• 1 cent AD Roman Mythical Erotic  fresco from a house in Pompeii. Naples Archaological Museum inv no: 110590
  • 1 cent AD Roman Erotic  fresco depicting Mars and Venus  Pompeii (VI, 9, 2,) Casa die Meleagro, inv 9250, 1st century AD, Naples Archaological Museum , Italy
  • 1 cent AD Roman Erotic  fresco depicting Mars and Venus  Pompeii (VI, 9, 2,) Casa die Meleagro, inv 9250, 1st century AD, Naples Archaological Museum , Italy
  • 1 cent AD Roman Erotic  fresco depicting Mars and Venus  Pompeii (VI, 9, 2,) Casa die Meleagro, inv 9250, 1st century AD, Naples Archaological Museum , Italy
  • 1 cent AD Roman Erotic fresco depicting Pan and Hermaphrodite, Pompeii (VI, 9, 6,) Casa die Dioscuri, inv 27700, 1-50 AD, Naples Archaological Museum, Italy
  • 1 cent AD Roman Erotic  fresco from a house in Pompeii. Naples Archaological Museum
  • 1 cent AD Roman Erotic  fresco from a house in Pompeii. Naples Archaological Museum
  • 1 cent AD Roman Erotic  fresco from a house in Pompeii. Naples Archaological Museum
  • 1 cent AD Roman Erotic Mosaic from a house in Pompeii. Naples Archaological Museum
  • 1 cent AD Roman Erotic  fresco depicting Mars and Venus  Pompeii (VI, 9, 2,) Casa die Meleagro, inv 9250, 1st century AD, Naples Archaological Museum , Italy
  • 1 cent AD Roman Erotic fresco depicting Pan and Hermaphrodite, Pompeii (VI, 9, 6,) Casa die Dioscuri, inv 27700, 1-50 AD, Naples Archaological Museum, Italy
  • 1 cent AD Roman Erotic Mosaic from a house in Pompeii. Naples Archaological Museum
  • 1 cent AD Roman Erotic  Mythical fresco from a house in Pompeii. Naples Archaological Museum inv no: 110590
  • 1 cent AD Roman Erotic  fresco of a man & woman having sex  from a house in Pompeii. Naples Archaological Museum inv no: 27696
  • 1 cent AD Roman Erotic  fresco of a man & woman having sex  from a house in Pompeii. Naples Archaological Museum inv no: 27696
  • 1 cent AD Roman Erotic  Mythical fresco  from a house in Pompeii. Naples Archaological Museum  inv no: 27697
  • 1 cent AD Roman Erotic  fresco of a man & woman having sex  from a house in Pompeii. Naples Archaological Museum inv no: 27686
  • 1 cent AD Roman Erotic  fresco from a house in Pompeii. Naples Archaological Museum
  • 1 cent AD Roman Erotic  fresco from a house in Pompeii. Naples Archaological Museum
  • 1 cent AD Roman Erotic  fresco from a house in Pompeii. Naples Archaological Museum
  • 1 cent AD Roman Mythical Erotic  fresco from a house in Pompeii. Naples Archaological Museum inv no: 110590
  • 1 cent AD Roman Erotic  fresco from a house in Pompeii. Naples Archaological Museum
  • 1 cent AD Roman Erotic fresco depicting Pan and Hermaphrodite, Pompeii (VI, 9, 6,) Casa die Dioscuri, inv 27700, 1-50 AD, Naples Archaological Museum, Italy
  • 1 cent AD Roman Erotic Mosaic from a house in Pompeii. Naples Archaological Museum
  • 1 cent AD Roman Erotic  fresco from a house in Pompeii. Naples Archaological Museum
  • 1 cent AD Roman Erotic  fresco from a house in Pompeii. Naples Archaological Museum inv no 27875
  • 1 cent AD Roman Erotic  fresco from a house in Pompeii. Naples Archaological Museum
  • Roman Erotic  fresco with pigmies from Csa Detto del Medico Peristyle in Pompeii. 50-97 AD, Naples Archaological Museum inv no: 113196
  • 1 cent AD Roman Erotic  Mythical fresco  from a house in Pompeii. Naples Archaological Museum  inv no: 27697
  • 1 cent AD Roman Erotic fresco depicting Pan and Hermaphrodite, Pompeii (VI, 9, 6,) Casa die Dioscuri, inv 27700, 1-50 AD, Naples Archaological Museum, Italy
  • "Pan & Goat" Roman Mythical erotic sculpture from Pompeii. Naples Archaeological inv no: 27709
  • Roman fresco wall painting of Ariadne fast asleep on a bed of seaweed does not realise that Theseus is about to abandon her and sailaway on a ship to Athens, Pompeii House of colored Capitals, VII,31-51, inv 9052 , Naples National Archaeological Museum
  • A satyr caressing a maiden a Roman erotic fresco painting from Pompeii 1st cent AD , from the Casa di L Cecilio Giocondo, inv no 110590 , Secret Museum or Secret Cabinet, Naples Archaeological Museum
  • A satyr caressing a maiden a Roman erotic fresco painting from Pompeii 1st cent AD , from the Casa di L Cecilio Giocondo, inv no 110590 , Secret Museum or Secret Cabinet, Naples Archaeological Museum
  • Satyr surprising a maiden, a Roman erotic fresco painting from Pompeii, 50-79 AD , inv no 27693 , Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • Polyphemus caressing Galatea, a Roman erotic fresco painting from Pompeii, 50-79 AD , from the Casa dei Capitelli colorati, inv no 27687 , Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • A Roman erotic fresco painting from Pompeii form a private house venereum, a room for sexual activities, 50-79 AD , , inv no 27696 , Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • Satyr caressing Hermaphrodite, a Roman erotic fresco painting from Pompeii, 50-79 AD , from the tablium of the Casa di Epidio Sabino, inv no 27875 ,Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • A Roman erotic fresco painting from Pompeii form the venereum, a room for sexual activities, of Casa di Cecilio Giocondo 50-79 AD  , inv no 10569 , Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • Pan and  Hermaphrodite, a Roman erotic fresco painting from Pompeii, 50-79 AD , inv no 27700 , Naples National Secret Museum or Secret Cabinet, Archaeological Museum
  • Satyr caressing Hermaphrodite, a Roman erotic fresco painting from Pompeii, 50-79 AD , from the tablium of the Casa di Epidio Sabino, inv no 27875 ,Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • Roman erotic fresco painting of Hermaphrodite from Heraculeum, 1-50 AD , inv no 9224 , Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • Mars caressing Venus  a Roman erotic fresco painting from Pompeii 1st cent AD , from the Casa del Meleagro, inv no 9250 , Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • Polyphemus caressing Galatea, a Roman erotic fresco painting from Pompeii, 50-79 AD , from the Casa dei Capitelli colorati, inv no 27687 , Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • Satyr caressing Hermaphrodite, a Roman erotic fresco painting from Pompeii, 50-79 AD , from the tablium of the Casa di Epidio Sabino, inv no 27875 ,Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • Satyr being rejected by Hermaphrodite, a Roman erotic fresco painting from Pompeii, 50-79 AD , inv no 110878 , Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • A satyr caressing a maiden a Roman erotic fresco painting from Pompeii 1st cent AD , from the Casa di L Cecilio Giocondo, inv no 110590 , Secret Museum or Secret Cabinet, Naples Archaeological Museum
  • Satyr being rejected by Hermaphrodite, a Roman erotic fresco painting from Pompeii, 50-79 AD , inv no 110878 , Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • Mars caressing Venus  a Roman erotic fresco painting from Pompeii 1st cent AD , from the Casa del Meleagro, inv no 9250 , Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • Workshop Banner showing Mercury with a massive phalus. Erotic Fresco from Pompeii, Naples Archaeological Museum 1st cent AD
  • Roman Erotic Fresco from Pompeii, 1st cent AD , workshop Banner showing Mercury with a massive phalus , Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • Roman Erotic Fresco from Pompeii, 1st cent AD , workshop Banner showing Mercury with a massive phalus , Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • Roman mosaics - The Gypsy Girls. The House of Menad. Ancient Zeugama, 2nd - 3rd century AD . Zeugma Mosaic Museum, Gaziantep, Turkey.   Against an art background.<br />
<br />
It was discovered in the building called the House of Menad during the excavations conducted by the Gaziantep Museum. As the excavations continued, it was understood that almost all the mosaics inside the building had been stolen by historical _artifact; traffickers. The figure, called the Gypsy. Girl, was fortunately under the soil extracted from the illegal diggings and unseen by the traffickers; then it was brought to our Museum. She was liken to a Gypsy Girl as a joke during the excavations when she was unearthed with her uncombed hair, salient cheekbones, round face and earrings, and then has kept to be called with that name. <br />
<br />
There is no illuminating data regarding her identity but some scholrs claim that she is one of the -mnads present in  Dionysus festivals because of the tendrils near her 1.71eado, and others suggest that this is a portrait of Alexander the Great The most interesting feature of the mosaic is that it follows the beholder in every direction. A special technique was used in the mosaic in order to make her eyes more realistic. On the other hand, the fact that both joy and sorrow are reflected in her face indicates the stage reached in the art of portx4it. <br />
<br />
The piece was made, via the technique -called "three look" in the art of painting during the Hellenistic period. This technique was used by great painters as well. Da vincrs'Mona Lisa is an example for such paintings. With those characteristics, the piece has become the symbol of Zeugma and Gaziantep
  • Roman mosaics - The Gypsy Girls. The House of Menad. Ancient Zeugama, 2nd - 3rd century AD . Zeugma Mosaic Museum, Gaziantep, Turkey.   Against an art background.<br />
<br />
It was discovered in the building called the House of Menad during the excavations conducted by the Gaziantep Museum. As the excavations continued, it was understood that almost all the mosaics inside the building had been stolen by historical _artifact; traffickers. The figure, called the Gypsy. Girl, was fortunately under the soil extracted from the illegal diggings and unseen by the traffickers; then it was brought to our Museum. She was liken to a Gypsy Girl as a joke during the excavations when she was unearthed with her uncombed hair, salient cheekbones, round face and earrings, and then has kept to be called with that name. <br />
<br />
There is no illuminating data regarding her identity but some scholrs claim that she is one of the -mnads present in  Dionysus festivals because of the tendrils near her 1.71eado, and others suggest that this is a portrait of Alexander the Great The most interesting feature of the mosaic is that it follows the beholder in every direction. A special technique was used in the mosaic in order to make her eyes more realistic. On the other hand, the fact that both joy and sorrow are reflected in her face indicates the stage reached in the art of portx4it. <br />
<br />
The piece was made, via the technique -called "three look" in the art of painting during the Hellenistic period. This technique was used by great painters as well. Da vincrs'Mona Lisa is an example for such paintings. With those characteristics, the piece has become the symbol of Zeugma and Gaziantep
  • Roman mosaics - The Gypsy Girls. The House of Menad. Ancient Zeugama, 2nd - 3rd century AD . Zeugma Mosaic Museum, Gaziantep, Turkey.  Against a white background.<br />
<br />
It was discovered in the building called the House of Menad during the excavations conducted by the Gaziantep Museum. As the excavations continued, it was understood that almost all the mosaics inside the building had been stolen by historical _artifact; traffickers. The figure, called the Gypsy. Girl, was fortunately under the soil extracted from the illegal diggings and unseen by the traffickers; then it was brought to our Museum. She was liken to a Gypsy Girl as a joke during the excavations when she was unearthed with her uncombed hair, salient cheekbones, round face and earrings, and then has kept to be called with that name. <br />
<br />
There is no illuminating data regarding her identity but some scholrs claim that she is one of the -mnads present in  Dionysus festivals because of the tendrils near her 1.71eado, and others suggest that this is a portrait of Alexander the Great The most interesting feature of the mosaic is that it follows the beholder in every direction. A special technique was used in the mosaic in order to make her eyes more realistic. On the other hand, the fact that both joy and sorrow are reflected in her face indicates the stage reached in the art of portx4it. <br />
<br />
The piece was made, via the technique -called "three look" in the art of painting during the Hellenistic period. This technique was used by great painters as well. Da vincrs'Mona Lisa is an example for such paintings. With those characteristics, the piece has become the symbol of Zeugma and Gaziantep
  • Roman mosaics - The Gypsy Girls. The House of Menad. Ancient Zeugama, 2nd - 3rd century AD . Zeugma Mosaic Museum, Gaziantep, Turkey.<br />
<br />
It was discovered in the building called the House of Menad during the excavations conducted by the Gaziantep Museum. As the excavations continued, it was understood that almost all the mosaics inside the building had been stolen by historical _artifact; traffickers. The figure, called the Gypsy. Girl, was fortunately under the soil extracted from the illegal diggings and unseen by the traffickers; then it was brought to our Museum. She was liken to a Gypsy Girl as a joke during the excavations when she was unearthed with her uncombed hair, salient cheekbones, round face and earrings, and then has kept to be called with that name. <br />
<br />
There is no illuminating data regarding her identity but some scholrs claim that she is one of the -mnads present in  Dionysus festivals because of the tendrils near her 1.71eado, and others suggest that this is a portrait of Alexander the Great The most interesting feature of the mosaic is that it follows the beholder in every direction. A special technique was used in the mosaic in order to make her eyes more realistic. On the other hand, the fact that both joy and sorrow are reflected in her face indicates the stage reached in the art of portx4it. <br />
<br />
The piece was made, via the technique -called "three look" in the art of painting during the Hellenistic period. This technique was used by great painters as well. Da vincrs'Mona Lisa is an example for such paintings. With those characteristics, the piece has become the symbol of Zeugma and Gaziantep
  • Roman mosaics - The Gypsy Girls. The House of Menad. Ancient Zeugama, 2nd - 3rd century AD . Zeugma Mosaic Museum, Gaziantep, Turkey.   Against a black background.<br />
<br />
It was discovered in the building called the House of Menad during the excavations conducted by the Gaziantep Museum. As the excavations continued, it was understood that almost all the mosaics inside the building had been stolen by historical _artifact; traffickers. The figure, called the Gypsy. Girl, was fortunately under the soil extracted from the illegal diggings and unseen by the traffickers; then it was brought to our Museum. She was liken to a Gypsy Girl as a joke during the excavations when she was unearthed with her uncombed hair, salient cheekbones, round face and earrings, and then has kept to be called with that name. <br />
<br />
There is no illuminating data regarding her identity but some scholrs claim that she is one of the -mnads present in  Dionysus festivals because of the tendrils near her 1.71eado, and others suggest that this is a portrait of Alexander the Great The most interesting feature of the mosaic is that it follows the beholder in every direction. A special technique was used in the mosaic in order to make her eyes more realistic. On the other hand, the fact that both joy and sorrow are reflected in her face indicates the stage reached in the art of portx4it. <br />
<br />
The piece was made, via the technique -called "three look" in the art of painting during the Hellenistic period. This technique was used by great painters as well. Da vincrs'Mona Lisa is an example for such paintings. With those characteristics, the piece has become the symbol of Zeugma and Gaziantep
  • Roman mosaics - The Gypsy Girls. The House of Menad. Ancient Zeugama, 2nd - 3rd century AD . Zeugma Mosaic Museum, Gaziantep, Turkey.   Against a black background.<br />
<br />
It was discovered in the building called the House of Menad during the excavations conducted by the Gaziantep Museum. As the excavations continued, it was understood that almost all the mosaics inside the building had been stolen by historical _artifact; traffickers. The figure, called the Gypsy. Girl, was fortunately under the soil extracted from the illegal diggings and unseen by the traffickers; then it was brought to our Museum. She was liken to a Gypsy Girl as a joke during the excavations when she was unearthed with her uncombed hair, salient cheekbones, round face and earrings, and then has kept to be called with that name. <br />
<br />
There is no illuminating data regarding her identity but some scholrs claim that she is one of the -mnads present in  Dionysus festivals because of the tendrils near her 1.71eado, and others suggest that this is a portrait of Alexander the Great The most interesting feature of the mosaic is that it follows the beholder in every direction. A special technique was used in the mosaic in order to make her eyes more realistic. On the other hand, the fact that both joy and sorrow are reflected in her face indicates the stage reached in the art of portx4it. <br />
<br />
The piece was made, via the technique -called "three look" in the art of painting during the Hellenistic period. This technique was used by great painters as well. Da vincrs'Mona Lisa is an example for such paintings. With those characteristics, the piece has become the symbol of Zeugma and Gaziantep
  • Roman mosaics - The Gypsy Girls. The House of Menad. Ancient Zeugama, 2nd - 3rd century AD . Zeugma Mosaic Museum, Gaziantep, Turkey.  Against a white background.<br />
<br />
It was discovered in the building called the House of Menad during the excavations conducted by the Gaziantep Museum. As the excavations continued, it was understood that almost all the mosaics inside the building had been stolen by historical _artifact; traffickers. The figure, called the Gypsy. Girl, was fortunately under the soil extracted from the illegal diggings and unseen by the traffickers; then it was brought to our Museum. She was liken to a Gypsy Girl as a joke during the excavations when she was unearthed with her uncombed hair, salient cheekbones, round face and earrings, and then has kept to be called with that name. <br />
<br />
There is no illuminating data regarding her identity but some scholrs claim that she is one of the -mnads present in  Dionysus festivals because of the tendrils near her 1.71eado, and others suggest that this is a portrait of Alexander the Great The most interesting feature of the mosaic is that it follows the beholder in every direction. A special technique was used in the mosaic in order to make her eyes more realistic. On the other hand, the fact that both joy and sorrow are reflected in her face indicates the stage reached in the art of portx4it. <br />
<br />
The piece was made, via the technique -called "three look" in the art of painting during the Hellenistic period. This technique was used by great painters as well. Da vincrs'Mona Lisa is an example for such paintings. With those characteristics, the piece has become the symbol of Zeugma and Gaziantep
  • Roman mosaics - The Gypsy Girls. The House of Menad. Ancient Zeugama, 2nd - 3rd century AD . Zeugma Mosaic Museum, Gaziantep, Turkey.<br />
<br />
It was discovered in the building called the House of Menad during the excavations conducted by the Gaziantep Museum. As the excavations continued, it was understood that almost all the mosaics inside the building had been stolen by historical _artifact; traffickers. The figure, called the Gypsy. Girl, was fortunately under the soil extracted from the illegal diggings and unseen by the traffickers; then it was brought to our Museum. She was liken to a Gypsy Girl as a joke during the excavations when she was unearthed with her uncombed hair, salient cheekbones, round face and earrings, and then has kept to be called with that name. <br />
<br />
There is no illuminating data regarding her identity but some scholrs claim that she is one of the -mnads present in  Dionysus festivals because of the tendrils near her 1.71eado, and others suggest that this is a portrait of Alexander the Great The most interesting feature of the mosaic is that it follows the beholder in every direction. A special technique was used in the mosaic in order to make her eyes more realistic. On the other hand, the fact that both joy and sorrow are reflected in her face indicates the stage reached in the art of portx4it. <br />
<br />
The piece was made, via the technique -called "three look" in the art of painting during the Hellenistic period. This technique was used by great painters as well. Da vincrs'Mona Lisa is an example for such paintings. With those characteristics, the piece has become the symbol of Zeugma and Gaziantep
  • Roman mosaics - The Gypsy Girls. The House of Menad. Ancient Zeugama, 2nd - 3rd century AD . Zeugma Mosaic Museum, Gaziantep, Turkey.  Against a grey background.<br />
<br />
It was discovered in the building called the House of Menad during the excavations conducted by the Gaziantep Museum. As the excavations continued, it was understood that almost all the mosaics inside the building had been stolen by historical _artifact; traffickers. The figure, called the Gypsy. Girl, was fortunately under the soil extracted from the illegal diggings and unseen by the traffickers; then it was brought to our Museum. She was liken to a Gypsy Girl as a joke during the excavations when she was unearthed with her uncombed hair, salient cheekbones, round face and earrings, and then has kept to be called with that name. <br />
<br />
There is no illuminating data regarding her identity but some scholrs claim that she is one of the -mnads present in  Dionysus festivals because of the tendrils near her 1.71eado, and others suggest that this is a portrait of Alexander the Great The most interesting feature of the mosaic is that it follows the beholder in every direction. A special technique was used in the mosaic in order to make her eyes more realistic. On the other hand, the fact that both joy and sorrow are reflected in her face indicates the stage reached in the art of portx4it. <br />
<br />
The piece was made, via the technique -called "three look" in the art of painting during the Hellenistic period. This technique was used by great painters as well. Da vincrs'Mona Lisa is an example for such paintings. With those characteristics, the piece has become the symbol of Zeugma and Gaziantep
  • Roman mosaics - The Gypsy Girls. The House of Menad. Ancient Zeugama, 2nd - 3rd century AD . Zeugma Mosaic Museum, Gaziantep, Turkey.  Against a grey background.<br />
<br />
It was discovered in the building called the House of Menad during the excavations conducted by the Gaziantep Museum. As the excavations continued, it was understood that almost all the mosaics inside the building had been stolen by historical _artifact; traffickers. The figure, called the Gypsy. Girl, was fortunately under the soil extracted from the illegal diggings and unseen by the traffickers; then it was brought to our Museum. She was liken to a Gypsy Girl as a joke during the excavations when she was unearthed with her uncombed hair, salient cheekbones, round face and earrings, and then has kept to be called with that name. <br />
<br />
There is no illuminating data regarding her identity but some scholrs claim that she is one of the -mnads present in  Dionysus festivals because of the tendrils near her 1.71eado, and others suggest that this is a portrait of Alexander the Great The most interesting feature of the mosaic is that it follows the beholder in every direction. A special technique was used in the mosaic in order to make her eyes more realistic. On the other hand, the fact that both joy and sorrow are reflected in her face indicates the stage reached in the art of portx4it. <br />
<br />
The piece was made, via the technique -called "three look" in the art of painting during the Hellenistic period. This technique was used by great painters as well. Da vincrs'Mona Lisa is an example for such paintings. With those characteristics, the piece has become the symbol of Zeugma and Gaziantep
  • Roman mosaic with cat and ducks. From the Roman villa on Via Ardeatina, next to Cecchignola, Rome. This Roman mosaic floor panel represents a cat trying to catch a bird in flight and two ducks, one of which is holding a lotus flower in its beak. The style is similar to Hellenistic paintings. The mosaic was found in the triclinium of a Roman villa dating from the first quarter of the 1st century AD and features a central panel using a style known as “opus Vermiculatum” or small tiles to give a greater detail to the mosaic. inv 124137 National Roman Museum, Rome, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite 2nd - 1st century BC Roman marble sculpture of Aphrodite (Venus), ‘Marine Venus' Type with a dolphin, copied from a Hellanistic Greek original,  inv 6296, Naples Museum of Archaeology, Italy, white background
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Hellanistic Greek original,  inv 6238, Naples Museum of Archaeology, Italy, black background
  • Painted colour verion of 2nd century AD Roman marble sculpture of Harmodius  from the Tyrannicide group,  a Roman copy of an early classical period Geek original, inv 6009, Naples Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Harmodius  from the Tyrannicide group,  a Roman copy of an early classical period Geek original, inv 6009, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Harmodius  from the Tyrannicide group,  a Roman copy of an early classical period Geek original, inv 6009, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Harmodius  from the Tyrannicide group,  a Roman copy of an early classical period Geek original, inv 6009, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Harmodius  from the Tyrannicide group,  a Roman copy of an early classical period Geek original, inv 6009, Museum of Archaeology, Italy
  • Painted colour verion of a Statue group identified as as the Laocoon described by Pliny as a masterpiece made by the sculptors of Rhodes. The Laocoon depicts a scene from the Trojan War in which Athena and Poseidon sent two great serpants to wrap themselves around Laocoon and his two sons to kill them. Circa 40-30BC, Pope Clement XIV coillection, Vatican Museum Rome, Italy,  grey art background
  • Painted colour verion of a Statue group identified as as the Laocoon described by Pliny as a masterpiece made by the sculptors of Rhodes. The Laocoon depicts a scene from the Trojan War in which Athena and Poseidon sent two great serpants to wrap themselves around Laocoon and his two sons to kill them. Circa 40-30BC, Pope Clement XIV coillection, Vatican Museum Rome, Italy,  grey art background
  • Painted colour verion of a Statue group identified as as the Laocoon described by Pliny as a masterpiece made by the sculptors of Rhodes. The Laocoon depicts a scene from the Trojan War in which Athena and Poseidon sent two great serpants to wrap themselves around Laocoon and his two sons to kill them. Circa 40-30BC, Pope Clement XIV coillection, Vatican Museum Rome, Italy,  grey art background
  • Painted colour verion of a Statue group identified as as the Laocoon described by Pliny as a masterpiece made by the sculptors of Rhodes. The Laocoon depicts a scene from the Trojan War in which Athena and Poseidon sent two great serpants to wrap themselves around Laocoon and his two sons to kill them. Circa 40-30BC, Pope Clement XIV coillection, Vatican Museum Rome, Italy,  grey art background
  • Painted colour verion of a Statue group identified as as the Laocoon described by Pliny as a masterpiece made by the sculptors of Rhodes. The Laocoon depicts a scene from the Trojan War in which Athena and Poseidon sent two great serpants to wrap themselves around Laocoon and his two sons to kill them. Circa 40-30BC, Pope Clement XIV coillection, Vatican Museum Rome, Italy,  grey art background
  • Painted colour verion of a Child and Goose - a 1st or 2nd century Roman sculpture from Villa des Quintilii on the Appia Way south of Rome, Italy. Three other similar versions of this Roman sculpture can be found in the Vatican, music and Geneva. The sculpture is attributed to Boethos who was a 2nd century sculptor.  The Braschi Collection, Inv No. MR168 (Usual No Ma 40), Louvre Museum, Paris.
  • Painted colour verion of a Child and Goose - a 1st or 2nd century Roman sculpture from Villa des Quintilii on the Appia Way south of Rome, Italy. Three other similar versions of this Roman sculpture can be found in the Vatican, music and Geneva. The sculpture is attributed to Boethos who was a 2nd century sculptor.  The Braschi Collection, Inv No. MR168 (Usual No Ma 40), Louvre Museum, Paris.
  • Painted colour verion of a Child and Goose - a 1st or 2nd century Roman sculpture from Villa des Quintilii on the Appia Way south of Rome, Italy. Three other similar versions of this Roman sculpture can be found in the Vatican, music and Geneva. The sculpture is attributed to Boethos who was a 2nd century sculptor.  The Braschi Collection, Inv No. MR168 (Usual No Ma 40), Louvre Museum, Paris.
  • Painted colour verion of a Child and Goose - a 1st or 2nd century Roman sculpture from Villa des Quintilii on the Appia Way south of Rome, Italy. Three other similar versions of this Roman sculpture can be found in the Vatican, music and Geneva. The sculpture is attributed to Boethos who was a 2nd century sculptor.  The Braschi Collection, Inv No. MR168 (Usual No Ma 40), Louvre Museum, Paris.
  • Painted colour verion of a Nymph with a shell ( Nymphe a la coquille ) a 1st century marble statue from Italy which was part of the Borghese collection . Louvre Museum, Paris Cat No MR 309. <br />
The Nymph with a shell statue was much admired in the 17th century and influenced such art its as Velasquez. The statue symbolises a carefree childhood and the fact that terracotta versions have been found in tombs suggests that the statue was associated with the injustice of death or of a rebirth.
  • Painted colour verion of a Nymph with a shell ( Nymphe a la coquille ) a 1st century marble statue from Italy which was part of the Borghese collection . Louvre Museum, Paris Cat No MR 309. <br />
The Nymph with a shell statue was much admired in the 17th century and influenced such art its as Velasquez. The statue symbolises a carefree childhood and the fact that terracotta versions have been found in tombs suggests that the statue was associated with the injustice of death or of a rebirth.
  • Painted colour verion of a Nymph with a shell ( Nymphe a la coquille ) a 1st century marble statue from Italy which was part of the Borghese collection . Louvre Museum, Paris Cat No MR 309. <br />
The Nymph with a shell statue was much admired in the 17th century and influenced such art its as Velasquez. The statue symbolises a carefree childhood and the fact that terracotta versions have been found in tombs suggests that the statue was associated with the injustice of death or of a rebirth.
  • Painted colour verion of a Nymph with a shell ( Nymphe a la coquille ) a 1st century marble statue from Italy which was part of the Borghese collection . Louvre Museum, Paris Cat No MR 309. <br />
The Nymph with a shell statue was much admired in the 17th century and influenced such art its as Velasquez. The statue symbolises a carefree childhood and the fact that terracotta versions have been found in tombs suggests that the statue was associated with the injustice of death or of a rebirth.
  • Painted colour verion of a Statue of  Atalanta a 2nd century Roman sculpture restored in the 17th century. Atalanta  is a character in Greek mythology, a virgin huntress, unwilling to marry, and loved by the hero Meleager.. The Mazarin Collection  Louvre Museum, Paris.
  • Painted colour verion of a Statue of  Atalanta a 2nd century Roman sculpture restored in the 17th century. Atalanta  is a character in Greek mythology, a virgin huntress, unwilling to marry, and loved by the hero Meleager.. The Mazarin Collection  Louvre Museum, Paris.
  • Painted colour verion of a Statue of  Atalanta a 2nd century Roman sculpture restored in the 17th century. Atalanta  is a character in Greek mythology, a virgin huntress, unwilling to marry, and loved by the hero Meleager.. The Mazarin Collection  Louvre Museum, Paris.
  • Painted colour verion of a Statue of  Atalanta a 2nd century Roman sculpture restored in the 17th century. Atalanta  is a character in Greek mythology, a virgin huntress, unwilling to marry, and loved by the hero Meleager.. The Mazarin Collection  Louvre Museum, Paris.
  • Painted colour verion of a Statue of  Atalanta a 2nd century Roman sculpture restored in the 17th century. Atalanta  is a character in Greek mythology, a virgin huntress, unwilling to marry, and loved by the hero Meleager.. The Mazarin Collection  Louvre Museum, Paris.
  • Painted colour verion of Aphrodite- type known as the Venus of Arles. A Roman statue in marble of the 1st - 2nd century AD in marble from Rome. The statue is a 1.94-metre-high (6.4 ft) and is  probably a copy of the Aphrodite of Thespiae a lost bronze sculpture by 4th century BC Greek Athenian sculpture Praxiteles . From the Royal collection Inv MR 366 ( or Ma 437), Louvre Museum, Paris.
  • Painted colour verion of Aphrodite- type known as the Venus of Arles. A Roman statue in marble of the 1st - 2nd century AD in marble from Rome. The statue is a 1.94-metre-high (6.4 ft) and is  probably a copy of the Aphrodite of Thespiae a lost bronze sculpture by 4th century BC Greek Athenian sculpture Praxiteles . From the Royal collection Inv MR 366 ( or Ma 437), Louvre Museum, Paris.
  • Painted colour verion of Aphrodite- type known as the Venus of Arles. A Roman statue in marble of the 1st - 2nd century AD in marble from Rome. The statue is a 1.94-metre-high (6.4 ft) and is  probably a copy of the Aphrodite of Thespiae a lost bronze sculpture by 4th century BC Greek Athenian sculpture Praxiteles . From the Royal collection Inv MR 366 ( or Ma 437), Louvre Museum, Paris.
  • Painted colour verion of Aphrodite- type known as the Venus of Arles. A Roman statue in marble of the 1st - 2nd century AD in marble from Rome. The statue is a 1.94-metre-high (6.4 ft) and is  probably a copy of the Aphrodite of Thespiae a lost bronze sculpture by 4th century BC Greek Athenian sculpture Praxiteles . From the Royal collection Inv MR 366 ( or Ma 437), Louvre Museum, Paris.
  • Painted colour verion of Artemis and a deer, known as "Diana of Versailles”, a 1st - 2nd century Roman statue in marble probably from Italy.  Artemis, Diana to the Romans, is goddess of the hunt, is accompanied by a deer.  The Diana of Versailles, similar to other Roman replicas was found in Libya or Turkey and was copied from a lost Greek bronze original attributed to Leochares, c. 325 BC .  First the statue was at Fontainbleau then the Louvre ancient hall and finally it went to Versailles. From the collection of Louis XIV, Pope Paul IV and Henry II (1556) . Inv MR 152 ( or Ma 589), Louvre Museum Paris
  • Painted colour verion of Aphrodite- type known as the Venus of Arles. A Roman statue in marble of the 1st - 2nd century AD in marble from Rome. The statue is a 1.94-metre-high (6.4 ft) and is  probably a copy of the Aphrodite of Thespiae a lost bronze sculpture by 4th century BC Greek Athenian sculpture Praxiteles . From the Royal collection Inv MR 366 ( or Ma 437), Louvre Museum, Paris.
  • Painted colour verion of Artemis and a deer, known as "Diana of Versailles”, a 1st - 2nd century Roman statue in marble probably from Italy.  Artemis, Diana to the Romans, is goddess of the hunt, is accompanied by a deer.  The Diana of Versailles, similar to other Roman replicas was found in Libya or Turkey and was copied from a lost Greek bronze original attributed to Leochares, c. 325 BC .  First the statue was at Fontainbleau then the Louvre ancient hall and finally it went to Versailles. From the collection of Louis XIV, Pope Paul IV and Henry II (1556) . Inv MR 152 ( or Ma 589), Louvre Museum Paris
  • Painted colour verion of Artemis and a deer, known as "Diana of Versailles”, a 1st - 2nd century Roman statue in marble probably from Italy.  Artemis, Diana to the Romans, is goddess of the hunt, is accompanied by a deer.  The Diana of Versailles, similar to other Roman replicas was found in Libya or Turkey and was copied from a lost Greek bronze original attributed to Leochares, c. 325 BC .  First the statue was at Fontainbleau then the Louvre ancient hall and finally it went to Versailles. From the collection of Louis XIV, Pope Paul IV and Henry II (1556) . Inv MR 152 ( or Ma 589), Louvre Museum Paris
  • Painted colour verion of Artemis and a deer, known as "Diana of Versailles”, a 1st - 2nd century Roman statue in marble probably from Italy.  Artemis, Diana to the Romans, is goddess of the hunt, is accompanied by a deer.  The Diana of Versailles, similar to other Roman replicas was found in Libya or Turkey and was copied from a lost Greek bronze original attributed to Leochares, c. 325 BC .  First the statue was at Fontainbleau then the Louvre ancient hall and finally it went to Versailles. From the collection of Louis XIV, Pope Paul IV and Henry II (1556) . Inv MR 152 ( or Ma 589), Louvre Museum Paris
  • Painted colour verion of Artemis and a deer, known as "Diana of Versailles”, a 1st - 2nd century Roman statue in marble probably from Italy.  Artemis, Diana to the Romans, is goddess of the hunt, is accompanied by a deer.  The Diana of Versailles, similar to other Roman replicas was found in Libya or Turkey and was copied from a lost Greek bronze original attributed to Leochares, c. 325 BC .  First the statue was at Fontainbleau then the Louvre ancient hall and finally it went to Versailles. From the collection of Louis XIV, Pope Paul IV and Henry II (1556) . Inv MR 152 ( or Ma 589), Louvre Museum Paris
  • Painted colour verion of  Centaur with Eros on its back, a 1st - 2nd AD Roman sculpture in marble. Tradition has it that a centaur be a monstrous half-man half-horse mythical creature. In this Roman statue the old centaur is being ridden by Eros (Cupid), the Greek god of Love represented in the form of a young wing child. The sculpture is a copy of a Greek original  attributed to school sculpture of Aphrodisias (Turkey) can be dating in the 2nd century BC. The Borghese Collection inv MR 122 ( or Ma 562 ), Louvre Museum Paris
  • Painted colour verion of  Centaur with Eros on its back, a 1st - 2nd AD Roman sculpture in marble. Tradition has it that a centaur be a monstrous half-man half-horse mythical creature. In this Roman statue the old centaur is being ridden by Eros (Cupid), the Greek god of Love represented in the form of a young wing child. The sculpture is a copy of a Greek original  attributed to school sculpture of Aphrodisias (Turkey) can be dating in the 2nd century BC. The Borghese Collection inv MR 122 ( or Ma 562 ), Louvre Museum Paris
  • Painted colour verion of  Centaur with Eros on its back, a 1st - 2nd AD Roman sculpture in marble. Tradition has it that a centaur be a monstrous half-man half-horse mythical creature. In this Roman statue the old centaur is being ridden by Eros (Cupid), the Greek god of Love represented in the form of a young wing child. The sculpture is a copy of a Greek original  attributed to school sculpture of Aphrodisias (Turkey) can be dating in the 2nd century BC. The Borghese Collection inv MR 122 ( or Ma 562 ), Louvre Museum Paris
  • Painted colour verion of  Centaur with Eros on its back, a 1st - 2nd AD Roman sculpture in marble. Tradition has it that a centaur be a monstrous half-man half-horse mythical creature. In this Roman statue the old centaur is being ridden by Eros (Cupid), the Greek god of Love represented in the form of a young wing child. The sculpture is a copy of a Greek original  attributed to school sculpture of Aphrodisias (Turkey) can be dating in the 2nd century BC. The Borghese Collection inv MR 122 ( or Ma 562 ), Louvre Museum Paris
  • Painted colour verion of  Centaur with Eros on its back, a 1st - 2nd AD Roman sculpture in marble. Tradition has it that a centaur be a monstrous half-man half-horse mythical creature. In this Roman statue the old centaur is being ridden by Eros (Cupid), the Greek god of Love represented in the form of a young wing child. The sculpture is a copy of a Greek original  attributed to school sculpture of Aphrodisias (Turkey) can be dating in the 2nd century BC. The Borghese Collection inv MR 122 ( or Ma 562 ), Louvre Museum Paris
  • Painted colour verion of  “ Silenus Drunk “ - A 2nd century AD Roman sculpture made from marble from Paros. Silenus was described as the oldest, wisest and most drunken of the followers of Dionysus, the god of wine. When intoxicated, Silenus was said to possess special knowledge and the power of prophecy. From the Ancient Royal Collection of France inv MR 343 (or MA 291) previously held at Versailles. Louvre Museum Paris.
  • Painted colour verion of  “ Silenus Drunk “ - A 2nd century AD Roman sculpture made from marble from Paros. Silenus was described as the oldest, wisest and most drunken of the followers of Dionysus, the god of wine. When intoxicated, Silenus was said to possess special knowledge and the power of prophecy. From the Ancient Royal Collection of France inv MR 343 (or MA 291) previously held at Versailles. Louvre Museum Paris.
  • Painted colour verion of  “ Silenus Drunk “ - A 2nd century AD Roman sculpture made from marble from Paros. Silenus was described as the oldest, wisest and most drunken of the followers of Dionysus, the god of wine. When intoxicated, Silenus was said to possess special knowledge and the power of prophecy. From the Ancient Royal Collection of France inv MR 343 (or MA 291) previously held at Versailles. Louvre Museum Paris.
  • Painted colour verion of  “ Silenus Drunk “ - A 2nd century AD Roman sculpture made from marble from Paros. Silenus was described as the oldest, wisest and most drunken of the followers of Dionysus, the god of wine. When intoxicated, Silenus was said to possess special knowledge and the power of prophecy. From the Ancient Royal Collection of France inv MR 343 (or MA 291) previously held at Versailles. Louvre Museum Paris.
  • Painted colour verion of  “ Silenus Drunk “ - A 2nd century AD Roman sculpture made from marble from Paros. Silenus was described as the oldest, wisest and most drunken of the followers of Dionysus, the god of wine. When intoxicated, Silenus was said to possess special knowledge and the power of prophecy. From the Ancient Royal Collection of France inv MR 343 (or MA 291) previously held at Versailles. Louvre Museum Paris.
  • Painted colour verion of  “ Silenus Drunk “ - A 2nd century AD Roman sculpture made from marble from Paros. Silenus was described as the oldest, wisest and most drunken of the followers of Dionysus, the god of wine. When intoxicated, Silenus was said to possess special knowledge and the power of prophecy. From the Ancient Royal Collection of France inv MR 343 (or MA 291) previously held at Versailles. Louvre Museum Paris.
  • Painted colour verion of  “ Silenus Drunk “ - A 2nd century AD Roman sculpture made from marble from Paros. Silenus was described as the oldest, wisest and most drunken of the followers of Dionysus, the god of wine. When intoxicated, Silenus was said to possess special knowledge and the power of prophecy. From the Ancient Royal Collection of France inv MR 343 (or MA 291) previously held at Versailles. Louvre Museum Paris.
  • Painted colour verion of  “ Silenus Drunk “ - A 2nd century AD Roman sculpture made from marble from Paros. Silenus was described as the oldest, wisest and most drunken of the followers of Dionysus, the god of wine. When intoxicated, Silenus was said to possess special knowledge and the power of prophecy. From the Ancient Royal Collection of France inv MR 343 (or MA 291) previously held at Versailles. Louvre Museum Paris.
  • Painted colour verion of  “ Silenus Drunk “ - A 2nd century AD Roman sculpture made from marble from Paros. Silenus was described as the oldest, wisest and most drunken of the followers of Dionysus, the god of wine. When intoxicated, Silenus was said to possess special knowledge and the power of prophecy. From the Ancient Royal Collection of France inv MR 343 (or MA 291) previously held at Versailles. Louvre Museum Paris.
  • Painted colour verion of  “ Silenus Drunk “ - A 2nd century AD Roman sculpture made from marble from Paros. Silenus was described as the oldest, wisest and most drunken of the followers of Dionysus, the god of wine. When intoxicated, Silenus was said to possess special knowledge and the power of prophecy. From the Ancient Royal Collection of France inv MR 343 (or MA 291) previously held at Versailles. Louvre Museum Paris.
  • Painted colour verion of Roman marble sculpture bust of Lucius Verus with the body of Diomedes, Cuma Munich Type, 160-170 AD, inv 6095,  Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture bust of Lucius Verus with the body of Diomedes, Cuma Munich Type, 160-170 AD, inv 6095, Naples Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture bust of Lucius Verus with the body of Diomedes, Cuma Munich Type, 160-170 AD, inv 6095,  Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture bust of Lucius Verus with the body of Diomedes, Cuma Munich Type, 160-170 AD, inv 6095,  Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture bust of Lucius Verus with the body of Diomedes, Cuma Munich Type, 160-170 AD, inv 6095,  Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite 2nd - 1st century BC Roman marble sculpture of Aphrodite (Venus), ‘Marine Venus' Type with a dolphin, copied from a Hellanistic Greek original,  inv 6296, Museum of Archaeology, Italy, white background
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite 2nd - 1st century BC Roman marble sculpture of Aphrodite (Venus), ‘Marine Venus' Type with a dolphin, copied from a Hellanistic Greek original,  inv 6296, Museum of Archaeology, Italy, white background
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite 2nd - 1st century BC Roman marble sculpture of Aphrodite (Venus), ‘Marine Venus' Type with a dolphin, copied from a Hellanistic Greek original,  inv 6296, Museum of Archaeology, Italy, white background
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite 2nd - 1st century BC Roman marble sculpture of Aphrodite (Venus), ‘Marine Venus' Type with a dolphin, copied from a Hellanistic Greek original,  inv 6296, Museum of Archaeology, Italy, white background
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Hellanistic Greek original,  inv 6238, Museum of Archaeology, Italy, black background
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Hellanistic Greek original,  inv 6238, Museum of Archaeology, Italy, black background
  • Painted colour verion of 2nd century AD Roman marble sculptured of Dionysus and Eros, inv 6307, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculptured of Dionysus and Eros, inv 6307, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculptured of Dionysus and Eros, inv 6307, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculptured of Dionysus and Eros, inv 6307, Naples Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture of Ganymede with an eagle, a 2nd century AD copy from an original 2nd century BC late Hellanistic Greek original, inv 6405, Naples  Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculptured of Dionysus and Eros, inv 6307, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture of Ganymede with an eagle, a 2nd century AD copy from an original 2nd century BC late Hellanistic Greek original, inv 6405, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture of Ganymede with an eagle, a 2nd century AD copy from an original 2nd century BC late Hellanistic Greek original, inv 6405, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture of Ganymede with an eagle, a 2nd century AD copy from an original 2nd century BC late Hellanistic Greek original, inv 6405, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture of a warrior on horseback, a 2nd century AD copy from an original 2nd century BC Hellanistic Greek original, inv 6405, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture of Ganymede with an eagle, a 2nd century AD copy from an original 2nd century BC late Hellanistic Greek original, inv 6405, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture of a warrior on horseback, a 2nd century AD copy from an original 2nd century BC Hellanistic Greek original, inv 6405, Naples Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture of a warrior on horseback, a 2nd century AD copy from an original 2nd century BC Hellanistic Greek original, inv 6405, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture of a warrior on horseback, a 2nd century AD copy from an original 2nd century BC Hellanistic Greek original, inv 6405, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture of an Amazon on horseback, a 2nd century AD copy from an original 2nd century BC Hellanistic Greek original, inv 6407, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture of a warrior on horseback, a 2nd century AD copy from an original 2nd century BC Hellanistic Greek original, inv 6405, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture of an Amazon on horseback, a 2nd century AD copy from an original 2nd century BC Hellanistic Greek original, inv 6407, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture of an Amazon on horseback, a 2nd century AD copy from an original 2nd century BC Hellanistic Greek original, inv 6407, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture of an Amazon on horseback, a 2nd century AD copy from an original 2nd century BC Hellanistic Greek original, inv 6407, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture bust of Emperor Domitian  81-96 AD, inv 6061, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture bust of Emperor Domitian  81-96 AD, inv 6061, Naples Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture bust of Emperor Domitian  81-96 AD, inv 6061, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture bust of Emperor Domitian  81-96 AD, inv 6061, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture bust of Emperor Domitian  81-96 AD, inv 6061, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture bust of Emperor  Claudius 41-54 AD, inv 6068, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture bust of Emperor  Claudius 41-54 AD, inv 6068, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture bust of Emperor  Claudius 41-54 AD, inv 6068, Naples Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture bust of Emperor  Claudius 41-54 AD, inv 6068, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture bust of Emperor  Claudius 41-54 AD, inv 6068, Museum of Archaeology, Italy
  • Painted colour verion of end of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • Painted colour verion of end of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • Painted colour verion of end of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Naples  Museum of Archaeology, Italy
  • Painted colour verion of end of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • Painted colour verion of end of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • Painted colour verion of end of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • Painted colour verion of end of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Naples Museum of Archaeology, Italy
  • Painted colour verion of end of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • Painted colour verion of end of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculptured of Dionysus and Eros, inv 6307, Naples Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculptured of Dionysus and Eros, inv 6307, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculptured of Dionysus and Eros, inv 6307, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculptured of Dionysus and Eros, inv 6307, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculptured of Dionysus and Eros, inv 6307, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Pan teaching Daphnis to play the pipes, a Roman copy late 2nd century BC Hellenistic Geek original attributed to Rodes sculptor Heliodoros. Pan's and Daphnis' heads and Daphnis' right arm are restorations.  The Farnese collection, Naples Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Pan teaching Daphnis to play the pipes, a Roman copy late 2nd century BC Hellenistic Geek original attributed to Rodes sculptor Heliodoros. Pan's and Daphnis' heads and Daphnis' right arm are restorations.  The Farnese collection, Naples Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Pan teaching Daphnis to play the pipes, a Roman copy late 2nd century BC Hellenistic Geek original attributed to Rodes sculptor Heliodoros. Pan's and Daphnis' heads and Daphnis' right arm are restorations.  The Farnese collection, Naples Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Pan teaching Daphnis to play the pipes, a Roman copy late 2nd century BC Hellenistic Geek original attributed to Rodes sculptor Heliodoros. Pan's and Daphnis' heads and Daphnis' right arm are restorations.  The Farnese collection, Naples Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Pan teaching Daphnis to play the pipes, a Roman copy late 2nd century BC Hellenistic Geek original attributed to Rodes sculptor Heliodoros. Pan's and Daphnis' heads and Daphnis' right arm are restorations.  The Farnese collection, Naples Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman sculpture of Pothos, a copy of a 4th century BC Greek original attributed to Skopas of Paros, inv no 6253, The Farnese collection, Naples Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman sculpture of Pothos, a copy of a 4th century BC Greek original attributed to Skopas of Paros, inv no 6253, The Farnese collection, Naples Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman sculpture of Pothos, a copy of a 4th century BC Greek original attributed to Skopas of Paros, inv no 6253, The Farnese collection, Naples Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman sculpture of Pothos, a copy of a 4th century BC Greek original attributed to Skopas of Paros, inv no 6253, The Farnese collection, Naples Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman sculpture of Pothos, a copy of a 4th century BC Greek original attributed to Skopas of Paros, inv no 6253, The Farnese collection, Naples Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Bronze Hellanistic original from the mid 3rd century BC  attributed to the Greek sculptor Doldalsas of Bethynia,  inv 6283, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Bronze Hellanistic original from the mid 3rd century BC  attributed to the Greek sculptor Doldalsas of Bethynia,  inv 6283, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Bronze Hellanistic original from the mid 3rd century BC  attributed to the Greek sculptor Doldalsas of Bethynia,  inv 6283, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Bronze Hellanistic original from the mid 3rd century BC  attributed to the Greek sculptor Doldalsas of Bethynia,  inv 6283, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture known as the Farnese Bull from the Baths of Caracalla, Rome, Farnese Collection, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Bronze Hellanistic original from the mid 3rd century BC  attributed to the Greek sculptor Doldalsas of Bethynia,  inv 6283, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture known as the Farnese Bull from the Baths of Caracalla, Rome, Farnese Collection, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture known as the Farnese Bull from the Baths of Caracalla, Rome, Farnese Collection, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture known as the Farnese Bull from the Baths of Caracalla, Rome, Farnese Collection, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture known as the Farnese Bull from the Baths of Caracalla, Rome, Farnese Collection, Naples Museum of Archaeology, Italy
  • Painted colour verion of a Child and Goose - a 1st or 2nd century Roman sculpture from Villa des Quintilii on the Appia Way south of Rome, Italy. Three other similar versions of this Roman sculpture can be found in the Vatican, music and Geneva. The sculpture is attributed to Boethos who was a 2nd century sculptor.  The Braschi Collection, Inv No. MR168 (Usual No Ma 40), Louvre Museum, Paris.
  • Painted colour verion of a Nymph with a shell ( Nymphe a la coquille ) a 1st century marble statue from Italy which was part of the Borghese collection . Louvre Museum, Paris Cat No MR 309. <br />
The Nymph with a shell statue was much admired in the 17th century and influenced such art its as Velasquez. The statue symbolises a carefree childhood and the fact that terracotta versions have been found in tombs suggests that the statue was associated with the injustice of death or of a rebirth.
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Hellanistic Greek original,  inv 6238, Museum of Archaeology, Italy, black background
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Hellanistic Greek original,  inv 6238, Museum of Archaeology, Italy, black background
  • Painted colour verion of Roman marble sculpture of an Amazon on horseback, a 2nd century AD copy from an original 2nd century BC Hellanistic Greek original, inv 6407, Naples Museum of Archaeology, Italy
  • Painted colour verion of end of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • Roman mosaics - The Wedding of Dionysus mosaic. Dionysus Villa Ancient Zeugama, 2nd  century AD . Zeugma Mosaic Museum, Gaziantep, Turkey.<br />
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The Wedding of Dionysus and Ariadne Mosaic, which belongs to the House of Dionysus, is one of the most special mosaics around the world. In the scene, Dionysus and Ariadne are sitting on a sofa. There are three maenads, musician, the wedding god and two sirens around them. <br />
<br />
The mosaic gives the impression of a painting due to the rich variety of colors and luminous/shadow effects used. The fact that there are many figures within the mosaic and their high pictorial quality, on the other hand, makes the mosaic much more special. <br />
<br />
The House of Dionysus is the villa where a rescue excavation was conducted in 1992 upon the received intelligence telling that traffickers had been digging the area. After the excavations, the mosaic now you behold was unearthed along with some geometric mosaics. In terms of the exactness in the anatomy of the figures, the perspective, and the rich variety of colors it is among the most precious and important mosaic around the world. <br />
<br />
<br />
The Museum had conducted activities in order to display the mosaic where it belongs and in a natural manner. However, such a big portion of the mosaic as two thirds was stolen by the historical artefact traffickers in 1998 from the place of display. The parts of the mosaic are not found yet. After the robbery, the remaining parts were transported to Gaziantep Museum and displayed after restoration. The stolen part of the mosaic was left blank. The searches continue in order to find the missing parts through the Interpol.
  • Roman mosaics - Close up of The Wedding of Dionysus mosaic. Dionysus Villa Ancient Zeugama, 2nd  century AD . Zeugma Mosaic Museum, Gaziantep, Turkey.<br />
<br />
<br />
The Wedding of Dionysus and Ariadne Mosaic, which belongs to the House of Dionysus, is one of the most special mosaics around the world. In the scene, Dionysus and Ariadne are sitting on a sofa. There are three maenads, musician, the wedding god and two sirens around them. <br />
<br />
The mosaic gives the impression of a painting due to the rich variety of colors and luminous/shadow effects used. The fact that there are many figures within the mosaic and their high pictorial quality, on the other hand, makes the mosaic much more special. <br />
<br />
The House of Dionysus is the villa where a rescue excavation was conducted in 1992 upon the received intelligence telling that traffickers had been digging the area. After the excavations, the mosaic now you behold was unearthed along with some geometric mosaics. In terms of the exactness in the anatomy of the figures, the perspective, and the rich variety of colors it is among the most precious and important mosaic around the world. <br />
<br />
<br />
The Museum had conducted activities in order to display the mosaic where it belongs and in a natural manner. However, such a big portion of the mosaic as two thirds was stolen by the historical artefact traffickers in 1998 from the place of display. The parts of the mosaic are not found yet. After the robbery, the remaining parts were transported to Gaziantep Museum and displayed after restoration. The stolen part of the mosaic was left blank. The searches continue in order to find the missing parts through the Interpol.
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Christ changing Water into wine - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia.  Against a black background.
  • 6th-7th Century v Christian Terracotta tiles depicting Christ changing Water into wine - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Christ changing Water into wine - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia.   Against a grey background.
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Christ changing Water into wine - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia. Against a grey art background.
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Abraham about to offer his son Isaac as a sacrifice<br />
  - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia.  Against a black background.
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Abraham about to offer his son Isaac as a sacrifice<br />
  - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia.   Against a grey background.
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Abraham about to offer his son Isaac as a sacrifice<br />
  - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Abraham about to offer his son Isaac as a sacrifice<br />
  - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia. Against a grey art background.
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Adam & Eve with a serpent wrapped around a tree between them - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia.  Against a white background.
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Adam & Eve with a serpent wrapped around a tree between them - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia.  Against a black background.
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Adam & Eve with a serpent wrapped around a tree between them - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia.   Against a grey background.
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Adam & Eve with a serpent wrapped around a tree between them - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Adam & Eve with a serpent wrapped around a tree between them - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia. Against a grey art background.
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting a stag - Produced in Byzacena -  present day Tunisia. <br />
<br />
The stag is a traditional Christian symbol for Christ, Who tramples and destroys the Devil. In the Medieval bestiaries the stag as an enemy of snakes. It was believed that stags was believed to chase snakes into their holes or rock crevices, driving them out by flooding the hole with the breath or water from its mouth, and eating them. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia.  Against a white background.
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting a stag - Produced in Byzacena -  present day Tunisia. <br />
<br />
The stag is a traditional Christian symbol for Christ, Who tramples and destroys the Devil. In the Medieval bestiaries the stag as an enemy of snakes. It was believed that stags was believed to chase snakes into their holes or rock crevices, driving them out by flooding the hole with the breath or water from its mouth, and eating them. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia.  Against a black background.
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting two Peacocks - Produced in Byzacena -  present day Tunisia. <br />
<br />
<br />
The patterns of peacock tails contain round decorations. These were seen to be the symbolic eyes of omnipotence and often ascribed to the Archangel Michael. The peacock’s feather is sometimes associated with St. Barbara Also, The peacock, (due to an ancient myth that Peacock flesh did not decay), is seen as a symbol of immortality.<br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia.  Against a white background.
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting two Peacocks - Produced in Byzacena -  present day Tunisia. <br />
<br />
<br />
The patterns of peacock tails contain round decorations. These were seen to be the symbolic eyes of omnipotence and often ascribed to the Archangel Michael. The peacock’s feather is sometimes associated with St. Barbara Also, The peacock, (due to an ancient myth that Peacock flesh did not decay), is seen as a symbol of immortality.<br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia.   Against a grey background.
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting two Peacocks - Produced in Byzacena -  present day Tunisia. <br />
<br />
<br />
The patterns of peacock tails contain round decorations. These were seen to be the symbolic eyes of omnipotence and often ascribed to the Archangel Michael. The peacock’s feather is sometimes associated with St. Barbara Also, The peacock, (due to an ancient myth that Peacock flesh did not decay), is seen as a symbol of immortality.<br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia.  Against a black background.
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting two Peacocks - Produced in Byzacena -  present day Tunisia. <br />
<br />
<br />
The patterns of peacock tails contain round decorations. These were seen to be the symbolic eyes of omnipotence and often ascribed to the Archangel Michael. The peacock’s feather is sometimes associated with St. Barbara Also, The peacock, (due to an ancient myth that Peacock flesh did not decay), is seen as a symbol of immortality.<br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia. Against a grey art background.
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting two Peacocks - Produced in Byzacena -  present day Tunisia. <br />
<br />
<br />
The patterns of peacock tails contain round decorations. These were seen to be the symbolic eyes of omnipotence and often ascribed to the Archangel Michael. The peacock’s feather is sometimes associated with St. Barbara Also, The peacock, (due to an ancient myth that Peacock flesh did not decay), is seen as a symbol of immortality.<br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting a bird - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia.  Against a white background.
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting a bird - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia.  Against a black background.
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting a bird - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia.   Against a grey background.
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting a bird - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia. Against a grey art background.
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting a bird - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting a stag - Produced in Byzacena -  present day Tunisia. <br />
<br />
The stag is a traditional Christian symbol for Christ, Who tramples and destroys the Devil. In the Medieval bestiaries the stag as an enemy of snakes. It was believed that stags was believed to chase snakes into their holes or rock crevices, driving them out by flooding the hole with the breath or water from its mouth, and eating them. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia.  Against a white background.
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting a stag - Produced in Byzacena -  present day Tunisia. <br />
<br />
The stag is a traditional Christian symbol for Christ, Who tramples and destroys the Devil. In the Medieval bestiaries the stag as an enemy of snakes. It was believed that stags was believed to chase snakes into their holes or rock crevices, driving them out by flooding the hole with the breath or water from its mouth, and eating them. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia.  Against a black background.
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting a stag - Produced in Byzacena -  present day Tunisia. <br />
<br />
The stag is a traditional Christian symbol for Christ, Who tramples and destroys the Devil. In the Medieval bestiaries the stag as an enemy of snakes. It was believed that stags was believed to chase snakes into their holes or rock crevices, driving them out by flooding the hole with the breath or water from its mouth, and eating them. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia.   Against a grey background.
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting a stag - Produced in Byzacena -  present day Tunisia. <br />
<br />
The stag is a traditional Christian symbol for Christ, Who tramples and destroys the Devil. In the Medieval bestiaries the stag as an enemy of snakes. It was believed that stags was believed to chase snakes into their holes or rock crevices, driving them out by flooding the hole with the breath or water from its mouth, and eating them. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting a stag - Produced in Byzacena -  present day Tunisia. <br />
<br />
The stag is a traditional Christian symbol for Christ, Who tramples and destroys the Devil. In the Medieval bestiaries the stag as an enemy of snakes. It was believed that stags was believed to chase snakes into their holes or rock crevices, driving them out by flooding the hole with the breath or water from its mouth, and eating them. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia. Against a grey art background.
  • Detail of a 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Christ - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia.  Against a black background.
  • Detail of a 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Christ - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia.   Against a grey background.
  • Detail of a 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Christ - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia
  • Detail of a 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Christ - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia. Against a grey art background.
  • Detail of a 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Christ changing Water into wine - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia.  Against a white background.
  • Detail of a 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Christ changing Water into wine - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia.   Against a grey background.
  • Detail of a 6th-7th Century  Eastern Roman Byzantine  Christian Terracotta tiles depicting Christ changing Water into wine - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia.  Against a black background.
  • Detail of a 6th-7th Century Eastern Roman Byzantine Christian Terracotta tiles depicting Christ changing Water into wine - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia
  • Detail of a 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Christ changing Water into wine - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia. Against a grey art background.
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Christ - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia.  Against a black background.
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Christ - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Christ - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Christ - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia. Against a grey art background.
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Christ changing Water into wine - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional atti-tudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia. v
  • Detail of a 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Christ changing Water into wine - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional atti-tudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additio-nal details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Christ changing Water into wine - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional atti-tudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia.  Against a black background.
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Christ changing Water into wine - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional atti-tudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia.   Against a grey background.
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Christ changing Water into wine - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional atti-tudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Christ changing Water into wine - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional atti-tudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia. Against a grey art background.
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Christ changing Water into wine - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional atti-tudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia.  Against a black background.
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Christ changing Water into wine - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional atti-tudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia.  Against a white background.
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Christ changing Water into wine - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional atti-tudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia.  Against a grey background.
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Christ changing Water into wine - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional atti-tudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia
  • 6th-7th Century Eastern Roman Byzantine Christian Terracotta tiles depicting Christ changing Water into wine - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional atti-tudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia.  Against a grey art background.
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Abraham about to offer his son Isaac as a sacrifice<br />
  - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia.  Against a white background.

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