• Egyptian painting on stucco of the defied Pharaoh Amenhotep I . 11152-1145BC, Thebes, Grab Nr 359. Neues  Museum, Berlin. Cat No AM2061
  • Egyptian painting on stucco of the defied Pharaoh Amenhotep I . 11152-1145BC, Thebes, Grab Nr 359. Neues  Museum, Berlin. Cat No AM2061
  • Egyptian painting on stucco of the defied Pharaoh Amenhotep I . 11152-1145BC, Thebes, Grab Nr 359. Neues  Museum, Berlin. Cat No AM2061
  • Egyptian painting on stucco of Pharaoh Amenhotep I. 11152-1145BC, Thebes. Neues  Museum, Berlin. Cat No AM2061
  • Egyptian painting on stucco of Pharaoh Amenhotep I. 11152-1145BC, Thebes. Neues  Museum, Berlin. Cat No AM2061
  • Egyptian painting on stucco of the defied Pharaoh Amenhotep I . 11152-1145BC, Thebes, Grab Nr 359. Neues  Museum, Berlin. Cat No AM2061
  • Egyptian painting on stucco of the defied Pharaoh Amenhotep I . 11152-1145BC, Thebes, Grab Nr 359. Neues  Museum, Berlin. Cat No AM2061
  • Egyptian painting on stucco of Pharaoh Amenhotep I. 11152-1145BC, Thebes. Neues  Museum, Berlin. Cat No AM2061
  • Egyptian painting on stucco of Pharaoh Amenhotep I. 11152-1145BC, Thebes. Neues  Museum, Berlin. Cat No AM2061
  • Egyptian painting on stucco of the defied Pharaoh Amenhotep I . 11152-1145BC, Thebes, Grab Nr 359. Neues  Museum, Berlin. Cat No AM2061
  • 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 />
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.
  • 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.
  • 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.
  • 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.
  • Altar of La Seu d'Urgell and the Apostles<br />
<br />
Second quarter of the twelfth century from a church in the diocese of Urgell, the whole poster espicopal of La Seu d'Urgell, Alt Urgell<br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1905. Ref: 15803 MNAC.<br />
<br />
<br />
La Seu d'Urgell was an important center of Romanesque panel painting. This altar front is one of the best examples, and is also one of the oldest preserved painted panels in Catalonia. At its centre is Christ Pantocrator surrounded by a Mandorla. Either side of this are the 12 Apostles arranged in two unusual pyramid shaped groups of six. This altar panel is a fine example from the workshop Urgell and demostrates a high standard of technical ability and creativity.
  • Altar of La Seu d'Urgell and the Apostles<br />
<br />
Second quarter of the twelfth century from a church in the diocese of Urgell, the whole poster espicopal of La Seu d'Urgell, Alt Urgell<br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1905. Ref: 15803 MNAC.<br />
<br />
<br />
La Seu d'Urgell was an important center of Romanesque panel painting. This altar front is one of the best examples, and is also one of the oldest preserved painted panels in Catalonia. At its centre is Christ Pantocrator surrounded by a Mandorla. Either side of this are the 12 Apostles arranged in two unusual pyramid shaped groups of six. This altar panel is a fine example from the workshop Urgell and demostrates a high standard of technical ability and creativity.
  • Altar of La Seu d'Urgell and the Apostles<br />
<br />
Second quarter of the twelfth century from a church in the diocese of Urgell, the whole poster espicopal of La Seu d'Urgell, Alt Urgell<br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1905. Ref: 15803 MNAC.<br />
<br />
<br />
La Seu d'Urgell was an important center of Romanesque panel painting. This altar front is one of the best examples, and is also one of the oldest preserved painted panels in Catalonia. At its centre is Christ Pantocrator surrounded by a Mandorla. Either side of this are the 12 Apostles arranged in two unusual pyramid shaped groups of six. This altar panel is a fine example from the workshop Urgell and demostrates a high standard of technical ability and creativity.
  • Altar of La Seu d'Urgell and the Apostles<br />
<br />
Second quarter of the twelfth century from a church in the diocese of Urgell, the whole poster espicopal of La Seu d'Urgell, Alt Urgell<br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1905. Ref: 15803 MNAC.<br />
<br />
<br />
La Seu d'Urgell was an important center of Romanesque panel painting. This altar front is one of the best examples, and is also one of the oldest preserved painted panels in Catalonia. At its centre is Christ Pantocrator surrounded by a Mandorla. Either side of this are the 12 Apostles arranged in two unusual pyramid shaped groups of six. This altar panel is a fine example from the workshop Urgell and demostrates a high standard of technical ability and creativity.
  • Altar of La Seu d'Urgell and the Apostles<br />
<br />
Second quarter of the twelfth century from a church in the diocese of Urgell, the whole poster espicopal of La Seu d'Urgell, Alt Urgell<br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1905. Ref: 15803 MNAC.<br />
<br />
<br />
La Seu d'Urgell was an important center of Romanesque panel painting. This altar front is one of the best examples, and is also one of the oldest preserved painted panels in Catalonia. At its centre is Christ Pantocrator surrounded by a Mandorla. Either side of this are the 12 Apostles arranged in two unusual pyramid shaped groups of six. This altar panel is a fine example from the workshop Urgell and demostrates a high standard of technical ability and creativity.
  • Altar of La Seu d'Urgell and the Apostles<br />
<br />
Second quarter of the twelfth century from a church in the diocese of Urgell, the whole poster espicopal of La Seu d'Urgell, Alt Urgell<br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1905. Ref: 15803 MNAC.<br />
<br />
<br />
La Seu d'Urgell was an important center of Romanesque panel painting. This altar front is one of the best examples, and is also one of the oldest preserved painted panels in Catalonia. At its centre is Christ Pantocrator surrounded by a Mandorla. Either side of this are the 12 Apostles arranged in two unusual pyramid shaped groups of six. This altar panel is a fine example from the workshop Urgell and demostrates a high standard of technical ability and creativity.
  • Altar of La Seu d'Urgell and the Apostles<br />
<br />
Second quarter of the twelfth century from a church in the diocese of Urgell, the whole poster espicopal of La Seu d'Urgell, Alt Urgell<br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1905. Ref: 15803 MNAC.<br />
<br />
<br />
La Seu d'Urgell was an important center of Romanesque panel painting. This altar front is one of the best examples, and is also one of the oldest preserved painted panels in Catalonia. At its centre is Christ Pantocrator surrounded by a Mandorla. Either side of this are the 12 Apostles arranged in two unusual pyramid shaped groups of six. This altar panel is a fine example from the workshop Urgell and demostrates a high standard of technical ability and creativity.
  • Altar of La Seu d'Urgell and the Apostles<br />
<br />
Second quarter of the twelfth century from a church in the diocese of Urgell, the whole poster espicopal of La Seu d'Urgell, Alt Urgell<br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1905. Ref: 15803 MNAC.<br />
<br />
<br />
La Seu d'Urgell was an important center of Romanesque panel painting. This altar front is one of the best examples, and is also one of the oldest preserved painted panels in Catalonia. At its centre is Christ Pantocrator surrounded by a Mandorla. Either side of this are the 12 Apostles arranged in two unusual pyramid shaped groups of six. This altar panel is a fine example from the workshop Urgell and demostrates a high standard of technical ability and creativity.
  • Altar of La Seu d'Urgell and the Apostles<br />
<br />
Second quarter of the twelfth century from a church in the diocese of Urgell, the whole poster espicopal of La Seu d'Urgell, Alt Urgell<br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1905. Ref: 15803 MNAC.<br />
<br />
<br />
La Seu d'Urgell was an important center of Romanesque panel painting. This altar front is one of the best examples, and is also one of the oldest preserved painted panels in Catalonia. At its centre is Christ Pantocrator surrounded by a Mandorla. Either side of this are the 12 Apostles arranged in two unusual pyramid shaped groups of six. This altar panel is a fine example from the workshop Urgell and demostrates a high standard of technical ability and creativity.
  • Altar of La Seu d'Urgell and the Apostles<br />
<br />
Second quarter of the twelfth century from a church in the diocese of Urgell, the whole poster espicopal of La Seu d'Urgell, Alt Urgell<br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1905. Ref: 15803 MNAC.<br />
<br />
<br />
La Seu d'Urgell was an important center of Romanesque panel painting. This altar front is one of the best examples, and is also one of the oldest preserved painted panels in Catalonia. At its centre is Christ Pantocrator surrounded by a Mandorla. Either side of this are the 12 Apostles arranged in two unusual pyramid shaped groups of six. This altar panel is a fine example from the workshop Urgell and demostrates a high standard of technical ability and creativity.
  • Altar of La Seu d'Urgell and the Apostles<br />
<br />
Second quarter of the twelfth century from a church in the diocese of Urgell, the whole poster espicopal of La Seu d'Urgell, Alt Urgell<br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1905. Ref: 15803 MNAC.<br />
<br />
<br />
La Seu d'Urgell was an important center of Romanesque panel painting. This altar front is one of the best examples, and is also one of the oldest preserved painted panels in Catalonia. At its centre is Christ Pantocrator surrounded by a Mandorla. Either side of this are the 12 Apostles arranged in two unusual pyramid shaped groups of six. This altar panel is a fine example from the workshop Urgell and demostrates a high standard of technical ability and creativity.
  • Altar of La Seu d'Urgell and the Apostles<br />
<br />
Second quarter of the twelfth century from a church in the diocese of Urgell, the whole poster espicopal of La Seu d'Urgell, Alt Urgell<br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1905. Ref: 15803 MNAC.<br />
<br />
<br />
La Seu d'Urgell was an important center of Romanesque panel painting. This altar front is one of the best examples, and is also one of the oldest preserved painted panels in Catalonia. At its centre is Christ Pantocrator surrounded by a Mandorla. Either side of this are the 12 Apostles arranged in two unusual pyramid shaped groups of six. This altar panel is a fine example from the workshop Urgell and demostrates a high standard of technical ability and creativity.
  • Altar of La Seu d'Urgell and the Apostles<br />
<br />
Second quarter of the twelfth century from a church in the diocese of Urgell, the whole poster espicopal of La Seu d'Urgell, Alt Urgell<br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1905. Ref: 15803 MNAC.<br />
<br />
<br />
La Seu d'Urgell was an important center of Romanesque panel painting. This altar front is one of the best examples, and is also one of the oldest preserved painted panels in Catalonia. At its centre is Christ Pantocrator surrounded by a Mandorla. Either side of this are the 12 Apostles arranged in two unusual pyramid shaped groups of six. This altar panel is a fine example from the workshop Urgell and demostrates a high standard of technical ability and creativity.
  • Altar of La Seu d'Urgell and the Apostles<br />
<br />
Second quarter of the twelfth century from a church in the diocese of Urgell, the whole poster espicopal of La Seu d'Urgell, Alt Urgell<br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1905. Ref: 15803 MNAC.<br />
<br />
<br />
La Seu d'Urgell was an important center of Romanesque panel painting. This altar front is one of the best examples, and is also one of the oldest preserved painted panels in Catalonia. At its centre is Christ Pantocrator surrounded by a Mandorla. Either side of this are the 12 Apostles arranged in two unusual pyramid shaped groups of six. This altar panel is a fine example from the workshop Urgell and demostrates a high standard of technical ability and creativity.
  • Monoan 'Antelope fresco' Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens. 17th-16th cent BC.<br />
<br />
The Antelope fresco dep[icts two antelopes sketched with strong dark lines on a white plaster background. Their simple figures are slender and agile, and theri movements reserved are reserved yet expressive. From the same room as the 'Boxing Children' fresco the emsemble may have had a larger symbolic meaning. Room B1, Building B.
  • Monoan 'Antelope fresco' Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens. 17th-16th cent BC.<br />
<br />
The Antelope fresco dep[icts two antelopes sketched with strong dark lines on a white plaster background. Their simple figures are slender and agile, and theri movements reserved are reserved yet expressive. From the same room as the 'Boxing Children' fresco the emsemble may have had a larger symbolic meaning. Room B1, Building B.
  • Monoan 'Antelope fresco' Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens. 17th-16th cent BC.<br />
<br />
The Antelope fresco dep[icts two antelopes sketched with strong dark lines on a white plaster background. Their simple figures are slender and agile, and theri movements reserved are reserved yet expressive. From the same room as the 'Boxing Children' fresco the emsemble may have had a larger symbolic meaning. Room B1, Building B.
  • Monoan 'Antelope fresco' Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens. 17th-16th cent BC.<br />
<br />
The Antelope fresco dep[icts two antelopes sketched with strong dark lines on a white plaster background. Their simple figures are slender and agile, and theri movements reserved are reserved yet expressive. From the same room as the 'Boxing Children' fresco the emsemble may have had a larger symbolic meaning. Room B1, Building B.
  • Minoan 'Boxing Children' fresco Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens artefact. 17th-16th cent BC.<br />
<br />
The 'Boxing Children' fresco depicts two naked boys wearing belts and boxing gloves. Their heads are shaved but for two long locks at the back and two shorter ones on their forehead. Their dark complexion indicated thair gender. The boy on the left is the more reserved of the two and wears jewelry consisting of a necklace and two bracelets, one on his arm and the other around his ankle, which indicated his higher social status. From room B1 of building B.
  • Minoan 'Boxing Children' fresco Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens artefact. 17th-16th cent BC.<br />
<br />
The 'Boxing Children' fresco depicts two naked boys wearing belts and boxing gloves. Their heads are shaved but for two long locks at the back and two shorter ones on their forehead. Their dark complexion indicated thair gender. The boy on the left is the more reserved of the two and wears jewelry consisting of a necklace and two bracelets, one on his arm and the other around his ankle, which indicated his higher social status. From room B1 of building B.
  • Minoan 'Boxing Children' fresco Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens artefact. 17th-16th cent BC.<br />
<br />
The 'Boxing Children' fresco depicts two naked boys wearing belts and boxing gloves. Their heads are shaved but for two long locks at the back and two shorter ones on their forehead. Their dark complexion indicated thair gender. The boy on the left is the more reserved of the two and wears jewelry consisting of a necklace and two bracelets, one on his arm and the other around his ankle, which indicated his higher social status. From room B1 of building B.
  • Minoan 'Boxing Children' fresco Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens artefact. 17th-16th cent BC.<br />
<br />
The 'Boxing Children' fresco depicts two naked boys wearing belts and boxing gloves. Their heads are shaved but for two long locks at the back and two shorter ones on their forehead. Their dark complexion indicated thair gender. The boy on the left is the more reserved of the two and wears jewelry consisting of a necklace and two bracelets, one on his arm and the other around his ankle, which indicated his higher social status. From room B1 of building B.
  • Minoan 'Boxing Children' fresco Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens artefact. 17th-16th cent BC.<br />
<br />
The 'Boxing Children' fresco depicts two naked boys wearing belts and boxing gloves. Their heads are shaved but for two long locks at the back and two shorter ones on their forehead. Their dark complexion indicated thair gender. The boy on the left is the more reserved of the two and wears jewelry consisting of a necklace and two bracelets, one on his arm and the other around his ankle, which indicated his higher social status. From room B1 of building B.
  • The Spring fresco Minoan Wall painting from Akrotiri, National archaeological Musuem Athens Minoan artefact. 17th-16th cent BC.<br />
<br />
The Minoan 'Spring Fresco' is the only fresco found in situ at Akritiri covering three walls. It depicts the rocky Theran lanscape of Santorini before the volcanic eruption: clusetrs of red lilies with yellow stems dominate the red and grey volcanic rock formations. Swallows swoop above, either alone or in pairs animating the scene and announcing natures annual rebirth of Spring.<br />
<br />
The Spring fresco has an opulent use of colours and a lively movement bu the lilies swaying in the wind as well as the swallows at play. Room D2 Complex D.
  • The Spring fresco Minoan Wall painting from Akrotiri, National archaeological Musuem Athens Minoan artefact. 17th-16th cent BC.<br />
<br />
The Minoan 'Spring Fresco' is the only fresco found in situ at Akritiri covering three walls. It depicts the rocky Theran lanscape of Santorini before the volcanic eruption: clusetrs of red lilies with yellow stems dominate the red and grey volcanic rock formations. Swallows swoop above, either alone or in pairs animating the scene and announcing natures annual rebirth of Spring.<br />
<br />
The Spring fresco has an opulent use of colours and a lively movement bu the lilies swaying in the wind as well as the swallows at play. Room D2 Complex D.
  • The Spring fresco Minoan Wall painting from Akrotiri, National archaeological Musuem Athens Minoan artefact. 17th-16th cent BC.<br />
<br />
The Minoan 'Spring Fresco' is the only fresco found in situ at Akritiri covering three walls. It depicts the rocky Theran lanscape of Santorini before the volcanic eruption: clusetrs of red lilies with yellow stems dominate the red and grey volcanic rock formations. Swallows swoop above, either alone or in pairs animating the scene and announcing natures annual rebirth of Spring.<br />
<br />
The Spring fresco has an opulent use of colours and a lively movement bu the lilies swaying in the wind as well as the swallows at play. Room D2 Complex D.
  • Monoan 'Antelope fresco' Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens. 17th-16th cent BC.<br />
<br />
The Antelope fresco dep[icts two antelopes sketched with strong dark lines on a white plaster background. Their simple figures are slender and agile, and theri movements reserved are reserved yet expressive. From the same room as the 'Boxing Children' fresco the emsemble may have had a larger symbolic meaning. Room B1, Building B.
  • The Spring fresco Minoan Wall painting from Akrotiri, National archaeological Musuem Athens Minoan artefact. 17th-16th cent BC.<br />
<br />
The Minoan 'Spring Fresco' is the only fresco found in situ at Akritiri covering three walls. It depicts the rocky Theran lanscape of Santorini before the volcanic eruption: clusetrs of red lilies with yellow stems dominate the red and grey volcanic rock formations. Swallows swoop above, either alone or in pairs animating the scene and announcing natures annual rebirth of Spring.<br />
<br />
The Spring fresco has an opulent use of colours and a lively movement bu the lilies swaying in the wind as well as the swallows at play. Room D2 Complex D.
  • Monoan 'Antelope fresco' Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens. 17th-16th cent BC.<br />
<br />
The Antelope fresco dep[icts two antelopes sketched with strong dark lines on a white plaster background. Their simple figures are slender and agile, and theri movements reserved are reserved yet expressive. From the same room as the 'Boxing Children' fresco the emsemble may have had a larger symbolic meaning. Room B1, Building B.
  • Monoan 'Antelope fresco' Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens. 17th-16th cent BC.<br />
<br />
The Antelope fresco dep[icts two antelopes sketched with strong dark lines on a white plaster background. Their simple figures are slender and agile, and theri movements reserved are reserved yet expressive. From the same room as the 'Boxing Children' fresco the emsemble may have had a larger symbolic meaning. Room B1, Building B.
  • Monoan 'Antelope fresco' Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens. 17th-16th cent BC.<br />
<br />
The Antelope fresco dep[icts two antelopes sketched with strong dark lines on a white plaster background. Their simple figures are slender and agile, and theri movements reserved are reserved yet expressive. From the same room as the 'Boxing Children' fresco the emsemble may have had a larger symbolic meaning. Room B1, Building B.
  • Monoan 'Antelope fresco' Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens. 17th-16th cent BC.<br />
<br />
The Antelope fresco dep[icts two antelopes sketched with strong dark lines on a white plaster background. Their simple figures are slender and agile, and theri movements reserved are reserved yet expressive. From the same room as the 'Boxing Children' fresco the emsemble may have had a larger symbolic meaning. Room B1, Building B.
  • Monoan 'Antelope fresco' Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens. 17th-16th cent BC.<br />
<br />
The Antelope fresco dep[icts two antelopes sketched with strong dark lines on a white plaster background. Their simple figures are slender and agile, and theri movements reserved are reserved yet expressive. From the same room as the 'Boxing Children' fresco the emsemble may have had a larger symbolic meaning. Room B1, Building B.
  • Monoan 'Antelope fresco' Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens. 17th-16th cent BC.<br />
<br />
The Antelope fresco dep[icts two antelopes sketched with strong dark lines on a white plaster background. Their simple figures are slender and agile, and theri movements reserved are reserved yet expressive. From the same room as the 'Boxing Children' fresco the emsemble may have had a larger symbolic meaning. Room B1, Building B.
  • Monoan 'Antelope fresco' Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens. 17th-16th cent BC.<br />
<br />
The Antelope fresco dep[icts two antelopes sketched with strong dark lines on a white plaster background. Their simple figures are slender and agile, and theri movements reserved are reserved yet expressive. From the same room as the 'Boxing Children' fresco the emsemble may have had a larger symbolic meaning. Room B1, Building B.
  • Monoan 'Antelope fresco' Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens. 17th-16th cent BC.<br />
<br />
The Antelope fresco dep[icts two antelopes sketched with strong dark lines on a white plaster background. Their simple figures are slender and agile, and theri movements reserved are reserved yet expressive. From the same room as the 'Boxing Children' fresco the emsemble may have had a larger symbolic meaning. Room B1, Building B.
  • Minoan 'Boxing Children' fresco Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens artefact. 17th-16th cent BC.<br />
<br />
The 'Boxing Children' fresco depicts two naked boys wearing belts and boxing gloves. Their heads are shaved but for two long locks at the back and two shorter ones on their forehead. Their dark complexion indicated thair gender. The boy on the left is the more reserved of the two and wears jewelry consisting of a necklace and two bracelets, one on his arm and the other around his ankle, which indicated his higher social status. From room B1 of building B.
  • Minoan 'Boxing Children' fresco Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens artefact. 17th-16th cent BC.<br />
<br />
The 'Boxing Children' fresco depicts two naked boys wearing belts and boxing gloves. Their heads are shaved but for two long locks at the back and two shorter ones on their forehead. Their dark complexion indicated thair gender. The boy on the left is the more reserved of the two and wears jewelry consisting of a necklace and two bracelets, one on his arm and the other around his ankle, which indicated his higher social status. From room B1 of building B.
  • The Spring fresco Minoan Wall painting from Akrotiri, National archaeological Musuem Athens Minoan artefact. 17th-16th cent BC.<br />
<br />
The Minoan 'Spring Fresco' is the only fresco found in situ at Akritiri covering three walls. It depicts the rocky Theran lanscape of Santorini before the volcanic eruption: clusetrs of red lilies with yellow stems dominate the red and grey volcanic rock formations. Swallows swoop above, either alone or in pairs animating the scene and announcing natures annual rebirth of Spring.<br />
<br />
The Spring fresco has an opulent use of colours and a lively movement bu the lilies swaying in the wind as well as the swallows at play. Room D2 Complex D.
  • The Spring fresco Minoan Wall painting from Akrotiri, National archaeological Musuem Athens Minoan artefact. 17th-16th cent BC.<br />
<br />
The Minoan 'Spring Fresco' is the only fresco found in situ at Akritiri covering three walls. It depicts the rocky Theran lanscape of Santorini before the volcanic eruption: clusetrs of red lilies with yellow stems dominate the red and grey volcanic rock formations. Swallows swoop above, either alone or in pairs animating the scene and announcing natures annual rebirth of Spring.<br />
<br />
The Spring fresco has an opulent use of colours and a lively movement bu the lilies swaying in the wind as well as the swallows at play. Room D2 Complex D.
  • Minoan 'Boxing Children' fresco Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens artefact. 17th-16th cent BC.<br />
<br />
The 'Boxing Children' fresco depicts two naked boys wearing belts and boxing gloves. Their heads are shaved but for two long locks at the back and two shorter ones on their forehead. Their dark complexion indicated thair gender. The boy on the left is the more reserved of the two and wears jewelry consisting of a necklace and two bracelets, one on his arm and the other around his ankle, which indicated his higher social status. From room B1 of building B.
  • Minoan 'Boxing Children' fresco Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens artefact. 17th-16th cent BC.<br />
<br />
The 'Boxing Children' fresco depicts two naked boys wearing belts and boxing gloves. Their heads are shaved but for two long locks at the back and two shorter ones on their forehead. Their dark complexion indicated thair gender. The boy on the left is the more reserved of the two and wears jewelry consisting of a necklace and two bracelets, one on his arm and the other around his ankle, which indicated his higher social status. From room B1 of building B.
  • Minoan 'Boxing Children' fresco Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens artefact. 17th-16th cent BC.<br />
<br />
The 'Boxing Children' fresco depicts two naked boys wearing belts and boxing gloves. Their heads are shaved but for two long locks at the back and two shorter ones on their forehead. Their dark complexion indicated thair gender. The boy on the left is the more reserved of the two and wears jewelry consisting of a necklace and two bracelets, one on his arm and the other around his ankle, which indicated his higher social status. From room B1 of building B.
  • Minoan 'Boxing Children' fresco Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens artefact. 17th-16th cent BC.<br />
<br />
The 'Boxing Children' fresco depicts two naked boys wearing belts and boxing gloves. Their heads are shaved but for two long locks at the back and two shorter ones on their forehead. Their dark complexion indicated thair gender. The boy on the left is the more reserved of the two and wears jewelry consisting of a necklace and two bracelets, one on his arm and the other around his ankle, which indicated his higher social status. From room B1 of building B.
  • Minoan 'Boxing Children' fresco Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens artefact. 17th-16th cent BC.<br />
<br />
The 'Boxing Children' fresco depicts two naked boys wearing belts and boxing gloves. Their heads are shaved but for two long locks at the back and two shorter ones on their forehead. Their dark complexion indicated thair gender. The boy on the left is the more reserved of the two and wears jewelry consisting of a necklace and two bracelets, one on his arm and the other around his ankle, which indicated his higher social status. From room B1 of building B.
  • Minoan 'Boxing Children' fresco Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens artefact. 17th-16th cent BC.<br />
<br />
The 'Boxing Children' fresco depicts two naked boys wearing belts and boxing gloves. Their heads are shaved but for two long locks at the back and two shorter ones on their forehead. Their dark complexion indicated thair gender. The boy on the left is the more reserved of the two and wears jewelry consisting of a necklace and two bracelets, one on his arm and the other around his ankle, which indicated his higher social status. From room B1 of building B.
  • Minoan 'Boxing Children' fresco Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens artefact. 17th-16th cent BC.<br />
<br />
The 'Boxing Children' fresco depicts two naked boys wearing belts and boxing gloves. Their heads are shaved but for two long locks at the back and two shorter ones on their forehead. Their dark complexion indicated thair gender. The boy on the left is the more reserved of the two and wears jewelry consisting of a necklace and two bracelets, one on his arm and the other around his ankle, which indicated his higher social status. From room B1 of building B.
  • Egyptian painting on stucco of the defied Pharaoh Amenhotep I . 11152-1145BC, Thebes, Grab Nr 359. Neues Reiche Museum, Berlin. Cat No AM2061
  • Egyptian painting on stucco of Pharaoh Amenhotep I. 11152-1145BC, Thebes. Neues Reiche Museum, Berlin. Cat No AM2061
  • Egyptian painting on stucco of Pharaoh Amenhotep I. 11152-1145BC, Thebes. Neues Reiche Museum, Berlin. Cat No AM2061
  • Egyptian painting on stucco of Pharaoh Amenhotep I. 11152-1145BC, Thebes. Neues Reiche Museum, Berlin. Cat No AM2061
  • Egyptian painting on stucco of Pharaoh Amenhotep I. 11152-1145BC, Thebes. Neues Reiche Museum, Berlin. Cat No AM2061
  • Egyptian painting on stucco of the defied queen Ahmose-Nofretari. 11152-1145BC, Thebes, Grab Nr 359. Neues Reiche Museum, Berlin. Cat No AM2060
  • Egyptian painting on stucco of the defied queen Ahmose-Nofretari. 11152-1145BC, Thebes, Grab Nr 359. Neues  Museum, Berlin. Cat No AM2060
  • Egyptian painting on stucco of the defied Pharaoh Amenhotep I . 11152-1145BC, Thebes, Grab Nr 359. Neues Reiche Museum, Berlin. Cat No AM2061
  • Egyptian painting on stucco of the defied Pharaoh Amenhotep I . 11152-1145BC, Thebes, Grab Nr 359. Neues Reiche Museum, Berlin. Cat No AM2061
  • Egyptian painting on stucco of the defied Pharaoh Amenhotep I . 11152-1145BC, Thebes, Grab Nr 359. Neues Reiche Museum, Berlin. Cat No AM2061
  • Egyptian painting on stucco of Pharaoh Amenhotep I. 11152-1145BC, Thebes. Neues Reiche Museum, Berlin. Cat No AM2061
  • Egyptian painting on stucco of the defied queen Ahmose-Nofretari. 11152-1145BC, Thebes, Grab Nr 359. Neues Reiche Museum, Berlin. Cat No AM2060
  • Egyptian painting on stucco of the defied queen Ahmose-Nofretari. 11152-1145BC, Thebes, Grab Nr 359. Neues Reiche Museum, Berlin. Cat No AM2060
  • Egyptian painting on stucco of the defied queen Ahmose-Nofretari. 11152-1145BC, Thebes, Grab Nr 359. Neues Reiche Museum, Berlin. Cat No AM2060
  • Egyptian painting on stucco of the defied queen Ahmose-Nofretari. 11152-1145BC, Thebes, Grab Nr 359. Neues Reiche Museum, Berlin. Cat No AM2060
  • Egyptian painting on stucco of the defied Pharaoh Amenhotep I . 11152-1145BC, Thebes, Grab Nr 359. Neues Reiche Museum, Berlin. Cat No AM2061
  • 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 satyr caressing a maiden a Roman erotic fresco painting from Pompeii 1st cent AD , from the Casa di L Cecilio Giocondo, inv no 110590 , Secret Museum or Secret Cabinet, Naples Archaeological Museum
  • A satyr caressing a maiden a Roman erotic fresco painting from Pompeii 1st cent AD , from the Casa di L Cecilio Giocondo, inv no 110590 , Secret Museum or Secret Cabinet, Naples Archaeological Museum
  • Satyr caressing Hermaphrodite, a Roman erotic fresco painting from Pompeii, 50-79 AD , from the tablium of the Casa di Epidio Sabino, inv no 27875 ,Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • Polyphemus caressing Galatea, a Roman erotic fresco painting from Pompeii, 50-79 AD , from the Casa dei Capitelli colorati, inv no 27687 , Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • Satyr caressing Hermaphrodite, a Roman erotic fresco painting from Pompeii, 50-79 AD , from the tablium of the Casa di Epidio Sabino, inv no 27875 ,Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • 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
  • A Roman erotic fresco painting from Pompeii form the venereum, a room for sexual activities, of Casa di Cecilio Giocondo 50-79 AD  , inv no 10569 , Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • A satyr caressing a maiden a Roman erotic fresco painting from Pompeii 1st cent AD , from the Casa di L Cecilio Giocondo, inv no 110590 , Secret Museum or Secret Cabinet, Naples Archaeological Museum
  • Satyr surprising a maiden, a Roman erotic fresco painting from Pompeii, 50-79 AD , inv no 27693 , Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • Satyr being rejected by Hermaphrodite, a Roman erotic fresco painting from Pompeii, 50-79 AD , inv no 110878 , Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • Pan and  Hermaphrodite, a Roman erotic fresco painting from Pompeii, 50-79 AD , inv no 27700 , Naples National Secret Museum or Secret Cabinet, Archaeological Museum
  • Roman erotic fresco painting of Hermaphrodite from Heraculeum, 1-50 AD , inv no 9224 , Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • Polyphemus caressing Galatea, a Roman erotic fresco painting from Pompeii, 50-79 AD , from the Casa dei Capitelli colorati, inv no 27687 , Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • Mars caressing Venus  a Roman erotic fresco painting from Pompeii 1st cent AD , from the Casa del Meleagro, inv no 9250 , Secret Museum or Secret Cabinet, 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
  • Mars caressing Venus  a Roman erotic fresco painting from Pompeii 1st cent AD , from the Casa del Meleagro, inv no 9250 , Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • Satyr being rejected by Hermaphrodite, a Roman erotic fresco painting from Pompeii, 50-79 AD , inv no 110878 , Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • 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 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
  • Satyr caressing Hermaphrodite, a Roman erotic fresco painting from Pompeii, 50-79 AD , from the tablium of the Casa di Epidio Sabino, inv no 27875 ,Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • The 'figure of eight shield'  Mycenaean fresco wall painting, Mycenae, Greece Cat No 11672. National Archaeological Museum, Athens. <br />
<br />
The Mycenaean 'figure of eight shield' were originaly made of cows hide and was the symbol of a goddess of war.
  • The 'figure of eight shield'  Mycenaean fresco wall painting, Mycenae, Greece Cat No 11672. National Archaeological Museum, Athens.  Black Background<br />
<br />
The Mycenaean 'figure of eight shield' were originaly made of cows hide and was the symbol of a goddess of war.
  • The 'figure of eight shield'  Mycenaean fresco wall painting, Mycenae Acropolis, Greece Cat No 11671. National Archaeological Museum, Athens. Grey art Background <br />
<br />
12th-14th cent BC.<br />
<br />
The Mycenaean 'figure of eight shield' were originaly made of cows hide and was the symbol of a goddess of war.
  • The 'figure of eight shield'  Mycenaean fresco wall painting, Mycenae Acropolis, Greece Cat No 11671. National Archaeological Museum, Athens.<br />
<br />
12th-14th cent BC.<br />
<br />
The Mycenaean 'figure of eight shield' were originaly made of cows hide and was the symbol of a goddess of war.
  • Mycenaean fresco wall painting of a marine scape. National Archaeological Museum Athens. Cat No 5844. Grey Background<br />
<br />
The Mycenaean fresco fragments depict a marine scape with flying fish diving and swimming with sponges attached to rocks.
  • Mycenaean fresco wall painting of a marine scape. National Archaeological Museum Athens. Cat No 5844. Black Background<br />
<br />
The Mycenaean fresco fragments depict a marine scape with flying fish diving and swimming with sponges attached to rocks.
  • Mycenaean fresco wall painting of a marine scape. National Archaeological Museum Athens. Cat No 5844.<br />
<br />
The Mycenaean fresco fragments depict a marine scape with flying fish diving and swimming with sponges attached to rocks.
  • Mycenaean fresco wall painting of a marine scape. National Archaeological Museum Athens. Cat No 5844. Grey art Background <br />
<br />
The Mycenaean fresco fragments depict a marine scape with flying fish diving and swimming with sponges attached to rocks.
  • Mycenaean fresco wall painting of three women, Ramp House, Mycenae Acropolis, Greece Cat No 1015. National Archaeological Museum, Athens. Grey art Background <br />
<br />
This 14th Cent BC Mycenaean fresco fragment depicts three women looking out of a window. The scene is festive and the veneration gestures of the women suggest that they are watching a religiuos procession through the window.
  • Mycenaean fresco wall painting of hunting demons, Mycenae Acropolis, Greece Cat No 2665. National Archaeological Museum, Athens. Black Background<br />
<br />
The Mycenaean fresco fragment depicts three animal demons with donkey heads holding a wooden pole over their shoulders from which hangs the prey thay have been hunting. This type of demon originated in Egypt.
  • Mycenaean Fresco wall painting of a Mycanaean Women bearing offerings, Later Palace,  Tiryns, Greece.  Athens Archaeological Museum. White Background.<br />
<br />
14th  Cent BC. Cat No 15883. The Mycenaean fresco fragments depict a women in a procession bearing offerings for a deity. Their facial characteristic and elaborate hairstyles and rich garments are clearly visible.
  • Mycenaean Fresco wall painting of a Mycanaean Women bearing offerings, Later Palace,  Tiryns, Greece.  Athens Archaeological Museum. Grey Background<br />
<br />
14th  Cent BC. Cat No 15883. The Mycenaean fresco fragments depict a women in a procession bearing offerings for a deity. Their facial characteristic and elaborate hairstyles and rich garments are clearly visible.
  • Mycenaean Fresco wall painting of a Mycanaean Women bearing offerings, Later Palace,  Tiryns, Greece.  Athens Archaeological Museum. Grey art Background <br />
<br />
14th  Cent BC. Cat No 15883. The Mycenaean fresco fragments depict a women in a procession bearing offerings for a deity. Their facial characteristic and elaborate hairstyles and rich garments are clearly visible.
  • Mycenaean Fresco wall painting of a Mycanaean Women bearing offerings, Later Palace,  Tiryns, Greece.  Athens Archaeological Museum.<br />
<br />
14th  Cent BC. Cat No 15883. The Mycenaean fresco fragments depict a women in a procession bearing offerings for a deity. Their facial characteristic and elaborate hairstyles and rich garments are clearly visible.
  • Mycenaean Fresco wall painting of a Mycanaean Women bearing offerings, Later Palace,  Tiryns, Greece.  Athens Archaeological Museum. Black Background<br />
<br />
14th  Cent BC. Cat No 15883. The Mycenaean fresco fragments depict a women in a procession bearing offerings for a deity. Their facial characteristic and elaborate hairstyles and rich garments are clearly visible.
  • Mycenaean Fresco wall painting of a Mycanaean Women bearing offerings, Later Palace,  Tiryns, Greece.  Athens Archaeological Museum. Grey Background<br />
<br />
14th  Cent BC. Cat No 15883. The Mycenaean fresco fragments depict a women in a procession bearing offerings for a deity. Their facial characteristic and elaborate hairstyles and rich garments are clearly visible.
  • Mycenaean Fresco wall painting of a Mycanaean Women bearing offerings, Later Palace,  Tiryns, Greece.  Athens Archaeological Museum. Grey art Background <br />
<br />
14th  Cent BC. Cat No 15883. The Mycenaean fresco fragments depict a women in a procession bearing offerings for a deity. Their facial characteristic and elaborate hairstyles and rich garments are clearly visible.
  • Mycenaean Fresco wall painting of a Mycanaean chariot, Later Palace,  Tiryns, Greece.  Athens Archaeological Museum. Black Background<br />
<br />
14th  Cent BC. Cat No 5879. Mycanaean chariots were use for hunting as well as battle.
  • Mycenaean Fresco wall painting of a Mycanaean chariot, Later Palace,  Tiryns, Greece.  Athens Archaeological Museum.<br />
<br />
14th  Cent BC. Cat No 5879. Mycanaean chariots were use for hunting as well as battle.
  • Mycenaean Fresco wall painting of a Mycanaean footman leading a horse & hunting dog,  Tiryns, Greece. 14th - 13th Century BC. Athens Archaeological Museum. Cat No 5878.  Black Background
  • Mycenaean Fresco wall painting of a Mycanaean footman leading a horse & hunting dog,  Tiryns, Greece. 14th - 13th Century BC. Athens Archaeological Museum. Cat No 5878.  Grey art Background
  • Mycenaean Fresco wall painting of a Wild Boar Hunt from the Tiryns, Greece. 14th - 13th Century BC. Athens Archaeological Museum. Black Background
  • Mycenaean Fresco wall painting of a Wild Boar Hunt from the Tiryns, Greece. 14th - 13th Century BC. Athens Archaeological Museum. Grey art Background
  • Mycenaean Fresco wall painting of a Wild Boar Hunt from the Tiryns, Greece. 14th - 13th Century BC. Athens Archaeological Museum. Grey Background
  • Mycenaean Fresco wall painting of a Wild Boar Hunt from the Tiryns, Greece. 14th - 13th Century BC. Athens Archaeological Museum. Grey Background
  • Mycenaean Fresco wall painting of a Wild Boar Hunt from the Tiryns, Greece. 14th - 13th Century BC. Athens Archaeological Museum. Grey Background
  • Mycenaean Fresco wall painting of a Wild Boar Hunt from the Tiryns, Greece. 14th - 13th Century BC. Athens Archaeological Museum. Grey art Background
  • The 'Mycenaean Lady' fresco wall painting depicting a women in a procession, Mycenae, Greece Cat No 11670. National Archaeological Museum, Athens. White Background.<br />
<br />
The 'Mycenaean Lady' fresco depicts a women with a serious and pensive expression of a goddess in a solemn moment during which she accepts a gift of a necklace which she hold tightly in her right hand. she wears a short sleeved bodice over a sheer blouse which deliniates her bosom. She has an  intricate hairstyle and wears rich jewellery.
  • The 'Mycenaean Lady' fresco wall painting depicting a women in a procession, Mycenae, Greece Cat No 11670. National Archaeological Museum, Athens. Grey art Background <br />
<br />
The 'Mycenaean Lady' fresco depicts a women with a serious and pensive expression of a goddess in a solemn moment during which she accepts a gift of a necklace which she hold tightly in her right hand. she wears a short sleeved bodice over a sheer blouse which deliniates her bosom. She has an  intricate hairstyle and wears rich jewellery.
  • The 'Mycenaean Lady' fresco wall painting depicting a women in a procession, Mycenae, Greece Cat No 11670. National Archaeological Museum, Athens. White Background.<br />
<br />
The 'Mycenaean Lady' fresco depicts a women with a serious and pensive expression of a goddess in a solemn moment during which she accepts a gift of a necklace which she hold tightly in her right hand. she wears a short sleeved bodice over a sheer blouse which deliniates her bosom. She has an  intricate hairstyle and wears rich jewellery.
  • Mycenaean fresco wall painting of a women in a procession, Mycenae, Greece Cat No 11651. National Archaeological Museum, Athens. White Background.<br />
<br />
The Mycenaean fresco fragment depicts a women in a procession. Her head is in profile and her body is depicted frontally. She holds a lily as a gift to a goddess.
  • Mycenaean fresco wall painting of a women in a procession, Mycenae, Greece Cat No 11651. National Archaeological Museum, Athens. Black Background<br />
<br />
The Mycenaean fresco fragment depicts a women in a procession. Her head is in profile and her body is depicted frontally. She holds a lily as a gift to a goddess.
  • Mycenaean fresco wall painting of a women in a procession, Mycenae, Greece Cat No 11651. National Archaeological Museum, Athens. Grey Background<br />
<br />
The Mycenaean fresco fragment depicts a women in a procession. Her head is in profile and her body is depicted frontally. She holds a lily as a gift to a goddess.
  • Mycenaean fresco wall painting of a women in a procession, Mycenae, Greece Cat No 11651. National Archaeological Museum, Athens.<br />
<br />
The Mycenaean fresco fragment depicts a women in a procession. Her head is in profile and her body is depicted frontally. She holds a lily as a gift to a goddess.
  • The 'figure of eight shield'  Mycenaean fresco wall painting, Mycenae, Greece Cat No 11672. National Archaeological Museum, Athens. <br />
<br />
The Mycenaean 'figure of eight shield' were originaly made of cows hide and was the symbol of a goddess of war.
  • The 'figure of eight shield'  Mycenaean fresco wall painting, Mycenae, Greece Cat No 11672. National Archaeological Museum, Athens.  White Background.<br />
<br />
The Mycenaean 'figure of eight shield' were originaly made of cows hide and was the symbol of a goddess of war.
  • The 'figure of eight shield'  Mycenaean fresco wall painting, Mycenae, Greece Cat No 11672. National Archaeological Museum, Athens.  Black Background<br />
<br />
The Mycenaean 'figure of eight shield' were originaly made of cows hide and was the symbol of a goddess of war.
  • The 'figure of eight shield'  Mycenaean fresco wall painting, Mycenae, Greece Cat No 11672. National Archaeological Museum, Athens. <br />
<br />
The Mycenaean 'figure of eight shield' were originaly made of cows hide and was the symbol of a goddess of war.
  • The 'figure of eight shield'  Mycenaean fresco wall painting, Mycenae, Greece Cat No 11672. National Archaeological Museum, Athens.  Grey art Background <br />
<br />
The Mycenaean 'figure of eight shield' were originaly made of cows hide and was the symbol of a goddess of war.
  • The 'figure of eight shield'  Mycenaean fresco wall painting, Mycenae Acropolis, Greece Cat No 11671. National Archaeological Museum, Athens. White Background.<br />
<br />
12th-14th cent BC.<br />
<br />
The Mycenaean 'figure of eight shield' were originaly made of cows hide and was the symbol of a goddess of war.
  • The 'figure of eight shield'  Mycenaean fresco wall painting, Mycenae Acropolis, Greece Cat No 11671. National Archaeological Museum, Athens.<br />
<br />
12th-14th cent BC.<br />
<br />
The Mycenaean 'figure of eight shield' were originaly made of cows hide and was the symbol of a goddess of war.
  • The 'figure of eight shield'  Mycenaean fresco wall painting, Mycenae Acropolis, Greece Cat No 11671. National Archaeological Museum, Athens. Black Background<br />
<br />
12th-14th cent BC.<br />
<br />
The Mycenaean 'figure of eight shield' were originaly made of cows hide and was the symbol of a goddess of war.
  • The 'figure of eight shield'  Mycenaean fresco wall painting, Mycenae Acropolis, Greece Cat No 11671. National Archaeological Museum, Athens. Grey Background<br />
<br />
12th-14th cent BC.<br />
<br />
The Mycenaean 'figure of eight shield' were originaly made of cows hide and was the symbol of a goddess of war.
  • The 'figure of eight shield'  Mycenaean fresco wall painting, Mycenae Acropolis, Greece Cat No 11671. National Archaeological Museum, Athens.<br />
<br />
12th-14th cent BC.<br />
<br />
The Mycenaean 'figure of eight shield' were originaly made of cows hide and was the symbol of a goddess of war.
  • Mycenaean fresco wall painting of three women, Ramp House, Mycenae Acropolis, Greece Cat No 1015. National Archaeological Museum, Athens. White Background.<br />
<br />
This 14th Cent BC Mycenaean fresco fragment depicts three women looking out of a window. The scene is festive and the veneration gestures of the women suggest that they are watching a religiuos procession through the window.
  • Mycenaean fresco wall painting of three women, Ramp House, Mycenae Acropolis, Greece Cat No 1015. National Archaeological Museum, Athens. Black Background<br />
<br />
This 14th Cent BC Mycenaean fresco fragment depicts three women looking out of a window. The scene is festive and the veneration gestures of the women suggest that they are watching a religiuos procession through the window.
  • Mycenaean fresco wall painting of three women, Ramp House, Mycenae Acropolis, Greece Cat No 1015. National Archaeological Museum, Athens.<br />
<br />
This 14th Cent BC Mycenaean fresco fragment depicts three women looking out of a window. The scene is festive and the veneration gestures of the women suggest that they are watching a religiuos procession through the window.
  • Mycenaean fresco wall painting of hunting demons, Mycenae Acropolis, Greece Cat No 2665. National Archaeological Museum, Athens. White Background.<br />
<br />
The Mycenaean fresco fragment depicts three animal demons with donkey heads holding a wooden pole over their shoulders from which hangs the prey thay have been hunting. This type of demon originated in Egypt.
  • Mycenaean fresco wall painting of hunting demons, Mycenae Acropolis, Greece Cat No 2665. National Archaeological Museum, Athens.<br />
<br />
The Mycenaean fresco fragment depicts three animal demons with donkey heads holding a wooden pole over their shoulders from which hangs the prey thay have been hunting. This type of demon originated in Egypt.
  • Mycenaean fresco wall painting of hunting demons, Mycenae Acropolis, Greece Cat No 2665. National Archaeological Museum, Athens. Grey Background<br />
<br />
The Mycenaean fresco fragment depicts three animal demons with donkey heads holding a wooden pole over their shoulders from which hangs the prey thay have been hunting. This type of demon originated in Egypt.
  • Mycenaean fresco wall painting of hunting demons, Mycenae Acropolis, Greece Cat No 2665. National Archaeological Museum, Athens. Grey art Background <br />
<br />
The Mycenaean fresco fragment depicts three animal demons with donkey heads holding a wooden pole over their shoulders from which hangs the prey thay have been hunting. This type of demon originated in Egypt.
  • Mycenaean Fresco wall painting of a Mycanaean Women bearing offerings, Later Palace,  Tiryns, Greece.  Athens Archaeological Museum. Black Background<br />
<br />
14th  Cent BC. Cat No 15883. The Mycenaean fresco fragments depict a women in a procession bearing offerings for a deity. Their facial characteristic and elaborate hairstyles and rich garments are clearly visible.
  • Mycenaean Fresco wall painting of a Mycanaean Women bearing offerings, Later Palace,  Tiryns, Greece.  Athens Archaeological Museum.<br />
<br />
14th  Cent BC. Cat No 15883. The Mycenaean fresco fragments depict a women in a procession bearing offerings for a deity. Their facial characteristic and elaborate hairstyles and rich garments are clearly visible.
  • Mycenaean Fresco wall painting of a Mycanaean Women bearing offerings, Later Palace,  Tiryns, Greece.  Athens Archaeological Museum.<br />
<br />
14th  Cent BC. Cat No 15883. The Mycenaean fresco fragments depict a women in a procession bearing offerings for a deity. Their facial characteristic and elaborate hairstyles and rich garments are clearly visible.
  • Mycenaean Fresco wall painting of a Mycanaean chariot, Later Palace,  Tiryns, Greece.  Athens Archaeological Museum. White Background.<br />
<br />
14th  Cent BC. Cat No 5879. Mycanaean chariots were use for hunting as well as battle.
  • Mycenaean Fresco wall painting of a Mycanaean chariot, Later Palace,  Tiryns, Greece.  Athens Archaeological Museum. Grey Background<br />
<br />
14th  Cent BC. Cat No 5879. Mycanaean chariots were use for hunting as well as battle.
  • Mycenaean Fresco wall painting of a Mycanaean chariot, Later Palace,  Tiryns, Greece.  Athens Archaeological Museum. Grey art Background <br />
<br />
14th  Cent BC. Cat No 5879. Mycanaean chariots were use for hunting as well as battle.
  • Mycenaean Fresco wall painting of a Mycanaean acrobat leaping over a bull, Early Palace,  Tiryns, Greece.  Athens Archaeological Museum. Black Background<br />
<br />
14th  Cent BC.. Cat No 1595. The Mycenaean Fresco depicts an acrobat leaping over a charging bull whilst holding onto its horns. This ritual symbolised the struggle of domination of man over wild nature.
  • Mycenaean Fresco wall painting of a Mycanaean acrobat leaping over a bull, Early Palace,  Tiryns, Greece.  Athens Archaeological Museum. White Background.<br />
<br />
14th  Cent BC.. Cat No 1595. The Mycenaean Fresco depicts an acrobat leaping over a charging bull whilst holding onto its horns. This ritual symbolised the struggle of domination of man over wild nature.
  • Mycenaean Fresco wall painting of a Mycanaean acrobat leaping over a bull, Early Palace,  Tiryns, Greece.  Athens Archaeological Museum. Grey Background<br />
<br />
14th  Cent BC.. Cat No 1595. The Mycenaean Fresco depicts an acrobat leaping over a charging bull whilst holding onto its horns. This ritual symbolised the struggle of domination of man over wild nature.
  • Mycenaean Fresco wall painting of a Mycanaean acrobat leaping over a bull, Early Palace,  Tiryns, Greece.  Athens Archaeological Museum. Grey art Background <br />
<br />
14th  Cent BC.. Cat No 1595. The Mycenaean Fresco depicts an acrobat leaping over a charging bull whilst holding onto its horns. This ritual symbolised the struggle of domination of man over wild nature.
  • Mycenaean Fresco wall painting of a Mycanaean acrobat leaping over a bull, Early Palace,  Tiryns, Greece.  Athens Archaeological Museum.<br />
<br />
14th  Cent BC.. Cat No 1595. The Mycenaean Fresco depicts an acrobat leaping over a charging bull whilst holding onto its horns. This ritual symbolised the struggle of domination of man over wild nature.
  • Mycenaean Fresco wall painting of a Mycanaean footman leading a horse & hunting dog,  Tiryns, Greece. 14th - 13th Century BC. Athens Archaeological Museum. Cat No 5878.  White Background.
  • Mycenaean Fresco wall painting of a Mycanaean footman leading a horse & hunting dog,  Tiryns, Greece. 14th - 13th Century BC. Athens Archaeological Museum. Cat No 5878.  Grey Background
  • Mycenaean Fresco wall painting of a Mycanaean footman leading a horse & hunting dog,  Tiryns, Greece. 14th - 13th Century BC. Athens Archaeological Museum. Cat No 5878
  • Mycenaean Fresco wall painting of a Mycanaean footman leading a horse & hunting dog,  Tiryns, Greece. 14th - 13th Century BC. Athens Archaeological Museum. Cat No 5878
  • Mycenaean Fresco wall painting of a Wild Boar Hunt from the Tiryns, Greece. 14th - 13th Century BC. Athens Archaeological Museum. White Background.
  • Mycenaean Fresco wall painting of a Wild Boar Hunt from the Tiryns, Greece. 14th - 13th Century BC. Athens Archaeological Museum. Grey Background
  • Mycenaean Fresco wall painting of a Wild Boar Hunt from the Tiryns, Greece. 14th - 13th Century BC. Athens Archaeological Museum.
  • Mycenaean Fresco wall painting of a Wild Boar Hunt from the Tiryns, Greece. 14th - 13th Century BC. Athens Archaeological Museum. White Background.
  • Mycenaean Fresco wall painting of a Wild Boar Hunt from the Tiryns, Greece. 14th - 13th Century BC. Athens Archaeological Museum.<br />
 Black Background
  • Mycenaean Fresco wall painting of a Wild Boar Hunt from the Tiryns, Greece. 14th - 13th Century BC. Athens Archaeological Museum.
  • Mycenaean Fresco wall painting of a Wild Boar Hunt from the Tiryns, Greece. 14th - 13th Century BC. Athens Archaeological Museum.
  • The 'Mycenaean Lady' fresco wall painting depicting a women in a procession, Mycenae, Greece Cat No 11670. National Archaeological Museum, Athens. Grey Background<br />
<br />
The 'Mycenaean Lady' fresco depicts a women with a serious and pensive expression of a goddess in a solemn moment during which she accepts a gift of a necklace which she hold tightly in her right hand. she wears a short sleeved bodice over a sheer blouse which deliniates her bosom. She has an  intricate hairstyle and wears rich jewellery.
  • The 'Mycenaean Lady' fresco wall painting depicting a women in a procession, Mycenae, Greece Cat No 11670. National Archaeological Museum, Athens. Black Background<br />
<br />
The 'Mycenaean Lady' fresco depicts a women with a serious and pensive expression of a goddess in a solemn moment during which she accepts a gift of a necklace which she hold tightly in her right hand. she wears a short sleeved bodice over a sheer blouse which deliniates her bosom. She has an  intricate hairstyle and wears rich jewellery.
  • The 'Mycenaean Lady' fresco wall painting depicting a women in a procession, Mycenae, Greece Cat No 11670. National Archaeological Museum, Athens.<br />
<br />
The 'Mycenaean Lady' fresco depicts a women with a serious and pensive expression of a goddess in a solemn moment during which she accepts a gift of a necklace which she hold tightly in her right hand. she wears a short sleeved bodice over a sheer blouse which deliniates her bosom. She has an  intricate hairstyle and wears rich jewellery.
  • The 'Mycenaean Lady' fresco wall painting depicting a women in a procession, Mycenae, Greece Cat No 11670. National Archaeological Museum, Athens.<br />
<br />
The 'Mycenaean Lady' fresco depicts a women with a serious and pensive expression of a goddess in a solemn moment during which she accepts a gift of a necklace which she hold tightly in her right hand. she wears a short sleeved bodice over a sheer blouse which deliniates her bosom. She has an  intricate hairstyle and wears rich jewellery.
  • Mycenaean fresco wall painting of a women in a procession, Mycenae, Greece Cat No 11651. National Archaeological Museum, Athens.<br />
<br />
The Mycenaean fresco fragment depicts a women in a procession. Her head is in profile and her body is depicted frontally. She holds a lily as a gift to a goddess.
  • Mycenaean fresco wall painting of a women in a procession, Mycenae, Greece Cat No 11651. National Archaeological Museum, Athens. Grey art Background <br />
<br />
The Mycenaean fresco fragment depicts a women in a procession. Her head is in profile and her body is depicted frontally. She holds a lily as a gift to a goddess.
  • A Roman erotic fresco painting from Pompeii depicting Pan and  Hermaphrodite,  Naples National Archaeological, 50-79 AD , inv no 27700 , Naples National Secret Museum or Secret Cabinet,
  • A Roman erotic fresco painting from Pompeii,  Naples National Archaeological, 1st cent AD ,  Secret Museum or Secret Cabinet,
  • A Roman erotic fresco painting from Pompeii,  Naples National Archaeological, 1st cent AD ,  Secret Museum or Secret Cabinet,
  • A Roman erotic fresco painting from Pompeii depicting satyr caressing a maiden,  Naples National Archaeological, 1st cent AD , from the Casa di L Cecilio Giocondo, inv no 110590 , Secret Museum or Secret Cabinet,
  • A Roman erotic fresco painting from Pompeii depicting satyr caressing a maiden,  Naples National Archaeological, 1st cent AD , from the Casa di L Cecilio Giocondo, inv no 110590 , Secret Museum or Secret Cabinet,
  • A Roman erotic fresco painting from Pompeii depicting Satyr caressing Hermaphrodite,  Naples National Archaeological  from the tablium of the Casa di Epidio Sabino, inv no 27875 , Secret Museum or Secret Cabinet,
  • A Roman erotic fresco painting from Pompeii,  Naples National Archaeological Museum , form the venereum, a room for sexual activities, of Casa di Cecilio Giocondo 50-79 AD  , inv no 10569 , Secret Museum or Secret Cabinet,
  • 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 ,
  • Christ Pantocrator  Wooden Panel from the Church of St. Martin de Tost, Circa 1220<br />
<br />
Tempera with stucco metallic leaf reliefs and on a wood panel.<br />
Church of St. Martin de Tost. Robera of Urgellet, Alt Urgell, Spain<br />
<br />
National Art Museum of Catalonia, Barcelona. Ref: 3905 MNAC<br />
<br />
The wood panel comes from altar of St. Martin de Tost and shows Christ Pantocrator surrounded by the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The Tost panel is typical of the Catalan Romanesque painting.
  • Christ Pantocrator  Wooden Panel from the Church of St. Martin de Tost, Circa 1220<br />
<br />
Tempera with stucco metallic leaf reliefs and on a wood panel.<br />
Church of St. Martin de Tost. Robera of Urgellet, Alt Urgell, Spain<br />
<br />
National Art Museum of Catalonia, Barcelona. Ref: 3905 MNAC<br />
<br />
The wood panel comes from altar of St. Martin de Tost and shows Christ Pantocrator surrounded by the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The Tost panel is typical of the Catalan Romanesque painting.
  • Christ Pantocrator  Wooden Panel from the Church of St. Martin de Tost, Circa 1220<br />
<br />
Tempera with stucco metallic leaf reliefs and on a wood panel.<br />
Church of St. Martin de Tost. Robera of Urgellet, Alt Urgell, Spain<br />
<br />
National Art Museum of Catalonia, Barcelona. Ref: 3905 MNAC<br />
<br />
The wood panel comes from altar of St. Martin de Tost and shows Christ Pantocrator surrounded by the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The Tost panel is typical of the Catalan Romanesque painting.
  • A Roman erotic fresco painting from Pompeii depicting Pan and  Hermaphrodite,  Naples National Archaeological, 50-79 AD , inv no 27700 , Naples National Secret Museum or Secret Cabinet,
  • A Roman erotic fresco painting from Pompeii depicting satyr caressing a maiden,  Naples National Archaeological, 1st cent AD , from the Casa di L Cecilio Giocondo, inv no 110590 , Secret Museum or Secret Cabinet,
  • A Roman erotic fresco painting from Pompeii depicting Satyr caressing Hermaphrodite,  Naples National Archaeological  from the tablium of the Casa di Epidio Sabino, inv no 27875 , Secret Museum or Secret Cabinet,
  • A Roman erotic fresco painting from Pompeii depicting Satyr caressing Hermaphrodite,  Naples National Archaeological  from the tablium of the Casa di Epidio Sabino, inv no 27875 , Secret Museum or Secret Cabinet,
  • A Roman erotic fresco painting from Pompeii,  Naples National Archaeological Museum , form the venereum, a room for sexual activities, of Casa di Cecilio Giocondo 50-79 AD  , inv no 10569 , Secret Museum or Secret Cabinet,
  • A Roman erotic fresco painting from Pompeii,  Naples National Archaeological Museum , form the venereum, a room for sexual activities, of Casa di Cecilio Giocondo 50-79 AD  , inv no 10569 , Secret Museum or Secret Cabinet,
  • A Roman erotic fresco painting from Pompeii,  Naples National Archaeological Museum , form the venereum, a room for sexual activities, of Casa di Cecilio Giocondo 50-79 AD  , inv no 10569 , Secret Museum or Secret Cabinet,
  • A Roman erotic fresco painting from Pompeii,  Naples National Archaeological Museum , form the venereum, a room for sexual activities, of Casa di Cecilio Giocondo 50-79 AD  , inv no 10569 , Secret Museum or Secret Cabinet,
  • A Roman erotic fresco painting from Pompeii,  Naples National Archaeological Museum , form the venereum, a room for sexual activities, of Casa di Cecilio Giocondo 50-79 AD  , inv no 10569 , Secret Museum or Secret Cabinet,
  • Christ Pantocrator  Wooden Panel from the Church of St. Martin de Tost, Circa 1220<br />
<br />
Tempera with stucco metallic leaf reliefs and on a wood panel.<br />
Church of St. Martin de Tost. Robera of Urgellet, Alt Urgell, Spain<br />
<br />
National Art Museum of Catalonia, Barcelona. Ref: 3905 MNAC<br />
<br />
The wood panel comes from altar of St. Martin de Tost and shows Christ Pantocrator surrounded by the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The Tost panel is typical of the Catalan Romanesque painting.
  • Christ Pantocrator  Wooden Panel from the Church of St. Martin de Tost, Circa 1220<br />
<br />
Tempera with stucco metallic leaf reliefs and on a wood panel.<br />
Church of St. Martin de Tost. Robera of Urgellet, Alt Urgell, Spain<br />
<br />
National Art Museum of Catalonia, Barcelona. Ref: 3905 MNAC<br />
<br />
The wood panel comes from altar of St. Martin de Tost and shows Christ Pantocrator surrounded by the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The Tost panel is typical of the Catalan Romanesque painting.
  • Christ Pantocrator  Wooden Panel from the Church of St. Martin de Tost, Circa 1220<br />
<br />
Tempera with stucco metallic leaf reliefs and on a wood panel.<br />
Church of St. Martin de Tost. Robera of Urgellet, Alt Urgell, Spain<br />
<br />
National Art Museum of Catalonia, Barcelona. Ref: 3905 MNAC<br />
<br />
The wood panel comes from altar of St. Martin de Tost and shows Christ Pantocrator surrounded by the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The Tost panel is typical of the Catalan Romanesque painting.
  • Christ Pantocrator  Wooden Panel from the Church of St. Martin de Tost, Circa 1220<br />
<br />
Tempera with stucco metallic leaf reliefs and on a wood panel.<br />
Church of St. Martin de Tost. Robera of Urgellet, Alt Urgell, Spain<br />
<br />
National Art Museum of Catalonia, Barcelona. Ref: 3905 MNAC<br />
<br />
The wood panel comes from altar of St. Martin de Tost and shows Christ Pantocrator surrounded by the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The Tost panel is typical of the Catalan Romanesque painting.
  • Minoan Fresco wall painting of " Boxing Youths"  from Minoan Bronze Age settlement  of Akrotiri on the Greek island of Thira, Santorini, Greece. . Athens Archaeological Museum.
  • Christ Pantocrator  Wooden Panel from the Church of St. Martin de Tost, Circa 1220<br />
<br />
Tempera with stucco metallic leaf reliefs and on a wood panel.<br />
Church of St. Martin de Tost. Robera of Urgellet, Alt Urgell, Spain<br />
<br />
National Art Museum of Catalonia, Barcelona. Ref: 3905 MNAC<br />
<br />
The wood panel comes from altar of St. Martin de Tost and shows Christ Pantocrator surrounded by the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The Tost panel is typical of the Catalan Romanesque painting.
  • Egyptian Roman mummy portrait or Fayum mummy portrait painted panel of a man, Roman Period, 1st to 3rd cent AD, Egypt. Egyptian Museum, Turin. Black background,<br />
<br />
Mummy portraits or Fayum mummy portraits (also Faiyum mummy portraits) are a type of naturalistic painted portrait on wooden boards attached to Upper class mummies from Roman Egypt. They belong to the tradition of panel painting, one of the most highly regarded forms of art in the Classical world. he portraits covered the faces of bodies that were mummified for burial. Extant examples indicate that they were mounted into the bands of cloth that were used to wrap the bodies.
  • Egyptian Roman mummy portrait or Fayum mummy portrait painted panel of a man, Roman Period, 1st to 3rd cent AD, Egypt. Egyptian Museum, Turin. Grey background;<br />
<br />
Mummy portraits or Fayum mummy portraits (also Faiyum mummy portraits) are a type of naturalistic painted portrait on wooden boards attached to Upper class mummies from Roman Egypt. They belong to the tradition of panel painting, one of the most highly regarded forms of art in the Classical world. he portraits covered the faces of bodies that were mummified for burial. Extant examples indicate that they were mounted into the bands of cloth that were used to wrap the bodies.
  • Egyptian Roman mummy portrait or Fayum mummy portrait painted panel of a man, Roman Period, 1st to 3rd cent AD, Egypt. Egyptian Museum, Turin. <br />
<br />
Mummy portraits or Fayum mummy portraits (also Faiyum mummy portraits) are a type of naturalistic painted portrait on wooden boards attached to Upper class mummies from Roman Egypt. They belong to the tradition of panel painting, one of the most highly regarded forms of art in the Classical world. he portraits covered the faces of bodies that were mummified for burial. Extant examples indicate that they were mounted into the bands of cloth that were used to wrap the bodies.
  • Egyptian Roman mummy portrait or Fayum mummy portrait painted panel of a man, Roman Period, 1st to 3rd cent AD, Egypt. Egyptian Museum, Turin. Black background,<br />
<br />
Mummy portraits or Fayum mummy portraits (also Faiyum mummy portraits) are a type of naturalistic painted portrait on wooden boards attached to Upper class mummies from Roman Egypt. They belong to the tradition of panel painting, one of the most highly regarded forms of art in the Classical world. he portraits covered the faces of bodies that were mummified for burial. Extant examples indicate that they were mounted into the bands of cloth that were used to wrap the bodies.
  • Egyptian Roman mummy portrait or Fayum mummy portrait painted panel of a man, Roman Period, 1st to 3rd cent AD, Egypt. Egyptian Museum, Turin. White background.<br />
<br />
Mummy portraits or Fayum mummy portraits (also Faiyum mummy portraits) are a type of naturalistic painted portrait on wooden boards attached to Upper class mummies from Roman Egypt. They belong to the tradition of panel painting, one of the most highly regarded forms of art in the Classical world. he portraits covered the faces of bodies that were mummified for burial. Extant examples indicate that they were mounted into the bands of cloth that were used to wrap the bodies.
  • Egyptian Roman mummy portrait or Fayum mummy portrait painted panel of a man, Roman Period, 1st to 3rd cent AD, Egypt. Egyptian Museum, Turin. Grey background;<br />
<br />
Mummy portraits or Fayum mummy portraits (also Faiyum mummy portraits) are a type of naturalistic painted portrait on wooden boards attached to Upper class mummies from Roman Egypt. They belong to the tradition of panel painting, one of the most highly regarded forms of art in the Classical world. he portraits covered the faces of bodies that were mummified for burial. Extant examples indicate that they were mounted into the bands of cloth that were used to wrap the bodies.
  • Egyptian Roman mummy portrait or Fayum mummy portrait painted panel of a man, Roman Period, 1st to 3rd cent AD, Egypt. Egyptian Museum, Turin. Black background,<br />
<br />
Mummy portraits or Fayum mummy portraits (also Faiyum mummy portraits) are a type of naturalistic painted portrait on wooden boards attached to Upper class mummies from Roman Egypt. They belong to the tradition of panel painting, one of the most highly regarded forms of art in the Classical world. he portraits covered the faces of bodies that were mummified for burial. Extant examples indicate that they were mounted into the bands of cloth that were used to wrap the bodies.
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being taken dwon fron the Cross and laid in a tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being taken dwon fron the Cross and laid in a tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped and carrying the cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being removed from the Cross. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this one shows Christ carrying the Cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, the whipping on the Road to Calvary, Crucifixion, Descent and Mourning of the Dead Body of Christ and the Mary discovering the empty tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, the whipping on the Road to Calvary, Crucifixion, Descent and Mourning of the Dead Body of Christ and the Mary discovering the empty tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being taken dwon fron the Cross and laid in a tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped and carrying the cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Trail and Arrest of St. Catherine<br />
<br />
Between 1241-1255<br />
Mixed Technica transferred to canvas<br />
It comes from the old chapel of St. Catherine's cathedral La Seu d'Urgell, Spain, Spain.<br />
<br />
Acquisition of the Museum Board 2008 campaign. MNAC 214241<br />
<br />
Thirteenth century Romanesque painted altar front of the Arrest of St. Catherine who was a patron of the Dominican Order and a model popular saint of the medieval times. The painting style sits  between Romanesque and Gothic.
  • Trail and Arrest of St. Catherine<br />
<br />
Between 1241-1255<br />
Mixed Technica transferred to canvas<br />
It comes from the old chapel of St. Catherine's cathedral La Seu d'Urgell, Spain, Spain.<br />
<br />
Acquisition of the Museum Board 2008 campaign. MNAC 214241<br />
<br />
Thirteenth century Romanesque painted altar front of the Arrest of St. Catherine who was a patron of the Dominican Order and a model popular saint of the medieval times. The painting style sits  between Romanesque and Gothic.
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being removed from the Cross. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this one shows Christ carrying the Cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, the whipping on the Road to Calvary, Crucifixion, Descent and Mourning of the Dead Body of Christ and the Mary discovering the empty tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being taken dwon fron the Cross and laid in a tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being taken dwon fron the Cross and laid in a tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being taken dwon fron the Cross and laid in a tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped and carrying the cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Trail and Arrest of St. Catherine<br />
<br />
Between 1241-1255<br />
Mixed Technica transferred to canvas<br />
It comes from the old chapel of St. Catherine's cathedral La Seu d'Urgell, Spain, Spain.<br />
<br />
Acquisition of the Museum Board 2008 campaign. MNAC 214241<br />
<br />
Thirteenth century Romanesque painted altar front of the Arrest of St. Catherine who was a patron of the Dominican Order and a model popular saint of the medieval times. The painting style sits  between Romanesque and Gothic.
  • Altar of La Seu d'Urgell and the Apostles<br />
<br />
Second quarter of the twelfth century from a church in the diocese of Urgell, the whole poster espicopal of La Seu d'Urgell, Alt Urgell<br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1905. Ref: 15803 MNAC.<br />
<br />
<br />
La Seu d'Urgell was an important center of Romanesque panel painting. This altar front is one of the best examples, and is also one of the oldest preserved painted panels in Catalonia. At its centre is Christ Pantocrator surrounded by a Mandorla. Either side of this are the 12 Apostles arranged in two unusual pyramid shaped groups of six. This altar panel is a fine example from the workshop Urgell and demostrates a high standard of technical ability and creativity.
  • Egyptian Roman mummy portrait or Fayum mummy portrait painted panel of a man, Roman Period, 1st to 3rd cent AD, Egypt. Egyptian Museum, Turin. Grey background;<br />
<br />
Mummy portraits or Fayum mummy portraits (also Faiyum mummy portraits) are a type of naturalistic painted portrait on wooden boards attached to Upper class mummies from Roman Egypt. They belong to the tradition of panel painting, one of the most highly regarded forms of art in the Classical world. he portraits covered the faces of bodies that were mummified for burial. Extant examples indicate that they were mounted into the bands of cloth that were used to wrap the bodies.
  • Egyptian Roman mummy portrait or Fayum mummy portrait painted panel of a man, Roman Period, 1st to 3rd cent AD, Egypt. Egyptian Museum, Turin. White background.<br />
<br />
Mummy portraits or Fayum mummy portraits (also Faiyum mummy portraits) are a type of naturalistic painted portrait on wooden boards attached to Upper class mummies from Roman Egypt. They belong to the tradition of panel painting, one of the most highly regarded forms of art in the Classical world. he portraits covered the faces of bodies that were mummified for burial. Extant examples indicate that they were mounted into the bands of cloth that were used to wrap the bodies.

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