• 19th century traditional farm house & gate of the Iza Valley, The Village museum near Sighlet, Maramures, Northern Transylvania
  • 19th century traditional Iza Valley farm house carved  wooden folk art gates, The Village museum near Sighlet, Maramures, Northern Transylvania
  • Traditional carved wooden Maramures folk art church gate at Breb, Nr Sighlet, Maramures, Transylvania
  • Farndale farm with autumn colours at sunset, North Yorkshire Moors National Park, England.
  • 19th century traditional farm olive press of the Iza Valley, The Village museum near Sighlet, Maramures, Northern Transylvania
  • 19th century traditional farm house of the Iza Valley, The Village museum near Sighlet, Maramures, Northern Transylvania
  • 19th century Traditional stone & thatch farm house. Casa Maghira, Campulung La Tisa, Tissa Valley, Maramures, Northern Transylvania
  • 19th century Traditional stone & thatch farm house. Casa Maghira, Campulung La Tisa, Tissa Valley, Maramures, Northern Transylvania
  • 19th century traditional farm house & gate of the Iza Valley, The Village museum near Sighlet, Maramures, Northern Transylvania
  • 19th century traditional farm house & gate of the Iza Valley, The Village museum near Sighlet, Maramures, Northern Transylvania
  • 19th century traditional farm house & gate of the Iza Valley, The Village museum near Sighlet, Maramures, Northern Transylvania
  • 19th century traditional farm house & gate of the Iza Valley, The Village museum near Sighlet, Maramures, Northern Transylvania
  • 19th century traditional farm house & gate of the Iza Valley, The Village museum near Sighlet, Maramures, Northern Transylvania
  • Village museum on Dobaies Hill near Sighet, Maramures, Transylvania
  • Fileds & hills of the Iza Valley near Sighet, Maramures, Northern Transylvania
  • Wooden church on Dobaies. The Village museum near Sighlet, Maramures, Northern Transylvania
  • Wooden church on Dobaies in autumn. The Village museum near Sighlet, Maramures, Northern Transylvania
  • Village museum on Dobaies Hill near Sighet, Maramures, Transylvania
  • Village museum on Dobaies Hill near Sighet, Maramures, Transylvania
  • 19th century traditional farm house gate & wooden church  of the Iza Valley, The Village museum near Sighlet, Maramures, Northern Transylvania
  • 19th century traditional farm house & street of the Iza Valley, The Village museum near Sighlet, Maramures, Northern Transylvania
  • 19th century traditional farm house & wicker corn store of the Iza Valley, The Village museum near Sighlet, Maramures, Northern Transylvania
  • 19th century traditional farm house, gate & wooden church of the Iza Valley, The Village museum near Sighlet, Maramures, Northern Transylvania
  • 19th century traditional farm house & gate of the Iza Valley, The Village museum near Sighlet, Maramures, Northern Transylvania
  • 19th century traditional farm house of the Iza Valley, The Village museum near Sighlet, Maramures, Northern Transylvania
  • 19th century Wooden House & well  " Ilea Calinesti" from the Valley of Cosaului, The Village museum near Sighlet, Maramures, Northern Transylvania
  • 18th Century Jewish School room in the Casa Evreiasca. Barsana, the Village museum near Sighlet, Maramures, Northern Transylvania
  • 18th Century Jewish School room in the Casa Evreiasca. Barsana, the Village museum near Sighlet, Maramures, Northern Transylvania
  • 18th Century Jewish School room in the Casa Evreiasca. Barsana, the Village museum near Sighlet, Maramures, Northern Transylvania
  • Rustic Interior of the 1798 wooden house from the valley of Izei, Wooden church on Dobaies. The Village museum near Sighlet, Maramures, Northern Transylvania
  • Rustic Interior of the 1798 wooden house from the valley of Izei, Wooden church on Dobaies. The Village museum near Sighlet, Maramures, Northern Transylvania
  • Rustic interior of a wooden house of the Izei Valley of Maramures. The Village museum near Sighlet, Maramures, Northern Transylvania
  • Rustic interior of a wooden house of the Izei Valley of Maramures. The Village museum near Sighlet, Maramures, Northern Transylvania
  • Rustic interior of a wooden house of the Izei Valley of Maramures. The Village museum near Sighlet, Maramures, Northern Transylvania
  • Rustic interior of a wooden house of the Izei Valley of Maramures. The Village museum near Sighlet, Maramures, Northern Transylvania
  • 19th century traditional Iza Valley farm house carved  wooden folk art gates, The Village museum near Sighlet, Maramures, Northern Transylvania
  • 19th century traditional Iza Valley farm house carved  wooden folk art gates, The Village museum near Sighlet, Maramures, Northern Transylvania
  • 19th century traditional Iza Valley farm house carved  wooden folk art gates, The Village museum near Sighlet, Maramures, Northern Transylvania
  • 19th century traditional Iza Valley farm house carved  wooden folk art gates, The Village museum near Sighlet, Maramures, Northern Transylvania
  • 19th century traditional Iza Valley farm house carved  wooden folk art gates, The Village museum near Sighlet, Maramures, Northern Transylvania
  • 19th century traditional Iza Valley farm house carved  wooden folk art gates, The Village museum near Sighlet, Maramures, Northern Transylvania
  • 19th century traditional Iza Valley farm house carved  wooden folk art gates, The Village museum near Sighlet, Maramures, Northern Transylvania
  • Traditional carved wooden Maramures folk art church gate at Breb, Nr Sighlet, Maramures, Transylvania
  • Traditional hay ricks in a wooded field near Sighlet, Maramures, Transylvania
  • Traditional hay ricks in a wooded field near Breb, Nr Sighlet, Maramures, Transylvania
  • Traditional hay ricks in a wooded field near Breb, Nr Sighlet, Maramures, Transylvania
  • Hay rick at the Orthdox Monastry of Barsana, Maramures, Northern Transylvania
  • Donkey loaded with hay sleeping in the mid day sun. Naxos, Greek Cyclades Islands
  • Donkey in the narrow streets of  Komiaki Hill village
  • Donkey loaded with hay sleeping in the mid day sun. Naxos, Greek Cyclades Islands
  • Donkey loaded with hay sleeping in the mid day sun. Naxos, Greek Cyclades Islands
  • Farmer with donkey in the narrow streets of  Komiaki Hill village
  • streets of  Komiaki Hill village
  • Farndale farm with autumn , North Yorkshire Moors National Park, England.
  • Farndale farm with autumn colours and Landrover, North Yorkshire Moors National Park, England.
  • Farndale farm with autumn colours and sheep, North Yorkshire Moors National Park, England.
  • Eskdale looking across dale, North Yorkshire Moors National Park, England.
  • Farndale looking across dale,  North Yorkshire Moors National Park, England.
  • Danby Dale farm,  North Yorkshire Moors National Park, England.
  • Danby Dale farm,  North Yorkshire Moors National Park, England.
  • Danby Dale looking towards Botton village,  North Yorkshire Moors National Park, England.
  • Bransdale at sunset, North Yorkshire Moors National Park, England.
  • Bransdale at sunset, North Yorkshire Moors National Park, England.
  • Danby Dale farm,  North Yorkshire Moors National Park, England.
  • View down  Fryup Dale with autumn colours and a walkers sign to Rosedale , North Yorkshire Moors National Park, England.
  • View down  Fryup Dale with autumn colours, North Yorkshire Moors National Park, England.
  • Farndale head with the last farm in the valley, North Yorkshire Moors National Park, England.
  • Farndale head with the last farm in the valley, North Yorkshire Moors National Park, England.
  • Farndale head with the last farm in the valley, North Yorkshire Moors National Park, England.
  • Farndale head farm building, North Yorkshire Moors National Park, England.
  • Moors sheep on Blakey Ridge, North Yorkshire Moors National Park, England.
  • Moors sheep on Blakey Ridge, North Yorkshire Moors National Park, England.
  • Moor top at Blakey Ridge with dramatic clouds, North Yorkshire Moors National Park, England.
  • Farndale looking across dale with moors sheep in foreground,  North Yorkshire Moors National Park, England.
  • Church Houses, Farndale,  North Yorkshire Moors National Park, England.
  • Danby Dale farm,  North Yorkshire Moors National Park, England.
  • Danby Dale farm,  North Yorkshire Moors National Park, England.
  • Danby Dale at sunset,  North Yorkshire Moors National Park, England.
  • Bransdale at sunset, North Yorkshire Moors National Park, England.
  • Early seventh Century Christian Roman Byzantine commemoration mosaic from the baptistery of a rural church in Wadi Arremal, present day Zaghouan Region of Tunisia. The Bardo National Museum, Tunis, Tunisia. Against a grey art background.<br />
<br />
The mosaic shows workers construction the early christian church the mosaic commemorates. The mosaic can be regarded as being late Roman of early Byzantine Roman as the area came under the rule of Constantinople during this period
  • Roman fresco wall decorations of the Triclinium C, Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
In the center of the dining room was a table, with three couches (klinai in Greek, hence the name "triclinium") on which the diners reclined as they ate. The southern exposure of the room and its main color suggest it was meant to be used in the winter. The architect Vitruvius, writing in the 1st century after Christ, recommends a dark background that will absorb heat to make the rooms warmer in cold weather. The black color (atramentum), made from a mixture of charcoal and glue, was resistant to smoke from the fire and soot from the lamps. On the dark background delicate landscapes are painted in light colors: cityscapes with buildings, arches, and gateways, and rural scenes showing huts, animals, and rustic shrines. The lavish decoration is broken up by slender columns festooned with ivy. The capitals are crowned by graceful female figures (caryatids). A frieze at eye level has scenes in which the same figures keep reappearing: popular tales depicted in a lively fashion. The scenes of the frieze start with the rear of the right wall. Also on this wall, near the doorway. can be seen a restoration made in antiquity to close off another entrance. We can identify a part of the polychrome mosaic pavement of this room. with meanders and stacked cubes rendered in perspective. The modem arrangement does not reproduce the or final. but is intended to suggest the effect of the pavement in the room
  • Fryup : North : Yorkshire : Moors : National : Park : rural : countryside : country : fields : grass : farm : farming : land : trees : hedges : dry : stone : wall : heritage : protected : upland : Moorland : heather ; bracken : organic : sheep : cows : hills : dales : dale : valley : high : land : landscape : picturesque : peaceful : beautiful : walkers : tourist : travel : visitor : holiday : wildlife : northeast : autumn : colours : forestry : remote : farmer : traditional :
  • Worker with a column on a horse cart, a detail from an early seventh Century Christian Roman Byzantine commemoration mosaic from the baptistery of a rural church in Wadi Arremal, present day Zaghouan Region of Tunisia, The Bardo National Museum, Tunis, Tunisia.<br />
<br />
The mosaic shows workers construction the early christian church the mosaic commemorates. The mosaic can be regarded as being late Roman of early Byzantine Roman as the area came under the rule of Constantinople during this period
  • Early seventh Century Christian Roman Byzantine commemoration mosaic from the baptistery of a rural church in Wadi Arremal, present day Zaghouan Region of Tunisia. The Bardo National Museum, Tunis, Tunisia.  Against a white background.<br />
<br />
The mosaic shows workers construction the early christian church the mosaic commemorates. The mosaic can be regarded as being late Roman of early Byzantine Roman as the area came under the rule of Constantinople during this period
  • Early seventh Century Christian Roman Byzantine commemoration mosaic from the baptistery of a rural church in Wadi Arremal, present day Zaghouan Region of Tunisia. The Bardo National Museum, Tunis, Tunisia.  Against a black background.<br />
<br />
The mosaic shows workers construction the early christian church the mosaic commemorates. The mosaic can be regarded as being late Roman of early Byzantine Roman as the area came under the rule of Constantinople during this period
  • Early seventh Century Christian Roman Byzantine commemoration mosaic from the baptistery of a rural church in Wadi Arremal, present day Zaghouan Region of Tunisia. The Bardo National Museum, Tunis, Tunisia.   Against a grey background.<br />
<br />
The mosaic shows workers construction the early christian church the mosaic commemorates. The mosaic can be regarded as being late Roman of early Byzantine Roman as the area came under the rule of Constantinople during this period
  • Early seventh Century Christian Eastern Roman Byzantine  commemoration mosaic from the baptistery of a rural church in Wadi Arremal, present day Zaghouan Region of Tunisia. The Bardo National Museum, Tunis, Tunisia.<br />
<br />
The mosaic shows workers construction the early christian church the mosaic commemorates. The mosaic can be regarded as being late Roman of early Byzantine Roman as the area came under the rule of Constantinople during this period
  • Roman fresco wall decorations of the Triclinium C, Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
In the center of the dining room was a table, with three couches (klinai in Greek, hence the name "triclinium") on which the diners reclined as they ate. The southern exposure of the room and its main color suggest it was meant to be used in the winter. The architect Vitruvius, writing in the 1st century after Christ, recommends a dark background that will absorb heat to make the rooms warmer in cold weather. The black color (atramentum), made from a mixture of charcoal and glue, was resistant to smoke from the fire and soot from the lamps. On the dark background delicate landscapes are painted in light colors: cityscapes with buildings, arches, and gateways, and rural scenes showing huts, animals, and rustic shrines. The lavish decoration is broken up by slender columns festooned with ivy. The capitals are crowned by graceful female figures (caryatids). A frieze at eye level has scenes in which the same figures keep reappearing: popular tales depicted in a lively fashion. The scenes of the frieze start with the rear of the right wall. Also on this wall, near the doorway. can be seen a restoration made in antiquity to close off another entrance. We can identify a part of the polychrome mosaic pavement of this room. with meanders and stacked cubes rendered in perspective. The modem arrangement does not reproduce the or final. but is intended to suggest the effect of the pavement in the room
  • Roman fresco wall decorations of the Triclinium C, Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
In the center of the dining room was a table, with three couches (klinai in Greek, hence the name "triclinium") on which the diners reclined as they ate. The southern exposure of the room and its main color suggest it was meant to be used in the winter. The architect Vitruvius, writing in the 1st century after Christ, recommends a dark background that will absorb heat to make the rooms warmer in cold weather. The black color (atramentum), made from a mixture of charcoal and glue, was resistant to smoke from the fire and soot from the lamps. On the dark background delicate landscapes are painted in light colors: cityscapes with buildings, arches, and gateways, and rural scenes showing huts, animals, and rustic shrines. The lavish decoration is broken up by slender columns festooned with ivy. The capitals are crowned by graceful female figures (caryatids). A frieze at eye level has scenes in which the same figures keep reappearing: popular tales depicted in a lively fashion. The scenes of the frieze start with the rear of the right wall. Also on this wall, near the doorway. can be seen a restoration made in antiquity to close off another entrance. We can identify a part of the polychrome mosaic pavement of this room. with meanders and stacked cubes rendered in perspective. The modem arrangement does not reproduce the or final. but is intended to suggest the effect of the pavement in the room
  • Roman fresco wall decorations of the Triclinium C, Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
In the center of the dining room was a table, with three couches (klinai in Greek, hence the name "triclinium") on which the diners reclined as they ate. The southern exposure of the room and its main color suggest it was meant to be used in the winter. The architect Vitruvius, writing in the 1st century after Christ, recommends a dark background that will absorb heat to make the rooms warmer in cold weather. The black color (atramentum), made from a mixture of charcoal and glue, was resistant to smoke from the fire and soot from the lamps. On the dark background delicate landscapes are painted in light colors: cityscapes with buildings, arches, and gateways, and rural scenes showing huts, animals, and rustic shrines. The lavish decoration is broken up by slender columns festooned with ivy. The capitals are crowned by graceful female figures (caryatids). A frieze at eye level has scenes in which the same figures keep reappearing: popular tales depicted in a lively fashion. The scenes of the frieze start with the rear of the right wall. Also on this wall, near the doorway. can be seen a restoration made in antiquity to close off another entrance. We can identify a part of the polychrome mosaic pavement of this room. with meanders and stacked cubes rendered in perspective. The modem arrangement does not reproduce the or final. but is intended to suggest the effect of the pavement in the room
  • Roman fresco wall decorations of the Triclinium C, Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
In the center of the dining room was a table, with three couches (klinai in Greek, hence the name "triclinium") on which the diners reclined as they ate. The southern exposure of the room and its main color suggest it was meant to be used in the winter. The architect Vitruvius, writing in the 1st century after Christ, recommends a dark background that will absorb heat to make the rooms warmer in cold weather. The black color (atramentum), made from a mixture of charcoal and glue, was resistant to smoke from the fire and soot from the lamps. On the dark background delicate landscapes are painted in light colors: cityscapes with buildings, arches, and gateways, and rural scenes showing huts, animals, and rustic shrines. The lavish decoration is broken up by slender columns festooned with ivy. The capitals are crowned by graceful female figures (caryatids). A frieze at eye level has scenes in which the same figures keep reappearing: popular tales depicted in a lively fashion. The scenes of the frieze start with the rear of the right wall. Also on this wall, near the doorway. can be seen a restoration made in antiquity to close off another entrance. We can identify a part of the polychrome mosaic pavement of this room. with meanders and stacked cubes rendered in perspective. The modem arrangement does not reproduce the or final. but is intended to suggest the effect of the pavement in the room
  • Roman fresco wall decorations of the Triclinium C, Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
In the center of the dining room was a table, with three couches (klinai in Greek, hence the name "triclinium") on which the diners reclined as they ate. The southern exposure of the room and its main color suggest it was meant to be used in the winter. The architect Vitruvius, writing in the 1st century after Christ, recommends a dark background that will absorb heat to make the rooms warmer in cold weather. The black color (atramentum), made from a mixture of charcoal and glue, was resistant to smoke from the fire and soot from the lamps. On the dark background delicate landscapes are painted in light colors: cityscapes with buildings, arches, and gateways, and rural scenes showing huts, animals, and rustic shrines. The lavish decoration is broken up by slender columns festooned with ivy. The capitals are crowned by graceful female figures (caryatids). A frieze at eye level has scenes in which the same figures keep reappearing: popular tales depicted in a lively fashion. The scenes of the frieze start with the rear of the right wall. Also on this wall, near the doorway. can be seen a restoration made in antiquity to close off another entrance. We can identify a part of the polychrome mosaic pavement of this room. with meanders and stacked cubes rendered in perspective. The modem arrangement does not reproduce the or final. but is intended to suggest the effect of the pavement in the room
  • Roman fresco wall decorations of the Triclinium C, Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
In the center of the dining room was a table, with three couches (klinai in Greek, hence the name "triclinium") on which the diners reclined as they ate. The southern exposure of the room and its main color suggest it was meant to be used in the winter. The architect Vitruvius, writing in the 1st century after Christ, recommends a dark background that will absorb heat to make the rooms warmer in cold weather. The black color (atramentum), made from a mixture of charcoal and glue, was resistant to smoke from the fire and soot from the lamps. On the dark background delicate landscapes are painted in light colors: cityscapes with buildings, arches, and gateways, and rural scenes showing huts, animals, and rustic shrines. The lavish decoration is broken up by slender columns festooned with ivy. The capitals are crowned by graceful female figures (caryatids). A frieze at eye level has scenes in which the same figures keep reappearing: popular tales depicted in a lively fashion. The scenes of the frieze start with the rear of the right wall. Also on this wall, near the doorway. can be seen a restoration made in antiquity to close off another entrance. We can identify a part of the polychrome mosaic pavement of this room. with meanders and stacked cubes rendered in perspective. The modem arrangement does not reproduce the or final. but is intended to suggest the effect of the pavement in the room
  • Roman fresco wall decorations of the Triclinium C, Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
In the center of the dining room was a table, with three couches (klinai in Greek, hence the name "triclinium") on which the diners reclined as they ate. The southern exposure of the room and its main color suggest it was meant to be used in the winter. The architect Vitruvius, writing in the 1st century after Christ, recommends a dark background that will absorb heat to make the rooms warmer in cold weather. The black color (atramentum), made from a mixture of charcoal and glue, was resistant to smoke from the fire and soot from the lamps. On the dark background delicate landscapes are painted in light colors: cityscapes with buildings, arches, and gateways, and rural scenes showing huts, animals, and rustic shrines. The lavish decoration is broken up by slender columns festooned with ivy. The capitals are crowned by graceful female figures (caryatids). A frieze at eye level has scenes in which the same figures keep reappearing: popular tales depicted in a lively fashion. The scenes of the frieze start with the rear of the right wall. Also on this wall, near the doorway. can be seen a restoration made in antiquity to close off another entrance. We can identify a part of the polychrome mosaic pavement of this room. with meanders and stacked cubes rendered in perspective. The modem arrangement does not reproduce the or final. but is intended to suggest the effect of the pavement in the room
  • Roman fresco wall decorations of the Triclinium C, Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
In the center of the dining room was a table, with three couches (klinai in Greek, hence the name "triclinium") on which the diners reclined as they ate. The southern exposure of the room and its main color suggest it was meant to be used in the winter. The architect Vitruvius, writing in the 1st century after Christ, recommends a dark background that will absorb heat to make the rooms warmer in cold weather. The black color (atramentum), made from a mixture of charcoal and glue, was resistant to smoke from the fire and soot from the lamps. On the dark background delicate landscapes are painted in light colors: cityscapes with buildings, arches, and gateways, and rural scenes showing huts, animals, and rustic shrines. The lavish decoration is broken up by slender columns festooned with ivy. The capitals are crowned by graceful female figures (caryatids). A frieze at eye level has scenes in which the same figures keep reappearing: popular tales depicted in a lively fashion. The scenes of the frieze start with the rear of the right wall. Also on this wall, near the doorway. can be seen a restoration made in antiquity to close off another entrance. We can identify a part of the polychrome mosaic pavement of this room. with meanders and stacked cubes rendered in perspective. The modem arrangement does not reproduce the or final. but is intended to suggest the effect of the pavement in the room
  • Roman fresco wall decorations of the Triclinium C, Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
In the center of the dining room was a table, with three couches (klinai in Greek, hence the name "triclinium") on which the diners reclined as they ate. The southern exposure of the room and its main color suggest it was meant to be used in the winter. The architect Vitruvius, writing in the 1st century after Christ, recommends a dark background that will absorb heat to make the rooms warmer in cold weather. The black color (atramentum), made from a mixture of charcoal and glue, was resistant to smoke from the fire and soot from the lamps. On the dark background delicate landscapes are painted in light colors: cityscapes with buildings, arches, and gateways, and rural scenes showing huts, animals, and rustic shrines. The lavish decoration is broken up by slender columns festooned with ivy. The capitals are crowned by graceful female figures (caryatids). A frieze at eye level has scenes in which the same figures keep reappearing: popular tales depicted in a lively fashion. The scenes of the frieze start with the rear of the right wall. Also on this wall, near the doorway. can be seen a restoration made in antiquity to close off another entrance. We can identify a part of the polychrome mosaic pavement of this room. with meanders and stacked cubes rendered in perspective. The modem arrangement does not reproduce the or final. but is intended to suggest the effect of the pavement in the room
  • Roman fresco wall decorations of the Triclinium C, Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
In the center of the dining room was a table, with three couches (klinai in Greek, hence the name "triclinium") on which the diners reclined as they ate. The southern exposure of the room and its main color suggest it was meant to be used in the winter. The architect Vitruvius, writing in the 1st century after Christ, recommends a dark background that will absorb heat to make the rooms warmer in cold weather. The black color (atramentum), made from a mixture of charcoal and glue, was resistant to smoke from the fire and soot from the lamps. On the dark background delicate landscapes are painted in light colors: cityscapes with buildings, arches, and gateways, and rural scenes showing huts, animals, and rustic shrines. The lavish decoration is broken up by slender columns festooned with ivy. The capitals are crowned by graceful female figures (caryatids). A frieze at eye level has scenes in which the same figures keep reappearing: popular tales depicted in a lively fashion. The scenes of the frieze start with the rear of the right wall. Also on this wall, near the doorway. can be seen a restoration made in antiquity to close off another entrance. We can identify a part of the polychrome mosaic pavement of this room. with meanders and stacked cubes rendered in perspective. The modem arrangement does not reproduce the or final. but is intended to suggest the effect of the pavement in the room
  • Roman mosaic of an early Christian church floor from Qabr Hiram, Lebanon, 575 AD. Marble blocks and glass paste cubes. This mosaic was designed to follow the layout of the church which had three naves. It depicts God through images of his creation: rural activities, fruit, animals with representations of the months, seasons and winds. The inscription indicates that the basilica was dedicated to St. Christopher and was built in 575 AD.. Inv 32230-2236, Louvre Museum, Paris
  • Roman mosaic of an early Christian church floor from Qabr Hiram, Lebanon, 575 AD. Marble blocks and glass paste cubes. This mosaic was designed to follow the layout of the church which had three naves. It depicts God through images of his creation: rural activities, fruit, animals with representations of the months, seasons and winds. The inscription indicates that the basilica was dedicated to St. Christopher and was built in 575 AD.. Inv 32230-2236, Louvre Museum, Paris
  • Roman mosaic of an early Christian church floor from Qabr Hiram, Lebanon, 575 AD. Marble blocks and glass paste cubes. This mosaic was designed to follow the layout of the church which had three naves. It depicts God through images of his creation: rural activities, fruit, animals with representations of the months, seasons and winds. The inscription indicates that the basilica was dedicated to St. Christopher and was built in 575 AD.. Inv 32230-2236, Louvre Museum, Paris

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