• Photos & pictures of the  Brazilian acai palm berries the super fruit anti oxident from the Amazon. Acai berries has been used to help weight loss. Stock-fotos & images
  • Photos & pictures of the  Brazilian acai palm berries the super fruit anti oxident from the Amazon. Acai berries has been used to help weight loss. Stock-fotos
  • A waterfall amongst the date palms of the Sahara desert oasis of Mides, Tunisia, North Africa
  • The date palms of the Sahara desert oasis of Mides, Tunisia, North Africa
  • A waterfall amongst the date palms of the Sahara desert oasis of Mides, Tunisia, North Africa
  • A waterfall amongst the date palms of the Sahara desert oasis of Mides, Tunisia, North Africa
  • The date palms of the Sahara desert oasis of Mides, Tunisia, North Africa
  • A waterfall amongst the date palms of the Sahara desert oasis of Mides, Tunisia, North Africa
  • The date palms of the Sahara desert oasis of Mides, Tunisia, North Africa
  • The date palms of the Sahara desert oasis of Mides, Tunisia, North Africa
  • Stock Pictures & Photos of the acai berry the super fruit anti oxident from the Amazon. The acai berry has been associated with helping weight loss.
  • Fresh Dates
  • Fresh Dates
  • Photos & Images of the acai berry the super fruit anti oxident from the Amazon. The acai berry has been associated with helping weight loss.
  • pictures, fotos & images of the acai berry the super fruit anti oxident from the Amazon. The acai berry has been associated with helping weight loss.
  • Stock pictures & photos of the acai berries the super fruit anti oxident from the Amazon. The acai berry has been associated with helping weight loss.
  • Stock pictures & images of the acai berries the super fruit anti oxident from the Amazon. The acai berry has been associated with helping weight loss.
  • Stock fotos & images of the acai berries the super fruit anti oxident from the Amazon. The acai berry has been associated with helping weight loss.
  • Photos & pictures of the acai berries the super fruit anti oxident from the Amazon. The acai berry has been associated with helping weight loss. Stockfotos & images
  • Photos & pictures of the acai berries the super fruit anti oxident from the Amazon. Acai berries has been associated with helping weight loss. Stockfotos & images
  • Photos, images & pictures of the Brazilian acai berries the super fruit anti oxident from the Amazon. Acai berries has been associated with helping weight loss. Stockfotos
  • Photos & pictures of the Brazilian acai berries the super fruit anti oxident from the Amazon. Acai berries has been used to help weight loss. Stock-fotos images
  • Photos & pictures of the Brazilian acai berries the super fruit anti oxident from the Amazon. Acai berries has been used to help weight loss. Stock-fotos & images
  • Photos & pictures of the famous Brazilian acai berries the super fruit anti oxident from the Amazon. Acai berries has been used to help weight loss. Stock-fotos & images
  • Photos & pictures of the renowned Brazilian acai berries the super fruit anti oxident from the Amazon. Acai berries has been used to help weight loss. Stock-fotos
  • Stock photography of the acai berry the super fruit anti oxident from the Amazon. The acai berry has been associated with helping weight loss.
  • Stock photography of the acai berry the super fruit anti oxident from the Amazon. The acai berry has been associated with helping weight loss.
  • Stock photography of the acai berry the super fruit anti oxident from the Amazon. The acai berry has been associated with helping weight loss.
  • Stock photography of the acai berry the super fruit anti oxident from the Amazon. The acai berry has been associated with helping weight loss.
  • Stock photography of the acai berry the super fruit anti oxident from the Amazon. The acai berry has been associated with helping weight loss.
  • Stock photography of the acai berry the super fruit anti oxident from the Amazon. The acai berry has been associated with helping weight loss.
  • Stock photography of the acai berry the super fruit anti oxident from the Amazon. The acai berry has been associated with helping weight loss.
  • Stock photos of the acai berry the super fruit anti oxident from the Amazon. The acai berry has been associated with helping weight loss.
  • Stock pictures of the acai berry the super fruit anti oxident from the Amazon. The acai berry has been associated with helping weight loss.
  • Stock photos & Images of the acai berry the super fruit anti oxident from the Amazon. The acai berry has been associated with helping weight loss.
  • Fresh Dates
  • Fresh Dates
  • Pictures & photos of the acai berry the super fruit anti oxident from the Amazon. The acai berry has been associated with helping weight loss.
  • Pictures & Photos of the acai berry the super fruit anti oxident from the Amazon. The acai berry has been associated with helping weight loss.
  • Photos, images & pictures of the acai berries the super fruit anti oxident from the Amazon. Acai berries has been associated with helping weight loss. Stockfotos & images
  • Photos & pictures of the Brazilian acai berries the super fruit anti oxident from the Amazon. Acai berries has been used to help weight loss. Stockfotos & fotos
  • Photos & pictures of the Brazilian acai berries the super fruit anti oxident from the Amazon. Acai berries has been used to help weight loss. Stockfotos
  • Photos & pictures of the Brazilian acai berries the super fruit anti oxident from the Amazon. Acai berries has been used to help weight loss. Stock fotos
  • Photos & pictures of the famous Brazilian acai berries the super fruit anti oxident from the Amazon. Acai berries has been used to help weight loss. Stock-fotos
  • Photos & pictures of the renowned Brazilian acai berries the super fruit anti oxident from the Amazon. Acai berries has been used to help weight loss. Stock-fotos & images
  • Stock photography of the acai berry the super fruit anti oxident from the Amazon. The acai berry has been associated with helping weight loss.
  • Stock photography of the acai berry the super fruit anti oxident from the Amazon. The acai berry has been associated with helping weight loss.
  • Stock photography of the acai berry the super fruit anti oxident from the Amazon. The acai berry has been associated with helping weight loss.
  • Stock photography of the acai berry the super fruit anti oxident from the Amazon. The acai berry has been associated with helping weight loss.
  • Stock photography of the acai berry the super fruit anti oxident from the Amazon. The acai berry has been associated with helping weight loss.
  • Stock photography of the acai berry the super fruit anti oxident from the Amazon. The acai berry has been associated with helping weight loss.
  • Dwarf palms [ Chamaerops humilis ] Riserva Naturale dello Zingaro [ Zingaro nature reserve ] Scopello, Castellammare Del Golfo , Sicily. also called European Fan Palm or Mediterranean Fan Palm
  • Dwarf palms [ Chamaerops humilis ] Riserva Naturale dello Zingaro [ Zingaro nature reserve ] Scopello, Castellammare Del Golfo , Sicily. also called European Fan Palm or Mediterranean Fan Palm
  • Dwarf palms [ Chamaerops humilis ] Riserva Naturale dello Zingaro [ Zingaro nature reserve ] Scopello, Castellammare Del Golfo , Sicily. also called European Fan Palm or Mediterranean Fan Palm
  • Dwarf palms [ Chamaerops humilis ] Riserva Naturale dello Zingaro [ Zingaro nature reserve ] Scopello, Castellammare Del Golfo , Sicily. also called European Fan Palm or Mediterranean Fan Palm
  • Dwarf palms [ Chamaerops humilis ] Riserva Naturale dello Zingaro [ Zingaro nature reserve ] Scopello, Castellammare Del Golfo , Sicily. also called European Fan Palm or Mediterranean Fan Palm
  • Dwarf palms [ Chamaerops humilis ] Riserva Naturale dello Zingaro [ Zingaro nature reserve ] Scopello, Castellammare Del Golfo , Sicily. also called European Fan Palm or Mediterranean Fan Palm
  • Dwarf palms [ Chamaerops humilis ] Riserva Naturale dello Zingaro [ Zingaro nature reserve ] Scopello, Castellammare Del Golfo , Sicily. also called European Fan Palm or Mediterranean Fan Palm
  • Dwarf palms [ Chamaerops humilis ] Riserva Naturale dello Zingaro [ Zingaro nature reserve ] Scopello, Castellammare Del Golfo , Sicily. also called European Fan Palm or Mediterranean Fan Palm
  • Dwarf palms [ Chamaerops humilis ] Riserva Naturale dello Zingaro [ Zingaro nature reserve ] Scopello, Castellammare Del Golfo , Sicily. also called European Fan Palm or Mediterranean Fan Palm
  • Table setting of starter - Charcutterie - Main Course - Salmon Steak - Dessert - Pavlova
  • Detail of a Roman Sebasteion relief  sculpture of Agon Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
The scene is an allegory of the athletic contest (or agon). The pillar was a beareded head of Hermes the god of the Gymnasium. Nearby is a palm of victory and a prize table with victory ribbon on it. Two winged baby Eros figures are struggling over a palm branch ( mostly broken): they act out the idea of contest, which is personified in the youthful figure behind. He hold another palm of victory: he is Agon himself.
  • Detail of a Roman Sebasteion relief  sculpture of Agon Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
The scene is an allegory of the athletic contest (or agon). The pillar was a beareded head of Hermes the god of the Gymnasium. Nearby is a palm of victory and a prize table with victory ribbon on it. Two winged baby Eros figures are struggling over a palm branch ( mostly broken): they act out the idea of contest, which is personified in the youthful figure behind. He hold another palm of victory: he is Agon himself.
  • Detail of a Roman Sebasteion relief  sculpture of Agon Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
The scene is an allegory of the athletic contest (or agon). The pillar was a beareded head of Hermes the god of the Gymnasium. Nearby is a palm of victory and a prize table with victory ribbon on it. Two winged baby Eros figures are struggling over a palm branch ( mostly broken): they act out the idea of contest, which is personified in the youthful figure behind. He hold another palm of victory: he is Agon himself.
  • Detail of a Roman Sebasteion relief  sculpture of Agon Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
The scene is an allegory of the athletic contest (or agon). The pillar was a beareded head of Hermes the god of the Gymnasium. Nearby is a palm of victory and a prize table with victory ribbon on it. Two winged baby Eros figures are struggling over a palm branch ( mostly broken): they act out the idea of contest, which is personified in the youthful figure behind. He hold another palm of victory: he is Agon himself.
  • Detail of a Roman Sebasteion relief  sculpture of Agon Aphrodisias Museum, Aphrodisias, Turkey.  <br />
<br />
The scene is an allegory of the athletic contest (or agon). The pillar was a beareded head of Hermes the god of the Gymnasium. Nearby is a palm of victory and a prize table with victory ribbon on it. Two winged baby Eros figures are struggling over a palm branch ( mostly broken): they act out the idea of contest, which is personified in the youthful figure behind. He hold another palm of victory: he is Agon himself.
  • Detail of a Roman Sebasteion relief  sculpture of Agon Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
The scene is an allegory of the athletic contest (or agon). The pillar was a beareded head of Hermes the god of the Gymnasium. Nearby is a palm of victory and a prize table with victory ribbon on it. Two winged baby Eros figures are struggling over a palm branch ( mostly broken): they act out the idea of contest, which is personified in the youthful figure behind. He hold another palm of victory: he is Agon himself.
  • Close up of a Roman Sebasteion relief  sculpture of Agon Aphrodisias Museum, Aphrodisias, Turkey.     Against a white background.<br />
<br />
The scene is an allegory of the athletic contest (or agon). The pillar was a beareded head of Hermes the god of the Gymnasium. Nearby is a palm of victory and a prize table with victory ribbon on it. Two winged baby Eros figures are struggling over a palm branch ( mostly broken): they act out the idea of contest, which is personified in the youthful figure behind. He hold another palm of victory: he is Agon himself.
  • Close up of a Roman Sebasteion relief  sculpture of Agon Aphrodisias Museum, Aphrodisias, Turkey.  Against an art background.<br />
<br />
The scene is an allegory of the athletic contest (or agon). The pillar was a beareded head of Hermes the god of the Gymnasium. Nearby is a palm of victory and a prize table with victory ribbon on it. Two winged baby Eros figures are struggling over a palm branch ( mostly broken): they act out the idea of contest, which is personified in the youthful figure behind. He hold another palm of victory: he is Agon himself.
  • Close up of a Roman Sebasteion relief  sculpture of Agon Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
The scene is an allegory of the athletic contest (or agon). The pillar was a beareded head of Hermes the god of the Gymnasium. Nearby is a palm of victory and a prize table with victory ribbon on it. Two winged baby Eros figures are struggling over a palm branch ( mostly broken): they act out the idea of contest, which is personified in the youthful figure behind. He hold another palm of victory: he is Agon himself.
  • Close up of a Roman Sebasteion relief  sculpture of Agon Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.<br />
<br />
The scene is an allegory of the athletic contest (or agon). The pillar was a beareded head of Hermes the god of the Gymnasium. Nearby is a palm of victory and a prize table with victory ribbon on it. Two winged baby Eros figures are struggling over a palm branch ( mostly broken): they act out the idea of contest, which is personified in the youthful figure behind. He hold another palm of victory: he is Agon himself.
  • Close up of a Roman Sebasteion relief  sculpture of Agon Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
The scene is an allegory of the athletic contest (or agon). The pillar was a beareded head of Hermes the god of the Gymnasium. Nearby is a palm of victory and a prize table with victory ribbon on it. Two winged baby Eros figures are struggling over a palm branch ( mostly broken): they act out the idea of contest, which is personified in the youthful figure behind. He hold another palm of victory: he is Agon himself.
  • Roman Sebasteion relief  sculpture of Agon Aphrodisias Museum, Aphrodisias, Turkey.     Against a white background.<br />
<br />
The scene is an allegory of the athletic contest (or agon). The pillar was a beareded head of Hermes the god of the Gymnasium. Nearby is a palm of victory and a prize table with victory ribbon on it. Two winged baby Eros figures are struggling over a palm branch ( mostly broken): they act out the idea of contest, which is personified in the youthful figure behind. He hold another palm of victory: he is Agon himself.
  • Roman Sebasteion relief  sculpture of Agon Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.<br />
<br />
The scene is an allegory of the athletic contest (or agon). The pillar was a beareded head of Hermes the god of the Gymnasium. Nearby is a palm of victory and a prize table with victory ribbon on it. Two winged baby Eros figures are struggling over a palm branch ( mostly broken): they act out the idea of contest, which is personified in the youthful figure behind. He hold another palm of victory: he is Agon himself.
  • Roman Sebasteion relief  sculpture of Agon Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
The scene is an allegory of the athletic contest (or agon). The pillar was a beareded head of Hermes the god of the Gymnasium. Nearby is a palm of victory and a prize table with victory ribbon on it. Two winged baby Eros figures are struggling over a palm branch ( mostly broken): they act out the idea of contest, which is personified in the youthful figure behind. He hold another palm of victory: he is Agon himself.
  • Roman Sebasteion relief  sculpture of Agon Aphrodisias Museum, Aphrodisias, Turkey.  Against an art background.<br />
<br />
The scene is an allegory of the athletic contest (or agon). The pillar was a beareded head of Hermes the god of the Gymnasium. Nearby is a palm of victory and a prize table with victory ribbon on it. Two winged baby Eros figures are struggling over a palm branch ( mostly broken): they act out the idea of contest, which is personified in the youthful figure behind. He hold another palm of victory: he is Agon himself.
  • Roman Sebasteion relief  sculpture of Agon Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
The scene is an allegory of the athletic contest (or agon). The pillar was a beareded head of Hermes the god of the Gymnasium. Nearby is a palm of victory and a prize table with victory ribbon on it. Two winged baby Eros figures are struggling over a palm branch ( mostly broken): they act out the idea of contest, which is personified in the youthful figure behind. He hold another palm of victory: he is Agon himself.
  • Photo of Roman releif sculpture, an allegory of an athletic contest [ Agon ]  Aphrodisias, Turkey, Images of Roman art bas releifs. Buy as stock or photo art prints. The pillar with a bearded head on it is Hermes the god of the gymnasium. Nearby is a palm of victiry with a ribbon on a prize table. Two winged baby Eros figures are stuggling over a palm branch acting out the idea of a contest. The youthful figure is Agon himself who holds a palm of victory
  • Photo of Roman releif sculpture, an allegory of an athletic contest [ Agon ]  Aphrodisias, Turkey, Images of Roman art bas releifs. Buy as stock or photo art prints. The pillar with a bearded head on it is Hermes the god of the gymnasium. Nearby is a palm of victiry with a ribbon on a prize table. Two winged baby Eros figures are stuggling over a palm branch acting out the idea of a contest. The youthful figure is Agon himself who holds a palm of victory
  • Photo of Roman releif sculpture, an allegory of an athletic contest [ Agon ]  Aphrodisias, Turkey, Images of Roman art bas releifs. Buy as stock or photo art prints. The pillar with a bearded head on it is Hermes the god of the gymnasium. Nearby is a palm of victiry with a ribbon on a prize table. Two winged baby Eros figures are stuggling over a palm branch acting out the idea of a contest. The youthful figure is Agon himself who holds a palm of victory
  • Photo of Roman releif sculpture, an allegory of an athletic contest [ Agon ]  Aphrodisias, Turkey, Images of Roman art bas releifs. Buy as stock or photo art prints. The pillar with a bearded head on it is Hermes the god of the gymnasium. Nearby is a palm of victiry with a ribbon on a prize table. Two winged baby Eros figures are stuggling over a palm branch acting out the idea of a contest. The youthful figure is Agon himself who holds a palm of victory
  • Photo of Roman releif sculpture, an allegory of an athletic contest [ Agon ]  Aphrodisias, Turkey, Images of Roman art bas releifs. Buy as stock or photo art prints. The pillar with a bearded head on it is Hermes the god of the gymnasium. Nearby is a palm of victiry with a ribbon on a prize table. Two winged baby Eros figures are stuggling over a palm branch acting out the idea of a contest. The youthful figure is Agon himself who holds a palm of victory
  • Photo of Roman releif sculpture, an allegory of an athletic contest [ Agon ]  Aphrodisias, Turkey, Images of Roman art bas releifs. Buy as stock or photo art prints. The pillar with a bearded head on it is Hermes the god of the gymnasium. Nearby is a palm of victiry with a ribbon on a prize table. Two winged baby Eros figures are stuggling over a palm branch acting out the idea of a contest. The youthful figure is Agon himself who holds a palm of victory
  • Photo of Roman releif sculpture, an allegory of an athletic contest [ Agon ]  Aphrodisias, Turkey, Images of Roman art bas releifs. Buy as stock or photo art prints. The pillar with a bearded head on it is Hermes the god of the gymnasium. Nearby is a palm of victiry with a ribbon on a prize table. Two winged baby Eros figures are stuggling over a palm branch acting out the idea of a contest. The youthful figure is Agon himself who holds a palm of victory
  • Three handled Mycenaean  Palace Style amphora with large palm trees symmetrically placed on the sides and smaller palm trees with floral motifs in between. This Mycenaean  vase is distinguished by the high quality of clay and paint, and by the naturalistic rendering of the decoration. From the Mycenaean cemetery at Argive Deiras, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Three handled Mycenaean  Palace Style amphora with large palm trees symmetrically placed on the sides and smaller palm trees with floral motifs in between. This Mycenaean  vase is distinguished by the high quality of clay and paint, and by the naturalistic rendering of the decoration. From the Mycenaean cemetery at Argive Deiras, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Three handled Mycenaean  Palace Style amphora with large palm trees symmetrically placed on the sides and smaller palm trees with floral motifs in between. This Mycenaean  vase is distinguished by the high quality of clay and paint, and by the naturalistic rendering of the decoration. From the Mycenaean cemetery at Argive Deiras, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Three handled Mycenaean  Palace Style amphora with large palm trees symmetrically placed on the sides and smaller palm trees with floral motifs in between. This Mycenaean  vase is distinguished by the high quality of clay and paint, and by the naturalistic rendering of the decoration. From the Mycenaean cemetery at Argive Deiras, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Three handled Mycenaean  Palace Style amphora with large palm trees symmetrically placed on the sides and smaller palm trees with floral motifs in between. This Mycenaean  vase is distinguished by the high quality of clay and paint, and by the naturalistic rendering of the decoration. From the Mycenaean cemetery at Argive Deiras, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Three handled Mycenaean  Palace Style amphora with large palm trees symmetrically placed on the sides and smaller palm trees with floral motifs in between. This Mycenaean  vase is distinguished by the high quality of clay and paint, and by the naturalistic rendering of the decoration. From the Mycenaean cemetery at Argive Deiras, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Three handled Mycenaean  Palace Style amphora with large palm trees symmetrically placed on the sides and smaller palm trees with floral motifs in between. This Mycenaean  vase is distinguished by the high quality of clay and paint, and by the naturalistic rendering of the decoration. From the Mycenaean cemetery at Argive Deiras, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Three handled Mycenaean  Palace Style amphora with large palm trees symmetrically placed on the sides and smaller palm trees with floral motifs in between. This Mycenaean  vase is distinguished by the high quality of clay and paint, and by the naturalistic rendering of the decoration. From the Mycenaean cemetery at Argive Deiras, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Three handled Mycenaean  Palace Style amphora with large palm trees symmetrically placed on the sides and smaller palm trees with floral motifs in between. This Mycenaean  vase is distinguished by the high quality of clay and paint, and by the naturalistic rendering of the decoration. From the Mycenaean cemetery at Argive Deiras, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Three handled Mycenaean  Palace Style amphora with large palm trees symmetrically placed on the sides and smaller palm trees with floral motifs in between. This Mycenaean  vase is distinguished by the high quality of clay and paint, and by the naturalistic rendering of the decoration. From the Mycenaean cemetery at Argive Deiras, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Three handled Mycenaean  Palace Style amphora with large palm trees symmetrically placed on the sides and smaller palm trees with floral motifs in between. This Mycenaean  vase is distinguished by the high quality of clay and paint, and by the naturalistic rendering of the decoration. From the Mycenaean cemetery at Argive Deiras, Greece. 15th Century BC. Cat No 6725 Athens Archaeological Museum.
  • Close up detail of the Roman mosaics of the Vestibule of Eros & Pan, room no 43  at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Vestibule of Eros and Pan Roman floor mosaic at the Villa Romana del Casale depicts a scene that is intended to show how difficult it is for someone like Pan , who is ugly but has a good heart, to conquer love, represented by Eros. Between the two divinities are a palm leaf and a coin symbolising the prizes to be awarded to the winner of the contest.
  • Close up detail of the Roman mosaics of the Vestibule of Eros & Pan, room no 43  at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Vestibule of Eros and Pan Roman floor mosaic at the Villa Romana del Casale depicts a scene that is intended to show how difficult it is for someone like Pan , who is ugly but has a good heart, to conquer love, represented by Eros. Between the two divinities are a palm leaf and a coin symbolising the prizes to be awarded to the winner of the contest.
  • Gothic painted Panel Altarpiece of Saint Barbara by Goncal Peris Sarria. Tempera and gold leaf on wood. Date Circa 1410-1425. Dimensions 278 x 207.7 x 17 cm. At the beginning of the 20th century, the altarpiece was kept in the parish church of Puertomingalvo (Teruel), but it could originally have come from the chapel of Santa Bárbara near this town. This altarpiece is attributed to the painter Gonçal Peris Sarrià, one of the chief representatives of Valencian International Gothic. His style is marked by expressive and picturesque elements, the flowing line and the charm of the colour. The main compartment of the altarpiece represents the titular saint with her distinctive attributes –the tower, in allusion to her imprisonment, and the palm, as she is considered a martyr-- and above her the Calvary. On either side are depicted various episodes from the life of Saint Barbara, who was called on to keep away lightning and storms. . National Museum of Catalan Art, Barcelona, Spain, inv no: 035672-CJT
  • Medieval enamelled crosier with palm leaf flower, beginning of the 13th century from Limoges, enamel on gold. Nieul-sur-L’Autise. AD. Inv OA 8105, The Louvre Museum, Paris.
  • Medieval enamelled crosier with palm leaf flower, beginning of the 13th century from Limoges, enamel on gold. Nieul-sur-L’Autise. AD. Inv OA 8105, The Louvre Museum, Paris.
  • Gothic painted Panel Altarpiece of Saint Barbara by Goncal Peris Sarria. Tempera and gold leaf on wood. Date Circa 1410-1425. Dimesions 278 x 207.7 x 17 cm. At the beginning of the 20th century, the altarpiece was kept in the parish church of Puertomingalvo (Teruel), but it could originally have come from the chapel of Santa Bárbara near this town. This altarpiece is attributed to the painter Gonçal Peris Sarrià, one of the chief representatives of Valencian International Gothic. His style is marked by expressive and picturesque elements, the flowing line and the charm of the colour. The main compartment of the altarpiece represents the titular saint with her distinctive attributes –the tower, in allusion to her imprisonment, and the palm, as she is considered a martyr-- and above her the Calvary. On either side are depicted various episodes from the life of Saint Barbara, who was called on to keep away lightning and storms. . National Museum of Catalan Art, Barcelona, Spain, inv no: 035672-CJT
  • Medieval enamelled crosier with palm leaf flower, beginning of the 13th century from Limoges, enamel on gold. Nieul-sur-L’Autise. AD. Inv OA 8105, The Louvre Museum, Paris.
  • Gothic painted Panel Altarpiece of Saint Barbara by Goncal Peris Sarria. Tempera and gold leaf on wood. Date Circa 1410-1425. Dimesions 278 x 207.7 x 17 cm. At the beginning of the 20th century, the altarpiece was kept in the parish church of Puertomingalvo (Teruel), but it could originally have come from the chapel of Santa Bárbara near this town. This altarpiece is attributed to the painter Gonçal Peris Sarrià, one of the chief representatives of Valencian International Gothic. His style is marked by expressive and picturesque elements, the flowing line and the charm of the colour. The main compartment of the altarpiece represents the titular saint with her distinctive attributes –the tower, in allusion to her imprisonment, and the palm, as she is considered a martyr-- and above her the Calvary. On either side are depicted various episodes from the life of Saint Barbara, who was called on to keep away lightning and storms. . National Museum of Catalan Art, Barcelona, Spain, inv no: 035672-CJT
  • Gothic painted Panel Altarpiece of Saint Barbara by Goncal Peris Sarria. Tempera and gold leaf on wood. Date Circa 1410-1425. Dimesions 278 x 207.7 x 17 cm. At the beginning of the 20th century, the altarpiece was kept in the parish church of Puertomingalvo (Teruel), but it could originally have come from the chapel of Santa Bárbara near this town. This altarpiece is attributed to the painter Gonçal Peris Sarrià, one of the chief representatives of Valencian International Gothic. His style is marked by expressive and picturesque elements, the flowing line and the charm of the colour. The main compartment of the altarpiece represents the titular saint with her distinctive attributes –the tower, in allusion to her imprisonment, and the palm, as she is considered a martyr-- and above her the Calvary. On either side are depicted various episodes from the life of Saint Barbara, who was called on to keep away lightning and storms. . National Museum of Catalan Art, Barcelona, Spain, inv no: 035672-CJT
  • Gothic painted Panel Altarpiece of Saint Barbara by Goncal Peris Sarria. Tempera and gold leaf on wood. Date Circa 1410-1425. Dimesions 278 x 207.7 x 17 cm. At the beginning of the 20th century, the altarpiece was kept in the parish church of Puertomingalvo (Teruel), but it could originally have come from the chapel of Santa Bárbara near this town. This altarpiece is attributed to the painter Gonçal Peris Sarrià, one of the chief representatives of Valencian International Gothic. His style is marked by expressive and picturesque elements, the flowing line and the charm of the colour. The main compartment of the altarpiece represents the titular saint with her distinctive attributes –the tower, in allusion to her imprisonment, and the palm, as she is considered a martyr-- and above her the Calvary. On either side are depicted various episodes from the life of Saint Barbara, who was called on to keep away lightning and storms. . National Museum of Catalan Art, Barcelona, Spain, inv no: 035672-CJT
  • Palm trees growing in the river bed of the Ziz Gorge, Morocco
  • Palm trees growing in the river bed of the Ziz Gorge, Morocco
  • West Facade, Central Portal - Left Jamb Figures c. 1145. Cathedral of Chartres, France . Gothic statues on the left jamb of the central portal. All have haloes. The leftmost is a crowned woman whose hair is in long plaits; she holds a book. The central figure is a bearded man in a cap that resembles the ones worn by other jamb figures and by figures in the tympanum of the right portal. He holds an unidentified object. The figure nearest the portal is a bearded man holding a scroll and raising one hand- palm outwards- towards the viewer. A UNESCO World Heritage Site. .
  • South Porch right jam. Cathedral of Chartres, France. Gothic statue of the Apostles (haloed, carrying the instruments of their deaths). From left to right they are Paul (characteristic facial features, carrying a sword) , John (beardless, carrying a book and what Houvet says is part of a palm frond) , James Major (carrying a sword and a pilgrim's pouch) , James Minor (carrying a club) , Bartholomew. On the socles on which they stand are their persecutors, mostly crowned figures holding scrolls and looking upward. A UNESCO World Heritage Site.
  • South Porch right jam. Cathedral of Chartres, France. Gothic statue of the Apostles (haloed, carrying the instruments of their deaths). From left to right they are Paul (characteristic facial features, carrying a sword) , John (beardless, carrying a book and what Houvet says is part of a palm frond) , James Major (carrying a sword and a pilgrim's pouch) , James Minor (carrying a club) , Bartholomew. On the socles on which they stand are their persecutors, mostly crowned figures holding scrolls and looking upward. A UNESCO World Heritage Site.
  • Close up detail of the Roman mosaics of the Vestibule of Eros & Pan depicting Pan, room no 43  at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Vestibule of Eros and Pan Roman floor mosaic at the Villa Romana del Casale depicts a scene that is intended to show how difficult it is for someone like Pan , who is ugly but has a good heart, to conquer love, represented by Eros. Between the two divinities are a palm leaf and a coin symbolising the prizes to be awarded to the winner of the contest.
  • Wide picture of the Roman mosaics of the Vestibule of Eros & Pan, room no 43  at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Vestibule of Eros and Pan Roman floor mosaic at the Villa Romana del Casale depicts a scene that is intended to show how difficult it is for someone like Pan , who is ugly but has a good heart, to conquer love, represented by Eros. Between the two divinities are a palm leaf and a coin symbolising the prizes to be awarded to the winner of the contest.
  • 8th Cent. B.C Babylonian limestone funereal stele with inscription & relief sculpture of the governor of Mari and Suhi praying to the Gods from the Palace Museum Babylon, Iraq. The inscription states that the governor reigned for 13 years and built the city of Gabarri-ibni also making canals for new date palm cultivation in different cities, and working on the development of agriculture in the city of Suhi. Istanbul Archaeological Museum Inv. 7815
  • 8th Cent. B.C Babylonian limestone funereal stele with inscription & relief sculpture of the governor of Mari and Suhi praying to the Gods from the Palace Museum Babylon, Iraq. The inscription states that the governor reigned for 13 years and built the city of Gabarri-ibni also making canals for new date palm cultivation in different cities, and working on the development of agriculture in the city of Suhi. Istanbul Archaeological Museum Inv. 7815
  • 8th Cent. B.C Babylonian limestone  stele with inscription & relief sculpture of the governor of Mari and Suhi praying to the Gods from the Palace Museum Babylon, Iraq. The inscription states that the governor reigned for 13 years and built the city of Gabarri-ibni also making canals for new date palm cultivation in different cities, and working on the development of agriculture in the city of Suhi. Istanbul Archaeological Museum Inv. 7815
  • 8th Cent. B.C Babylonian limestone funereal stele with inscription & relief sculpture of the governor of Mari and Suhi praying to the Gods from the Palace Museum Babylon, Iraq. The inscription states that the governor reigned for 13 years and built the city of Gabarri-ibni also making canals for new date palm cultivation in different cities, and working on the development of agriculture in the city of Suhi. Istanbul Archaeological Museum Inv. 7815
  • 8th Cent. B.C Babylonian limestone funereal stele with inscription & relief sculpture of the governor of Mari and Suhi praying to the Gods from the Palace Museum Babylon, Iraq. The inscription states that the governor reigned for 13 years and built the city of Gabarri-ibni also making canals for new date palm cultivation in different cities, and working on the development of agriculture in the city of Suhi. Istanbul Archaeological Museum Inv. 7815
  • 4th Century AD Roman floor Mosaic showing the popular and successful charioteer Marcianus with the palm of victory.  National Museum Of Roman Art, Merida, Spain
  • Medieval enamelled crosier with palm leaf flower, beginning of the 13th century from Limoges, enamel on gold. Nieul-sur-L’Autise. AD. Inv OA 8105, The Louvre Museum, Paris.
  • Medieval enamelled crosier with palm leaf flower, beginning of the 13th century from Limoges, enamel on gold. Nieul-sur-L’Autise. AD. Inv OA 8105, The Louvre Museum, Paris.
  • Medieval enamelled crosier with palm leaf flower, beginning of the 13th century from Limoges, enamel on gold. Nieul-sur-L’Autise. AD. Inv OA 8105, The Louvre Museum, Paris.
  • Gothic painted Panel Altarpiece of Saint Barbara by Goncal Peris Sarria. Tempera and gold leaf on wood. Date Circa 1410-1425. Dimesions 278 x 207.7 x 17 cm. At the beginning of the 20th century, the altarpiece was kept in the parish church of Puertomingalvo (Teruel), but it could originally have come from the chapel of Santa Bárbara near this town. This altarpiece is attributed to the painter Gonçal Peris Sarrià, one of the chief representatives of Valencian International Gothic. His style is marked by expressive and picturesque elements, the flowing line and the charm of the colour. The main compartment of the altarpiece represents the titular saint with her distinctive attributes –the tower, in allusion to her imprisonment, and the palm, as she is considered a martyr-- and above her the Calvary. On either side are depicted various episodes from the life of Saint Barbara, who was called on to keep away lightning and storms. . National Museum of Catalan Art, Barcelona, Spain, inv no: 035672-CJT
  • Gothic painted Panel Altarpiece of Saint Barbara by Goncal Peris Sarria. Tempera and gold leaf on wood. Date Circa 1410-1425. Dimesions 278 x 207.7 x 17 cm. At the beginning of the 20th century, the altarpiece was kept in the parish church of Puertomingalvo (Teruel), but it could originally have come from the chapel of Santa Bárbara near this town. This altarpiece is attributed to the painter Gonçal Peris Sarrià, one of the chief representatives of Valencian International Gothic. His style is marked by expressive and picturesque elements, the flowing line and the charm of the colour. The main compartment of the altarpiece represents the titular saint with her distinctive attributes –the tower, in allusion to her imprisonment, and the palm, as she is considered a martyr-- and above her the Calvary. On either side are depicted various episodes from the life of Saint Barbara, who was called on to keep away lightning and storms. . National Museum of Catalan Art, Barcelona, Spain, inv no: 035672-CJT
  • Gothic painted Panel Altarpiece of Saint Barbara by Goncal Peris Sarria. Tempera and gold leaf on wood. Date Circa 1410-1425. Dimesions 278 x 207.7 x 17 cm. At the beginning of the 20th century, the altarpiece was kept in the parish church of Puertomingalvo (Teruel), but it could originally have come from the chapel of Santa Bárbara near this town. This altarpiece is attributed to the painter Gonçal Peris Sarrià, one of the chief representatives of Valencian International Gothic. His style is marked by expressive and picturesque elements, the flowing line and the charm of the colour. The main compartment of the altarpiece represents the titular saint with her distinctive attributes –the tower, in allusion to her imprisonment, and the palm, as she is considered a martyr-- and above her the Calvary. On either side are depicted various episodes from the life of Saint Barbara, who was called on to keep away lightning and storms. . National Museum of Catalan Art, Barcelona, Spain, inv no: 035672-CJT
  • 4th Century AD Roman floor Mosaic showing the popular and successful charioteer Marcianus with the palm of victory.  National Museum Of Roman Art, Merida, Spain
  • Gothic painted Panel Altarpiece of Saint Barbara by Goncal Peris Sarria. Tempera and gold leaf on wood. Date Circa 1410-1425. Dimesions 278 x 207.7 x 17 cm. At the beginning of the 20th century, the altarpiece was kept in the parish church of Puertomingalvo (Teruel), but it could originally have come from the chapel of Santa Bárbara near this town. This altarpiece is attributed to the painter Gonçal Peris Sarrià, one of the chief representatives of Valencian International Gothic. His style is marked by expressive and picturesque elements, the flowing line and the charm of the colour. The main compartment of the altarpiece represents the titular saint with her distinctive attributes –the tower, in allusion to her imprisonment, and the palm, as she is considered a martyr-- and above her the Calvary. On either side are depicted various episodes from the life of Saint Barbara, who was called on to keep away lightning and storms. . National Museum of Catalan Art, Barcelona, Spain, inv no: 035672-CJT
  • Palm trees growing in the river bed of the Ziz Gorge, Morocco
  • Palm trees growing in the river bed of the Ziz Gorge, Morocco
  • Palm trees growing in the river bed of the Ziz Gorge, Morocco
  • South Porch right jam. Cathedral of Chartres, France. Gothic statue of the Apostles (haloed, carrying the instruments of their deaths). From left to right they are Paul (characteristic facial features, carrying a sword) , John (beardless, carrying a book and what Houvet says is part of a palm frond) , James Major (carrying a sword and a pilgrim's pouch) , James Minor (carrying a club) , Bartholomew. On the socles on which they stand are their persecutors, mostly crowned figures holding scrolls and looking upward. A UNESCO World Heritage Site.
  • Australia - Palm Stump  - Fine Art Photos & Photography black & white  Prints
  • Coloured glazed brick panels depicting Lions stiding from the facade of the Throne Room dating from 604-562 BC. Babylon (present day Iraq). The throne room is situated in the third courtyard of the complex of the royal palace. Its 56 meters wide facade was decorated with coloured glazed bricks. A tentative reconstruction shows the composition of the upper part of the facade, including the stylised palms and geometric patterned registers. Two original sections are displayed on the left next to the Ishtar Gate. The lower part f the facade with representations of the striding lions was predominantly reconstructed from the original baked brick fragments. The frieze of lions was presumably arranged symmetrically so the animals faced towards the central main entrance to the Throne room. The throne room was excavated by Robert Koldewey between 1899 and 1917. It was used as an official reception room. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed brick panels depicting Lions stiding from the facade of the Throne Room dating from 604-562 BC. Babylon (present day Iraq). The throne room is situated in the third courtyard of the complex of the royal palace. Its 56 meters wide facade was decorated with coloured glazed bricks. A tentative reconstruction shows the composition of the upper part of the facade, including the stylised palms and geometric patterned registers. Two original sections are displayed on the left next to the Ishtar Gate. The lower part f the facade with representations of the striding lions was predominantly reconstructed from the original baked brick fragments. The frieze of lions was presumably arranged symmetrically so the animals faced towards the central main entrance to the Throne room. The throne room was excavated by Robert Koldewey between 1899 and 1917. It was used as an official reception room. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed brick panels depicting Lions stiding from the facade of the Throne Room dating from 604-562 BC. Babylon (present day Iraq). The throne room is situated in the third courtyard of the complex of the royal palace. Its 56 meters wide facade was decorated with coloured glazed bricks. A tentative reconstruction shows the composition of the upper part of the facade, including the stylised palms and geometric patterned registers. Two original sections are displayed on the left next to the Ishtar Gate. The lower part f the facade with representations of the striding lions was predominantly reconstructed from the original baked brick fragments. The frieze of lions was presumably arranged symmetrically so the animals faced towards the central main entrance to the Throne room. The throne room was excavated by Robert Koldewey between 1899 and 1917. It was used as an official reception room. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed brick panels depicting Lions stiding from the facade of the Throne Room dating from 604-562 BC. Babylon (present day Iraq). The throne room is situated in the third courtyard of the complex of the royal palace. Its 56 meters wide facade was decorated with coloured glazed bricks. A tentative reconstruction shows the composition of the upper part of the facade, including the stylised palms and geometric patterned registers. Two original sections are displayed on the left next to the Ishtar Gate. The lower part f the facade with representations of the striding lions was predominantly reconstructed from the original baked brick fragments. The frieze of lions was presumably arranged symmetrically so the animals faced towards the central main entrance to the Throne room. The throne room was excavated by Robert Koldewey between 1899 and 1917. It was used as an official reception room. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed brick panels depicting Lions stiding from the facade of the Throne Room dating from 604-562 BC. Babylon (present day Iraq). The throne room is situated in the third courtyard of the complex of the royal palace. Its 56 meters wide facade was decorated with coloured glazed bricks. A tentative reconstruction shows the composition of the upper part of the facade, including the stylised palms and geometric patterned registers. Two original sections are displayed on the left next to the Ishtar Gate. The lower part f the facade with representations of the striding lions was predominantly reconstructed from the original baked brick fragments. The frieze of lions was presumably arranged symmetrically so the animals faced towards the central main entrance to the Throne room. The throne room was excavated by Robert Koldewey between 1899 and 1917. It was used as an official reception room. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed brick panels depicting Lions stiding from the facade of the Throne Room dating from 604-562 BC. Babylon (present day Iraq). The throne room is situated in the third courtyard of the complex of the royal palace. Its 56 meters wide facade was decorated with coloured glazed bricks. A tentative reconstruction shows the composition of the upper part of the facade, including the stylised palms and geometric patterned registers. Two original sections are displayed on the left next to the Ishtar Gate. The lower part f the facade with representations of the striding lions was predominantly reconstructed from the original baked brick fragments. The frieze of lions was presumably arranged symmetrically so the animals faced towards the central main entrance to the Throne room. The throne room was excavated by Robert Koldewey between 1899 and 1917. It was used as an official reception room. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed brick panels depicting Lions stiding from the facade of the Throne Room dating from 604-562 BC. Babylon (present day Iraq). The throne room is situated in the third courtyard of the complex of the royal palace. Its 56 meters wide facade was decorated with coloured glazed bricks. A tentative reconstruction shows the composition of the upper part of the facade, including the stylised palms and geometric patterned registers. Two original sections are displayed on the left next to the Ishtar Gate. The lower part f the facade with representations of the striding lions was predominantly reconstructed from the original baked brick fragments. The frieze of lions was presumably arranged symmetrically so the animals faced towards the central main entrance to the Throne room. The throne room was excavated by Robert Koldewey between 1899 and 1917. It was used as an official reception room. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin
  • Coloured glazed brick panels depicting Lions stiding from the facade of the Throne Room dating from 604-562 BC. Babylon (present day Iraq). The throne room is situated in the third courtyard of the complex of the royal palace. Its 56 meters wide facade was decorated with coloured glazed bricks. A tentative reconstruction shows the composition of the upper part of the facade, including the stylised palms and geometric patterned registers. Two original sections are displayed on the left next to the Ishtar Gate. The lower part f the facade with representations of the striding lions was predominantly reconstructed from the original baked brick fragments. The frieze of lions was presumably arranged symmetrically so the animals faced towards the central main entrance to the Throne room. The throne room was excavated by Robert Koldewey between 1899 and 1917. It was used as an official reception room. The Vorderasiatisches Museum, part of the Pergamon Museum, Berlin

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