• dipping olive oil snack.
  • Argan oil being squeezed out of the Argon paste. Cooperative Marjana, Ounara, Essouira, Morocco
  • Argan paste being mixed by hand prior to pressing out the oil. Cooperative Marjana, Ounara, Essouira, Morocco
  • Argan oil being squeezed out of the Argon paste. Cooperative Marjana, Ounara, Essouira, Morocco
  • Argan paste being mixed by hand prior to pressing out the oil. Cooperative Marjana, Ounara, Essouira, Morocco
  • Argan paste being mixed by hand prior to pressing out the oil. Cooperative Marjana, Ounara, Essouira, Morocco
  • Olives and bread with dipping oil
  • Olives, dipping oil and bread sticks snack
  • Olives, dipping oil and chiabatta snack
  • Dipping oil and chiabatta snack
  • Olives, dipping oil and bread sticks snack
  • Olives, dipping oil and chiabatta snack
  • Dipping oil and chiabatta snack
  • Oils and vinegars bottles with spice jars in a kitchen store cupboard
  • Fresh Argan nuts with outer skins and Argan nuts in their shells
  • Fresh Argan nuts with outer skins and Argan nuts in their shells
  • Fresh Argan nuts with outer skins and Argan nuts in their shells
  • Fresh Argan nuts with outer skins and Argan nuts in their shells
  • Argan Fruit growing on an Argan nuts in an Argon tree. Near Essouira,, Morocco
  • Fresh Argan nuts with outer skins and Argan nuts in their shells
  • Fresh Argan nuts with outer skins and Argan nuts in their shells
  • Fresh Argan nuts with outer skins and Argan nuts in their shells against a white background
  • Goats feeding on Argan nuts in an Argon tree. Near Essouira,, Morocco
  • Goats feeding on Argan nuts in an Argon tree. Near Essouira,, Morocco
  • Goats feeding on Argan nuts in an Argon tree. Near Essouira,, Morocco
  • Goats feeding on Argan nuts in an Argon tree. Near Essouira,, Morocco
  • Fresh Argan nuts with outer skins and Argan nuts in their shells against a white background
  • Fresh Argan nuts with outer skins and Argan nuts in their shells against a white background
  • Fresh Argan nuts with outer skins and Argan nuts in their shells.
  • Fresh Argan nuts with outer skins and Argan nuts in their shells
  • Fresh Argan nuts with outer skins and Argan nuts in their shells
  • Fresh Argan nuts with outer skins and Argan nuts in their shells
  • Fresh Argan nuts with outer skins and Argan nuts in their shells
  • Fresh Argan nuts with outer skins and Argan nuts in their shells
  • Fresh Argan nuts with outer skins and Argan nuts in their shells
  • Argan Fruit growing on an Argan nuts in an Argon tree. Near Essouira,, Morocco
  • Argan Fruit growing on an Argan nuts in an Argon tree. Near Essouira,, Morocco
  • Argan Fruit growing on an Argan nuts in an Argon tree. Near Essouira,, Morocco
  • Women milling roasted Argan nuts at the Cooperative Marjana, Ounara, Essouira, Morocco
  • Argan paste of the roasted nuts on a hand miil. Cooperative Marjana, Ounara, Essouira, Morocco
  • Women milling roasted Argan nuts at the Cooperative Marjana, Ounara, Essouira, Morocco
  • Hand mill and roasted Argan nuts. Cooperative Marjana, Ounara, Essouira, Morocco
  • Women cracking Argan nuts at the Cooperative Marjana, Ounara, Essouira, Morocco
  • Argan nuts in baskets at the Cooperative Marjana, Ounara, Essouira, Morocco
  • Argan nuts in baskets at the Cooperative Marjana, Ounara, Essouira, Morocco
  • Goats feeding on Argan nuts in an Argon tree. Near Essouira,, Morocco
  • Goats feeding on Argan nuts in an Argon tree. Near Essouira,, Morocco
  • Goats feeding on Argan nuts in an Argon tree. Near Essouira,, Morocco
  • Fresh Argan nuts with outer skins and Argan nuts in their shells.
  • Fresh Argan nuts with outer skins and Argan nuts in their shells.
  • Ancient Cerignola olive trees of Ostuni, Puglia, South Italy.
  • Ancient Cerignola olive trees of Ostuni, Puglia, South Italy.
  • Ancient Cerignola olive trees of Ostuni, Puglia, South Italy.
  • Olive trees of Naxos, Cyclades Islands, Greece
  • Olive trees of Naxos, Cyclades Islands, Greece
  • Olive trees of Naxos, Cyclades Islands, Greece
  • Olive trees of Naxos, Cyclades Islands, Greece
  • Olives an bread sticks snack
  • Olives an bread sticks snack
  • Mixed Kalamata, black  & green olives
  • Mixed Kalamata & green olives
  • Whole Kalamata olives
  • Deep fried camembert
  • Shelled Almonds with their skins on in a pile
  • Goats feeding on Argan nuts in an Argon tree. Near Essouira,, Morocco
  • Goats feeding on Argan nuts in an Argon tree. Near Essouira,, Morocco
  • Fresh Argan nuts with outer skins and Argan nuts in their shells against a white background
  • Goats feeding on Argan nuts in an Argon tree. Near Essouira,, Morocco
  • Goats feeding on Argan nuts in an Argon tree. Near Essouira,, Morocco
  • Fresh Argan nuts with outer skins and Argan nuts in their shells against a white background
  • Fresh Argan nuts with outer skins and Argan nuts in their shells
  • Goats feeding on Argan nuts in an Argon tree. Near Essouira,, Morocco
  • Goats feeding on Argan nuts in an Argon tree. Near Essouira,, Morocco
  • Goats feeding on Argan nuts in an Argon tree. Near Essouira,, Morocco
  • Fresh Argan nuts with outer skins and Argan nuts in their shells against a white background
  • Fresh Argan nuts with outer skins and Argan nuts in their shells against a white background
  • Fresh Argan nuts with outer skins and Argan nuts in their shells against a white background
  • Fresh Argan nuts with outer skins and Argan nuts in their shells
  • Fresh Argan nuts with outer skins and Argan nuts in their shells
  • Fresh Argan nuts with outer skins and Argan nuts in their shells
  • Fresh Argan nuts with outer skins and Argan nuts in their shells
  • Fresh Argan nuts with outer skins and Argan nuts in their shells
  • Fresh Argan nuts with outer skins and Argan nuts in their shells
  • Fresh Argan nuts with outer skins and Argan nuts in their shells
  • Women cracking Argan nuts at the Cooperative Marjana, Ounara, Essouira, Morocco
  • Women cracking Argan nuts at the Cooperative Marjana, Ounara, Essouira, Morocco
  • Women milling roasted Argan nuts at the Cooperative Marjana, Ounara, Essouira, Morocco
  • Argan nuts in baskets at the Cooperative Marjana, Ounara, Essouira, Morocco
  • Argan nuts in baskets at the Cooperative Marjana, Ounara, Essouira, Morocco
  • Argan nuts in baskets at the Cooperative Marjana, Ounara, Essouira, Morocco
  • Argan nuts in baskets at the Cooperative Marjana, Ounara, Essouira, Morocco
  • Goats feeding on Argan nuts in an Argon tree. Near Essouira,, Morocco
  • Goats feeding on Argan nuts in an Argon tree. Near Essouira,, Morocco
  • Goats feeding on Argan nuts in an Argon tree. Near Essouira,, Morocco
  • Goats feeding on Argan nuts in an Argon tree. Near Essouira,, Morocco
  • Goats feeding on Argan nuts in an Argon tree. Near Essouira,, Morocco
  • Goats feeding on Argan nuts in an Argon tree. Near Essouira,, Morocco
  • Goats feeding on Argan nuts in an Argon tree. Near Essouira,, Morocco
  • Goats feeding on Argan nuts in an Argon tree. Near Essouira,, Morocco
  • Goats feeding on Argan nuts in an Argon tree. Near Essouira,, Morocco
  • Goats feeding on Argan nuts in an Argon tree. Near Essouira,, Morocco
  • Goats feeding on Argan nuts in an Argon tree. Near Essouira,, Morocco
  • Goats feeding on Argan nuts in an Argon tree. Near Essouira,, Morocco
  • Goats feeding on Argan nuts in an Argon tree. Near Essouira,, Morocco
  • Ancient Cerignola olive trees of Ostuni, Puglia, South Italy.
  • Ancient Cerignola olive trees of Ostuni, Puglia, South Italy.
  • Ancient Cerignola olive trees of Ostuni, Puglia, South Italy.
  • Ancient Cerignola olive trees of Ostuni, Puglia, South Italy.
  • Ancient Cerignola olive trees of Ostuni, Puglia, South Italy.
  • Ancient Cerignola olive trees of Ostuni, Puglia, South Italy.
  • Ancient Cerignola olive trees of Ostuni, Puglia, South Italy.
  • whole green olives
  • Whole green Queen olives
  • Whole green Queen olives
  • Whole Kalamata olives
  • bowl of mixed olives with bread sticks
  • Mycenaean conical rhython with an octopus design from the House of the oil merchant, Mycenae Acropolis 14-13thj Cent BC. National Archaeological Museum Athens. Cat No 7386.  White Background.
  • Mycenaean conical rhython with an octopus design from the House of the oil merchant, Mycenae Acropolis 14-13thj Cent BC. National Archaeological Museum Athens. Cat No 7386.  Black Background
  • Mycenaean conical rhython with an octopus design from the House of the oil merchant, Mycenae Acropolis 14-13thj Cent BC. National Archaeological Museum Athens. Cat No 7386.  Grey Background
  • Mycenaean conical rhython with an octopus design from the House of the oil merchant, Mycenae Acropolis 14-13thj Cent BC. National Archaeological Museum Athens. Cat No 7386.  Grey art Background
  • Mycenaean styrup jar from the House of the oil merchant, Mycenae Acropolis 14-13thj Cent BC. National Archaeological Museum Athens. Cat No 7626.  Black Background
  • Mycenaean styrup jar from the House of the oil merchant, Mycenae Acropolis 14-13thj Cent BC. National Archaeological Museum Athens. Cat No 7626.  Grey art Background
  • Picture and image of the stone sculpture of a young women filling a candle stick with oil in an art Nouveau style. Family Tomb Montanari sculpted by G B Villa 1888. Section D no 31 the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • 1596 oil painting of the Visitation (Vistitazione) by Jacopo Ligozzi , Cattedrale di San Martino,  Duomo of Lucca, Tunscany, Italy,
  • Erotic bronze oil lamp configured as a dancing midget, found in Pompeii,  Secret Museum or Secret Cabinet, Naples Archaeological Museum , white background
  • Erotic bronze oil lamp configured as a dancing midget, found in Pompeii,  Secret Museum or Secret Cabinet, Naples Archaeological Museum , art background
  • Roman oil lamp black-painted with winged phallus, inv no 27867,Secret Museum or Secret Cabinet, Naples National Archaeological Museum ,white background
  • Roman oil lamp black-painted with winged phallus, inv no 27867, Secret Museum or Secret Cabinet, Naples National Archaeological Museum , brown background
  • Mycenaean conical rhython with an octopus design from the House of the oil merchant, Mycenae Acropolis 14-13thj Cent BC. National Archaeological Museum Athens. Cat No 7386.
  • Mycenaean styrup jar from the House of the oil merchant, Mycenae Acropolis 14-13thj Cent BC. National Archaeological Museum Athens. Cat No 7626.  White Background.
  • Mycenaean styrup jar from the House of the oil merchant, Mycenae Acropolis 14-13thj Cent BC. National Archaeological Museum Athens. Cat No 7626.  Grey Background
  • Mycenaean styrup jar from the House of the oil merchant, Mycenae Acropolis 14-13thj Cent BC. National Archaeological Museum Athens. Cat No 7626.
  • Picture and image of the stone sculpture of a young women filling a candle stick with oil in an art Nouveau style. Family Tomb Montanari sculpted by G B Villa 1888. Section D no 31 the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a young women filling a candle stick with oil in an art Nouveau style. Family Tomb Montanari sculpted by G B Villa 1888. Section D no 31 the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • A 4th century B.C Etruscan Askoi, olive oil or wine jar, in the shape of a duck, terracotta illustrated with black paint, inv 4233, National Archaeological Museum Florence, Italy , white background
  • A 4th century B.C Etruscan Askoi, olive oil or wine jar, in the shape of a duck, terracotta illustrated with black paint, inv 4233, National Archaeological Museum Florence, Italy , black background
  • A 4th century B.C Etruscan Askoi, olive oil or wine jar, in the shape of a duck, terracotta illustrated with black paint, inv 4233, National Archaeological Museum Florence, Italy , against grey
  • A 4th century B.C Etruscan Askoi, olive oil or wine jar, in the shape of a duck, terracotta illustrated with black paint, inv 4233, National Archaeological Museum Florence, Italy
  • A 4th century B.C Etruscan Askoi, olive oil or wine jar, in the shape of a duck, terracotta illustrated with black paint, inv 4233, National Archaeological Museum Florence, Italy
  • Erotic bronze oil lamp configured as a dancing midget, found in Pompeii,  Secret Museum or Secret Cabinet, Naples Archaeological Museum , grey background
  • Erotic bronze oil lamp configured as a dancing midget, found in Pompeii,  Secret Museum or Secret Cabinet, Naples Archaeological Museum , grey art background
  • Erotic bronze oil lamp configured as a dancing midget, found in Pompeii,  Secret Museum or Secret Cabinet, Naples Archaeological Museum , black background
  • Roman oil lamp black-painted with winged phallus, inv no 27867, Secret Museum or Secret Cabinet, Naples National Archaeological Museum , grey background
  • Roman oil lamp black-painted with winged phallus, inv no 27867, Secret Museum or Secret Cabinet, Naples National Archaeological Museum , grey art background
  • Roman oil lamp black-painted with winged phallus, inv no 27867, Secret Museum or Secret Cabinet, Naples National Archaeological Museum , black background
  • Close up of a Roman Sebasteion relief sculpture of  Herakles is preparing to wrestle the Libyan giant Antaios. Aphrodisias Museum, Aphrodisias, Turkey.    Against a white background.<br />
<br />
Herakles (left) is taking off his bow case to hang it on a pillar statue. Antaios (right) is binding up his head with ear protectors, next to him stands an oil basin used in the palaistra (wrestling ground). Antaios was a famous wrestler who challenged and killed all visitors to his country, until he was defeated by Herakles.
  • Close up of a Roman Sebasteion relief sculpture of  Herakles is preparing to wrestle the Libyan giant Antaios. Aphrodisias Museum, Aphrodisias, Turkey.<br />
<br />
Herakles (left) is taking off his bow case to hang it on a pillar statue. Antaios (right) is binding up his head with ear protectors, next to him stands an oil basin used in the palaistra (wrestling ground). Antaios was a famous wrestler who challenged and killed all visitors to his country, until he was defeated by Herakles.
  • Close up of a RomanSebasteion relief sculpture of  Herakles is preparing to wrestle the Libyan giant Antaios. Aphrodisias Museum, Aphrodisias, Turkey. Against an art background.<br />
<br />
Herakles (left) is taking off his bow case to hang it on a pillar statue. Antaios (right) is binding up his head with ear protectors, next to him stands an oil basin used in the palaistra (wrestling ground). Antaios was a famous wrestler who challenged and killed all visitors to his country, until he was defeated by Herakles.
  • Close up of a Roman Sebasteion relief sculpture of  Herakles is preparing to wrestle the Libyan giant Antaios. Aphrodisias Museum, Aphrodisias, Turkey. Against a grey background.<br />
<br />
Herakles (left) is taking off his bow case to hang it on a pillar statue. Antaios (right) is binding up his head with ear protectors, next to him stands an oil basin used in the palaistra (wrestling ground). Antaios was a famous wrestler who challenged and killed all visitors to his country, until he was defeated by Herakles.
  • Roman Sebasteion relief sculpture of  Herakles is preparing to wrestle the Libyan giant Antaios. Aphrodisias Museum, Aphrodisias, Turkey.  Against a black background.<br />
<br />
Herakles (left) is taking off his bow case to hang it on a pillar statue. Antaios (right) is binding up his head with ear protectors, next to him stands an oil basin used in the palaistra (wrestling ground). Antaios was a famous wrestler who challenged and killed all visitors to his country, until he was defeated by Herakles.
  • Roman Sebasteion relief sculpture of  Herakles is preparing to wrestle the Libyan giant Antaios. Aphrodisias Museum, Aphrodisias, Turkey.<br />
<br />
Herakles (left) is taking off his bow case to hang it on a pillar statue. Antaios (right) is binding up his head with ear protectors, next to him stands an oil basin used in the palaistra (wrestling ground). Antaios was a famous wrestler who challenged and killed all visitors to his country, until he was defeated by Herakles.
  • Roman Sebasteion relief sculpture of  Herakles is preparing to wrestle the Libyan giant Antaios. Aphrodisias Museum, Aphrodisias, Turkey. Against an art background.<br />
<br />
Herakles (left) is taking off his bow case to hang it on a pillar statue. Antaios (right) is binding up his head with ear protectors, next to him stands an oil basin used in the palaistra (wrestling ground). Antaios was a famous wrestler who challenged and killed all visitors to his country, until he was defeated by Herakles.
  • Gothic painted Panel Virgin of the "Consellers" by Lluis Dalmau. Tempera and gold leaf on wood. Date 1443-1445. Dimesions 316 x 312.5 x 32.5 cm. From the altar of the chapel of Barcelona City Hall. <br />
The prestige attached to Burgundian courtly culture and the painter Jan van Eyck explain why in 1431 King Alfons the Magnanimous sent his official painter, the Valencian Lluís Dalmau, to Flanders, to learn the new realist language at first hand. In 1443, Dalmau was commissioned to paint this altarpiece for the chapel of the City Hall. This work was a breakthrough in Catalonia on account of the format, the technique used, as it was painted in oil, and the skilful illusionism of a figurative space in which that year's five councillors, painted from life, are represented on the same scale as the Virgin and the Saints. National Museum of Catalan Art, Barcelona, Spain, inv no: 015938-000
  • Gothic painted Panel Virgin of the "Consellers" by Lluis Dalmau. Tempera and gold leaf on wood. Date 1443-1445. Dimesions 316 x 312.5 x 32.5 cm. From the altar of the chapel of Barcelona City Hall. <br />
The prestige attached to Burgundian courtly culture and the painter Jan van Eyck explain why in 1431 King Alfons the Magnanimous sent his official painter, the Valencian Lluís Dalmau, to Flanders, to learn the new realist language at first hand. In 1443, Dalmau was commissioned to paint this altarpiece for the chapel of the City Hall. This work was a breakthrough in Catalonia on account of the format, the technique used, as it was painted in oil, and the skilful illusionism of a figurative space in which that year's five councillors, painted from life, are represented on the same scale as the Virgin and the Saints. National Museum of Catalan Art, Barcelona, Spain, inv no: 015938-000
  • Gothic statue of Saint Peter by Joan Gasco. Tempera, oil, and stucco reliefs in gold leaf on wood. Date circa 1516. From the church of Santa Maria of Palautordera (Valles Oriental).  National Museum of Catalan Art, Barcelona, Spain inv no: 15934
  • Gothic statue of Saint Peter by Joan Gasco. Tempera, oil, and stucco reliefs in gold leaf on wood. Date circa 1516. From the church of Santa Maria of Palautordera (Valles Oriental).  National Museum of Catalan Art, Barcelona, Spain inv no: 15934
  • Gothic painted Panel Virgin of the "Consellers" by Lluis Dalmau. Tempera and gold leaf on wood. Date 1443-1445. Dimesions 316 x 312.5 x 32.5 cm. From the altar of the chapel of Barcelona City Hall. <br />
The prestige attached to Burgundian courtly culture and the painter Jan van Eyck explain why in 1431 King Alfons the Magnanimous sent his official painter, the Valencian Lluís Dalmau, to Flanders, to learn the new realist language at first hand. In 1443, Dalmau was commissioned to paint this altarpiece for the chapel of the City Hall. This work was a breakthrough in Catalonia on account of the format, the technique used, as it was painted in oil, and the skilful illusionism of a figurative space in which that year's five councillors, painted from life, are represented on the same scale as the Virgin and the Saints. National Museum of Catalan Art, Barcelona, Spain, inv no: 015938-000
  • Gothic painted Panel Virgin of the "Consellers" by Lluis Dalmau. Tempera and gold leaf on wood. Date 1443-1445. Dimesions 316 x 312.5 x 32.5 cm. From the altar of the chapel of Barcelona City Hall. <br />
The prestige attached to Burgundian courtly culture and the painter Jan van Eyck explain why in 1431 King Alfons the Magnanimous sent his official painter, the Valencian Lluís Dalmau, to Flanders, to learn the new realist language at first hand. In 1443, Dalmau was commissioned to paint this altarpiece for the chapel of the City Hall. This work was a breakthrough in Catalonia on account of the format, the technique used, as it was painted in oil, and the skilful illusionism of a figurative space in which that year's five councillors, painted from life, are represented on the same scale as the Virgin and the Saints. National Museum of Catalan Art, Barcelona, Spain, inv no: 015938-000
  • Gothic statue of Saint Peter by Joan Gasco. Tempera, oil, and stucco reliefs in gold leaf on wood. Date circa 1516. From the church of Santa Maria of Palautordera (Valles Oriental).  National Museum of Catalan Art, Barcelona, Spain inv no: 15934
  • Gothic statue of Saint Peter by Joan Gasco. Tempera, oil, and stucco reliefs in gold leaf on wood. Date circa 1516. From the church of Santa Maria of Palautordera (Valles Oriental).  National Museum of Catalan Art, Barcelona, Spain inv no: 15934
  • Photo of Roman relief sculpture, Aphrodisias, Turkey, Images of Roman art bas reliefs.  Herakles is preparing to wrestle the Libyan giant Antaios. Herakles (left) is taking off his bow case to hang it on a pillar statue. Antaios (right) is binding up his head with ear protectors, next to him stands an oil basin used in the palaistra (wrestling ground). Antaios was a famous wrestler who challenged and killed all visitors to his country, until he was defeated by Herakles.
  • Photo of Roman relief sculpture, Aphrodisias, Turkey, Images of Roman art bas reliefs.  Herakles is preparing to wrestle the Libyan giant Antaios. Herakles (left) is taking off his bow case to hang it on a pillar statue. Antaios (right) is binding up his head with ear protectors, next to him stands an oil basin used in the palaistra (wrestling ground). Antaios was a famous wrestler who challenged and killed all visitors to his country, until he was defeated by Herakles.
  • Photo of Roman relief sculpture, Aphrodisias, Turkey, Images of Roman art bas reliefs.  Herakles is preparing to wrestle the Libyan giant Antaios. Herakles (left) is taking off his bow case to hang it on a pillar statue. Antaios (right) is binding up his head with ear protectors, next to him stands an oil basin used in the palaistra (wrestling ground). Antaios was a famous wrestler who challenged and killed all visitors to his country, until he was defeated by Herakles.
  • Photo of Roman relief sculpture, Aphrodisias, Turkey, Images of Roman art bas reliefs.  Herakles is preparing to wrestle the Libyan giant Antaios. Herakles (left) is taking off his bow case to hang it on a pillar statue. Antaios (right) is binding up his head with ear protectors, next to him stands an oil basin used in the palaistra (wrestling ground). Antaios was a famous wrestler who challenged and killed all visitors to his country, until he was defeated by Herakles.
  • Close up of a Roman Sebasteion relief sculpture of  Herakles is preparing to wrestle the Libyan giant Antaios. Aphrodisias Museum, Aphrodisias, Turkey.<br />
<br />
Herakles (left) is taking off his bow case to hang it on a pillar statue. Antaios (right) is binding up his head with ear protectors, next to him stands an oil basin used in the palaistra (wrestling ground). Antaios was a famous wrestler who challenged and killed all visitors to his country, until he was defeated by Herakles.
  • Roman Sebasteion relief sculpture of  Herakles is preparing to wrestle the Libyan giant Antaios. Aphrodisias Museum, Aphrodisias, Turkey.    Against a white background.<br />
<br />
Herakles (left) is taking off his bow case to hang it on a pillar statue. Antaios (right) is binding up his head with ear protectors, next to him stands an oil basin used in the palaistra (wrestling ground). Antaios was a famous wrestler who challenged and killed all visitors to his country, until he was defeated by Herakles.
  • Roman Sebasteion relief sculpture of  Herakles is preparing to wrestle the Libyan giant Antaios. Aphrodisias Museum, Aphrodisias, Turkey. Against a grey background.<br />
<br />
Herakles (left) is taking off his bow case to hang it on a pillar statue. Antaios (right) is binding up his head with ear protectors, next to him stands an oil basin used in the palaistra (wrestling ground). Antaios was a famous wrestler who challenged and killed all visitors to his country, until he was defeated by Herakles.
  • Gothic painted Panel Virgin of the "Consellers" by Lluis Dalmau. Tempera and gold leaf on wood. Date 1443-1445. Dimesions 316 x 312.5 x 32.5 cm. From the altar of the chapel of Barcelona City Hall. <br />
The prestige attached to Burgundian courtly culture and the painter Jan van Eyck explain why in 1431 King Alfons the Magnanimous sent his official painter, the Valencian Lluís Dalmau, to Flanders, to learn the new realist language at first hand. In 1443, Dalmau was commissioned to paint this altarpiece for the chapel of the City Hall. This work was a breakthrough in Catalonia on account of the format, the technique used, as it was painted in oil, and the skilful illusionism of a figurative space in which that year's five councillors, painted from life, are represented on the same scale as the Virgin and the Saints. National Museum of Catalan Art, Barcelona, Spain, inv no: 015938-000
  • Gothic painted Panel Virgin of the "Consellers" by Lluis Dalmau. Tempera and gold leaf on wood. Date 1443-1445. Dimesions 316 x 312.5 x 32.5 cm. From the altar of the chapel of Barcelona City Hall. <br />
The prestige attached to Burgundian courtly culture and the painter Jan van Eyck explain why in 1431 King Alfons the Magnanimous sent his official painter, the Valencian Lluís Dalmau, to Flanders, to learn the new realist language at first hand. In 1443, Dalmau was commissioned to paint this altarpiece for the chapel of the City Hall. This work was a breakthrough in Catalonia on account of the format, the technique used, as it was painted in oil, and the skilful illusionism of a figurative space in which that year's five councillors, painted from life, are represented on the same scale as the Virgin and the Saints. National Museum of Catalan Art, Barcelona, Spain, inv no: 015938-000
  • Gothic statue of Saint Peter by Joan Gasco. Tempera, oil, and stucco reliefs in gold leaf on wood. Date circa 1516. From the church of Santa Maria of Palautordera (Valles Oriental).  National Museum of Catalan Art, Barcelona, Spain inv no: 15934
  • Gothic statue of Saint Peter by Joan Gasco. Tempera, oil, and stucco reliefs in gold leaf on wood. Date circa 1516. From the church of Santa Maria of Palautordera (Valles Oriental).  National Museum of Catalan Art, Barcelona, Spain inv no: 15934
  • Gothic painted Panel Virgin of the "Consellers" by Lluis Dalmau. Tempera and gold leaf on wood. Date 1443-1445. Dimesions 316 x 312.5 x 32.5 cm. From the altar of the chapel of Barcelona City Hall. <br />
The prestige attached to Burgundian courtly culture and the painter Jan van Eyck explain why in 1431 King Alfons the Magnanimous sent his official painter, the Valencian Lluís Dalmau, to Flanders, to learn the new realist language at first hand. In 1443, Dalmau was commissioned to paint this altarpiece for the chapel of the City Hall. This work was a breakthrough in Catalonia on account of the format, the technique used, as it was painted in oil, and the skilful illusionism of a figurative space in which that year's five councillors, painted from life, are represented on the same scale as the Virgin and the Saints. National Museum of Catalan Art, Barcelona, Spain, inv no: 015938-000
  • Gothic painted Panel Virgin of the "Consellers" by Lluis Dalmau. Tempera and gold leaf on wood. Date 1443-1445. Dimesions 316 x 312.5 x 32.5 cm. From the altar of the chapel of Barcelona City Hall. <br />
The prestige attached to Burgundian courtly culture and the painter Jan van Eyck explain why in 1431 King Alfons the Magnanimous sent his official painter, the Valencian Lluís Dalmau, to Flanders, to learn the new realist language at first hand. In 1443, Dalmau was commissioned to paint this altarpiece for the chapel of the City Hall. This work was a breakthrough in Catalonia on account of the format, the technique used, as it was painted in oil, and the skilful illusionism of a figurative space in which that year's five councillors, painted from life, are represented on the same scale as the Virgin and the Saints. National Museum of Catalan Art, Barcelona, Spain, inv no: 015938-000
  • Photo of Roman relief sculpture, Aphrodisias, Turkey, Images of Roman art bas reliefs.  Herakles is preparing to wrestle the Libyan giant Antaios. Herakles (left) is taking off his bow case to hang it on a pillar statue. Antaios (right) is binding up his head with ear protectors, next to him stands an oil basin used in the palaistra (wrestling ground). Antaios was a famous wrestler who challenged and killed all visitors to his country, until he was defeated by Herakles.
  • Photo of Roman relief sculpture, Aphrodisias, Turkey, Images of Roman art bas reliefs.  Herakles is preparing to wrestle the Libyan giant Antaios. Herakles (left) is taking off his bow case to hang it on a pillar statue. Antaios (right) is binding up his head with ear protectors, next to him stands an oil basin used in the palaistra (wrestling ground). Antaios was a famous wrestler who challenged and killed all visitors to his country, until he was defeated by Herakles.
  • Photo of Roman relief sculpture, Aphrodisias, Turkey, Images of Roman art bas reliefs.  Herakles is preparing to wrestle the Libyan giant Antaios. Herakles (left) is taking off his bow case to hang it on a pillar statue. Antaios (right) is binding up his head with ear protectors, next to him stands an oil basin used in the palaistra (wrestling ground). Antaios was a famous wrestler who challenged and killed all visitors to his country, until he was defeated by Herakles.
  • Photo of Roman relief sculpture, Aphrodisias, Turkey, Images of Roman art bas reliefs.  Herakles is preparing to wrestle the Libyan giant Antaios. Herakles (left) is taking off his bow case to hang it on a pillar statue. Antaios (right) is binding up his head with ear protectors, next to him stands an oil basin used in the palaistra (wrestling ground). Antaios was a famous wrestler who challenged and killed all visitors to his country, until he was defeated by Herakles.
  • Photo of Roman relief sculpture, Aphrodisias, Turkey, Images of Roman art bas reliefs.  Herakles is preparing to wrestle the Libyan giant Antaios. Herakles (left) is taking off his bow case to hang it on a pillar statue. Antaios (right) is binding up his head with ear protectors, next to him stands an oil basin used in the palaistra (wrestling ground). Antaios was a famous wrestler who challenged and killed all visitors to his country, until he was defeated by Herakles.
  • Minoan wall art fresco of a 'figure of eight' shield from Knossos Palace, 1450-1300 BC. Heraklion Archaeological Museum.<br />
<br />
<br />
The Final Palatial Period Minoan fresco is from the Grand Staircase of the Palace of Knossos and is a Trompe-l'œil  of minoan warriors shields covered with ox hide.
  • Minoan wall art fresco of a 'figure of eight' shield from Knossos Palace, 1450-1300 BC. Heraklion Archaeological Museum.<br />
<br />
<br />
The Final Palatial Period Minoan fresco is from the Grand Staircase of the Palace of Knossos and is a Trompe-l'œil  of minoan warriors shields covered with ox hide.
  • Minoan wall art fresco of a 'figure of eight' shield from Knossos Palace, 1450-1300 BC. Heraklion Archaeological Museum.  Grey Background. <br />
<br />
<br />
The Final Palatial Period Minoan fresco is from the Grand Staircase of the Palace of Knossos and is a Trompe-l'œil  of minoan warriors shields covered with ox hide.
  • Minoan wall art fresco of a 'figure of eight' shield from Knossos Palace, 1450-1300 BC. Heraklion Archaeological Museum.<br />
<br />
<br />
The Final Palatial Period Minoan fresco is from the Grand Staircase of the Palace of Knossos and is a Trompe-l'œil  of minoan warriors shields covered with ox hide.
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • Minoan wall art fresco of a 'figure of eight' shield from Knossos Palace, 1450-1300 BC. Heraklion Archaeological Museum.  Grey Background. <br />
<br />
<br />
The Final Palatial Period Minoan fresco is from the Grand Staircase of the Palace of Knossos and is a Trompe-l'œil  of minoan warriors shields covered with ox hide.
  • Minoan wall art fresco of a 'figure of eight' shield from Knossos Palace, 1450-1300 BC. Heraklion Archaeological Museum.  Grey Background. <br />
<br />
<br />
The Final Palatial Period Minoan fresco is from the Grand Staircase of the Palace of Knossos and is a Trompe-l'œil  of minoan warriors shields covered with ox hide.
  • Minoan wall art fresco of a 'figure of eight' shield from Knossos Palace, 1450-1300 BC. Heraklion Archaeological Museum.<br />
<br />
<br />
The Final Palatial Period Minoan fresco is from the Grand Staircase of the Palace of Knossos and is a Trompe-l'œil  of minoan warriors shields covered with ox hide.
  • Minoan wall art fresco of a 'figure of eight' shield from Knossos Palace, 1450-1300 BC. Heraklion Archaeological Museum.<br />
<br />
<br />
The Final Palatial Period Minoan fresco is from the Grand Staircase of the Palace of Knossos and is a Trompe-l'œil  of minoan warriors shields covered with ox hide.
  • Minoan wall art fresco of a 'figure of eight' shield from Knossos Palace, 1450-1300 BC. Heraklion Archaeological Museum.  White Background. <br />
<br />
<br />
The Final Palatial Period Minoan fresco is from the Grand Staircase of the Palace of Knossos and is a Trompe-l'œil  of minoan warriors shields covered with ox hide.
  • Minoan wall art fresco of a 'figure of eight' shield from Knossos Palace, 1450-1300 BC. Heraklion Archaeological Museum.<br />
<br />
<br />
The Final Palatial Period Minoan fresco is from the Grand Staircase of the Palace of Knossos and is a Trompe-l'œil  of minoan warriors shields covered with ox hide.
  • Minoan wall art fresco of a 'figure of eight' shield from Knossos Palace, 1450-1300 BC. Heraklion Archaeological Museum.<br />
<br />
<br />
The Final Palatial Period Minoan fresco is from the Grand Staircase of the Palace of Knossos and is a Trompe-l'œil  of minoan warriors shields covered with ox hide.
  • Minoan wall art fresco of a 'figure of eight' shield from Knossos Palace, 1450-1300 BC. Heraklion Archaeological Museum.  Grey Background. <br />
<br />
<br />
The Final Palatial Period Minoan fresco is from the Grand Staircase of the Palace of Knossos and is a Trompe-l'œil  of minoan warriors shields covered with ox hide.
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • Painted Fruit Tress in the Roman fresco of a garden from Villa Livia (Early first century AD), Rome, Livia was the wife of Roman emperor Augustus.  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
Trees and shrubs had symbolic importance to the Romans as can be see by the plants used in the trompe-l’œil frescoes from the Villa Livia, Rome, which contains plants linked to the deities particularily venerated by Augustus and Livia.
  • Painted Domestic Pine in the Roman fresco of a garden from Villa Livia (Early first century AD), Rome, Livia was the wife of Roman emperor Augustus.  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
Trees and shrubs had symbolic importance to the Romans as can be see by the plants used in the trompe-l’œil frescoes from the Villa Livia, Rome, which contains plants linked to the deities particularily venerated by Augustus and Livia. <br />
<br />
Domestic pine: present in the mystery rites of Cybele, Attis and Dionysus. Laurel: sacred to Apollo, symbol of triumph, it recalls the famous prodigy associated with Livia Drusilla.
  • Painted Domestic Pine in the Roman fresco of a garden from Villa Livia (Early first century AD), Rome, Livia was the wife of Roman emperor Augustus.  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
Trees and shrubs had symbolic importance to the Romans as can be see by the plants used in the trompe-l’œil frescoes from the Villa Livia, Rome, which contains plants linked to the deities particularily venerated by Augustus and Livia. <br />
<br />
Domestic pine: present in the mystery rites of Cybele, Attis and Dionysus. Laurel: sacred to Apollo, symbol of triumph, it recalls the famous prodigy associated with Livia Drusilla.
  • Painted Domestic Pine in the Roman fresco of a garden from Villa Livia (Early first century AD), Rome, Livia was the wife of Roman emperor Augustus.  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
Trees and shrubs had symbolic importance to the Romans as can be see by the plants used in the trompe-l’œil frescoes from the Villa Livia, Rome, which contains plants linked to the deities particularily venerated by Augustus and Livia. <br />
<br />
Domestic pine: present in the mystery rites of Cybele, Attis and Dionysus. Laurel: sacred to Apollo, symbol of triumph, it recalls the famous prodigy associated with Livia Drusilla.
  • Painted Fruit Tress in the Roman fresco of a garden from Villa Livia (Early first century AD), Rome, Livia was the wife of Roman emperor Augustus.  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
Trees and shrubs had symbolic importance to the Romans as can be see by the plants used in the trompe-l’œil frescoes from the Villa Livia, Rome, which contains plants linked to the deities particularily venerated by Augustus and Livia.
  • Painted Fruit Tress in the Roman fresco of a garden from Villa Livia (Early first century AD), Rome, Livia was the wife of Roman emperor Augustus.  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
Trees and shrubs had symbolic importance to the Romans as can be see by the plants used in the trompe-l’œil frescoes from the Villa Livia, Rome, which contains plants linked to the deities particularily venerated by Augustus and Livia.
  • Painted Domestic Pine in the Roman fresco of a garden from Villa Livia (Early first century AD), Rome, Livia was the wife of Roman emperor Augustus.  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
Trees and shrubs had symbolic importance to the Romans as can be see by the plants used in the trompe-l’œil frescoes from the Villa Livia, Rome, which contains plants linked to the deities particularily venerated by Augustus and Livia. <br />
<br />
Domestic pine: present in the mystery rites of Cybele, Attis and Dionysus. Laurel: sacred to Apollo, symbol of triumph, it recalls the famous prodigy associated with Livia Drusilla.
  • Painted Fruit Tress in the Roman fresco of a garden from Villa Livia (Early first century AD), Rome, Livia was the wife of Roman emperor Augustus.  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
Trees and shrubs had symbolic importance to the Romans as can be see by the plants used in the trompe-l’œil frescoes from the Villa Livia, Rome, which contains plants linked to the deities particularily venerated by Augustus and Livia.
  • Painted Fruit Tress in the Roman fresco of a garden from Villa Livia (Early first century AD), Rome, Livia was the wife of Roman emperor Augustus.  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
Trees and shrubs had symbolic importance to the Romans as can be see by the plants used in the trompe-l’œil frescoes from the Villa Livia, Rome, which contains plants linked to the deities particularily venerated by Augustus and Livia.
  • Painted Fruit Tress in the Roman fresco of a garden from Villa Livia (Early first century AD), Rome, Livia was the wife of Roman emperor Augustus.  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
Trees and shrubs had symbolic importance to the Romans as can be see by the plants used in the trompe-l’œil frescoes from the Villa Livia, Rome, which contains plants linked to the deities particularily venerated by Augustus and Livia.
  • Painted Fruit Tress in the Roman fresco of a garden from Villa Livia (Early first century AD), Rome, Livia was the wife of Roman emperor Augustus.  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
Trees and shrubs had symbolic importance to the Romans as can be see by the plants used in the trompe-l’œil frescoes from the Villa Livia, Rome, which contains plants linked to the deities particularily venerated by Augustus and Livia.
  • Painted Fruit Tress in the Roman fresco of a garden from Villa Livia (Early first century AD), Rome, Livia was the wife of Roman emperor Augustus.  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
Trees and shrubs had symbolic importance to the Romans as can be see by the plants used in the trompe-l’œil frescoes from the Villa Livia, Rome, which contains plants linked to the deities particularily venerated by Augustus and Livia.
  • Painted Fruit Tress in the Roman fresco of a garden from Villa Livia (Early first century AD), Rome, Livia was the wife of Roman emperor Augustus.  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
Trees and shrubs had symbolic importance to the Romans as can be see by the plants used in the trompe-l’œil frescoes from the Villa Livia, Rome, which contains plants linked to the deities particularily venerated by Augustus and Livia.
  • Painted Fruit Tress in the Roman fresco of a garden from Villa Livia (Early first century AD), Rome, Livia was the wife of Roman emperor Augustus.  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
Trees and shrubs had symbolic importance to the Romans as can be see by the plants used in the trompe-l’œil frescoes from the Villa Livia, Rome, which contains plants linked to the deities particularily venerated by Augustus and Livia.
  • Painted Roma fresco of a garden from Villa Livia (Early first century AD), Rome, Livia was the wife of Roman emperor Augustus.  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
Trees and shrubs had symbolic importance to the Romans as can be see by the plants used in the trompe-l’œil frescoes from the Villa Livia, Rome, which contains plants linked to the deities particularily venerated by Augustus and Livia.
  • Painted Fruit Tress in the Roman fresco of a garden from Villa Livia (Early first century AD), Rome, Livia was the wife of Roman emperor Augustus.  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
Trees and shrubs had symbolic importance to the Romans as can be see by the plants used in the trompe-l’œil frescoes from the Villa Livia, Rome, which contains plants linked to the deities particularily venerated by Augustus and Livia.
  • Painted Fruit Tress in the Roman fresco of a garden from Villa Livia (Early first century AD), Rome, Livia was the wife of Roman emperor Augustus.  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
Trees and shrubs had symbolic importance to the Romans as can be see by the plants used in the trompe-l’œil frescoes from the Villa Livia, Rome, which contains plants linked to the deities particularily venerated by Augustus and Livia.
  • Painted Bird from the Roman fresco of a garden from Villa Livia, Rome (Early first century AD), Rome, Livia was the wife of Roman emperor Augustus.  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
Trees and shrubs had symbolic importance to the Romans as can be see by the plants used in the trompe-l’œil frescoes from the Villa Livia, Rome, which contains plants linked to the deities particularily venerated by Augustus and Livia.
  • Painted Domestic Pine in the Roman fresco of a garden from Villa Livia (Early first century AD), Rome, Livia was the wife of Roman emperor Augustus.  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
Trees and shrubs had symbolic importance to the Romans as can be see by the plants used in the trompe-l’œil frescoes from the Villa Livia, Rome, which contains plants linked to the deities particularily venerated by Augustus and Livia. <br />
<br />
Domestic pine: present in the mystery rites of Cybele, Attis and Dionysus. Laurel: sacred to Apollo, symbol of triumph, it recalls the famous prodigy associated with Livia Drusilla.
  • Painted Domestic Pine in the Roman fresco of a garden from Villa Livia (Early first century AD), Rome, Livia was the wife of Roman emperor Augustus.  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
Trees and shrubs had symbolic importance to the Romans as can be see by the plants used in the trompe-l’œil frescoes from the Villa Livia, Rome, which contains plants linked to the deities particularily venerated by Augustus and Livia. <br />
<br />
Domestic pine: present in the mystery rites of Cybele, Attis and Dionysus. Laurel: sacred to Apollo, symbol of triumph, it recalls the famous prodigy associated with Livia Drusilla.
  • Painted Fruit Tress in the Roman fresco of a garden from Villa Livia (Early first century AD), Rome, Livia was the wife of Roman emperor Augustus.  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
Trees and shrubs had symbolic importance to the Romans as can be see by the plants used in the trompe-l’œil frescoes from the Villa Livia, Rome, which contains plants linked to the deities particularily venerated by Augustus and Livia.
  • Painted Fruit Tress in the Roman fresco of a garden from Villa Livia (Early first century AD), Rome, Livia was the wife of Roman emperor Augustus.  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
Trees and shrubs had symbolic importance to the Romans as can be see by the plants used in the trompe-l’œil frescoes from the Villa Livia, Rome, which contains plants linked to the deities particularily venerated by Augustus and Livia.
  • Minoan Theran style strainer jar decorated with lilies on a dark background, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
This style of strainer jar is characteristic of Theran Minoan pottery also found on Minoan Crete. A strainer incorporated into the jar probably allowed it to be used in the manufacture of aramatic oils or as an incense burner.
  • Minoan Theran style strainer jar decorated with lilies on a dark background, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
This style of strainer jar is characteristic of Theran Minoan pottery also found on Minoan Crete. A strainer incorporated into the jar probably allowed it to be used in the manufacture of aramatic oils or as an incense burner.
  • Minoan Theran style strainer jar decorated with lilies on a dark background, Akrotiri, Thira (Santorini) National Archaeological Museum Athens. 17th-16th cent BC.<br />
<br />
This style of strainer jar is characteristic of Theran Minoan pottery also found on Minoan Crete. A strainer incorporated into the jar probably allowed it to be used in the manufacture of aramatic oils or as an incense burner.

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Pictures and Images can be downloaded or bought as stock photos or photo art prints.

COUNTRIES

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

VIEW COUNTRIES INDEX....

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.

EXPLORE HISTORICAL PLACES...

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.

SEE MUESEUM ANTIQUITIES....