• The Fatih Sultan Mehmet Bridge, also known as the Second Bosphorus Bridge Istanbul Turkey
  • Stock photos of Hévíz [ Heves ] Thermal lake - Second largest thermal lake in the world with water at 35-36 degree C - Balaton - Hungary
  • Stock photos of Hévíz [ Heves ] Thermal lake - Second largest thermal lake in the world with water at 35-36 degree C - Balaton - Hungary
  • Stock photos of Hévíz [ Heves ] Thermal lake - Second largest thermal lake in the world with water at 35-36 degree C - Balaton - Hungary
  • Stock photos of Hévíz [ Heves ] Thermal lake - Second largest thermal lake in the world with water at 35-36 degree C - Balaton - Hungary
  • Stock photos of Hévíz [ Heves ] Thermal lake - Second largest thermal lake in the world with water at 35-36 degree C - Balaton - Hungary
  • Stock photos of Hévíz [ Heves ] Thermal lake - Second largest thermal lake in the world with water at 35-36 degree C - Balaton - Hungary
  • Stock photos of Hévíz [ Heves ] Thermal lake - Second largest thermal lake in the world with water at 35-36 degree C - Balaton - Hungary
  • Stock photos of Hévíz [ Heves ] Thermal lake - Second largest thermal lake in the world with water at 35-36 degree C - Balaton - Hungary
  • Stock photos of Hévíz [ Heves ] Thermal lake - Second largest thermal lake in the world with water at 35-36 degree C - Balaton - Hungary
  • Stock photos of Hévíz [ Heves ] Thermal lake - Second largest thermal lake in the world with water at 35-36 degree C - Balaton - Hungary
  • American second world war cemetry at Omaha beach. Normandy, France.
  • American second world war cemetry at Omaha beach. Normandy, France.
  • American second world war cemetry at Omaha beach. Normandy, France.
  • American second world war cemetry at Omaha beach. Normandy, France.
  • American second world war cemetry at Omaha beach. Normandy, France.
  • American second world war cemetry at Omaha beach. Normandy, France.
  • American second world war cemetry at Omaha beach. Normandy, France.
  • Paris - France - Seine Bank with Book Stalls Near Notre Dame
  • Paris - France - Seine Bank with Book Stalls Near Notre Dame
  • "the Brave Men' scupture in the sand at Omaha D Day landing beach, Normandy, France.
  • "the Brave Men' scupture in the sand at Omaha D Day landing beach, Normandy, France.
  • "the Brave Men' scupture in the sand at Omaha D Day landing beach, Normandy, France.
  • "the Brave Men' scupture in the sand at Omaha D Day landing beach, Normandy, France.
  • "the Brave Men' scupture in the sand at Omaha D Day landing beach, Normandy, France.
  • Old court shoes
  • Paris - France - Seine Bank with Book Stalls Near Notre Dame
  • Paris - France - Seine Bank with Book Stalls Near Notre Dame
  • A watch on a chain bent by ripples
  • Satrap Sarcophagus, Paros marble from the Royal Necropolis of Sidon, Chamber no. VI. Second half of the 5th cent. B.C.  Istanbul Archaeological museum Inv 367 T.  Cat. Mendel 9
  • Satrap Sarcophagus, Paros marble from the Royal Necropolis of Sidon, Chamber no. VI. Second half of the 5th cent. B.C.  Istanbul Archaeological museum Inv 367 T.  Cat. Mendel 9
  • Satrap Sarcophagus, Paros marble from the Royal Necropolis of Sidon, Chamber no. VI. Second half of the 5th cent. B.C.  Istanbul Archaeological museum Inv 367 T.  Cat. Mendel 9
  • Satrap Sarcophagus, Paros marble from the Royal Necropolis of Sidon, Chamber no. VI. Second half of the 5th cent. B.C.  Istanbul Archaeological museum Inv 367 T.  Cat. Mendel 9
  • Satrap Sarcophagus, Paros marble from the Royal Necropolis of Sidon, Chamber no. VI. Second half of the 5th cent. B.C.  Istanbul Archaeological museum Inv 367 T.  Cat. Mendel 9
  • 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, 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
  • Detail of a second Century Roman statue of Apollo excavated from the Theatre of Carthage. The Bardo National Museum, Tunis, Tunisia. Inv No C939. Against a black background.
  • Detail of a second Century Roman statue of Apollo excavated from the Theatre of Carthage. The Bardo National Museum, Tunis, Tunisia. Inv No C939. v
  • Detail of a second Century Roman statue of Apollo excavated from the Theatre of Carthage. The Bardo National Museum, Tunis, Tunisia. Inv No C939
  • Detail of a second Century Roman statue of Apollo excavated from the Theatre of Carthage. The Bardo National Museum, Tunis, Tunisia. Inv No C939. Against a white background.
  • Detail of a second Century Roman statue of Apollo excavated from the Theatre of Carthage. The Bardo National Museum, Tunis, Tunisia. Inv No C939. Against a grey art background.
  • Second Century Roman statue of Apollo excavated from the Theatre of Carthage. The Bardo National Museum, Tunis, Tunisia. Inv No C939.  Against a white background.
  • Second Century Roman statue of Apollo excavated from the Theatre of Carthage. The Bardo National Museum, Tunis, Tunisia. Inv No C939.  Against a black background.
  • Second Century Roman statue of Apollo excavated from the Theatre of Carthage. The Bardo National Museum, Tunis, Tunisia. Inv No C939.   Against a grey background.
  • Second Century Roman statue of Apollo excavated from the Theatre of Carthage. The Bardo National Museum, Tunis, Tunisia. Inv No C939
  • Second Century Roman statue of Apollo excavated from the Theatre of Carthage. The Bardo National Museum, Tunis, Tunisia. Inv No C939. Against a grey art background.
  • Second century Roman Christian funerary stele for 3 dead people from Africa Proconsularis. The stele depicts the deceased:  Fausata who died age 75, a man who died age 70 and a child who died age 2 years 6 months. From the first half of the second century AD from the region of Bou Arada in present day Tunisia. The Bardo National Museum, Tunis, Tunisia.  Against a white background.
  • Second century Roman Christian funerary stele for 3 dead people from Africa Proconsularis. The stele depicts the deceased:  Fausata who died age 75, a man who died age 70 and a child who died age 2 years 6 months. From the first half of the second century AD from the region of Bou Arada in present day Tunisia. The Bardo National Museum, Tunis, Tunisia.   Against a grey background.
  • Second century Roman Christian funerary stele for 3 dead people from Africa Proconsularis. The stele depicts the deceased:  Fausata who died age 75, a man who died age 70 and a child who died age 2 years 6 months. From the first half of the second century AD from the region of Bou Arada in present day Tunisia. The Bardo National Museum, Tunis, Tunisia.  Against a black background.
  • Second century Roman Christian funerary stele for 3 dead people from Africa Proconsularis. The stele depicts the deceased:  Fausata who died age 75, a man who died age 70 and a child who died age 2 years 6 months. From the first half of the second century AD from the region of Bou Arada in present day Tunisia. The Bardo National Museum, Tunis, Tunisia.
  • Second century Roman Christian funerary stele for 3 dead people from Africa Proconsularis. The stele depicts the deceased:  Fausata who died age 75, a man who died age 70 and a child who died age 2 years 6 months. From the first half of the second century AD from the region of Bou Arada in present day Tunisia. The Bardo National Museum, Tunis, Tunisia. Against a grey art background.
  • Second century AD Roman statue of Urania holding, the muse of atronomy holding  a globe, the statue was restored from two separte staues of the period, inv 293, Vatican Museum Rome, Italy,  white background
  • Second century AD Roman statue of Urania holding, the muse of atronomy holding  a globe, the statue was restored from two separte staues of the period, inv 293, Vatican Museum Rome, Italy,  grey background
  • Second century AD Roman statue of Urania holding, the muse of atronomy holding  a globe, the statue was restored from two separte staues of the period, inv 293, Vatican Museum Rome, Italy,  black background
  • Second century AD Roman statue of Urania holding, the muse of atronomy holding  a globe, the statue was restored from two separte staues of the period, inv 293, Vatican Museum Rome, Italy,  grey art background
  • Second century AD Roman statue of Urania holding, the muse of atronomy holding  a globe, the statue was restored from two separte staues of the period, inv 293, Vatican Museum Rome, Italy,  art background
  • 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, white background
  • 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, grey background
  • 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, black background
  • 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, white background
  • 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
  • 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, grey art background
  • 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, black background
  • 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, grey background
  • 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, grey art background
  • 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
  • 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, white background
  • 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, black background
  • Full length view 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
  • Full length view 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, grey art background
  • 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, grey background
  • Second half of the 4th century AD Roman mosaic depiction of a Peacock with raised tail feathers, and horses from the four fractions of the circus . From the House of the Peacock, Cathage, Tunisia.  The Bardo Museum, Tunis, Tunisia. White background
  • Second half of the 4th century AD Roman mosaic depiction of a Peacock with raised tail feathers, and horses from the four fractions of the circus . From the House of the Peacock, Cathage, Tunisia.  The Bardo Museum, Tunis, Tunisia. Grey background
  • Second half of the 4th century AD Roman mosaic depiction of a Peacock with raised tail feathers, and horses from the four fractions of the circus . From the House of the Peacock, Cathage, Tunisia.  The Bardo Museum, Tunis, Tunisia.
  • Second half of the 4th century AD Roman mosaic depiction of a Peacock with raised tail feathers, and horses from the four fractions of the circus . From the House of the Peacock, Cathage, Tunisia.  The Bardo Museum, Tunis, Tunisia.
  • Roman statue of Silenus or Papposilenus from the second half of the 2nd cent. AD excavated from the Villa Marittima, Torre Astura Italy.  Silenus was the tutor to Dionysus is portrayed here as he was portrayed on stage in the Roman theatres. His mask is that of the theatre and he is wearing a lambskin cloak and hairy tights.  Inv 135769, The National Roman Museum, Rome, Italy
  • Roman statue of Silenus or Papposilenus from the second half of the 2nd cent. AD excavated from the Villa Marittima, Torre Astura Italy.  Silenus was the tutor to Dionysus is portrayed here as he was portrayed on stage in the Roman theatres. His mask is that of the theatre and he is wearing a lambskin cloak and hairy tights.  Inv 135769, The National Roman Museum, Rome, Italy
  • Roman statue of Silenus or Papposilenus from the second half of the 2nd cent. AD excavated from the Villa Marittima, Torre Astura Italy.  Silenus was the tutor to Dionysus is portrayed here as he was portrayed on stage in the Roman theatres. His mask is that of the theatre and he is wearing a lambskin cloak and hairy tights.  Inv 135769, The National Roman Museum, Rome, Italy
  • Roman relief sculpture panel decorated on both sides with masks from the second half of the 1st cent. AD excavated from the Valle Giardino, Nemi, Italy. The panel is sculpted on both sides; the front side depicts the half moon shaped face of a deity wearing a crown.  Inv 112158, The National Roman Museum, Rome, Italy
  • Roman statue of Silenus or Papposilenus from the second half of the 2nd cent. AD excavated from the Villa Marittima, Torre Astura Italy.  Silenus was the tutor to Dionysus is portrayed here as he was portrayed on stage in the Roman theatres. His mask is that of the theatre and he is wearing a lambskin cloak and hairy tights.  Inv 135769, The National Roman Museum, Rome, Italy
  • Roman relief sculpture panel decorated on both sides with masks from the second half of the 1st cent. AD excavated from the Valle Giardino, Nemi, Italy. The panel is sculpted on both sides; the front side depicts the half moon shaped face of a deity wearing a crown.  Inv 112158, The National Roman Museum, Rome, Italy
  • Roman relief sculpture panel decorated on both sides with masks from the second half of the 1st cent. AD excavated from the Valle Giardino, Nemi, Italy. The panel is sculpted on both sides; the front side depicts the half moon shaped face of a deity wearing a crown.  Inv 112158, The National Roman Museum, Rome, Italy
  • Roman relief sculpture panel decorated on both sides with masks from the second half of the 1st cent. AD excavated from the Valle Giardino, Nemi, Italy. The panel is sculpted on both sides; the front side depicts the half moon shaped face of a deity wearing a crown.  Inv 112158, The National Roman Museum, Rome, Italy
  • Roman sculpture bust of Publius Septimius Antoninus Geta better known as Geta brother of Caracalla, made between 209 and 212 AD and excavated from the via XX Septembre, Rome. Geta was the younger son of Septimius Severus by his second wife Julia Domna. Geta  was a Roman emperor who ruled with his father Septimius Severus and his older brother Caracalla from 209 until his death, when he was murdered on Caracalla's orders.  The National Roman Museum, Rome, Italy
  • Roman sculpture bust of Publius Septimius Antoninus Geta better known as Geta brother of Caracalla, made between 209 and 212 AD and excavated from the via XX Septembre, Rome. Geta was the younger son of Septimius Severus by his second wife Julia Domna. Geta  was a Roman emperor who ruled with his father Septimius Severus and his older brother Caracalla from 209 until his death, when he was murdered on Caracalla's orders.  The National Roman Museum, Rome, Italy
  • Roman sculpture bust of Publius Septimius Antoninus Geta better known as Geta brother of Caracalla, made between 209 and 212 AD and excavated from the via XX Septembre, Rome. Geta was the younger son of Septimius Severus by his second wife Julia Domna. Geta  was a Roman emperor who ruled with his father Septimius Severus and his older brother Caracalla from 209 until his death, when he was murdered on Caracalla's orders.  The National Roman Museum, Rome, Italy
  • Roman sculpture bust of Publius Septimius Antoninus Geta better known as Geta brother of Caracalla, made between 209 and 212 AD and excavated from the via XX Septembre, Rome. Geta was the younger son of Septimius Severus by his second wife Julia Domna. Geta  was a Roman emperor who ruled with his father Septimius Severus and his older brother Caracalla from 209 until his death, when he was murdered on Caracalla's orders.  The National Roman Museum, Rome, Italy
  • Photo of Roman releif sculpture of Tree Graces from the South Building, Second storey, Aphrodisias, Turkey, Images of Roman art bas releifs. Buy as stock or photo art prints. Apollo sits on his raised platform with his tripod at his oracular shrine. He is approached by 2 figures one with the flat diadem of a king who have come to consult him. Cut Out
  • Photo of Roman releif sculpture of Tree Graces from the South Building, Second storey, Aphrodisias, Turkey, Images of Roman art bas releifs. Buy as stock or photo art prints. Apollo sits on his raised platform with his tripod at his oracular shrine. He is approached by 2 figures one with the flat diadem of a king who have come to consult him. Cut Out
  • Photo of Roman releif sculpture of Tree Graces from the South Building, Second storey, Aphrodisias, Turkey, Images of Roman art bas releifs. Buy as stock or photo art prints. Apollo sits on his raised platform with his tripod at his oracular shrine. He is approached by 2 figures one with the flat diadem of a king who have come to consult him. Cut Out
  • Photo of Roman releif sculpture of Tree Graces from the South Building, Second storey, Aphrodisias, Turkey, Images of Roman art bas releifs. Buy as stock or photo art prints. From The South Building, Rooms 1-3, Mythological Releifs.
  • Photo of Roman releif sculpture of Tree Graces from the South Building, Second storey, Aphrodisias, Turkey, Images of Roman art bas releifs. Buy as stock or photo art prints. From The South Building, Rooms 1-3, Mythological Releifs.
  • Photo of Roman releif sculpture of Tree Graces from the South Building, Second storey, Aphrodisias, Turkey, Images of Roman art bas releifs. Buy as stock or photo art prints. From The South Building, Rooms 1-3, Mythological Releifs.
  • End of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules hand copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • End of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules hand copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • End of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules hand copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • End of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules hand copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • End of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules hand copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • 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
  • 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
  • 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
  • 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
  • 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
  • Hispano-Moresque ware dish with an eagle motif. Faience lustre ware, an islamic pottery style produced in Manises, Al Andalus, present day Spain in the second half of the 14th century.  inv 1438, The Louvre Museum, Paris.
  • Hispano-Moresque ware dish with an eagle motif. Faience lustre ware, an islamic pottery style produced in Manises, Al Andalus, present day Spain in the second half of the 14th century.  inv 1438, The Louvre Museum, Paris.
  • Hispano-Moresque ware dish with an eagle motif. Faience lustre ware, an islamic pottery style produced in Manises, Al Andalus, present day Spain in the second half of the 14th century.  inv 1438, The Louvre Museum, Paris.
  • Hispano-Moresque ware dish with an eagle motif. Faience lustre ware, an islamic pottery style produced in Manises, Al Andalus, present day Spain in the second half of the 14th century.  inv 1438, The Louvre Museum, Paris.
  • Medieval Gothic reliquary of Saint Martin probably made in Avignon in the second quarter of the 14th century. From the church of Soudeilles, Correze, France.  inv 6459, The Louvre Museum, Paris.
  • Medieval Gothic ivory diptych depicting the Annunciation, Nativity, the adoration of the Magi and the crucifixion  made in Paris in second quarter of the 14th century.  inv 103, The Louvre Museum, Paris.
  • A Gothic stone carving of St. Andrew Bishop bring tempted by the devil. Second half of the fourteenth century by Bartomeu de Robio.From the church of Santa Maria de Castello Farfanya (Noguera). Inv MNAC 122485. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Gothic painted bas-relief of the Nativity by Master of Albesa, Active in Lleida. Polychrome and gilded limestone bas-relief. Second half of 14th century. Dimesions 57 x 69 x 11 cm.Compartment of a sculptural altarpiece devoted to the Virgin. From the crypt of the collegiate church of Sant Pere d'Àger (Noguera). National Museum of Catalan Art, Barcelona, Spain, inv no: 017342-000
  • Gothic painted bas-relief of the Presentation of Jesus at the Templeby Master of Albesa, Active in Lleida. Polychrome and gilded limestone bas-relief. Second half of 14th century. Dimesions 57 x 69 x 11 cm. Compartment of a sculptural altarpiece devoted to the Virgin. From the crypt of the collegiate church of Sant Pere d'Àger (Noguera). National Museum of Catalan Art, Barcelona, Spain, inv no: 017343-000
  • Gothic painted bas-relief of the Presentation of Jesus at the Templeby Master of Albesa, Active in Lleida. Polychrome and gilded limestone bas-relief. Second half of 14th century. Dimesions 57 x 69 x 11 cm. Compartment of a sculptural altarpiece devoted to the Virgin. From the crypt of the collegiate church of Sant Pere d'Àger (Noguera). National Museum of Catalan Art, Barcelona, Spain, inv no: 017343-000
  • Gothic painted bas-relief of the Presentation of Jesus at the Templeby Master of Albesa, Active in Lleida. Polychrome and gilded limestone bas-relief. Second half of 14th century. Dimesions 57 x 69 x 11 cm. Compartment of a sculptural altarpiece devoted to the Virgin. From the crypt of the collegiate church of Sant Pere d'Àger (Noguera). National Museum of Catalan Art, Barcelona, Spain, inv no: 017343-000
  • Gothic painted bas-relief of the Nativity by Master of Albesa, Active in Lleida. Polychrome and gilded limestone bas-relief. Second half of 14th century. Dimesions 57 x 69 x 11 cm.Compartment of a sculptural altarpiece devoted to the Virgin. From the crypt of the collegiate church of Sant Pere d'Àger (Noguera). National Museum of Catalan Art, Barcelona, Spain, inv no: 017342-000
  • Gothic painted bas-relief of the Presentation of Jesus at the Templeby Master of Albesa, Active in Lleida. Polychrome and gilded limestone bas-relief. Second half of 14th century. Dimesions 57 x 69 x 11 cm. Compartment of a sculptural altarpiece devoted to the Virgin. From the crypt of the collegiate church of Sant Pere d'Àger (Noguera). National Museum of Catalan Art, Barcelona, Spain, inv no: 017343-000
  • Gothic painted bas-relief of the Nativity by Master of Albesa, Active in Lleida. Polychrome and gilded limestone bas-relief. Second half of 14th century. Dimesions 57 x 69 x 11 cm.Compartment of a sculptural altarpiece devoted to the Virgin. From the crypt of the collegiate church of Sant Pere d'Àger (Noguera). National Museum of Catalan Art, Barcelona, Spain, inv no: 017342-000
  • Gothic painted bas-relief of the Nativity by Master of Albesa, Active in Lleida. Polychrome and gilded limestone bas-relief. Second half of 14th century. Dimesions 57 x 69 x 11 cm.Compartment of a sculptural altarpiece devoted to the Virgin. From the crypt of the collegiate church of Sant Pere d'Àger (Noguera). National Museum of Catalan Art, Barcelona, Spain, inv no: 017342-000
  • Gothic painted bas-relief of the Nativity by Master of Albesa, Active in Lleida. Polychrome and gilded limestone bas-relief. Second half of 14th century. Dimesions 57 x 69 x 11 cm.Compartment of a sculptural altarpiece devoted to the Virgin. From the crypt of the collegiate church of Sant Pere d'Àger (Noguera). National Museum of Catalan Art, Barcelona, Spain, inv no: 017342-000
  • Gothic painted Panel Altar frontal of Jesus' childhood by anonymous artist from Navarra. Tempera and gold leaf on wood. Second quarter of 14th century. 90.8 x 171.2 x 5.8 cm. From the parish church of Arteta (Navarra).. National Museum of Catalan Art, inv no: 004368-000
  • Gothic painted Panel Altar frontal of Jesus' childhood by anonymous artist from Navarra. Tempera and gold leaf on wood. Second quarter of 14th century. 90.8 x 171.2 x 5.8 cm. From the parish church of Arteta (Navarra).. National Museum of Catalan Art, inv no: 004368-000
  • Gothic painted Panel Altar frontal of Jesus' childhood by anonymous artist from Navarra. Tempera and gold leaf on wood. Second quarter of 14th century. 90.8 x 171.2 x 5.8 cm. From the parish church of Arteta (Navarra).. National Museum of Catalan Art, inv no: 004368-000
  • Gothic painted Panel Altar frontal of Jesus' childhood by anonymous artist from Navarra. Tempera and gold leaf on wood. Second quarter of 14th century. 90.8 x 171.2 x 5.8 cm. From the parish church of Arteta (Navarra).. National Museum of Catalan Art, inv no: 004368-000
  • Gothic painted Panel Altar frontal of Jesus' childhood by anonymous artist from Navarra. Tempera and gold leaf on wood. Second quarter of 14th century. 90.8 x 171.2 x 5.8 cm. From the parish church of Arteta (Navarra).. National Museum of Catalan Art, inv no: 004368-000
  • Statue of Esculape or Asclepius - a second century AD Roman sculpture. Asclepius represents the healing aspect of the medical arts, his daughters included Hygieia, ”Hygiene” the goddess/personification of health, cleanliness, and sanitation as well as Iaso, the goddess of recuperation from illness and Aceso the goddess of the healing process.  The Albani Collection, Inv No.  Ma 929, Louvre Museum, Paris.
  • Statue of Esculape or Asclepius - a second century AD Roman sculpture. Asclepius represents the healing aspect of the medical arts, his daughters included Hygieia, ”Hygiene” the goddess/personification of health, cleanliness, and sanitation as well as Iaso, the goddess of recuperation from illness and Aceso the goddess of the healing process.  The Albani Collection, Inv No.  Ma 929, Louvre Museum, Paris.
  • Statue of Esculape or Asclepius - a second century AD Roman sculpture. Asclepius represents the healing aspect of the medical arts, his daughters included Hygieia, ”Hygiene” the goddess/personification of health, cleanliness, and sanitation as well as Iaso, the goddess of recuperation from illness and Aceso the goddess of the healing process.  The Albani Collection, Inv No.  Ma 929, Louvre Museum, Paris.
  • Statue of Esculape or Asclepius - a second century AD Roman sculpture. Asclepius represents the healing aspect of the medical arts, his daughters included Hygieia, ”Hygiene” the goddess/personification of health, cleanliness, and sanitation as well as Iaso, the goddess of recuperation from illness and Aceso the goddess of the healing process.  The Albani Collection, Inv No.  Ma 929, Louvre Museum, Paris.
  • Medieval Gothic ivory diptych with scenes from the Passion made in Paris in the second quarter of the 14th century.  inv 10006, The Louvre Museum, Paris.
  • Medieval Gothic ivory diptych depicting the Annunciation, Nativity, the adoration of the Magi and the crucifixion  made in Paris in second quarter of the 14th century.  inv 103, The Louvre Museum, Paris.
  • Roman statue of Silenus or Papposilenus from the second half of the 2nd cent. AD excavated from the Villa Marittima, Torre Astura Italy.  Silenus was the tutor to Dionysus is portrayed here as he was portrayed on stage in the Roman theatres. His mask is that of the theatre and he is wearing a lambskin cloak and hairy tights.  Inv 135769, The National Roman Museum, Rome, Italy
  • Roman statue of Silenus or Papposilenus from the second half of the 2nd cent. AD excavated from the Villa Marittima, Torre Astura Italy.  Silenus was the tutor to Dionysus is portrayed here as he was portrayed on stage in the Roman theatres. His mask is that of the theatre and he is wearing a lambskin cloak and hairy tights.  Inv 135769, The National Roman Museum, Rome, Italy
  • Roman statue of Silenus or Papposilenus from the second half of the 2nd cent. AD excavated from the Villa Marittima, Torre Astura Italy.  Silenus was the tutor to Dionysus is portrayed here as he was portrayed on stage in the Roman theatres. His mask is that of the theatre and he is wearing a lambskin cloak and hairy tights.  Inv 135769, The National Roman Museum, Rome, Italy
  • Roman statue of Silenus or Papposilenus from the second half of the 2nd cent. AD excavated from the Villa Marittima, Torre Astura Italy.  Silenus was the tutor to Dionysus is portrayed here as he was portrayed on stage in the Roman theatres. His mask is that of the theatre and he is wearing a lambskin cloak and hairy tights.  Inv 135769, The National Roman Museum, Rome, Italy
  • Roman statue of Silenus or Papposilenus from the second half of the 2nd cent. AD excavated from the Villa Marittima, Torre Astura Italy.  Silenus was the tutor to Dionysus is portrayed here as he was portrayed on stage in the Roman theatres. His mask is that of the theatre and he is wearing a lambskin cloak and hairy tights.  Inv 135769, The National Roman Museum, Rome, Italy
  • Roman relief sculpture panel decorated on both sides with masks from the second half of the 1st cent. AD excavated from the Valle Giardino, Nemi, Italy. The panel is sculpted on both sides; the front side depicts the half moon shaped face of a deity wearing a crown.  Inv 112158, The National Roman Museum, Rome, Italy
  • Roman relief sculpture panel decorated on both sides with masks from the second half of the 1st cent. AD excavated from the Valle Giardino, Nemi, Italy. The panel is sculpted on both sides; the front side depicts the half moon shaped face of a deity wearing a crown.  Inv 112158, The National Roman Museum, Rome, Italy
  • Roman relief sculpture panel decorated on both sides with masks from the second half of the 1st cent. AD excavated from the Valle Giardino, Nemi, Italy. The panel is sculpted on both sides; the front side depicts the half moon shaped face of a deity wearing a crown.  Inv 112158, The National Roman Museum, Rome, Italy
  • Roman relief sculpture panel decorated on both sides with masks from the second half of the 1st cent. AD excavated from the Valle Giardino, Nemi, Italy. The panel is sculpted on both sides; the front side depicts the half moon shaped face of a deity wearing a crown.  Inv 112158, The National Roman Museum, Rome, Italy
  • Roman relief sculpture panel decorated on both sides with masks from the second half of the 1st cent. AD excavated from the Valle Giardino, Nemi, Italy. The panel is sculpted on both sides; the front side depicts the half moon shaped face of a deity wearing a crown.  Inv 112158, The National Roman Museum, Rome, Italy
  • Roman sculpture bust of Publius Septimius Antoninus Geta better known as Geta brother of Caracalla, made between 209 and 212 AD and excavated from the via XX Septembre, Rome. Geta was the younger son of Septimius Severus by his second wife Julia Domna. Geta  was a Roman emperor who ruled with his father Septimius Severus and his older brother Caracalla from 209 until his death, when he was murdered on Caracalla's orders.  The National Roman Museum, Rome, Italy
  • Roman sculpture bust of Publius Septimius Antoninus Geta better known as Geta brother of Caracalla, made between 209 and 212 AD and excavated from the via XX Septembre, Rome. Geta was the younger son of Septimius Severus by his second wife Julia Domna. Geta  was a Roman emperor who ruled with his father Septimius Severus and his older brother Caracalla from 209 until his death, when he was murdered on Caracalla's orders.  The National Roman Museum, Rome, Italy
  • Roman sculpture bust of Publius Septimius Antoninus Geta better known as Geta brother of Caracalla, made between 209 and 212 AD and excavated from the via XX Septembre, Rome. Geta was the younger son of Septimius Severus by his second wife Julia Domna. Geta  was a Roman emperor who ruled with his father Septimius Severus and his older brother Caracalla from 209 until his death, when he was murdered on Caracalla's orders.  The National Roman Museum, Rome, Italy
  • Roman sculpture bust of Publius Septimius Antoninus Geta better known as Geta brother of Caracalla, made between 209 and 212 AD and excavated from the via XX Septembre, Rome. Geta was the younger son of Septimius Severus by his second wife Julia Domna. Geta  was a Roman emperor who ruled with his father Septimius Severus and his older brother Caracalla from 209 until his death, when he was murdered on Caracalla's orders.  The National Roman Museum, Rome, Italy
  • Roman sculpture bust of Publius Septimius Antoninus Geta better known as Geta brother of Caracalla, made between 209 and 212 AD and excavated from the via XX Septembre, Rome. Geta was the younger son of Septimius Severus by his second wife Julia Domna. Geta  was a Roman emperor who ruled with his father Septimius Severus and his older brother Caracalla from 209 until his death, when he was murdered on Caracalla's orders.  The National Roman Museum, Rome, Italy
  • Statue of Esculape or Asclepius - a second century AD Roman sculpture. Asclepius represents the healing aspect of the medical arts, his daughters included Hygieia, ”Hygiene” the goddess/personification of health, cleanliness, and sanitation as well as Iaso, the goddess of recuperation from illness and Aceso the goddess of the healing process.  The Albani Collection, Inv No.  Ma 929, Louvre Museum, Paris.
  • Statue of Esculape or Asclepius - a second century AD Roman sculpture. Asclepius represents the healing aspect of the medical arts, his daughters included Hygieia, ”Hygiene” the goddess/personification of health, cleanliness, and sanitation as well as Iaso, the goddess of recuperation from illness and Aceso the goddess of the healing process.  The Albani Collection, Inv No.  Ma 929, Louvre Museum, Paris.
  • Statue of Esculape or Asclepius - a second century AD Roman sculpture. Asclepius represents the healing aspect of the medical arts, his daughters included Hygieia, ”Hygiene” the goddess/personification of health, cleanliness, and sanitation as well as Iaso, the goddess of recuperation from illness and Aceso the goddess of the healing process.  The Albani Collection, Inv No.  Ma 929, Louvre Museum, Paris.
  • Statue of Esculape or Asclepius - a second century AD Roman sculpture. Asclepius represents the healing aspect of the medical arts, his daughters included Hygieia, ”Hygiene” the goddess/personification of health, cleanliness, and sanitation as well as Iaso, the goddess of recuperation from illness and Aceso the goddess of the healing process.  The Albani Collection, Inv No.  Ma 929, Louvre Museum, Paris.
  • A Gothic stone carving of St. Andrew Bishop bring tempted by the devil. Second half of the fourteenth century by Bartomeu de Robio.From the church of Santa Maria de Castello Farfanya (Noguera). Inv MNAC 122485. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • A Gothic stone carving of St. Andrew Bishop bring tempted by the devil. Second half of the fourteenth century by Bartomeu de Robio.From the church of Santa Maria de Castello Farfanya (Noguera). Inv MNAC 122485. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Gothic painted Panel Altar frontal of Jesus' childhood by anonymous artist from Navarra. Tempera and gold leaf on wood. Second quarter of 14th century. 90.8 x 171.2 x 5.8 cm. From the parish church of Arteta (Navarra).. National Museum of Catalan Art, inv no: 004368-000
  • Gothic painted Panel Altar frontal of Jesus' childhood by anonymous artist from Navarra. Tempera and gold leaf on wood. Second quarter of 14th century. 90.8 x 171.2 x 5.8 cm. From the parish church of Arteta (Navarra).. National Museum of Catalan Art, inv no: 004368-000
  • Gothic painted Panel Altar frontal of Jesus' childhood by anonymous artist from Navarra. Tempera and gold leaf on wood. Second quarter of 14th century. 90.8 x 171.2 x 5.8 cm. From the parish church of Arteta (Navarra).. National Museum of Catalan Art, inv no: 004368-000
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • "The Room of the Bodyguards" - the second antechamber is also called the "Room of Stuccoes" for its rich decoration. On the walls are 12 bas-reliefs made between 1786 and 1789 depicting scenes from the second Punic War. To the Right is a statue of Alessandro Farnese dressed as a Roman commander being crowned for the victory over the people of Flanders and returning them to Roman Catholisism. The statue is by Simone Moschino.The Bourbon Kings of Naples Royal Palace of Caserta, Italy.
  • "The Room of the Bodyguards" - the second antechamber is also called the "Room of Stuccoes" for its rich decoration. On the walls are 12 bas-reliefs made between 1786 and 1789 depicting scenes from the second Punic War. To the Right is a statue of Alessandro Farnese dressed as a Roman commander being crowned for the victory over the people of Flanders and returning them to Roman Catholisism. The statue is by Simone Moschino.The Bourbon Kings of Naples Royal Palace of Caserta, Italy.
  • Photo of Roman releif sculpture of Tree Graces from the South Building, Second storey, Aphrodisias, Turkey, Images of Roman art bas releifs. Buy as stock or photo art prints. Apollo sits on his raised platform with his tripod at his oracular shrine. He is approached by 2 figures one with the flat diadem of a king who have come to consult him. Cut Out
  • Photo of Roman releif sculpture of Tree Graces from the South Building, Second storey, Aphrodisias, Turkey, Images of Roman art bas releifs. Buy as stock or photo art prints. Apollo sits on his raised platform with his tripod at his oracular shrine. He is approached by 2 figures one with the flat diadem of a king who have come to consult him. Cut Out
  • Photo of Roman releif sculpture of Tree Graces from the South Building, Second storey, Aphrodisias, Turkey, Images of Roman art bas releifs. Buy as stock or photo art prints. Apollo sits on his raised platform with his tripod at his oracular shrine. He is approached by 2 figures one with the flat diadem of a king who have come to consult him. Cut Out
  • Photo of Roman releif sculpture of Tree Graces from the South Building, Second storey, Aphrodisias, Turkey, Images of Roman art bas releifs. Buy as stock or photo art prints.
  • Photo of Roman releif sculpture of Tree Graces from the South Building, Second storey, Aphrodisias, Turkey, Images of Roman art bas releifs. Buy as stock or photo art prints.
  • Close up of a Mycenaean Funerary Stele made of Porus stone with a relief of a chariot scene, Mycenae Grave Circle A, Grave V, Archaeological Museum Athens. Cat No 1428.16th Cent BC. Grey Background<br />
<br />
The upper panel of this Mycenaean Funerary Stele has spiral reliefs that may represent waves suggesting that the scene below is set at a coastal location. This scene shows a charioteer pulling on the reins of his chariot while a second figure in front of the chaiot hold what may be a sword.
  • Close up of a Mycenaean Funerary Stele made of Porus stone with a relief of a chariot scene, Mycenae Grave Circle A, Grave V, Archaeological Museum Athens. Cat No 1428.16th Cent BC. Black Background<br />
<br />
The upper panel of this Mycenaean Funerary Stele has spiral reliefs that may represent waves suggesting that the scene below is set at a coastal location. This scene shows a charioteer pulling on the reins of his chariot while a second figure in front of the chaiot hold what may be a sword.
  • Mycenaean Funerary Stele made of Porus stone with a relief of a chariot scene, Mycenae Grave Circle A, Grave V, Archaeological Museum Athens. Cat No 1428.16th Cent BC. Grey Background<br />
<br />
The upper panel of this Mycenaean Funerary Stele has spiral reliefs that may represent waves suggesting that the scene below is set at a coastal location. This scene shows a charioteer pulling on the reins of his chariot while a second figure in front of the chaiot hold what may be a sword.
  • Pictures & images of the interior medieval frescoes depicting the Asumption of the Virgin. The Eastern Orthodox Georgian Svetitskhoveli Cathedral (Cathedral of the Living Pillar) , Mtskheta, Georgia (country). A UNESCO World Heritage Site.<br />
<br />
Currently the second largest church building in Georgia, Svetitskhoveli Cathedral is a masterpiece of Early Medieval architecture completed in 1029 by Georgian architect Arsukisdze on an earlier site dating back toi the 4th century.
  • Pictures & images of the interior medieval frescoes depicting the Asumption of the Virgin. The Eastern Orthodox Georgian Svetitskhoveli Cathedral (Cathedral of the Living Pillar) , Mtskheta, Georgia (country). A UNESCO World Heritage Site.<br />
<br />
Currently the second largest church building in Georgia, Svetitskhoveli Cathedral is a masterpiece of Early Medieval architecture completed in 1029 by Georgian architect Arsukisdze on an earlier site dating back toi the 4th century.
  • Pictures & images of the interior medieval frescoes. The Eastern Orthodox Georgian Svetitskhoveli Cathedral (Cathedral of the Living Pillar) , Mtskheta, Georgia (country). A UNESCO World Heritage Site.<br />
<br />
Currently the second largest church building in Georgia, Svetitskhoveli Cathedral is a masterpiece of Early Medieval architecture completed in 1029 by Georgian architect Arsukisdze on an earlier site dating back toi the 4th century.
  • Pictures & images of the interior fresco depicting 13th-century depiction of the "Beast of the Apocalypse" and figures of the Zodiac. The Eastern Orthodox Georgian Svetitskhoveli Cathedral (Cathedral of the Living Pillar) , Mtskheta, Georgia (country). A UNESCO World Heritage Site.<br />
<br />
Currently the second largest church building in Georgia, Svetitskhoveli Cathedral is a masterpiece of Early Medieval architecture completed in 1029 by Georgian architect Arsukisdze on an earlier site dating back toi the 4th century.
  • Pictures & images of the interior fresco depicting 13th-century depiction of the "Beast of the Apocalypse" and figures of the Zodiac. The Eastern Orthodox Georgian Svetitskhoveli Cathedral (Cathedral of the Living Pillar) , Mtskheta, Georgia (country). A UNESCO World Heritage Site.<br />
<br />
Currently the second largest church building in Georgia, Svetitskhoveli Cathedral is a masterpiece of Early Medieval architecture completed in 1029 by Georgian architect Arsukisdze on an earlier site dating back toi the 4th century.
  • Pictures & images of the interior fresco depicting 13th-century depiction of the "Beast of the Apocalypse" and figures of the Zodiac. The Eastern Orthodox Georgian Svetitskhoveli Cathedral (Cathedral of the Living Pillar) , Mtskheta, Georgia (country). A UNESCO World Heritage Site.<br />
<br />
Currently the second largest church building in Georgia, Svetitskhoveli Cathedral is a masterpiece of Early Medieval architecture completed in 1029 by Georgian architect Arsukisdze on an earlier site dating back toi the 4th century.
  • Pictures & images of the interior main aisle and apse fresco depicting Christ Pantocrator. The Eastern Orthodox Georgian Svetitskhoveli Cathedral (Cathedral of the Living Pillar) , Mtskheta, Georgia (country). A UNESCO World Heritage Site.<br />
<br />
Currently the second largest church building in Georgia, Svetitskhoveli Cathedral is a masterpiece of Early Medieval architecture completed in 1029 by Georgian architect Arsukisdze on an earlier site dating back toi the 4th century.
  • Pictures & images of the interior cupola fresco depicting Christ Pantocrator. The Eastern Orthodox Georgian Svetitskhoveli Cathedral (Cathedral of the Living Pillar) , Mtskheta, Georgia (country). A UNESCO World Heritage Site.<br />
<br />
Currently the second largest church building in Georgia, Svetitskhoveli Cathedral is a masterpiece of Early Medieval architecture completed in 1029 by Georgian architect Arsukisdze on an earlier site dating back toi the 4th century.
  • Pictures & images of the interior cupola fresco depicting Christ Pantocrator. The Eastern Orthodox Georgian Svetitskhoveli Cathedral (Cathedral of the Living Pillar) , Mtskheta, Georgia (country). A UNESCO World Heritage Site.<br />
<br />
Currently the second largest church building in Georgia, Svetitskhoveli Cathedral is a masterpiece of Early Medieval architecture completed in 1029 by Georgian architect Arsukisdze on an earlier site dating back toi the 4th century.
  • Pictures & images of the 17th century ciborium under which the robe of Jesus is said to have been buried. The Eastern Orthodox Georgian Svetitskhoveli Cathedral (Cathedral of the Living Pillar) , Mtskheta, Georgia (country). A UNESCO World Heritage Site.<br />
<br />
Currently the second largest church building in Georgia, Svetitskhoveli Cathedral is a masterpiece of Early Medieval architecture completed in 1029 by Georgian architect Arsukisdze on an earlier site dating back toi the 4th century.
  • Pictures & images of the interior apse fresco depicting Christ Pantocrator. The Eastern Orthodox Georgian Svetitskhoveli Cathedral (Cathedral of the Living Pillar) , Mtskheta, Georgia (country). A UNESCO World Heritage Site.<br />
<br />
Currently the second largest church building in Georgia, Svetitskhoveli Cathedral is a masterpiece of Early Medieval architecture completed in 1029 by Georgian architect Arsukisdze on an earlier site dating back toi the 4th century.
  • Pictures & images of the interior apse fresco depicting Christ Pantocrator. The Eastern Orthodox Georgian Svetitskhoveli Cathedral (Cathedral of the Living Pillar) , Mtskheta, Georgia (country). A UNESCO World Heritage Site.<br />
<br />
Currently the second largest church building in Georgia, Svetitskhoveli Cathedral is a masterpiece of Early Medieval architecture completed in 1029 by Georgian architect Arsukisdze on an earlier site dating back toi the 4th century.
  • Pictures & images of the interior Iconostasis screen and icons.  The Eastern Orthodox Georgian Svetitskhoveli Cathedral (Cathedral of the Living Pillar) , Mtskheta, Georgia (country). A UNESCO World Heritage Site.<br />
<br />
Currently the second largest church building in Georgia, Svetitskhoveli Cathedral is a masterpiece of Early Medieval architecture completed in 1029 by Georgian architect Arsukisdze on an earlier site dating back toi the 4th century.
  • Pictures & images of the exterior and wall around the Eastern Orthodox Georgian Svetitskhoveli Cathedral (Cathedral of the Living Pillar) , Mtskheta, Georgia (country). A UNESCO World Heritage Site.<br />
<br />
Currently the second largest church building in Georgia, Svetitskhoveli Cathedral is a masterpiece of Early Medieval architecture completed in 1029 by Georgian architect Arsukisdze on an earlier site dating back toi the 4th century.
  • Pictures & images of the exterior and wall around the Eastern Orthodox Georgian Svetitskhoveli Cathedral (Cathedral of the Living Pillar) , Mtskheta, Georgia (country). A UNESCO World Heritage Site.<br />
<br />
Currently the second largest church building in Georgia, Svetitskhoveli Cathedral is a masterpiece of Early Medieval architecture completed in 1029 by Georgian architect Arsukisdze on an earlier site dating back toi the 4th century.
  • Pictures & images of the Eastern Orthodox Georgian Svetitskhoveli Cathedral (Cathedral of the Living Pillar) , Mtskheta, Georgia (country). A UNESCO World Heritage Site.<br />
<br />
Currently the second largest church building in Georgia, Svetitskhoveli Cathedral is a masterpiece of Early Medieval architecture completed in 1029 by Georgian architect Arsukisdze on an earlier site dating back toi the 4th century.
  • Pictures & images of the Eastern Orthodox Georgian Svetitskhoveli Cathedral (Cathedral of the Living Pillar) , Mtskheta, Georgia (country). A UNESCO World Heritage Site.<br />
<br />
Currently the second largest church building in Georgia, Svetitskhoveli Cathedral is a masterpiece of Early Medieval architecture completed in 1029 by Georgian architect Arsukisdze on an earlier site dating back toi the 4th century.
  • Pictures & images of the Eastern Orthodox Georgian Svetitskhoveli Cathedral (Cathedral of the Living Pillar) , Mtskheta, Georgia (country). A UNESCO World Heritage Site.<br />
<br />
Currently the second largest church building in Georgia, Svetitskhoveli Cathedral is a masterpiece of Early Medieval architecture completed in 1029 by Georgian architect Arsukisdze on an earlier site dating back toi the 4th century.
  • Pictures & images of the Eastern Orthodox Georgian Svetitskhoveli Cathedral (Cathedral of the Living Pillar) , Mtskheta, Georgia (country). A UNESCO World Heritage Site.<br />
<br />
Currently the second largest church building in Georgia, Svetitskhoveli Cathedral is a masterpiece of Early Medieval architecture completed in 1029 by Georgian architect Arsukisdze on an earlier site dating back toi the 4th century.
  • Pictures & images of the gate house and bell tower of the Eastern Orthodox Georgian Svetitskhoveli Cathedral (Cathedral of the Living Pillar) , Mtskheta, Georgia (country). A UNESCO World Heritage Site.<br />
<br />
Currently the second largest church building in Georgia, Svetitskhoveli Cathedral is a masterpiece of Early Medieval architecture completed in 1029 by Georgian architect Arsukisdze on an earlier site dating back toi the 4th century.
  • Pictures & images of the gate house and bell tower of the Eastern Orthodox Georgian Svetitskhoveli Cathedral (Cathedral of the Living Pillar) , Mtskheta, Georgia (country). A UNESCO World Heritage Site.<br />
<br />
Currently the second largest church building in Georgia, Svetitskhoveli Cathedral is a masterpiece of Early Medieval architecture completed in 1029 by Georgian architect Arsukisdze on an earlier site dating back toi the 4th century.
  • Wide picture of the Roman mosaics of the small hunt, room no 24 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Small Hunt room was used as a living room for guests of the Villa Romana del Casale. The Small hunt mosaic design has 4 registers running across the mosaic depicting hunting scenes. In the first register two servants are handling hunting dogs. In the second register figures are depicted burning incense at an altar to Diana, the goddess of hunting, before the hunt starts. The offering is being made by Constantius Clorus , the Caesar of Emperor Maximianus who owned the Villa Romana del Casale. Behind him is his son the future Emperor Constantine. To the right of the altar is a figure holding the reins of a horse dressed in a clavi decorated with ivy leaves indicating that he belongs to the family of Maximianus.
  • Close up detail picture of the Roman mosaics of the small hunt depicting hunters with a dead boar and hunters making an offering at an altar, room no 24 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Small Hunt room was used as a living room for guests of the Villa Romana del Casale. The Small hunt mosaic design has 4 registers running across the mosaic depicting hunting scenes. In the first register two servants are handling hunting dogs. In the second register figures are depicted burning incense at an altar to Diana, the goddess of hunting, before the hunt starts. The offering is being made by Constantius Clorus , the Caesar of Emperor Maximianus who owned the Villa Romana del Casale. Behind him is his son the future Emperor Constantine. To the right of the altar is a figure holding the reins of a horse dressed in a clavi decorated with ivy leaves indicating that he belongs to the family of Maximianus.
  • Close up detail picture of the Roman mosaics of the small hunt depicting deer being caught in a net trap, room no 24 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Small Hunt room was used as a living room for guests of the Villa Romana del Casale. The Small hunt mosaic design has 4 registers running across the mosaic depicting hunting scenes. In the first register two servants are handling hunting dogs. In the second register figures are depicted burning incense at an altar to Diana, the goddess of hunting, before the hunt starts. The offering is being made by Constantius Clorus , the Caesar of Emperor Maximianus who owned the Villa Romana del Casale. Behind him is his son the future Emperor Constantine. To the right of the altar is a figure holding the reins of a horse dressed in a clavi decorated with ivy leaves indicating that he belongs to the family of Maximianus.
  • Close up detail picture of the Roman mosaics of the small hunt depicting a hare about to be speared,  room no 24 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Small Hunt room was used as a living room for guests of the Villa Romana del Casale. The Small hunt mosaic design has 4 registers running across the mosaic depicting hunting scenes. In the first register two servants are handling hunting dogs. In the second register figures are depicted burning incense at an altar to Diana, the goddess of hunting, before the hunt starts. The offering is being made by Constantius Clorus , the Caesar of Emperor Maximianus who owned the Villa Romana del Casale. Behind him is his son the future Emperor Constantine. To the right of the altar is a figure holding the reins of a horse dressed in a clavi decorated with ivy leaves indicating that he belongs to the family of Maximianus.
  • Roman statue of Hermes. Marble. Perge. 2nd century AD. Inv no . Antalya Archaeology Museum; Turkey. Against a white background.<br />
<br />
Hermes is the god of trade, heraldry, merchants, commerce, roads, sports, travelers, and athletes in Ancient Greek religion and mythology; the son of Zeus and the Pleiad Maia, he was the second youngest of the Olympian gods
  • Roman statue of Julia Domina . Marble. Perge. 2nd century AD. Inv no 3268. Antalya Archaeology Museum; Turkey. Against a black background.<br />
<br />
Julia Domna (AD 160–217) was a Roman empress , the second wife of Septimius Severus (reigned 193–211).
  • Hüseyindede vases, Old Hittite Polychrome Relief vessel close up  depicting top and second friezes showing a procession of musicians and dancers moving towards a temple building, 16th century BC. Huseyindede. Çorum Archaeological Museum, Corum, Turkey. Against a black bacground.
  • Hüseyindede vases, Old Hittite Polychrome Relief vessel close up  depicting top and second friezes showing a procession of musicians and dancers moving towards a temple building, 16th century BC. Huseyindede. Çorum Archaeological Museum, Corum, Turkey. Against a white bacground.
  • Hüseyindede vases, Old Hittite Polychrome Relief vessel. Top frieze depictis a procession of musicians and dancers, second frieze down depicts two figure on a "throne bed" performing a ritual, 16th century BC. Huseyindede. Çorum Archaeological Museum, Corum, Turkey
  • Inandik Hittite relief decorated cult libation vase with four decorative friezes featuring figures coloured in cream, red and black. In the top register is a couple having sex along with musicians and acrobats processing to an altar that can be seen in the second register, mid to late 16th century BC - İnandıktepe, Turkey . Against a grey background
  • Inandik Hittite relief decorated cult libation vase with four decorative friezes featuring figures coloured in cream, red and black. In the top register is a couple having sex along with musicians and acrobats processing to an altar that can be seen in the second register, mid to late 16th century BC - İnandıktepe, Turkey . Against a grey background
  • Two decorated terra cotta seashell shaped vessels found in the house of Assyrian trader, Elamma, at the second level of the Karum of Kultepe. - 19th to 17th century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey. Against a white background.
  • Two decorated terra cotta seashell shaped vessels found in the house of Assyrian trader, Elamma, at the second level of the Karum of Kultepe. - 19th to 17th century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.  Against a warn art background.
  • Two decorated terra cotta seashell shaped vessels found in the house of Assyrian trader, Elamma, at the second level of the Karum of Kultepe. - 19th to 17th century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.
  • Hittite monumental relief sculpted orthostat stone panel of Royal Buttress. Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Hieroglyph panel1 (left) - Discourse of Yariris. Yariris presents his predecessor, the eldest son Kamanis, to his people. <br />
Second From left panel 2  -  King Araras holds his son Kamanis from the wrist. King carries a sceptre in his hand and a sword at his waist while the prince leans on a stick and carries a sword on his shoulder. <br />
Hieroglyphs reads; "This is Kamanis and his siblings.) held his hand and despite the fact that he is a child, I located him on the temple. This is Yariris' image".  <br />
<br />
Panel 3 - This panels scene showing 8 out of 10 children of the King, the hieroglyphs reads as follows: "Malitispas, Astitarhunzas, Tamitispas,Isikaritispas, Sikaras, Halpawaris, Ya hilatispas". Above, there are three figures holding knucklebones (astragalus) and one figure walking by leaning on a stick; below are two each figures playing the knucklebones and turning whirligigs.<br />
 <br />
Panel 4 - The queen carries her youngest son. The hieroglyphs located above read; "and this is Tuwarsais; the prince desired by the ruler, whose exclusiveness has been exposed". While the queen carries her son in her lap, she holds the rope of the colt coming behind with her other hand. The muscles of the colt are schematic. <br />
<br />
Against a black background.
  • Hittite monumental relief sculpted orthostat stone panel of Royal Buttress. Basalt, Karkamıs, (Kargamıs), Carchemish (Karkemish), 900-700 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Hieroglyph panel1 (left) - Discourse of Yariris. Yariris presents his predecessor, the eldest son Kamanis, to his people. <br />
Second From left panel 2  -  King Araras holds his son Kamanis from the wrist. King carries a sceptre in his hand and a sword at his waist while the prince leans on a stick and carries a sword on his shoulder. <br />
Hieroglyphs reads; "This is Kamanis and his siblings.) held his hand and despite the fact that he is a child, I located him on the temple. This is Yariris' image".  <br />
<br />
Panel 3 - This panels scene showing 8 out of 10 children of the King, the hieroglyphs reads as follows: "Malitispas, Astitarhunzas, Tamitispas,Isikaritispas, Sikaras, Halpawaris, Ya hilatispas". Above, there are three figures holding knucklebones (astragalus) and one figure walking by leaning on a stick; below are two each figures playing the knucklebones and turning whirligigs.<br />
 <br />
Panel 4 - The queen carries her youngest son. The hieroglyphs located above read; "and this is Tuwarsais; the prince desired by the ruler, whose exclusiveness has been exposed". While the queen carries her son in her lap, she holds the rope of the colt coming behind with her other hand. The muscles of the colt are schematic. <br />
<br />
Against a grey art background.
  • The Roman Venus Statue, the Goddess of Love, follows the style of a modest Aphrodite, known by other Roman replicas are copies of Ttththird century BC Hellenistic Greek statues now lost. Dated circa 1st quarter of second century AD, the Venus statue was excavated from the Odeon of Carthage. The National Bardo Museum, Tunis.   Against a grey background.
  • The Roman Venus Statue, the Goddess of Love, follows the style of a modest Aphrodite, known by other Roman replicas are copies of Ttththird century BC Hellenistic Greek statues now lost. Dated circa 1st quarter of second century AD, the Venus statue was excavated from the Odeon of Carthage. The National Bardo Museum, Tunis.  Against a black background.
  • The Roman Venus Statue, the Goddess of Love, follows the style of a modest Aphrodite, known by other Roman replicas are copies of Ttththird century BC Hellenistic Greek statues now lost. Dated circa 1st quarter of second century AD, the Venus statue was excavated from the Odeon of Carthage. The National Bardo Museum, Tunis.   Against a grey background.
  • Roman sculpture of the Emperor Marcus Aurelius, excavated from Bulla Regia Theatre, sculpted circa late second century. The Bardo National Museum, Tunis.  Against a black background.
  • Second century AD Roman funerary Stele dedicated to Caipenniae Victoriae from  Africa Proconsularis , present day Tunisia. The Bardo National Museum, Tunis, Tunisia
  • Second century Roman funerary stele dedicated to Anninia Laeta from the cemetery of Thuburbo Majus a city of the Roman province of Africa Proconsularis, in present day Tunisia. The Bardo National Museum , Tunis, Tunisia. Against a grey art background.
  • Second century Roman funerary stele dedicated to Anninia Laeta from the cemetery of Thuburbo Majus a city of the Roman province of Africa Proconsularis, in present day Tunisia. The Bardo National Museum , Tunis, Tunisia.
  • Roman Fresco of a chicken from The Large Columbarium in Villa Doria Panphilj, Rome. A columbarium is usually a type of tomb with walls lined by niches that hold urns containing the ashes of the dead.  Large columbaria were built in Rome between the end of the Republican Era and the Flavio Principality (second half of the first century AD).  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.
  • Roman Frescoes of the The Large Columbarium in Villa Doria Panphilj, Rome. A columbarium is usually a type of tomb with walls lined by niches that hold urns containing the ashes of the dead.  Large columbaria were built in Rome between the end of the Republican Era and the Flavio Principality (second half of the first century AD).  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.
  • Roman Frescoes of the The Large Columbarium in Villa Doria Panphilj, Rome. A columbarium is usually a type of tomb with walls lined by niches that hold urns containing the ashes of the dead.  Large columbaria were built in Rome between the end of the Republican Era and the Flavio Principality (second half of the first century AD).  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.
  • Roman Fresco of an exotic bird from  The Large Columbarium in Villa Doria Panphilj, Rome. A columbarium is usually a type of tomb with walls lined by niches that hold urns containing the ashes of the dead.  Large columbaria were built in Rome between the end of the Republican Era and the Flavio Principality (second half of the first century AD).  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.
  • Roman fresco wall decorations of Bedroom D  of the Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
This bedroom has a decoration very similar to that of cubiculum B in its arrangement and the use of cinnabar red. At the rear of the alcove three women perform a sacrificial ceremony in a rustic shrine. The walls of the antechamber have scenes of lovers, and most of the other pictures have to do with female life. Here carefully rendered details (attendants, handmaidens, furniture, glass and silver vessels) provide invaluable information on domestic life. There are also Egyptianizing elements, lotus flowers, sphinxes, and exotic landscapes. On the second column of the right wall is the inscription, in Greek, Seleukos made this, presumably the name of a Greek who was one of the artisans. The vaulted ceiling, in pure white stucco, has reliefs of initiation rites into the mysteries, idyllic landscapes with sacred elements, and combats between fantastic animals. The decorative scheme of the two bedrooms owes its inspiration to the deities Aphrodite and Dionysos. A fragment of geometric mosaic in black and white can be attributed to bedroom D on the basis of a contemporary watercolor.
  • Roman Fresco of fruit bird from The Large Columbarium in Villa Doria Panphilj, Rome. A columbarium is usually a type of tomb with walls lined by niches that hold urns containing the ashes of the dead.  Large columbaria were built in Rome between the end of the Republican Era and the Flavio Principality (second half of the first century AD).  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.
  • Roman Fresco of a fruit from The Large Columbarium in Villa Doria Panphilj, Rome. A columbarium is usually a type of tomb with walls lined by niches that hold urns containing the ashes of the dead.  Large columbaria were built in Rome between the end of the Republican Era and the Flavio Principality (second half of the first century AD).  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.
  • Roman Fresco of an exotic bird from The Large Columbarium in Villa Doria Panphilj, Rome. A columbarium is usually a type of tomb with walls lined by niches that hold urns containing the ashes of the dead.  Large columbaria were built in Rome between the end of the Republican Era and the Flavio Principality (second half of the first century AD).  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.
  • Roman Frescoes of the The Large Columbarium in Villa Doria Panphilj, Rome. A columbarium is usually a type of tomb with walls lined by niches that hold urns containing the ashes of the dead.  Large columbaria were built in Rome between the end of the Republican Era and the Flavio Principality (second half of the first century AD).  Museo Nazionale Romano ( National Roman Museum), Rome, Italy. Against a white background.
  • Roman Frescoes of the The Large Columbarium in Villa Doria Panphilj, Rome. A columbarium is usually a type of tomb with walls lined by niches that hold urns containing the ashes of the dead.  Large columbaria were built in Rome between the end of the Republican Era and the Flavio Principality (second half of the first century AD).  Museo Nazionale Romano ( National Roman Museum), Rome, Italy. Against a grey background.
  • Roman Frescoes of the The Large Columbarium in Villa Doria Panphilj, Rome. A columbarium is usually a type of tomb with walls lined by niches that hold urns containing the ashes of the dead.  Large columbaria were built in Rome between the end of the Republican Era and the Flavio Principality (second half of the first century AD).  Museo Nazionale Romano ( National Roman Museum), Rome, Italy. Against an art background.
  • Roman Frescoes of the The Large Columbarium in Villa Doria Panphilj, Rome. A columbarium is usually a type of tomb with walls lined by niches that hold urns containing the ashes of the dead.  Large columbaria were built in Rome between the end of the Republican Era and the Flavio Principality (second half of the first century AD).  Museo Nazionale Romano ( National Roman Museum), Rome, Italy. Against an art background.
  • Roman Frescoes of the The Large Columbarium in Villa Doria Panphilj, Rome. A columbarium is usually a type of tomb with walls lined by niches that hold urns containing the ashes of the dead.  Large columbaria were built in Rome between the end of the Republican Era and the Flavio Principality (second half of the first century AD).  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.
  • Roman Fresco detail of fishes marine life from the second quarter of the first century AD. (mosaico fauna marina da porto fluviale di san paolo), museo nazionale romano ( National Roman Museum), Rome, Italy. inv. 121462 .
  • Roman Fresco detail of fishes marine life from the second quarter of the first century AD. (mosaico fauna marina da porto fluviale di san paolo), museo nazionale romano ( National Roman Museum), Rome, Italy. inv. 121462 .
  • Roman Fresco with a boat decorated for a festival and marine life from the second quarter of the first century AD. (mosaico fauna marina da porto fluviale di san paolo), museo nazionale romano ( National Roman Museum), Rome, Italy. inv. 121462 .   <br />
The frescoes depict boats decorated as boats which went along the Tiber on festival days; their shape appears to be the caudicariae boats, used to transport merchandise. In the fresco fragment exhibited here (Ambiente E) the boat on the left depicts probably the group of 'side Serapide and Demetra on the stern, whereas the one on the right presents a crowned character on the bow and, on the stern, a feminine figure fluctuating in the air. Between the two boats, a young boy (a cupid or Palaimon-Portunus) rides a dolphin. All around are depicted several fish incredibly casting their shadows on the sea. The ichthyic fauna, lifeless as in still life decoration, is detailed as in a scientific catalogue. For the most part the represented species live next to the coast or were bred by the Romans in the piscinae salsac or in ponds. It is possible to recognize the rock mullet (mullus sunnuletus) and the mud one (mullus barbatu4 the scorpion fish (scorpoena) the dentex (dentex dentex), the aguglia (belone agus) the dolphin (delphinus delphis) and the golden mullet (lire curate).
  • Roman Fresco with a boat decorated for a festival and marine life from the second quarter of the first century AD. (mosaico fauna marina da porto fluviale di san paolo), museo nazionale romano ( National Roman Museum), Rome, Italy. inv. 121462 .
  • Roman Fresco with a boat decorated for a festival and marine life from the second quarter of the first century AD. (mosaico fauna marina da porto fluviale di san paolo), museo nazionale romano ( National Roman Museum), Rome, Italy. inv. 121462 .    Against a grey background.<br />
The frescoes depict boats decorated as boats which went along the Tiber on festival days; their shape appears to be the caudicariae boats, used to transport merchandise. In the fresco fragment exhibited here (Ambiente E) the boat on the left depicts probably the group of 'side Serapide and Demetra on the stern, whereas the one on the right presents a crowned character on the bow and, on the stern, a feminine figure fluctuating in the air. Between the two boats, a young boy (a cupid or Palaimon-Portunus) rides a dolphin. All around are depicted several fish incredibly casting their shadows on the sea. The ichthyic fauna, lifeless as in still life decoration, is detailed as in a scientific catalogue. For the most part the represented species live next to the coast or were bred by the Romans in the piscinae salsac or in ponds. It is possible to recognize the rock mullet (mullus sunnuletus) and the mud one (mullus barbatu4 the scorpion fish (scorpoena) the dentex (dentex dentex), the aguglia (belone agus) the dolphin (delphinus delphis) and the golden mullet (lire curate).
  • Roman Fresco with boats and marine life from the second quarter of the first century AD. (mosaico fauna marina da porto fluviale di san paolo), museo nazionale romano ( National Roman Museum), Rome, Italy. inv. 121462 .  Against a white background.<br />
The frescoes depict boats decorated as boats which went along the Tiber on festival days; their shape appears to be the caudicariae boats, used to transport merchandise. In the fresco fragment exhibited here (Ambiente E) the boat on the left depicts probably the group of 'side Serapide and Demetra on the stern, whereas the one on the right presents a crowned character on the bow and, on the stern, a feminine figure fluctuating in the air. Between the two boats, a young boy (a cupid or Palaimon-Portunus) rides a dolphin. All around are depicted several fish incredibly casting their shadows on the sea. The ichthyic fauna, lifeless as in still life decoration, is detailed as in a scientific catalogue. For the most part the represented species live next to the coast or were bred by the Romans in the piscinae salsac or in ponds. It is possible to recognize the rock mullet (mullus sunnuletus) and the mud one (mullus barbatu4 the scorpion fish (scorpoena) the dentex (dentex dentex), the aguglia (belone agus) the dolphin (delphinus delphis) and the golden mullet (lire curate).
  • Roman Fresco with boats and marine life from the second quarter of the first century AD. (mosaico fauna marina da porto fluviale di san paolo), museo nazionale romano ( National Roman Museum), Rome, Italy. inv. 121462 .  Against a white background.<br />
The frescoes depict boats decorated as boats which went along the Tiber on festival days; their shape appears to be the caudicariae boats, used to transport merchandise. In the fresco fragment exhibited here (Ambiente E) the boat on the left depicts probably the group of 'side Serapide and Demetra on the stern, whereas the one on the right presents a crowned character on the bow and, on the stern, a feminine figure fluctuating in the air. Between the two boats, a young boy (a cupid or Palaimon-Portunus) rides a dolphin. All around are depicted several fish incredibly casting their shadows on the sea. The ichthyic fauna, lifeless as in still life decoration, is detailed as in a scientific catalogue. For the most part the represented species live next to the coast or were bred by the Romans in the piscinae salsac or in ponds. It is possible to recognize the rock mullet (mullus sunnuletus) and the mud one (mullus barbatu4 the scorpion fish (scorpoena) the dentex (dentex dentex), the aguglia (belone agus) the dolphin (delphinus delphis) and the golden mullet (lire curate).
  • Roman Fresco with boats and marine life from the second quarter of the first century AD. (mosaico fauna marina da porto fluviale di san paolo), museo nazionale romano ( National Roman Museum), Rome, Italy. inv. 121462 .  Against a grey background.<br />
The frescoes depict boats decorated as boats which went along the Tiber on festival days; their shape appears to be the caudicariae boats, used to transport merchandise. In the fresco fragment exhibited here (Ambiente E) the boat on the left depicts probably the group of 'side Serapide and Demetra on the stern, whereas the one on the right presents a crowned character on the bow and, on the stern, a feminine figure fluctuating in the air. Between the two boats, a young boy (a cupid or Palaimon-Portunus) rides a dolphin. All around are depicted several fish incredibly casting their shadows on the sea. The ichthyic fauna, lifeless as in still life decoration, is detailed as in a scientific catalogue. For the most part the represented species live next to the coast or were bred by the Romans in the piscinae salsac or in ponds. It is possible to recognize the rock mullet (mullus sunnuletus) and the mud one (mullus barbatu4 the scorpion fish (scorpoena) the dentex (dentex dentex), the aguglia (belone agus) the dolphin (delphinus delphis) and the golden mullet (lire curate).
  • Roman Fresco with boats and marine life from the second quarter of the first century AD. (mosaico fauna marina da porto fluviale di san paolo), museo nazionale romano ( National Roman Museum), Rome, Italy. inv. 121462 .  <br />
The frescoes depict boats decorated as boats which went along the Tiber on festival days; their shape appears to be the caudicariae boats, used to transport merchandise. In the fresco fragment exhibited here (Ambiente E) the boat on the left depicts probably the group of 'side Serapide and Demetra on the stern, whereas the one on the right presents a crowned character on the bow and, on the stern, a feminine figure fluctuating in the air. Between the two boats, a young boy (a cupid or Palaimon-Portunus) rides a dolphin. All around are depicted several fish incredibly casting their shadows on the sea. The ichthyic fauna, lifeless as in still life decoration, is detailed as in a scientific catalogue. For the most part the represented species live next to the coast or were bred by the Romans in the piscinae salsac or in ponds. It is possible to recognize the rock mullet (mullus sunnuletus) and the mud one (mullus barbatu4 the scorpion fish (scorpoena) the dentex (dentex dentex), the aguglia (belone agus) the dolphin (delphinus delphis) and the golden mullet (lire curate).
  • Roman Fresco with boats and marine life from the second quarter of the first century AD. (mosaico fauna marina da porto fluviale di san paolo), museo nazionale romano ( National Roman Museum), Rome, Italy. inv. 121462 .  Against a black background.<br />
The frescoes depict boats decorated as boats which went along the Tiber on festival days; their shape appears to be the caudicariae boats, used to transport merchandise. In the fresco fragment exhibited here (Ambiente E) the boat on the left depicts probably the group of 'side Serapide and Demetra on the stern, whereas the one on the right presents a crowned character on the bow and, on the stern, a feminine figure fluctuating in the air. Between the two boats, a young boy (a cupid or Palaimon-Portunus) rides a dolphin. All around are depicted several fish incredibly casting their shadows on the sea. The ichthyic fauna, lifeless as in still life decoration, is detailed as in a scientific catalogue. For the most part the represented species live next to the coast or were bred by the Romans in the piscinae salsac or in ponds. It is possible to recognize the rock mullet (mullus sunnuletus) and the mud one (mullus barbatu4 the scorpion fish (scorpoena) the dentex (dentex dentex), the aguglia (belone agus) the dolphin (delphinus delphis) and the golden mullet (lire curate).
  • Roman Fresco with boats and marine life from the second quarter of the first century AD. (mosaico fauna marina da porto fluviale di san paolo), museo nazionale romano ( National Roman Museum), Rome, Italy. inv. 121462 .  <br />
The frescoes depict boats decorated as boats which went along the Tiber on festival days; their shape appears to be the caudicariae boats, used to transport merchandise. In the fresco fragment exhibited here (Ambiente E) the boat on the left depicts probably the group of 'side Serapide and Demetra on the stern, whereas the one on the right presents a crowned character on the bow and, on the stern, a feminine figure fluctuating in the air. Between the two boats, a young boy (a cupid or Palaimon-Portunus) rides a dolphin. All around are depicted several fish incredibly casting their shadows on the sea. The ichthyic fauna, lifeless as in still life decoration, is detailed as in a scientific catalogue. For the most part the represented species live next to the coast or were bred by the Romans in the piscinae salsac or in ponds. It is possible to recognize the rock mullet (mullus sunnuletus) and the mud one (mullus barbatu4 the scorpion fish (scorpoena) the dentex (dentex dentex), the aguglia (belone agus) the dolphin (delphinus delphis) and the golden mullet (lire curate).
  • Roman Fresco with boats and marine life from the second quarter of the first century AD. (mosaico fauna marina da porto fluviale di san paolo), museo nazionale romano ( National Roman Museum), Rome, Italy. inv. 121462 .  Against a grey background.<br />
The frescoes depict boats decorated as boats which went along the Tiber on festival days; their shape appears to be the caudicariae boats, used to transport merchandise. In the fresco fragment exhibited here (Ambiente E) the boat on the left depicts probably the group of 'side Serapide and Demetra on the stern, whereas the one on the right presents a crowned character on the bow and, on the stern, a feminine figure fluctuating in the air. Between the two boats, a young boy (a cupid or Palaimon-Portunus) rides a dolphin. All around are depicted several fish incredibly casting their shadows on the sea. The ichthyic fauna, lifeless as in still life decoration, is detailed as in a scientific catalogue. For the most part the represented species live next to the coast or were bred by the Romans in the piscinae salsac or in ponds. It is possible to recognize the rock mullet (mullus sunnuletus) and the mud one (mullus barbatu4 the scorpion fish (scorpoena) the dentex (dentex dentex), the aguglia (belone agus) the dolphin (delphinus delphis) and the golden mullet (lire curate).
  • Roman Statue of an Amazon on horseback and a Barbarian, Circa mid 2nd cent AD excavated from the  Imperial villa near Faro, Italy. An Amazon perched on a rearing horse clashes with a barbarian who attempts to deal a final blow before dying. The work is based on a Hellenistic original from the Pergamon school from the second half of the 2nd cent. B.C, The group was displayed in the Imperial villa  with another of the same theme now in the Borghese collection. The National Roman Museum, Rome, Italy

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