• Streets and canals of Burano island - Venice - Italy The traditional colourful houses of Burano Island, Venice Lagoon, Italy
  • Streets and canals of Burano island - Venice - Italy The traditional colourful houses of Burano Island, Venice Lagoon, Italy
  • Streets and canals of Burano island - Venice - Italy The traditional colourful houses of Burano Island, Venice Lagoon, Italy
  • Streets and canals of Burano island - Venice - Italy The traditional colourful houses of Burano Island, Venice Lagoon, Italy
  • Streets and canals of Burano island - Venice - Italy The traditional colourful houses of Burano Island, Venice Lagoon, Italy
  • Streets and canals of Burano island - Venice - Italy The traditional colourful houses of Burano Island, Venice Lagoon, Italy
  • Sea front houses and Elizabethan Moat House Aldeburgh - Suffolk - England
  • Sea front houses and shingle beach of Aldeburgh , Suffolk, England
  • Sea front houses and shingle beach of Aldeburgh , Suffolk, England
  • Sea front houses and fushing baist on the shingle beach of Aldeburgh , Suffolk, England
  • Sea front houses and fushing baist on the shingle beach of Aldeburgh , Suffolk, England
  • Sea front houses and shingle beach of Aldeburgh , Suffolk, England
  • Sea front houses, lifeboat look out tower  and shingle beach of Aldeburgh - Suffolk - England
  • Sea front houses and shingle beach of Aldeburgh , Suffolk, England
  • Sea front houses, lifeboat look out tower  and shingle beach of Aldeburgh - Suffolk - England
  • Sea front houses and fushing baist on the shingle beach of Aldeburgh , Suffolk, England
  • Sea front houses and fushing baist on the shingle beach of Aldeburgh , Suffolk, England
  • Bay Hotel & fishermans houses of the historic fishing village of Robin Hood's Bay, Near Whitby, North Yorkshire, England.
  • Bay Hotel & fishermans houses of the historic fishing village of Robin Hood's Bay, Near Whitby, North Yorkshire, England.
  • Bay Hotel Pub, village & beach of historic fishing village of Robin Hood's Bay, Near Whitby, North Yorkshire, England.
  • Rock pools on the beach of the historic fishing village of Robin Hood's Bay, Near Whitby, North Yorkshire, England.
  • Harbour  of historic fishing village of Robin Hood's Bay, Near Whitby, North Yorkshire, England.
  • Beach & slipway of historic fishing village of Robin Hood's Bay, Near Whitby, North Yorkshire, England.
  • Harbour  of historic fishing village of Robin Hood's Bay, Near Whitby, North Yorkshire, England.
  • Harbour  of historic fishing village of Robin Hood's Bay, Near Whitby, North Yorkshire, England.
  • Traditional seaside colorful beach huts on the beachof Southwold, Suffolk, England
  • "Women Sweeping"  - Colourful Houses of Burano - Venice - Italy The traditional colourful houses of Burano Island, Venice Lagoon, Italy
  • Colorful houses, Fondementi Pontinella Destro, Burano Venice Italy The traditional colourful houses of Burano Island, Venice Lagoon, Italy
  • Colorful houses, Fondementi Pontinella Destro, Burano Venice Italy The traditional colourful houses of Burano Island, Venice Lagoon, Italy
  • Colorful houses, Fondementi Pontinella Destro, Burano Venice Italy The traditional colourful houses of Burano Island, Venice Lagoon, Italy
  • "Black Bike" - Colourful Houses of Burano - Venice - Italy The traditional colourful houses of Burano Island, Venice Lagoon, Italy
  • "Blue & White Striped Shirt"  - Colourful Houses of Burano - Venice - Italy The traditional colourful houses of Burano Island, Venice Lagoon, Italy
  • "People Walking"  - Colourful Houses of Burano - Venice - Italy The traditional colourful houses of Burano Island, Venice Lagoon, Italy
  • "Campinale" - Colourful Houses of Burano - Venice - Italy The traditional colourful houses of Burano Island, Venice Lagoon, Italy
  • "Women Walking" - Colourful Houses of Burano - Venice - Italy The traditional colourful houses of Burano Island, Venice Lagoon, Italy
  • "Two People Talking" - Colourful Houses of Burano - Venice - Italy The traditional colourful houses of Burano Island, Venice Lagoon, Italy
  • "Seagull" - Colourful Houses of Burano - Venice - Italy The traditional colourful houses of Burano Island, Venice Lagoon, Italy
  • "Women Bowing" -  Colourful Houses of Burano - Venice - Italy The traditional colourful houses of Burano Island, Venice Lagoon, Italy
  • Colorful houses, Fondementi Pontinella Destro, Burano Venice Italy The traditional colourful houses of Burano Island, Venice Lagoon, Italy
  • Colorful houses, Fondementi Pontinella Destro, Burano Venice Italy The traditional colourful houses of Burano Island, Venice Lagoon, Italy
  • Colorful houses, Fondementi Pontinella Destro, Burano Venice Italy The traditional colourful houses of Burano Island, Venice Lagoon, Italy
  • Colorful houses, Fondementi Pontinella Destro, Burano Venice Italy The traditional colourful houses of Burano Island, Venice Lagoon, Italy
  • Colorful houses, Fondementi Pontinella Destro, Burano Venice Italy The traditional colourful houses of Burano Island, Venice Lagoon, Italy
  • Colorful houses, Fondementi Pontinella Destro, Burano Venice Italy The traditional colourful houses of Burano Island, Venice Lagoon, Italy
  • Colorful houses, Fondementi Pontinella Destro, Burano Venice Italy The traditional colourful houses of Burano Island, Venice Lagoon, Italy
  • Colorful houses, Fondementi Pontinella Destro, Burano Venice Italy The traditional colourful houses of Burano Island, Venice Lagoon, Italy
  • Colorful houses, Fondementi Pontinella Destro, Burano Venice Italy The traditional colourful houses of Burano Island, Venice Lagoon, Italy
  • Colorful houses, Fondementi Pontinella Destro, Burano Venice Italy The traditional colourful houses of Burano Island, Venice Lagoon, Italy
  • Streets and canals of Burano island - Venice - Italy The traditional colourful houses of Burano Island, Venice Lagoon, Italy
  • Streets and canals of Burano island - Venice - Italy The traditional colourful houses of Burano Island, Venice Lagoon, Italy
  • Streets and canals of Burano island - Venice - Italy The traditional colourful houses of Burano Island, Venice Lagoon, Italy
  • Streets and canals of Burano island - Venice - Italy The traditional colourful houses of Burano Island, Venice Lagoon, Italy
  • Streets and canals of Burano island - Venice - Italy The traditional colourful houses of Burano Island, Venice Lagoon, Italy
  • Streets and canals of Burano island - Venice - Italy The traditional colourful houses of Burano Island, Venice Lagoon, Italy
  • Streets and canals of Burano island - Venice - Italy The traditional colourful houses of Burano Island, Venice Lagoon, Italy
  • Streets and canals of Burano island - Venice - Italy The traditional colourful houses of Burano Island, Venice Lagoon, Italy
  • Streets and canals of Burano island - Venice - Italy The traditional colourful houses of Burano Island, Venice Lagoon, Italy
  • Streets and canals of Burano island - Venice - Italy The traditional colourful houses of Burano Island, Venice Lagoon, Italy
  • Streets and canals of Burano island - Venice - Italy The traditional colourful houses of Burano Island, Venice Lagoon, Italy
  • Streets and canals of Burano island - Venice - Italy The traditional colourful houses of Burano Island, Venice Lagoon, Italy
  • Streets and canals of Burano island - Venice - Italy The traditional colourful houses of Burano Island, Venice Lagoon, Italy
  • Streets and canals of Burano island - Venice - Italy The traditional colourful houses of Burano Island, Venice Lagoon, Italy
  • Streets and canals of Burano island - Venice - Italy The traditional colourful houses of Burano Island, Venice Lagoon, Italy
  • Streets and canals of Burano island - Venice - Italy The traditional colourful houses of Burano Island, Venice Lagoon, Italy
  • Streets and canals of Burano island - Venice - Italy The traditional colourful houses of Burano Island, Venice Lagoon, Italy
  • Streets and canals of Burano island - Venice - Italy The traditional colourful houses of Burano Island, Venice Lagoon, Italy
  • Streets and canals of Burano island - Venice - Italy The traditional colourful houses of Burano Island, Venice Lagoon, Italy
  • Streets and canals of Burano island - Venice - Italy The traditional colourful houses of Burano Island, Venice Lagoon, Italy
  • Streets and canals of Burano island - Venice - Italy The traditional colourful houses of Burano Island, Venice Lagoon, Italy
  • Streets and canals of Burano island - Venice - Italy The traditional colourful houses of Burano Island, Venice Lagoon, Italy
  • Streets and canals of Burano island - Venice - Italy The traditional colourful houses of Burano Island, Venice Lagoon, Italy
  • Streets and canals of Burano island - Venice - Italy The traditional colourful houses of Burano Island, Venice Lagoon, Italy
  • Streets and canals of Burano island - Venice - Italy The traditional colourful houses of Burano Island, Venice Lagoon, Italy
  • Streets and canals of Burano island - Venice - Italy The traditional colourful houses of Burano Island, Venice Lagoon, Italy
  • Cacabepi -  Burano island - Venice - Italy The traditional colourful houses of Burano Island, Venice Lagoon, Italy
  • Cacabepi -  Burano island - Venice - Italy The traditional colourful houses of Burano Island, Venice Lagoon, Italy
  • Streets and canals of Burano island - Venice - Italy The traditional colourful houses of Burano Island, Venice Lagoon, Italy
  • Streets and canals of Burano island - Venice - Italy The traditional colourful houses of Burano Island, Venice Lagoon, Italy
  • Streets and canals of Burano island - Venice - Italy The traditional colourful houses of Burano Island, Venice Lagoon, Italy
  • Streets and canals of Burano island - Venice - Italy The traditional colourful houses of Burano Island, Venice Lagoon, Italy
  • Streets and canals of Burano island - Venice - Italy The traditional colourful houses of Burano Island, Venice Lagoon, Italy
  • Colorful Houses of Burano Island Venice, Italy The traditional colourful houses of Burano Island, Venice Lagoon, Italy
  • Brightly colored painted houses and fisherman's lookout tower on the sea front beach at Aldeburgh, East Anglia, Suffolk, England
  • Brightly colored painted houses and fisherman's lookout tower on the sea front beach at Aldeburgh, East Anglia, Suffolk, England
  • Brightly colored painted houses and fisherman's lookout tower on the sea front beach at Aldeburgh, East Anglia, Suffolk, England
  • Brightly colored painted houses and fisherman's lookout tower on the sea front beach at Aldeburgh, East Anglia, Suffolk, England
  • Brightly colored painted houses and fisherman's lookout tower on the sea front beach at Aldeburgh, East Anglia, Suffolk, England
  • Recontructed fresco of an original found at Catalhoyuk. The men are hunting a deer and pulling on its tounge to disable it. The hunters are believed by scholors to be wearing leopard skin costumes, Painted by Mutlu Gundiler. Reconstructed houses, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • Recontructed fresco of an original found at Catalhoyuk. The men are hunting a deer and pulling on its tounge to disable it. The hunters are believed by scholors to be wearing leopard skin costumes, Painted by Mutlu Gundiler. Reconstructed houses, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • Recontructed fresco of an original found at Catalhoyuk. The men are hunting a deer and pulling on its tounge to disable it. The hunters are believed by scholors to be wearing leopard skin costumes, Painted by Mutlu Gundiler. Reconstructed houses, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • Recontructed fresco of an original found at Catalhoyuk. The hunters are believed by scholors to be wearing leopard skin costumes, Painted by Mutlu Gundiler. Reconstructed houses, 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • Close up of a recontructed fresco of an original found at Catalhoyuk. The depicted men are wearing what scolars believe were leopard skin costumes. Painted by Mutlu Gundiler. Reconstructed houses, 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • Recontructed fresco of an original found at Catalhoyuk depicting two animals being hunted. The men are wearing what scolars believe were leopard skin costumes. Painted by Mutlu Gundiler. Reconstructed houses, 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • Recontructed fresco of an original found at Catalhoyuk depicting two animals being hunted. The men are wearing what scolars believe were leopard skin costumes. Painted by Mutlu Gundiler. Reconstructed houses, 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • "Two Chairs" - Colourful Houses of Burano - Venice - Italy
  • Recontructed fresco of an original found at Catalhoyuk. The men are hunting a deer and pulling on its tounge to disable it. The hunters are believed by scholors to be wearing leopard skin costumes, Painted by Mutlu Gundiler. Reconstructed houses, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • Recontructed fresco of an original found at Catalhoyuk. The men are hunting a boar. The hunters are believed by scholors to be wearing leopard skin costumes, Painted by Mutlu Gundiler. Reconstructed houses, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • Close up of a recontructed fresco of an original found at Catalhoyuk. The men are hunting an animal. Reconstructed houses, Painted by Mutlu Gundiler. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • Close up of a recontructed fresco of an original found at Catalhoyuk. The men are hunting a deer and pulling on its tounge to disable it. The hunters are believed by scholors to be wearing leopard skin costumes, Reconstructed houses, Painted by Mutlu Gundiler. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • Recontructed fresco of an original found at Catalhoyuk depicting two animals being hunted. The men are wearing what scolars believe were leopard skin costumes. Painted by Mutlu Gundiler. Reconstructed houses, 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • "Man In Window" - Colourful Houses of Burano - Venice - Italy
  • " Man Wearing White Trainers" - Colourful Houses of Burano - Venice - Italy
  • Xysta on the houses of the main square of Pygri, geometic patterned decorations in black and white that adorn the houses of the Mastic Villages of southern Chios dating back to the period Genoses rule. Mastichochoria area of Chios Island, Greece.
  • Old House in Burano, Venice
  • "Burano No: 12 ". A selective colour photo art print by photographer Paul E Williams
  • Busola Buranello biscuits Burano
  • Gondolas on the Grand Canal - Venice - Italy
  • "Burano No: 11 ". A selective colour photo art print by photographer Paul E Williams
  • "Burano No: 8 ". A selective colour photo art print by photographer Paul E Williams
  • "Burano No: 7 ". A selective colour photo art print by photographer Paul E Williams
  • "Burano No: 4 ". A selective colour photo art print by photographer Paul E Williams
  • "Burano No: 2 ". A selective colour photo art print by photographer Paul E Williams
  • "Burano No: 3 ". A selective colour photo art print by photographer Paul E Williams
  • "Pink Bike, Green Wall" - Burano - Venice - Italy
  • Gondolas on the Grand Canal - Venice - Italy
  • Gondolas on the Grand Canal - Venice - Italy
  • Gondolas on the Grand Canal - Venice - Italy
  • Roman fresco wall painting of Ariadne fast asleep on a bed of seaweed does not realise that Theseus is about to abandon her and sailaway on a ship to Athens, Pompeii House of colored Capitals, VII,31-51, inv 9052 , Naples National Archaeological Museum
  • A Roman erotic fresco painting from Pompeii form a private house venereum, a room for sexual activities, 50-79 AD , , inv no 27696 , Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • Roman fresco wall painting of the divine lovers Venus and Mars, one of the best paintings excavated from Pompeii, from the house of Venus and Mars (VII 9 47), inv 9248, Naples National Archaeological Museum
  • Roman fresco of the divine lovers Venus and Mars, Naples National Archaeological Museum , one of the best paintings excavated from Pompeii, from the house of Venus and Mars (VII 9 47), inv 9248,
  • Roman fresco of the divine lovers Venus and Mars, Naples National Archaeological Museum , one of the best paintings excavated from Pompeii, from the house of Venus and Mars (VII 9 47), inv 9248,
  • Roman Nero Period fresco wall painting of Perseus and Andromeda, Naples National Archaeological Museum, from a house in the Insula Occidentalis at Pompeii , inv 9058 ,
  • Roman Nero Period fresco wall painting of Perseus and Andromeda, Naples National Archaeological Museum, from a house in the Insula Occidentalis at Pompeii , inv 9058 ,
  • Recontructed fresco of what are possibly two leopards found at Catalhoyuk. Reconstructed houses, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • An exposed skeleton which were found in pits under the floors of some houses. On the wall are frescoes of what look like vultures, Scholars belive that dead bodies were subject to excarnation which means that their flesh was stripped from the body to leave the skeleton. A reconstruction of one of four Catalhoyuk houses to help archaeologists understand the finished structure of excavated ruins. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • An exposed skeleton which were found in pits under the floors of some houses. On the wall are frescoes of what look like vultures, Scholars belive that dead bodies were subject to excarnation which means that their flesh was stripped from the body to leave the skeleton. A reconstruction of one of four Catalhoyuk houses to help archaeologists understand the finished structure of excavated ruins. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • An exposed skeleton which were found in pits under the floors of some houses. On the wall are frescoes of what look like vultures, Scholars belive that dead bodies were subject to excarnation which means that their flesh was stripped from the body to leave the skeleton. A reconstruction of one of four Catalhoyuk houses to help archaeologists understand the finished structure of excavated ruins. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • An exposed skeleton which were found in pits under the floors of some houses. On the wall are frescoes of what look like vultures, Scholars belive that dead bodies were subject to excarnation which means that their flesh was stripped from the body to leave the skeleton. A reconstruction of one of four Catalhoyuk houses to help archaeologists understand the finished structure of excavated ruins. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • Roman fresco wall decorations of  Vestibule of a Rome Villa, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy. Against a white background.<br />
<br />
A large fresco covered the curving wall of the vestibule E 5 was positioned at the entrance of the house onto the street. Vitruvius claims that the vestibulum was a room which was not needed by common people, but which was essential in a house worthy of respect, because it served to welcome guests and the people who came to be received by the owners of the house. The frescoed decoration of this wall, which was entirely detached, shows a division into panels, architectural perspectives and pavilions among which are figures and decorative elements, above a band of skirting. Numerous panels have been detached from the corridor E 3 E 11 which connected all the areas of the house, but it has not been possible to reconstruct the sequence of the walls. Inside the frames, against a white background, different decorative elements are arranged, along with hanging female and male figures, hippogriffs and other fantastical animals, vases, garlands and vegetation.
  • Roman fresco wall decorations of  Vestibule of a Rome Villa, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy. Against a grey background.<br />
<br />
A large fresco covered the curving wall of the vestibule E 5 was positioned at the entrance of the house onto the street. Vitruvius claims that the vestibulum was a room which was not needed by common people, but which was essential in a house worthy of respect, because it served to welcome guests and the people who came to be received by the owners of the house. The frescoed decoration of this wall, which was entirely detached, shows a division into panels, architectural perspectives and pavilions among which are figures and decorative elements, above a band of skirting. Numerous panels have been detached from the corridor E 3 E 11 which connected all the areas of the house, but it has not been possible to reconstruct the sequence of the walls. Inside the frames, against a white background, different decorative elements are arranged, along with hanging female and male figures, hippogriffs and other fantastical animals, vases, garlands and vegetation.
  • Roman fresco wall decorations of  Vestibule of a Rome Villa, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy. Against a black background.<br />
<br />
A large fresco covered the curving wall of the vestibule E 5 was positioned at the entrance of the house onto the street. Vitruvius claims that the vestibulum was a room which was not needed by common people, but which was essential in a house worthy of respect, because it served to welcome guests and the people who came to be received by the owners of the house. The frescoed decoration of this wall, which was entirely detached, shows a division into panels, architectural perspectives and pavilions among which are figures and decorative elements, above a band of skirting. Numerous panels have been detached from the corridor E 3 E 11 which connected all the areas of the house, but it has not been possible to reconstruct the sequence of the walls. Inside the frames, against a white background, different decorative elements are arranged, along with hanging female and male figures, hippogriffs and other fantastical animals, vases, garlands and vegetation.
  • Roman fresco wall decorations of  Vestibule of a Rome Villa, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
A large fresco covered the curving wall of the vestibule E 5 was positioned at the entrance of the house onto the street. Vitruvius claims that the vestibulum was a room which was not needed by common people, but which was essential in a house worthy of respect, because it served to welcome guests and the people who came to be received by the owners of the house. The frescoed decoration of this wall, which was entirely detached, shows a division into panels, architectural perspectives and pavilions among which are figures and decorative elements, above a band of skirting. Numerous panels have been detached from the corridor E 3 E 11 which connected all the areas of the house, but it has not been possible to reconstruct the sequence of the walls. Inside the frames, against a white background, different decorative elements are arranged, along with hanging female and male figures, hippogriffs and other fantastical animals, vases, garlands and vegetation.
  • Roman fresco wall decorations of  Vestibule of a Rome Villa, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy. Against an art background.<br />
<br />
A large fresco covered the curving wall of the vestibule E 5 was positioned at the entrance of the house onto the street. Vitruvius claims that the vestibulum was a room which was not needed by common people, but which was essential in a house worthy of respect, because it served to welcome guests and the people who came to be received by the owners of the house. The frescoed decoration of this wall, which was entirely detached, shows a division into panels, architectural perspectives and pavilions among which are figures and decorative elements, above a band of skirting. Numerous panels have been detached from the corridor E 3 E 11 which connected all the areas of the house, but it has not been possible to reconstruct the sequence of the walls. Inside the frames, against a white background, different decorative elements are arranged, along with hanging female and male figures, hippogriffs and other fantastical animals, vases, garlands and vegetation.
  • Reconstruction of a geometric wall painting of building 77 of the north area, 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • Recontruction of a wall painting found in building no 2 of the north area. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • Detail of the Roman fresco wall painting of a Dionysus accompanied by Silenius and two cupids finds Ariadne in a deep sleep, he takes her to Olympus and marries her so giving her immortality ,Pompeii House of the Tragic Poet, inv 9271, Naples National Archaeological Museum,
  • Roman Nero Period fresco wall painting of Perseus and Andromeda, from a house in the Insula Occidentalis at Pompeii , inv 9058 , Naples National Archaeological Museum , grey background
  • Roman Nero Period fresco wall painting of Perseus and Andromeda, from a house in the Insula Occidentalis at Pompeii , inv 9058 , Naples National Archaeological Museum , white background
  • Roman Nero Period fresco wall painting of Perseus and Andromeda, from a house in the Insula Occidentalis at Pompeii , inv 9058 , Naples National Archaeological Museum
  • Roman Nero Period fresco wall painting of Perseus and Andromeda, from a house in the Insula Occidentalis at Pompeii , inv 9058 , Naples National Archaeological Museum , black background
  • Roman Nero Period fresco wall painting of Perseus and Andromeda, from a house in the Insula Occidentalis at Pompeii , inv 9058 , Naples National Archaeological Museum
  • Roman Nero Period fresco wall painting of Perseus and Andromeda, from a house in the Insula Occidentalis at Pompeii , inv 9058 , Naples National Archaeological Museum
  • Roman fresco wall painting of Ariadne fast asleep on a bed of seaweed does not realise that Theseus is about to abandon her and sailaway on a ship to Athens, Pompeii House of colored Capitals, VII,31-51, inv 9052 , Naples National Archaeological Museum
  • 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
  • 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
  • Recontructed fresco of an original hunting scene found at Catalhoyuk. Reconstructed houses, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • Aurochs skulls covered in lime plaster to make waht appear to be seats. On the wall are frescoes of hand prints will a platererd bulls skull. A reconstruction of one of four Catalhoyuk houses to help archaeologists understand the finished structure of excavated ruins. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • A close up of a clay oven in a reconstruction of one of four Catalhoyuk houses to help archaeologists understand the finished structure of excavated ruins. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • A clay oven below a ladder which led to the main entrance via the roof, which also allowed smoke out. A reconstruction of one of four Catalhoyuk houses to help archaeologists understand the finished structure of excavated ruins. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • A clay oven below a ladder which led to the main entrance via the roof, which also allowed smoke out. A reconstruction of one of four Catalhoyuk houses to help archaeologists understand the finished structure of excavated ruins. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • A plastered bull skull and frescoes of a reconstruction of one of four Catalhoyuk houses to help archaeologists understand the finished structure of excavated ruins. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • A plastered bull skull and frescoes of a reconstruction of one of four Catalhoyuk houses to help archaeologists understand the finished structure of excavated ruins. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • Reconstruction of 4 Catalhoyuk houses to help archaeologists understand the finished structure of excavated ruins. The leopard frescoes on the wall were not found in this room reconstruction. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • A plastered bull skull and frescoes of a reconstruction of one of four Catalhoyuk houses to help archaeologists understand the finished structure of excavated ruins. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • Reconstruction of 4 Catalhoyuk houses to help archaeologists understand the finished structure of excavated ruins. The leopard frescoes on the wall were not found in this room reconstruction. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • A plastered bull skull and frescoes of a reconstruction of one of four Catalhoyuk houses to help archaeologists understand the finished structure of excavated ruins. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • A plastered bull skull and frescoes of a reconstruction of one of four Catalhoyuk houses to help archaeologists understand the finished structure of excavated ruins. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • A plastered bull skull and frescoes of a reconstruction of one of four Catalhoyuk houses to help archaeologists understand the finished structure of excavated ruins. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • 1 cent AD Roman Mythical Erotic  fresco from a house in Pompeii. Naples Archaological Museum inv no: 110590
  • 1 cent AD Roman Erotic  fresco from a house in Pompeii. Naples Archaological Museum
  • 1 cent AD Roman Erotic  fresco from a house in Pompeii. Naples Archaological Museum
  • 1 cent AD Roman Erotic  fresco from a house in Pompeii. Naples Archaological Museum
  • 1 cent AD Roman Erotic Mosaic from a house in Pompeii. Naples Archaological Museum
  • 1 cent AD Roman Erotic Mosaic from a house in Pompeii. Naples Archaological Museum
  • 1 cent AD Roman Erotic  fresco from a house in Pompeii. Naples Archaological Museum
  • 1 cent AD Roman Erotic Mosaic from a house in Pompeii. Naples Archaological Museum
  • 1 cent AD Roman Erotic  Mythical fresco from a house in Pompeii. Naples Archaological Museum inv no: 110590
  • 1 cent AD Roman Erotic  fresco of a man & woman having sex  from a house in Pompeii. Naples Archaological Museum inv no: 27696
  • 1 cent AD Roman Erotic  fresco of a man & woman having sex  from a house in Pompeii. Naples Archaological Museum inv no: 27696
  • 1 cent AD Roman Erotic  fresco from a house in Pompeii. Naples Archaological Museum inv no 27875
  • 1 cent AD Roman Erotic  fresco from a house in Pompeii. Naples Archaological Museum
  • 1 cent AD Roman Erotic  Mythical fresco  from a house in Pompeii. Naples Archaological Museum  inv no: 27697
  • 1 cent AD Roman Erotic  fresco of a man & woman having sex  from a house in Pompeii. Naples Archaological Museum inv no: 27686
  • 1 cent AD Roman Erotic  fresco from a house in Pompeii. Naples Archaological Museum
  • 1 cent AD Roman Erotic  fresco from a house in Pompeii. Naples Archaological Museum
  • 1 cent AD Roman Erotic  fresco from a house in Pompeii. Naples Archaological Museum
  • 1 cent AD Roman Mythical Erotic  fresco from a house in Pompeii. Naples Archaological Museum inv no: 110590
  • 1 cent AD Roman Erotic  fresco from a house in Pompeii. Naples Archaological Museum
  • 1 cent AD Roman Erotic  Mythical fresco  from a house in Pompeii. Naples Archaological Museum  inv no: 27697
  • Roman Erotic Fresco from Pompeii depicting  sexual activities,  Naples National Archaeological Museum - from a private house venereum, 50-79 AD , , inv no 27696 ,
  • Roman Erotic Fresco from Pompeii depicting  sexual activities,  Naples National Archaeological Museum - from a private house venereum, 50-79 AD , , inv no 27696 ,
  • Roman Erotic Fresco from Pompeii depicting  sexual activities,  Naples National Archaeological Museum - from a private house venereum, 50-79 AD , , inv no 27696 ,
  • Roman Erotic Fresco from Pompeii depicting  sexual activities,  Naples National Archaeological Museum - from a private house venereum, 50-79 AD , , inv no 27696 ,
  • Roman Erotic Fresco from Pompeii depicting  sexual activities,  Naples National Archaeological Museum - from a private house venereum, 50-79 AD , , inv no 27696 ,
  • Roman Erotic Fresco from Pompeii depicting  sexual activities,  Naples National Archaeological Museum - from a private house venereum, 50-79 AD , , inv no 27696 ,
  • The Thermopolium of Lucius Vetutius Placidus on the Via del Abbondante, with the serving counter with holes that contained amphora of food for sale. The Thermopolium was an eating & drinking house. The painting depicts at the centre the God of the patron and on either side are the lars or protectors of the house, Mercury , God of Commerce & Dionysus, God of wine.
  • The Thermopolium of Lucius Vetutius Placidus on the Via del Abbondante, with the serving counter with holes that contained amphora of food for sale. The Thermopolium was an eating & drinking house. The painting depicts at the centre the God of the patron and on either side are the lars or protectors of the house, Mercury , God of Commerce & Dionysus, God of wine.
  • The Thermopolium of Lucius Vetutius Placidus on the Via del Abbondante, with the serving counter with holes that contained amphora of food for sale. The Thermopolium was an eating & drinking house. The painting depicts at the centre the God of the patron and on either side are the lars or protectors of the house, Mercury , God of Commerce & Dionysus, God of wine.
  • Detail of the Roman fresco wall painting of all the characters in the story of Admetus who, aided by Apollo made the Fates agree not to take Admetus on his 'death day' if he could find someone else to replace him, his wife, Alcestis, dies instead of Admetus but as she decends into the Underworld he discovers that he no longer wants to live without her, Pompeii House of the Tragic Poet , inv 9026, Naples National Archaeological Museum, white background
  • Detail of the Roman fresco wall painting of all the characters in the story of Admetus who, aided by Apollo made the Fates agree not to take Admetus on his 'death day' if he could find someone else to replace him, his wife, Alcestis, dies instead of Admetus but as she decends into the Underworld he discovers that he no longer wants to live without her, Pompeii House of the Tragic Poet, inv 9026, Naples National Archaeological Museum, grey background
  • Detail of the Roman fresco wall painting of all the characters in the story of Admetus who, aided by Apollo made the Fates agree not to take Admetus on his 'death day' if he could find someone else to replace him, his wife, Alcestis, dies instead of Admetus but as she decends into the Underworld he discovers that he no longer wants to live without her, Pompeii House of the Tragic Poet, inv 9026, Naples National Archaeological Museum, black background
  • Detail of the Roman fresco wall painting of all the characters in the story of Admetus who, aided by Apollo made the Fates agree not to take Admetus on his 'death day' if he could find someone else to replace him, his wife, Alcestis, dies instead of Admetus but as she decends into the Underworld he discovers that he no longer wants to live without her, Pompeii House of the Tragic Poet, inv 9026, Naples National Archaeological Museum, grey art background
  • Detail of the Roman fresco wall painting of all the characters in the story of Admetus who, aided by Apollo made the Fates agree not to take Admetus on his 'death day' if he could find someone else to replace him, his wife, Alcestis, dies instead of Admetus but as she decends into the Underworld he discovers that he no longer wants to live without her, Pompeii House of the Tragic Poet, inv 9026, Naples National Archaeological Museum, art background
  • Picture & image of Vardzia medieval cave Church of the Dormition interior secco paintings of the Dormition of the Virgin, part of the cave city and monastery of Vardzia, Erusheti Mountain, southern Georgia (country)<br />
<br />
Inhabited from the 5th century BC, the first identifiable phase of building took place at  Vardzia in the reign of Giorgi III (1156-1184) to be continued by his successor, Queen Tamar 1186, when the Church of the Dormition was carved out of the rock and decorated with frescoes
  • Picture & image of Vardzia medieval cave Church of the Dormition interior secco paintings of the Dormition of the Virgin, part of the cave city and monastery of Vardzia, Erusheti Mountain, southern Georgia (country)<br />
<br />
Inhabited from the 5th century BC, the first identifiable phase of building took place at  Vardzia in the reign of Giorgi III (1156-1184) to be continued by his successor, Queen Tamar 1186, when the Church of the Dormition was carved out of the rock and decorated with frescoes
  • Picture & image of Vardzia medieval cave Church of the Dormition interior secco paintings, part of the cave city and monastery of Vardzia, Erusheti Mountain, southern Georgia (country)<br />
<br />
Inhabited from the 5th century BC, the first identifiable phase of building took place at  Vardzia in the reign of Giorgi III (1156-1184) to be continued by his successor, Queen Tamar 1186, when the Church of the Dormition was carved out of the rock and decorated with frescoes
  • Picture & image of Vardzia medieval cave Church of the Dormition interior secco paintings, part of the cave city and monastery of Vardzia, Erusheti Mountain, southern Georgia (country)<br />
<br />
Inhabited from the 5th century BC, the first identifiable phase of building took place at  Vardzia in the reign of Giorgi III (1156-1184) to be continued by his successor, Queen Tamar 1186, when the Church of the Dormition was carved out of the rock and decorated with frescoes
  • Picture & image of Vardzia medieval cave Church of the Dormition interior secco paintings, part of the cave city and monastery of Vardzia, Erusheti Mountain, southern Georgia (country)<br />
<br />
Inhabited from the 5th century BC, the first identifiable phase of building took place at  Vardzia in the reign of Giorgi III (1156-1184) to be continued by his successor, Queen Tamar 1186, when the Church of the Dormition was carved out of the rock and decorated with frescoes
  • Picture & image of Vardzia medieval cave Church of the Dormition interior secco paintings, part of the cave city and monastery of Vardzia, Erusheti Mountain, southern Georgia (country)<br />
<br />
Inhabited from the 5th century BC, the first identifiable phase of building took place at  Vardzia in the reign of Giorgi III (1156-1184) to be continued by his successor, Queen Tamar 1186, when the Church of the Dormition was carved out of the rock and decorated with frescoes
  • Picture & image of Vardzia medieval cave Church of the Dormition interior secco paintings, part of the cave city and monastery of Vardzia, Erusheti Mountain, southern Georgia (country)<br />
<br />
Inhabited from the 5th century BC, the first identifiable phase of building took place at  Vardzia in the reign of Giorgi III (1156-1184) to be continued by his successor, Queen Tamar 1186, when the Church of the Dormition was carved out of the rock and decorated with frescoes
  • Picture & image of Vardzia medieval cave Church of the Dormition interior secco paintings, part of the cave city and monastery of Vardzia, Erusheti Mountain, southern Georgia (country)<br />
<br />
Inhabited from the 5th century BC, the first identifiable phase of building took place at  Vardzia in the reign of Giorgi III (1156-1184) to be continued by his successor, Queen Tamar 1186, when the Church of the Dormition was carved out of the rock and decorated with frescoes
  • Picture & image of Vardzia medieval cave Church of the Dormition interior secco paintings of Queen Tamar & Giorgi III, part of the cave city and monastery of Vardzia, Erusheti Mountain, southern Georgia (country)<br />
<br />
Inhabited from the 5th century BC, the first identifiable phase of building took place at  Vardzia in the reign of Giorgi III (1156-1184) to be continued by his successor, Queen Tamar 1186, when the Church of the Dormition was carved out of the rock and decorated with frescoes
  • Picture & image of Vardzia medieval cave Church of the Dormition interior secco paintings of Queen Tamar & Giorgi III, part of the cave city and monastery of Vardzia, Erusheti Mountain, southern Georgia (country)<br />
<br />
Inhabited from the 5th century BC, the first identifiable phase of building took place at  Vardzia in the reign of Giorgi III (1156-1184) to be continued by his successor, Queen Tamar 1186, when the Church of the Dormition was carved out of the rock and decorated with frescoes
  • Picture & image of Vardzia medieval cave Church of the Dormition interior secco paintings of Queen Tamar & Giorgi III, part of the cave city and monastery of Vardzia, Erusheti Mountain, southern Georgia (country)<br />
<br />
Inhabited from the 5th century BC, the first identifiable phase of building took place at  Vardzia in the reign of Giorgi III (1156-1184) to be continued by his successor, Queen Tamar 1186, when the Church of the Dormition was carved out of the rock and decorated with frescoes
  • Picture & image of Vardzia medieval cave Church of the Dormition interior secco paintings of Queen Tamar & Giorgi III, part of the cave city and monastery of Vardzia, Erusheti Mountain, southern Georgia (country)<br />
<br />
Inhabited from the 5th century BC, the first identifiable phase of building took place at  Vardzia in the reign of Giorgi III (1156-1184) to be continued by his successor, Queen Tamar 1186, when the Church of the Dormition was carved out of the rock and decorated with frescoes
  • Tombstone of a house wife sitting at her table,   The  Merry Cemetery ( Cimitirul Vesel ),  Săpânţa, Maramares, Northern Transylvania, Romania.  The naive folk art style of the tombstones created by woodcarver  Stan Ioan Pătraş (1909 - 1977) who created in his lifetime over 700 colourfully painted wooden tombstones with small relief portrait carvings of the deceased or with scenes depicting them at work or play or surprisingly showing the violent accident that killed them. Each tombstone has an inscription about the person, sometimes a light hearted  limerick in Romanian.
  • Tombstone of a house wife, The  Merry Cemetery ( Cimitirul Vesel ),  Săpânţa, Maramares, Northern Transylvania, Romania.  The naive folk art style of the tombstones created by woodcarver  Stan Ioan Pătraş (1909 - 1977) who created in his lifetime over 700 colourfully painted wooden tombstones with small relief portrait carvings of the deceased or with scenes depicting them at work or play or surprisingly showing the violent accident that killed them. Each tombstone has an inscription about the person, sometimes a light hearted  limerick in Romanian.
  • 1 cent AD Roman Erotic  fresco from a house in Pompeii. Naples Archaological Museum
  • 1 cent AD Roman Erotic  fresco from a house in Pompeii. Naples Archaological Museum
  • 1 cent AD Roman Erotic Mosaic from a house in Pompeii. Naples Archaological Museum
  • 1 cent AD Roman Erotic Mosaic from a house in Pompeii. Naples Archaological Museum
  • Fresco depicting a scematic arial view of the square houses of Catalhoyuk with the volcanic mout Hasan behind. . Catalhoyuk Collections. Museum of Anatolian Civilisations, Ankara. Catalhoyuk Collections. Museum of Anatolian Civilisations, Ankara
  • Roman mosaics - The Gypsy Girls. The House of Menad. Ancient Zeugama, 2nd - 3rd century AD . Zeugma Mosaic Museum, Gaziantep, Turkey.  Against a white background.<br />
<br />
It was discovered in the building called the House of Menad during the excavations conducted by the Gaziantep Museum. As the excavations continued, it was understood that almost all the mosaics inside the building had been stolen by historical _artifact; traffickers. The figure, called the Gypsy. Girl, was fortunately under the soil extracted from the illegal diggings and unseen by the traffickers; then it was brought to our Museum. She was liken to a Gypsy Girl as a joke during the excavations when she was unearthed with her uncombed hair, salient cheekbones, round face and earrings, and then has kept to be called with that name. <br />
<br />
There is no illuminating data regarding her identity but some scholrs claim that she is one of the -mnads present in  Dionysus festivals because of the tendrils near her 1.71eado, and others suggest that this is a portrait of Alexander the Great The most interesting feature of the mosaic is that it follows the beholder in every direction. A special technique was used in the mosaic in order to make her eyes more realistic. On the other hand, the fact that both joy and sorrow are reflected in her face indicates the stage reached in the art of portx4it. <br />
<br />
The piece was made, via the technique -called "three look" in the art of painting during the Hellenistic period. This technique was used by great painters as well. Da vincrs'Mona Lisa is an example for such paintings. With those characteristics, the piece has become the symbol of Zeugma and Gaziantep
  • Roman mosaics - The Gypsy Girls. The House of Menad. Ancient Zeugama, 2nd - 3rd century AD . Zeugma Mosaic Museum, Gaziantep, Turkey.<br />
<br />
It was discovered in the building called the House of Menad during the excavations conducted by the Gaziantep Museum. As the excavations continued, it was understood that almost all the mosaics inside the building had been stolen by historical _artifact; traffickers. The figure, called the Gypsy. Girl, was fortunately under the soil extracted from the illegal diggings and unseen by the traffickers; then it was brought to our Museum. She was liken to a Gypsy Girl as a joke during the excavations when she was unearthed with her uncombed hair, salient cheekbones, round face and earrings, and then has kept to be called with that name. <br />
<br />
There is no illuminating data regarding her identity but some scholrs claim that she is one of the -mnads present in  Dionysus festivals because of the tendrils near her 1.71eado, and others suggest that this is a portrait of Alexander the Great The most interesting feature of the mosaic is that it follows the beholder in every direction. A special technique was used in the mosaic in order to make her eyes more realistic. On the other hand, the fact that both joy and sorrow are reflected in her face indicates the stage reached in the art of portx4it. <br />
<br />
The piece was made, via the technique -called "three look" in the art of painting during the Hellenistic period. This technique was used by great painters as well. Da vincrs'Mona Lisa is an example for such paintings. With those characteristics, the piece has become the symbol of Zeugma and Gaziantep
  • Roman mosaics - The Gypsy Girls. The House of Menad. Ancient Zeugama, 2nd - 3rd century AD . Zeugma Mosaic Museum, Gaziantep, Turkey.   Against a black background.<br />
<br />
It was discovered in the building called the House of Menad during the excavations conducted by the Gaziantep Museum. As the excavations continued, it was understood that almost all the mosaics inside the building had been stolen by historical _artifact; traffickers. The figure, called the Gypsy. Girl, was fortunately under the soil extracted from the illegal diggings and unseen by the traffickers; then it was brought to our Museum. She was liken to a Gypsy Girl as a joke during the excavations when she was unearthed with her uncombed hair, salient cheekbones, round face and earrings, and then has kept to be called with that name. <br />
<br />
There is no illuminating data regarding her identity but some scholrs claim that she is one of the -mnads present in  Dionysus festivals because of the tendrils near her 1.71eado, and others suggest that this is a portrait of Alexander the Great The most interesting feature of the mosaic is that it follows the beholder in every direction. A special technique was used in the mosaic in order to make her eyes more realistic. On the other hand, the fact that both joy and sorrow are reflected in her face indicates the stage reached in the art of portx4it. <br />
<br />
The piece was made, via the technique -called "three look" in the art of painting during the Hellenistic period. This technique was used by great painters as well. Da vincrs'Mona Lisa is an example for such paintings. With those characteristics, the piece has become the symbol of Zeugma and Gaziantep
  • Roman mosaics - The Gypsy Girls. The House of Menad. Ancient Zeugama, 2nd - 3rd century AD . Zeugma Mosaic Museum, Gaziantep, Turkey.   Against an art background.<br />
<br />
It was discovered in the building called the House of Menad during the excavations conducted by the Gaziantep Museum. As the excavations continued, it was understood that almost all the mosaics inside the building had been stolen by historical _artifact; traffickers. The figure, called the Gypsy. Girl, was fortunately under the soil extracted from the illegal diggings and unseen by the traffickers; then it was brought to our Museum. She was liken to a Gypsy Girl as a joke during the excavations when she was unearthed with her uncombed hair, salient cheekbones, round face and earrings, and then has kept to be called with that name. <br />
<br />
There is no illuminating data regarding her identity but some scholrs claim that she is one of the -mnads present in  Dionysus festivals because of the tendrils near her 1.71eado, and others suggest that this is a portrait of Alexander the Great The most interesting feature of the mosaic is that it follows the beholder in every direction. A special technique was used in the mosaic in order to make her eyes more realistic. On the other hand, the fact that both joy and sorrow are reflected in her face indicates the stage reached in the art of portx4it. <br />
<br />
The piece was made, via the technique -called "three look" in the art of painting during the Hellenistic period. This technique was used by great painters as well. Da vincrs'Mona Lisa is an example for such paintings. With those characteristics, the piece has become the symbol of Zeugma and Gaziantep
  • Roman mosaics - The Gypsy Girls. The House of Menad. Ancient Zeugama, 2nd - 3rd century AD . Zeugma Mosaic Museum, Gaziantep, Turkey.   Against a black background.<br />
<br />
It was discovered in the building called the House of Menad during the excavations conducted by the Gaziantep Museum. As the excavations continued, it was understood that almost all the mosaics inside the building had been stolen by historical _artifact; traffickers. The figure, called the Gypsy. Girl, was fortunately under the soil extracted from the illegal diggings and unseen by the traffickers; then it was brought to our Museum. She was liken to a Gypsy Girl as a joke during the excavations when she was unearthed with her uncombed hair, salient cheekbones, round face and earrings, and then has kept to be called with that name. <br />
<br />
There is no illuminating data regarding her identity but some scholrs claim that she is one of the -mnads present in  Dionysus festivals because of the tendrils near her 1.71eado, and others suggest that this is a portrait of Alexander the Great The most interesting feature of the mosaic is that it follows the beholder in every direction. A special technique was used in the mosaic in order to make her eyes more realistic. On the other hand, the fact that both joy and sorrow are reflected in her face indicates the stage reached in the art of portx4it. <br />
<br />
The piece was made, via the technique -called "three look" in the art of painting during the Hellenistic period. This technique was used by great painters as well. Da vincrs'Mona Lisa is an example for such paintings. With those characteristics, the piece has become the symbol of Zeugma and Gaziantep
  • Roman mosaics - The Gypsy Girls. The House of Menad. Ancient Zeugama, 2nd - 3rd century AD . Zeugma Mosaic Museum, Gaziantep, Turkey.  Against a white background.<br />
<br />
It was discovered in the building called the House of Menad during the excavations conducted by the Gaziantep Museum. As the excavations continued, it was understood that almost all the mosaics inside the building had been stolen by historical _artifact; traffickers. The figure, called the Gypsy. Girl, was fortunately under the soil extracted from the illegal diggings and unseen by the traffickers; then it was brought to our Museum. She was liken to a Gypsy Girl as a joke during the excavations when she was unearthed with her uncombed hair, salient cheekbones, round face and earrings, and then has kept to be called with that name. <br />
<br />
There is no illuminating data regarding her identity but some scholrs claim that she is one of the -mnads present in  Dionysus festivals because of the tendrils near her 1.71eado, and others suggest that this is a portrait of Alexander the Great The most interesting feature of the mosaic is that it follows the beholder in every direction. A special technique was used in the mosaic in order to make her eyes more realistic. On the other hand, the fact that both joy and sorrow are reflected in her face indicates the stage reached in the art of portx4it. <br />
<br />
The piece was made, via the technique -called "three look" in the art of painting during the Hellenistic period. This technique was used by great painters as well. Da vincrs'Mona Lisa is an example for such paintings. With those characteristics, the piece has become the symbol of Zeugma and Gaziantep
  • Roman mosaics - The Gypsy Girls. The House of Menad. Ancient Zeugama, 2nd - 3rd century AD . Zeugma Mosaic Museum, Gaziantep, Turkey.<br />
<br />
It was discovered in the building called the House of Menad during the excavations conducted by the Gaziantep Museum. As the excavations continued, it was understood that almost all the mosaics inside the building had been stolen by historical _artifact; traffickers. The figure, called the Gypsy. Girl, was fortunately under the soil extracted from the illegal diggings and unseen by the traffickers; then it was brought to our Museum. She was liken to a Gypsy Girl as a joke during the excavations when she was unearthed with her uncombed hair, salient cheekbones, round face and earrings, and then has kept to be called with that name. <br />
<br />
There is no illuminating data regarding her identity but some scholrs claim that she is one of the -mnads present in  Dionysus festivals because of the tendrils near her 1.71eado, and others suggest that this is a portrait of Alexander the Great The most interesting feature of the mosaic is that it follows the beholder in every direction. A special technique was used in the mosaic in order to make her eyes more realistic. On the other hand, the fact that both joy and sorrow are reflected in her face indicates the stage reached in the art of portx4it. <br />
<br />
The piece was made, via the technique -called "three look" in the art of painting during the Hellenistic period. This technique was used by great painters as well. Da vincrs'Mona Lisa is an example for such paintings. With those characteristics, the piece has become the symbol of Zeugma and Gaziantep
  • Roman mosaics - The Gypsy Girls. The House of Menad. Ancient Zeugama, 2nd - 3rd century AD . Zeugma Mosaic Museum, Gaziantep, Turkey.  Against a grey background.<br />
<br />
It was discovered in the building called the House of Menad during the excavations conducted by the Gaziantep Museum. As the excavations continued, it was understood that almost all the mosaics inside the building had been stolen by historical _artifact; traffickers. The figure, called the Gypsy. Girl, was fortunately under the soil extracted from the illegal diggings and unseen by the traffickers; then it was brought to our Museum. She was liken to a Gypsy Girl as a joke during the excavations when she was unearthed with her uncombed hair, salient cheekbones, round face and earrings, and then has kept to be called with that name. <br />
<br />
There is no illuminating data regarding her identity but some scholrs claim that she is one of the -mnads present in  Dionysus festivals because of the tendrils near her 1.71eado, and others suggest that this is a portrait of Alexander the Great The most interesting feature of the mosaic is that it follows the beholder in every direction. A special technique was used in the mosaic in order to make her eyes more realistic. On the other hand, the fact that both joy and sorrow are reflected in her face indicates the stage reached in the art of portx4it. <br />
<br />
The piece was made, via the technique -called "three look" in the art of painting during the Hellenistic period. This technique was used by great painters as well. Da vincrs'Mona Lisa is an example for such paintings. With those characteristics, the piece has become the symbol of Zeugma and Gaziantep

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