• Reconstruction of 4 Catalhoyuk houses to help archaeologists understand the finished structure of excavated ruins. The leopard frescoes on the wall were not found in this room reconstruction. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • Reconstruction of 4 Catalhoyuk houses to help archaeologists understand the finished structure of excavated ruins. The leopard frescoes on the wall were not found in this room reconstruction. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • Reconstruction of a geometric wall painting of building 77 of the north area, 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • An exposed skeleton which were found in pits under the floors of some houses. On the wall are frescoes of what look like vultures, Scholars belive that dead bodies were subject to excarnation which means that their flesh was stripped from the body to leave the skeleton. A reconstruction of one of four Catalhoyuk houses to help archaeologists understand the finished structure of excavated ruins. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • Aurochs skulls covered in lime plaster to make waht appear to be seats. On the wall are frescoes of hand prints will a platererd bulls skull. A reconstruction of one of four Catalhoyuk houses to help archaeologists understand the finished structure of excavated ruins. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • A close up of a clay oven in a reconstruction of one of four Catalhoyuk houses to help archaeologists understand the finished structure of excavated ruins. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • A clay oven below a ladder which led to the main entrance via the roof, which also allowed smoke out. A reconstruction of one of four Catalhoyuk houses to help archaeologists understand the finished structure of excavated ruins. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • An exposed skeleton which were found in pits under the floors of some houses. On the wall are frescoes of what look like vultures, Scholars belive that dead bodies were subject to excarnation which means that their flesh was stripped from the body to leave the skeleton. A reconstruction of one of four Catalhoyuk houses to help archaeologists understand the finished structure of excavated ruins. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • An exposed skeleton which were found in pits under the floors of some houses. On the wall are frescoes of what look like vultures, Scholars belive that dead bodies were subject to excarnation which means that their flesh was stripped from the body to leave the skeleton. A reconstruction of one of four Catalhoyuk houses to help archaeologists understand the finished structure of excavated ruins. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • An exposed skeleton which were found in pits under the floors of some houses. On the wall are frescoes of what look like vultures, Scholars belive that dead bodies were subject to excarnation which means that their flesh was stripped from the body to leave the skeleton. A reconstruction of one of four Catalhoyuk houses to help archaeologists understand the finished structure of excavated ruins. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • A clay oven below a ladder which led to the main entrance via the roof, which also allowed smoke out. A reconstruction of one of four Catalhoyuk houses to help archaeologists understand the finished structure of excavated ruins. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • A plastered bull skull and frescoes of a reconstruction of one of four Catalhoyuk houses to help archaeologists understand the finished structure of excavated ruins. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • A plastered bull skull and frescoes of a reconstruction of one of four Catalhoyuk houses to help archaeologists understand the finished structure of excavated ruins. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • A plastered bull skull and frescoes of a reconstruction of one of four Catalhoyuk houses to help archaeologists understand the finished structure of excavated ruins. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • A plastered bull skull and frescoes of a reconstruction of one of four Catalhoyuk houses to help archaeologists understand the finished structure of excavated ruins. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • A plastered bull skull and frescoes of a reconstruction of one of four Catalhoyuk houses to help archaeologists understand the finished structure of excavated ruins. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • A plastered bull skull and frescoes of a reconstruction of one of four Catalhoyuk houses to help archaeologists understand the finished structure of excavated ruins. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • Recontructed fresco of an original found at Catalhoyuk. The men are hunting a deer and pulling on its tounge to disable it. The hunters are believed by scholors to be wearing leopard skin costumes, Painted by Mutlu Gundiler. Reconstructed houses, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • Recontructed fresco of an original found at Catalhoyuk. The men are hunting a deer and pulling on its tounge to disable it. The hunters are believed by scholors to be wearing leopard skin costumes, Painted by Mutlu Gundiler. Reconstructed houses, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • Recontructed fresco of an original found at Catalhoyuk. The men are hunting a deer and pulling on its tounge to disable it. The hunters are believed by scholors to be wearing leopard skin costumes, Painted by Mutlu Gundiler. Reconstructed houses, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • Recontructed fresco of an original found at Catalhoyuk. The 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
  • 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
  • Recontructed fresco of what are possibly two leopards found at Catalhoyuk. Reconstructed houses, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • Recontructed fresco of an original hunting scene found at Catalhoyuk. 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
  • 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
  • The church of San Giovanni Battista is located in the alpine village of Mogno. The new church was designed by the Swiss architect Mario Botta who used marble and granite from the valleys of the area.
  • The church of San Giovanni Battista is located in the alpine village of Mogno. The new church was designed by the Swiss architect Mario Botta who used marble and granite from the valleys of the area.
  • The church of San Giovanni Battista is located in the alpine village of Mogno. The new church was designed by the Swiss architect Mario Botta who used marble and granite from the valleys of the area.
  • The church of San Giovanni Battista is located in the alpine village of Mogno. The new church was designed by the Swiss architect Mario Botta who used marble and granite from the valleys of the area.
  • The church of San Giovanni Battista is located in the alpine village of Mogno. The new church was designed by the Swiss architect Mario Botta who used marble and granite from the valleys of the area.
  • The church of San Giovanni Battista is located in the alpine village of Mogno. The new church was designed by the Swiss architect Mario Botta who used marble and granite from the valleys of the area.
  • The church of San Giovanni Battista is located in the alpine village of Mogno. The new church was designed by the Swiss architect Mario Botta who used marble and granite from the valleys of the area.
  • The church of San Giovanni Battista is located in the alpine village of Mogno. The new church was designed by the Swiss architect Mario Botta who used marble and granite from the valleys of the area.
  • The church of San Giovanni Battista is located in the alpine village of Mogno. The new church was designed by the Swiss architect Mario Botta who used marble and granite from the valleys of the area.
  • The church of San Giovanni Battista is located in the alpine village of Mogno. The new church was designed by the Swiss architect Mario Botta who used marble and granite from the valleys of the area.
  • The church of San Giovanni Battista is located in the alpine village of Mogno. The new church was designed by the Swiss architect Mario Botta who used marble and granite from the valleys of the area.
  • The church of San Giovanni Battista is located in the alpine village of Mogno. The new church was designed by the Swiss architect Mario Botta who used marble and granite from the valleys of the area.
  • The church of San Giovanni Battista is located in the alpine village of Mogno. The new church was designed by the Swiss architect Mario Botta who used marble and granite from the valleys of the area.
  • The church of San Giovanni Battista is located in the alpine village of Mogno. The new church was designed by the Swiss architect Mario Botta who used marble and granite from the valleys of the area.
  • Reconstruction light show of the how the Gothic statues looked on the Gothic Cathedral of Notre-Dame, Amiens, France
  • Reconstruction light show of the how the Gothic statues looked on the Gothic Cathedral of Notre-Dame, Amiens, France
  • Reconstruction light show of the how the Gothic statues looked on the Gothic Cathedral of Notre-Dame, Amiens, France
  • Reconstruction light show of the how the Gothic statues looked on the Gothic Cathedral of Notre-Dame, Amiens, France
  • Reconstruction light show of the how the Gothic statues looked on the Gothic Cathedral of Notre-Dame, Amiens, France
  • Reconstruction light show of the how the Gothic statues looked on the Gothic Cathedral of Notre-Dame, Amiens, France
  • Reconstruction light show of the how the Gothic statues looked on the Gothic Cathedral of Notre-Dame, Amiens, France
  • Reconstruction light show of the how the Gothic statues looked on the Gothic Cathedral of Notre-Dame, Amiens, France
  • Reconstruction light show of the how the Gothic statues looked on the Gothic Cathedral of Notre-Dame, Amiens, France
  • Reconstruction light show of the how the Gothic statues looked on the Gothic Cathedral of Notre-Dame, Amiens, France
  • Reconstruction light show of the how the Gothic statues looked on the Gothic Cathedral of Notre-Dame, Amiens, France
  • Reconstruction light show of the how the Gothic statues looked on the Gothic Cathedral of Notre-Dame, Amiens, France
  • Reconstruction light show of the how the Gothic statues looked on the Gothic Cathedral of Notre-Dame, Amiens, France
  • Reconstruction light show of the how the Gothic statues looked on the Gothic Cathedral of Notre-Dame, Amiens, France
  • Hattusa city walls & towers reconstruction. Pictures of Hattusa Hittite Archaeological Site, Turkey
  • Reconstruction light show of the how the Gothic statues looked on the Gothic Cathedral of Notre-Dame, Amiens, France
  • Reconstruction light show of the how the Gothic statues looked on the Gothic Cathedral of Notre-Dame, Amiens, France
  • Reconstruction light show of the how the Gothic statues looked on the Gothic Cathedral of Notre-Dame, Amiens, France
  • Reconstruction light show of the how the Gothic statues looked on the Gothic Cathedral of Notre-Dame, Amiens, France
  • Reconstruction light show of the how the Gothic statues looked on the Gothic Cathedral of Notre-Dame, Amiens, France
  • Reconstruction light show of the how the Gothic statues looked on the Gothic Cathedral of Notre-Dame, Amiens, France
  • Reconstruction light show of the how the Gothic statues looked on the Gothic Cathedral of Notre-Dame, Amiens, France
  • Reconstruction light show of the how the Gothic statues looked on the Gothic Cathedral of Notre-Dame, Amiens, France
  • Reconstruction light show of the how the Gothic statues looked on the Gothic Cathedral of Notre-Dame, Amiens, France
  • Reconstruction light show of the how the Gothic statues looked on the Gothic Cathedral of Notre-Dame, Amiens, France
  • Reconstruction light show of the how the Gothic statues looked on the Gothic Cathedral of Notre-Dame, Amiens, France
  • Reconstruction light show of the how the Gothic statues looked on the Gothic Cathedral of Notre-Dame, Amiens, France
  • Reconstruction light show of the how the Gothic statues looked on the Gothic Cathedral of Notre-Dame, Amiens, France
  • Reconstruction light show of the how the Gothic statues looked on the Gothic Cathedral of Notre-Dame, Amiens, France
  • Reconstruction light show of the how the Gothic statues looked on the Gothic Cathedral of Notre-Dame, Amiens, France
  • Reconstruction light show of the how the Gothic statues looked on the Gothic Cathedral of Notre-Dame, Amiens, France
  • Reconstruction light show of the how the Gothic statues looked on the Gothic Cathedral of Notre-Dame, Amiens, France
  • Reconstruction light show of the how the Gothic statues looked on the Gothic Cathedral of Notre-Dame, Amiens, France
  • Reconstruction light show of the how the Gothic statues looked on the Gothic Cathedral of Notre-Dame, Amiens, France
  • Reconstruction light show of the how the Gothic statues looked on the Gothic Cathedral of Notre-Dame, Amiens, France
  • Reconstruction light show of the how the Gothic statues looked on the Gothic Cathedral of Notre-Dame, Amiens, France
  • Reconstruction light show of the how the Gothic statues looked on the Gothic Cathedral of Notre-Dame, Amiens, France
  • Reconstruction light show of the how the Gothic statues looked on the Gothic Cathedral of Notre-Dame, Amiens, France
  • Reconstruction light show of the how the Gothic statues looked on the Gothic Cathedral of Notre-Dame, Amiens, France
  • 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
  • Summer light show showing how the Gothic statues originally looked on the Gothic Cathedral of Notre-Dame, Amiens, France
  • Reconstruction of  the inside of the Greek Tomb of  the Diver  [La Tomba del Truffatore]. The rear panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables.  The men on the couches are playing the song of Eros the liar and the flute to distract the deceased from worldly thoughts so he can enter the next world. The fresco on the lid of the tomb and shows a  diving from a column into water. The column represents the border of thye known world and therefore the limit of man's knowledge.  The dive represents the passage form this world to the next. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Summer light show showing how the Gothic statues originally looked on the Gothic Cathedral of Notre-Dame, Amiens, France
  • Summer light show showing how the Gothic statues originally looked on the Gothic Cathedral of Notre-Dame, Amiens, France
  • Summer light show showing how the Gothic statues originally looked on the Gothic Cathedral of Notre-Dame, Amiens, France
  • Summer light show showing how the Gothic statues originally looked on the Gothic Cathedral of Notre-Dame, Amiens, France
  • Summer light show showing how the Gothic statues originally looked on the Gothic Cathedral of Notre-Dame, Amiens, France
  • Summer light show showing how the Gothic statues originally looked on the Gothic Cathedral of Notre-Dame, Amiens, France
  • Summer light show showing how the Gothic statues originally looked on the Gothic Cathedral of Notre-Dame, Amiens, France
  • Summer light show showing how the Gothic statues originally looked on the Gothic Cathedral of Notre-Dame, Amiens, France
  • Summer light show showing how the Gothic statues originally looked on the Gothic Cathedral of Notre-Dame, Amiens, France
  • Summer light show showing how the Gothic statues originally looked on the Gothic Cathedral of Notre-Dame, Amiens, France
  • Summer light show showing how the Gothic statues originally looked on the Gothic Cathedral of Notre-Dame, Amiens, France
  • Summer light show showing how the Gothic statues originally looked on the Gothic Cathedral of Notre-Dame, Amiens, France
  • Reconstruction of  the inside of the Greek Tomb of  the Diver  [La Tomba del Truffatore] from the Greek city of Poseidonia which became Roman Paestum. .   The rear panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables on which goblets have been placed.  The abondon experienced at the Synposium was one way in which the dead could access the next world .  The fresco on the lid of the tomb and shows a  diving from a column into water. The column represents the border of thye known world and therefore the limit of man's knowledge.  The dive represents the passage form this world to the next. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Reconstruction of  the inside of the Greek Tomb of  the Diver  [La Tomba del Truffatore]. The rear panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables.  The men on the couches are playing the song of Eros the liar and the flute to distract the deceased from worldly thoughts so he can enter the next world. The fresco on the lid of the tomb and shows a  diving from a column into water. The column represents the border of thye known world and therefore the limit of man's knowledge.  The dive represents the passage form this world to the next. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Reconstruction of  the inside of the Greek Tomb of  the Diver  [La Tomba del Truffatore]. The rear panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables.  The men on the couches are playing the song of Eros the liar and the flute to distract the deceased from worldly thoughts so he can enter the next world. The fresco on the lid of the tomb and shows a  diving from a column into water. The column represents the border of thye known world and therefore the limit of man's knowledge.  The dive represents the passage form this world to the next. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Summer light show showing how the Gothic statues originally looked on the Gothic Cathedral of Notre-Dame, Amiens, France
  • Summer light show showing how the Gothic statues originally looked on the Gothic Cathedral of Notre-Dame, Amiens, France
  • Summer light show showing how the Gothic statues originally looked on the Gothic Cathedral of Notre-Dame, Amiens, France
  • Summer light show showing how the Gothic statues originally looked on the Gothic Cathedral of Notre-Dame, Amiens, France
  • Summer light show showing how the Gothic statues originally looked on the Gothic Cathedral of Notre-Dame, Amiens, France
  • Reconstruction of  the inside of the Greek Tomb of  the Diver  [La Tomba del Truffatore] from the Greek city of Poseidonia which became Roman Paestum. .   The rear panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables on which goblets have been placed.  The abondon experienced at the Synposium was one way in which the dead could access the next world .  The fresco on the lid of the tomb and shows a  diving from a column into water. The column represents the border of thye known world and therefore the limit of man's knowledge.  The dive represents the passage form this world to the next. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • 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
  • Reconstruction light show of the how the Gothic statues looked on the Gothic Cathedral of Notre-Dame, Amiens, France
  • Reconstruction of  the inside of the Greek Tomb of  the Diver  [La Tomba del Truffatore] from the Greek city of Poseidonia which became Roman Paestum. .   The rear panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables on which goblets have been placed.  The abondon experienced at the Synposium was one way in which the dead could access the next world .  The fresco on the lid of the tomb and shows a  diving from a column into water. The column represents the border of thye known world and therefore the limit of man's knowledge.  The dive represents the passage form this world to the next. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Arthur Evans reconstruction of A Bull relief fresco  of the Nouth Propylaeum,  Knossos Minoan archaeological site, Crete
  • Arthur Evans reconstruction of  the Nouth Propylaeum Knossos Minoan archaeological site, Crete
  • Arthur Evans reconstruction of  the Nouth Propylaeum Knossos Minoan archaeological site, Crete
  • Arthur Evans reconstruction of  the Nouth Propylaeum Knossos Minoan archaeological site, Crete
  • Reconstruction of Ják ( jak ) church at the Vajdahunyad Castle, Budapest, Hungary
  • Reconstruction light show of the how the Gothic statues looked on the Gothic Cathedral of Notre-Dame, Amiens, France
  • Reconstruction light show of the how the Gothic statues looked on the Gothic Cathedral of Notre-Dame, Amiens, France
  • Reconstruction light show of the how the Gothic statues looked on the Gothic Cathedral of Notre-Dame, Amiens, France
  • Reconstruction light show of the how the Gothic statues looked on the Gothic Cathedral of Notre-Dame, Amiens, France
  • Reconstruction of  the inside of the Greek Tomb of  the Diver  [La Tomba del Truffatore] from the Greek city of Poseidonia which became Roman Paestum. .   The rear panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables on which goblets have been placed.  The abondon experienced at the Synposium was one way in which the dead could access the next world .  The fresco on the lid of the tomb and shows a  diving from a column into water. The column represents the border of thye known world and therefore the limit of man's knowledge.  The dive represents the passage form this world to the next. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Reconstruction of  the inside of the Greek Tomb of  the Diver  [La Tomba del Truffatore]. The rear panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables.  The men on the couches are playing the song of Eros the liar and the flute to distract the deceased from worldly thoughts so he can enter the next world. The fresco on the lid of the tomb and shows a  diving from a column into water. The column represents the border of thye known world and therefore the limit of man's knowledge.  The dive represents the passage form this world to the next. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Reconstruction of  the inside of the Greek Tomb of  the Diver  [La Tomba del Truffatore]. The rear panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables.  The men on the couches are playing the song of Eros the liar and the flute to distract the deceased from worldly thoughts so he can enter the next world. The fresco on the lid of the tomb and shows a  diving from a column into water. The column represents the border of thye known world and therefore the limit of man's knowledge.  The dive represents the passage form this world to the next. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Exterior Wall an reconstruction illustration of Diocletian's, palace,  with the bell tower  of the Cathedral of St Doimus dedicated to the Virgin mary. Diocletian's, palace, Split, Croatia. A UNESCO World Heritage Site
  • Arthur Evans reconstruction of  the Nouth Propylaeum Knossos Minoan archaeological site, Crete
  • Arthur Evans reconstruction of  the Nouth Propylaeum Knossos Minoan archaeological site, Crete
  • Arthur Evans reconstruction of  the South Propylaeum Knossos Minoan archaeological site, Crete
  • Arthur Evans reconstruction of Procession  Frescos of the  South Propylaeum of Knossos Minoan archaeological site, Crete
  • Arthur Evans reconstruction of  the Dolphin Frescos, Knossos Minoan archaeological site, Crete
  • Arthur Evans reconstruction of the the so-called Throne Room or Little Throne Room, Knossos Minoan archaeological site
  • Arthur Evans reconstruction of  the South Propylaeum Knossos Minoan archaeological site, Crete
  • Arthur Evans reconstruction of A Bull relief fresco  of the Nouth Propylaeum,  Knossos Minoan archaeological site, Crete
  • Arthur Evans reconstruction of  the Nouth Propylaeum Knossos Minoan archaeological site, Crete
  • Arthur Evans reconstruction of  the Dolphin Frescos, Knossos Minoan archaeological site, Crete
  • Arthur Evans reconstruction of  the Nouth Propylaeum Knossos Minoan archaeological site, Crete
  • Arthur Evans reconstruction of  the Nouth Propylaeum Knossos Minoan archaeological site, Crete
  • Arthur Evans reconstruction of Procession  Frescos at Knossos Minoan archaeological site, Crete
  • Arthur Evans reconstruction of  the Dolphin Frescos, Knossos Minoan archaeological site, Crete
  • Arthur Evans reconstruction of  the Nouth Propylaeum Knossos Minoan archaeological site, Crete
  • Arthur Evans reconstruction of  the Nouth Propylaeum Knossos Minoan archaeological site, Crete
  • Arthur Evans reconstruction of  Knossos Minoan Palace archaeological site, Crete
  • Arthur Evans reconstruction of  Knossos Minoan Palace archaeological site, Crete
  • Arthur Evans reconstruction of Dancing girls fresco  at Knossos. Knossos Minoan archaeological site, Crete
  • Arthur Evans reconstruction of Procession  Frescos of the  South Propylaeum of Knossos Minoan archaeological site, Crete
  • Arthur Evans reconstruction of Procession  Frescos of the  South Propylaeum of Knossos Minoan archaeological site, Crete
  • Arthur Evans reconstruction of  the Blue Monkey Knossos Minoan archaeological site, Crete
  • Arthur Evans reconstruction of  the Blue Monkey Knossos Minoan archaeological site, Crete
  • Arthur Evans reconstruction of  Knossos North Lustral basin Minoan Palace archaeological site, Crete
  • Arthur Evans reconstruction of  the Dolphin Frescos, Knossos Minoan archaeological site, Crete
  • Arthur Evans reconstruction of  the Dolphin Frescos, Knossos Minoan archaeological site, Crete
  • Arthur Evans reconstruction of  Knossos North Lustral basin Minoan Palace archaeological site, Crete
  • Arthur Evans reconstruction of the the so-called Throne Room or Little Throne Room, Knossos Minoan archaeological site
  • Arthur Evans reconstruction of the the so-called Throne Room or Little Throne Room, Knossos Minoan archaeological site
  • Arthur Evans reconstruction of  the South Propylaeum Knossos Minoan archaeological site, Crete
  • Arthur Evans reconstruction of  the South Propylaeum Knossos Minoan archaeological site, Crete
  • Arthur Evans reconstruction of  the South Propylaeum Knossos Minoan archaeological site, Crete
  • Arthur Evans reconstruction of  the South Propylaeum Knossos Minoan archaeological site, Crete
  • Arthur Evans reconstruction of  the South Propylaeum Knossos Minoan archaeological site, Crete
  • Arthur Evans reconstruction of  the Nouth Propylaeum Knossos Minoan archaeological site, Crete
  • Arthur Evans reconstruction of  the Nouth Propylaeum Knossos Minoan archaeological site, Crete
  • Arthur Evans reconstruction of  the Nouth Propylaeum Knossos Minoan archaeological site, Crete
  • Arthur Evans reconstruction of  the Nouth Propylaeum Knossos Minoan archaeological site, Crete
  • Arthur Evans reconstruction of  the Nouth Propylaeum Knossos Minoan archaeological site, Crete
  • Arthur Evans reconstruction of  the Nouth Propylaeum Knossos Minoan archaeological site, Crete
  • Arthur Evans reconstruction of  the Nouth Propylaeum Knossos Minoan archaeological site, Crete
  • Arthur Evans reconstruction of  the Nouth Propylaeum Knossos Minoan archaeological site, Crete
  • Arthur Evans reconstruction of  the Nouth Propylaeum Knossos Minoan archaeological site, Crete
  • Arthur Evans reconstruction of  the Nouth Propylaeum Knossos Minoan archaeological site, Crete
  • Arthur Evans reconstruction of  Knossos North Lustral basin Minoan Palace archaeological site, Crete
  • Arthur Evans reconstruction of Procession  Frescos of the  South Propylaeum of Knossos Minoan archaeological site, Crete
  • Arthur Evans reconstruction of Dancing girl fresco from the Queen's megaron at Knossos. Knossos Minoan archaeological site, Crete
  • Arthur Evans reconstruction of  the Blue Monkey Knossos Minoan archaeological site, Crete
  • Arthur Evans reconstruction of  Knossos Minoan archaeological site, Crete
  • Arthur Evans reconstruction of  the Dolphin Frescos, Knossos Minoan archaeological site, Crete
  • Arthur Evans reconstruction of  the Dolphin Frescos, Knossos Minoan archaeological site, Crete
  • Arthur Evans reconstruction of  the Dolphin Frescos, Knossos Minoan archaeological site, Crete
  • Arthur Evans reconstruction of  Knossos Minoan Palace archaeological site, Crete
  • Arthur Evans reconstruction of  Knossos Minoan Palace archaeological site, Crete
  • Arthur Evans reconstruction of the the so-called Throne Room or Little Throne Room, Knossos Minoan archaeological site
  • Arthur Evans reconstruction of the the so-called Court of the Stone Spout, Knossos Minoan archaeological site
  • Arthur Evans reconstruction of  the South Propylaeum Knossos Minoan archaeological site, Crete
  • Arthur Evans reconstruction of  the South Propylaeum Knossos Minoan archaeological site, Crete
  • Arthur Evans reconstruction of  the South Propylaeum Knossos Minoan archaeological site, Crete
  • Arthur Evans reconstruction of  the South Propylaeum Knossos Minoan archaeological site, Crete
  • Arthur Evans reconstruction of A Bull relief fresco  of the Nouth Propylaeum,  Knossos Minoan archaeological site, Crete
  • Arthur Evans reconstruction of A Bull relief fresco  of the Nouth Propylaeum,  Knossos Minoan archaeological site, Crete
  • Arthur Evans reconstruction of A Bull relief fresco  of the Nouth Propylaeum,  Knossos Minoan archaeological site, Crete
  • Arthur Evans reconstruction of the the so-called Court of the Stone Spout, Knossos Minoan archaeological site
  • Arthur Evans reconstruction of  the Nouth Propylaeum Knossos Minoan archaeological site, Crete
  • Arthur Evans reconstruction of  the Nouth Propylaeum Knossos Minoan archaeological site, Crete
  • Arthur Evans reconstruction of  the Nouth Propylaeum Knossos Minoan archaeological site, Crete
  • Arthur Evans reconstruction of  the Nouth Propylaeum Knossos Minoan archaeological site, Crete
  • Arthur Evans reconstruction of  the Nouth Propylaeum Knossos Minoan archaeological site, Crete
  • Arthur Evans reconstruction of  the Nouth Propylaeum Knossos Minoan archaeological site, Crete
  • Arthur Evans reconstruction of  the Nouth Propylaeum Knossos Minoan archaeological site, Crete
  • Reconstruction of Ják ( jak ) church at the Vajdahunyad Castle, Budapest, Hungary
  • Reconstruction of Ják ( jak ) church at the Vajdahunyad Castle, Budapest, Hungary
  • Reconstruction of Ják ( jak ) church at the Vajdahunyad Castle, Budapest, Hungary
  • Reconstruction of Ják ( jak ) church at the Vajdahunyad Castle, Budapest, Hungary
  • Reconstruction of Ják ( jak ) church at the Vajdahunyad Castle, Budapest, Hungary
  • Reconstruction of Ják ( jak ) church at the Vajdahunyad Castle, Budapest, Hungary
  • Reconstruction of Ják ( jak ) church at the Vajdahunyad Castle, Budapest, Hungary
  • Reconstruction of Ják ( jak ) church at the Vajdahunyad Castle, Budapest, Hungary
  • Reconstruction of Ják ( jak ) church at the Vajdahunyad Castle, Budapest, Hungary
  • Roman fresco wall decorations of  Vestibule of a Rome Villa, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy. Against a black background.<br />
<br />
A large fresco covered the curving wall of the vestibule E 5 was positioned at the entrance of the house onto the street. Vitruvius claims that the vestibulum was a room which was not needed by common people, but which was essential in a house worthy of respect, because it served to welcome guests and the people who came to be received by the owners of the house. The frescoed decoration of this wall, which was entirely detached, shows a division into panels, architectural perspectives and pavilions among which are figures and decorative elements, above a band of skirting. Numerous panels have been detached from the corridor E 3 E 11 which connected all the areas of the house, but it has not been possible to reconstruct the sequence of the walls. Inside the frames, against a white background, different decorative elements are arranged, along with hanging female and male figures, hippogriffs and other fantastical animals, vases, garlands and vegetation.
  • Roman fresco wall decorations of  Vestibule of a Rome Villa, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy. Against a white background.<br />
<br />
A large fresco covered the curving wall of the vestibule E 5 was positioned at the entrance of the house onto the street. Vitruvius claims that the vestibulum was a room which was not needed by common people, but which was essential in a house worthy of respect, because it served to welcome guests and the people who came to be received by the owners of the house. The frescoed decoration of this wall, which was entirely detached, shows a division into panels, architectural perspectives and pavilions among which are figures and decorative elements, above a band of skirting. Numerous panels have been detached from the corridor E 3 E 11 which connected all the areas of the house, but it has not been possible to reconstruct the sequence of the walls. Inside the frames, against a white background, different decorative elements are arranged, along with hanging female and male figures, hippogriffs and other fantastical animals, vases, garlands and vegetation.
  • Roman fresco wall decorations of  Vestibule of a Rome Villa, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy. Against a grey background.<br />
<br />
A large fresco covered the curving wall of the vestibule E 5 was positioned at the entrance of the house onto the street. Vitruvius claims that the vestibulum was a room which was not needed by common people, but which was essential in a house worthy of respect, because it served to welcome guests and the people who came to be received by the owners of the house. The frescoed decoration of this wall, which was entirely detached, shows a division into panels, architectural perspectives and pavilions among which are figures and decorative elements, above a band of skirting. Numerous panels have been detached from the corridor E 3 E 11 which connected all the areas of the house, but it has not been possible to reconstruct the sequence of the walls. Inside the frames, against a white background, different decorative elements are arranged, along with hanging female and male figures, hippogriffs and other fantastical animals, vases, garlands and vegetation.
  • Roman fresco wall decorations of  Vestibule of a Rome Villa, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy. Against an art background.<br />
<br />
A large fresco covered the curving wall of the vestibule E 5 was positioned at the entrance of the house onto the street. Vitruvius claims that the vestibulum was a room which was not needed by common people, but which was essential in a house worthy of respect, because it served to welcome guests and the people who came to be received by the owners of the house. The frescoed decoration of this wall, which was entirely detached, shows a division into panels, architectural perspectives and pavilions among which are figures and decorative elements, above a band of skirting. Numerous panels have been detached from the corridor E 3 E 11 which connected all the areas of the house, but it has not been possible to reconstruct the sequence of the walls. Inside the frames, against a white background, different decorative elements are arranged, along with hanging female and male figures, hippogriffs and other fantastical animals, vases, garlands and vegetation.
  • Roman fresco wall decorations of  Vestibule of a Rome Villa, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
A large fresco covered the curving wall of the vestibule E 5 was positioned at the entrance of the house onto the street. Vitruvius claims that the vestibulum was a room which was not needed by common people, but which was essential in a house worthy of respect, because it served to welcome guests and the people who came to be received by the owners of the house. The frescoed decoration of this wall, which was entirely detached, shows a division into panels, architectural perspectives and pavilions among which are figures and decorative elements, above a band of skirting. Numerous panels have been detached from the corridor E 3 E 11 which connected all the areas of the house, but it has not been possible to reconstruct the sequence of the walls. Inside the frames, against a white background, different decorative elements are arranged, along with hanging female and male figures, hippogriffs and other fantastical animals, vases, garlands and vegetation.
  • The  Great Altar of the Upper market of Prgamon. The Altar building is reconstructed in the Pergamon Museum in Berlin. Pergamon (Bergama) Archaeological Site, Turkey
  • Picture of A Roman Theatre reconstructed over an earlier Greek theatre under the reign of Hadrian after the earthquake of 60 AD. The facade is 300 feet (91 m) long, the full extent of which remains standingand the cavea has 50 rows of seats. Hierapolis archaeological site near Pamukkale in Turkey.
  • Picture of A Roman Theatre reconstructed over an earlier Greek theatre under the reign of Hadrian after the earthquake of 60 AD. The facade is 300 feet (91 m) long, the full extent of which remains standingand the cavea has 50 rows of seats. Hierapolis archaeological site near Pamukkale in Turkey.
  • Picture of A Roman Theatre reconstructed over an earlier Greek theatre under the reign of Hadrian after the earthquake of 60 AD. The facade is 300 feet (91 m) long, the full extent of which remains standingand the cavea has 50 rows of seats. Hierapolis archaeological site near Pamukkale in Turkey.
  • Picture of A Roman Theatre reconstructed over an earlier Greek theatre under the reign of Hadrian after the earthquake of 60 AD. The facade is 300 feet (91 m) long, the full extent of which remains standingand the cavea has 50 rows of seats. Hierapolis archaeological site near Pamukkale in Turkey.
  • Picture of A Roman Theatre reconstructed over an earlier Greek theatre under the reign of Hadrian after the earthquake of 60 AD. The facade is 300 feet (91 m) long, the full extent of which remains standingand the cavea has 50 rows of seats. Hierapolis archaeological site near Pamukkale in Turkey.
  • Roman Fresco with a fight scene between octopus, lobster and eel, 125-150 AD. (mosaico fauna marina da porto fluviale di san paolo), museo nazionale romano ( National Roman Museum), Rome, Italy. inv. 463Z4.  Against a white background.<br />
<br />
Excavated from the Porto di San Paolo near the Via Portuense, these frescoes decorated the thermal area of a suburban Roman Villa. The reconstructed fresco fragments, depict a group of three fighting animals: an octopus (octopus vulgaris) clutches a moray eel (muraena helena) and a lobster (palinurus vulgaris) in its tentacles; around them mud mullets (mullus barbatus) and rock mullets (mullus surmuletus) try to escape. Incriptions on the frescoes suggesy that the villa owner was from Alexandria where this style of nautical mosaic and fresco  decorations is found.
  • Roman Fresco with a fight scene between octopus, lobster and eel, 125-150 AD. (mosaico fauna marina da porto fluviale di san paolo), museo nazionale romano ( National Roman Museum), Rome, Italy. inv. 463Z4.  Against a grey background.<br />
<br />
Excavated from the Porto di San Paolo near the Via Portuense, these frescoes decorated the thermal area of a suburban Roman Villa. The reconstructed fresco fragments, depict a group of three fighting animals: an octopus (octopus vulgaris) clutches a moray eel (muraena helena) and a lobster (palinurus vulgaris) in its tentacles; around them mud mullets (mullus barbatus) and rock mullets (mullus surmuletus) try to escape. Incriptions on the frescoes suggesy that the villa owner was from Alexandria where this style of nautical mosaic and fresco  decorations is found.
  • Roman Fresco with a fight scene between octopus, lobster and eel, 125-150 AD. (mosaico fauna marina da porto fluviale di san paolo), museo nazionale romano ( National Roman Museum), Rome, Italy. inv. 463Z4.   Against a black background.<br />
<br />
Excavated from the Porto di San Paolo near the Via Portuense, these frescoes decorated the thermal area of a suburban Roman Villa. The reconstructed fresco fragments, depict a group of three fighting animals: an octopus (octopus vulgaris) clutches a moray eel (muraena helena) and a lobster (palinurus vulgaris) in its tentacles; around them mud mullets (mullus barbatus) and rock mullets (mullus surmuletus) try to escape. Incriptions on the frescoes suggesy that the villa owner was from Alexandria where this style of nautical mosaic and fresco  decorations is found.
  • Roman Fresco with a fight scene between octopus, lobster and eel, 125-150 AD. (mosaico fauna marina da porto fluviale di san paolo), museo nazionale romano ( National Roman Museum), Rome, Italy. inv. 463Z4.  Against an art background.<br />
<br />
Excavated from the Porto di San Paolo near the Via Portuense, these frescoes decorated the thermal area of a suburban Roman Villa. The reconstructed fresco fragments, depict a group of three fighting animals: an octopus (octopus vulgaris) clutches a moray eel (muraena helena) and a lobster (palinurus vulgaris) in its tentacles; around them mud mullets (mullus barbatus) and rock mullets (mullus surmuletus) try to escape. Incriptions on the frescoes suggesy that the villa owner was from Alexandria where this style of nautical mosaic and fresco  decorations is found.
  • Roman Fresco with a fight scene between octopus, lobster and eel, 125-150 AD. (mosaico fauna marina da porto fluviale di san paolo), museo nazionale romano ( National Roman Museum), Rome, Italy. inv. 463Z4.  <br />
<br />
Excavated from the Porto di San Paolo near the Via Portuense, these frescoes decorated the thermal area of a suburban Roman Villa. The reconstructed fresco fragments, depict a group of three fighting animals: an octopus (octopus vulgaris) clutches a moray eel (muraena helena) and a lobster (palinurus vulgaris) in its tentacles; around them mud mullets (mullus barbatus) and rock mullets (mullus surmuletus) try to escape. Incriptions on the frescoes suggesy that the villa owner was from Alexandria where this style of nautical mosaic and fresco  decorations is found.
  • Roman Fresco with a fight scene between octopus, lobster and eel, 125-150 AD. (mosaico fauna marina da porto fluviale di san paolo), museo nazionale romano ( National Roman Museum), Rome, Italy. inv. 463Z4.  Against a white background.<br />
<br />
Excavated from the Porto di San Paolo near the Via Portuense, these frescoes decorated the thermal area of a suburban Roman Villa. The reconstructed fresco fragments, depict a group of three fighting animals: an octopus (octopus vulgaris) clutches a moray eel (muraena helena) and a lobster (palinurus vulgaris) in its tentacles; around them mud mullets (mullus barbatus) and rock mullets (mullus surmuletus) try to escape. Incriptions on the frescoes suggesy that the villa owner was from Alexandria where this style of nautical mosaic and fresco  decorations is found.
  • Roman Fresco with a fight scene between octopus, lobster and eel, 125-150 AD. (mosaico fauna marina da porto fluviale di san paolo), museo nazionale romano ( National Roman Museum), Rome, Italy. inv. 463Z4.   Against a grey background.<br />
<br />
Excavated from the Porto di San Paolo near the Via Portuense, these frescoes decorated the thermal area of a suburban Roman Villa. The reconstructed fresco fragments, depict a group of three fighting animals: an octopus (octopus vulgaris) clutches a moray eel (muraena helena) and a lobster (palinurus vulgaris) in its tentacles; around them mud mullets (mullus barbatus) and rock mullets (mullus surmuletus) try to escape. Incriptions on the frescoes suggesy that the villa owner was from Alexandria where this style of nautical mosaic and fresco  decorations is found.
  • Roman Fresco with a fight scene between octopus, lobster and eel, 125-150 AD. (mosaico fauna marina da porto fluviale di san paolo), museo nazionale romano ( National Roman Museum), Rome, Italy. inv. 463Z4.  Against an art background.<br />
<br />
Excavated from the Porto di San Paolo near the Via Portuense, these frescoes decorated the thermal area of a suburban Roman Villa. The reconstructed fresco fragments, depict a group of three fighting animals: an octopus (octopus vulgaris) clutches a moray eel (muraena helena) and a lobster (palinurus vulgaris) in its tentacles; around them mud mullets (mullus barbatus) and rock mullets (mullus surmuletus) try to escape. Incriptions on the frescoes suggesy that the villa owner was from Alexandria where this style of nautical mosaic and fresco  decorations is found.
  • Roman Fresco with a fight scene between octopus, lobster and eel, 125-150 AD. (mosaico fauna marina da porto fluviale di san paolo), museo nazionale romano ( National Roman Museum), Rome, Italy. inv. 463Z4.  <br />
<br />
Excavated from the Porto di San Paolo near the Via Portuense, these frescoes decorated the thermal area of a suburban Roman Villa. The reconstructed fresco fragments, depict a group of three fighting animals: an octopus (octopus vulgaris) clutches a moray eel (muraena helena) and a lobster (palinurus vulgaris) in its tentacles; around them mud mullets (mullus barbatus) and rock mullets (mullus surmuletus) try to escape. Incriptions on the frescoes suggesy that the villa owner was from Alexandria where this style of nautical mosaic and fresco  decorations is found.
  • The  Great Altar of the Upper market of Prgamon. The Altar building is reconstructed in the Pergamon Museum in Berlin. Pergamon (Bergama) Archaeological Site, Turkey
  • Berber arabesque Morcabe plasterwork of the 14th century Ben Youssef Madersa (Islamic college) re-constructed by the Saadian Sultan Abdallah al-Ghalib in 1564 as the largest and most prestigious Medersa in Morocco. Marrakesh, Morroco
  • Berber arabesque Morcabe and honeycombe Muqarnas plasterwork of the 14th century Ben Youssef Madersa (Islamic college) re-constructed by the Saadian Sultan Abdallah al-Ghalib in 1564 as the largest and most prestigious Medersa in Morocco. Marrakesh, Morroco
  • Berber arabesque Morcabe and honeycombe Muqarnas plasterwork of the 14th century Ben Youssef Madersa (Islamic college) re-constructed by the Saadian Sultan Abdallah al-Ghalib in 1564 as the largest and most prestigious Medersa in Morocco. Marrakesh, Morroco
  • Berber arabesque Morcabe plasterwork of the 14th century Ben Youssef Madersa (Islamic college) re-constructed by the Saadian Sultan Abdallah al-Ghalib in 1564 as the largest and most prestigious Medersa in Morocco. Marrakesh, Morroco
  • Berber arabesque Morcabe plasterwork of the 14th century Ben Youssef Madersa (Islamic college) re-constructed by the Saadian Sultan Abdallah al-Ghalib in 1564 as the largest and most prestigious Medersa in Morocco. Marrakesh, Morroco
  • Berber arabesque Morcabe plasterwork of the 14th century Ben Youssef Madersa (Islamic college) re-constructed by the Saadian Sultan Abdallah al-Ghalib in 1564 as the largest and most prestigious Medersa in Morocco. Marrakesh, Morroco
  • Berber arabesque Morcabe plasterwork of the 14th century Ben Youssef Madersa (Islamic college) re-constructed by the Saadian Sultan Abdallah al-Ghalib in 1564 as the largest and most prestigious Medersa in Morocco. Marrakesh, Morroco
  • Berber arabesque Morcabe plasterwork of the 14th century Ben Youssef Madersa (Islamic college) re-constructed by the Saadian Sultan Abdallah al-Ghalib in 1564 as the largest and most prestigious Medersa in Morocco. Marrakesh, Morroco
  • Berber arabesque Morcabe plasterwork of the 14th century Ben Youssef Madersa (Islamic college) re-constructed by the Saadian Sultan Abdallah al-Ghalib in 1564 as the largest and most prestigious Medersa in Morocco. Marrakesh, Morroco
  • Berber arabesque Morcabe plasterwork of the 14th century Ben Youssef Madersa (Islamic college) re-constructed by the Saadian Sultan Abdallah al-Ghalib in 1564 as the largest and most prestigious Medersa in Morocco. Marrakesh, Morroco
  • Berber arabesque Morcabe plasterwork and Zellige tiles of the 14th century Ben Youssef Madersa (Islamic college) re-constructed by the Saadian Sultan Abdallah al-Ghalib in 1564 as the largest and most prestigious Medersa in Morocco. Marrakesh, Morroco
  • Berber arabesque  plasterwork and Zellige tiles of the 14th century Ben Youssef Madersa (Islamic college) re-constructed by the Saadian Sultan Abdallah al-Ghalib in 1564 as the largest and most prestigious Medersa in Morocco. Marrakesh, Morroco
  • Berber arabesque Morcabe plasterwork and Zellige tiles of the 14th century Ben Youssef Madersa (Islamic college) re-constructed by the Saadian Sultan Abdallah al-Ghalib in 1564 as the largest and most prestigious Medersa in Morocco. Marrakesh, Morroco
  • Berber arabesque  plasterwork and Zellige tiles of the 14th century Ben Youssef Madersa (Islamic college) re-constructed by the Saadian Sultan Abdallah al-Ghalib in 1564 as the largest and most prestigious Medersa in Morocco. Marrakesh, Morroco
  • Berber arabesque Morcabe plasterwork and Zellige tiles of the 14th century Ben Youssef Madersa (Islamic college) re-constructed by the Saadian Sultan Abdallah al-Ghalib in 1564 as the largest and most prestigious Medersa in Morocco. Marrakesh, Morroco
  • Berber arabesque Morcabe plasterwork and Zellige tiles of the 14th century Ben Youssef Madersa (Islamic college) re-constructed by the Saadian Sultan Abdallah al-Ghalib in 1564 as the largest and most prestigious Medersa in Morocco. Marrakesh, Morroco
  • Berber arabesque Morcabe plasterwork and Zellige tiles of the 14th century Ben Youssef Madersa (Islamic college) re-constructed by the Saadian Sultan Abdallah al-Ghalib in 1564 as the largest and most prestigious Medersa in Morocco. Marrakesh, Morroco
  • Berber arabesque Morcabe plasterwork and Zellige tiles of the 14th century Ben Youssef Madersa (Islamic college) re-constructed by the Saadian Sultan Abdallah al-Ghalib in 1564 as the largest and most prestigious Medersa in Morocco. Marrakesh, Morroco

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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.

EXPLORE HISTORICAL PLACES...

MUSEUMS

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.

SEE MUESEUM ANTIQUITIES....