• Roman marble sculpture of a male figure restored as Augustus 2nd century AD, inv no 6053, Naples Museum of Archaeology, Italy
  • Geometric Roman mosaics, Eastern Mediterranean, 4th century AD. The Louvre Museum, Paris
  • Roman mosaic of a Church with Towers, Eastern Mediterranean, 5th century AD. The church has three naves and is represented in a 'flattened Perspective’ as can be seen by the facade and along sides forming a straight continuous line. The mosaic shows the architecture of early Roman Chriatian Basilicas. Inv 3676, The Louvre Museum, Paris
  • Roman mosaic of an Amazon on horseback fighting, From Daphne, a suburb of Antioch, Antakya, Turkey, 4th century AD. Marble blocks and glass paste cubes. The mosaic depicts the legendary woman warriors known as the Amazons, who fought with one breast showing, fighting a soldier with armour. inv 3463, The Louvre Museum, Paris
  • Roman mosaic of the inside of a church, Eastern Mediterranean, 5th century AD. This abstract representation of a church choir shows two columns, a low lattice  divider and a pair of oriental designed curtains at the top. beyond is the inner sanctum of the church with a Mandorla surrounded by flames with a cross in it. In the foreground is a a hare and devouring a bunch of grapes next to Greek letter that translate to 'Christ rescues'. Inv 5093, The Louvre Museum, Paris
  • Roman mosaic of a Hebrew, possibly from North Syria 5th-6th century AD J-C. dressed in Oriental clothing, that young man is identified by writing in Syriac has the right to his head: it tells of three Hebrews miraculously surviving after being thrown into a fire for refusing to worship the image of Nebuchadnezzar. This is biblical episode is from the Book Daniel (3 1-30), and is commonly illustrated in the East as in the West. Inv 3671, The Louvre Museum, Paris
  • Roman mosaic of two Gazelles facing inwards either side of a vase, Eastern Mediterranean, the beginning of the 6th century AD. The mosaic design is typical of  church  floors in front of the choir. The choice of gazelles is rare though and indicates a local flavour to the content. Inv 3673, The Louvre Museum, Paris
  • Roman mosaic of an Amazon on horseback fighting, From Daphne, a suburb of Antioch, Antakya, Turkey, 4th century AD. Marble blocks and glass paste cubes. The mosaic depicts the legendary woman warriors known as the Amazons, who fought with one breast showing, fighting a soldier with armour. inv 3463, The Louvre Museum, Paris
  • Roman mosaic of a Phoenix, From Daphne, a suburb of Antioch, Antakya, Turkey, 6th century AD. Marble blocks and glass paste cubes. The phoenix is a mythical bird associated with the sun. A phoenix obtains new life by arising from the ashes of its predecessor. The phoenix was subsequently adopted as a symbol in Early Christianity.In the mosaic it is perched rock above a background of rose buds and is bordered by a pair of facing rams. inv 3342, restored in 1936 by the Louvre Museum, Paris
  • Roman mosaic of a Phoenix, From Daphne, a suburb of Antioch, Antakya, Turkey, 6th century AD. Marble blocks and glass paste cubes. The phoenix is a mythical bird associated with the sun. A phoenix obtains new life by arising from the ashes of its predecessor. The phoenix was subsequently adopted as a symbol in Early Christianity.In the mosaic it is perched rock above a background of rose buds and is bordered by a pair of facing rams. inv 3342, restored in 1936 by the Louvre Museum, Paris
  • Roman mosaic of a Phoenix, From Daphne, a suburb of Antioch, Antakya, Turkey, 6th century AD. Marble blocks and glass paste cubes. The phoenix is a mythical bird associated with the sun. A phoenix obtains new life by arising from the ashes of its predecessor. The phoenix was subsequently adopted as a symbol in Early Christianity.In the mosaic it is perched rock above a background of rose buds and is bordered by a pair of facing rams. inv 3342, restored in 1936 by the Louvre Museum, Paris
  • Roman mosaic of an early Christian church floor from Qabr Hiram, Lebanon, 575 AD. Marble blocks and glass paste cubes. This mosaic was designed to follow the layout of the church which had three naves. It depicts God through images of his creation: rural activities, fruit, animals with representations of the months, seasons and winds. The inscription indicates that the basilica was dedicated to St. Christopher and was built in 575 AD.. Inv 32230-2236, Louvre Museum, Paris
  • Roman mosaic of an early Christian church floor from Qabr Hiram, Lebanon, 575 AD. Marble blocks and glass paste cubes. This mosaic was designed to follow the layout of the church which had three naves. It depicts God through images of his creation: rural activities, fruit, animals with representations of the months, seasons and winds. The inscription indicates that the basilica was dedicated to St. Christopher and was built in 575 AD.. Inv 32230-2236, Louvre Museum, Paris
  • Roman mosaic of an early Christian church floor from Qabr Hiram, Lebanon, 575 AD. Marble blocks and glass paste cubes. This mosaic was designed to follow the layout of the church which had three naves. It depicts God through images of his creation: rural activities, fruit, animals with representations of the months, seasons and winds. The inscription indicates that the basilica was dedicated to St. Christopher and was built in 575 AD.. Inv 32230-2236, Louvre Museum, Paris
  • Roman mosaic of an early Christian Basilica from the Eastern Mediterranean, late 5th century AD. Marble blocks, limestone, sandstone and terracotta. The church has three naves and is represented in a 'flattened Perspective’ as can be seen by the facade and along sides forming a straight continuous line. The side wall is deliberately open to make the interior visible . Inv 3677, Louvre Museum, Paris
  • Roman mosaic of a Young boy playing with snakes, possibly an early Christian mosaic. Syria or Lebanon, 5th century AD. Cubes of marble and limestone. Dressed in a long tunic, the child playing with two snakes could be illustrating a passage from the Book of Isai (11.6 to 8). This fragmented mosaic panel once continued in upper part, as indicated by the animal hoofs, and to the right of the mosaic are remains of a Greek inscription. inv 5094. Louvre Museum, Paris
  • Eastern Mediterranean Roman mosaics of Animals, late 5th - 6th century. Marble cubes, and limestone. Three animals are in the race, a dog, a lion and a pheasant. They belonged perhaps to a hunting scene which was a popular floor decoration in houses or they may illustrate the biblical theme of 'Peace of animals', found on the floors of the churches of the Eastern Roman provinces. inv 3672, Louvre Museum, Paris
  • Female Portrait (Antioch, Antakya, Turkey), 1st half of 3rd century AD. Marble cubes, limestone and glass. The mosaic bust of a female with a billowing sail that surrounds her head that it could represent the wind. The mosaic decorated the entrance of a dining room and was once flanked it with now lost representations of the marine deities Thalassa and Okeanosinv 3460, Louvre Museum, Paris
  • Birds around a  vase From Daphne, a suburb of Antioch, Antakya, Turkey, 1st half of 3rd century AD. Marble cubes, limestone and glass. A border of geometric perspective cubes surround a scene with one bird sitting on the vase of Daphne whilst the other surround it. The naturalistic skill of the Roman Antioch mosaic artists is so good that it is possible to tell the species of each bird. inv 3461, Louvre Museum, Paris
  • Roman Byzantine floor Mosaics of the early Christian Church of St. Christopher, Qabar Hiram, Lebanon, AD 575. Louvre Museum Paris inv 2230-2235
  • Roman marble sculpture of Antinous as Bacchus, a 2nd century AD, inv no 6314 Farnese Collection, Naples Archaeological Muueum
  • Roman marble sculpture of Antinous as Bacchus, a 2nd century AD, inv no 6314 Farnese Collection, Naples Archaeological Muueum
  • Roman marble sculpture of Antinous as Bacchus, a 2nd century AD, inv no 6314 Farnese Collection, Naples Archaeological Muueum
  • Roman marble sculpture of Antinous as Bacchus, a 2nd century AD, inv no 6314 Farnese Collection, Naples Archaeological Muueum
  • Roman marble sculpture of a male figure restored as Augustus 2nd century AD, inv no 6053, Naples Museum of Archaeology, Italy
  • Roman marble sculpture of a male figure restored as Augustus 2nd century AD, inv no 6053, Museum of Archaeology, Italy
  • Roman marble sculpture of a male figure restored as Augustus 2nd century AD, inv no 6053, Naples Museum of Archaeology, Italy
  • Roman marble sculpture of a male figure restored as Augustus 2nd century AD, inv no 6053, Museum of Archaeology, Italy
  • Roman marble sculpture of a male figure restored as Augustus 2nd century AD, inv no 6053,Naples Museum of Archaeology, Italy
  • Roman marble sculpture of a male figure restored as Augustus 2nd century AD, inv no 6053,Naples Museum of Archaeology, Italy
  • Roman marble sculpture of a male figure restored as Augustus 2nd century AD, inv no 6053, Naples Museum of Archaeology, Italy
  • Roman marble sculpture bust of Lucius Verus with the body of Diomedes, Cuma Munich Type, 160-170 AD, inv 6095, Museum of Archaeology, Italy
  • Roman marble sculpture bust of Lucius Verus with the body of Diomedes, Cuma Munich Type, 160-170 AD, inv 6095 Farnese Collection, Naples Museum of Archaeology, Italy
  • Roman marble sculpture bust of Lucius Verus with the body of Diomedes, Cuma Munich Type, 160-170 AD, inv 6095 Farnese Collection, Naples Museum of Archaeology, Italy
  • Roman marble sculpture bust of Lucius Verus with the body of Diomedes, Cuma Munich Type, 160-170 AD, inv 6095 Farnese Collection, Naples Museum of Archaeology, Italy
  • Roman marble sculpture with an unrelated head  of Lucius Verus, body 50-75 AD head 160-169 AD, inv 6081, Museum of Archaeology, Italy
  • Roman marble sculpture with an unrelated head  of Lucius Verus, body 50-75 AD head 160-169 AD, inv 6081 Farnese Collection, Naples Museum of Archaeology, Italy
  • Roman marble sculpture with an unrelated head  of Lucius Verus, body 50-75 AD head 160-169 AD, inv 6081 Farnese Collection, Naples Museum of Archaeology, Italy
  • Roman marble sculpture with an unrelated head  of Lucius Verus, body 50-75 AD head 160-169 AD, inv 6081 Farnese Collection, Naples Museum of Archaeology, Italy
  • Roman marble sculpture bust of Emperor Domitian  81-96 AD, inv 6061, Museum of Archaeology, Italy
  • Roman marble sculpture bust of Emperor Domitian  81-96 AD, inv 6061 Farnese Collection, Naples Museum of Archaeology, Italy
  • Roman marble sculpture bust of Emperor Domitian  81-96 AD, inv 6061 Farnese Collection, Naples Museum of Archaeology, Italy
  • Roman marble sculpture bust of Emperor Domitian  81-96 AD, inv 6061 Farnese Collection, Naples Museum of Archaeology, Italy
  • Roman marble sculpture bust of Emperor  Vespasian 80 AD, inv 6068, Museum of Archaeology, Italy
  • Roman marble sculpture bust of Emperor  Vespasian 80 AD, inv 6068, Museum of Archaeology, Italy
  • Roman marble sculpture bust of Emperor  Vespasian 80 AD, inv 6068, Museum of Archaeology, Italy
  • Roman marble sculpture bust of Emperor  Vespasian 80 AD, inv 6068, Museum of Archaeology, Italy
  • Roman marble sculpture of Athena, inv 6321, Museum of Archaeology, Italy
  • Roman mosaic of a Phoenix, From Daphne, a suburb of Antioch, Antakya, Turkey, 6th century AD. Marble blocks and glass paste cubes. The phoenix is a mythical bird associated with the sun. A phoenix obtains new life by arising from the ashes of its predecessor. The phoenix was subsequently adopted as a symbol in Early Christianity.In the mosaic it is perched rock above a background of rose buds and is bordered by a pair of facing rams. inv 3342, restored in 1936 by the Louvre Museum, Paris
  • Roman mosaic of a Phoenix, From Daphne, a suburb of Antioch, Antakya, Turkey, 6th century AD. Marble blocks and glass paste cubes. The phoenix is a mythical bird associated with the sun. A phoenix obtains new life by arising from the ashes of its predecessor. The phoenix was subsequently adopted as a symbol in Early Christianity.In the mosaic it is perched rock above a background of rose buds and is bordered by a pair of facing rams. inv 3342, restored in 1936 by the Louvre Museum, Paris
  • Roman mosaic of a mythical procession, Pompeii, Naples Archaeological Musum, Italy
  • Roman mosaic of a mythical procession, Pompeii, Naples Archaeological Musum, Italy
  • Roman mosaic of birds drinking from Pompeii,  Naples Archaeological Musum, Italy
  • Roman mosaic of birds drinking from Pompeii,  Naples Archaeological Musum, Italy
  • Roman mosaic of birds drinking from Pompeii,  Naples Archaeological Musum, Italy
  • Roman mosaic of birds drinking from Pompeii,  Naples Archaeological Musum, Italy
  • Roman mosaic of a skull called "Mimento Mori" from Pompeii, inv 100982, Naples National Archeological Museum, Black background
  • Roman mosaic of a skull called "Mimento Mori" from Pompeii, inv 100982, Naples National Archeological Museum,  Art background
  • Roman mosaic of a skull called "Mimento Mori" from Pompeii, inv 100982, Naples National Archeological Museum, White background
  • Roman mosaic of a scene from Meanders comedy Theophoroumene(the passed girl) with musical hawkers by Dioscurides of Samos. Pompeii from the so-called Villa of Cicero, Inv 9985, Naples Archaeological Musum, Italy
  • Roman mosaic of  the Academy of Plato from the Villa of T. Siminius Stephanus, inv no 124545, Naples Archaeological Musum, Italy
  • Roman mosaic of  the Academy of Plato from the Villa of T. Siminius Stephanus, inv no 124545, Naples Archaeological Musum, Italy
  • Roman mosaic of  the Academy of Plato from the Villa of T. Siminius Stephanus, inv no 124545, Naples Archaeological Musum, Italy
  • Roman mosaic of  the Academy of Plato from the Villa of T. Siminius Stephanus, inv no 124545, Naples Archaeological Musum, Italy
  • Roman mosaic of actors from the Casa del Poet Tragic (VI 8, 3,) Pompeii, inv 9986. Naples Archaeological Musum, Italy
  • Roman mosaic of actors from the Casa del Poet Tragic (VI 8, 3,) Pompeii, inv 9986. Naples Archaeological Musum, Italy
  • Roman mosaic of actors from the Casa del Poet Tragic (VI 8, 3,) Pompeii, inv 9986. Naples Archaeological Musum, Italy
  • Round Roman mosaic of a Lion and Cupids between Dionysus and Manadi, Pompeii, House of the Centaur (VI 9.3,) inv No 10019,  Naples Archaeological Musuem, Italy
  • Pictures of Roman Mosaics of a Lion Dionysus and Manadi from the Casa del Centauro (VI 9, 3) Pompeii, inv 10019, Naples Archaeological Museum - Stock Photos
  • Roman panel with candelabra and a cupid hunter in glass paste from  Pompeii VI, Inv 38 No 10012, Naples Archaeological Musuem, Italy
  • Roman panel with candelabra and a cupid hunter in glass paste from  Pompeii VI, Inv 38 No 10012, Naples Archaeological Musuem, Italy
  • Roman panel with candelabra and a cupid hunter in glass paste from  Pompeii VI, Inv 38 No 10012, Naples Archaeological Musuem, Italy
  • Roman panel with candelabra and a cupid hunter in glass paste from  Pompeii VI, Inv 38 No 10012, Naples Archaeological Musuem, Italy
  • Roman Mosaic of  Lycurgus and Ambrosia the presence of Dionysus from Herculaneum, Naples Archaeological Museum, Italy
  • Roman Mosaic of  Lycurgus and Ambrosia the presence of Dionysus from Herculaneum, Naples Archaeological Museum, Italy
  • Roman Mosaic of  Lycurgus and Ambrosia the presence of Dionysus from Herculaneum, Naples Archaeological Museum, Italy
  • Roman Mosaic of  Lycurgus and Ambrosia the presence of Dionysus from Herculaneum, Naples Archaeological Museum, Italy
  • Roman mosaics from Pompeii showing a Panther with Dionysus symbol (Pantera con simboli dionisiaci) from the Santangelo collection, Naples Archaeological Museum, Italy
  • Roman mosaic of a Lion from Pompeii,  Naples Archaeological Musum, Italy
  • Nile Scene Roman Mosaic ( Scena Nileotica )  from Pompei Archaeological Site. Naples Archaeological Museum inv 9990
  • Nile Scene Roman Mosaic ( Scena Nileotica )  from Pompei Archaeological Site. Naples Archaeological Museum inv 9990
  • Nile Scene Roman Mosaic ( Scena Nileotica )  from Pompei Archaeological Site. Naples Archaeological Museum inv 9990
  • Roman mosaic of a mythical procession, Pompeii, Naples Archaeological Musum, Italy
  • Roman mosaic of a mythical procession, Pompeii, Naples Archaeological Musum, Italy
  • Roman mosaic of a mythical procession, Pompeii, Naples Archaeological Musum, Italy
  • Roman mosaic of birds drinking from Pompeii,  Naples Archaeological Musum, Italy
  • Roman mosaic of drinking birds from Santa Maria Capua Vetere, ancient Capua, inv no 9992, Naples Archaeological Musum, Italy
  • Roman mosaic of drinking birds from Santa Maria Capua Vetere, ancient Capua, inv no 9992, Naples Archaeological Musum, Italy
  • Roman mosaic of drinking birds from Santa Maria Capua Vetere, ancient Capua, inv no 9992, Naples Archaeological Musum, Italy
  • Roman mosaic of drinking birds from Santa Maria Capua Vetere, ancient Capua, inv no 9992, Naples Archaeological Musum, Italy
  • Roman mosaic of drinking birds from Santa Maria Capua Vetere, ancient Capua, inv no 9992, Naples Archaeological Musum, Italy
  • Roman mosaic of a skull called "Mimento Mori" from Pompeii, inv 100982, Naples National Archeological Museum, Grey Art background
  • Roman mosaic of a skull called "Mimento Mori" from Pompeii, inv 100982, Naples National Archeological Museum, Grey  background
  • Roman mosaic of  the Academy of Plato from the Villa of T. Siminius Stephanus, inv no 124545, Naples Archaeological Musum, Italy
  • Roman mosaic of  the Academy of Plato from the Villa of T. Siminius Stephanus, inv no 124545, Naples Archaeological Musum, Italy
  • Roman mosaic of actors from the Casa del Poet Tragic (VI 8, 3,) Pompeii, inv 9986. Naples Archaeological Musum, Italy
  • Roman mosaic of actors from the Casa del Poet Tragic (VI 8, 3,) Pompeii, inv 9986. Naples Archaeological Musum, Italy
  • Roman mosaic of actors from the Casa del Poet Tragic (VI 8, 3,) Pompeii, inv 9986. Naples Archaeological Musum, Italy
  • Round Roman mosaic of a Lion and Cupids between Dionysus and Manadi, Pompeii, House of the Centaur (VI 9.3,) inv No 10019,  Naples Archaeological Musuem, Italy
  • Round Roman mosaic of a Lion and Cupids between Dionysus and Manadi, Pompeii, House of the Centaur (VI 9.3,) inv No 10019,  Naples Archaeological Musuem, Italy
  • Round Roman mosaic of a Lion and Cupids between Dionysus and Manadi, Pompeii, House of the Centaur (VI 9.3,) inv No 10019,  Naples Archaeological Musuem, Italy
  • Round Roman mosaic of a Lion and Cupids between Dionysus and Manadi, Pompeii, House of the Centaur (VI 9.3,) inv No 10019,  Naples Archaeological Musuem, Italy
  • Roman panel with candelabra and a cupid hunter in glass paste from  Pompeii VI, Inv 38 No 10012, Naples Archaeological Musuem, Italy
  • Roman Mosaic of  Lycurgus and Ambrosia the presence of Dionysus from Herculaneum, Naples Archaeological Museum, Italy
  • Roman mosaics from Pompeii showing a Panther with Dionysus symbol (Pantera con simboli dionisiaci) from the Santangelo collection, Naples Archaeological Museum, Italy
  • Roman mosaics from Pompeii showing a Panther with Dionysus symbol (Pantera con simboli dionisiaci) from the Santangelo collection, Naples Archaeological Museum, Italy
  • Roman mosaics from Pompeii showing a Panther with Dionysus symbol (Pantera con simboli dionisiaci) from the Santangelo collection, Naples Archaeological Museum, Italy
  • Roman mosaics from Pompeii showing a Panther with Dionysus symbol (Pantera con simboli dionisiaci) from the Santangelo collection, Naples Archaeological Museum, Italy
  • Roman Mosaic portrait of a women from Pompei Archaeological Site. Naples Archaeological Museum inv 124666
  • Roman Mosaic portrait of a Cockerall Fight  from Pompei Archaeological Site. Naples Archaeological Museum
  • Nile Scene Roman Mosaic ( Scena Nileotica )  from Pompei Archaeological Site. Naples Archaeological Museum inv 9990
  • Roman Mosaic of Satyr and Ninfa from the Casa del Fauno (House of the Faun) Pompeii, inv 27707 , Naples National Archaeological Museum , white background
  • Roman Mosaic of Satyr and Ninfa from the Casa del Fauno (House of the Faun) Pompeii, inv 27707 , Naples National Archaeological Museum , black background
  • Opus Sectile Roman of a Dionysian scene, Pompeii, inv 9979 , Naples National Archaeological Museum
  • Opus Sectile Roman Venus loosing a sandal, Pompeii, inv 2109678 , Naples National Archaeological Museum
  • Roman Mosaic of Satyr and Ninfa from the Casa del Fauno (House of the Faun) Pompeii, inv 27707 , Naples National Archaeological Museum , grey art background
  • Roman Mosaic of Satyr and Ninfa from the Casa del Fauno (House of the Faun) Pompeii, inv 27707 , Naples National Archaeological Museum , grey background
  • Roman Mosaic of Satyr and Ninfa from the Casa del Fauno (House of the Faun) Pompeii, inv 27707 , Naples National Archaeological Museum ,  art background
  • Roman Mosaic with the head of Medusa , Naples National Archaeological Museum ,
  • Roman Mosaic with the head of Medusa, from Casa delle Vestali, Pompeii , Naples National Archaeological Museum , white background
  • Roman Mosaic with the head of Medusa, from Casa delle Vestali, Pompeii , Naples National Archaeological Museum ,  art background
  • Roman Mosaic with the head of Medusa, from Casa delle Vestali, Pompeii , Naples National Archaeological Museum , grey background
  • Roman Mosaic with the head of Medusa, from Casa delle Vestali, Pompeii , Naples National Archaeological Museum , black background
  • Roman Mosaic with the head of Medusa, from Casa delle Vestali, Pompeii , Naples National Archaeological Museum , grey art background
  • Alexander the Great from the Roman mosaic  of Battle beween Alexander the Great and Persian King Darius, 120-125 BC, Casa del Fauno, Pompeii, inv 10020, Naples National Archaeological Museum
  • King Darius from the Roman mosaic  of Battle beween Alexander the Great and Persian King Darius, 120-125 BC, Casa del Fauno, Pompeii, inv 10020, Naples National Archaeological Museum
  • King Darius from the Roman mosaic  of Battle beween Alexander the Great and Persian King Darius, 120-125 BC, Casa del Fauno, Pompeii, inv 10020, Naples National Archaeological Museum
  • Roman mosaic of Pan and Hamadryad, a Greek mythological being that lives in trees , found in Pompeii, from the Farnese Collection, inv no 227708, Naples Archaeological Museum
  • Erotic Roman Mosaic of Pigmies in boats fornicating on the River Nile from Rome, inv 122861,  Secret Museum or Secret Cabinet, Naples National Archaeological Museum , grey background
  • Erotic Roman Mosaic of Pigmies in boats fornicating on the River Nile from Rome, inv 122861,  Secret Museum or Secret Cabinet, Naples National Archaeological Museum , grey background
  • Erotic Roman Mosaic of Pigmies in boats fornicating on the River Nile from Rome, inv 122861,  Secret Museum or Secret Cabinet, Naples National Archaeological Museum , white background
  • Erotic Roman Mosaic of Pigmies in boats fornicating on the River Nile from Rome, inv 122861,  Secret Museum or Secret Cabinet, Naples National Archaeological Museum , grey background
  • Erotic Roman Mosaic of Pigmies in boats fornicating on the River Nile from Rome, inv 122861,  Secret Museum or Secret Cabinet, Naples National Archaeological Museum , black background
  • Erotic Roman Mosaic of Pigmies in boats fornicating on the River Nile from Rome, inv 122861,  Secret Museum or Secret Cabinet, Naples National Archaeological Museum , art background
  • Painted colour verion of a Statue group identified as as the Laocoon described by Pliny as a masterpiece made by the sculptors of Rhodes. The Laocoon depicts a scene from the Trojan War in which Athena and Poseidon sent two great serpants to wrap themselves around Laocoon and his two sons to kill them. Circa 40-30BC, Pope Clement XIV coillection, Vatican Museum Rome, Italy,  grey art background
  • Painted colour verion of a Statue group identified as as the Laocoon described by Pliny as a masterpiece made by the sculptors of Rhodes. The Laocoon depicts a scene from the Trojan War in which Athena and Poseidon sent two great serpants to wrap themselves around Laocoon and his two sons to kill them. Circa 40-30BC, Pope Clement XIV coillection, Vatican Museum Rome, Italy,  grey art background
  • Painted colour verion of a Statue group identified as as the Laocoon described by Pliny as a masterpiece made by the sculptors of Rhodes. The Laocoon depicts a scene from the Trojan War in which Athena and Poseidon sent two great serpants to wrap themselves around Laocoon and his two sons to kill them. Circa 40-30BC, Pope Clement XIV coillection, Vatican Museum Rome, Italy,  grey art background
  • Painted colour verion of a Child and Goose - a 1st or 2nd century Roman sculpture from Villa des Quintilii on the Appia Way south of Rome, Italy. Three other similar versions of this Roman sculpture can be found in the Vatican, music and Geneva. The sculpture is attributed to Boethos who was a 2nd century sculptor.  The Braschi Collection, Inv No. MR168 (Usual No Ma 40), Louvre Museum, Paris.
  • Painted colour verion of a Child and Goose - a 1st or 2nd century Roman sculpture from Villa des Quintilii on the Appia Way south of Rome, Italy. Three other similar versions of this Roman sculpture can be found in the Vatican, music and Geneva. The sculpture is attributed to Boethos who was a 2nd century sculptor.  The Braschi Collection, Inv No. MR168 (Usual No Ma 40), Louvre Museum, Paris.
  • Painted colour verion of a Child and Goose - a 1st or 2nd century Roman sculpture from Villa des Quintilii on the Appia Way south of Rome, Italy. Three other similar versions of this Roman sculpture can be found in the Vatican, music and Geneva. The sculpture is attributed to Boethos who was a 2nd century sculptor.  The Braschi Collection, Inv No. MR168 (Usual No Ma 40), Louvre Museum, Paris.
  • Painted colour verion of a Nymph with a shell ( Nymphe a la coquille ) a 1st century marble statue from Italy which was part of the Borghese collection . Louvre Museum, Paris Cat No MR 309. <br />
The Nymph with a shell statue was much admired in the 17th century and influenced such art its as Velasquez. The statue symbolises a carefree childhood and the fact that terracotta versions have been found in tombs suggests that the statue was associated with the injustice of death or of a rebirth.
  • Painted colour verion of a Nymph with a shell ( Nymphe a la coquille ) a 1st century marble statue from Italy which was part of the Borghese collection . Louvre Museum, Paris Cat No MR 309. <br />
The Nymph with a shell statue was much admired in the 17th century and influenced such art its as Velasquez. The statue symbolises a carefree childhood and the fact that terracotta versions have been found in tombs suggests that the statue was associated with the injustice of death or of a rebirth.
  • Painted colour verion of a Statue of  Atalanta a 2nd century Roman sculpture restored in the 17th century. Atalanta  is a character in Greek mythology, a virgin huntress, unwilling to marry, and loved by the hero Meleager.. The Mazarin Collection  Louvre Museum, Paris.
  • Painted colour verion of a Statue of  Atalanta a 2nd century Roman sculpture restored in the 17th century. Atalanta  is a character in Greek mythology, a virgin huntress, unwilling to marry, and loved by the hero Meleager.. The Mazarin Collection  Louvre Museum, Paris.
  • Painted colour verion of a Statue of  Atalanta a 2nd century Roman sculpture restored in the 17th century. Atalanta  is a character in Greek mythology, a virgin huntress, unwilling to marry, and loved by the hero Meleager.. The Mazarin Collection  Louvre Museum, Paris.
  • Painted colour verion of a Statue of  Atalanta a 2nd century Roman sculpture restored in the 17th century. Atalanta  is a character in Greek mythology, a virgin huntress, unwilling to marry, and loved by the hero Meleager.. The Mazarin Collection  Louvre Museum, Paris.
  • Painted colour verion of Aphrodite- type known as the Venus of Arles. A Roman statue in marble of the 1st - 2nd century AD in marble from Rome. The statue is a 1.94-metre-high (6.4 ft) and is  probably a copy of the Aphrodite of Thespiae a lost bronze sculpture by 4th century BC Greek Athenian sculpture Praxiteles . From the Royal collection Inv MR 366 ( or Ma 437), Louvre Museum, Paris.
  • Painted colour verion of Aphrodite- type known as the Venus of Arles. A Roman statue in marble of the 1st - 2nd century AD in marble from Rome. The statue is a 1.94-metre-high (6.4 ft) and is  probably a copy of the Aphrodite of Thespiae a lost bronze sculpture by 4th century BC Greek Athenian sculpture Praxiteles . From the Royal collection Inv MR 366 ( or Ma 437), Louvre Museum, Paris.
  • Painted colour verion of Aphrodite- type known as the Venus of Arles. A Roman statue in marble of the 1st - 2nd century AD in marble from Rome. The statue is a 1.94-metre-high (6.4 ft) and is  probably a copy of the Aphrodite of Thespiae a lost bronze sculpture by 4th century BC Greek Athenian sculpture Praxiteles . From the Royal collection Inv MR 366 ( or Ma 437), Louvre Museum, Paris.
  • Painted colour verion of Aphrodite- type known as the Venus of Arles. A Roman statue in marble of the 1st - 2nd century AD in marble from Rome. The statue is a 1.94-metre-high (6.4 ft) and is  probably a copy of the Aphrodite of Thespiae a lost bronze sculpture by 4th century BC Greek Athenian sculpture Praxiteles . From the Royal collection Inv MR 366 ( or Ma 437), Louvre Museum, Paris.
  • Painted colour verion of Aphrodite- type known as the Venus of Arles. A Roman statue in marble of the 1st - 2nd century AD in marble from Rome. The statue is a 1.94-metre-high (6.4 ft) and is  probably a copy of the Aphrodite of Thespiae a lost bronze sculpture by 4th century BC Greek Athenian sculpture Praxiteles . From the Royal collection Inv MR 366 ( or Ma 437), Louvre Museum, Paris.
  • Painted colour verion of Artemis and a deer, known as "Diana of Versailles”, a 1st - 2nd century Roman statue in marble probably from Italy.  Artemis, Diana to the Romans, is goddess of the hunt, is accompanied by a deer.  The Diana of Versailles, similar to other Roman replicas was found in Libya or Turkey and was copied from a lost Greek bronze original attributed to Leochares, c. 325 BC .  First the statue was at Fontainbleau then the Louvre ancient hall and finally it went to Versailles. From the collection of Louis XIV, Pope Paul IV and Henry II (1556) . Inv MR 152 ( or Ma 589), Louvre Museum Paris
  • Painted colour verion of Artemis and a deer, known as "Diana of Versailles”, a 1st - 2nd century Roman statue in marble probably from Italy.  Artemis, Diana to the Romans, is goddess of the hunt, is accompanied by a deer.  The Diana of Versailles, similar to other Roman replicas was found in Libya or Turkey and was copied from a lost Greek bronze original attributed to Leochares, c. 325 BC .  First the statue was at Fontainbleau then the Louvre ancient hall and finally it went to Versailles. From the collection of Louis XIV, Pope Paul IV and Henry II (1556) . Inv MR 152 ( or Ma 589), Louvre Museum Paris
  • Painted colour verion of Artemis and a deer, known as "Diana of Versailles”, a 1st - 2nd century Roman statue in marble probably from Italy.  Artemis, Diana to the Romans, is goddess of the hunt, is accompanied by a deer.  The Diana of Versailles, similar to other Roman replicas was found in Libya or Turkey and was copied from a lost Greek bronze original attributed to Leochares, c. 325 BC .  First the statue was at Fontainbleau then the Louvre ancient hall and finally it went to Versailles. From the collection of Louis XIV, Pope Paul IV and Henry II (1556) . Inv MR 152 ( or Ma 589), Louvre Museum Paris
  • Painted colour verion of  Centaur with Eros on its back, a 1st - 2nd AD Roman sculpture in marble. Tradition has it that a centaur be a monstrous half-man half-horse mythical creature. In this Roman statue the old centaur is being ridden by Eros (Cupid), the Greek god of Love represented in the form of a young wing child. The sculpture is a copy of a Greek original  attributed to school sculpture of Aphrodisias (Turkey) can be dating in the 2nd century BC. The Borghese Collection inv MR 122 ( or Ma 562 ), Louvre Museum Paris
  • Painted colour verion of  Centaur with Eros on its back, a 1st - 2nd AD Roman sculpture in marble. Tradition has it that a centaur be a monstrous half-man half-horse mythical creature. In this Roman statue the old centaur is being ridden by Eros (Cupid), the Greek god of Love represented in the form of a young wing child. The sculpture is a copy of a Greek original  attributed to school sculpture of Aphrodisias (Turkey) can be dating in the 2nd century BC. The Borghese Collection inv MR 122 ( or Ma 562 ), Louvre Museum Paris
  • Painted colour verion of  Centaur with Eros on its back, a 1st - 2nd AD Roman sculpture in marble. Tradition has it that a centaur be a monstrous half-man half-horse mythical creature. In this Roman statue the old centaur is being ridden by Eros (Cupid), the Greek god of Love represented in the form of a young wing child. The sculpture is a copy of a Greek original  attributed to school sculpture of Aphrodisias (Turkey) can be dating in the 2nd century BC. The Borghese Collection inv MR 122 ( or Ma 562 ), Louvre Museum Paris
  • Painted colour verion of  Centaur with Eros on its back, a 1st - 2nd AD Roman sculpture in marble. Tradition has it that a centaur be a monstrous half-man half-horse mythical creature. In this Roman statue the old centaur is being ridden by Eros (Cupid), the Greek god of Love represented in the form of a young wing child. The sculpture is a copy of a Greek original  attributed to school sculpture of Aphrodisias (Turkey) can be dating in the 2nd century BC. The Borghese Collection inv MR 122 ( or Ma 562 ), Louvre Museum Paris
  • Painted colour verion of  “ Silenus Drunk “ - A 2nd century AD Roman sculpture made from marble from Paros. Silenus was described as the oldest, wisest and most drunken of the followers of Dionysus, the god of wine. When intoxicated, Silenus was said to possess special knowledge and the power of prophecy. From the Ancient Royal Collection of France inv MR 343 (or MA 291) previously held at Versailles. Louvre Museum Paris.
  • Painted colour verion of  “ Silenus Drunk “ - A 2nd century AD Roman sculpture made from marble from Paros. Silenus was described as the oldest, wisest and most drunken of the followers of Dionysus, the god of wine. When intoxicated, Silenus was said to possess special knowledge and the power of prophecy. From the Ancient Royal Collection of France inv MR 343 (or MA 291) previously held at Versailles. Louvre Museum Paris.
  • Painted colour verion of  “ Silenus Drunk “ - A 2nd century AD Roman sculpture made from marble from Paros. Silenus was described as the oldest, wisest and most drunken of the followers of Dionysus, the god of wine. When intoxicated, Silenus was said to possess special knowledge and the power of prophecy. From the Ancient Royal Collection of France inv MR 343 (or MA 291) previously held at Versailles. Louvre Museum Paris.
  • Painted colour verion of  “ Silenus Drunk “ - A 2nd century AD Roman sculpture made from marble from Paros. Silenus was described as the oldest, wisest and most drunken of the followers of Dionysus, the god of wine. When intoxicated, Silenus was said to possess special knowledge and the power of prophecy. From the Ancient Royal Collection of France inv MR 343 (or MA 291) previously held at Versailles. Louvre Museum Paris.
  • Painted colour verion of  “ Silenus Drunk “ - A 2nd century AD Roman sculpture made from marble from Paros. Silenus was described as the oldest, wisest and most drunken of the followers of Dionysus, the god of wine. When intoxicated, Silenus was said to possess special knowledge and the power of prophecy. From the Ancient Royal Collection of France inv MR 343 (or MA 291) previously held at Versailles. Louvre Museum Paris.
  • Painted colour verion of  “ Silenus Drunk “ - A 2nd century AD Roman sculpture made from marble from Paros. Silenus was described as the oldest, wisest and most drunken of the followers of Dionysus, the god of wine. When intoxicated, Silenus was said to possess special knowledge and the power of prophecy. From the Ancient Royal Collection of France inv MR 343 (or MA 291) previously held at Versailles. Louvre Museum Paris.
  • Painted colour verion of  “ Silenus Drunk “ - A 2nd century AD Roman sculpture made from marble from Paros. Silenus was described as the oldest, wisest and most drunken of the followers of Dionysus, the god of wine. When intoxicated, Silenus was said to possess special knowledge and the power of prophecy. From the Ancient Royal Collection of France inv MR 343 (or MA 291) previously held at Versailles. Louvre Museum Paris.
  • Painted colour verion of Roman marble sculpture bust of Lucius Verus with the body of Diomedes, Cuma Munich Type, 160-170 AD, inv 6095,  Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture bust of Lucius Verus with the body of Diomedes, Cuma Munich Type, 160-170 AD, inv 6095, Naples Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture bust of Lucius Verus with the body of Diomedes, Cuma Munich Type, 160-170 AD, inv 6095,  Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture bust of Lucius Verus with the body of Diomedes, Cuma Munich Type, 160-170 AD, inv 6095,  Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture bust of Lucius Verus with the body of Diomedes, Cuma Munich Type, 160-170 AD, inv 6095,  Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite 2nd - 1st century BC Roman marble sculpture of Aphrodite (Venus), ‘Marine Venus' Type with a dolphin, copied from a Hellanistic Greek original,  inv 6296, Museum of Archaeology, Italy, white background
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite 2nd - 1st century BC Roman marble sculpture of Aphrodite (Venus), ‘Marine Venus' Type with a dolphin, copied from a Hellanistic Greek original,  inv 6296, Museum of Archaeology, Italy, white background
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite 2nd - 1st century BC Roman marble sculpture of Aphrodite (Venus), ‘Marine Venus' Type with a dolphin, copied from a Hellanistic Greek original,  inv 6296, Naples Museum of Archaeology, Italy, white background
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Hellanistic Greek original,  inv 6238, Naples Museum of Archaeology, Italy, black background
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Hellanistic Greek original,  inv 6238, Museum of Archaeology, Italy, black background
  • Painted colour verion of 2nd century AD Roman marble sculptured of Dionysus and Eros, inv 6307, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculptured of Dionysus and Eros, inv 6307, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculptured of Dionysus and Eros, inv 6307, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculptured of Dionysus and Eros, inv 6307, Naples Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture of Ganymede with an eagle, a 2nd century AD copy from an original 2nd century BC late Hellanistic Greek original, inv 6405, Naples  Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculptured of Dionysus and Eros, inv 6307, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture of Ganymede with an eagle, a 2nd century AD copy from an original 2nd century BC late Hellanistic Greek original, inv 6405, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture of Ganymede with an eagle, a 2nd century AD copy from an original 2nd century BC late Hellanistic Greek original, inv 6405, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture of Ganymede with an eagle, a 2nd century AD copy from an original 2nd century BC late Hellanistic Greek original, inv 6405, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture of a warrior on horseback, a 2nd century AD copy from an original 2nd century BC Hellanistic Greek original, inv 6405, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture of an Amazon on horseback, a 2nd century AD copy from an original 2nd century BC Hellanistic Greek original, inv 6407, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture of a warrior on horseback, a 2nd century AD copy from an original 2nd century BC Hellanistic Greek original, inv 6405, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture of an Amazon on horseback, a 2nd century AD copy from an original 2nd century BC Hellanistic Greek original, inv 6407, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture of an Amazon on horseback, a 2nd century AD copy from an original 2nd century BC Hellanistic Greek original, inv 6407, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture of an Amazon on horseback, a 2nd century AD copy from an original 2nd century BC Hellanistic Greek original, inv 6407, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture bust of Emperor Domitian  81-96 AD, inv 6061, Naples Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture bust of Emperor Domitian  81-96 AD, inv 6061, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture bust of Emperor Domitian  81-96 AD, inv 6061, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture bust of Emperor  Claudius 41-54 AD, inv 6068, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture bust of Emperor  Claudius 41-54 AD, inv 6068, Naples Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture bust of Emperor  Claudius 41-54 AD, inv 6068, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture bust of Emperor  Claudius 41-54 AD, inv 6068, Museum of Archaeology, Italy
  • Painted colour verion of end of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • Painted colour verion of end of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • Painted colour verion of end of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Naples  Museum of Archaeology, Italy
  • Painted colour verion of end of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • Painted colour verion of end of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • Painted colour verion of end of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Naples Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Harmodius  from the Tyrannicide group,  a Roman copy of an early classical period Geek original, inv 6009, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Harmodius  from the Tyrannicide group,  a Roman copy of an early classical period Geek original, inv 6009, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Harmodius  from the Tyrannicide group,  a Roman copy of an early classical period Geek original, inv 6009, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculptured of Dionysus and Eros, inv 6307, Naples Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Pan teaching Daphnis to play the pipes, a Roman copy late 2nd century BC Hellenistic Geek original attributed to Rodes sculptor Heliodoros. Pan's and Daphnis' heads and Daphnis' right arm are restorations.  The Farnese collection, Naples Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Pan teaching Daphnis to play the pipes, a Roman copy late 2nd century BC Hellenistic Geek original attributed to Rodes sculptor Heliodoros. Pan's and Daphnis' heads and Daphnis' right arm are restorations.  The Farnese collection, Naples Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Pan teaching Daphnis to play the pipes, a Roman copy late 2nd century BC Hellenistic Geek original attributed to Rodes sculptor Heliodoros. Pan's and Daphnis' heads and Daphnis' right arm are restorations.  The Farnese collection, Naples Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Pan teaching Daphnis to play the pipes, a Roman copy late 2nd century BC Hellenistic Geek original attributed to Rodes sculptor Heliodoros. Pan's and Daphnis' heads and Daphnis' right arm are restorations.  The Farnese collection, Naples Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Pan teaching Daphnis to play the pipes, a Roman copy late 2nd century BC Hellenistic Geek original attributed to Rodes sculptor Heliodoros. Pan's and Daphnis' heads and Daphnis' right arm are restorations.  The Farnese collection, Naples Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman sculpture of Pothos, a copy of a 4th century BC Greek original attributed to Skopas of Paros, inv no 6253, The Farnese collection, Naples Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman sculpture of Pothos, a copy of a 4th century BC Greek original attributed to Skopas of Paros, inv no 6253, The Farnese collection, Naples Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman sculpture of Pothos, a copy of a 4th century BC Greek original attributed to Skopas of Paros, inv no 6253, The Farnese collection, Naples Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Bronze Hellanistic original from the mid 3rd century BC  attributed to the Greek sculptor Doldalsas of Bethynia,  inv 6283, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Bronze Hellanistic original from the mid 3rd century BC  attributed to the Greek sculptor Doldalsas of Bethynia,  inv 6283, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Bronze Hellanistic original from the mid 3rd century BC  attributed to the Greek sculptor Doldalsas of Bethynia,  inv 6283, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture known as the Farnese Bull from the Baths of Caracalla, Rome, Farnese Collection, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture known as the Farnese Bull from the Baths of Caracalla, Rome, Farnese Collection, Museum of Archaeology, Italy
  • The Roman Venus Statue, the Goddess of Love, follows the style of a modest Aphrodite, known by other Roman replicas are copies of the third 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 white 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 the third 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.
  • The Roman Venus Statue, the Goddess of Love, follows the style of a modest Aphrodite, known by other Roman replicas are copies of The third 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 white 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.
  • 6th century Inscription of the great hall of the synagogue of Nam-Ham-mam-Lif in the Roman province of Africa Proconsularis, present day Tunisia. The mosaic floor of the vestibule (porticus) was an offering from Asterius son of Rusticus, the Head of the Jewish community who was working in the Naro jewellers trade. The mosaic reads in Latin  "Asterius, filius Rustici, arcosinagogi, margaritari, (de d(onis) dei partemporticites-selavit".  The Bardo National Museum, Tunis Tunisia.   Against a grey background.<br />
<br />
The so called synagogue of Naro (Hammam-Lif, Tunisia), discovered in 1883, is a square buil-ding (20 by 20 m), consisting of several rooms and hallways communicating with an inner courtyard. The plan is inspired by traditional domestic architecture of Roman Africa. The room, dedicated to religious ceremonies, was paved with a magnificent mosaic of several figured panels with an iconography highlighting Judaeo-Christian concepts, attesting a proselyte attitude addressing a local Judaic community, who was very active between the late fifth c. and the early sixth century AD.
  • 6th century Inscription of the great hall of the synagogue of Nam-Ham-mam-Lif in the Roman province of Africa Proconsularis, present day Tunisia. The mosaic floor of the vestibule (porticus) was an offering from Asterius son of Rusticus, the Head of the Jewish community who was working in the Naro jewellers trade. The mosaic reads in Latin  "Asterius, filius Rustici, arcosinagogi, margaritari, (de d(onis) dei partemporticites-selavit".  The Bardo National Museum, Tunis Tunisia<br />
<br />
The so called synagogue of Naro (Hammam-Lif, Tunisia), discovered in 1883, is a square buil-ding (20 by 20 m), consisting of several rooms and hallways communicating with an inner courtyard. The plan is inspired by traditional domestic architecture of Roman Africa. The room, dedicated to religious ceremonies, was paved with a magnificent mosaic of several figured panels with an iconography highlighting Judaeo-Christian concepts, attesting a proselyte attitude addressing a local Judaic community, who was very active between the late fifth c. and the early sixth century AD.
  • 6th century Inscription of the great hall of the synagogue of Nam-Ham-mam-Lif in the Roman province of Africa Proconsularis, present day Tunisia. The mosaic floor of the vestibule (porticus) was an offering from Asterius son of Rusticus, the Head of the Jewish community who was working in the Naro jewellers trade. The mosaic reads in Latin  "Asterius, filius Rustici, arcosinagogi, margaritari, (de d(onis) dei partemporticites-selavit".  The Bardo National Museum, Tunis Tunisia. Against a grey art background.<br />
<br />
The so called synagogue of Naro (Hammam-Lif, Tunisia), discovered in 1883, is a square buil-ding (20 by 20 m), consisting of several rooms and hallways communicating with an inner courtyard. The plan is inspired by traditional domestic architecture of Roman Africa. The room, dedicated to religious ceremonies, was paved with a magnificent mosaic of several figured panels with an iconography highlighting Judaeo-Christian concepts, attesting a proselyte attitude addressing a local Judaic community, who was very active between the late fifth c. and the early sixth century AD.
  • 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. Against a grey art background.
  • Second century AD Roman funerary Stele dedicated to Caipenniae Victoriae from  Africa Proconsularis , present day Tunisia. The Bardo National Museum, Tunis, Tunisia .  Against a white 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 AD Roman funerary Stele dedicated to Caipenniae Victoriae from  Africa Proconsularis , present day Tunisia. The Bardo National Museum, Tunis, Tunisia .   Against a grey background.
  • Detail of a 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.
  • 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 white 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.  Against a black 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.   Against a grey 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. 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.

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