• Renaissance ceiling paintings by Benevento Tisi also known as il Garofalo, of the Ferrara Renaissance school of art, depicting an upward perspective scene, The Treasure Hall, Palazzo Costabili, National Archaeological Museum, Ferrara, Italy
  • Renaissance ceiling paintings by Benevento Tisi also known as il Garofalo, of the Ferrara Renaissance school of art, depicting an upward perspective scene, The Treasure Hall, Palazzo Costabili, National Archaeological Museum, Ferrara, Italy
  • Renaissance ceiling paintings by Benevento Tisi also known as il Garofalo, of the Ferrara Renaissance school of art, depicting an upward perspective scene, The Treasure Hall, Palazzo Costabili, National Archaeological Museum, Ferrara, Italy
  • Renaissance ceiling paintings by Benevento Tisi also known as il Garofalo, of the Ferrara Renaissance school of art, depicting an upward perspective scene, The Treasure Hall, Palazzo Costabili, National Archaeological Museum, Ferrara, Italy
  • Renaissance ceiling paintings by Benevento Tisi also known as il Garofalo, of the Ferrara Renaissance school of art, depicting an upward perspective scene, The Treasure Hall, Palazzo Costabili, National Archaeological Museum, Ferrara, Italy
  • Renaissance ceiling paintings by Benevento Tisi also known as il Garofalo, of the Ferrara Renaissance school of art, depicting an upward perspective scene, The Treasure Hall, Palazzo Costabili, National Archaeological Museum, Ferrara, Italy
  • Renaissance ceiling paintings by Benevento Tisi also known as il Garofalo, of the Ferrara Renaissance school of art, depicting an upward perspective scene, The Treasure Hall, Palazzo Costabili, National Archaeological Museum, Ferrara, Italy
  • Renaissance ceiling paintings by Benevento Tisi also known as il Garofalo, of the Ferrara Renaissance school of art, depicting an upward perspective scene, The Treasure Hall, Palazzo Costabili, National Archaeological Museum, Ferrara, Italy
  • Renaissance ceiling paintings by Benevento Tisi also known as il Garofalo, of the Ferrara Renaissance school of art, depicting an upward perspective scene, The Treasure Hall, Palazzo Costabili, National Archaeological Museum, Ferrara, Italy
  • Renaissance ceiling paintings by Benevento Tisi also known as il Garofalo, of the Ferrara Renaissance school of art, depicting an upward perspective scene, The Treasure Hall, Palazzo Costabili, National Archaeological Museum, Ferrara, Italy
  • Renaissance ceiling paintings by Benevento Tisi also known as il Garofalo, of the Ferrara Renaissance school of art, depicting an upward perspective scene, The Treasure Hall, Palazzo Costabili, National Archaeological Museum, Ferrara, Italy
  • Renaissance ceiling paintings by Benevento Tisi also known as il Garofalo, of the Ferrara Renaissance school of art, depicting an upward perspective scene, The Treasure Hall, Palazzo Costabili, National Archaeological Museum, Ferrara, Italy
  • Renaissance ceiling paintings by Benevento Tisi also known as il Garofalo, of the Ferrara Renaissance school of art, depicting an upward perspective scene, The Treasure Hall, Palazzo Costabili, National Archaeological Museum, Ferrara, Italy
  • Renaissance ceiling paintings by Benevento Tisi also known as il Garofalo, of the Ferrara Renaissance school of art, depicting an upward perspective scene, The Treasure Hall, Palazzo Costabili, National Archaeological Museum, Ferrara, Italy
  • Renaissance ceiling paintings by Benevento Tisi also known as il Garofalo, of the Ferrara Renaissance school of art, depicting an upward perspective scene, The Treasure Hall, Palazzo Costabili, National Archaeological Museum, Ferrara, Italy
  • Renaissance ceiling paintings by Benevento Tisi also known as il Garofalo, of the Ferrara Renaissance school of art, depicting an upward perspective scene, The Treasure Hall, Palazzo Costabili, National Archaeological Museum, Ferrara, Italy
  • Renaissance ceiling paintings by Benevento Tisi also known as il Garofalo, of the Ferrara Renaissance school of art, depicting an upward perspective scene, The Treasure Hall, Palazzo Costabili, National Archaeological Museum, Ferrara, Italy
  • Renaissance ceiling paintings by Benevento Tisi also known as il Garofalo, of the Ferrara Renaissance school of art, depicting an upward perspective scene, The Treasure Hall, Palazzo Costabili, National Archaeological Museum, Ferrara, Italy
  • Renaissance ceiling paintings by Benevento Tisi also known as il Garofalo, of the Ferrara Renaissance school of art, depicting an upward perspective scene, The Treasure Hall, Palazzo Costabili, National Archaeological Museum, Ferrara, Italy
  • Renaissance ceiling paintings by Benevento Tisi also known as il Garofalo, of the Ferrara Renaissance school of art, depicting an upward perspective scene, The Treasure Hall, Palazzo Costabili, National Archaeological Museum, Ferrara, Italy
  • Renaissance ceiling paintings by Benevento Tisi also known as il Garofalo, of the Ferrara Renaissance school of art, depicting an upward perspective scene, The Treasure Hall, Palazzo Costabili, National Archaeological Museum, Ferrara, Italy
  • Renaissance ceiling paintings by Benevento Tisi also known as il Garofalo, of the Ferrara Renaissance school of art, depicting an upward perspective scene, The Treasure Hall, Palazzo Costabili, National Archaeological Museum, Ferrara, Italy
  • Renaissance ceiling paintings by Benevento Tisi also known as il Garofalo, of the Ferrara Renaissance school of art, depicting an upward perspective scene, The Treasure Hall, Palazzo Costabili, National Archaeological Museum, Ferrara, Italy
  • Renaissance ceiling paintings by Benevento Tisi also known as il Garofalo, of the Ferrara Renaissance school of art, depicting an upward perspective scene, The Treasure Hall, Palazzo Costabili, National Archaeological Museum, Ferrara, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • Exterior of the Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • Exterior of the Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy,<br />
<br />
An archbishop pierced with an arrow from the skeletons that are either side of him and represent dead.
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy.<br />
<br />
Nobility, Knights and a beggar pierced with an arrow from the skeletons that are either side of him and represent dead.
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” ( Danza macabra)  painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy.<br />
<br />
Noble Women pierced with an arrow from the skeletons that are either side of him and represent dead.
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” ( Danza macabra)  painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” ( Danza macabra)  painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” ( Danza macabra)  painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” ( Danza macabra)  painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy.<br />
<br />
Next to the pope is a cardinal, a cleric and a monk all of whom have succumbed to the arrows of the skeletons. This tableau is a reminder to the hierarchy of the church that even they are not immune from death.
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy.<br />
<br />
The procession continues with a depiction of a king then nobility followed by knights and soldiers and a beggar man with no legs. Between each figure are skeletons holding bows and arrows, banners with writings on them or a shovel to dig a grave.
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy.<br />
<br />
The Mural depicts the living who have been pierced with arrows from skeletons waiting to see if they will go to heaven or to Purgatory of Hell
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy<br />
<br />
The Mural depicts the living who have been pierced with arrows from skeletons waiting to see if they will go to heaven or to Purgatory of Hell
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy.<br />
<br />
The mural continues for another 21 meters with a long procession with 40 figures. The Mural opens on its left with a skeleton on the throne, bearing a sceptre and the crown and playing a bagpipe. These skeletons are playing the music which is the backdrop to “Dance of Death” ( Danza macabra ) and suggests that they are playing with our fate on earth.<br />
<br />
 To the right of the skeletons playing music is a depiction of the crucification. Christ is depicted on the cross with an arrow in him that has been fired by a skeleton with a bow. This suggests that because Christ was a man he suffered the fate of death as we all will.
  • Exterior of the Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • Exterior of the Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • Exterior of the Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • Exterior of the Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • Exterior of the Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • Exterior of the Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • Exterior of the Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy.<br />
<br />
Nobility, Knights and a beggar pierced with an arrow from the skeletons that are either side of him and represent dead.
  • Exterior of the Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy.<br />
<br />
The Mural opens on its left with a skeleton on the throne, bearing a sceptre and the crown and playing a bagpipe. These skeletons are playing the music which is the backdrop to “Dance of Death” ( Danza macabra ) and suggests that they are playing with our fate on earth. <br />
<br />
The mural continues for another 21 meters with a long procession with 40 figures. To the right of the skeletons playing music is a depiction of the crucification. Christ is depicted on the cross with an arrow in him that has been fired by a skeleton with a bow. This suggests that because Christ was a man he suffered the fate of death as we all will. After Christ is a Pope also pierced by a spear, as are all the human figures in the mural. Next to the pope is a cardinal, a cleric and a monk all of whom have succumbed to the arrows of the skeletons. This tableau is a reminder to the hierarchy of the church that even they are not immune from death. The procession continues with a depiction of a king then nobility followed by knights and soldiers and a beggar man with no legs. Between each figure are skeletons holding bows and arrows, banners with writings on them or a shovel to dig a grave. After the beggar mad there are figures of women ending with a small skeleton and a cherub. To the far right a skeleton on a horse is riding into the procession holding a bow and arrow ready to far. To procession ends with the Angel Gabriel and the devil discussing the fates of the those in the procession as to whether they go to Heaven or to Purgatory and Hell.
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy.<br />
<br />
The mural continues for another 21 meters with a long procession with 40 figures. The Mural opens on its left with a skeleton on the throne, bearing a sceptre and the crown and playing a bagpipe. These skeletons are playing the music which is the backdrop to “Dance of Death” ( Danza macabra ) and suggests that they are playing with our fate on earth.
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • Roman fresco wall painting of the divine lovers Venus and Mars, one of the best paintings excavated from Pompeii, from the house of Venus and Mars (VII 9 47), inv 9248, Naples National Archaeological Museum
  • Roman fresco of the divine lovers Venus and Mars, Naples National Archaeological Museum , one of the best paintings excavated from Pompeii, from the house of Venus and Mars (VII 9 47), inv 9248,
  • Roman fresco of the divine lovers Venus and Mars, Naples National Archaeological Museum , one of the best paintings excavated from Pompeii, from the house of Venus and Mars (VII 9 47), inv 9248,
  • Room of The Nobility (Stanza della Nobilta). The Renaissance paintings by Federico Zuccari can be dated to 1566-67. Decorated with Trompe-l'?il Ionian Pillars & busts the figures in the panels depict "Virtue" and "Thee Liberal Arts". Villa d'Este, Tivoli, Italy. A UNESCO World Heritage Site.
  • Roman fresco wall decorations of cryptoporticus A  of the Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
The paintings in the long corridor, which got light only from small high-placed windows, are on a white background. The illusionistic decoration shows a row of columns on a high socle decorated with "grottesche". In the background, pictures alternating theatrical scenes, scenes of worship, and landscapes seem to hang on a wall divided by pilasters. Some of the scenes are probably later restorations of the originals. <br />
In the upper part a loggia holding sphinxes and statues of divinities rests on caryatids (architectural supports in the form of female figures). <br />
Because there was limited time for excavation, only the more important decorative elements were removed from the walls. A drawing on the modern base on which the fragments are inserted gives an idea of the effect of the whole, which is known to us from a watercolor done at the time.
  • Roman fresco wall decorations of cryptoporticus A  of the Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
The paintings in the long corridor, which got light only from small high-placed windows, are on a white background. The illusionistic decoration shows a row of columns on a high socle decorated with "grottesche". In the background, pictures alternating theatrical scenes, scenes of worship, and landscapes seem to hang on a wall divided by pilasters. Some of the scenes are probably later restorations of the originals. <br />
In the upper part a loggia holding sphinxes and statues of divinities rests on caryatids (architectural supports in the form of female figures). <br />
Because there was limited time for excavation, only the more important decorative elements were removed from the walls. A drawing on the modern base on which the fragments are inserted gives an idea of the effect of the whole, which is known to us from a watercolor done at the time.
  • Room of The Nobility (Stanza della Nobilta). The Renaissance paintings by Federico Zuccari can be dated to 1566-67. Decorated with Trompe-l'?il Ionian Pillars & busts the figures in the panels depict "Virtue" and "Thee Liberal Arts". Villa d'Este, Tivoli, Italy. A UNESCO World Heritage Site.
  • Room of Glory (Stanza della Gloria ). The Renaissance paintings by Federico Zuccari can be dated to 1566-68. The frescoes in the vaulted ceiling depict the virtues which consent the fulfilment of "Glory" with allegorical panels depicting Magnanimity, Fortune, Time and Religion. Trompe-l'?il alcoves reveal the Cardinals hat of Ippolito d'Este  . Villa d'Este, Tivoli, Italy. A UNESCO World Heritage Site.
  • Room of Glory (Stanza della Gloria ). The Renaissance paintings by Federico Zuccari can be dated to 1566-68. . Villa d'Este, Tivoli, Italy. A UNESCO World Heritage Site.
  • Room of The Nobility (Stanza della Nobilta). The Renaissance paintings by Federico Zuccari can be dated to 1566-67. Decorated with Trompe-l'?il Ionian Pillars & busts the figures in the panels depict "Virtue" and "Thee Liberal Arts". Villa d'Este, Tivoli, Italy. A UNESCO World Heritage Site.
  • Room of The Nobility (Stanza della Nobilta). The Renaissance paintings by Federico Zuccari can be dated to 1566-67. Decorated with Trompe-l'?il Ionian Pillars & busts the figures in the panels depict "Virtue" and "Thee Liberal Arts". Villa d'Este, Tivoli, Italy. A UNESCO World Heritage Site.
  • Room of Glory (Stanza della Gloria ). The Renaissance paintings by Federico Zuccari can be dated to 1566-68. The frescoes in the vaulted ceiling depict the virtues which consent the fulfilment of "Glory" with allegorical panels depicting Magnanimity, Fortune, Time and Religion. Trompe-l'?il alcoves reveal the Cardinals hat of Ippolito d'Este  . Villa d'Este, Tivoli, Italy. A UNESCO World Heritage Site.
  • Room of The Nobility (Stanza della Nobilta). The Renaissance paintings by Federico Zuccari can be dated to 1566-67. Decorated with Trompe-l'?il Ionian Pillars & busts the figures in the panels depict "Virtue" and "Thee Liberal Arts". Villa d'Este, Tivoli, Italy. A UNESCO World Heritage Site.
  • Room of The Nobility (Stanza della Nobilta). The Renaissance paintings by Federico Zuccari can be dated to 1566-67. Decorated with Trompe-l'?il Ionian Pillars & busts the figures in the panels depict "Virtue" and "Thee Liberal Arts". Villa d'Este, Tivoli, Italy. A UNESCO World Heritage Site.
  • Egyptian painting on stucco of Pharaoh Amenhotep I. 11152-1145BC, Thebes. Neues  Museum, Berlin. Cat No AM2061
  • Room of Glory (Stanza della Gloria ). The Renaissance paintings by Federico Zuccari can be dated to 1566-68. The frescoes in the vaulted ceiling depict the virtues which consent the fulfilment of "Glory" with allegorical panels depicting Magnanimity, Fortune, Time and Religion. Trompe-l'?il alcoves reveal the Cardinals hat of Ippolito d'Este  . Villa d'Este, Tivoli, Italy. A UNESCO World Heritage Site.
  • 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
  • Assyrian wall painting fragments depicting a winged bull and a procession of priests from Til Barsip, called 'Kar Salmansar' by King Shalmaneser III in the 9th century BC, now Tell Ahmar, located on the Euphrates in north Syria. From the rule of Telgat-pileser III (774-727 BC) and Ashurbanipal (662-627BC).  Louvre Museum , Paris
  • Assyrian wall painting fragments depicting the king and a Genie from Til Barsip, called 'Kar Salmansar' by King Shalmaneser III in the 9th century BC, now Tell Ahmar, located on the Euphrates in north Syria. From the rule of Telgat-pileser III (774-727 BC) and Ashurbanipal (662-627BC).  Louvre Museum , Paris
  • Assyrian wall painting fragments depicting Assyrian Charits from Til Barsip, called 'Kar Salmansar' by King Shalmaneser III in the 9th century BC, now Tell Ahmar, located on the Euphrates in north Syria. From the rule of Telgat-pileser III (774-727 BC) and Ashurbanipal (662-627BC).  Louvre Museum , Paris
  • Assyrian wall painting fragments depicting Assyrian Charits from Til Barsip, called 'Kar Salmansar' by King Shalmaneser III in the 9th century BC, now Tell Ahmar, located on the Euphrates in north Syria. From the rule of Telgat-pileser III (774-727 BC) and Ashurbanipal (662-627BC).  Louvre Museum , Paris
  • Crucifiction fresco on the Church of San Vigilio in Pinzolo, part of its mural painting “the Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • Roman fresco wall painting of Ariadne fast asleep on a bed of seaweed does not realise that Theseus is about to abandon her and sailaway on a ship to Athens, Pompeii House of colored Capitals, VII,31-51, inv 9052 , Naples National Archaeological Museum
  • A Roman erotic fresco painting from Pompeii form 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
  • 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
  • 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
  • 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
  • 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
  • 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
  • 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
  • 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
  • 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 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
  • 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
  • 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 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 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 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
  • Crucifiction fresco on the Church of San Vigilio in Pinzolo, part of its mural painting “the Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy.<br />
<br />
The mural continues for another 21 meters with a long procession with 40 figures.<br />
<br />
 To the right of the skeletons playing music is a depiction of the crucification. Christ is depicted on the cross with an arrow in him that has been fired by a skeleton with a bow. This suggests that because Christ was a man he suffered the fate of death as we all will.<br />
After Christ is a Pope also pierced by a spear, as are all the human figures in the mural.
  • Crucifiction fresco on the Church of San Vigilio in Pinzolo, part of its mural painting “the Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy.<br />
<br />
The mural continues for another 21 meters with a long procession with 40 figures. The Mural opens on its left with a skeleton on the throne, bearing a sceptre and the crown and playing a bagpipe. These skeletons are playing the music which is the backdrop to “Dance of Death” ( Danza macabra ) and suggests that they are playing with our fate on earth.<br />
<br />
 To the right of the skeletons playing music is a depiction of the crucification. Christ is depicted on the cross with an arrow in him that has been fired by a skeleton with a bow. This suggests that because Christ was a man he suffered the fate of death as we all will.
  • Crucifiction fresco on the Church of San Vigilio in Pinzolo, part of its mural painting “the Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy.<br />
<br />
The mural continues for another 21 meters with a long procession with 40 figures.<br />
<br />
 To the right of the skeletons playing music is a depiction of the crucification. Christ is depicted on the cross with an arrow in him that has been fired by a skeleton with a bow. This suggests that because Christ was a man he suffered the fate of death as we all will.<br />
After Christ is a Pope also pierced by a spear, as are all the human figures in the mural.
  • Crucifiction fresco on the Church of San Vigilio in Pinzolo, part of its mural painting “the Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • Crucifiction fresco on the Church of San Vigilio in Pinzolo, part of its mural painting “the Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy.<br />
<br />
The mural continues for another 21 meters with a long procession with 40 figures.<br />
<br />
The Mural opens on its left with a skeleton on the throne, bearing a sceptre and the crown and playing a bagpipe. These skeletons are playing the music which is the backdrop to “Dance of Death” ( Danza macabra ) and suggests that they are playing with our fate on earth.<br />
<br />
 To the right of the skeletons playing music is a depiction of the crucification. Christ is depicted on the cross with an arrow in him that has been fired by a skeleton with a bow. This suggests that because Christ was a man he suffered the fate of death as we all will.<br />
After Christ is a Pope also pierced by a spear, as are all the human figures in the mural.
  • 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
  • Crucifiction fresco on the Church of San Vigilio in Pinzolo, part of its mural painting “the Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy.<br />
<br />
The mural continues for another 21 meters with a long procession with 40 figures. The Mural opens on its left with a skeleton on the throne, bearing a sceptre and the crown and playing a bagpipe. These skeletons are playing the music which is the backdrop to “Dance of Death” ( Danza macabra ) and suggests that they are playing with our fate on earth.<br />
<br />
 To the right of the skeletons playing music is a depiction of the crucification. Christ is depicted on the cross with an arrow in him that has been fired by a skeleton with a bow. This suggests that because Christ was a man he suffered the fate of death as we all will.
  • Crucifiction fresco on the Church of San Vigilio in Pinzolo, part of its mural painting “the Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy.<br />
<br />
The mural continues for another 21 meters with a long procession with 40 figures. To the right of the skeletons playing music is a depiction of the crucification. Christ is depicted on the cross with an arrow in him that has been fired by a skeleton with a bow. This suggests that because Christ was a man he suffered the fate of death as we all will.
  • 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 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 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 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,
  • 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 ,
  • Roman fresco wall decorations of Viridarium L  of the Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy. Against a white background.<br />
<br />
Rooms B and D, clearly bedrooms (cubicula), were symmetrically arranged and projected farther forward than the large room C (the triclinium). They opened onto a rectangular unroofed space that must have been a garden (viridarium). This was a genuine hortus conclusus (enclosed garden). The walls that surrounded the real garden were decorated with a painted garden, like an extension of the real one. The south wall was decorated with the three panels shown here: within dense vegetation there are huts made of reeds, jetting fountains, and a marble seat. The most complete example of this kind of room is the one from the Villa of Livia (on display on this floor of the museum), the prototype for the fashion that spread throughout the Roman world of painting gardens on interior walls and around real garden spaces.
  • Roman fresco wall decorations of Viridarium L  of the Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy. Against a black background.<br />
<br />
Rooms B and D, clearly bedrooms (cubicula), were symmetrically arranged and projected farther forward than the large room C (the triclinium). They opened onto a rectangular unroofed space that must have been a garden (viridarium). This was a genuine hortus conclusus (enclosed garden). The walls that surrounded the real garden were decorated with a painted garden, like an extension of the real one. The south wall was decorated with the three panels shown here: within dense vegetation there are huts made of reeds, jetting fountains, and a marble seat. The most complete example of this kind of room is the one from the Villa of Livia (on display on this floor of the museum), the prototype for the fashion that spread throughout the Roman world of painting gardens on interior walls and around real garden spaces.
  • Roman fresco wall decorations of Viridarium L  of the Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy. Against a grey background.<br />
<br />
Rooms B and D, clearly bedrooms (cubicula), were symmetrically arranged and projected farther forward than the large room C (the triclinium). They opened onto a rectangular unroofed space that must have been a garden (viridarium). This was a genuine hortus conclusus (enclosed garden). The walls that surrounded the real garden were decorated with a painted garden, like an extension of the real one. The south wall was decorated with the three panels shown here: within dense vegetation there are huts made of reeds, jetting fountains, and a marble seat. The most complete example of this kind of room is the one from the Villa of Livia (on display on this floor of the museum), the prototype for the fashion that spread throughout the Roman world of painting gardens on interior walls and around real garden spaces.
  • Roman fresco wall decorations of Viridarium L  of the Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy. Against an art background.<br />
<br />
Rooms B and D, clearly bedrooms (cubicula), were symmetrically arranged and projected farther forward than the large room C (the triclinium). They opened onto a rectangular unroofed space that must have been a garden (viridarium). This was a genuine hortus conclusus (enclosed garden). The walls that surrounded the real garden were decorated with a painted garden, like an extension of the real one. The south wall was decorated with the three panels shown here: within dense vegetation there are huts made of reeds, jetting fountains, and a marble seat. The most complete example of this kind of room is the one from the Villa of Livia (on display on this floor of the museum), the prototype for the fashion that spread throughout the Roman world of painting gardens on interior walls and around real garden spaces.
  • Roman fresco wall decorations of Viridarium L  of the Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
Rooms B and D, clearly bedrooms (cubicula), were symmetrically arranged and projected farther forward than the large room C (the triclinium). They opened onto a rectangular unroofed space that must have been a garden (viridarium). This was a genuine hortus conclusus (enclosed garden). The walls that surrounded the real garden were decorated with a painted garden, like an extension of the real one. The south wall was decorated with the three panels shown here: within dense vegetation there are huts made of reeds, jetting fountains, and a marble seat. The most complete example of this kind of room is the one from the Villa of Livia (on display on this floor of the museum), the prototype for the fashion that spread throughout the Roman world of painting gardens on interior walls and around real garden spaces.
  • Roman fresco wall decorations of Viridarium L  of the Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy. Against a white background.<br />
<br />
Rooms B and D, clearly bedrooms (cubicula), were symmetrically arranged and projected farther forward than the large room C (the triclinium). They opened onto a rectangular unroofed space that must have been a garden (viridarium). This was a genuine hortus conclusus (enclosed garden). The walls that surrounded the real garden were decorated with a painted garden, like an extension of the real one. The south wall was decorated with the three panels shown here: within dense vegetation there are huts made of reeds, jetting fountains, and a marble seat. The most complete example of this kind of room is the one from the Villa of Livia (on display on this floor of the museum), the prototype for the fashion that spread throughout the Roman world of painting gardens on interior walls and around real garden spaces.
  • Roman fresco wall decorations of Viridarium L  of the Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy. Against a black background.<br />
<br />
Rooms B and D, clearly bedrooms (cubicula), were symmetrically arranged and projected farther forward than the large room C (the triclinium). They opened onto a rectangular unroofed space that must have been a garden (viridarium). This was a genuine hortus conclusus (enclosed garden). The walls that surrounded the real garden were decorated with a painted garden, like an extension of the real one. The south wall was decorated with the three panels shown here: within dense vegetation there are huts made of reeds, jetting fountains, and a marble seat. The most complete example of this kind of room is the one from the Villa of Livia (on display on this floor of the museum), the prototype for the fashion that spread throughout the Roman world of painting gardens on interior walls and around real garden spaces.
  • Roman fresco wall decorations of Viridarium L  of the Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy. Against a grey background.<br />
<br />
Rooms B and D, clearly bedrooms (cubicula), were symmetrically arranged and projected farther forward than the large room C (the triclinium). They opened onto a rectangular unroofed space that must have been a garden (viridarium). This was a genuine hortus conclusus (enclosed garden). The walls that surrounded the real garden were decorated with a painted garden, like an extension of the real one. The south wall was decorated with the three panels shown here: within dense vegetation there are huts made of reeds, jetting fountains, and a marble seat. The most complete example of this kind of room is the one from the Villa of Livia (on display on this floor of the museum), the prototype for the fashion that spread throughout the Roman world of painting gardens on interior walls and around real garden spaces.
  • Roman fresco wall decorations of Viridarium L  of the Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy. Against an art background.<br />
<br />
Rooms B and D, clearly bedrooms (cubicula), were symmetrically arranged and projected farther forward than the large room C (the triclinium). They opened onto a rectangular unroofed space that must have been a garden (viridarium). This was a genuine hortus conclusus (enclosed garden). The walls that surrounded the real garden were decorated with a painted garden, like an extension of the real one. The south wall was decorated with the three panels shown here: within dense vegetation there are huts made of reeds, jetting fountains, and a marble seat. The most complete example of this kind of room is the one from the Villa of Livia (on display on this floor of the museum), the prototype for the fashion that spread throughout the Roman world of painting gardens on interior walls and around real garden spaces.
  • Roman fresco wall decorations of Viridarium L  of the Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
Rooms B and D, clearly bedrooms (cubicula), were symmetrically arranged and projected farther forward than the large room C (the triclinium). They opened onto a rectangular unroofed space that must have been a garden (viridarium). This was a genuine hortus conclusus (enclosed garden). The walls that surrounded the real garden were decorated with a painted garden, like an extension of the real one. The south wall was decorated with the three panels shown here: within dense vegetation there are huts made of reeds, jetting fountains, and a marble seat. The most complete example of this kind of room is the one from the Villa of Livia (on display on this floor of the museum), the prototype for the fashion that spread throughout the Roman world of painting gardens on interior walls and around real garden spaces.
  • Painted Domestic Pine in the Roman fresco of a garden from Villa Livia (Early first century AD), Rome, Livia was the wife of Roman emperor Augustus.  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
Trees and shrubs had symbolic importance to the Romans as can be see by the plants used in the trompe-l’œil frescoes from the Villa Livia, Rome, which contains plants linked to the deities particularily venerated by Augustus and Livia. <br />
<br />
Domestic pine: present in the mystery rites of Cybele, Attis and Dionysus. Laurel: sacred to Apollo, symbol of triumph, it recalls the famous prodigy associated with Livia Drusilla.
  • Painted Domestic Pine in the Roman fresco of a garden from Villa Livia (Early first century AD), Rome, Livia was the wife of Roman emperor Augustus.  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
Trees and shrubs had symbolic importance to the Romans as can be see by the plants used in the trompe-l’œil frescoes from the Villa Livia, Rome, which contains plants linked to the deities particularily venerated by Augustus and Livia. <br />
<br />
Domestic pine: present in the mystery rites of Cybele, Attis and Dionysus. Laurel: sacred to Apollo, symbol of triumph, it recalls the famous prodigy associated with Livia Drusilla.
  • Painted Domestic Pine in the Roman fresco of a garden from Villa Livia (Early first century AD), Rome, Livia was the wife of Roman emperor Augustus.  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
Trees and shrubs had symbolic importance to the Romans as can be see by the plants used in the trompe-l’œil frescoes from the Villa Livia, Rome, which contains plants linked to the deities particularily venerated by Augustus and Livia. <br />
<br />
Domestic pine: present in the mystery rites of Cybele, Attis and Dionysus. Laurel: sacred to Apollo, symbol of triumph, it recalls the famous prodigy associated with Livia Drusilla.
  • Painted Domestic Pine in the Roman fresco of a garden from Villa Livia (Early first century AD), Rome, Livia was the wife of Roman emperor Augustus.  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
Trees and shrubs had symbolic importance to the Romans as can be see by the plants used in the trompe-l’œil frescoes from the Villa Livia, Rome, which contains plants linked to the deities particularily venerated by Augustus and Livia. <br />
<br />
Domestic pine: present in the mystery rites of Cybele, Attis and Dionysus. Laurel: sacred to Apollo, symbol of triumph, it recalls the famous prodigy associated with Livia Drusilla.
  • Painted Fruit Tress in the Roman fresco of a garden from Villa Livia (Early first century AD), Rome, Livia was the wife of Roman emperor Augustus.  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
Trees and shrubs had symbolic importance to the Romans as can be see by the plants used in the trompe-l’œil frescoes from the Villa Livia, Rome, which contains plants linked to the deities particularily venerated by Augustus and Livia.
  • Painted Fruit Tress in the Roman fresco of a garden from Villa Livia (Early first century AD), Rome, Livia was the wife of Roman emperor Augustus.  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
Trees and shrubs had symbolic importance to the Romans as can be see by the plants used in the trompe-l’œil frescoes from the Villa Livia, Rome, which contains plants linked to the deities particularily venerated by Augustus and Livia.
  • Painted Domestic Pine in the Roman fresco of a garden from Villa Livia (Early first century AD), Rome, Livia was the wife of Roman emperor Augustus.  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
Trees and shrubs had symbolic importance to the Romans as can be see by the plants used in the trompe-l’œil frescoes from the Villa Livia, Rome, which contains plants linked to the deities particularily venerated by Augustus and Livia. <br />
<br />
Domestic pine: present in the mystery rites of Cybele, Attis and Dionysus. Laurel: sacred to Apollo, symbol of triumph, it recalls the famous prodigy associated with Livia Drusilla.
  • Painted Domestic Pine in the Roman fresco of a garden from Villa Livia (Early first century AD), Rome, Livia was the wife of Roman emperor Augustus.  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
Trees and shrubs had symbolic importance to the Romans as can be see by the plants used in the trompe-l’œil frescoes from the Villa Livia, Rome, which contains plants linked to the deities particularily venerated by Augustus and Livia. <br />
<br />
Domestic pine: present in the mystery rites of Cybele, Attis and Dionysus. Laurel: sacred to Apollo, symbol of triumph, it recalls the famous prodigy associated with Livia Drusilla.
  • Painted Fruit Tress in the Roman fresco of a garden from Villa Livia (Early first century AD), Rome, Livia was the wife of Roman emperor Augustus.  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
Trees and shrubs had symbolic importance to the Romans as can be see by the plants used in the trompe-l’œil frescoes from the Villa Livia, Rome, which contains plants linked to the deities particularily venerated by Augustus and Livia.
  • Painted Fruit Tress in the Roman fresco of a garden from Villa Livia (Early first century AD), Rome, Livia was the wife of Roman emperor Augustus.  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
Trees and shrubs had symbolic importance to the Romans as can be see by the plants used in the trompe-l’œil frescoes from the Villa Livia, Rome, which contains plants linked to the deities particularily venerated by Augustus and Livia.
  • Painted Fruit Tress in the Roman fresco of a garden from Villa Livia (Early first century AD), Rome, Livia was the wife of Roman emperor Augustus.  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
Trees and shrubs had symbolic importance to the Romans as can be see by the plants used in the trompe-l’œil frescoes from the Villa Livia, Rome, which contains plants linked to the deities particularily venerated by Augustus and Livia.
  • Painted Fruit Tress in the Roman fresco of a garden from Villa Livia (Early first century AD), Rome, Livia was the wife of Roman emperor Augustus.  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
Trees and shrubs had symbolic importance to the Romans as can be see by the plants used in the trompe-l’œil frescoes from the Villa Livia, Rome, which contains plants linked to the deities particularily venerated by Augustus and Livia.
  • Painted Fruit Tress in the Roman fresco of a garden from Villa Livia (Early first century AD), Rome, Livia was the wife of Roman emperor Augustus.  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
Trees and shrubs had symbolic importance to the Romans as can be see by the plants used in the trompe-l’œil frescoes from the Villa Livia, Rome, which contains plants linked to the deities particularily venerated by Augustus and Livia.
  • Painted Fruit Tress in the Roman fresco of a garden from Villa Livia (Early first century AD), Rome, Livia was the wife of Roman emperor Augustus.  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
Trees and shrubs had symbolic importance to the Romans as can be see by the plants used in the trompe-l’œil frescoes from the Villa Livia, Rome, which contains plants linked to the deities particularily venerated by Augustus and Livia.
  • Painted Fruit Tress in the Roman fresco of a garden from Villa Livia (Early first century AD), Rome, Livia was the wife of Roman emperor Augustus.  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
Trees and shrubs had symbolic importance to the Romans as can be see by the plants used in the trompe-l’œil frescoes from the Villa Livia, Rome, which contains plants linked to the deities particularily venerated by Augustus and Livia.
  • Painted Fruit Tress in the Roman fresco of a garden from Villa Livia (Early first century AD), Rome, Livia was the wife of Roman emperor Augustus.  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
Trees and shrubs had symbolic importance to the Romans as can be see by the plants used in the trompe-l’œil frescoes from the Villa Livia, Rome, which contains plants linked to the deities particularily venerated by Augustus and Livia.
  • Painted Fruit Tress in the Roman fresco of a garden from Villa Livia (Early first century AD), Rome, Livia was the wife of Roman emperor Augustus.  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
Trees and shrubs had symbolic importance to the Romans as can be see by the plants used in the trompe-l’œil frescoes from the Villa Livia, Rome, which contains plants linked to the deities particularily venerated by Augustus and Livia.
  • Painted Fruit Tress in the Roman fresco of a garden from Villa Livia (Early first century AD), Rome, Livia was the wife of Roman emperor Augustus.  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
Trees and shrubs had symbolic importance to the Romans as can be see by the plants used in the trompe-l’œil frescoes from the Villa Livia, Rome, which contains plants linked to the deities particularily venerated by Augustus and Livia.
  • Painted Roma fresco of a garden from Villa Livia (Early first century AD), Rome, Livia was the wife of Roman emperor Augustus.  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
Trees and shrubs had symbolic importance to the Romans as can be see by the plants used in the trompe-l’œil frescoes from the Villa Livia, Rome, which contains plants linked to the deities particularily venerated by Augustus and Livia.
  • Painted Fruit Tress in the Roman fresco of a garden from Villa Livia (Early first century AD), Rome, Livia was the wife of Roman emperor Augustus.  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
Trees and shrubs had symbolic importance to the Romans as can be see by the plants used in the trompe-l’œil frescoes from the Villa Livia, Rome, which contains plants linked to the deities particularily venerated by Augustus and Livia.
  • Painted Fruit Tress in the Roman fresco of a garden from Villa Livia (Early first century AD), Rome, Livia was the wife of Roman emperor Augustus.  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
Trees and shrubs had symbolic importance to the Romans as can be see by the plants used in the trompe-l’œil frescoes from the Villa Livia, Rome, which contains plants linked to the deities particularily venerated by Augustus and Livia.
  • Painted Bird from the Roman fresco of a garden from Villa Livia, Rome (Early first century AD), Rome, Livia was the wife of Roman emperor Augustus.  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
Trees and shrubs had symbolic importance to the Romans as can be see by the plants used in the trompe-l’œil frescoes from the Villa Livia, Rome, which contains plants linked to the deities particularily venerated by Augustus and Livia.
  • 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.
  • Recontructed fresco of an original found at Catalhoyuk. The men are hunting a deer and pulling on its tounge to disable it. The hunters are believed by scholors to be wearing leopard skin costumes, Painted by Mutlu Gundiler. Reconstructed houses, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • Recontructed fresco of an original found at Catalhoyuk. The men are hunting a deer and pulling on its tounge to disable it. The hunters are believed by scholors to be wearing leopard skin costumes, Painted by Mutlu Gundiler. Reconstructed houses, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • Recontructed fresco of an original found at Catalhoyuk. The men are hunting a deer and pulling on its tounge to disable it. The hunters are believed by scholors to be wearing leopard skin costumes, Painted by Mutlu Gundiler. Reconstructed houses, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • Recontructed fresco of an original found at Catalhoyuk depicting two animals being hunted. The men are wearing what scolars believe were leopard skin costumes. Painted by Mutlu Gundiler. Reconstructed houses, 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • Recontructed fresco of an original found at Catalhoyuk depicting two animals being hunted. The men are wearing what scolars believe were leopard skin costumes. Painted by Mutlu Gundiler. Reconstructed houses, 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • Roman fresco wall decorations of the Triclinium C, Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
In the center of the dining room was a table, with three couches (klinai in Greek, hence the name "triclinium") on which the diners reclined as they ate. The southern exposure of the room and its main color suggest it was meant to be used in the winter. The architect Vitruvius, writing in the 1st century after Christ, recommends a dark background that will absorb heat to make the rooms warmer in cold weather. The black color (atramentum), made from a mixture of charcoal and glue, was resistant to smoke from the fire and soot from the lamps. On the dark background delicate landscapes are painted in light colors: cityscapes with buildings, arches, and gateways, and rural scenes showing huts, animals, and rustic shrines. The lavish decoration is broken up by slender columns festooned with ivy. The capitals are crowned by graceful female figures (caryatids). A frieze at eye level has scenes in which the same figures keep reappearing: popular tales depicted in a lively fashion. The scenes of the frieze start with the rear of the right wall. Also on this wall, near the doorway. can be seen a restoration made in antiquity to close off another entrance. We can identify a part of the polychrome mosaic pavement of this room. with meanders and stacked cubes rendered in perspective. The modem arrangement does not reproduce the or final. but is intended to suggest the effect of the pavement in the room
  • Roman fresco wall decorations of Bedroom B  of the Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
The bedroom (cubiculum). an intimate space with a bed (kline), divided into antechamber and bed alcove, has a rich decoration whose dominant color is the expensive cinnabar red. Architectural elements rendered in perspective complete with shadows are the setting for representations of pictures hung on the walls, which give the impression of an art gallery. Painted aedicula frame on the left wall the toilette of Aphrodite, on the right Dionysos with the nymphs of Mt. Nysa, to whom Zeus had entrusted the care of his baby son. Other small pictures, shown with illusionistic wooden protective shutters, present scenes of interiors and pairs of lovers. Fantastic ornamental figures and Egyptian gods, like Isis and Juppiter Ammon, cover the walls. The barrel vault in pure white stucco is decorated with reliefs showing scenes of initiation into the mysteries and idylic landscapes with sacred elements.
  • Roman fresco wall decorations of Bedroom B  of the Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
The bedroom (cubiculum). an intimate space with a bed (kline), divided into antechamber and bed alcove, has a rich decoration whose dominant color is the expensive cinnabar red. Architectural elements rendered in perspective complete with shadows are the setting for representations of pictures hung on the walls, which give the impression of an art gallery. Painted aedicula frame on the left wall the toilette of Aphrodite, on the right Dionysos with the nymphs of Mt. Nysa, to whom Zeus had entrusted the care of his baby son. Other small pictures, shown with illusionistic wooden protective shutters, present scenes of interiors and pairs of lovers. Fantastic ornamental figures and Egyptian gods, like Isis and Juppiter Ammon, cover the walls. The barrel vault in pure white stucco is decorated with reliefs showing scenes of initiation into the mysteries and idylic landscapes with sacred elements.
  • Roman fresco wall decorations of Bedroom B  of the Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
The bedroom (cubiculum). an intimate space with a bed (kline), divided into antechamber and bed alcove, has a rich decoration whose dominant color is the expensive cinnabar red. Architectural elements rendered in perspective complete with shadows are the setting for representations of pictures hung on the walls, which give the impression of an art gallery. Painted aedicula frame on the left wall the toilette of Aphrodite, on the right Dionysos with the nymphs of Mt. Nysa, to whom Zeus had entrusted the care of his baby son. Other small pictures, shown with illusionistic wooden protective shutters, present scenes of interiors and pairs of lovers. Fantastic ornamental figures and Egyptian gods, like Isis and Juppiter Ammon, cover the walls. The barrel vault in pure white stucco is decorated with reliefs showing scenes of initiation into the mysteries and idylic landscapes with sacred elements.
  • Roman fresco wall painting of a women thinking from the Villa Arianna (Adriana), Stabiae (Stabia) near Pompeii , inv 9097, Naples National Archaeological Museum , white background
  • Roman fresco wall painting from the Sacrarium of the Temple of Isis in Pompeii depicting the Egyptian god Bes, God of war but also childbirth and the home, and was associated with sexuality, humour, music and dancing, North wall of Sacrarium, Naples National Archaeological Museum , inv 1.72 , Naples National Archaeological Museum , grey background
  • Mycenaean Fresco wall painting of a man leaping over a bull  from the Tiryns, Greece. 14th - 13th Century BC. Athens Archaeological Museum.
  • Mycenaean Fresco wall painting of a figure of eight shield. Mycenae Acropolis, Greece,  14th - 13th Century BC. Athens Archaeological Museum.
  • Mycenaean Fresco wall painting  from the Mycenae , Greece. 14th - 13th Century BC. Athens Archaeological Museum.
  • Mycenaean Fresco wall painting  from the Mycenae , Greece. 14th - 13th Century BC. Athens Archaeological Museum.
  • Minoan Fresco wall painting of " Spring "  from Minoan Bronze Age settlement  of Akrotiri on the Greek island of Thira, Santorini, Greece.  Athens Archaeological Museum.
  • Minoan Fresco wall painting of goats from Minoan Bronze Age settlement  of Akrotiri on the Greek island of Thira, Santorini, Greece.. Athens Archaeological Museum.
  • Mycenaean Fresco wall painting of a man leaping over a bull  from the Tiryns, Greece. 14th - 13th Century BC. Athens Archaeological Museum.
  • Recontructed fresco of an original found at Catalhoyuk. The men are hunting a deer and pulling on its tounge to disable it. The hunters are believed by scholors to be wearing leopard skin costumes, Painted by Mutlu Gundiler. Reconstructed houses, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • Recontructed fresco of an original found at Catalhoyuk. The men are hunting a boar. The hunters are believed by scholors to be wearing leopard skin costumes, Painted by Mutlu Gundiler. Reconstructed houses, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • Reconstruction of a geometric wall painting of building 77 of the north area, 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • Recontruction of a wall painting found in building no 2 of the north area. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • Recontructed fresco of an original found at Catalhoyuk. The hunters are believed by scholors to be wearing leopard skin costumes, Painted by Mutlu Gundiler. Reconstructed houses, 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • Close up of a recontructed fresco of an original found at Catalhoyuk. The men are hunting an animal. Reconstructed houses, Painted by Mutlu Gundiler. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • Close up of a recontructed fresco of an original found at Catalhoyuk. The men are hunting a deer and pulling on its tounge to disable it. The hunters are believed by scholors to be wearing leopard skin costumes, Reconstructed houses, Painted by Mutlu Gundiler. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • Close up of a recontructed fresco of an original found at Catalhoyuk. The depicted men are wearing what scolars believe were leopard skin costumes. Painted by Mutlu Gundiler. Reconstructed houses, 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • Recontructed fresco of an original found at Catalhoyuk depicting two animals being hunted. The men are wearing what scolars believe were leopard skin costumes. Painted by Mutlu Gundiler. Reconstructed houses, 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • Roman fresco wall decorations of the Bedroom B, the Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
The bedroom (cubiculum). an intimate space with a bed (kline), divided into antechamber and bed alcove, has a rich decoration whose dominant color is the expensive cinnabar red. Architectural elements rendered in perspective complete with shadows are the setting for representations of pictures hung on the walls, which give the impression of an art gallery. Painted aedicula frame on the left wall the toilette of Aphrodite, on the right Dionysos with the nymphs of Mt. Nysa, to whom Zeus had entrusted the care of his baby son. Other small pictures, shown with illusionistic wooden protective shutters, present scenes of interiors and pairs of lovers. Fantastic ornamental figures and Egyptian gods, like Isis and Juppiter Ammon, cover the walls. The barrel vault in pure white stucco is decorated with reliefs showing scenes of initiation into the mysteries and idylic landscapes with sacred elements.
  • Roman fresco wall decorations of the Bedroom B, the Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
The bedroom (cubiculum). an intimate space with a bed (kline), divided into antechamber and bed alcove, has a rich decoration whose dominant color is the expensive cinnabar red. Architectural elements rendered in perspective complete with shadows are the setting for representations of pictures hung on the walls, which give the impression of an art gallery. Painted aedicula frame on the left wall the toilette of Aphrodite, on the right Dionysos with the nymphs of Mt. Nysa, to whom Zeus had entrusted the care of his baby son. Other small pictures, shown with illusionistic wooden protective shutters, present scenes of interiors and pairs of lovers. Fantastic ornamental figures and Egyptian gods, like Isis and Juppiter Ammon, cover the walls. The barrel vault in pure white stucco is decorated with reliefs showing scenes of initiation into the mysteries and idylic landscapes with sacred elements.
  • Roman fresco wall decorations of the Bedroom B, the Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
The bedroom (cubiculum). an intimate space with a bed (kline), divided into antechamber and bed alcove, has a rich decoration whose dominant color is the expensive cinnabar red. Architectural elements rendered in perspective complete with shadows are the setting for representations of pictures hung on the walls, which give the impression of an art gallery. Painted aedicula frame on the left wall the toilette of Aphrodite, on the right Dionysos with the nymphs of Mt. Nysa, to whom Zeus had entrusted the care of his baby son. Other small pictures, shown with illusionistic wooden protective shutters, present scenes of interiors and pairs of lovers. Fantastic ornamental figures and Egyptian gods, like Isis and Juppiter Ammon, cover the walls. The barrel vault in pure white stucco is decorated with reliefs showing scenes of initiation into the mysteries and idylic landscapes with sacred elements.
  • Roman fresco wall decorations of the Triclinium C, Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
In the center of the dining room was a table, with three couches (klinai in Greek, hence the name "triclinium") on which the diners reclined as they ate. The southern exposure of the room and its main color suggest it was meant to be used in the winter. The architect Vitruvius, writing in the 1st century after Christ, recommends a dark background that will absorb heat to make the rooms warmer in cold weather. The black color (atramentum), made from a mixture of charcoal and glue, was resistant to smoke from the fire and soot from the lamps. On the dark background delicate landscapes are painted in light colors: cityscapes with buildings, arches, and gateways, and rural scenes showing huts, animals, and rustic shrines. The lavish decoration is broken up by slender columns festooned with ivy. The capitals are crowned by graceful female figures (caryatids). A frieze at eye level has scenes in which the same figures keep reappearing: popular tales depicted in a lively fashion. The scenes of the frieze start with the rear of the right wall. Also on this wall, near the doorway. can be seen a restoration made in antiquity to close off another entrance. We can identify a part of the polychrome mosaic pavement of this room. with meanders and stacked cubes rendered in perspective. The modem arrangement does not reproduce the or final. but is intended to suggest the effect of the pavement in the room
  • Roman fresco wall decorations of the Triclinium C, Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
In the center of the dining room was a table, with three couches (klinai in Greek, hence the name "triclinium") on which the diners reclined as they ate. The southern exposure of the room and its main color suggest it was meant to be used in the winter. The architect Vitruvius, writing in the 1st century after Christ, recommends a dark background that will absorb heat to make the rooms warmer in cold weather. The black color (atramentum), made from a mixture of charcoal and glue, was resistant to smoke from the fire and soot from the lamps. On the dark background delicate landscapes are painted in light colors: cityscapes with buildings, arches, and gateways, and rural scenes showing huts, animals, and rustic shrines. The lavish decoration is broken up by slender columns festooned with ivy. The capitals are crowned by graceful female figures (caryatids). A frieze at eye level has scenes in which the same figures keep reappearing: popular tales depicted in a lively fashion. The scenes of the frieze start with the rear of the right wall. Also on this wall, near the doorway. can be seen a restoration made in antiquity to close off another entrance. We can identify a part of the polychrome mosaic pavement of this room. with meanders and stacked cubes rendered in perspective. The modem arrangement does not reproduce the or final. but is intended to suggest the effect of the pavement in the room
  • Roman fresco wall decorations of the Triclinium C, Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
In the center of the dining room was a table, with three couches (klinai in Greek, hence the name "triclinium") on which the diners reclined as they ate. The southern exposure of the room and its main color suggest it was meant to be used in the winter. The architect Vitruvius, writing in the 1st century after Christ, recommends a dark background that will absorb heat to make the rooms warmer in cold weather. The black color (atramentum), made from a mixture of charcoal and glue, was resistant to smoke from the fire and soot from the lamps. On the dark background delicate landscapes are painted in light colors: cityscapes with buildings, arches, and gateways, and rural scenes showing huts, animals, and rustic shrines. The lavish decoration is broken up by slender columns festooned with ivy. The capitals are crowned by graceful female figures (caryatids). A frieze at eye level has scenes in which the same figures keep reappearing: popular tales depicted in a lively fashion. The scenes of the frieze start with the rear of the right wall. Also on this wall, near the doorway. can be seen a restoration made in antiquity to close off another entrance. We can identify a part of the polychrome mosaic pavement of this room. with meanders and stacked cubes rendered in perspective. The modem arrangement does not reproduce the or final. but is intended to suggest the effect of the pavement in the room
  • Roman fresco wall decorations of the Triclinium C, Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
In the center of the dining room was a table, with three couches (klinai in Greek, hence the name "triclinium") on which the diners reclined as they ate. The southern exposure of the room and its main color suggest it was meant to be used in the winter. The architect Vitruvius, writing in the 1st century after Christ, recommends a dark background that will absorb heat to make the rooms warmer in cold weather. The black color (atramentum), made from a mixture of charcoal and glue, was resistant to smoke from the fire and soot from the lamps. On the dark background delicate landscapes are painted in light colors: cityscapes with buildings, arches, and gateways, and rural scenes showing huts, animals, and rustic shrines. The lavish decoration is broken up by slender columns festooned with ivy. The capitals are crowned by graceful female figures (caryatids). A frieze at eye level has scenes in which the same figures keep reappearing: popular tales depicted in a lively fashion. The scenes of the frieze start with the rear of the right wall. Also on this wall, near the doorway. can be seen a restoration made in antiquity to close off another entrance. We can identify a part of the polychrome mosaic pavement of this room. with meanders and stacked cubes rendered in perspective. The modem arrangement does not reproduce the or final. but is intended to suggest the effect of the pavement in the room
  • Roman fresco wall decorations of the Triclinium C, Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
In the center of the dining room was a table, with three couches (klinai in Greek, hence the name "triclinium") on which the diners reclined as they ate. The southern exposure of the room and its main color suggest it was meant to be used in the winter. The architect Vitruvius, writing in the 1st century after Christ, recommends a dark background that will absorb heat to make the rooms warmer in cold weather. The black color (atramentum), made from a mixture of charcoal and glue, was resistant to smoke from the fire and soot from the lamps. On the dark background delicate landscapes are painted in light colors: cityscapes with buildings, arches, and gateways, and rural scenes showing huts, animals, and rustic shrines. The lavish decoration is broken up by slender columns festooned with ivy. The capitals are crowned by graceful female figures (caryatids). A frieze at eye level has scenes in which the same figures keep reappearing: popular tales depicted in a lively fashion. The scenes of the frieze start with the rear of the right wall. Also on this wall, near the doorway. can be seen a restoration made in antiquity to close off another entrance. We can identify a part of the polychrome mosaic pavement of this room. with meanders and stacked cubes rendered in perspective. The modem arrangement does not reproduce the or final. but is intended to suggest the effect of the pavement in the room
  • Roman fresco wall decorations of the Triclinium C, Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
In the center of the dining room was a table, with three couches (klinai in Greek, hence the name "triclinium") on which the diners reclined as they ate. The southern exposure of the room and its main color suggest it was meant to be used in the winter. The architect Vitruvius, writing in the 1st century after Christ, recommends a dark background that will absorb heat to make the rooms warmer in cold weather. The black color (atramentum), made from a mixture of charcoal and glue, was resistant to smoke from the fire and soot from the lamps. On the dark background delicate landscapes are painted in light colors: cityscapes with buildings, arches, and gateways, and rural scenes showing huts, animals, and rustic shrines. The lavish decoration is broken up by slender columns festooned with ivy. The capitals are crowned by graceful female figures (caryatids). A frieze at eye level has scenes in which the same figures keep reappearing: popular tales depicted in a lively fashion. The scenes of the frieze start with the rear of the right wall. Also on this wall, near the doorway. can be seen a restoration made in antiquity to close off another entrance. We can identify a part of the polychrome mosaic pavement of this room. with meanders and stacked cubes rendered in perspective. The modem arrangement does not reproduce the or final. but is intended to suggest the effect of the pavement in the room
  • Roman fresco wall decorations of the Triclinium C, Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
In the center of the dining room was a table, with three couches (klinai in Greek, hence the name "triclinium") on which the diners reclined as they ate. The southern exposure of the room and its main color suggest it was meant to be used in the winter. The architect Vitruvius, writing in the 1st century after Christ, recommends a dark background that will absorb heat to make the rooms warmer in cold weather. The black color (atramentum), made from a mixture of charcoal and glue, was resistant to smoke from the fire and soot from the lamps. On the dark background delicate landscapes are painted in light colors: cityscapes with buildings, arches, and gateways, and rural scenes showing huts, animals, and rustic shrines. The lavish decoration is broken up by slender columns festooned with ivy. The capitals are crowned by graceful female figures (caryatids). A frieze at eye level has scenes in which the same figures keep reappearing: popular tales depicted in a lively fashion. The scenes of the frieze start with the rear of the right wall. Also on this wall, near the doorway. can be seen a restoration made in antiquity to close off another entrance. We can identify a part of the polychrome mosaic pavement of this room. with meanders and stacked cubes rendered in perspective. The modem arrangement does not reproduce the or final. but is intended to suggest the effect of the pavement in the room
  • Roman fresco wall decorations of the Triclinium C, Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
In the center of the dining room was a table, with three couches (klinai in Greek, hence the name "triclinium") on which the diners reclined as they ate. The southern exposure of the room and its main color suggest it was meant to be used in the winter. The architect Vitruvius, writing in the 1st century after Christ, recommends a dark background that will absorb heat to make the rooms warmer in cold weather. The black color (atramentum), made from a mixture of charcoal and glue, was resistant to smoke from the fire and soot from the lamps. On the dark background delicate landscapes are painted in light colors: cityscapes with buildings, arches, and gateways, and rural scenes showing huts, animals, and rustic shrines. The lavish decoration is broken up by slender columns festooned with ivy. The capitals are crowned by graceful female figures (caryatids). A frieze at eye level has scenes in which the same figures keep reappearing: popular tales depicted in a lively fashion. The scenes of the frieze start with the rear of the right wall. Also on this wall, near the doorway. can be seen a restoration made in antiquity to close off another entrance. We can identify a part of the polychrome mosaic pavement of this room. with meanders and stacked cubes rendered in perspective. The modem arrangement does not reproduce the or final. but is intended to suggest the effect of the pavement in the room
  • Roman fresco wall decorations of the Triclinium C, Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
In the center of the dining room was a table, with three couches (klinai in Greek, hence the name "triclinium") on which the diners reclined as they ate. The southern exposure of the room and its main color suggest it was meant to be used in the winter. The architect Vitruvius, writing in the 1st century after Christ, recommends a dark background that will absorb heat to make the rooms warmer in cold weather. The black color (atramentum), made from a mixture of charcoal and glue, was resistant to smoke from the fire and soot from the lamps. On the dark background delicate landscapes are painted in light colors: cityscapes with buildings, arches, and gateways, and rural scenes showing huts, animals, and rustic shrines. The lavish decoration is broken up by slender columns festooned with ivy. The capitals are crowned by graceful female figures (caryatids). A frieze at eye level has scenes in which the same figures keep reappearing: popular tales depicted in a lively fashion. The scenes of the frieze start with the rear of the right wall. Also on this wall, near the doorway. can be seen a restoration made in antiquity to close off another entrance. We can identify a part of the polychrome mosaic pavement of this room. with meanders and stacked cubes rendered in perspective. The modem arrangement does not reproduce the or final. but is intended to suggest the effect of the pavement in the room
  • Roman fresco wall decorations of the Triclinium C, Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
In the center of the dining room was a table, with three couches (klinai in Greek, hence the name "triclinium") on which the diners reclined as they ate. The southern exposure of the room and its main color suggest it was meant to be used in the winter. The architect Vitruvius, writing in the 1st century after Christ, recommends a dark background that will absorb heat to make the rooms warmer in cold weather. The black color (atramentum), made from a mixture of charcoal and glue, was resistant to smoke from the fire and soot from the lamps. On the dark background delicate landscapes are painted in light colors: cityscapes with buildings, arches, and gateways, and rural scenes showing huts, animals, and rustic shrines. The lavish decoration is broken up by slender columns festooned with ivy. The capitals are crowned by graceful female figures (caryatids). A frieze at eye level has scenes in which the same figures keep reappearing: popular tales depicted in a lively fashion. The scenes of the frieze start with the rear of the right wall. Also on this wall, near the doorway. can be seen a restoration made in antiquity to close off another entrance. We can identify a part of the polychrome mosaic pavement of this room. with meanders and stacked cubes rendered in perspective. The modem arrangement does not reproduce the or final. but is intended to suggest the effect of the pavement in the room
  • Roman fresco wall decorations of Bedroom B  of the Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
The bedroom (cubiculum). an intimate space with a bed (kline), divided into antechamber and bed alcove, has a rich decoration whose dominant color is the expensive cinnabar red. Architectural elements rendered in perspective complete with shadows are the setting for representations of pictures hung on the walls, which give the impression of an art gallery. Painted aedicula frame on the left wall the toilette of Aphrodite, on the right Dionysos with the nymphs of Mt. Nysa, to whom Zeus had entrusted the care of his baby son. Other small pictures, shown with illusionistic wooden protective shutters, present scenes of interiors and pairs of lovers. Fantastic ornamental figures and Egyptian gods, like Isis and Juppiter Ammon, cover the walls. The barrel vault in pure white stucco is decorated with reliefs showing scenes of initiation into the mysteries and idylic landscapes with sacred elements.
  • Roman fresco wall decorations of Bedroom B  of the Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
The bedroom (cubiculum). an intimate space with a bed (kline), divided into antechamber and bed alcove, has a rich decoration whose dominant color is the expensive cinnabar red. Architectural elements rendered in perspective complete with shadows are the setting for representations of pictures hung on the walls, which give the impression of an art gallery. Painted aedicula frame on the left wall the toilette of Aphrodite, on the right Dionysos with the nymphs of Mt. Nysa, to whom Zeus had entrusted the care of his baby son. Other small pictures, shown with illusionistic wooden protective shutters, present scenes of interiors and pairs of lovers. Fantastic ornamental figures and Egyptian gods, like Isis and Juppiter Ammon, cover the walls. The barrel vault in pure white stucco is decorated with reliefs showing scenes of initiation into the mysteries and idylic landscapes with sacred elements.
  • Religious murals depicting the Crucifiction painted by the  Baschenis family ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Detail of the Roman fresco wall painting of all the characters in the story of Admetus who, aided by Apollo made the Fates agree not to take Admetus on his 'death day' if he could find someone else to replace him, his wife, Alcestis, dies instead of Admetus but as she decends into the Underworld he discovers that he no longer wants to live without her, Pompeii House of the Tragic Poet , inv 9026, Naples National Archaeological Museum, white background
  • Detail of the Roman fresco wall painting of all the characters in the story of Admetus who, aided by Apollo made the Fates agree not to take Admetus on his 'death day' if he could find someone else to replace him, his wife, Alcestis, dies instead of Admetus but as she decends into the Underworld he discovers that he no longer wants to live without her, Pompeii House of the Tragic Poet, inv 9026, Naples National Archaeological Museum, grey background
  • Detail of the Roman fresco wall painting of all the characters in the story of Admetus who, aided by Apollo made the Fates agree not to take Admetus on his 'death day' if he could find someone else to replace him, his wife, Alcestis, dies instead of Admetus but as she decends into the Underworld he discovers that he no longer wants to live without her, Pompeii House of the Tragic Poet, inv 9026, Naples National Archaeological Museum, black background
  • Detail of the Roman fresco wall painting of all the characters in the story of Admetus who, aided by Apollo made the Fates agree not to take Admetus on his 'death day' if he could find someone else to replace him, his wife, Alcestis, dies instead of Admetus but as she decends into the Underworld he discovers that he no longer wants to live without her, Pompeii House of the Tragic Poet, inv 9026, Naples National Archaeological Museum, grey art background
  • Detail of the Roman fresco wall painting of all the characters in the story of Admetus who, aided by Apollo made the Fates agree not to take Admetus on his 'death day' if he could find someone else to replace him, his wife, Alcestis, dies instead of Admetus but as she decends into the Underworld he discovers that he no longer wants to live without her, Pompeii House of the Tragic Poet, inv 9026, Naples National Archaeological Museum, art background
  • Detail of the Roman fresco wall painting of a young man resting from the  triclinium,  a formal dining room, of the Villa Arianna (Adriana), Stabiae (Stabia) near Pompeii , inv 9093, Naples National Archaeological Museum, white background
  • Detail of the Roman fresco wall painting of a Dionysus accompanied by Silenius and two cupids finds Ariadne in a deep sleep, he takes her to Olympus and marries her so giving her immortality ,Pompeii House of the Tragic Poet, inv 9271, Naples National Archaeological Museum,
  • Detail of the Roman fresco wall painting of a young man resting from the  triclinium,  a formal dining room, of the Villa Arianna (Adriana), Stabiae (Stabia) near Pompeii , inv 9093, Naples National Archaeological Museum, grey background
  • Detail of the Roman fresco wall painting of a young man resting from the  triclinium,  a formal dining room, of the Villa Arianna (Adriana), Stabiae (Stabia) near Pompeii , inv 9093, Naples National Archaeological Museum, black background
  • Detail of the Roman fresco wall painting of a young man resting from the  triclinium,  a formal dining room, of the Villa Arianna (Adriana), Stabiae (Stabia) near Pompeii , inv 9093, Naples National Archaeological Museum,  art background
  • Detail of the Roman fresco wall painting of a young man resting from the  triclinium,  a formal dining room, of the Villa Arriana (Adriana), Stabiae (Stabia) near Pompeii , inv 9093, Naples National Archaeological Museum, grey art background
  • Detail of the Roman fresco wall painting of a Discus thrower from the  triclinium,  a formal dining room, of the Villa Arriana (Adriana), Stabiae (Stabia) near Pompeii , inv 9053, Naples National Archaeological Museum
  • Detail of the Roman fresco wall painting of a Nereid lying on a sea panther  from the  triclinium,  a formal dining room, of the Villa Arianna (Adriana), Stabiae (Stabia) near Pompeii , inv 8870, Naples National Archaeological Museum

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Picture The Past

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FunkyStock Picture Library free resource for professional editorial picture editors, picture researchers, historical scholars and students and enthusiasts who want to browse some of the best pictures and images of historic countries, historical places, archaeological sites and the very best museum antiquities and artefacts exhibits in Europe and the Middle East.

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

COUNTRIES

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

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HISTORICAL

Explore the past through pictures and images of its historic places. See the great palaces, castles and cities of antiquity as well as the great archaeological sites where our ancestors made history.

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Browse pictures & images the treasured artefacts and antiquities exhibits from the great Museum of Europe and the Middle East. See the art and objects made by our ancestors.

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