv. 121462 .  Against a grey background.<br />
The frescoes depict boats decorated as boats which went along the Tiber on festival days; their shape appears to be the caudicariae boats, used to transport merchandise. In the fresco fragment exhibited here (Ambiente E) the boat on the left depicts probably the group of 'side Serapide and Demetra on the stern, whereas the one on the right presents a crowned character on the bow and, on the stern, a feminine figure fluctuating in the air. Between the two boats, a young boy (a cupid or Palaimon-Portunus) rides a dolphin. All around are depicted several fish incredibly casting their shadows on the sea. The ichthyic fauna, lifeless as in still life decoration, is detailed as in a scientific catalogue. For the most part the represented species live next to the coast or were bred by the Romans in the piscinae salsac or in ponds. It is possible to recognize the rock mullet (mullus sunnuletus) and the mud one (mullus barbatu4 the scorpion fish (scorpoena) the dentex (dentex dentex), the aguglia (belone agus) the dolphin (delphinus delphis) and the golden mullet (lire curate).
  • Roman Fresco with boats and marine life from the second quarter of the first century AD. (mosaico fauna marina da porto fluviale di san paolo), museo nazionale romano ( National Roman Museum), Rome, Italy. inv. 121462 .  <br />
The frescoes depict boats decorated as boats which went along the Tiber on festival days; their shape appears to be the caudicariae boats, used to transport merchandise. In the fresco fragment exhibited here (Ambiente E) the boat on the left depicts probably the group of 'side Serapide and Demetra on the stern, whereas the one on the right presents a crowned character on the bow and, on the stern, a feminine figure fluctuating in the air. Between the two boats, a young boy (a cupid or Palaimon-Portunus) rides a dolphin. All around are depicted several fish incredibly casting their shadows on the sea. The ichthyic fauna, lifeless as in still life decoration, is detailed as in a scientific catalogue. For the most part the represented species live next to the coast or were bred by the Romans in the piscinae salsac or in ponds. It is possible to recognize the rock mullet (mullus sunnuletus) and the mud one (mullus barbatu4 the scorpion fish (scorpoena) the dentex (dentex dentex), the aguglia (belone agus) the dolphin (delphinus delphis) and the golden mullet (lire curate).
  • Roman Fresco with boats and marine life from the second quarter of the first century AD. (mosaico fauna marina da porto fluviale di san paolo), museo nazionale romano ( National Roman Museum), Rome, Italy. inv. 121462 .  <br />
The frescoes depict boats decorated as boats which went along the Tiber on festival days; their shape appears to be the caudicariae boats, used to transport merchandise. In the fresco fragment exhibited here (Ambiente E) the boat on the left depicts probably the group of 'side Serapide and Demetra on the stern, whereas the one on the right presents a crowned character on the bow and, on the stern, a feminine figure fluctuating in the air. Between the two boats, a young boy (a cupid or Palaimon-Portunus) rides a dolphin. All around are depicted several fish incredibly casting their shadows on the sea. The ichthyic fauna, lifeless as in still life decoration, is detailed as in a scientific catalogue. For the most part the represented species live next to the coast or were bred by the Romans in the piscinae salsac or in ponds. It is possible to recognize the rock mullet (mullus sunnuletus) and the mud one (mullus barbatu4 the scorpion fish (scorpoena) the dentex (dentex dentex), the aguglia (belone agus) the dolphin (delphinus delphis) and the golden mullet (lire curate).
  • 2nd - 1st century BC Roman marble sculpture of Aphrodite (Venus), ‘Marine Venus' Type with a dolphin, copied from a Hellanistic Greek original,  inv 6296, Museum of Archaeology, Italy, grey background
  • Full length frontal view of 2nd - 1st century BC Roman marble sculpture of Aphrodite (Venus), ‘Marine Venus' Type with a dolphin, copied from a Hellanistic Greek original,  inv 6296, Museum of Archaeology, Italy
  • 2nd - 1st century BC Roman marble sculpture of Aphrodite (Venus), ‘Marine Venus' Type with a dolphin, copied from a Hellanistic Greek original,  inv 6296, Museum of Archaeology, Italy, grey art background
  • 2nd - 1st century BC Roman marble sculpture of Aphrodite (Venus), ‘Marine Venus' Type with a dolphin, copied from a Hellanistic Greek original,  inv 6296, Museum of Archaeology, Italy, black background
  • 2nd - 1st century BC Roman marble sculpture of Aphrodite (Venus), ‘Marine Venus' Type with a dolphin, copied from a Hellanistic Greek original,  inv 6296, Museum of Archaeology, Italy, white background
  • Black and white floor mosaic showing the marine or sea thiasos depicting Poseidon and his retinue.. From the area between the Milvian Bridge and  l'Acqua Acetosa in the locality Tor di Quinto. End of 2nd century AD. National Roman Museum, Rome, Italy
  • Black and white floor mosaic showing the marine or sea thiasos depicting Poseidon and his retinue.. From the area between the Milvian Bridge and  l'Acqua Acetosa in the locality Tor di Quinto. End of 2nd century AD. National Roman Museum, Rome, Italy
  • Black and white floor mosaic showing the marine or sea thiasos depicting Poseidon and his retinue.. From the area between the Milvian Bridge and  l'Acqua Acetosa in the locality Tor di Quinto. End of 2nd century AD. National Roman Museum, Rome, Italy
  • Black and white floor mosaic showing the marine or sea thiasos depicting Poseidon and his retinue.. From the area between the Milvian Bridge and  l'Acqua Acetosa in the locality Tor di Quinto. End of 2nd century AD. National Roman Museum, Rome, Italy
  • Photo of a Three handles "Palace Style" amphora with three large octopuses within a marines cape of rocks and seaweed. A mycenaean copy of a Minoan Marine Style.   Mycenae tomb 2, Greece. 15th century BC,  cat no: 6725, National Archaeological Museum, Athens.
  • Photo of a Three handles "Palace Style" amphora with three large octopuses within a marines cape of rocks and seaweed. A mycenaean copy of a Minoan Marine Style.   Mycenae tomb 2, Greece. 15th century BC,  cat no: 6725, National Archaeological Museum, Athens.
  • Photo of a Three handles "Palace Style" amphora with three large octopuses within a marines cape of rocks and seaweed. A mycenaean copy of a Minoan Marine Style.   Mycenae tomb 2, Greece. 15th century BC,  cat no: 6725, National Archaeological Museum, Athens.
  • Photo of a Three handles "Palace Style" amphora with three large octopuses within a marines cape of rocks and seaweed. A mycenaean copy of a Minoan Marine Style.   Mycenae tomb 2, Greece. 15th century BC,  cat no: 6725, National Archaeological Museum, Athens.
  • Christ's Entry into Jerusalem by Lope Marin in 1548 on the Gothic Puerta de Campanilla entrance door of the Cathedral of Seville, Spain
  • Christ's Entry into Jerusalem by Lope Marin in 1548 on the Gothic Puerta de Campanilla entrance door of the Cathedral of Seville, Spain
  • Christ's Entry into Jerusalem by Lope Marin in 1548 on the Gothic Puerta de Campanilla entrance door of the Cathedral of Seville, Spain
  • Christ's Entry into Jerusalem by Lope Marin in 1548 on the Gothic Puerta de Campanilla entrance door of the Cathedral of Seville, Spain
  • Christ's Entry into Jerusalem by Lope Marin in 1548 on the Gothic Puerta de Campanilla entrance door of the Cathedral of Seville, Spain
  • Christ's Entry into Jerusalem by Lope Marin in 1548 on the Gothic Puerta de Campanilla entrance door of the Cathedral of Seville, Spain
  • Christ's Entry into Jerusalem by Lope Marin in 1548 on the Gothic Puerta de Campanilla entrance door of the Cathedral of Seville, Spain
  • Christ's Entry into Jerusalem by Lope Marin in 1548 on the Gothic Puerta de Campanilla entrance door of the Cathedral of Seville, Spain
  • Christ's Entry into Jerusalem by Lope Marin in 1548 on the Gothic Puerta de Campanilla entrance door of the Cathedral of Seville, Spain
  • Christ's Entry into Jerusalem by Lope Marin in 1548 on the Gothic Puerta de Campanilla entrance door of the Cathedral of Seville, Spain
  • Christ's Entry into Jerusalem by Lope Marin in 1548 on the Gothic Puerta de Campanilla entrance door of the Cathedral of Seville, Spain
  • Christ's Entry into Jerusalem by Lope Marin in 1548 on the Gothic Puerta de Campanilla entrance door of the Cathedral of Seville, Spain
  • Christ's Entry into Jerusalem by Lope Marin in 1548 on the Gothic Puerta de Campanilla entrance door of the Cathedral of Seville, Spain
  • Christ's Entry into Jerusalem by Lope Marin in 1548 on the Gothic Puerta de Campanilla entrance door of the Cathedral of Seville, Spain
  • Christ's Entry into Jerusalem by Lope Marin in 1548 on the Gothic Puerta de Campanilla entrance door of the Cathedral of Seville, Spain
  • Photo of a Three handles "Palace Style" amphora with three large octopuses within a marines cape of rocks and seaweed. A mycenaean copy of a Minoan Marine Style.   Mycenae tomb 2, Greece. 15th century BC,  cat no: 6725, National Archaeological Museum, Athens.
  • Close up of a Roman Sebasteion relief  sculpture of a prisoner of  Emperor Claudius as God of sea and land,  Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
The Emperor as god Claudius strides forward in a divine epiphany, drapery billowing around his head. He receives a cornucopia with fruits of the earth from a figure emerging from the ground, anda ship’s steering oar from a marine tritoness with fish legs. The idea is clear: the god-emperor guarantees the prosperity of land and sea. The relief is a remarkable local visualisation - elevated and panegyrical - of the emperor’s role as a universal saviour and divine protector.
  • Close up of a Roman Sebasteion relief  sculpture of a prisoner of  Emperor Claudius as God of sea and land,  Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
The Emperor as god Claudius strides forward in a divine epiphany, drapery billowing around his head. He receives a cornucopia with fruits of the earth from a figure emerging from the ground, anda ship’s steering oar from a marine tritoness with fish legs. The idea is clear: the god-emperor guarantees the prosperity of land and sea. The relief is a remarkable local visualisation - elevated and panegyrical - of the emperor’s role as a universal saviour and divine protector.
  • Close up of a Roman Sebasteion relief  sculpture of Emperor Claudius as God of sea and land,  Aphrodisias Museum, Aphrodisias, Turkey.   Against a white background.<br />
<br />
The Emperor as god Claudius strides forward in a divine epiphany, drapery billowing around his head. He receives a cornucopia with fruits of the earth from a figure emerging from the ground, anda ship’s steering oar from a marine tritoness with fish legs. The idea is clear: the god-emperor guarantees the prosperity of land and sea. The relief is a remarkable local visualisation - elevated and panegyrical - of the emperor’s role as a universal saviour and divine protector.
  • Close up of a Roman Sebasteion relief  sculpture of Emperor Claudius as God of sea and land,  Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.<br />
<br />
The Emperor as god Claudius strides forward in a divine epiphany, drapery billowing around his head. He receives a cornucopia with fruits of the earth from a figure emerging from the ground, anda ship’s steering oar from a marine tritoness with fish legs. The idea is clear: the god-emperor guarantees the prosperity of land and sea. The relief is a remarkable local visualisation - elevated and panegyrical - of the emperor’s role as a universal saviour and divine protector.
  • Close up of a Roman Sebasteion relief  sculpture of Emperor Claudius as God of sea and land,  Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
The Emperor as god Claudius strides forward in a divine epiphany, drapery billowing around his head. He receives a cornucopia with fruits of the earth from a figure emerging from the ground, anda ship’s steering oar from a marine tritoness with fish legs. The idea is clear: the god-emperor guarantees the prosperity of land and sea. The relief is a remarkable local visualisation - elevated and panegyrical - of the emperor’s role as a universal saviour and divine protector.
  • Close up of a Roman Sebasteion relief  sculpture of Emperor Claudius as God of sea and land,  Aphrodisias Museum, Aphrodisias, Turkey.  Against an art background.<br />
<br />
The Emperor as god Claudius strides forward in a divine epiphany, drapery billowing around his head. He receives a cornucopia with fruits of the earth from a figure emerging from the ground, anda ship’s steering oar from a marine tritoness with fish legs. The idea is clear: the god-emperor guarantees the prosperity of land and sea. The relief is a remarkable local visualisation - elevated and panegyrical - of the emperor’s role as a universal saviour and divine protector.
  • Close up of a Roman Sebasteion relief  sculpture of Emperor Claudius as God of sea and land,  Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
The Emperor as god Claudius strides forward in a divine epiphany, drapery billowing around his head. He receives a cornucopia with fruits of the earth from a figure emerging from the ground, anda ship’s steering oar from a marine tritoness with fish legs. The idea is clear: the god-emperor guarantees the prosperity of land and sea. The relief is a remarkable local visualisation - elevated and panegyrical - of the emperor’s role as a universal saviour and divine protector.
  • Roman Sebasteion relief  sculpture of Emperor Claudius as God of sea and land,  Aphrodisias Museum, Aphrodisias, Turkey.   Against a white background.<br />
<br />
The Emperor as god Claudius strides forward in a divine epiphany, drapery billowing around his head. He receives a cornucopia with fruits of the earth from a figure emerging from the ground, anda ship’s steering oar from a marine tritoness with fish legs. The idea is clear: the god-emperor guarantees the prosperity of land and sea. The relief is a remarkable local visualisation - elevated and panegyrical - of the emperor’s role as a universal saviour and divine protector.
  • RomanSebasteion relief  sculpture of Emperor Claudius as God of sea and land,  Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.<br />
<br />
The Emperor as god Claudius strides forward in a divine epiphany, drapery billowing around his head. He receives a cornucopia with fruits of the earth from a figure emerging from the ground, anda ship’s steering oar from a marine tritoness with fish legs. The idea is clear: the god-emperor guarantees the prosperity of land and sea. The relief is a remarkable local visualisation - elevated and panegyrical - of the emperor’s role as a universal saviour and divine protector.
  • Roman Sebasteion relief  sculpture of Emperor Claudius as God of sea and land,  Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
The Emperor as god Claudius strides forward in a divine epiphany, drapery billowing around his head. He receives a cornucopia with fruits of the earth from a figure emerging from the ground, anda ship’s steering oar from a marine tritoness with fish legs. The idea is clear: the god-emperor guarantees the prosperity of land and sea. The relief is a remarkable local visualisation - elevated and panegyrical - of the emperor’s role as a universal saviour and divine protector.
  • Roman Sebasteion relief  sculpture of Emperor Claudius as God of sea and land,  Aphrodisias Museum, Aphrodisias, Turkey.  Against an art background.<br />
<br />
The Emperor as god Claudius strides forward in a divine epiphany, drapery billowing around his head. He receives a cornucopia with fruits of the earth from a figure emerging from the ground, anda ship’s steering oar from a marine tritoness with fish legs. The idea is clear: the god-emperor guarantees the prosperity of land and sea. The relief is a remarkable local visualisation - elevated and panegyrical - of the emperor’s role as a universal saviour and divine protector.
  • Roman Sebasteion relief  sculpture of Emperor Claudius as God of sea and land,  Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
The Emperor as god Claudius strides forward in a divine epiphany, drapery billowing around his head. He receives a cornucopia with fruits of the earth from a figure emerging from the ground, anda ship’s steering oar from a marine tritoness with fish legs. The idea is clear: the god-emperor guarantees the prosperity of land and sea. The relief is a remarkable local visualisation - elevated and panegyrical - of the emperor’s role as a universal saviour and divine protector.
  • Roman Sebasteion rrelief  sculpture of Emperor Claudius as God of sea and land,  Aphrodisias Museum, Aphrodisias, Turkey.   Against a white background.<br />
<br />
The Emperor as god Claudius strides forward in a divine epiphany, drapery billowing around his head. He receives a cornucopia with fruits of the earth from a figure emerging from the ground, anda ship’s steering oar from a marine tritoness with fish legs. The idea is clear: the god-emperor guarantees the prosperity of land and sea. The relief is a remarkable local visualisation - elevated and panegyrical - of the emperor’s role as a universal saviour and divine protector.
  • Roman Sebasteion rrelief  sculpture of Emperor Claudius as God of sea and land,  Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.<br />
<br />
The Emperor as god Claudius strides forward in a divine epiphany, drapery billowing around his head. He receives a cornucopia with fruits of the earth from a figure emerging from the ground, anda ship’s steering oar from a marine tritoness with fish legs. The idea is clear: the god-emperor guarantees the prosperity of land and sea. The relief is a remarkable local visualisation - elevated and panegyrical - of the emperor’s role as a universal saviour and divine protector.
  • Roman Sebasteion rrelief  sculpture of Emperor Claudius as God of sea and land,  Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
The Emperor as god Claudius strides forward in a divine epiphany, drapery billowing around his head. He receives a cornucopia with fruits of the earth from a figure emerging from the ground, anda ship’s steering oar from a marine tritoness with fish legs. The idea is clear: the god-emperor guarantees the prosperity of land and sea. The relief is a remarkable local visualisation - elevated and panegyrical - of the emperor’s role as a universal saviour and divine protector.
  • Roman Sebasteion rrelief  sculpture of Emperor Claudius as God of sea and land,  Aphrodisias Museum, Aphrodisias, Turkey.  Against an art background.<br />
<br />
The Emperor as god Claudius strides forward in a divine epiphany, drapery billowing around his head. He receives a cornucopia with fruits of the earth from a figure emerging from the ground, anda ship’s steering oar from a marine tritoness with fish legs. The idea is clear: the god-emperor guarantees the prosperity of land and sea. The relief is a remarkable local visualisation - elevated and panegyrical - of the emperor’s role as a universal saviour and divine protector.
  • Roman Sebasteion rrelief  sculpture of Emperor Claudius as God of sea and land,  Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
The Emperor as god Claudius strides forward in a divine epiphany, drapery billowing around his head. He receives a cornucopia with fruits of the earth from a figure emerging from the ground, anda ship’s steering oar from a marine tritoness with fish legs. The idea is clear: the god-emperor guarantees the prosperity of land and sea. The relief is a remarkable local visualisation - elevated and panegyrical - of the emperor’s role as a universal saviour and divine protector.
  • Close up detail picture of the Roman mosaics of the Diaeta of Arione used as a poetry and music room, room no 39 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Diaeta of Arione is a large room of the Villa Romana del Casale where the Domina ( mistress of the Villa) gathered with members of the family to listen to poetry and music in a private setting. The floor mosaic depicts scenes of the marine court of Arione.
  • Close up detail picture of the Roman mosaics of the Diaeta of Arione used as a poetry and music room, room no 39 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Diaeta of Arione is a large room of the Villa Romana del Casale where the Domina ( mistress of the Villa) gathered with members of the family to listen to poetry and music in a private setting. The floor mosaic depicts scenes of the marine court of Arione.
  • Close up detail picture of the Roman mosaics of the Diaeta of Arione used as a poetry and music room, room no 39 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Diaeta of Arione is a large room of the Villa Romana del Casale where the Domina ( mistress of the Villa) gathered with members of the family to listen to poetry and music in a private setting. The floor mosaic depicts scenes of the marine court of Arione.
  • Close up detail picture of the Roman mosaics of the Diaeta of Arione used as a poetry and music room, room no 39 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Diaeta of Arione is a large room of the Villa Romana del Casale where the Domina ( mistress of the Villa) gathered with members of the family to listen to poetry and music in a private setting. The floor mosaic depicts scenes of the marine court of Arione.
  • Close up detail picture of the Roman mosaics of the Diaeta of Arione used as a poetry and music room, room no 39 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Diaeta of Arione is a large room of the Villa Romana del Casale where the Domina ( mistress of the Villa) gathered with members of the family to listen to poetry and music in a private setting. The floor mosaic depicts scenes of the marine court of Arione.
  • Close up detail picture of the Roman mosaics of the Diaeta of Arione used as a poetry and music room, room no 39 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Diaeta of Arione is a large room of the Villa Romana del Casale where the Domina ( mistress of the Villa) gathered with members of the family to listen to poetry and music in a private setting. The floor mosaic depicts scenes of the marine court of Arione.
  • Close up detail picture of the Roman mosaics of the Diaeta of Arione used as a poetry and music room, room no 39 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Diaeta of Arione is a large room of the Villa Romana del Casale where the Domina ( mistress of the Villa) gathered with members of the family to listen to poetry and music in a private setting. The floor mosaic depicts scenes of the marine court of Arione.
  • Close up detail picture of the Roman mosaics of the Diaeta of Arione used as a poetry and music room, room no 39 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Diaeta of Arione is a large room of the Villa Romana del Casale where the Domina ( mistress of the Villa) gathered with members of the family to listen to poetry and music in a private setting. The floor mosaic depicts scenes of the marine court of Arione.
  • Close up detail picture of the Roman mosaics of the Room of Fishing Cupids depicting cupids fishing from boats, room no 24  at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Fishing cupids room was a dining room for guests of the Villa Romana del Casale. The mosaic floor represents a sea scene with four boats from which cupids are busy fishing. The mosaic depicts sea around the boats abounds with marine life. The mosaic show several Roman fishing techniques using nets, fishing lines, harpoon and fish traps.
  • Close up detail picture of the Roman mosaics of the Room of Fishing Cupids depicting cupids fishing from boats, room no 24  at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Fishing cupids room was a dining room for guests of the Villa Romana del Casale. The mosaic floor represents a sea scene with four boats from which cupids are busy fishing. The mosaic depicts sea around the boats abounds with marine life. The mosaic show several Roman fishing techniques using nets, fishing lines, harpoon and fish traps.
  • Close up detail picture of the Roman mosaics of the Room of Fishing Cupids depicting cupids fishing from boats using a fishing trap and a rod and line, room no 24  at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Fishing cupids room was a dining room for guests of the Villa Romana del Casale. The mosaic floor represents a sea scene with four boats from which cupids are busy fishing. The mosaic depicts sea around the boats abounds with marine life. The mosaic show several Roman fishing techniques using nets, fishing lines, harpoon and fish traps.
  • Close up detail picture of the Roman mosaics of the Room of Fishing Cupids depicting cupids fishing from boats using a fishing trap and a rod and line, room no 24  at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Fishing cupids room was a dining room for guests of the Villa Romana del Casale. The mosaic floor represents a sea scene with four boats from which cupids are busy fishing. The mosaic depicts sea around the boats abounds with marine life. The mosaic show several Roman fishing techniques using nets, fishing lines, harpoon and fish traps.
  • Close up detail picture of the Roman mosaics of the Room of Fishing Cupids depicting cupids a cupid swimming with a dolphin, room no 24  at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Fishing cupids room was a dining room for guests of the Villa Romana del Casale. The mosaic floor represents a sea scene with four boats from which cupids are busy fishing. The mosaic depicts sea around the boats abounds with marine life. The mosaic show several Roman fishing techniques using nets, fishing lines, harpoon and fish traps.
  • Close up detail picture of the Roman mosaics of the Room of Fishing Cupids depicting cupids fishing from boats using a harpoon and a rod and line, room no 24  at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Fishing cupids room was a dining room for guests of the Villa Romana del Casale. The mosaic floor represents a sea scene with four boats from which cupids are busy fishing. The mosaic depicts sea around the boats abounds with marine life. The mosaic show several Roman fishing techniques using nets, fishing lines, harpoon and fish traps.
  • Close up detail picture of the Roman mosaics of the Room of Fishing Cupids depicting cupids fishing from boats using a harpoon and a rod and line, room no 24  at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Fishing cupids room was a dining room for guests of the Villa Romana del Casale. The mosaic floor represents a sea scene with four boats from which cupids are busy fishing. The mosaic depicts sea around the boats abounds with marine life. The mosaic show several Roman fishing techniques using nets, fishing lines, harpoon and fish traps.
  • Roman Fresco with a boat decorated for a festival and marine life from the second quarter of the first century AD. (mosaico fauna marina da porto fluviale di san paolo), museo nazionale romano ( National Roman Museum), Rome, Italy. inv. 121462 .   <br />
The frescoes depict boats decorated as boats which went along the Tiber on festival days; their shape appears to be the caudicariae boats, used to transport merchandise. In the fresco fragment exhibited here (Ambiente E) the boat on the left depicts probably the group of 'side Serapide and Demetra on the stern, whereas the one on the right presents a crowned character on the bow and, on the stern, a feminine figure fluctuating in the air. Between the two boats, a young boy (a cupid or Palaimon-Portunus) rides a dolphin. All around are depicted several fish incredibly casting their shadows on the sea. The ichthyic fauna, lifeless as in still life decoration, is detailed as in a scientific catalogue. For the most part the represented species live next to the coast or were bred by the Romans in the piscinae salsac or in ponds. It is possible to recognize the rock mullet (mullus sunnuletus) and the mud one (mullus barbatu4 the scorpion fish (scorpoena) the dentex (dentex dentex), the aguglia (belone agus) the dolphin (delphinus delphis) and the golden mullet (lire curate).
  • Roman Fresco with a boat decorated for a festival and marine life from the second quarter of the first century AD. (mosaico fauna marina da porto fluviale di san paolo), museo nazionale romano ( National Roman Museum), Rome, Italy. inv. 121462 .   Against a white background.<br />
The frescoes depict boats decorated as boats which went along the Tiber on festival days; their shape appears to be the caudicariae boats, used to transport merchandise. In the fresco fragment exhibited here (Ambiente E) the boat on the left depicts probably the group of 'side Serapide and Demetra on the stern, whereas the one on the right presents a crowned character on the bow and, on the stern, a feminine figure fluctuating in the air. Between the two boats, a young boy (a cupid or Palaimon-Portunus) rides a dolphin. All around are depicted several fish incredibly casting their shadows on the sea. The ichthyic fauna, lifeless as in still life decoration, is detailed as in a scientific catalogue. For the most part the represented species live next to the coast or were bred by the Romans in the piscinae salsac or in ponds. It is possible to recognize the rock mullet (mullus sunnuletus) and the mud one (mullus barbatu4 the scorpion fish (scorpoena) the dentex (dentex dentex), the aguglia (belone agus) the dolphin (delphinus delphis) and the golden mullet (lire curate).
  • Roman Fresco with a boat decorated for a festival and marine life from the second quarter of the first century AD. (mosaico fauna marina da porto fluviale di san paolo), museo nazionale romano ( National Roman Museum), Rome, Italy. inv. 121462 .   <br />
The frescoes depict boats decorated as boats which went along the Tiber on festival days; their shape appears to be the caudicariae boats, used to transport merchandise. In the fresco fragment exhibited here (Ambiente E) the boat on the left depicts probably the group of 'side Serapide and Demetra on the stern, whereas the one on the right presents a crowned character on the bow and, on the stern, a feminine figure fluctuating in the air. Between the two boats, a young boy (a cupid or Palaimon-Portunus) rides a dolphin. All around are depicted several fish incredibly casting their shadows on the sea. The ichthyic fauna, lifeless as in still life decoration, is detailed as in a scientific catalogue. For the most part the represented species live next to the coast or were bred by the Romans in the piscinae salsac or in ponds. It is possible to recognize the rock mullet (mullus sunnuletus) and the mud one (mullus barbatu4 the scorpion fish (scorpoena) the dentex (dentex dentex), the aguglia (belone agus) the dolphin (delphinus delphis) and the golden mullet (lire curate).
  • Roman Fresco with a boat decorated for a festival and marine life from the second quarter of the first century AD. (mosaico fauna marina da porto fluviale di san paolo), museo nazionale romano ( National Roman Museum), Rome, Italy. inv. 121462 .
  • Roman Fresco with a boat decorated for a festival and marine life from the second quarter of the first century AD. (mosaico fauna marina da porto fluviale di san paolo), museo nazionale romano ( National Roman Museum), Rome, Italy. inv. 121462 .   <br />
The frescoes depict boats decorated as boats which went along the Tiber on festival days; their shape appears to be the caudicariae boats, used to transport merchandise. In the fresco fragment exhibited here (Ambiente E) the boat on the left depicts probably the group of 'side Serapide and Demetra on the stern, whereas the one on the right presents a crowned character on the bow and, on the stern, a feminine figure fluctuating in the air. Between the two boats, a young boy (a cupid or Palaimon-Portunus) rides a dolphin. All around are depicted several fish incredibly casting their shadows on the sea. The ichthyic fauna, lifeless as in still life decoration, is detailed as in a scientific catalogue. For the most part the represented species live next to the coast or were bred by the Romans in the piscinae salsac or in ponds. It is possible to recognize the rock mullet (mullus sunnuletus) and the mud one (mullus barbatu4 the scorpion fish (scorpoena) the dentex (dentex dentex), the aguglia (belone agus) the dolphin (delphinus delphis) and the golden mullet (lire curate).
  • Roman Fresco with a boat decorated for a festival and marine life from the second quarter of the first century AD. (mosaico fauna marina da porto fluviale di san paolo), museo nazionale romano ( National Roman Museum), Rome, Italy. inv. 121462 .    Against a black background.<br />
The frescoes depict boats decorated as boats which went along the Tiber on festival days; their shape appears to be the caudicariae boats, used to transport merchandise. In the fresco fragment exhibited here (Ambiente E) the boat on the left depicts probably the group of 'side Serapide and Demetra on the stern, whereas the one on the right presents a crowned character on the bow and, on the stern, a feminine figure fluctuating in the air. Between the two boats, a young boy (a cupid or Palaimon-Portunus) rides a dolphin. All around are depicted several fish incredibly casting their shadows on the sea. The ichthyic fauna, lifeless as in still life decoration, is detailed as in a scientific catalogue. For the most part the represented species live next to the coast or were bred by the Romans in the piscinae salsac or in ponds. It is possible to recognize the rock mullet (mullus sunnuletus) and the mud one (mullus barbatu4 the scorpion fish (scorpoena) the dentex (dentex dentex), the aguglia (belone agus) the dolphin (delphinus delphis) and the golden mullet (lire curate).
  • Roman Fresco with a boat decorated for a festival and marine life from the second quarter of the first century AD. (mosaico fauna marina da porto fluviale di san paolo), museo nazionale romano ( National Roman Museum), Rome, Italy. inv. 121462 .    Against a grey background.<br />
The frescoes depict boats decorated as boats which went along the Tiber on festival days; their shape appears to be the caudicariae boats, used to transport merchandise. In the fresco fragment exhibited here (Ambiente E) the boat on the left depicts probably the group of 'side Serapide and Demetra on the stern, whereas the one on the right presents a crowned character on the bow and, on the stern, a feminine figure fluctuating in the air. Between the two boats, a young boy (a cupid or Palaimon-Portunus) rides a dolphin. All around are depicted several fish incredibly casting their shadows on the sea. The ichthyic fauna, lifeless as in still life decoration, is detailed as in a scientific catalogue. For the most part the represented species live next to the coast or were bred by the Romans in the piscinae salsac or in ponds. It is possible to recognize the rock mullet (mullus sunnuletus) and the mud one (mullus barbatu4 the scorpion fish (scorpoena) the dentex (dentex dentex), the aguglia (belone agus) the dolphin (delphinus delphis) and the golden mullet (lire curate).
  • Roman Fresco with a boat decorated for a festival and marine life from the second quarter of the first century AD. (mosaico fauna marina da porto fluviale di san paolo), museo nazionale romano ( National Roman Museum), Rome, Italy. inv. 121462 .   <br />
The frescoes depict boats decorated as boats which went along the Tiber on festival days; their shape appears to be the caudicariae boats, used to transport merchandise. In the fresco fragment exhibited here (Ambiente E) the boat on the left depicts probably the group of 'side Serapide and Demetra on the stern, whereas the one on the right presents a crowned character on the bow and, on the stern, a feminine figure fluctuating in the air. Between the two boats, a young boy (a cupid or Palaimon-Portunus) rides a dolphin. All around are depicted several fish incredibly casting their shadows on the sea. The ichthyic fauna, lifeless as in still life decoration, is detailed as in a scientific catalogue. For the most part the represented species live next to the coast or were bred by the Romans in the piscinae salsac or in ponds. It is possible to recognize the rock mullet (mullus sunnuletus) and the mud one (mullus barbatu4 the scorpion fish (scorpoena) the dentex (dentex dentex), the aguglia (belone agus) the dolphin (delphinus delphis) and the golden mullet (lire curate).
  • Roman Fresco with a boat decorated for a festival and marine life from the second quarter of the first century AD. (mosaico fauna marina da porto fluviale di san paolo), museo nazionale romano ( National Roman Museum), Rome, Italy. inv. 121462 .   Against an art background.<br />
The frescoes depict boats decorated as boats which went along the Tiber on festival days; their shape appears to be the caudicariae boats, used to transport merchandise. In the fresco fragment exhibited here (Ambiente E) the boat on the left depicts probably the group of 'side Serapide and Demetra on the stern, whereas the one on the right presents a crowned character on the bow and, on the stern, a feminine figure fluctuating in the air. Between the two boats, a young boy (a cupid or Palaimon-Portunus) rides a dolphin. All around are depicted several fish incredibly casting their shadows on the sea. The ichthyic fauna, lifeless as in still life decoration, is detailed as in a scientific catalogue. For the most part the represented species live next to the coast or were bred by the Romans in the piscinae salsac or in ponds. It is possible to recognize the rock mullet (mullus sunnuletus) and the mud one (mullus barbatu4 the scorpion fish (scorpoena) the dentex (dentex dentex), the aguglia (belone agus) the dolphin (delphinus delphis) and the golden mullet (lire curate).
  • Black and white floor mosaic showing the marine or sea thiasos depicting Poseidon and his retinue.. From the area between the Milvian Bridge and  l'Acqua Acetosa in the locality Tor di Quinto. End of 2nd century AD. National Roman Museum, Rome, Italy
  • Black and white floor mosaic showing the marine or sea thiasos depicting Poseidon and his retinue.. From the area between the Milvian Bridge and  l'Acqua Acetosa in the locality Tor di Quinto. End of 2nd century AD. National Roman Museum, Rome, Italy
  • Black and white floor mosaic showing the marine or sea thiasos depicting Poseidon and his retinue.. From the area between the Milvian Bridge and  l'Acqua Acetosa in the locality Tor di Quinto. End of 2nd century AD. National Roman Museum, Rome, Italy
  • Black and white floor mosaic showing the marine or sea thiasos depicting Poseidon and his retinue.. From the area between the Milvian Bridge and  l'Acqua Acetosa in the locality Tor di Quinto. End of 2nd century AD. National Roman Museum, Rome, Italy
  • Black and white floor mosaic showing the marine or sea thiasos depicting Poseidon and his retinue.. From the area between the Milvian Bridge and  l'Acqua Acetosa in the locality Tor di Quinto. End of 2nd century AD. 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
  • 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
  • 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
  • Three handled Mycenaean  Palace Style amphora with three large octopuses within a marinescape of rocks and seaweed. A Mycenaean imitation of Minoan Marine Style. From the Mycenaean cemetery of Argive Prosymna, tomb 2, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Three handled Mycenaean  Palace Style amphora with three large octopuses within a marinescape of rocks and seaweed. A Mycenaean imitation of Minoan Marine Style. From the Mycenaean cemetery of Argive Prosymna, tomb 2, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Three handled Mycenaean  Palace Style amphora with three large octopuses within a marinescape of rocks and seaweed. A Mycenaean imitation of Minoan Marine Style. From the Mycenaean cemetery of Argive Prosymna, tomb 2, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Three handled Mycenaean  Palace Style amphora with three large octopuses within a marinescape of rocks and seaweed. A Mycenaean imitation of Minoan Marine Style. From the Mycenaean cemetery of Argive Prosymna, tomb 2, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Hadrian's Villa ( Villa Adriana ) 2nd century AD - The Maritime Theatre (  Teatro Marittimo ), so called because of its shape and marine architectural decorations such as Tritons, is at the centre of Hadrian's Villa complex.  At its centre of the Teatro Marittimo is a circular islet surrounded  by a water filled moat which in turn is surrounded by a circular barrel vaulted portico with 40 Ionic columns. The circular building on the islet consisted of rooms that surrounded a central peristyle which was probably a retreat for Hadrian to escape to. Villa Adriana, Tivoli, Italy. A UNESCO World Heritage Site.
  • Hadrian's Villa ( Villa Adriana ) 2nd century AD - The Maritime Theatre (  Teatro Marittimo ), so called because of its shape and marine architectural decorations such as Tritons, is at the centre of Hadrian's Villa complex.  At its centre of the Teatro Marittimo is a circular islet surrounded  by a water filled moat which in turn is surrounded by a circular barrel vaulted portico with 40 Ionic columns. The circular building on the islet consisted of rooms that surrounded a central peristyle which was probably a retreat for Hadrian to escape to. Villa Adriana, Tivoli, Italy. A UNESCO World Heritage Site.
  • Hadrian's Villa ( Villa Adriana ) 2nd century AD - The Maritime Theatre (  Teatro Marittimo ), so called because of its shape and marine architectural decorations such as Tritons, is at the centre of Hadrian's Villa complex.  At its centre of the Teatro Marittimo is a circular islet surrounded  by a water filled moat which in turn is surrounded by a circular barrel vaulted portico with 40 Ionic columns. The circular building on the islet consisted of rooms that surrounded a central peristyle which was probably a retreat for Hadrian to escape to. Villa Adriana, Tivoli, Italy. A UNESCO World Heritage Site.
  • Hadrian's Villa ( Villa Adriana ) 2nd century AD - The Maritime Theatre (  Teatro Marittimo ), so called because of its shape and marine architectural decorations such as Tritons, is at the centre of Hadrian's Villa complex.  At its centre of the Teatro Marittimo is a circular islet surrounded  by a water filled moat which in turn is surrounded by a circular barrel vaulted portico with 40 Ionic columns. The circular building on the islet consisted of rooms that surrounded a central peristyle which was probably a retreat for Hadrian to escape to. Villa Adriana, Tivoli, Italy. A UNESCO World Heritage Site.
  • Hadrian's Villa ( Villa Adriana ) 2nd century AD - The Maritime Theatre (  Teatro Marittimo ), so called because of its shape and marine architectural decorations such as Tritons, is at the centre of Hadrian's Villa complex.  At its centre of the Teatro Marittimo is a circular islet surrounded  by a water filled moat which in turn is surrounded by a circular barrel vaulted portico with 40 Ionic columns. The circular building on the islet consisted of rooms that surrounded a central peristyle which was probably a retreat for Hadrian to escape to. Villa Adriana, Tivoli, Italy. A UNESCO World Heritage Site.
  • Hadrian's Villa ( Villa Adriana ) 2nd century AD - The Maritime Theatre (  Teatro Marittimo ), so called because of its shape and marine architectural decorations such as Tritons, is at the centre of Hadrian's Villa complex.  At its centre of the Teatro Marittimo is a circular islet surrounded  by a water filled moat which in turn is surrounded by a circular barrel vaulted portico with 40 Ionic columns. The circular building on the islet consisted of rooms that surrounded a central peristyle which was probably a retreat for Hadrian to escape to. Villa Adriana, Tivoli, Italy. A UNESCO World Heritage Site.
  • Hadrian's Villa ( Villa Adriana ) 2nd century AD - The Maritime Theatre (  Teatro Marittimo ), so called because of its shape and marine architectural decorations such as Tritons, is at the centre of Hadrian's Villa complex.  At its centre of the Teatro Marittimo is a circular islet surrounded  by a water filled moat which in turn is surrounded by a circular barrel vaulted portico with 40 Ionic columns. The circular building on the islet consisted of rooms that surrounded a central peristyle which was probably a retreat for Hadrian to escape to. Villa Adriana, Tivoli, Italy. A UNESCO World Heritage Site.
  • Hadrian's Villa ( Villa Adriana ) 2nd century AD - The Maritime Theatre (  Teatro Marittimo ), so called because of its shape and marine architectural decorations such as Tritons, is at the centre of Hadrian's Villa complex.  At its centre of the Teatro Marittimo is a circular islet surrounded  by a water filled moat which in turn is surrounded by a circular barrel vaulted portico with 40 Ionic columns. The circular building on the islet consisted of rooms that surrounded a central peristyle which was probably a retreat for Hadrian to escape to. Villa Adriana, Tivoli, Italy. A UNESCO World Heritage Site.
  • Hadrian's Villa ( Villa Adriana ) 2nd century AD - The Maritime Theatre (  Teatro Marittimo ), so called because of its shape and marine architectural decorations such as Tritons, is at the centre of Hadrian's Villa complex.  At its centre of the Teatro Marittimo is a circular islet surrounded  by a water filled moat which in turn is surrounded by a circular barrel vaulted portico with 40 Ionic columns. The circular building on the islet consisted of rooms that surrounded a central peristyle which was probably a retreat for Hadrian to escape to. Villa Adriana, Tivoli, Italy. A UNESCO World Heritage Site.
  • Hadrian's Villa ( Villa Adriana ) 2nd century AD - The Maritime Theatre (  Teatro Marittimo ), so called because of its shape and marine architectural decorations such as Tritons, is at the centre of Hadrian's Villa complex.  At its centre of the Teatro Marittimo is a circular islet surrounded  by a water filled moat which in turn is surrounded by a circular barrel vaulted portico with 40 Ionic columns. The circular building on the islet consisted of rooms that surrounded a central peristyle which was probably a retreat for Hadrian to escape to. Villa Adriana, Tivoli, Italy. A UNESCO World Heritage Site.
  • Hadrian's Villa ( Villa Adriana ) 2nd century AD - The Maritime Theatre (  Teatro Marittimo ), so called because of its shape and marine architectural decorations such as Tritons, is at the centre of Hadrian's Villa complex.  At its centre of the Teatro Marittimo is a circular islet surrounded  by a water filled moat which in turn is surrounded by a circular barrel vaulted portico with 40 Ionic columns. The circular building on the islet consisted of rooms that surrounded a central peristyle which was probably a retreat for Hadrian to escape to. Villa Adriana, Tivoli, Italy. A UNESCO World Heritage Site.
  • Hadrian's Villa ( Villa Adriana ) 2nd century AD - The Maritime Theatre (  Teatro Marittimo ), so called because of its shape and marine architectural decorations such as Tritons, is at the centre of Hadrian's Villa complex.  At its centre of the Teatro Marittimo is a circular islet surrounded  by a water filled moat which in turn is surrounded by a circular barrel vaulted portico with 40 Ionic columns. The circular building on the islet consisted of rooms that surrounded a central peristyle which was probably a retreat for Hadrian to escape to. Villa Adriana, Tivoli, Italy. A UNESCO World Heritage Site.
  • Hadrian's Villa ( Villa Adriana ) 2nd century AD - The Maritime Theatre (  Teatro Marittimo ), so called because of its shape and marine architectural decorations such as Tritons, is at the centre of Hadrian's Villa complex.  At its centre of the Teatro Marittimo is a circular islet surrounded  by a water filled moat which in turn is surrounded by a circular barrel vaulted portico with 40 Ionic columns. The circular building on the islet consisted of rooms that surrounded a central peristyle which was probably a retreat for Hadrian to escape to. Villa Adriana, Tivoli, Italy. A UNESCO World Heritage Site.
  • Hadrian's Villa ( Villa Adriana ) 2nd century AD - The Maritime Theatre (  Teatro Marittimo ), so called because of its shape and marine architectural decorations such as Tritons, is at the centre of Hadrian's Villa complex.  At its centre of the Teatro Marittimo is a circular islet surrounded  by a water filled moat which in turn is surrounded by a circular barrel vaulted portico with 40 Ionic columns. The circular building on the islet consisted of rooms that surrounded a central peristyle which was probably a retreat for Hadrian to escape to. Villa Adriana, Tivoli, Italy. A UNESCO World Heritage Site.
  • Hadrian's Villa ( Villa Adriana ) 2nd century AD - The Maritime Theatre (  Teatro Marittimo ), so called because of its shape and marine architectural decorations such as Tritons, is at the centre of Hadrian's Villa complex.  At its centre of the Teatro Marittimo is a circular islet surrounded  by a water filled moat which in turn is surrounded by a circular barrel vaulted portico with 40 Ionic columns. The circular building on the islet consisted of rooms that surrounded a central peristyle which was probably a retreat for Hadrian to escape to. Villa Adriana, Tivoli, Italy. A UNESCO World Heritage Site.
  • Hadrian's Villa ( Villa Adriana ) 2nd century AD - The Maritime Theatre (  Teatro Marittimo ), so called because of its shape and marine architectural decorations such as Tritons, is at the centre of Hadrian's Villa complex.  At its centre of the Teatro Marittimo is a circular islet surrounded  by a water filled moat which in turn is surrounded by a circular barrel vaulted portico with 40 Ionic columns. The circular building on the islet consisted of rooms that surrounded a central peristyle which was probably a retreat for Hadrian to escape to. Villa Adriana, Tivoli, Italy. A UNESCO World Heritage Site.
  • Hadrian's Villa ( Villa Adriana ) 2nd century AD - The Maritime Theatre (  Teatro Marittimo ), so called because of its shape and marine architectural decorations such as Tritons, is at the centre of Hadrian's Villa complex.  At its centre of the Teatro Marittimo is a circular islet surrounded  by a water filled moat which in turn is surrounded by a circular barrel vaulted portico with 40 Ionic columns. The circular building on the islet consisted of rooms that surrounded a central peristyle which was probably a retreat for Hadrian to escape to. Villa Adriana, Tivoli, Italy. A UNESCO World Heritage Site.
  • Hadrian's Villa ( Villa Adriana ) 2nd century AD - The Maritime Theatre (  Teatro Marittimo ), so called because of its shape and marine architectural decorations such as Tritons, is at the centre of Hadrian's Villa complex.  At its centre of the Teatro Marittimo is a circular islet surrounded  by a water filled moat which in turn is surrounded by a circular barrel vaulted portico with 40 Ionic columns. The circular building on the islet consisted of rooms that surrounded a central peristyle which was probably a retreat for Hadrian to escape to. Villa Adriana, Tivoli, Italy. A UNESCO World Heritage Site.
  • Hadrian's Villa ( Villa Adriana ) 2nd century AD - The Maritime Theatre (  Teatro Marittimo ), so called because of its shape and marine architectural decorations such as Tritons, is at the centre of Hadrian's Villa complex.  At its centre of the Teatro Marittimo is a circular islet surrounded  by a water filled moat which in turn is surrounded by a circular barrel vaulted portico with 40 Ionic columns. The circular building on the islet consisted of rooms that surrounded a central peristyle which was probably a retreat for Hadrian to escape to. Villa Adriana, Tivoli, Italy. A UNESCO World Heritage Site.
  • Hadrian's Villa ( Villa Adriana ) 2nd century AD - The Maritime Theatre (  Teatro Marittimo ), so called because of its shape and marine architectural decorations such as Tritons, is at the centre of Hadrian's Villa complex.  At its centre of the Teatro Marittimo is a circular islet surrounded  by a water filled moat which in turn is surrounded by a circular barrel vaulted portico with 40 Ionic columns. The circular building on the islet consisted of rooms that surrounded a central peristyle which was probably a retreat for Hadrian to escape to. Villa Adriana, Tivoli, Italy. A UNESCO World Heritage Site.
  • Hadrian's Villa ( Villa Adriana ) 2nd century AD - The Maritime Theatre (  Teatro Marittimo ), so called because of its shape and marine architectural decorations such as Tritons, is at the centre of Hadrian's Villa complex.  At its centre of the Teatro Marittimo is a circular islet surrounded  by a water filled moat which in turn is surrounded by a circular barrel vaulted portico with 40 Ionic columns. The circular building on the islet consisted of rooms that surrounded a central peristyle which was probably a retreat for Hadrian to escape to. Villa Adriana, Tivoli, Italy. A UNESCO World Heritage Site.
  • Hadrian's Villa ( Villa Adriana ) 2nd century AD - The Maritime Theatre (  Teatro Marittimo ), so called because of its shape and marine architectural decorations such as Tritons, is at the centre of Hadrian's Villa complex.  At its centre of the Teatro Marittimo is a circular islet surrounded  by a water filled moat which in turn is surrounded by a circular barrel vaulted portico with 40 Ionic columns. The circular building on the islet consisted of rooms that surrounded a central peristyle which was probably a retreat for Hadrian to escape to. Villa Adriana, Tivoli, Italy. A UNESCO World Heritage Site.
  • Hadrian's Villa ( Villa Adriana ) 2nd century AD - The Maritime Theatre (  Teatro Marittimo ), so called because of its shape and marine architectural decorations such as Tritons, is at the centre of Hadrian's Villa complex.  At its centre of the Teatro Marittimo is a circular islet surrounded  by a water filled moat which in turn is surrounded by a circular barrel vaulted portico with 40 Ionic columns. The circular building on the islet consisted of rooms that surrounded a central peristyle which was probably a retreat for Hadrian to escape to. Villa Adriana, Tivoli, Italy. A UNESCO World Heritage Site.
  • Hadrian's Villa ( Villa Adriana ) 2nd century AD - The Maritime Theatre (  Teatro Marittimo ), so called because of its shape and marine architectural decorations such as Tritons, is at the centre of Hadrian's Villa complex.  At its centre of the Teatro Marittimo is a circular islet surrounded  by a water filled moat which in turn is surrounded by a circular barrel vaulted portico with 40 Ionic columns. The circular building on the islet consisted of rooms that surrounded a central peristyle which was probably a retreat for Hadrian to escape to. Villa Adriana, Tivoli, Italy. A UNESCO World Heritage Site.
  • Hadrian's Villa ( Villa Adriana ) 2nd century AD - The Maritime Theatre (  Teatro Marittimo ), so called because of its shape and marine architectural decorations such as Tritons, is at the centre of Hadrian's Villa complex.  At its centre of the Teatro Marittimo is a circular islet surrounded  by a water filled moat which in turn is surrounded by a circular barrel vaulted portico with 40 Ionic columns. The circular building on the islet consisted of rooms that surrounded a central peristyle which was probably a retreat for Hadrian to escape to. Villa Adriana, Tivoli, Italy. A UNESCO World Heritage Site.
  • Hadrian's Villa ( Villa Adriana ) 2nd century AD - The Maritime Theatre (  Teatro Marittimo ), so called because of its shape and marine architectural decorations such as Tritons, is at the centre of Hadrian's Villa complex.  At its centre of the Teatro Marittimo is a circular islet surrounded  by a water filled moat which in turn is surrounded by a circular barrel vaulted portico with 40 Ionic columns. The circular building on the islet consisted of rooms that surrounded a central peristyle which was probably a retreat for Hadrian to escape to. Villa Adriana, Tivoli, Italy. A UNESCO World Heritage Site.
  • Hadrian's Villa ( Villa Adriana ) 2nd century AD - The Maritime Theatre (  Teatro Marittimo ), so called because of its shape and marine architectural decorations such as Tritons, is at the centre of Hadrian's Villa complex.  At its centre of the Teatro Marittimo is a circular islet surrounded  by a water filled moat which in turn is surrounded by a circular barrel vaulted portico with 40 Ionic columns. The circular building on the islet consisted of rooms that surrounded a central peristyle which was probably a retreat for Hadrian to escape to. Villa Adriana, Tivoli, Italy. A UNESCO World Heritage Site.
  • Hadrian's Villa ( Villa Adriana ) 2nd century AD - The Maritime Theatre (  Teatro Marittimo ), so called because of its shape and marine architectural decorations such as Tritons, is at the centre of Hadrian's Villa complex.  At its centre of the Teatro Marittimo is a circular islet surrounded  by a water filled moat which in turn is surrounded by a circular barrel vaulted portico with 40 Ionic columns. The circular building on the islet consisted of rooms that surrounded a central peristyle which was probably a retreat for Hadrian to escape to. Villa Adriana, Tivoli, Italy. A UNESCO World Heritage Site.
  • Hadrian's Villa ( Villa Adriana ) 2nd century AD - The Maritime Theatre (  Teatro Marittimo ), so called because of its shape and marine architectural decorations such as Tritons, is at the centre of Hadrian's Villa complex.  At its centre of the Teatro Marittimo is a circular islet surrounded  by a water filled moat which in turn is surrounded by a circular barrel vaulted portico with 40 Ionic columns. The circular building on the islet consisted of rooms that surrounded a central peristyle which was probably a retreat for Hadrian to escape to. Villa Adriana, Tivoli, Italy. A UNESCO World Heritage Site.
  • Hadrian's Villa ( Villa Adriana ) 2nd century AD - The Maritime Theatre (  Teatro Marittimo ), so called because of its shape and marine architectural decorations such as Tritons, is at the centre of Hadrian's Villa complex.  At its centre of the Teatro Marittimo is a circular islet surrounded  by a water filled moat which in turn is surrounded by a circular barrel vaulted portico with 40 Ionic columns. The circular building on the islet consisted of rooms that surrounded a central peristyle which was probably a retreat for Hadrian to escape to. Villa Adriana, Tivoli, Italy. A UNESCO World Heritage Site.
  • Hadrian's Villa ( Villa Adriana ) 2nd century AD - The Maritime Theatre (  Teatro Marittimo ), so called because of its shape and marine architectural decorations such as Tritons, is at the centre of Hadrian's Villa complex.  At its centre of the Teatro Marittimo is a circular islet surrounded  by a water filled moat which in turn is surrounded by a circular barrel vaulted portico with 40 Ionic columns. The circular building on the islet consisted of rooms that surrounded a central peristyle which was probably a retreat for Hadrian to escape to. Villa Adriana, Tivoli, Italy. A UNESCO World Heritage Site.
  • Three handled Mycenaean  Palace Style amphora with three large octopuses within a marinescape of rocks and seaweed. A Mycenaean imitation of Minoan Marine Style. From the Mycenaean cemetery of Argive Prosymna, tomb 2, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Three handled Mycenaean  Palace Style amphora with three large octopuses within a marinescape of rocks and seaweed. A Mycenaean imitation of Minoan Marine Style. From the Mycenaean cemetery of Argive Prosymna, tomb 2, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Top shot of Mulle Mariner on a pewter plate that is on a grey illustrated background

FunkyStock Picture Library Resource

Picture The Past

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FunkyStock Picture Library free resource for professional editorial picture editors, picture researchers, historical scholars and students and enthusiasts who want to browse some of the best pictures and images of historic countries, historical places, archaeological sites and the very best museum antiquities and artefacts exhibits in Europe and the Middle East.

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COUNTRIES

Browse travel pictures and images of historic places and archaeological sites of countries in Europe and the Middle East.

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HISTORICAL

Explore the past through pictures and images of its historic places. See the great palaces, castles and cities of antiquity as well as the great archaeological sites where our ancestors made history.

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MUSEUMS

Browse pictures & images the treasured artefacts and antiquities exhibits from the great Museum of Europe and the Middle East. See the art and objects made by our ancestors.

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