• Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite 2nd - 1st century BC Roman marble sculpture of Aphrodite (Venus), ‘Marine Venus' Type with a dolphin, copied from a Hellanistic Greek original,  inv 6296, Naples Museum of Archaeology, Italy, white background
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Hellanistic Greek original,  inv 6238, Naples Museum of Archaeology, Italy, black background
  • Reconstruction of  the inside of the Greek Tomb of  the Diver  [La Tomba del Truffatore] from the Greek city of Poseidonia which became Roman Paestum. .   The rear panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables on which goblets have been placed.  The abondon experienced at the Synposium was one way in which the dead could access the next world .  The fresco on the lid of the tomb and shows a  diving from a column into water. The column represents the border of thye known world and therefore the limit of man's knowledge.  The dive represents the passage form this world to the next. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Reconstruction of  the inside of the Greek Tomb of  the Diver  [La Tomba del Truffatore]. The rear panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables.  The men on the couches are playing the song of Eros the liar and the flute to distract the deceased from worldly thoughts so he can enter the next world. The fresco on the lid of the tomb and shows a  diving from a column into water. The column represents the border of thye known world and therefore the limit of man's knowledge.  The dive represents the passage form this world to the next. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Greek Fresco on the inside of Tomb of  the Diver  [La Tomba del Truffatore]. This panel is from the lid of the tomb and shows a  diving from a column into water. The column represents the border of thye known world and therefore the limit of man's knowledge.  The dive represents the passage form this world to the next. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety.  Paestrum, Andriuolo.  (480-470 BC  )
  • Greek Fresco on the inside of Tomb of  the Diver  [La Tomba del Truffatore]. This panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables on which goblets have been placed.  The abondon experienced at the Synposium was one way in which the dead could access the next world . The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Greek Fresco on the inside of Tomb of  the Diver  [La Tomba del Truffatore]. The dead man is depicted listenening to the flute of Eros which causes him to be distracted from the real world so being able to enter the next The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety .Paestrum, Andriuolo.  (480-470 BC  )
  • Greek Fresco on the inside of Tomb of  the Diver  [La Tomba del Truffatore]. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. This panel from the short side of the tomb shows a man with a wreathed wine crater . Paestrum, Andriuolo.  (480-470 BC  )
  • Greek Fresco on the inside of Tomb of  the Diver  [La Tomba del Truffatore]. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. This panel from the short side of the tomb shows a man with a wreathed wine crater . Paestrum, Andriuolo.  (480-470 BC  )
  • Greek Fresco on the inside of Tomb of  the Diver  [La Tomba del Truffatore] from the Greek city of Poseidonia which became Roman Paestum. This panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables.  The men on the couches are playing the song of Eros the liar and the flute to distract the deceased from worldly thoughts so he can enter the next world. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Hand painted chicken eggs with traditional Easter bunny design
  • Hand painted chicken eggs with traditional Easter chicks design
  • Hand painted chicken eggs with traditional Easter chicks design
  • Hand painted chicken eggs with traditional Easter chicks design
  • Painted traditional easter egg decorated  with a chicken illustration being eaten for breakfast
  • Hand painted chicken eggs with traditional Easter bunny design
  • Hand painted chicken eggs with traditional Easter chicks design
  • Hand painted chicken eggs with traditional Easter chicks design
  • Lucanian fresco tomb painting of a soldier vand a horse. Paestrum, Andriuolo. 3rd Century BC
  • Lucanian fresco tomb painting of the deceased collecting pomegranates. Paestrum, Andriuolo. 3rd Century BC
  • Lucanian fresco tomb painting of the deceased holding a pomegranate. Paestrum, Andriuolo. 3rd Century BC
  • Lucanian fresco tomb painting of two men dualing . Paestrum, Andriuolo. 3rd Century BC
  • Lucanian fresco tomb painting of a soldier on a horse. Paestrum, Andriuolo. Tomb 58 ( 330-320 BC )
  • Lucanian fresco tomb painting of a man hunting deer . Paestrum, Andriuolo. Tomb n. 18.  ( 370-360 BC )
  • Lucanian fresco tomb painting of a man hunting deer with a wreath of pomegranates in the top panel. Paestrum, Andriuolo. Tomb n. 1 Plundered Furnishings.  (375-350 BC)
  • Lucanian fresco tomb painting of the deceased on a mythical horse being offered food for the journey to the next world . Paestrum, Andriuolo. Tomb 84.  (350-340 )
  • Lucanian fresco tomb painting of a garland of pomegranates . Paestrum, Andriuolo. 3rd Century BC
  • Lucanian fresco tomb painting of men dualing . Paestrum, Andriuolo. 3rd Century BC
  • Lucanian fresco tomb painting of a chariot race . Paestrum, Andriuolo. Tomb n. 48.  ( 340-330 BC )
  • Lucanian fresco tomb painting . Paestrum, Andriuolo. Tomb 24.  (370-360 BC )
  • Lucanian fresco tomb painting of a man hunting a deer . Paestrum, Andriuolo. Tomb n. 18.  ( 370-360 BC )
  • Lucanian fresco tomb painting of a man racing a chariot past the winning post. Paestrum, Andriuolo. 3rd Century BC
  • Lucanian fresco tomb painting of 2 warriors fighting, Paestrum, Andriuolo. 3rd Century  BC
  • Lucanian fresco tomb painting of 2 warriors fighting, Paestrum, Andriuolo. 3rd Century  BC
  • Lucanian fresco tomb painting of a warrior on a horse. Paestrum, Andriuolo. 3rd Century  BC
  • Lucanian fresco tomb painting of a man on a chariot. Paestrum, Andriuolo. Tomb n. 53 ( 350-330 BC )
  • Lucanian fresco tomb painting of a dead women laid out on a bed . Paestrum, Andriuolo. Tomb n. 53 350-330 BC
  • Lucanian fresco tomb painting of two soldiers in armour fighting. Paestrum, Andriuolo. Tomb 86 (330-320 BC )
  • Lucanian fresco tomb painting of a two men boxing whilst listening to the pipes of Eros. Pastrum 3rd Century BC
  • Lucanian fresco tomb painting of a two men fighting. Pastrum 3rd Century BC
  • Lucanian fresco tomb painting of a liion. Pastrum 3rd Century BC
  • Lucanian fresco tomb painting of a man hunting. Paestrum, Andriuolo. Tomb n. 18.  (370-360 BC)
  • Lucanian fresco tomb painting of a cockerell. Pastrum 3rd Century BC
  • Underground Etruscan tomb Known as "Tomb of the Leopard A single chamber with double sloping ceiling decorated with a painted chequered design. In the tympanuim are painted two leopards below which is a banquet sceneOn the back wall is painted a banquet scene in honour of the dead. Circa 470 BC. Excavated 1857, Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb Known as "Tomb of the Leopard A single chamber with double sloping ceiling decorated with a painted chequered design. In the tympanuim are painted two leopards below which is a banquet sceneOn the back wall is painted a banquet scene in honour of the dead. Circa 470 BC. Excavated 1857, Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb Known as "Tomb of the Leopard A single chamber with double sloping ceiling decorated with a painted chequered design. In the tympanuim are painted two leopards below which is a banquet sceneOn the back wall is painted a banquet scene in honour of the dead. Circa 470 BC. Excavated 1857, Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb Known as "Tomb of the Leopard A single chamber with double sloping ceiling decorated with a painted chequered design. In the tympanuim are painted two leopards below which is a banquet sceneOn the back wall is painted a banquet scene in honour of the dead. Circa 470 BC. Excavated 1857, Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Ushabti box of Sched-es-en-mut. Egyptian painted wooden box panel of the deceased in front of a tree goddess, 1540-1075 BC . Neues Reiche Museum, Berlin. Cat No AM630
  • Ushabti box of Sched-es-en-mut. Egyptian painted wooden box panel of the deceased in front of a tree goddess, 1540-1075 BC . Neues Reiche Museum, Berlin. Cat No AM630
  • Ushabti box of Sched-es-en-mut. Egyptian painted wooden box panel of the deceased in front of a tree goddess, 1540-1075 BC . Neues Reiche Museum, Berlin. Cat No AM630
  • Ushabti box of Sched-es-en-mut. Egyptian painted wooden box panel of the deceased in front of a tree goddess, 1540-1075 BC . Neues Reiche Museum, Berlin. Cat No AM630
  • Ushabti box of Sched-es-en-mut. Egyptian painted wooden box panel of the deceased in front of a tree goddess, 1540-1075 BC . Neues Reiche Museum, Berlin. Cat No AM630
  • Underground Etruscan tomb Known as "Tomba del Fiore di Loto". A single chamber with double sloping ceiling decorated with a painted ca flower design. In the typanium on the back wall are a painted Lion and panther.  Circa 520 BC. Excavated 1962, Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb Known as "Tomba delle Leonesse". A single chamber with double sloping ceiling decorated with a painted chequered design. Six painted columns divide the walls to give the tomb the appearance of a pavillion. In the typanium of the back wall are two lionesses below which is a large Krater used to mix water and wine, flanked by two musicians and a female dancer.  Circa 520 BC. Excavated 1874, Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb Known as "Tomba delle Leonesse". A single chamber with double sloping ceiling decorated with a painted chequered design. Six painted columns divide the walls to give the tomb the appearance of a pavillion. In the typanium of the back wall are two lionesses below which is a large Krater used to mix water and wine, flanked by two musicians and a female dancer.  Circa 520 BC. Excavated 1874, Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb Known as "Tomba delle Leonesse". A single chamber with double sloping ceiling decorated with a painted chequered design. Six painted columns divide the walls to give the tomb the appearance of a pavillion. In the typanium of the back wall are two lionesses below which is a large Krater used to mix water and wine, flanked by two musicians and a female dancer.  Circa 520 BC. Excavated 1874, Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb Known as "Tomba delle Leonesse". A single chamber with double sloping ceiling decorated with a painted chequered design. Six painted columns divide the walls to give the tomb the appearance of a pavillion. In the typanium of the back wall are two lionesses below which is a large Krater used to mix water and wine, flanked by two musicians and a female dancer.  Circa 520 BC. Excavated 1874, Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb Known as "Tomba delle Leonesse". A single chamber with double sloping ceiling decorated with a painted chequered design. Six painted columns divide the walls to give the tomb the appearance of a pavillion. In the typanium of the back wall are two lionesses below which is a large Krater used to mix water and wine, flanked by two musicians and a female dancer.  Circa 520 BC. Excavated 1874, Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb Known as "Tomba delle Leonesse". A single chamber with double sloping ceiling decorated with a painted chequered design. Six painted columns divide the walls to give the tomb the appearance of a pavillion. In the typanium of the back wall are two lionesses below which is a large Krater used to mix water and wine, flanked by two musicians and a female dancer.  Circa 520 BC. Excavated 1874, Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Romanesque painted Canopy of Tavèrnoles.<br />
<br />
Second quarter of the thirteenth century  from the ancient monastery of St. Sernin Tavèrnoles valleys Valira Alt Urgell, Spain<br />
<br />
Acquired by the National Art Museum of Catalonia, Barcelona 1906. Ref: 24060 MNAC.<br />
<br />
Romanesque canopy-type panel with its cut supporting beams still visible. The panel is decorated with a painted image of Christ in Majesty or Christ Pantocrator in a mandorla which is supported by four angelic figures that evoke the theme of the Ascension. The canopy was discovered in the early twentieth century in the monastery of St. Sernin Tavernoles, half hidden by a Gothic altarpiece.
  • Romanesque painted Gia altar front<br />
<br />
Second quarter of the thirteenth century from the church of Santa Maria Gia and Xia, High Ribagorca, Huesca, Spain<br />
<br />
Acquired by the National Art Museum of Catalonia, Barcelona 1932. Ref: 3902 MNAC.<br />
<br />
Romanesque painted altar front from Santa Maria Gia, Spain, showing Scenes from the life of Saint Martin. The  exceptionally the bottom frame remains the signature of the author, a painter named John (Johannes). This work is typical of the Ribagorca style and incorporates early gothic compositional styles and narrative that subtly illuminates the faces. Also typical of the Ribagorca workshop are the  decorated plaster reliefs on the entire surface of the front, which is covered with the characteristic gold leaf.
  • Altar of Esquius - Painted wooden panel<br />
<br />
Second quarter of the twelfth century<br />
<br />
Probably comes from the ancient Chapel of Santa Maria of Besora Castle <br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1958. Ref: 65502 MNAC.<br />
<br />
<br />
The use of valuable pigments (lapis lazuli, orpiment, cinabri) on the Altar panel, suggests that this front was painted in an important monastery scriptorium like Ripoll. The poetic inscription that runs around the mandorla surrounding Christ is very characteristic of the intellectual environment of Ripoll "This is the God of Alfa and Omega. Come, O merciful with Your mercy, and remove the chains of missery. Amen." This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The rest of the panel depicts the 12 apostles.
  • Altar of Esquius - Painted wooden panel<br />
<br />
Second quarter of the twelfth century<br />
<br />
Probably comes from the ancient Chapel of Santa Maria of Besora Castle <br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1958. Ref: 65502 MNAC.<br />
<br />
<br />
The use of valuable pigments (lapis lazuli, orpiment, cinabri) on the Altar panel, suggests that this front was painted in an important monastery scriptorium like Ripoll. The poetic inscription that runs around the mandorla surrounding Christ is very characteristic of the intellectual environment of Ripoll "This is the God of Alfa and Omega. Come, O merciful with Your mercy, and remove the chains of missery. Amen." This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The rest of the panel depicts the 12 apostles.
  • Altar of Esquius - Painted wooden panel<br />
<br />
Second quarter of the twelfth century<br />
<br />
Probably comes from the ancient Chapel of Santa Maria of Besora Castle <br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1958. Ref: 65502 MNAC.<br />
<br />
<br />
The use of valuable pigments (lapis lazuli, orpiment, cinabri) on the Altar panel, suggests that this front was painted in an important monastery scriptorium like Ripoll. The poetic inscription that runs around the mandorla surrounding Christ is very characteristic of the intellectual environment of Ripoll "This is the God of Alfa and Omega. Come, O merciful with Your mercy, and remove the chains of missery. Amen." This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The rest of the panel depicts the 12 apostles.
  • Altar of Esquius - Painted wooden panel<br />
<br />
Second quarter of the twelfth century<br />
<br />
Probably comes from the ancient Chapel of Santa Maria of Besora Castle <br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1958. Ref: 65502 MNAC.<br />
<br />
<br />
The use of valuable pigments (lapis lazuli, orpiment, cinabri) on the Altar panel, suggests that this front was painted in an important monastery scriptorium like Ripoll. The poetic inscription that runs around the mandorla surrounding Christ is very characteristic of the intellectual environment of Ripoll "This is the God of Alfa and Omega. Come, O merciful with Your mercy, and remove the chains of missery. Amen." This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The rest of the panel depicts the 12 apostles.
  • Romanesque painted Canopy of Tavèrnoles.<br />
<br />
Second quarter of the thirteenth century  from the ancient monastery of St. Sernin Tavèrnoles valleys Valira Alt Urgell, Spain<br />
<br />
Acquired by the National Art Museum of Catalonia, Barcelona 1906. Ref: 24060 MNAC.<br />
<br />
Romanesque canopy-type panel with its cut supporting beams still visible. The panel is decorated with a painted image of Christ in Majesty or Christ Pantocrator in a mandorla which is supported by four angelic figures that evoke the theme of the Ascension. The canopy was discovered in the early twentieth century in the monastery of St. Sernin Tavernoles, half hidden by a Gothic altarpiece.
  • Romanesque painted Canopy of Tavèrnoles.<br />
<br />
Second quarter of the thirteenth century  from the ancient monastery of St. Sernin Tavèrnoles valleys Valira Alt Urgell, Spain<br />
<br />
Acquired by the National Art Museum of Catalonia, Barcelona 1906. Ref: 24060 MNAC.<br />
<br />
Romanesque canopy-type panel with its cut supporting beams still visible. The panel is decorated with a painted image of Christ in Majesty or Christ Pantocrator in a mandorla which is supported by four angelic figures that evoke the theme of the Ascension. The canopy was discovered in the early twentieth century in the monastery of St. Sernin Tavernoles, half hidden by a Gothic altarpiece.
  • Romanesque painted Canopy of Tavèrnoles.<br />
<br />
Second quarter of the thirteenth century  from the ancient monastery of St. Sernin Tavèrnoles valleys Valira Alt Urgell, Spain<br />
<br />
Acquired by the National Art Museum of Catalonia, Barcelona 1906. Ref: 24060 MNAC.<br />
<br />
Romanesque canopy-type panel with its cut supporting beams still visible. The panel is decorated with a painted image of Christ in Majesty or Christ Pantocrator in a mandorla which is supported by four angelic figures that evoke the theme of the Ascension. The canopy was discovered in the early twentieth century in the monastery of St. Sernin Tavernoles, half hidden by a Gothic altarpiece.
  • Romanesque painted Gia altar front<br />
<br />
Second quarter of the thirteenth century from the church of Santa Maria Gia and Xia, High Ribagorca, Huesca, Spain<br />
<br />
Acquired by the National Art Museum of Catalonia, Barcelona 1932. Ref: 3902 MNAC.<br />
<br />
Romanesque painted altar front from Santa Maria Gia, Spain, showing Christ Pantocrator. The  exceptionally the bottom frame remains the signature of the author, a painter named John (Johannes). This work is typical of the Ribagorca style and incorporates early gothic compositional styles and narrative that subtly illuminates the faces. Also typical of the Ribagorca workshop are the  decorated plaster reliefs on the entire surface of the front, which is covered with the characteristic gold leaf.
  • Romanesque painted Gia altar front<br />
<br />
Second quarter of the thirteenth century from the church of Santa Maria Gia and Xia, High Ribagorca, Huesca, Spain<br />
<br />
Acquired by the National Art Museum of Catalonia, Barcelona 1932. Ref: 3902 MNAC.<br />
<br />
Romanesque painted altar front from Santa Maria Gia, Spain, showing Scenes from the life of Saint Martin. The  exceptionally the bottom frame remains the signature of the author, a painter named John (Johannes). This work is typical of the Ribagorca style and incorporates early gothic compositional styles and narrative that subtly illuminates the faces. Also typical of the Ribagorca workshop are the  decorated plaster reliefs on the entire surface of the front, which is covered with the characteristic gold leaf.
  • Romanesque painted Gia altar front<br />
<br />
Second quarter of the thirteenth century from the church of Santa Maria Gia and Xia, High Ribagorca, Huesca, Spain<br />
<br />
Acquired by the National Art Museum of Catalonia, Barcelona 1932. Ref: 3902 MNAC.<br />
<br />
Romanesque painted altar front from Santa Maria Gia, Spain, showing Scenes from the life of Saint Martin. The  exceptionally the bottom frame remains the signature of the author, a painter named John (Johannes). This work is typical of the Ribagorca style and incorporates early gothic compositional styles and narrative that subtly illuminates the faces. Also typical of the Ribagorca workshop are the  decorated plaster reliefs on the entire surface of the front, which is covered with the characteristic gold leaf.
  • Romanesque painted Gia altar front<br />
<br />
Second quarter of the thirteenth century from the church of Santa Maria Gia and Xia, High Ribagorca, Huesca, Spain<br />
<br />
Acquired by the National Art Museum of Catalonia, Barcelona 1932. Ref: 3902 MNAC.<br />
<br />
Romanesque painted altar front from Santa Maria Gia, Spain, showing Scenes from the life of Saint Martin. The  exceptionally the bottom frame remains the signature of the author, a painter named John (Johannes). This work is typical of the Ribagorca style and incorporates early gothic compositional styles and narrative that subtly illuminates the faces. Also typical of the Ribagorca workshop are the  decorated plaster reliefs on the entire surface of the front, which is covered with the characteristic gold leaf.
  • Altar of Esquius - Painted wooden panel<br />
<br />
Second quarter of the twelfth century<br />
<br />
Probably comes from the ancient Chapel of Santa Maria of Besora Castle <br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1958. Ref: 65502 MNAC.<br />
<br />
<br />
The use of valuable pigments (lapis lazuli, orpiment, cinabri) on the Altar panel, suggests that this front was painted in an important monastery scriptorium like Ripoll. The poetic inscription that runs around the mandorla surrounding Christ is very characteristic of the intellectual environment of Ripoll "This is the God of Alfa and Omega. Come, O merciful with Your mercy, and remove the chains of missery. Amen." This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The rest of the panel depicts the 12 apostles.
  • Altar of Esquius - Painted wooden panel<br />
<br />
Second quarter of the twelfth century<br />
<br />
Probably comes from the ancient Chapel of Santa Maria of Besora Castle <br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1958. Ref: 65502 MNAC.<br />
<br />
<br />
The use of valuable pigments (lapis lazuli, orpiment, cinabri) on the Altar panel, suggests that this front was painted in an important monastery scriptorium like Ripoll. The poetic inscription that runs around the mandorla surrounding Christ is very characteristic of the intellectual environment of Ripoll "This is the God of Alfa and Omega. Come, O merciful with Your mercy, and remove the chains of missery. Amen." This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The rest of the panel depicts the 12 apostles.
  • Romanesque painted Canopy of Tavèrnoles.<br />
<br />
Second quarter of the thirteenth century  from the ancient monastery of St. Sernin Tavèrnoles valleys Valira Alt Urgell, Spain<br />
<br />
Acquired by the National Art Museum of Catalonia, Barcelona 1906. Ref: 24060 MNAC.<br />
<br />
Romanesque canopy-type panel with its cut supporting beams still visible. The panel is decorated with a painted image of Christ in Majesty or Christ Pantocrator in a mandorla which is supported by four angelic figures that evoke the theme of the Ascension. The canopy was discovered in the early twentieth century in the monastery of St. Sernin Tavernoles, half hidden by a Gothic altarpiece.
  • Romanesque painted Canopy of Tavèrnoles.<br />
<br />
Second quarter of the thirteenth century  from the ancient monastery of St. Sernin Tavèrnoles valleys Valira Alt Urgell, Spain<br />
<br />
Acquired by the National Art Museum of Catalonia, Barcelona 1906. Ref: 24060 MNAC.<br />
<br />
Romanesque canopy-type panel with its cut supporting beams still visible. The panel is decorated with a painted image of Christ in Majesty or Christ Pantocrator in a mandorla which is supported by four angelic figures that evoke the theme of the Ascension. The canopy was discovered in the early twentieth century in the monastery of St. Sernin Tavernoles, half hidden by a Gothic altarpiece.
  • Romanesque painted Gia altar front<br />
<br />
Second quarter of the thirteenth century from the church of Santa Maria Gia and Xia, High Ribagorca, Huesca, Spain<br />
<br />
Acquired by the National Art Museum of Catalonia, Barcelona 1932. Ref: 3902 MNAC.<br />
<br />
Romanesque painted altar front from Santa Maria Gia, Spain, showing Scenes from the life of Saint Martin. The  exceptionally the bottom frame remains the signature of the author, a painter named John (Johannes). This work is typical of the Ribagorca style and incorporates early gothic compositional styles and narrative that subtly illuminates the faces. Also typical of the Ribagorca workshop are the  decorated plaster reliefs on the entire surface of the front, which is covered with the characteristic gold leaf.
  • Romanesque painted Gia altar front<br />
<br />
Second quarter of the thirteenth century from the church of Santa Maria Gia and Xia, High Ribagorca, Huesca, Spain<br />
<br />
Acquired by the National Art Museum of Catalonia, Barcelona 1932. Ref: 3902 MNAC.<br />
<br />
Romanesque painted altar front from Santa Maria Gia, Spain, showing Scenes from the life of Saint Martin. The  exceptionally the bottom frame remains the signature of the author, a painter named John (Johannes). This work is typical of the Ribagorca style and incorporates early gothic compositional styles and narrative that subtly illuminates the faces. Also typical of the Ribagorca workshop are the  decorated plaster reliefs on the entire surface of the front, which is covered with the characteristic gold leaf.
  • Romanesque painted Gia altar front<br />
<br />
Second quarter of the thirteenth century from the church of Santa Maria Gia and Xia, High Ribagorca, Huesca, Spain<br />
<br />
Acquired by the National Art Museum of Catalonia, Barcelona 1932. Ref: 3902 MNAC.<br />
<br />
Romanesque painted altar front from Santa Maria Gia, Spain, showing Scenes from the life of Saint Martin. The  exceptionally the bottom frame remains the signature of the author, a painter named John (Johannes). This work is typical of the Ribagorca style and incorporates early gothic compositional styles and narrative that subtly illuminates the faces. Also typical of the Ribagorca workshop are the  decorated plaster reliefs on the entire surface of the front, which is covered with the characteristic gold leaf.
  • Altar of Esquius - Painted wooden panel<br />
<br />
Second quarter of the twelfth century<br />
<br />
Probably comes from the ancient Chapel of Santa Maria of Besora Castle <br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1958. Ref: 65502 MNAC.<br />
<br />
<br />
The use of valuable pigments (lapis lazuli, orpiment, cinabri) on the Altar panel, suggests that this front was painted in an important monastery scriptorium like Ripoll. The poetic inscription that runs around the mandorla surrounding Christ is very characteristic of the intellectual environment of Ripoll "This is the God of Alfa and Omega. Come, O merciful with Your mercy, and remove the chains of missery. Amen." This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The rest of the panel depicts the 12 apostles.
  • Altar of Esquius - Painted wooden panel<br />
<br />
Second quarter of the twelfth century<br />
<br />
Probably comes from the ancient Chapel of Santa Maria of Besora Castle <br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1958. Ref: 65502 MNAC.<br />
<br />
<br />
The use of valuable pigments (lapis lazuli, orpiment, cinabri) on the Altar panel, suggests that this front was painted in an important monastery scriptorium like Ripoll. The poetic inscription that runs around the mandorla surrounding Christ is very characteristic of the intellectual environment of Ripoll "This is the God of Alfa and Omega. Come, O merciful with Your mercy, and remove the chains of missery. Amen." This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The rest of the panel depicts the 12 apostles.
  • Romanesque painted Canopy of Tavèrnoles.<br />
<br />
Second quarter of the thirteenth century  from the ancient monastery of St. Sernin Tavèrnoles valleys Valira Alt Urgell, Spain<br />
<br />
Acquired by the National Art Museum of Catalonia, Barcelona 1906. Ref: 24060 MNAC.<br />
<br />
Romanesque canopy-type panel with its cut supporting beams still visible. The panel is decorated with a painted image of Christ in Majesty or Christ Pantocrator in a mandorla which is supported by four angelic figures that evoke the theme of the Ascension. The canopy was discovered in the early twentieth century in the monastery of St. Sernin Tavernoles, half hidden by a Gothic altarpiece.
  • Romanesque painted Canopy of Tavèrnoles.<br />
<br />
Second quarter of the thirteenth century  from the ancient monastery of St. Sernin Tavèrnoles valleys Valira Alt Urgell, Spain<br />
<br />
Acquired by the National Art Museum of Catalonia, Barcelona 1906. Ref: 24060 MNAC.<br />
<br />
Romanesque canopy-type panel with its cut supporting beams still visible. The panel is decorated with a painted image of Christ in Majesty or Christ Pantocrator in a mandorla which is supported by four angelic figures that evoke the theme of the Ascension. The canopy was discovered in the early twentieth century in the monastery of St. Sernin Tavernoles, half hidden by a Gothic altarpiece.
  • Romanesque painted Canopy of Tavèrnoles.<br />
<br />
Second quarter of the thirteenth century  from the ancient monastery of St. Sernin Tavèrnoles valleys Valira Alt Urgell, Spain<br />
<br />
Acquired by the National Art Museum of Catalonia, Barcelona 1906. Ref: 24060 MNAC.<br />
<br />
Romanesque canopy-type panel with its cut supporting beams still visible. The panel is decorated with a painted image of Christ in Majesty or Christ Pantocrator in a mandorla which is supported by four angelic figures that evoke the theme of the Ascension. The canopy was discovered in the early twentieth century in the monastery of St. Sernin Tavernoles, half hidden by a Gothic altarpiece.
  • Romanesque painted Gia altar front<br />
<br />
Second quarter of the thirteenth century from the church of Santa Maria Gia and Xia, High Ribagorca, Huesca, Spain<br />
<br />
Acquired by the National Art Museum of Catalonia, Barcelona 1932. Ref: 3902 MNAC.<br />
<br />
Romanesque painted altar front from Santa Maria Gia, Spain, showing Scenes from the life of Saint Martin. The  exceptionally the bottom frame remains the signature of the author, a painter named John (Johannes). This work is typical of the Ribagorca style and incorporates early gothic compositional styles and narrative that subtly illuminates the faces. Also typical of the Ribagorca workshop are the  decorated plaster reliefs on the entire surface of the front, which is covered with the characteristic gold leaf.
  • Altar of Esquius - Painted wooden panel<br />
<br />
Second quarter of the twelfth century<br />
<br />
Probably comes from the ancient Chapel of Santa Maria of Besora Castle <br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1958. Ref: 65502 MNAC.<br />
<br />
<br />
The use of valuable pigments (lapis lazuli, orpiment, cinabri) on the Altar panel, suggests that this front was painted in an important monastery scriptorium like Ripoll. The poetic inscription that runs around the mandorla surrounding Christ is very characteristic of the intellectual environment of Ripoll "This is the God of Alfa and Omega. Come, O merciful with Your mercy, and remove the chains of missery. Amen." This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The rest of the panel depicts the 12 apostles.
  • Romanesque painted Canopy of Tavèrnoles.<br />
<br />
Second quarter of the thirteenth century  from the ancient monastery of St. Sernin Tavèrnoles valleys Valira Alt Urgell, Spain<br />
<br />
Acquired by the National Art Museum of Catalonia, Barcelona 1906. Ref: 24060 MNAC.<br />
<br />
Romanesque canopy-type panel with its cut supporting beams still visible. The panel is decorated with a painted image of Christ in Majesty or Christ Pantocrator in a mandorla which is supported by four angelic figures that evoke the theme of the Ascension. The canopy was discovered in the early twentieth century in the monastery of St. Sernin Tavernoles, half hidden by a Gothic altarpiece.
  • Romanesque Altar Front of Cardet<br />
<br />
Thirteenth century paint and metal relief on wood from a church of Santa Maria of Cardet, Vall de Boi, Alta Ribagorca, Spain<br />
<br />
Acquired by the National Art Museum of Catalonia, Barcelona 1932. Ref: MNAC 3903.<br />
<br />
<br />
This Romanesque painted altar front is dedicated to the Nativity. At is centre is a painting of The Madonna and Child surrounded by a mandorla. Top left shows the Annunciation with the Virgin Mary, top left depicts the nativity scene, bottom left shows the Three Kings and bottom left shows The Flight to Egypt.
  • Romanesque Altar Front of Cardet<br />
<br />
Thirteenth century paint and metal relief on wood from a church of Santa Maria of Cardet, Vall de Boi, Alta Ribagorca, Spain<br />
<br />
Acquired by the National Art Museum of Catalonia, Barcelona 1932. Ref: MNAC 3903.<br />
<br />
<br />
This Romanesque painted altar front is dedicated to the Nativity. At is centre is a painting of The Madonna and Child surrounded by a mandorla. Top left shows the Annunciation with the Virgin Mary, top left depicts the nativity scene, bottom left shows the Three Kings and bottom left shows The Flight to Egypt.
  • Romanesque Altar Front of Cardet<br />
<br />
Thirteenth century paint and metal relief on wood from a church of Santa Maria of Cardet, Vall de Boi, Alta Ribagorca, Spain<br />
<br />
Acquired by the National Art Museum of Catalonia, Barcelona 1932. Ref: MNAC 3903.<br />
<br />
<br />
This Romanesque painted altar front is dedicated to the Nativity. At is centre is a painting of The Madonna and Child surrounded by a mandorla.
  • Romanesque Altar Front of Cardet<br />
<br />
Thirteenth century paint and metal relief on wood from a church of Santa Maria of Cardet, Vall de Boi, Alta Ribagorca, Spain<br />
<br />
Acquired by the National Art Museum of Catalonia, Barcelona 1932. Ref: MNAC 3903.<br />
<br />
This Romanesque painted altar front is dedicated to the Nativity. Bottom left is a painting of the Three Kings.
  • Romanesque Altar Front of Cardet<br />
<br />
Thirteenth century paint and metal relief on wood from a church of Santa Maria of Cardet, Vall de Boi, Alta Ribagorca, Spain<br />
<br />
Acquired by the National Art Museum of Catalonia, Barcelona 1932. Ref: MNAC 3903.<br />
<br />
<br />
This Romanesque painted altar front is dedicated to the Nativity. At is centre is a painting of The Madonna and Child surrounded by a mandorla. Top left shows the Annunciation with the Virgin Mary, top left depicts the nativity scene, bottom left shows the Three Kings and bottom left shows The Flight to Egypt.
  • Romanesque Altar Front of Cardet<br />
<br />
Thirteenth century paint and metal relief on wood from a church of Santa Maria of Cardet, Vall de Boi, Alta Ribagorca, Spain<br />
<br />
Acquired by the National Art Museum of Catalonia, Barcelona 1932. Ref: MNAC 3903.<br />
<br />
<br />
This Romanesque painted altar front is dedicated to the Nativity. At is centre is a painting of The Madonna and Child surrounded by a mandorla. Top left shows the Annunciation with the Virgin Mary, top left depicts the nativity scene, bottom left shows the Three Kings and bottom left shows The Flight to Egypt.
  • Romanesque Altar Front of Cardet<br />
<br />
Thirteenth century paint and metal relief on wood from a church of Santa Maria of Cardet, Vall de Boi, Alta Ribagorca, Spain<br />
<br />
Acquired by the National Art Museum of Catalonia, Barcelona 1932. Ref: MNAC 3903.<br />
<br />
<br />
This Romanesque painted altar front is dedicated to the Nativity. At is centre is a painting of The Madonna and Child surrounded by a mandorla. Top left shows the Annunciation with the Virgin Mary, top left depicts the nativity scene, bottom left shows the Three Kings and bottom left shows The Flight to Egypt.
  • Painted colour verion of a Statue group identified as as the Laocoon described by Pliny as a masterpiece made by the sculptors of Rhodes. The Laocoon depicts a scene from the Trojan War in which Athena and Poseidon sent two great serpants to wrap themselves around Laocoon and his two sons to kill them. Circa 40-30BC, Pope Clement XIV coillection, Vatican Museum Rome, Italy,  grey art background
  • Painted colour verion of a Statue group identified as as the Laocoon described by Pliny as a masterpiece made by the sculptors of Rhodes. The Laocoon depicts a scene from the Trojan War in which Athena and Poseidon sent two great serpants to wrap themselves around Laocoon and his two sons to kill them. Circa 40-30BC, Pope Clement XIV coillection, Vatican Museum Rome, Italy,  grey art background
  • Painted colour verion of a Statue group identified as as the Laocoon described by Pliny as a masterpiece made by the sculptors of Rhodes. The Laocoon depicts a scene from the Trojan War in which Athena and Poseidon sent two great serpants to wrap themselves around Laocoon and his two sons to kill them. Circa 40-30BC, Pope Clement XIV coillection, Vatican Museum Rome, Italy,  grey art background
  • Painted colour verion of a Statue group identified as as the Laocoon described by Pliny as a masterpiece made by the sculptors of Rhodes. The Laocoon depicts a scene from the Trojan War in which Athena and Poseidon sent two great serpants to wrap themselves around Laocoon and his two sons to kill them. Circa 40-30BC, Pope Clement XIV coillection, Vatican Museum Rome, Italy,  grey art background
  • Painted colour verion of a Statue group identified as as the Laocoon described by Pliny as a masterpiece made by the sculptors of Rhodes. The Laocoon depicts a scene from the Trojan War in which Athena and Poseidon sent two great serpants to wrap themselves around Laocoon and his two sons to kill them. Circa 40-30BC, Pope Clement XIV coillection, Vatican Museum Rome, Italy,  grey art background
  • Painted colour verion of a Child and Goose - a 1st or 2nd century Roman sculpture from Villa des Quintilii on the Appia Way south of Rome, Italy. Three other similar versions of this Roman sculpture can be found in the Vatican, music and Geneva. The sculpture is attributed to Boethos who was a 2nd century sculptor.  The Braschi Collection, Inv No. MR168 (Usual No Ma 40), Louvre Museum, Paris.
  • Painted colour verion of a Child and Goose - a 1st or 2nd century Roman sculpture from Villa des Quintilii on the Appia Way south of Rome, Italy. Three other similar versions of this Roman sculpture can be found in the Vatican, music and Geneva. The sculpture is attributed to Boethos who was a 2nd century sculptor.  The Braschi Collection, Inv No. MR168 (Usual No Ma 40), Louvre Museum, Paris.
  • Painted colour verion of a Child and Goose - a 1st or 2nd century Roman sculpture from Villa des Quintilii on the Appia Way south of Rome, Italy. Three other similar versions of this Roman sculpture can be found in the Vatican, music and Geneva. The sculpture is attributed to Boethos who was a 2nd century sculptor.  The Braschi Collection, Inv No. MR168 (Usual No Ma 40), Louvre Museum, Paris.
  • Painted colour verion of a Child and Goose - a 1st or 2nd century Roman sculpture from Villa des Quintilii on the Appia Way south of Rome, Italy. Three other similar versions of this Roman sculpture can be found in the Vatican, music and Geneva. The sculpture is attributed to Boethos who was a 2nd century sculptor.  The Braschi Collection, Inv No. MR168 (Usual No Ma 40), Louvre Museum, Paris.
  • Painted colour verion of a Child and Goose - a 1st or 2nd century Roman sculpture from Villa des Quintilii on the Appia Way south of Rome, Italy. Three other similar versions of this Roman sculpture can be found in the Vatican, music and Geneva. The sculpture is attributed to Boethos who was a 2nd century sculptor.  The Braschi Collection, Inv No. MR168 (Usual No Ma 40), Louvre Museum, Paris.
  • Painted colour verion of a Nymph with a shell ( Nymphe a la coquille ) a 1st century marble statue from Italy which was part of the Borghese collection . Louvre Museum, Paris Cat No MR 309. <br />
The Nymph with a shell statue was much admired in the 17th century and influenced such art its as Velasquez. The statue symbolises a carefree childhood and the fact that terracotta versions have been found in tombs suggests that the statue was associated with the injustice of death or of a rebirth.
  • Painted colour verion of a Nymph with a shell ( Nymphe a la coquille ) a 1st century marble statue from Italy which was part of the Borghese collection . Louvre Museum, Paris Cat No MR 309. <br />
The Nymph with a shell statue was much admired in the 17th century and influenced such art its as Velasquez. The statue symbolises a carefree childhood and the fact that terracotta versions have been found in tombs suggests that the statue was associated with the injustice of death or of a rebirth.
  • Painted colour verion of a Nymph with a shell ( Nymphe a la coquille ) a 1st century marble statue from Italy which was part of the Borghese collection . Louvre Museum, Paris Cat No MR 309. <br />
The Nymph with a shell statue was much admired in the 17th century and influenced such art its as Velasquez. The statue symbolises a carefree childhood and the fact that terracotta versions have been found in tombs suggests that the statue was associated with the injustice of death or of a rebirth.
  • Painted colour verion of a Nymph with a shell ( Nymphe a la coquille ) a 1st century marble statue from Italy which was part of the Borghese collection . Louvre Museum, Paris Cat No MR 309. <br />
The Nymph with a shell statue was much admired in the 17th century and influenced such art its as Velasquez. The statue symbolises a carefree childhood and the fact that terracotta versions have been found in tombs suggests that the statue was associated with the injustice of death or of a rebirth.
  • Painted colour verion of a Nymph with a shell ( Nymphe a la coquille ) a 1st century marble statue from Italy which was part of the Borghese collection . Louvre Museum, Paris Cat No MR 309. <br />
The Nymph with a shell statue was much admired in the 17th century and influenced such art its as Velasquez. The statue symbolises a carefree childhood and the fact that terracotta versions have been found in tombs suggests that the statue was associated with the injustice of death or of a rebirth.
  • Painted colour verion of a Statue of  Atalanta a 2nd century Roman sculpture restored in the 17th century. Atalanta  is a character in Greek mythology, a virgin huntress, unwilling to marry, and loved by the hero Meleager.. The Mazarin Collection  Louvre Museum, Paris.
  • Painted colour verion of a Statue of  Atalanta a 2nd century Roman sculpture restored in the 17th century. Atalanta  is a character in Greek mythology, a virgin huntress, unwilling to marry, and loved by the hero Meleager.. The Mazarin Collection  Louvre Museum, Paris.
  • Painted colour verion of a Statue of  Atalanta a 2nd century Roman sculpture restored in the 17th century. Atalanta  is a character in Greek mythology, a virgin huntress, unwilling to marry, and loved by the hero Meleager.. The Mazarin Collection  Louvre Museum, Paris.
  • Painted colour verion of a Statue of  Atalanta a 2nd century Roman sculpture restored in the 17th century. Atalanta  is a character in Greek mythology, a virgin huntress, unwilling to marry, and loved by the hero Meleager.. The Mazarin Collection  Louvre Museum, Paris.
  • Painted colour verion of a Statue of  Atalanta a 2nd century Roman sculpture restored in the 17th century. Atalanta  is a character in Greek mythology, a virgin huntress, unwilling to marry, and loved by the hero Meleager.. The Mazarin Collection  Louvre Museum, Paris.
  • Painted colour verion of Aphrodite- type known as the Venus of Arles. A Roman statue in marble of the 1st - 2nd century AD in marble from Rome. The statue is a 1.94-metre-high (6.4 ft) and is  probably a copy of the Aphrodite of Thespiae a lost bronze sculpture by 4th century BC Greek Athenian sculpture Praxiteles . From the Royal collection Inv MR 366 ( or Ma 437), Louvre Museum, Paris.
  • Painted colour verion of Aphrodite- type known as the Venus of Arles. A Roman statue in marble of the 1st - 2nd century AD in marble from Rome. The statue is a 1.94-metre-high (6.4 ft) and is  probably a copy of the Aphrodite of Thespiae a lost bronze sculpture by 4th century BC Greek Athenian sculpture Praxiteles . From the Royal collection Inv MR 366 ( or Ma 437), Louvre Museum, Paris.
  • Painted colour verion of Aphrodite- type known as the Venus of Arles. A Roman statue in marble of the 1st - 2nd century AD in marble from Rome. The statue is a 1.94-metre-high (6.4 ft) and is  probably a copy of the Aphrodite of Thespiae a lost bronze sculpture by 4th century BC Greek Athenian sculpture Praxiteles . From the Royal collection Inv MR 366 ( or Ma 437), Louvre Museum, Paris.
  • Painted colour verion of Aphrodite- type known as the Venus of Arles. A Roman statue in marble of the 1st - 2nd century AD in marble from Rome. The statue is a 1.94-metre-high (6.4 ft) and is  probably a copy of the Aphrodite of Thespiae a lost bronze sculpture by 4th century BC Greek Athenian sculpture Praxiteles . From the Royal collection Inv MR 366 ( or Ma 437), Louvre Museum, Paris.
  • Painted colour verion of Artemis and a deer, known as "Diana of Versailles”, a 1st - 2nd century Roman statue in marble probably from Italy.  Artemis, Diana to the Romans, is goddess of the hunt, is accompanied by a deer.  The Diana of Versailles, similar to other Roman replicas was found in Libya or Turkey and was copied from a lost Greek bronze original attributed to Leochares, c. 325 BC .  First the statue was at Fontainbleau then the Louvre ancient hall and finally it went to Versailles. From the collection of Louis XIV, Pope Paul IV and Henry II (1556) . Inv MR 152 ( or Ma 589), Louvre Museum Paris
  • Painted colour verion of Aphrodite- type known as the Venus of Arles. A Roman statue in marble of the 1st - 2nd century AD in marble from Rome. The statue is a 1.94-metre-high (6.4 ft) and is  probably a copy of the Aphrodite of Thespiae a lost bronze sculpture by 4th century BC Greek Athenian sculpture Praxiteles . From the Royal collection Inv MR 366 ( or Ma 437), Louvre Museum, Paris.
  • Painted colour verion of Artemis and a deer, known as "Diana of Versailles”, a 1st - 2nd century Roman statue in marble probably from Italy.  Artemis, Diana to the Romans, is goddess of the hunt, is accompanied by a deer.  The Diana of Versailles, similar to other Roman replicas was found in Libya or Turkey and was copied from a lost Greek bronze original attributed to Leochares, c. 325 BC .  First the statue was at Fontainbleau then the Louvre ancient hall and finally it went to Versailles. From the collection of Louis XIV, Pope Paul IV and Henry II (1556) . Inv MR 152 ( or Ma 589), Louvre Museum Paris
  • Painted colour verion of Artemis and a deer, known as "Diana of Versailles”, a 1st - 2nd century Roman statue in marble probably from Italy.  Artemis, Diana to the Romans, is goddess of the hunt, is accompanied by a deer.  The Diana of Versailles, similar to other Roman replicas was found in Libya or Turkey and was copied from a lost Greek bronze original attributed to Leochares, c. 325 BC .  First the statue was at Fontainbleau then the Louvre ancient hall and finally it went to Versailles. From the collection of Louis XIV, Pope Paul IV and Henry II (1556) . Inv MR 152 ( or Ma 589), Louvre Museum Paris
  • Painted colour verion of Artemis and a deer, known as "Diana of Versailles”, a 1st - 2nd century Roman statue in marble probably from Italy.  Artemis, Diana to the Romans, is goddess of the hunt, is accompanied by a deer.  The Diana of Versailles, similar to other Roman replicas was found in Libya or Turkey and was copied from a lost Greek bronze original attributed to Leochares, c. 325 BC .  First the statue was at Fontainbleau then the Louvre ancient hall and finally it went to Versailles. From the collection of Louis XIV, Pope Paul IV and Henry II (1556) . Inv MR 152 ( or Ma 589), Louvre Museum Paris
  • Painted colour verion of Artemis and a deer, known as "Diana of Versailles”, a 1st - 2nd century Roman statue in marble probably from Italy.  Artemis, Diana to the Romans, is goddess of the hunt, is accompanied by a deer.  The Diana of Versailles, similar to other Roman replicas was found in Libya or Turkey and was copied from a lost Greek bronze original attributed to Leochares, c. 325 BC .  First the statue was at Fontainbleau then the Louvre ancient hall and finally it went to Versailles. From the collection of Louis XIV, Pope Paul IV and Henry II (1556) . Inv MR 152 ( or Ma 589), Louvre Museum Paris
  • Painted colour verion of  Centaur with Eros on its back, a 1st - 2nd AD Roman sculpture in marble. Tradition has it that a centaur be a monstrous half-man half-horse mythical creature. In this Roman statue the old centaur is being ridden by Eros (Cupid), the Greek god of Love represented in the form of a young wing child. The sculpture is a copy of a Greek original  attributed to school sculpture of Aphrodisias (Turkey) can be dating in the 2nd century BC. The Borghese Collection inv MR 122 ( or Ma 562 ), Louvre Museum Paris
  • Painted colour verion of  Centaur with Eros on its back, a 1st - 2nd AD Roman sculpture in marble. Tradition has it that a centaur be a monstrous half-man half-horse mythical creature. In this Roman statue the old centaur is being ridden by Eros (Cupid), the Greek god of Love represented in the form of a young wing child. The sculpture is a copy of a Greek original  attributed to school sculpture of Aphrodisias (Turkey) can be dating in the 2nd century BC. The Borghese Collection inv MR 122 ( or Ma 562 ), Louvre Museum Paris
  • Painted colour verion of  Centaur with Eros on its back, a 1st - 2nd AD Roman sculpture in marble. Tradition has it that a centaur be a monstrous half-man half-horse mythical creature. In this Roman statue the old centaur is being ridden by Eros (Cupid), the Greek god of Love represented in the form of a young wing child. The sculpture is a copy of a Greek original  attributed to school sculpture of Aphrodisias (Turkey) can be dating in the 2nd century BC. The Borghese Collection inv MR 122 ( or Ma 562 ), Louvre Museum Paris
  • Painted colour verion of  Centaur with Eros on its back, a 1st - 2nd AD Roman sculpture in marble. Tradition has it that a centaur be a monstrous half-man half-horse mythical creature. In this Roman statue the old centaur is being ridden by Eros (Cupid), the Greek god of Love represented in the form of a young wing child. The sculpture is a copy of a Greek original  attributed to school sculpture of Aphrodisias (Turkey) can be dating in the 2nd century BC. The Borghese Collection inv MR 122 ( or Ma 562 ), Louvre Museum Paris
  • Painted colour verion of  Centaur with Eros on its back, a 1st - 2nd AD Roman sculpture in marble. Tradition has it that a centaur be a monstrous half-man half-horse mythical creature. In this Roman statue the old centaur is being ridden by Eros (Cupid), the Greek god of Love represented in the form of a young wing child. The sculpture is a copy of a Greek original  attributed to school sculpture of Aphrodisias (Turkey) can be dating in the 2nd century BC. The Borghese Collection inv MR 122 ( or Ma 562 ), Louvre Museum Paris
  • Painted colour verion of  “ Silenus Drunk “ - A 2nd century AD Roman sculpture made from marble from Paros. Silenus was described as the oldest, wisest and most drunken of the followers of Dionysus, the god of wine. When intoxicated, Silenus was said to possess special knowledge and the power of prophecy. From the Ancient Royal Collection of France inv MR 343 (or MA 291) previously held at Versailles. Louvre Museum Paris.
  • Painted colour verion of  “ Silenus Drunk “ - A 2nd century AD Roman sculpture made from marble from Paros. Silenus was described as the oldest, wisest and most drunken of the followers of Dionysus, the god of wine. When intoxicated, Silenus was said to possess special knowledge and the power of prophecy. From the Ancient Royal Collection of France inv MR 343 (or MA 291) previously held at Versailles. Louvre Museum Paris.
  • Painted colour verion of  “ Silenus Drunk “ - A 2nd century AD Roman sculpture made from marble from Paros. Silenus was described as the oldest, wisest and most drunken of the followers of Dionysus, the god of wine. When intoxicated, Silenus was said to possess special knowledge and the power of prophecy. From the Ancient Royal Collection of France inv MR 343 (or MA 291) previously held at Versailles. Louvre Museum Paris.
  • Painted colour verion of  “ Silenus Drunk “ - A 2nd century AD Roman sculpture made from marble from Paros. Silenus was described as the oldest, wisest and most drunken of the followers of Dionysus, the god of wine. When intoxicated, Silenus was said to possess special knowledge and the power of prophecy. From the Ancient Royal Collection of France inv MR 343 (or MA 291) previously held at Versailles. Louvre Museum Paris.
  • Painted colour verion of  “ Silenus Drunk “ - A 2nd century AD Roman sculpture made from marble from Paros. Silenus was described as the oldest, wisest and most drunken of the followers of Dionysus, the god of wine. When intoxicated, Silenus was said to possess special knowledge and the power of prophecy. From the Ancient Royal Collection of France inv MR 343 (or MA 291) previously held at Versailles. Louvre Museum Paris.
  • Painted colour verion of  “ Silenus Drunk “ - A 2nd century AD Roman sculpture made from marble from Paros. Silenus was described as the oldest, wisest and most drunken of the followers of Dionysus, the god of wine. When intoxicated, Silenus was said to possess special knowledge and the power of prophecy. From the Ancient Royal Collection of France inv MR 343 (or MA 291) previously held at Versailles. Louvre Museum Paris.
  • Painted colour verion of  “ Silenus Drunk “ - A 2nd century AD Roman sculpture made from marble from Paros. Silenus was described as the oldest, wisest and most drunken of the followers of Dionysus, the god of wine. When intoxicated, Silenus was said to possess special knowledge and the power of prophecy. From the Ancient Royal Collection of France inv MR 343 (or MA 291) previously held at Versailles. Louvre Museum Paris.
  • Painted colour verion of  “ Silenus Drunk “ - A 2nd century AD Roman sculpture made from marble from Paros. Silenus was described as the oldest, wisest and most drunken of the followers of Dionysus, the god of wine. When intoxicated, Silenus was said to possess special knowledge and the power of prophecy. From the Ancient Royal Collection of France inv MR 343 (or MA 291) previously held at Versailles. Louvre Museum Paris.
  • Painted colour verion of  “ Silenus Drunk “ - A 2nd century AD Roman sculpture made from marble from Paros. Silenus was described as the oldest, wisest and most drunken of the followers of Dionysus, the god of wine. When intoxicated, Silenus was said to possess special knowledge and the power of prophecy. From the Ancient Royal Collection of France inv MR 343 (or MA 291) previously held at Versailles. Louvre Museum Paris.
  • Painted colour verion of  “ Silenus Drunk “ - A 2nd century AD Roman sculpture made from marble from Paros. Silenus was described as the oldest, wisest and most drunken of the followers of Dionysus, the god of wine. When intoxicated, Silenus was said to possess special knowledge and the power of prophecy. From the Ancient Royal Collection of France inv MR 343 (or MA 291) previously held at Versailles. Louvre Museum Paris.
  • Painted colour verion of Roman marble sculpture bust of Lucius Verus with the body of Diomedes, Cuma Munich Type, 160-170 AD, inv 6095,  Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture bust of Lucius Verus with the body of Diomedes, Cuma Munich Type, 160-170 AD, inv 6095, Naples Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture bust of Lucius Verus with the body of Diomedes, Cuma Munich Type, 160-170 AD, inv 6095,  Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture bust of Lucius Verus with the body of Diomedes, Cuma Munich Type, 160-170 AD, inv 6095,  Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture bust of Lucius Verus with the body of Diomedes, Cuma Munich Type, 160-170 AD, inv 6095,  Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite 2nd - 1st century BC Roman marble sculpture of Aphrodite (Venus), ‘Marine Venus' Type with a dolphin, copied from a Hellanistic Greek original,  inv 6296, Museum of Archaeology, Italy, white background
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite 2nd - 1st century BC Roman marble sculpture of Aphrodite (Venus), ‘Marine Venus' Type with a dolphin, copied from a Hellanistic Greek original,  inv 6296, Museum of Archaeology, Italy, white background
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite 2nd - 1st century BC Roman marble sculpture of Aphrodite (Venus), ‘Marine Venus' Type with a dolphin, copied from a Hellanistic Greek original,  inv 6296, Museum of Archaeology, Italy, white background
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite 2nd - 1st century BC Roman marble sculpture of Aphrodite (Venus), ‘Marine Venus' Type with a dolphin, copied from a Hellanistic Greek original,  inv 6296, Museum of Archaeology, Italy, white background
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Hellanistic Greek original,  inv 6238, Museum of Archaeology, Italy, black background
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Hellanistic Greek original,  inv 6238, Museum of Archaeology, Italy, black background
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Hellanistic Greek original,  inv 6238, Museum of Archaeology, Italy, black background
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Hellanistic Greek original,  inv 6238, Museum of Archaeology, Italy, black background
  • Painted colour verion of 2nd century AD Roman marble sculptured of Dionysus and Eros, inv 6307, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculptured of Dionysus and Eros, inv 6307, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculptured of Dionysus and Eros, inv 6307, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculptured of Dionysus and Eros, inv 6307, Naples Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture of Ganymede with an eagle, a 2nd century AD copy from an original 2nd century BC late Hellanistic Greek original, inv 6405, Naples  Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculptured of Dionysus and Eros, inv 6307, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture of Ganymede with an eagle, a 2nd century AD copy from an original 2nd century BC late Hellanistic Greek original, inv 6405, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture of Ganymede with an eagle, a 2nd century AD copy from an original 2nd century BC late Hellanistic Greek original, inv 6405, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture of Ganymede with an eagle, a 2nd century AD copy from an original 2nd century BC late Hellanistic Greek original, inv 6405, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture of a warrior on horseback, a 2nd century AD copy from an original 2nd century BC Hellanistic Greek original, inv 6405, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture of Ganymede with an eagle, a 2nd century AD copy from an original 2nd century BC late Hellanistic Greek original, inv 6405, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture of a warrior on horseback, a 2nd century AD copy from an original 2nd century BC Hellanistic Greek original, inv 6405, Naples Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture of a warrior on horseback, a 2nd century AD copy from an original 2nd century BC Hellanistic Greek original, inv 6405, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture of a warrior on horseback, a 2nd century AD copy from an original 2nd century BC Hellanistic Greek original, inv 6405, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture of an Amazon on horseback, a 2nd century AD copy from an original 2nd century BC Hellanistic Greek original, inv 6407, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture of a warrior on horseback, a 2nd century AD copy from an original 2nd century BC Hellanistic Greek original, inv 6405, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture of an Amazon on horseback, a 2nd century AD copy from an original 2nd century BC Hellanistic Greek original, inv 6407, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture of an Amazon on horseback, a 2nd century AD copy from an original 2nd century BC Hellanistic Greek original, inv 6407, Naples Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture of an Amazon on horseback, a 2nd century AD copy from an original 2nd century BC Hellanistic Greek original, inv 6407, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture of an Amazon on horseback, a 2nd century AD copy from an original 2nd century BC Hellanistic Greek original, inv 6407, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture bust of Emperor Domitian  81-96 AD, inv 6061, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture bust of Emperor Domitian  81-96 AD, inv 6061, Naples Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture bust of Emperor Domitian  81-96 AD, inv 6061, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture bust of Emperor Domitian  81-96 AD, inv 6061, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture bust of Emperor Domitian  81-96 AD, inv 6061, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture bust of Emperor  Claudius 41-54 AD, inv 6068, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture bust of Emperor  Claudius 41-54 AD, inv 6068, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture bust of Emperor  Claudius 41-54 AD, inv 6068, Naples Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture bust of Emperor  Claudius 41-54 AD, inv 6068, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture bust of Emperor  Claudius 41-54 AD, inv 6068, Museum of Archaeology, Italy
  • Painted colour verion of end of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • Painted colour verion of end of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • Painted colour verion of end of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Naples  Museum of Archaeology, Italy
  • Painted colour verion of end of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • Painted colour verion of end of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • Painted colour verion of end of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • Painted colour verion of end of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • Painted colour verion of end of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Naples Museum of Archaeology, Italy
  • Painted colour verion of end of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • Painted colour verion of end of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Harmodius  from the Tyrannicide group,  a Roman copy of an early classical period Geek original, inv 6009, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Harmodius  from the Tyrannicide group,  a Roman copy of an early classical period Geek original, inv 6009, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Harmodius  from the Tyrannicide group,  a Roman copy of an early classical period Geek original, inv 6009, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Harmodius  from the Tyrannicide group,  a Roman copy of an early classical period Geek original, inv 6009, Naples Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Harmodius  from the Tyrannicide group,  a Roman copy of an early classical period Geek original, inv 6009, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculptured of Dionysus and Eros, inv 6307, Naples Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculptured of Dionysus and Eros, inv 6307, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculptured of Dionysus and Eros, inv 6307, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculptured of Dionysus and Eros, inv 6307, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculptured of Dionysus and Eros, inv 6307, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Pan teaching Daphnis to play the pipes, a Roman copy late 2nd century BC Hellenistic Geek original attributed to Rodes sculptor Heliodoros. Pan's and Daphnis' heads and Daphnis' right arm are restorations.  The Farnese collection, Naples Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Pan teaching Daphnis to play the pipes, a Roman copy late 2nd century BC Hellenistic Geek original attributed to Rodes sculptor Heliodoros. Pan's and Daphnis' heads and Daphnis' right arm are restorations.  The Farnese collection, Naples Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Pan teaching Daphnis to play the pipes, a Roman copy late 2nd century BC Hellenistic Geek original attributed to Rodes sculptor Heliodoros. Pan's and Daphnis' heads and Daphnis' right arm are restorations.  The Farnese collection, Naples Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Pan teaching Daphnis to play the pipes, a Roman copy late 2nd century BC Hellenistic Geek original attributed to Rodes sculptor Heliodoros. Pan's and Daphnis' heads and Daphnis' right arm are restorations.  The Farnese collection, Naples Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Pan teaching Daphnis to play the pipes, a Roman copy late 2nd century BC Hellenistic Geek original attributed to Rodes sculptor Heliodoros. Pan's and Daphnis' heads and Daphnis' right arm are restorations.  The Farnese collection, Naples Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman sculpture of Pothos, a copy of a 4th century BC Greek original attributed to Skopas of Paros, inv no 6253, The Farnese collection, Naples Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman sculpture of Pothos, a copy of a 4th century BC Greek original attributed to Skopas of Paros, inv no 6253, The Farnese collection, Naples Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman sculpture of Pothos, a copy of a 4th century BC Greek original attributed to Skopas of Paros, inv no 6253, The Farnese collection, Naples Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman sculpture of Pothos, a copy of a 4th century BC Greek original attributed to Skopas of Paros, inv no 6253, The Farnese collection, Naples Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman sculpture of Pothos, a copy of a 4th century BC Greek original attributed to Skopas of Paros, inv no 6253, The Farnese collection, Naples Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Bronze Hellanistic original from the mid 3rd century BC  attributed to the Greek sculptor Doldalsas of Bethynia,  inv 6283, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Bronze Hellanistic original from the mid 3rd century BC  attributed to the Greek sculptor Doldalsas of Bethynia,  inv 6283, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Bronze Hellanistic original from the mid 3rd century BC  attributed to the Greek sculptor Doldalsas of Bethynia,  inv 6283, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Bronze Hellanistic original from the mid 3rd century BC  attributed to the Greek sculptor Doldalsas of Bethynia,  inv 6283, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture known as the Farnese Bull from the Baths of Caracalla, Rome, Farnese Collection, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Bronze Hellanistic original from the mid 3rd century BC  attributed to the Greek sculptor Doldalsas of Bethynia,  inv 6283, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture known as the Farnese Bull from the Baths of Caracalla, Rome, Farnese Collection, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture known as the Farnese Bull from the Baths of Caracalla, Rome, Farnese Collection, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture known as the Farnese Bull from the Baths of Caracalla, Rome, Farnese Collection, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture known as the Farnese Bull from the Baths of Caracalla, Rome, Farnese Collection, Naples Museum of Archaeology, Italy
  • Underground Etruscan tomb  A single chamber with double sloping ceiling decorated with a painted chequered design, Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb  A single chamber with double sloping ceiling decorated with a painted chequered design, Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb Known as "Tomba Claudio Bettini no 5513" A single chamber with double sloping ceiling. In the tympanium on the back wall is a painted two lions, a two men lying on beds (Klinai) are  banquetting with two women bellow. On the dide walls are dancers and musicians. 5th century BC. Excavated 1967 , Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb Known as "Tomba dei Fiorellini" A single chamber with double sloping ceiling decorated with red circles and three petalled flowers. In the tympanium on the back wall is a painted pillar and two cockerals, a couple are depicted banquetting bellow. 475-450 BC. Excavated 1960 , Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb Known as "Tomba Claudio Bettini no 5513" A single chamber with double sloping ceiling. In the tympanium on the back wall is a painted two lions, a two men lying on beds (Klinai) are  banquetting with two women bellow. On the dide walls are dancers and musicians. 5th century BC. Excavated 1967 , Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb Known as "Tomba Massimo Pallottino no 3713". A single chamber with double sloping ceiling decorated. On the back wall are a painted dancing harpist, and couples dancing holding dinking cups.  Circa 580 BC. Excavated 1962, Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb Known as "Tomba Massimo Pallottino no 3713". A single chamber with double sloping ceiling decorated. On the back wall are a painted dancing harpist, and couples dancing holding dinking cups.  Circa 580 BC. Excavated 1962, Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb Known as "Tomba del Cacciatore A single chamber with double sloping ceiling decorated with a painted chequered design, the rest of the tomb is decorated like a hunting tent with hanging wild ducks and hats. 510-500 BC. Excavated 1962, Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb Known as "Tomba del Cacciatore A single chamber with double sloping ceiling decorated with a painted chequered design, the rest of the tomb is decorated like a hunting tent with hanging wild ducks and hats. 510-500 BC. Excavated 1962, Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb Known as "Tomba della Caccia al Cervo" A single chamber with double sloping ceiling. On the back wall is painted a banquet scene with three couples lying on beds (Klinai). On the dide walls are dancers and musicians. Circa 450 BC. Excavated 1960 , Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb Known as "Tomba Claudio Bettini no 5513" A single chamber with double sloping ceiling. In the tympanium on the back wall is a painted two lions, a two men lying on beds (Klinai) are  banquetting with two women bellow. On the dide walls are dancers and musicians. 5th century BC. Excavated 1967 , Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb Known as "Tomba Claudio Bettini no 5513" A single chamber with double sloping ceiling. In the tympanium on the back wall is a painted two lions, a two men lying on beds (Klinai) are  banquetting with two women bellow. On the dide walls are dancers and musicians. 5th century BC. Excavated 1967 , Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb Known as "Tomba dei Fiorellini" A single chamber with double sloping ceiling decorated with red circles and three petalled flowers. In the tympanium on the back wall is a painted pillar and two cockerals, a couple are depicted banquetting bellow. 475-450 BC. Excavated 1960 , Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb Known as "Tomba dei Fiorellini" A single chamber with double sloping ceiling decorated with red circles and three petalled flowers. In the tympanium on the back wall is a painted pillar and two cockerals, a couple are depicted banquetting bellow. 475-450 BC. Excavated 1960 , Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb no 5636 made about 1second half of the 3rd century BC. This tomb has a flat roof and stone benches on each side. On the pillar is painted a threatening Caronte grasping a hammer. Excavated 1969 , Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb "Tomba dei Caronti" made about 150-125 BC. This tomb has a higher level with 2 painted false doors that was furnished with seats as was probably used for religious functions, steps lead down to a lower burial chamber. Excavated 1960 , Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb "Tomba dei Caronti" made about 150-125 BC. This tomb has a higher level with 2 painted false doors that was furnished with seats as was probably used for religious functions, steps lead down to a lower burial chamber. Excavated 1960 , Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb "Tomba dei Caronti" made about 150-125 BC. This tomb has a higher level with 2 painted false doors that was furnished with seats as was probably used for religious functions, steps lead down to a lower burial chamber. Excavated 1960 , Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb "Tomba dei Caronti" made about 150-125 BC. This tomb has a higher level with 2 painted false doors that was furnished with seats as was probably used for religious functions, steps lead down to a lower burial chamber. Excavated 1960 , Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb "Tomba dei Caronti" made about 150-125 BC. This tomb has a higher level with 2 painted false doors that was furnished with seats as was probably used for religious functions, steps lead down to a lower burial chamber. Excavated 1960 , Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb "Tomba dei Caronti" made about 150-125 BC. This tomb has a higher level with 2 painted false doors that was furnished with seats as was probably used for religious functions, steps lead down to a lower burial chamber. Excavated 1960 , Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb "Tomba dei Caronti" made about 150-125 BC. This tomb has a higher level with 2 painted false doors that was furnished with seats as was probably used for religious functions, steps lead down to a lower burial chamber. Excavated 1960 , Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Romanesque frescoes of a Griffen typical of Catalan Court painting from 1200. From the ancient monastery of San Pedro de Arlanza, Buros, Spain. Painted around 1210. National Art Museum of Catalonia, Barcelona. MNAC 40142
  • Romanesque frescoes of a Griffen typical of Catalan Court painting from 1200. From the ancient monastery of San Pedro de Arlanza, Buros, Spain. Painted around 1210. National Art Museum of Catalonia, Barcelona. MNAC 40142
  • Romanesque frescoes of a Griffen typical of Catalan Court painting from 1200. From the ancient monastery of San Pedro de Arlanza, Buros, Spain. Painted around 1210. National Art Museum of Catalonia, Barcelona. MNAC 40142
  • Romanesque Altar Front of Cardet<br />
<br />
Thirteenth century paint and metal relief on wood from a church of Santa Maria of Cardet, Vall de Boi, Alta Ribagorca, Spain<br />
<br />
Acquired by the National Art Museum of Catalonia, Barcelona 1932. Ref: MNAC 3903.<br />
<br />
<br />
This Romanesque painted altar front is dedicated to the Nativity. Bottom left shows The Flight to Egypt.
  • Romanesque Altar Front of Cardet<br />
<br />
Thirteenth century paint and metal relief on wood from a church of Santa Maria of Cardet, Vall de Boi, Alta Ribagorca, Spain<br />
<br />
Acquired by the National Art Museum of Catalonia, Barcelona 1932. Ref: MNAC 3903.<br />
<br />
<br />
This Romanesque painted altar front is dedicated to the Nativity. Top left depicts the nativity scene with Mary, Joseph, the Shepherds and Christ in a manger.
  • Romanesque frescoes of a Griffen typical of Catalan Court painting from 1200. From the ancient monastery of San Pedro de Arlanza, Buros, Spain. Painted around 1210. National Art Museum of Catalonia, Barcelona. MNAC 40142

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