• Spicy BBQ Chicken wings and thights on a plate with a blue edge and stars
  • chiabatta rolls with olive tapanade
  • Farm cottage Window in Transylania, Romania.
  • Mini potato rosti topped with tomato salsa and capers and melted cheese and olives
  • Mini potato rosti topped with tomato salsa and capers and melted cheese and olives
  • Mini potato rosti topped with tomato salsa and capers
  • Oriental selection with bread coated and battered prawns, spring rolls,  dim sum & samosas with a chilli  dipping sauce
  • Oriental selection with bread coated and battered prawns with a chilli  dipping sauce
  • Oriental selection with dim sum,  spring rollswith chicken & vegetables and vegetable samosas with a chilli  dipping sauce
  • Oriental selection with dim sum,  spring rollswith chicken & vegetables and vegetable samosas with a chilli  dipping sauce
  • Oriental dim sum with chicken &vegetables with a hoisin dipping sauce
  • Oriental spring rolls filled with chicken &b vegetables with a chilli dipping sauce
  • Deep fried Camembert in bread crumbs with cranberry sauce
  • BBQ beef burger in a chabatta roll with salsa & BBQ vegetables on a rustic plate photos. Funky Stock Photos
  • BBQ beef kebabs and sweet corn, peppers & red onions. Funky Stock Photos images.
  • BBQ vegetarian kebabs of sweet corn, peppers & red onions. Funky Stock Photos images.
  • Stock photos of BBQ lamb with rosemary. Funky Stock library images of bbq food.
  • Stock photos of BBQ lamb with rosemary. Funky Stock library images of bbq food.
  • Sticks of raw sugar cane cut to show the inside
  • Sticks of raw sugar cane cut to show the inside
  • The 5th-century 3 aisled Byzantine  Basilica  of the Acheiropoietos, , with its rare simple Iconoclastic cross above the altar. a Palaeochristian and Byzantine Monuments of Thessaloniki, Greece. A UNESCO World Heritage Site.
  • The 5th-century 3 aisled Byzantine  Basilica  of the Acheiropoietos, , with its rare simple Iconoclastic cross above the altar. a Palaeochristian and Byzantine Monuments of Thessaloniki, Greece. A UNESCO World Heritage Site.
  • The 5th-century 3 aisled Byzantine  Basilica  of the Acheiropoietos, , with its rare simple Iconoclastic cross above the altar. a Palaeochristian and Byzantine Monuments of Thessaloniki, Greece. A UNESCO World Heritage Site.
  • Norman Romanesque exterior corbel no 54 - sculpture of a male stylised simple round head. The Norman Romanesque Church of St Mary and St David, Kilpeck Herefordshire, England. Built around 1140
  • The 5th-century 3 aisled Byzantine  Basilica  of the Acheiropoietos, , with its rare simple Iconoclastic cross above the altar. a Palaeochristian and Byzantine Monuments of Thessaloniki, Greece. A UNESCO World Heritage Site.
  • Monoan 'Antelope fresco' Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens. 17th-16th cent BC.<br />
<br />
The Antelope fresco dep[icts two antelopes sketched with strong dark lines on a white plaster background. Their simple figures are slender and agile, and theri movements reserved are reserved yet expressive. From the same room as the 'Boxing Children' fresco the emsemble may have had a larger symbolic meaning. Room B1, Building B.
  • Cycladic 'Kastri Group' tea pot.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 6104 1-3.  White background.<br />
<br />
<br />
The 'Kastri Group' from Syros (2500-2300 BC) coincides with the introdution of anatolian shpes of table ware and with the use of the ceramic wheel. The pottery is dark burnished with incised motifs<br />
<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic beak spouted jug.  Early Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5726.  Grey background.<br />
<br />
<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Small Cycladic amphora.  Early Cycladic III (2300-200 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5813.  White background.<br />
<br />
<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Mycenaean gold cup with arches decoration, Grave V, Grave Circle A Mycenae, Greece. National Archaeological Museum of Athens. Grey Background<br />
<br />
<br />
An elegant precious gold cup hammered from thick gold to created a simple elegant design. This Mycenaean gold cup demonstrates how advance Mycenaean metalworking was in the 16th century BC. The value of the cup would have been extermely high so must have graced the table of a Mycenaean noble perhaps even a v king.
  • Pictures & images of Aynali Kilise (Church) cave church interior frescoes, iconoclastic period (725-842), near Goreme, Cappadocia, Nevsehir, Turkey<br />
<br />
During the iconoclastic period (725-842) it was forbidden to depict any religious figures in the Orthodox Church so interiors were decorated with simple red and white geometric patterns and crosses.
  • Pictures & images of Aynali Kilise (Church) cave church interior frescoes, iconoclastic period (725-842), near Goreme, Cappadocia, Nevsehir, Turkey<br />
<br />
During the iconoclastic period (725-842) it was forbidden to depict any religious figures in the Orthodox Church so interiors were decorated with simple red and white geometric patterns and crosses.
  • Gothic Altarpiece of Madonna and Child enthroned with angels byPero di Giovanni known as "Lorenzo Monaco" of Sienna and Florence, circa 1415-1420, tempera and gold leaf on wood. National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC 212808.<br />
<br />
The Virgin Mary is seated with the child standing on her lap, in an attitude of blessing, accompanied by angels with incentives. The composition is very simple and fuses Sienese and Florentine pictorial traditions in the style of Lorenzo Monaco, monk of the convent of Santa Maria degli Angeli in Florence and the last representative of the style of Giotto before the Renaissance revival of Fra Angelico.
  • Monoan 'Antelope fresco' Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens. 17th-16th cent BC.<br />
<br />
The Antelope fresco dep[icts two antelopes sketched with strong dark lines on a white plaster background. Their simple figures are slender and agile, and theri movements reserved are reserved yet expressive. From the same room as the 'Boxing Children' fresco the emsemble may have had a larger symbolic meaning. Room B1, Building B.
  • Monoan 'Antelope fresco' Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens. 17th-16th cent BC.<br />
<br />
The Antelope fresco dep[icts two antelopes sketched with strong dark lines on a white plaster background. Their simple figures are slender and agile, and theri movements reserved are reserved yet expressive. From the same room as the 'Boxing Children' fresco the emsemble may have had a larger symbolic meaning. Room B1, Building B.
  • Monoan 'Antelope fresco' Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens. 17th-16th cent BC.<br />
<br />
The Antelope fresco dep[icts two antelopes sketched with strong dark lines on a white plaster background. Their simple figures are slender and agile, and theri movements reserved are reserved yet expressive. From the same room as the 'Boxing Children' fresco the emsemble may have had a larger symbolic meaning. Room B1, Building B.
  • Monoan 'Antelope fresco' Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens. 17th-16th cent BC.<br />
<br />
The Antelope fresco dep[icts two antelopes sketched with strong dark lines on a white plaster background. Their simple figures are slender and agile, and theri movements reserved are reserved yet expressive. From the same room as the 'Boxing Children' fresco the emsemble may have had a larger symbolic meaning. Room B1, Building B.
  • Monoan 'Antelope fresco' Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens. 17th-16th cent BC.<br />
<br />
The Antelope fresco dep[icts two antelopes sketched with strong dark lines on a white plaster background. Their simple figures are slender and agile, and theri movements reserved are reserved yet expressive. From the same room as the 'Boxing Children' fresco the emsemble may have had a larger symbolic meaning. Room B1, Building B.
  • Monoan 'Antelope fresco' Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens. 17th-16th cent BC.<br />
<br />
The Antelope fresco dep[icts two antelopes sketched with strong dark lines on a white plaster background. Their simple figures are slender and agile, and theri movements reserved are reserved yet expressive. From the same room as the 'Boxing Children' fresco the emsemble may have had a larger symbolic meaning. Room B1, Building B.
  • Monoan 'Antelope fresco' Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens. 17th-16th cent BC.<br />
<br />
The Antelope fresco dep[icts two antelopes sketched with strong dark lines on a white plaster background. Their simple figures are slender and agile, and theri movements reserved are reserved yet expressive. From the same room as the 'Boxing Children' fresco the emsemble may have had a larger symbolic meaning. Room B1, Building B.
  • Monoan 'Antelope fresco' Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens. 17th-16th cent BC.<br />
<br />
The Antelope fresco dep[icts two antelopes sketched with strong dark lines on a white plaster background. Their simple figures are slender and agile, and theri movements reserved are reserved yet expressive. From the same room as the 'Boxing Children' fresco the emsemble may have had a larger symbolic meaning. Room B1, Building B.
  • Monoan 'Antelope fresco' Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens. 17th-16th cent BC.<br />
<br />
The Antelope fresco dep[icts two antelopes sketched with strong dark lines on a white plaster background. Their simple figures are slender and agile, and theri movements reserved are reserved yet expressive. From the same room as the 'Boxing Children' fresco the emsemble may have had a larger symbolic meaning. Room B1, Building B.
  • Monoan 'Antelope fresco' Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens. 17th-16th cent BC.<br />
<br />
The Antelope fresco dep[icts two antelopes sketched with strong dark lines on a white plaster background. Their simple figures are slender and agile, and theri movements reserved are reserved yet expressive. From the same room as the 'Boxing Children' fresco the emsemble may have had a larger symbolic meaning. Room B1, Building B.
  • Monoan 'Antelope fresco' Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens. 17th-16th cent BC.<br />
<br />
The Antelope fresco dep[icts two antelopes sketched with strong dark lines on a white plaster background. Their simple figures are slender and agile, and theri movements reserved are reserved yet expressive. From the same room as the 'Boxing Children' fresco the emsemble may have had a larger symbolic meaning. Room B1, Building B.
  • Monoan 'Antelope fresco' Wall painting from Akrotiri, Thira (Santorini). National archaeological Musuem Athens. 17th-16th cent BC.<br />
<br />
The Antelope fresco dep[icts two antelopes sketched with strong dark lines on a white plaster background. Their simple figures are slender and agile, and theri movements reserved are reserved yet expressive. From the same room as the 'Boxing Children' fresco the emsemble may have had a larger symbolic meaning. Room B1, Building B.
  • Cycladic 'Kastri Group' tea pot.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 6104 1-3. Black background.<br />
<br />
<br />
The 'Kastri Group' from Syros (2500-2300 BC) coincides with the introdution of anatolian shpes of table ware and with the use of the ceramic wheel. The pottery is dark burnished with incised motifs<br />
<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic 'Kastri Group' tea pot.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 6104 1-3.<br />
<br />
The 'Kastri Group' from Syros (2500-2300 BC) coincides with the introdution of anatolian shpes of table ware and with the use of the ceramic wheel. The pottery is dark burnished with incised motifs<br />
<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic 'Kastri Group' tea pot.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 6104 1-3.<br />
<br />
The 'Kastri Group' from Syros (2500-2300 BC) coincides with the introdution of anatolian shpes of table ware and with the use of the ceramic wheel. The pottery is dark burnished with incised motifs<br />
<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic 'Kastri Group' tea pot.  Early Cycladic III (2300-2000 BC) , Phylakopi I, Melos. National Archaeological Museum Athens. Cat No 6104 1-3.  Gray background.<br />
<br />
<br />
The 'Kastri Group' from Syros (2500-2300 BC) coincides with the introdution of anatolian shpes of table ware and with the use of the ceramic wheel. The pottery is dark burnished with incised motifs<br />
<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic Kernos a multiple vessel in a base.  Early Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5829.  White background.<br />
<br />
<br />
This complex vessel was used for ritual offerings. During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic Kernos a multiple vessel in a base.  Early Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5829. Black background.<br />
<br />
<br />
This complex vessel was used for ritual offerings. During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic Kernos a multiple vessel in a base.  Early Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5829.  Grey background.<br />
<br />
<br />
This complex vessel was used for ritual offerings. During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic Kernos a multiple vessel in a base.  Early Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5829.  Gray background.<br />
<br />
<br />
This complex vessel was used for ritual offerings. During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic Kernos a multiple vessel in a base.  Early Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5829.<br />
<br />
This complex vessel was used for ritual offerings. During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic pithos with geometric designs.  Early Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5831.  White background.<br />
<br />
<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic pithos with geometric designs.  Early Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5831. Black background.<br />
<br />
<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic pithos with geometric designs.  Early Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5831.  Grey background.<br />
<br />
<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic pithos with geometric designs.  Early Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5831.<br />
<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic pithos with geometric designs.  Early Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5831.  Gray background.<br />
<br />
<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic beak spouted jug.  Early Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5726. Black background.<br />
<br />
<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic beak spouted jug.  Early Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5726.<br />
<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic beak spouted jug.  Early Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5726.<br />
<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Cycladic beak spouted jug.  Early Cycladic III (2300-2000 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5726.  Gray background.<br />
<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Small Cycladic amphora.  Early Cycladic III (2300-200 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5813. Black background.<br />
<br />
<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Small Cycladic amphora.  Early Cycladic III (2300-200 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5813.<br />
<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Small Cycladic amphora.  Early Cycladic III (2300-200 BC) , Phylakopi, Melos. National Archaeological Museum Athens. Cat No 5813.  Gray background.<br />
<br />
<br />
During this period pottery was plainer with simple geometric decorations. Depicts of birds or lowers were rare.
  • Mycenaean gold cup with arches decoration, Grave V, Grave Circle A Mycenae, Greece. National Archaeological Museum of Athens. White background.<br />
<br />
An elegant precious gold cup hammered from thick gold to created a simple elegant design. This Mycenaean gold cup demonstrates how advance Mycenaean metalworking was in the 16th century BC. The value of the cup would have been extermely high so must have graced the table of a Mycenaean noble perhaps even a v king.
  • Mycenaean gold cup with arches decoration, Grave V, Grave Circle A Mycenae, Greece. National Archaeological Museum of Athens. Black Background<br />
<br />
An elegant precious gold cup hammered from thick gold to created a simple elegant design. This Mycenaean gold cup demonstrates how advance Mycenaean metalworking was in the 16th century BC. The value of the cup would have been extermely high so must have graced the table of a Mycenaean noble perhaps even a v king.
  • Mycenaean gold cup with arches decoration, Grave V, Grave Circle A Mycenae, Greece. National Archaeological Museum of Athens.<br />
<br />
An elegant precious gold cup hammered from thick gold to created a simple elegant design. This Mycenaean gold cup demonstrates how advance Mycenaean metalworking was in the 16th century BC. The value of the cup would have been extermely high so must have graced the table of a Mycenaean noble perhaps even a v king.
  • Mycenaean gold cup with arches decoration, Grave V, Grave Circle A Mycenae, Greece. National Archaeological Museum of Athens.  Grey Art Background<br />
<br />
An elegant precious gold cup hammered from thick gold to created a simple elegant design. This Mycenaean gold cup demonstrates how advance Mycenaean metalworking was in the 16th century BC. The value of the cup would have been extermely high so must have graced the table of a Mycenaean noble perhaps even a v king.
  • Mycenaean gold cup with horizontal grroves, Grave IV, Grave Circle A, Mycenae, Greece. National Archaeological Museum of Athens. An elegant precious gold cup hammered from thick gold to created a simple elegant design. This Mycenaean gold cup demonstrates how advance Mycenaean metalworking was in the 16th century BC. The value of the cup would have been extermely high so must have graced the table of a Mycenaean noble perhaps even a v king.
  • Mycenaean gold cup with horizontal grroves, Grave IV, Grave Circle A, Mycenae, Greece. National Archaeological Museum of Athens.  Grey Background<br />
<br />
<br />
An elegant precious gold cup hammered from thick gold to created a simple elegant design. This Mycenaean gold cup demonstrates how advance Mycenaean metalworking was in the 16th century BC. The value of the cup would have been extermely high so must have graced the table of a Mycenaean noble perhaps even a v king.
  • Mycenaean gold cup with horizontal grroves, Grave IV, Grave Circle A, Mycenae, Greece. National Archaeological Museum of Athens.  White background.<br />
<br />
An elegant precious gold cup hammered from thick gold to created a simple elegant design. This Mycenaean gold cup demonstrates how advance Mycenaean metalworking was in the 16th century BC. The value of the cup would have been extermely high so must have graced the table of a Mycenaean noble perhaps even a v king.
  • Mycenaean gold cup with horizontal grroves, Grave IV, Grave Circle A, Mycenae, Greece. National Archaeological Museum of Athens. <br />
<br />
An elegant precious gold cup hammered from thick gold to created a simple elegant design. This Mycenaean gold cup demonstrates how advance Mycenaean metalworking was in the 16th century BC. The value of the cup would have been extermely high so must have graced the table of a Mycenaean noble perhaps even a v king.
  • Mycenaean gold cup with horizontal grroves, Grave IV, Grave Circle A, Mycenae, Greece. National Archaeological Museum of Athens.   Grey Art Background<br />
<br />
An elegant precious gold cup hammered from thick gold to created a simple elegant design. This Mycenaean gold cup demonstrates how advance Mycenaean metalworking was in the 16th century BC. The value of the cup would have been extermely high so must have graced the table of a Mycenaean noble perhaps even a v king.
  • Mycenaean gold cup with spiral decorations, Grave V, Grave Circle A,  Mycenae, Greece. National Archaeological Museum of Athens.  Grey Background<br />
<br />
<br />
An elegant precious gold cup hammered from thick gold to created a simple elegant design. This Mycenaean gold cup demonstrates how advance Mycenaean metalworking was in the 16th century BC. The value of the cup would have been extermely high so must have graced the table of a Mycenaean noble perhaps even a v king.
  • Mycenaean gold cup with spiral decorations, Grave V, Grave Circle A,  Mycenae, Greece. National Archaeological Museum of Athens.  White background.<br />
<br />
An elegant precious gold cup hammered from thick gold to created a simple elegant design. This Mycenaean gold cup demonstrates how advance Mycenaean metalworking was in the 16th century BC. The value of the cup would have been extermely high so must have graced the table of a Mycenaean noble perhaps even a v king.
  • Mycenaean gold cup with spiral decorations, Grave V, Grave Circle A,  Mycenae, Greece. National Archaeological Museum of Athens. An elegant precious gold cup hammered from thick gold to created a simple elegant design. This Mycenaean gold cup demonstrates how advance Mycenaean metalworking was in the 16th century BC. The value of the cup would have been extermely high so must have graced the table of a Mycenaean noble perhaps even a v king.
  • Mycenaean gold cup with spiral decorations, Grave V, Grave Circle A,  Mycenae, Greece. National Archaeological Museum of Athens. <br />
<br />
An elegant precious gold cup hammered from thick gold to created a simple elegant design. This Mycenaean gold cup demonstrates how advance Mycenaean metalworking was in the 16th century BC. The value of the cup would have been extermely high so must have graced the table of a Mycenaean noble perhaps even a v king.
  • Mycenaean gold cup with spiral decorations, Grave V, Grave Circle A,  Mycenae, Greece. National Archaeological Museum of Athens.   Grey Art Background<br />
<br />
An elegant precious gold cup hammered from thick gold to created a simple elegant design. This Mycenaean gold cup demonstrates how advance Mycenaean metalworking was in the 16th century BC. The value of the cup would have been extermely high so must have graced the table of a Mycenaean noble perhaps even a v king.
  • Pictures & images of Aynali Kilise (Church) cave church interior frescoes, iconoclastic period (725-842), near Goreme, Cappadocia, Nevsehir, Turkey<br />
<br />
During the iconoclastic period (725-842) it was forbidden to depict any religious figures in the Orthodox Church so interiors were decorated with simple red and white geometric patterns and crosses.
  • Pictures & images of Aynali Kilise (Church) cave church interior frescoes, iconoclastic period (725-842), near Goreme, Cappadocia, Nevsehir, Turkey<br />
<br />
During the iconoclastic period (725-842) it was forbidden to depict any religious figures in the Orthodox Church so interiors were decorated with simple red and white geometric patterns and crosses.
  • Pictures & images of Aynali Kilise (Church) cave church interior frescoes, iconoclastic period (725-842), near Goreme, Cappadocia, Nevsehir, Turkey<br />
<br />
During the iconoclastic period (725-842) it was forbidden to depict any religious figures in the Orthodox Church so interiors were decorated with simple red and white geometric patterns and crosses.
  • Pictures & images of Aynali Kilise (Church) cave church interior frescoes, iconoclastic period (725-842), near Goreme, Cappadocia, Nevsehir, Turkey<br />
<br />
During the iconoclastic period (725-842) it was forbidden to depict any religious figures in the Orthodox Church so interiors were decorated with simple red and white geometric patterns and crosses.
  • Pictures & images of Aynali Kilise (Church) cave church interior frescoes, iconoclastic period (725-842), near Goreme, Cappadocia, Nevsehir, Turkey<br />
<br />
During the iconoclastic period (725-842) it was forbidden to depict any religious figures in the Orthodox Church so interiors were decorated with simple red and white geometric patterns and crosses.
  • Pictures & images of Aynali Kilise (Church) cave church interior frescoes, iconoclastic period (725-842), near Goreme, Cappadocia, Nevsehir, Turkey<br />
<br />
During the iconoclastic period (725-842) it was forbidden to depict any religious figures in the Orthodox Church so interiors were decorated with simple red and white geometric patterns and crosses.
  • Pictures & images of Aynali Kilise (Church) cave church interior frescoes, iconoclastic period (725-842), near Goreme, Cappadocia, Nevsehir, Turkey<br />
<br />
During the iconoclastic period (725-842) it was forbidden to depict any religious figures in the Orthodox Church so interiors were decorated with simple red and white geometric patterns and crosses.
  • Pictures & images of Aynali Kilise (Church) cave church interior frescoes, iconoclastic period (725-842), near Goreme, Cappadocia, Nevsehir, Turkey<br />
<br />
During the iconoclastic period (725-842) it was forbidden to depict any religious figures in the Orthodox Church so interiors were decorated with simple red and white geometric patterns and crosses.
  • Pictures & images of Aynali Kilise (Church) cave church interior frescoes, iconoclastic period (725-842), near Goreme, Cappadocia, Nevsehir, Turkey<br />
<br />
During the iconoclastic period (725-842) it was forbidden to depict any religious figures in the Orthodox Church so interiors were decorated with simple red and white geometric patterns and crosses.
  • Pictures & images of Aynali Kilise (Church) cave church interior frescoes, iconoclastic period (725-842), near Goreme, Cappadocia, Nevsehir, Turkey<br />
<br />
During the iconoclastic period (725-842) it was forbidden to depict any religious figures in the Orthodox Church so interiors were decorated with simple red and white geometric patterns and crosses.
  • Pictures & images of Aynali Kilise (Church) cave church interior frescoes, iconoclastic period (725-842), near Goreme, Cappadocia, Nevsehir, Turkey<br />
<br />
During the iconoclastic period (725-842) it was forbidden to depict any religious figures in the Orthodox Church so interiors were decorated with simple red and white geometric patterns and crosses.
  • Pictures & images of Aynali Kilise (Church) cave church interior frescoes, iconoclastic period (725-842), near Goreme, Cappadocia, Nevsehir, Turkey<br />
<br />
During the iconoclastic period (725-842) it was forbidden to depict any religious figures in the Orthodox Church so interiors were decorated with simple red and white geometric patterns and crosses.
  • Norman Romanesque exterior corbel no 54 - sculpture of a male stylised simple round head. The Norman Romanesque Church of St Mary and St David, Kilpeck Herefordshire, England. Built around 1140

FunkyStock Picture Library Resource

Picture The Past

ABOUT

FunkyStock Picture Library free resource for professional editorial picture editors, picture researchers, historical scholars and students and enthusiasts who want to browse some of the best pictures and images of historic countries, historical places, archaeological sites and the very best museum antiquities and artefacts exhibits in Europe and the Middle East.

Pictures and Images can be downloaded or bought as stock photos or photo art prints.

COUNTRIES

Browse travel pictures and images of historic places and archaeological sites of countries in Europe and the Middle East.

VIEW COUNTRIES INDEX....

HISTORICAL

Explore the past through pictures and images of its historic places. See the great palaces, castles and cities of antiquity as well as the great archaeological sites where our ancestors made history.

EXPLORE HISTORICAL PLACES...

MUSEUMS

Browse pictures & images the treasured artefacts and antiquities exhibits from the great Museum of Europe and the Middle East. See the art and objects made by our ancestors.

SEE MUESEUM ANTIQUITIES....