• Paris - France - Montmatre - Busker with guitar
  • Paris - France - Montmatre - Busker with guitar
  • Picture of a Roman mosaics design depicting Orpheus, god of music, playing his lyre surrounded by animals charmed by his music, from the ancient Roman city of Thysdrus, Bir Zid area. 2nd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • 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.
  • Painted colour verion of a Child and Goose - a 1st or 2nd century Roman sculpture from Villa des Quintilii on the Appia Way south of Rome, Italy. Three other similar versions of this Roman sculpture can be found in the Vatican, music and Geneva. The sculpture is attributed to Boethos who was a 2nd century sculptor.  The Braschi Collection, Inv No. MR168 (Usual No Ma 40), Louvre Museum, Paris.
  • Painted colour verion of a Child and Goose - a 1st or 2nd century Roman sculpture from Villa des Quintilii on the Appia Way south of Rome, Italy. Three other similar versions of this Roman sculpture can be found in the Vatican, music and Geneva. The sculpture is attributed to Boethos who was a 2nd century sculptor.  The Braschi Collection, Inv No. MR168 (Usual No Ma 40), Louvre Museum, Paris.
  • Painted colour verion of a Child and Goose - a 1st or 2nd century Roman sculpture from Villa des Quintilii on the Appia Way south of Rome, Italy. Three other similar versions of this Roman sculpture can be found in the Vatican, music and Geneva. The sculpture is attributed to Boethos who was a 2nd century sculptor.  The Braschi Collection, Inv No. MR168 (Usual No Ma 40), Louvre Museum, Paris.
  • Crucifiction fresco on the Church of San Vigilio in Pinzolo, part of its mural painting “the Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy.<br />
<br />
The mural continues for another 21 meters with a long procession with 40 figures. The Mural opens on its left with a skeleton on the throne, bearing a sceptre and the crown and playing a bagpipe. These skeletons are playing the music which is the backdrop to “Dance of Death” ( Danza macabra ) and suggests that they are playing with our fate on earth.<br />
<br />
 To the right of the skeletons playing music is a depiction of the crucification. Christ is depicted on the cross with an arrow in him that has been fired by a skeleton with a bow. This suggests that because Christ was a man he suffered the fate of death as we all will.
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy.<br />
<br />
The mural continues for another 21 meters with a long procession with 40 figures. The Mural opens on its left with a skeleton on the throne, bearing a sceptre and the crown and playing a bagpipe. These skeletons are playing the music which is the backdrop to “Dance of Death” ( Danza macabra ) and suggests that they are playing with our fate on earth.<br />
<br />
 To the right of the skeletons playing music is a depiction of the crucification. Christ is depicted on the cross with an arrow in him that has been fired by a skeleton with a bow. This suggests that because Christ was a man he suffered the fate of death as we all will.
  • Crucifiction fresco on the Church of San Vigilio in Pinzolo, part of its mural painting “the Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy.<br />
<br />
The mural continues for another 21 meters with a long procession with 40 figures.<br />
<br />
The Mural opens on its left with a skeleton on the throne, bearing a sceptre and the crown and playing a bagpipe. These skeletons are playing the music which is the backdrop to “Dance of Death” ( Danza macabra ) and suggests that they are playing with our fate on earth.<br />
<br />
 To the right of the skeletons playing music is a depiction of the crucification. Christ is depicted on the cross with an arrow in him that has been fired by a skeleton with a bow. This suggests that because Christ was a man he suffered the fate of death as we all will.<br />
After Christ is a Pope also pierced by a spear, as are all the human figures in the mural.
  • Roman fresco wall painting from the Sacrarium of the Temple of Isis in Pompeii depicting the Egyptian god Bes, God of war but also childbirth and the home, and was associated with sexuality, humour, music and dancing, North wall of Sacrarium, Naples National Archaeological Museum , inv 1.72 , Naples National Archaeological Museum , grey background
  • Roman fresco wall painting from the Sacrarium of the Temple of Isis in Pompeii depicting the Egyptian god Bes, God of war but also childbirth and the home, and was associated with sexuality, humour, music and dancing, North wall of Sacrarium, Naples National Archaeological Museum , inv 1.72 , Naples National Archaeological Museum , art background
  • Roman fresco wall painting from the Sacrarium of the Temple of Isis in Pompeii depicting the Egyptian god Bes, God of war but also childbirth and the home, and was associated with sexuality, humour, music and dancing, North wall of Sacrarium, Naples National Archaeological Museum , inv 1.72 , Naples National Archaeological Museum black background
  • Roman fresco wall painting from the Sacrarium of the Temple of Isis in Pompeii depicting the Egyptian god Bes, God of war but also childbirth and the home, and was associated with sexuality, humour, music and dancing, North wall of Sacrarium, Naples National Archaeological Museum , inv 1.72 , Naples National Archaeological Museum , grey art background
  • Marble Roman Statue of the Muse of Music ( Euterpe ) playing the lyre. , 2nd cent. AD, from Miletus (Balat, Soke ). Istanbul Archaeological museum Inv 2002 T.  Cat. Mendel 116
  • Marble Roman Statue of the Muse of Music ( Euterpe ) playing the lyre. , 2nd cent. AD, from Miletus (Balat, Soke ). Istanbul Archaeological museum Inv 2002 T.  Cat. Mendel 116
  • Child and Goose - a 1st or 2nd century Roman sculpture from Villa des Quintilii on the Appia Way south of Rome, Italy. Three other similar versions of this Roman sculpture can be found in the Vatican, music and Geneva. The sculpture is attributed to Boethos who was a 2nd century sculptor.  The Braschi Collection, Inv No. MR168 (Usual No Ma 40), Louvre Museum, Paris.
  • Child and Goose - a 1st or 2nd century Roman sculpture from Villa des Quintilii on the Appia Way south of Rome, Italy. Three other similar versions of this Roman sculpture can be found in the Vatican, music and Geneva. The sculpture is attributed to Boethos who was a 2nd century sculptor.  The Braschi Collection, Inv No. MR168 (Usual No Ma 40), Louvre Museum, Paris.
  • Child and Goose - a 1st or 2nd century Roman sculpture from Villa des Quintilii on the Appia Way south of Rome, Italy. Three other similar versions of this Roman sculpture can be found in the Vatican, music and Geneva. The sculpture is attributed to Boethos who was a 2nd century sculptor.  The Braschi Collection, Inv No. MR168 (Usual No Ma 40), Louvre Museum, Paris.
  • Child and Goose - a 1st or 2nd century Roman sculpture from Villa des Quintilii on the Appia Way south of Rome, Italy. Three other similar versions of this Roman sculpture can be found in the Vatican, music and Geneva. The sculpture is attributed to Boethos who was a 2nd century sculptor.  The Braschi Collection, Inv No. MR168 (Usual No Ma 40), Louvre Museum, Paris.
  • 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.
  • Painted colour verion of a Child and Goose - a 1st or 2nd century Roman sculpture from Villa des Quintilii on the Appia Way south of Rome, Italy. Three other similar versions of this Roman sculpture can be found in the Vatican, music and Geneva. The sculpture is attributed to Boethos who was a 2nd century sculptor.  The Braschi Collection, Inv No. MR168 (Usual No Ma 40), Louvre Museum, Paris.
  • Painted colour verion of a Child and Goose - a 1st or 2nd century Roman sculpture from Villa des Quintilii on the Appia Way south of Rome, Italy. Three other similar versions of this Roman sculpture can be found in the Vatican, music and Geneva. The sculpture is attributed to Boethos who was a 2nd century sculptor.  The Braschi Collection, Inv No. MR168 (Usual No Ma 40), Louvre Museum, Paris.
  • Crucifiction fresco on the Church of San Vigilio in Pinzolo, part of its mural painting “the Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy.<br />
<br />
The mural continues for another 21 meters with a long procession with 40 figures. The Mural opens on its left with a skeleton on the throne, bearing a sceptre and the crown and playing a bagpipe. These skeletons are playing the music which is the backdrop to “Dance of Death” ( Danza macabra ) and suggests that they are playing with our fate on earth.<br />
<br />
 To the right of the skeletons playing music is a depiction of the crucification. Christ is depicted on the cross with an arrow in him that has been fired by a skeleton with a bow. This suggests that because Christ was a man he suffered the fate of death as we all will.
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy.<br />
<br />
The Mural opens on its left with a skeleton on the throne, bearing a sceptre and the crown and playing a bagpipe. These skeletons are playing the music which is the backdrop to “Dance of Death” ( Danza macabra ) and suggests that they are playing with our fate on earth. <br />
<br />
The mural continues for another 21 meters with a long procession with 40 figures. To the right of the skeletons playing music is a depiction of the crucification. Christ is depicted on the cross with an arrow in him that has been fired by a skeleton with a bow. This suggests that because Christ was a man he suffered the fate of death as we all will. After Christ is a Pope also pierced by a spear, as are all the human figures in the mural. Next to the pope is a cardinal, a cleric and a monk all of whom have succumbed to the arrows of the skeletons. This tableau is a reminder to the hierarchy of the church that even they are not immune from death. The procession continues with a depiction of a king then nobility followed by knights and soldiers and a beggar man with no legs. Between each figure are skeletons holding bows and arrows, banners with writings on them or a shovel to dig a grave. After the beggar mad there are figures of women ending with a small skeleton and a cherub. To the far right a skeleton on a horse is riding into the procession holding a bow and arrow ready to far. To procession ends with the Angel Gabriel and the devil discussing the fates of the those in the procession as to whether they go to Heaven or to Purgatory and Hell.
  • Roman fresco wall painting from the Sacrarium of the Temple of Isis in Pompeii depicting the Egyptian god Bes, God of war but also childbirth and the home, and was associated with sexuality, humour, music and dancing, North wall of Sacrarium, Naples National Archaeological Museum , inv 1.72 , Naples National Archaeological Museum , white background
  • Marble Roman Statue of the Muse of Music ( Euterpe ) playing the lyre. , 2nd cent. AD, from Miletus (Balat, Soke ). Istanbul Archaeological museum Inv 2002 T.  Cat. Mendel 116
  • Child and Goose - a 1st or 2nd century Roman sculpture from Villa des Quintilii on the Appia Way south of Rome, Italy. Three other similar versions of this Roman sculpture can be found in the Vatican, music and Geneva. The sculpture is attributed to Boethos who was a 2nd century sculptor.  The Braschi Collection, Inv No. MR168 (Usual No Ma 40), Louvre Museum, Paris.
  • Child and Goose - a 1st or 2nd century Roman sculpture from Villa des Quintilii on the Appia Way south of Rome, Italy. Three other similar versions of this Roman sculpture can be found in the Vatican, music and Geneva. The sculpture is attributed to Boethos who was a 2nd century sculptor.  The Braschi Collection, Inv No. MR168 (Usual No Ma 40), Louvre Museum, Paris.
  • Child and Goose - a 1st or 2nd century Roman sculpture from Villa des Quintilii on the Appia Way south of Rome, Italy. Three other similar versions of this Roman sculpture can be found in the Vatican, music and Geneva. The sculpture is attributed to Boethos who was a 2nd century sculptor.  The Braschi Collection, Inv No. MR168 (Usual No Ma 40), Louvre Museum, Paris.
  • Child and Goose - a 1st or 2nd century Roman sculpture from Villa des Quintilii on the Appia Way south of Rome, Italy. Three other similar versions of this Roman sculpture can be found in the Vatican, music and Geneva. The sculpture is attributed to Boethos who was a 2nd century sculptor.  The Braschi Collection, Inv No. MR168 (Usual No Ma 40), Louvre Museum, Paris.
  • Picture of a Roman mosaics design depicting Orpheus, god of music, playing his lyre,  from the ancient Roman city of Thysdrus, Bir Zid area. 2nd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting  a bird charmed by  music being played by Orpheus, from the ancient Roman city of Thysdrus, Bir Zid area. 2nd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting  a bird charmed by  music being played by Orpheus, from the ancient Roman city of Thysdrus, Bir Zid area. 2nd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting  animals charmed by  music being played by Orpheus, from the ancient Roman city of Thysdrus, Bir Zid area. 2nd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting  a panther charmed by  music being played by Orpheus, from the ancient Roman city of Thysdrus, Bir Zid area. 2nd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting Orpheus, god of music, playing his lyre,  from the ancient Roman city of Thysdrus, Bir Zid area. 2nd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against a white background
  • Picture of a Roman mosaics design depicting  animals charmed by  music being played by Orpheus, from the ancient Roman city of Thysdrus, Bir Zid area. 2nd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting Orpheus, god of music, playing his lyre,  from the ancient Roman city of Thysdrus, Bir Zid area. 2nd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against a black background
  • Picture of a Roman mosaics design depicting Orpheus, god of music, playing his lyre,  from the ancient Roman city of Thysdrus, Bir Zid area. 2nd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting Orpheus, god of music, playing his lyre,  from the ancient Roman city of Thysdrus, Bir Zid area. 2nd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against an art background
  • Picture of a Roman mosaics design depicting Orpheus, god of music, playing his lyre,  from the ancient Roman city of Thysdrus, Bir Zid area. 2nd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against a grey background
  • Picture of a Roman mosaics design depicting Orpheus, god of museic surrounded by animals charmed by his music, from the ancient Roman city of Thysdrus. 2nd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Detail of a Roman mosaics design depicting the nine muses, from the Maison du Mois, ancient Roman city of Thysdrus. 2nd half of 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
<br />
The Roman mosaic depicts the nine muses and their attributes: Clio the muse of history ; Uranie the muse of Astronomy; Melpomene, tragedy; Thalie, comedy; Terpsichore, dancing; Calliope, epic poetry; Erato, love poetry; Polymnie, religious songs and rhetoric; Euterpe, lyrical poetry and music
  • Detail of a  Roman mosaics design depicting the nine muses, from the Maison du Mois, ancient Roman city of Thysdrus. 2nd half of 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
<br />
The Roman mosaic depicts the nine muses and their attributes: Clio the muse of history ; Uranie the muse of Astronomy; Melpomene, tragedy; Thalie, comedy; Terpsichore, dancing; Calliope, epic poetry; Erato, love poetry; Polymnie, religious songs and rhetoric; Euterpe, lyrical poetry and music
  • Detail of a  Roman mosaics design depicting the nine muses, from the Maison du Mois, ancient Roman city of Thysdrus. 2nd half of 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
The Roman mosaic depicts the nine muses and their attributes: Clio the muse of history ; Uranie the muse of Astronomy; Melpomene, tragedy; Thalie, comedy; Terpsichore, dancing; Calliope, epic poetry; Erato, love poetry; Polymnie, religious songs and rhetoric; Euterpe, lyrical poetry and music
  • Detail of a  Roman mosaics design depicting the nine muses, from the Maison du Mois, ancient Roman city of Thysdrus. 2nd half of 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
The Roman mosaic depicts the nine muses and their attributes: Clio the muse of history ; Uranie the muse of Astronomy; Melpomene, tragedy; Thalie, comedy; Terpsichore, dancing; Calliope, epic poetry; Erato, love poetry; Polymnie, religious songs and rhetoric; Euterpe, lyrical poetry and music
  • Detail of a  Roman mosaics design depicting the nine muses, from the Maison du Mois, ancient Roman city of Thysdrus. 2nd half of 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
The Roman mosaic depicts the nine muses and their attributes: Clio the muse of history ; Uranie the muse of Astronomy; Melpomene, tragedy; Thalie, comedy; Terpsichore, dancing; Calliope, epic poetry; Erato, love poetry; Polymnie, religious songs and rhetoric; Euterpe, lyrical poetry and music
  • Detail of a  Roman mosaics design depicting the nine muses, from the Maison du Mois, ancient Roman city of Thysdrus. 2nd half of 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
The Roman mosaic depicts the nine muses and their attributes: Clio the muse of history ; Uranie the muse of Astronomy; Melpomene, tragedy; Thalie, comedy; Terpsichore, dancing; Calliope, epic poetry; Erato, love poetry; Polymnie, religious songs and rhetoric; Euterpe, lyrical poetry and music
  • Detail of a  Roman mosaics design depicting the nine muses, from the Maison du Mois, ancient Roman city of Thysdrus. 2nd half of 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
The Roman mosaic depicts the nine muses and their attributes: Clio the muse of history ; Uranie the muse of Astronomy; Melpomene, tragedy; Thalie, comedy; Terpsichore, dancing; Calliope, epic poetry; Erato, love poetry; Polymnie, religious songs and rhetoric; Euterpe, lyrical poetry and music
  • Detail of a  Roman mosaics design depicting the nine muses, from the Maison du Mois, ancient Roman city of Thysdrus. 2nd half of 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
The Roman mosaic depicts the nine muses and their attributes: Clio the muse of history ; Uranie the muse of Astronomy; Melpomene, tragedy; Thalie, comedy; Terpsichore, dancing; Calliope, epic poetry; Erato, love poetry; Polymnie, religious songs and rhetoric; Euterpe, lyrical poetry and music
  • Pictures of a  Roman mosaics design depicting the nine muses, from the Maison du Mois, ancient Roman city of Thysdrus. 2nd half of 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
<br />
The Roman mosaic depicts the nine muses and their attributes: Clio the muse of history ; Uranie the muse of Astronomy; Melpomene, tragedy; Thalie, comedy; Terpsichore, dancing; Calliope, epic poetry; Erato, love poetry; Polymnie, religious songs and rhetoric; Euterpe, lyrical poetry and music
  • Detail of a  Roman mosaics design depicting the nine muses, from the Maison du Mois, ancient Roman city of Thysdrus. 2nd half of 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
The Roman mosaic depicts the nine muses and their attributes: Clio the muse of history ; Uranie the muse of Astronomy; Melpomene, tragedy; Thalie, comedy; Terpsichore, dancing; Calliope, epic poetry; Erato, love poetry; Polymnie, religious songs and rhetoric; Euterpe, lyrical poetry and music
  • Detail of a  Roman mosaics design depicting the nine muses, from the Maison du Mois, ancient Roman city of Thysdrus. 2nd half of 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
The Roman mosaic depicts the nine muses and their attributes: Clio the muse of history ; Uranie the muse of Astronomy; Melpomene, tragedy; Thalie, comedy; Terpsichore, dancing; Calliope, epic poetry; Erato, love poetry; Polymnie, religious songs and rhetoric; Euterpe, lyrical poetry and music
  • Detail of a  Roman mosaics design depicting the nine muses, from the Maison du Mois, ancient Roman city of Thysdrus. 2nd half of 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
The Roman mosaic depicts the nine muses and their attributes: Clio the muse of history ; Uranie the muse of Astronomy; Melpomene, tragedy; Thalie, comedy; Terpsichore, dancing; Calliope, epic poetry; Erato, love poetry; Polymnie, religious songs and rhetoric; Euterpe, lyrical poetry and music
  • Detail of a  Roman mosaics design depicting the nine muses, from the Maison du Mois, ancient Roman city of Thysdrus. 2nd half of 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
The Roman mosaic depicts the nine muses and their attributes: Clio the muse of history ; Uranie the muse of Astronomy; Melpomene, tragedy; Thalie, comedy; Terpsichore, dancing; Calliope, epic poetry; Erato, love poetry; Polymnie, religious songs and rhetoric; Euterpe, lyrical poetry and music
  • Detail of a  Roman mosaics design depicting the nine muses, from the Maison du Mois, ancient Roman city of Thysdrus. 2nd half of 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
The Roman mosaic depicts the nine muses and their attributes: Clio the muse of history ; Uranie the muse of Astronomy; Melpomene, tragedy; Thalie, comedy; Terpsichore, dancing; Calliope, epic poetry; Erato, love poetry; Polymnie, religious songs and rhetoric; Euterpe, lyrical poetry and music
  • Detail of a  Roman mosaics design depicting the nine muses, from the Maison du Mois, ancient Roman city of Thysdrus. 2nd half of 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
The Roman mosaic depicts the nine muses and their attributes: Clio the muse of history ; Uranie the muse of Astronomy; Melpomene, tragedy; Thalie, comedy; Terpsichore, dancing; Calliope, epic poetry; Erato, love poetry; Polymnie, religious songs and rhetoric; Euterpe, lyrical poetry and music
  • Crucifiction fresco on the Church of San Vigilio in Pinzolo, part of its mural painting “the Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy.<br />
<br />
The mural continues for another 21 meters with a long procession with 40 figures.<br />
<br />
 To the right of the skeletons playing music is a depiction of the crucification. Christ is depicted on the cross with an arrow in him that has been fired by a skeleton with a bow. This suggests that because Christ was a man he suffered the fate of death as we all will.<br />
After Christ is a Pope also pierced by a spear, as are all the human figures in the mural.
  • Crucifiction fresco on the Church of San Vigilio in Pinzolo, part of its mural painting “the Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy.<br />
<br />
The mural continues for another 21 meters with a long procession with 40 figures.<br />
<br />
 To the right of the skeletons playing music is a depiction of the crucification. Christ is depicted on the cross with an arrow in him that has been fired by a skeleton with a bow. This suggests that because Christ was a man he suffered the fate of death as we all will.<br />
After Christ is a Pope also pierced by a spear, as are all the human figures in the mural.
  • Crucifiction fresco on the Church of San Vigilio in Pinzolo, part of its mural painting “the Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy.<br />
<br />
The mural continues for another 21 meters with a long procession with 40 figures. To the right of the skeletons playing music is a depiction of the crucification. Christ is depicted on the cross with an arrow in him that has been fired by a skeleton with a bow. This suggests that because Christ was a man he suffered the fate of death as we all will.
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy.<br />
<br />
The mural continues for another 21 meters with a long procession with 40 figures. The Mural opens on its left with a skeleton on the throne, bearing a sceptre and the crown and playing a bagpipe. These skeletons are playing the music which is the backdrop to “Dance of Death” ( Danza macabra ) and suggests that they are playing with our fate on earth.
  • Marble Roman Statue of the Muse of Music ( Euterpe ) playing the lyre. , 2nd cent. AD, from Miletus (Balat, Soke ). Istanbul Archaeological museum Inv 2002 T.  Cat. Mendel 116
  • Gothic painted Panel Virgin of the Angels by Pere Serra. Tempera and gold leaf on wood. Circa 1385. 195.8 x 131 x 11 cm. Comes from Tortosa cathedral (Baix Ebre). <br />
This splendid central panel and the two sections of the predella with saints (which must once have flanked a tabernacle) are all that remains of an altarpiece. It was dedicated to the Virgin Mary and was painted for one of the chapels in the ambulatory of Tortosa cathedral, probably towards the 1380s. The compartment with the Virgin and Child surrounded by angels playing music is a very graceful and refined version of an iconographic type that was extremely popular at the time. Pere Serra, author of the altarpiece, came from a family of painters who grew to head the Catalan painting of the second half of the fourteenth century. National Museum of Catalan Art, Barcelona, Spain, inv no: 003950-000
  • Gothic painted Panel Virgin of the Angels by Pere Serra. Tempera and gold leaf on wood. Circa 1385. 195.8 x 131 x 11 cm. Comes from Tortosa cathedral (Baix Ebre). <br />
This splendid central panel and the two sections of the predella with saints (which must once have flanked a tabernacle) are all that remains of an altarpiece. It was dedicated to the Virgin Mary and was painted for one of the chapels in the ambulatory of Tortosa cathedral, probably towards the 1380s. The compartment with the Virgin and Child surrounded by angels playing music is a very graceful and refined version of an iconographic type that was extremely popular at the time. Pere Serra, author of the altarpiece, came from a family of painters who grew to head the Catalan painting of the second half of the fourteenth century. National Museum of Catalan Art, Barcelona, Spain, inv no: 003950-000
  • Gothic painted Panel Virgin of the Angels by Pere Serra. Tempera and gold leaf on wood. Circa 1385. 195.8 x 131 x 11 cm. Comes from Tortosa cathedral (Baix Ebre). <br />
This splendid central panel and the two sections of the predella with saints (which must once have flanked a tabernacle) are all that remains of an altarpiece. It was dedicated to the Virgin Mary and was painted for one of the chapels in the ambulatory of Tortosa cathedral, probably towards the 1380s. The compartment with the Virgin and Child surrounded by angels playing music is a very graceful and refined version of an iconographic type that was extremely popular at the time. Pere Serra, author of the altarpiece, came from a family of painters who grew to head the Catalan painting of the second half of the fourteenth century. National Museum of Catalan Art, Barcelona, Spain, inv no: 003950-000
  • Gothic painted Panel Virgin of the Angels by Pere Serra. Tempera and gold leaf on wood. Circa 1385. 195.8 x 131 x 11 cm. Comes from Tortosa cathedral (Baix Ebre). <br />
This splendid central panel and the two sections of the predella with saints (which must once have flanked a tabernacle) are all that remains of an altarpiece. It was dedicated to the Virgin Mary and was painted for one of the chapels in the ambulatory of Tortosa cathedral, probably towards the 1380s. The compartment with the Virgin and Child surrounded by angels playing music is a very graceful and refined version of an iconographic type that was extremely popular at the time. Pere Serra, author of the altarpiece, came from a family of painters who grew to head the Catalan painting of the second half of the fourteenth century. National Museum of Catalan Art, Barcelona, Spain, inv no: 003950-000
  • Child and Goose - a 1st or 2nd century Roman sculpture from Villa des Quintilii on the Appia Way south of Rome, Italy. Three other similar versions of this Roman sculpture can be found in the Vatican, music and Geneva. The sculpture is attributed to Boethos who was a 2nd century sculptor.  The Braschi Collection, Inv No. MR168 (Usual No Ma 40), Louvre Museum, Paris.
  • Child and Goose - a 1st or 2nd century Roman sculpture from Villa des Quintilii on the Appia Way south of Rome, Italy. Three other similar versions of this Roman sculpture can be found in the Vatican, music and Geneva. The sculpture is attributed to Boethos who was a 2nd century sculptor.  The Braschi Collection, Inv No. MR168 (Usual No Ma 40), Louvre Museum, Paris.
  • Gothic painted Panel Virgin of the Angels by Pere Serra. Tempera and gold leaf on wood. Circa 1385. 195.8 x 131 x 11 cm. Comes from Tortosa cathedral (Baix Ebre). <br />
This splendid central panel and the two sections of the predella with saints (which must once have flanked a tabernacle) are all that remains of an altarpiece. It was dedicated to the Virgin Mary and was painted for one of the chapels in the ambulatory of Tortosa cathedral, probably towards the 1380s. The compartment with the Virgin and Child surrounded by angels playing music is a very graceful and refined version of an iconographic type that was extremely popular at the time. Pere Serra, author of the altarpiece, came from a family of painters who grew to head the Catalan painting of the second half of the fourteenth century. National Museum of Catalan Art, Barcelona, Spain, inv no: 003950-000
  • Gothic painted Panel Virgin of the Angels by Pere Serra. Tempera and gold leaf on wood. Circa 1385. 195.8 x 131 x 11 cm. Comes from Tortosa cathedral (Baix Ebre). <br />
This splendid central panel and the two sections of the predella with saints (which must once have flanked a tabernacle) are all that remains of an altarpiece. It was dedicated to the Virgin Mary and was painted for one of the chapels in the ambulatory of Tortosa cathedral, probably towards the 1380s. The compartment with the Virgin and Child surrounded by angels playing music is a very graceful and refined version of an iconographic type that was extremely popular at the time. Pere Serra, author of the altarpiece, came from a family of painters who grew to head the Catalan painting of the second half of the fourteenth century. National Museum of Catalan Art, Barcelona, Spain, inv no: 003950-000
  • Gothic painted Panel Virgin of the Angels by Pere Serra. Tempera and gold leaf on wood. Circa 1385. 195.8 x 131 x 11 cm. Comes from Tortosa cathedral (Baix Ebre). <br />
This splendid central panel and the two sections of the predella with saints (which must once have flanked a tabernacle) are all that remains of an altarpiece. It was dedicated to the Virgin Mary and was painted for one of the chapels in the ambulatory of Tortosa cathedral, probably towards the 1380s. The compartment with the Virgin and Child surrounded by angels playing music is a very graceful and refined version of an iconographic type that was extremely popular at the time. Pere Serra, author of the altarpiece, came from a family of painters who grew to head the Catalan painting of the second half of the fourteenth century. National Museum of Catalan Art, Barcelona, Spain, inv no: 003950-000
  • Gothic painted Panel Virgin of the Angels by Pere Serra. Tempera and gold leaf on wood. Circa 1385. 195.8 x 131 x 11 cm. Comes from Tortosa cathedral (Baix Ebre). <br />
This splendid central panel and the two sections of the predella with saints (which must once have flanked a tabernacle) are all that remains of an altarpiece. It was dedicated to the Virgin Mary and was painted for one of the chapels in the ambulatory of Tortosa cathedral, probably towards the 1380s. The compartment with the Virgin and Child surrounded by angels playing music is a very graceful and refined version of an iconographic type that was extremely popular at the time. Pere Serra, author of the altarpiece, came from a family of painters who grew to head the Catalan painting of the second half of the fourteenth century. National Museum of Catalan Art, Barcelona, Spain, inv no: 003950-000
  • The Organ fountain1566. Sirens either side of a  bas relief of a music contest between Apollo and Marcia, 1566. The organ pipies driven by air from the fountains. Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • The Organ fountain1566. Sirens either side of a  bas relief of a music contest between Apollo and Marcia, 1566. The organ pipies driven by air from the fountains. Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • The Organ fountain1566. Sirens either side of a  bas relief of a music contest between Apollo and Marcia, 1566. The organ pipies driven by air from the fountains. Villa d'Este, Tivoli, Italy - Unesco World Heritage Site.
  • Photo of Hittite monumental relief sculpted orthostat stone panel from Water Gate Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 BC.  Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
The figure sitting on a stool to the left of the table holds a goblet in his right hand which he raised upwards. Behind, there is a servant with a fan in his hand. On the other side of the table is another servant waits with a vessel in the hands. The rightmost figure plays a Saz (a stringed musical instrument) with the tassel on the handle. <br />
<br />
On a brown art background.
  • Hittite monumental relief sculpted orthostat stone panel from Water Gate Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 BC.  Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
The figure sitting on a stool to the left of the table holds a goblet in his right hand which he raised upwards. Behind, there is a servant with a fan in his hand. On the other side of the table is another servant waits with a vessel in the hands. The rightmost figure plays a Saz (a stringed musical instrument) with the tassel on the handle. <br />
<br />
On a white background.
  • Hittite monumental relief sculpted orthostat stone panel from Water Gate Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 BC.  Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
The figure sitting on a stool to the left of the table holds a goblet in his right hand which he raised upwards. Behind, there is a servant with a fan in his hand. On the other side of the table is another servant waits with a vessel in the hands. The rightmost figure plays a Saz (a stringed musical instrument) with the tassel on the handle. <br />
<br />
On a black background.
  • Picture & image of Hittite monumental relief sculpted orthostat stone panel from Water Gate Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 BC.  Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
The figure sitting on a stool to the left of the table holds a goblet in his right hand which he raised upwards. Behind, there is a servant with a fan in his hand. On the other side of the table is another servant waits with a vessel in the hands. The rightmost figure plays a Saz (a stringed musical instrument) with the tassel on the handle. <br />
<br />
On a gray background.
  • Hittite monumental relief sculpted orthostat stone panel from Water Gate Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 BC.  Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
The figure sitting on a stool to the left of the table holds a goblet in his right hand which he raised upwards. Behind, there is a servant with a fan in his hand. On the other side of the table is another servant waits with a vessel in the hands. The rightmost figure plays a Saz (a stringed musical instrument) with the tassel on the handle. <br />
<br />
On a grey art background.
  • Picture & image of Hittite monumental relief sculpted orthostat stone panel of Procession. Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Musicians. Two musicians with short arms, wearing long dresses and wide belts; one plays a Saz (a stringed musical instrument) with tassels on the handle while the other plays the flute. The third small figure holds castanets (?) in his hands. The figure on the right wears a short skirt, contrary to the others. She dances over her finger tips with her hands over her head. <br />
<br />
Against a gray background.
  • Photo of Hittite monumental relief sculpted orthostat stone panel of Procession. Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Musicians. Two musicians with short arms, wearing long dresses and wide belts; one plays a Saz (a stringed musical instrument) with tassels on the handle while the other plays the flute. The third small figure holds castanets (?) in his hands. The figure on the right wears a short skirt, contrary to the others. She dances over her finger tips with her hands over her head. <br />
<br />
Against a brown art background.
  • Hittite monumental relief sculpted orthostat stone panel of Procession. Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Musicians. Two musicians with short arms, wearing long dresses and wide belts; one plays a Saz (a stringed musical instrument) with tassels on the handle while the other plays the flute. The third small figure holds castanets (?) in his hands. The figure on the right wears a short skirt, contrary to the others. She dances over her finger tips with her hands over her head.  <br />
<br />
Against a white background.
  • Hittite monumental relief sculpted orthostat stone panel of Procession. Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Musicians. Two musicians with short arms, wearing long dresses and wide belts; one plays a Saz (a stringed musical instrument) with tassels on the handle while the other plays the flute. The third small figure holds castanets (?) in his hands. The figure on the right wears a short skirt, contrary to the others. She dances over her finger tips with her hands over her head.  <br />
<br />
Against a black background.
  • Hittite monumental relief sculpted orthostat stone panel of Procession. Limestone, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Musicians. Two musicians with short arms, wearing long dresses and wide belts; one plays a Saz (a stringed musical instrument) with tassels on the handle while the other plays the flute. The third small figure holds castanets (?) in his hands. The figure on the right wears a short skirt, contrary to the others. She dances over her finger tips with her hands over her head.<br />
<br />
Against a grey art background.
  • Alaca Hoyuk Sphinx Gate Hittite monumental relief sculpted orthostat stone panel. Andesite, Alaca, Corum, 1399 - 1301 BC. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
The figure playing a musical instrument similar to a guitar is followed by another figure carrying an animal. The stem of the musical instrument is fringed. The left side of the Orthostat is uncompleted.<br />
<br />
Against a brown gray background.
  • Alaca Hoyuk Sphinx Gate Hittite monumental relief sculpted orthostat stone panel. Andesite, Alaca, Corum, 1399 - 1301 BC. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
The figure playing a musical instrument similar to a guitar is followed by another figure carrying an animal. The stem of the musical instrument is fringed. The left side of the Orthostat is uncompleted.  <br />
<br />
Against a black background.
  • Alaca Hoyuk Sphinx Gate Hittite monumental relief sculpted orthostat stone panel. Andesite, Alaca, Corum, 1399 - 1301 BC. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
The figure playing a musical instrument similar to a guitar is followed by another figure carrying an animal. The stem of the musical instrument is fringed. The left side of the Orthostat is uncompleted.<br />
<br />
Against a white background.
  • Alaca Hoyuk Sphinx Gate Hittite monumental relief sculpted orthostat stone panel. Andesite, Alaca, Corum, 1399 - 1301 BC. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
The figure playing a musical instrument similar to a guitar is followed by another figure carrying an animal. The stem of the musical instrument is fringed. The left side of the Orthostat is uncompleted. <br />
<br />
Against a grey art background.
  • Alaca Hoyuk Sphinx Gate Hittite monumental relief sculpted orthostat stone panel. Andesite, Alaca, Corum, 1399 - 1301 BC. Anatolian Civilizations Museum, Ankara, Turkey.<br />
<br />
The figure playing a musical instrument similar to a guitar is followed by another figure carrying an animal. The stem of the musical instrument is fringed. The left side of the Orthostat is uncompleted.  <br />
<br />
Against a brown art background.
  • Roman mosaic of a scene from Meanders comedy Theophoroumene(the passed girl) with musical hawkers by Dioscurides of Samos. Pompeii from the so-called Villa of Cicero, Inv 9985, Naples Archaeological Musum, Italy
  • West Facade, Central Portal, Archivolts- Right c. 1145. Cathedral of Chartres, France . Gothic statues of figures, from  the center the inner archivolt contains figures of angels standing on clouds. They hold round objects. (Perhaps these are wheels- the symbol for the Thrones, one of the choirs of angels described in Old Testament Book of Ezekiel 1:13-19. - JV) .The outer archivolts (right) contain figures of the Elders of the Apocalypse (Apocalypse, Chapter 4). They are depicted as bearded, haloed men wearing crowns seated on thrones. Each holds a musical instrument (Apocalypse, 5:8). A UNESCO World Heritage Site.
  • West Facade, Central Portal, Archivolts- Right c. 1145. Cathedral of Chartres, France . Gothic statues of figures, from  the center the inner archivolt contains figures of angels standing on clouds. They hold round objects. (Perhaps these are wheels- the symbol for the Thrones, one of the choirs of angels described in Old Testament Book of Ezekiel 1:13-19. - JV) .The outer archivolts (right) contain figures of the Elders of the Apocalypse (Apocalypse, Chapter 4). They are depicted as bearded, haloed men wearing crowns seated on thrones. Each holds a musical instrument (Apocalypse, 5:8). A UNESCO World Heritage Site.
  • West Facade, Central Portal, Archivolts- Right c. 1145. Cathedral of Chartres, France . Gothic statues of figures, from  the center the inner archivolt contains figures of angels standing on clouds. They hold round objects. (Perhaps these are wheels- the symbol for the Thrones, one of the choirs of angels described in Old Testament Book of Ezekiel 1:13-19. - JV) .The outer archivolts (right) contain figures of the Elders of the Apocalypse (Apocalypse, Chapter 4). They are depicted as bearded, haloed men wearing crowns seated on thrones. Each holds a musical instrument (Apocalypse, 5:8). A UNESCO World Heritage Site.
  • Medieval Rose  Window of the South Transept of the Gothic Cathedral of Chartres, France- Circa 1225-30. A UNESCO World Heritage Site. Dedicated to Christ, who is shown in the central oculus, right hand raised in benediction, surrounded by adoring angels. Two outer rings of twelve circles each contain the 24 Elders of the Apocalypse, crowned and carrying phials and musical instruments. The central lancet beneath the rose shows the Virgin carrying the infant Christ. Either side of this are four lancets showing the four evangelists sitting on the shoulders of four Prophets - a rare literal illustration of the theological principle that the New Testament builds upon the Old Testament. This window was a donation of the Mauclerc family, the Counts of Dreux-Bretagne, who are depicted with their arms in the bases of the lancets
  • Medieval Rose  Window of the South Transept of the Gothic Cathedral of Chartres, France- Circa 1225-30. A UNESCO World Heritage Site. Dedicated to Christ, who is shown in the central oculus, right hand raised in benediction, surrounded by adoring angels. Two outer rings of twelve circles each contain the 24 Elders of the Apocalypse, crowned and carrying phials and musical instruments. The central lancet beneath the rose shows the Virgin carrying the infant Christ. Either side of this are four lancets showing the four evangelists sitting on the shoulders of four Prophets - a rare literal illustration of the theological principle that the New Testament builds upon the Old Testament. This window was a donation of the Mauclerc family, the Counts of Dreux-Bretagne, who are depicted with their arms in the bases of the lancets
  • Medieval Rose  Window of the South Transept of the Gothic Cathedral of Chartres, France- Circa 1225-30. A UNESCO World Heritage Site. Dedicated to Christ, who is shown in the central oculus, right hand raised in benediction, surrounded by adoring angels. Two outer rings of twelve circles each contain the 24 Elders of the Apocalypse, crowned and carrying phials and musical instruments. The central lancet beneath the rose shows the Virgin carrying the infant Christ. Either side of this are four lancets showing the four evangelists sitting on the shoulders of four Prophets - a rare literal illustration of the theological principle that the New Testament builds upon the Old Testament. This window was a donation of the Mauclerc family, the Counts of Dreux-Bretagne, who are depicted with their arms in the bases of the lancets

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