• 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 a Child and Goose - a 1st or 2nd century Roman sculpture from Villa des Quintilii on the Appia Way south of Rome, Italy. Three other similar versions of this Roman sculpture can be found in the Vatican, music and Geneva. The sculpture is attributed to Boethos who was a 2nd century sculptor.  The Braschi Collection, Inv No. MR168 (Usual No Ma 40), Louvre Museum, Paris.
  • Painted colour verion of a Child and Goose - a 1st or 2nd century Roman sculpture from Villa des Quintilii on the Appia Way south of Rome, Italy. Three other similar versions of this Roman sculpture can be found in the Vatican, music and Geneva. The sculpture is attributed to Boethos who was a 2nd century sculptor.  The Braschi Collection, Inv No. MR168 (Usual No Ma 40), Louvre Museum, Paris.
  • Painted colour verion of a Child and Goose - a 1st or 2nd century Roman sculpture from Villa des Quintilii on the Appia Way south of Rome, Italy. Three other similar versions of this Roman sculpture can be found in the Vatican, music and Geneva. The sculpture is attributed to Boethos who was a 2nd century sculptor.  The Braschi Collection, Inv No. MR168 (Usual No Ma 40), Louvre Museum, Paris.
  • Painted colour verion of a Child and Goose - a 1st or 2nd century Roman sculpture from Villa des Quintilii on the Appia Way south of Rome, Italy. Three other similar versions of this Roman sculpture can be found in the Vatican, music and Geneva. The sculpture is attributed to Boethos who was a 2nd century sculptor.  The Braschi Collection, Inv No. MR168 (Usual No Ma 40), Louvre Museum, Paris.
  • Painted colour verion of a 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  Centaur with Eros on its back, a 1st - 2nd AD Roman sculpture in marble. Tradition has it that a centaur be a monstrous half-man half-horse mythical creature. In this Roman statue the old centaur is being ridden by Eros (Cupid), the Greek god of Love represented in the form of a young wing child. The sculpture is a copy of a Greek original  attributed to school sculpture of Aphrodisias (Turkey) can be dating in the 2nd century BC. The Borghese Collection inv MR 122 ( or Ma 562 ), Louvre Museum Paris
  • Painted colour verion of  Centaur with Eros on its back, a 1st - 2nd AD Roman sculpture in marble. Tradition has it that a centaur be a monstrous half-man half-horse mythical creature. In this Roman statue the old centaur is being ridden by Eros (Cupid), the Greek god of Love represented in the form of a young wing child. The sculpture is a copy of a Greek original  attributed to school sculpture of Aphrodisias (Turkey) can be dating in the 2nd century BC. The Borghese Collection inv MR 122 ( or Ma 562 ), Louvre Museum Paris
  • Painted colour verion of  Centaur with Eros on its back, a 1st - 2nd AD Roman sculpture in marble. Tradition has it that a centaur be a monstrous half-man half-horse mythical creature. In this Roman statue the old centaur is being ridden by Eros (Cupid), the Greek god of Love represented in the form of a young wing child. The sculpture is a copy of a Greek original  attributed to school sculpture of Aphrodisias (Turkey) can be dating in the 2nd century BC. The Borghese Collection inv MR 122 ( or Ma 562 ), Louvre Museum Paris
  • Painted colour verion of  Centaur with Eros on its back, a 1st - 2nd AD Roman sculpture in marble. Tradition has it that a centaur be a monstrous half-man half-horse mythical creature. In this Roman statue the old centaur is being ridden by Eros (Cupid), the Greek god of Love represented in the form of a young wing child. The sculpture is a copy of a Greek original  attributed to school sculpture of Aphrodisias (Turkey) can be dating in the 2nd century BC. The Borghese Collection inv MR 122 ( or Ma 562 ), Louvre Museum Paris
  • Painted colour verion of  Centaur with Eros on its back, a 1st - 2nd AD Roman sculpture in marble. Tradition has it that a centaur be a monstrous half-man half-horse mythical creature. In this Roman statue the old centaur is being ridden by Eros (Cupid), the Greek god of Love represented in the form of a young wing child. The sculpture is a copy of a Greek original  attributed to school sculpture of Aphrodisias (Turkey) can be dating in the 2nd century BC. The Borghese Collection inv MR 122 ( or Ma 562 ), Louvre Museum Paris
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite 2nd - 1st century BC Roman marble sculpture of Aphrodite (Venus), ‘Marine Venus' Type with a dolphin, copied from a Hellanistic Greek original,  inv 6296, Museum of Archaeology, Italy, white background
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite 2nd - 1st century BC Roman marble sculpture of Aphrodite (Venus), ‘Marine Venus' Type with a dolphin, copied from a Hellanistic Greek original,  inv 6296, Museum of Archaeology, Italy, white background
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite 2nd - 1st century BC Roman marble sculpture of Aphrodite (Venus), ‘Marine Venus' Type with a dolphin, copied from a Hellanistic Greek original,  inv 6296, Museum of Archaeology, Italy, white background
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite 2nd - 1st century BC Roman marble sculpture of Aphrodite (Venus), ‘Marine Venus' Type with a dolphin, copied from a Hellanistic Greek original,  inv 6296, Museum of Archaeology, Italy, white background
  • Painted colour verion of 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 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 bust of Emperor Domitian  81-96 AD, inv 6061, Museum of Archaeology, Italy
  • Painted colour verion of end of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Harmodius  from the Tyrannicide group,  a Roman copy of an early classical period Geek original, inv 6009, Naples Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculptured of Dionysus and Eros, inv 6307, 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 known as the Farnese Bull from the Baths of Caracalla, Rome, Farnese Collection, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture known as the Farnese Bull from the Baths of Caracalla, Rome, Farnese Collection, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture known as the Farnese Bull from the Baths of Caracalla, Rome, Farnese Collection, Naples Museum of Archaeology, Italy
  • Painted colour verion of a 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  “ Silenus Drunk “ - A 2nd century AD Roman sculpture made from marble from Paros. Silenus was described as the oldest, wisest and most drunken of the followers of Dionysus, the god of wine. When intoxicated, Silenus was said to possess special knowledge and the power of prophecy. From the Ancient Royal Collection of France inv MR 343 (or MA 291) previously held at Versailles. Louvre Museum Paris.
  • Painted colour verion of  “ Silenus Drunk “ - A 2nd century AD Roman sculpture made from marble from Paros. Silenus was described as the oldest, wisest and most drunken of the followers of Dionysus, the god of wine. When intoxicated, Silenus was said to possess special knowledge and the power of prophecy. From the Ancient Royal Collection of France inv MR 343 (or MA 291) previously held at Versailles. Louvre Museum Paris.
  • Painted colour verion of  “ Silenus Drunk “ - A 2nd century AD Roman sculpture made from marble from Paros. Silenus was described as the oldest, wisest and most drunken of the followers of Dionysus, the god of wine. When intoxicated, Silenus was said to possess special knowledge and the power of prophecy. From the Ancient Royal Collection of France inv MR 343 (or MA 291) previously held at Versailles. Louvre Museum Paris.
  • Painted colour verion of  “ Silenus Drunk “ - A 2nd century AD Roman sculpture made from marble from Paros. Silenus was described as the oldest, wisest and most drunken of the followers of Dionysus, the god of wine. When intoxicated, Silenus was said to possess special knowledge and the power of prophecy. From the Ancient Royal Collection of France inv MR 343 (or MA 291) previously held at Versailles. Louvre Museum Paris.
  • Painted colour verion of  “ Silenus Drunk “ - A 2nd century AD Roman sculpture made from marble from Paros. Silenus was described as the oldest, wisest and most drunken of the followers of Dionysus, the god of wine. When intoxicated, Silenus was said to possess special knowledge and the power of prophecy. From the Ancient Royal Collection of France inv MR 343 (or MA 291) previously held at Versailles. Louvre Museum Paris.
  • Painted colour verion of  “ Silenus Drunk “ - A 2nd century AD Roman sculpture made from marble from Paros. Silenus was described as the oldest, wisest and most drunken of the followers of Dionysus, the god of wine. When intoxicated, Silenus was said to possess special knowledge and the power of prophecy. From the Ancient Royal Collection of France inv MR 343 (or MA 291) previously held at Versailles. Louvre Museum Paris.
  • Painted colour verion of  “ Silenus Drunk “ - A 2nd century AD Roman sculpture made from marble from Paros. Silenus was described as the oldest, wisest and most drunken of the followers of Dionysus, the god of wine. When intoxicated, Silenus was said to possess special knowledge and the power of prophecy. From the Ancient Royal Collection of France inv MR 343 (or MA 291) previously held at Versailles. Louvre Museum Paris.
  • Painted colour verion of  “ Silenus Drunk “ - A 2nd century AD Roman sculpture made from marble from Paros. Silenus was described as the oldest, wisest and most drunken of the followers of Dionysus, the god of wine. When intoxicated, Silenus was said to possess special knowledge and the power of prophecy. From the Ancient Royal Collection of France inv MR 343 (or MA 291) previously held at Versailles. Louvre Museum Paris.
  • Painted colour verion of  “ Silenus Drunk “ - A 2nd century AD Roman sculpture made from marble from Paros. Silenus was described as the oldest, wisest and most drunken of the followers of Dionysus, the god of wine. When intoxicated, Silenus was said to possess special knowledge and the power of prophecy. From the Ancient Royal Collection of France inv MR 343 (or MA 291) previously held at Versailles. Louvre Museum Paris.
  • Painted colour verion of  “ Silenus Drunk “ - A 2nd century AD Roman sculpture made from marble from Paros. Silenus was described as the oldest, wisest and most drunken of the followers of Dionysus, the god of wine. When intoxicated, Silenus was said to possess special knowledge and the power of prophecy. From the Ancient Royal Collection of France inv MR 343 (or MA 291) previously held at Versailles. Louvre Museum Paris.
  • Painted colour verion of Roman marble sculpture bust of Lucius Verus with the body of Diomedes, Cuma Munich Type, 160-170 AD, inv 6095,  Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture bust of Lucius Verus with the body of Diomedes, Cuma Munich Type, 160-170 AD, inv 6095, Naples Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture bust of Lucius Verus with the body of Diomedes, Cuma Munich Type, 160-170 AD, inv 6095,  Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture bust of Lucius Verus with the body of Diomedes, Cuma Munich Type, 160-170 AD, inv 6095,  Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture bust of Lucius Verus with the body of Diomedes, Cuma Munich Type, 160-170 AD, inv 6095,  Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Hellanistic Greek original,  inv 6238, Museum of Archaeology, Italy, black background
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Hellanistic Greek original,  inv 6238, Museum of Archaeology, Italy, black background
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Hellanistic Greek original,  inv 6238, Museum of Archaeology, Italy, black background
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Hellanistic Greek original,  inv 6238, Museum of Archaeology, Italy, black background
  • Painted colour verion of 2nd century AD Roman marble sculptured of Dionysus and Eros, inv 6307, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculptured of Dionysus and Eros, inv 6307, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculptured of Dionysus and Eros, inv 6307, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculptured of Dionysus and Eros, inv 6307, Naples Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture of Ganymede with an eagle, a 2nd century AD copy from an original 2nd century BC late Hellanistic Greek original, inv 6405, Naples  Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculptured of Dionysus and Eros, inv 6307, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture of Ganymede with an eagle, a 2nd century AD copy from an original 2nd century BC late Hellanistic Greek original, inv 6405, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture of Ganymede with an eagle, a 2nd century AD copy from an original 2nd century BC late Hellanistic Greek original, inv 6405, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture of Ganymede with an eagle, a 2nd century AD copy from an original 2nd century BC late Hellanistic Greek original, inv 6405, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture of Ganymede with an eagle, a 2nd century AD copy from an original 2nd century BC late Hellanistic Greek original, inv 6405, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture of a warrior on horseback, a 2nd century AD copy from an original 2nd century BC Hellanistic Greek original, inv 6405, Naples Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture of a warrior on horseback, a 2nd century AD copy from an original 2nd century BC Hellanistic Greek original, inv 6405, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture of a warrior on horseback, a 2nd century AD copy from an original 2nd century BC Hellanistic Greek original, inv 6405, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture of an Amazon on horseback, a 2nd century AD copy from an original 2nd century BC Hellanistic Greek original, inv 6407, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture of a warrior on horseback, a 2nd century AD copy from an original 2nd century BC Hellanistic Greek original, inv 6405, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture of an Amazon on horseback, a 2nd century AD copy from an original 2nd century BC Hellanistic Greek original, inv 6407, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture of an Amazon on horseback, a 2nd century AD copy from an original 2nd century BC Hellanistic Greek original, inv 6407, Naples Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture of an Amazon on horseback, a 2nd century AD copy from an original 2nd century BC Hellanistic Greek original, inv 6407, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture of an Amazon on horseback, a 2nd century AD copy from an original 2nd century BC Hellanistic Greek original, inv 6407, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture bust of Emperor Domitian  81-96 AD, inv 6061, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture bust of Emperor Domitian  81-96 AD, inv 6061, Naples Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture bust of Emperor Domitian  81-96 AD, inv 6061, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture bust of Emperor Domitian  81-96 AD, inv 6061, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture bust of Emperor  Claudius 41-54 AD, inv 6068, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture bust of Emperor  Claudius 41-54 AD, inv 6068, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture bust of Emperor  Claudius 41-54 AD, inv 6068, Naples Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture bust of Emperor  Claudius 41-54 AD, inv 6068, Museum of Archaeology, Italy
  • Painted colour verion of Roman marble sculpture bust of Emperor  Claudius 41-54 AD, inv 6068, Museum of Archaeology, Italy
  • Painted colour verion of end of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • Painted colour verion of end of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • Painted colour verion of end of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Naples  Museum of Archaeology, Italy
  • Painted colour verion of end of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • Painted colour verion of end of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • Painted colour verion of end of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • Painted colour verion of end of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, 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 2nd century AD Roman marble sculpture of Harmodius  from the Tyrannicide group,  a Roman copy of an early classical period Geek original, inv 6009, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Harmodius  from the Tyrannicide group,  a Roman copy of an early classical period Geek original, inv 6009, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Harmodius  from the Tyrannicide group,  a Roman copy of an early classical period Geek original, inv 6009, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Harmodius  from the Tyrannicide group,  a Roman copy of an early classical period Geek original, inv 6009, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculptured of Dionysus and Eros, inv 6307, Naples Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculptured of Dionysus and Eros, inv 6307, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculptured of Dionysus and Eros, inv 6307, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculptured of Dionysus and Eros, inv 6307, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Pan teaching Daphnis to play the pipes, a Roman copy late 2nd century BC Hellenistic Geek original attributed to Rodes sculptor Heliodoros. Pan's and Daphnis' heads and Daphnis' right arm are restorations.  The Farnese collection, Naples Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Pan teaching Daphnis to play the pipes, a Roman copy late 2nd century BC Hellenistic Geek original attributed to Rodes sculptor Heliodoros. Pan's and Daphnis' heads and Daphnis' right arm are restorations.  The Farnese collection, Naples Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Pan teaching Daphnis to play the pipes, a Roman copy late 2nd century BC Hellenistic Geek original attributed to Rodes sculptor Heliodoros. Pan's and Daphnis' heads and Daphnis' right arm are restorations.  The Farnese collection, Naples Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Pan teaching Daphnis to play the pipes, a Roman copy late 2nd century BC Hellenistic Geek original attributed to Rodes sculptor Heliodoros. Pan's and Daphnis' heads and Daphnis' right arm are restorations.  The Farnese collection, Naples Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Pan teaching Daphnis to play the pipes, a Roman copy late 2nd century BC Hellenistic Geek original attributed to Rodes sculptor Heliodoros. Pan's and Daphnis' heads and Daphnis' right arm are restorations.  The Farnese collection, Naples Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman sculpture of Pothos, a copy of a 4th century BC Greek original attributed to Skopas of Paros, inv no 6253, The Farnese collection, Naples Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman sculpture of Pothos, a copy of a 4th century BC Greek original attributed to Skopas of Paros, inv no 6253, The Farnese collection, Naples Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman sculpture of Pothos, a copy of a 4th century BC Greek original attributed to Skopas of Paros, inv no 6253, The Farnese collection, Naples Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman sculpture of Pothos, a copy of a 4th century BC Greek original attributed to Skopas of Paros, inv no 6253, The Farnese collection, Naples Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Bronze Hellanistic original from the mid 3rd century BC  attributed to the Greek sculptor Doldalsas of Bethynia,  inv 6283, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Bronze Hellanistic original from the mid 3rd century BC  attributed to the Greek sculptor Doldalsas of Bethynia,  inv 6283, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Bronze Hellanistic original from the mid 3rd century BC  attributed to the Greek sculptor Doldalsas of Bethynia,  inv 6283, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Bronze Hellanistic original from the mid 3rd century BC  attributed to the Greek sculptor Doldalsas of Bethynia,  inv 6283, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture known as the Farnese Bull from the Baths of Caracalla, Rome, Farnese Collection, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Bronze Hellanistic original from the mid 3rd century BC  attributed to the Greek sculptor Doldalsas of Bethynia,  inv 6283, Museum of Archaeology, Italy
  • Painted colour verion of 2nd century AD Roman marble sculpture known as the Farnese Bull from the Baths of Caracalla, Rome, Farnese Collection, Museum of Archaeology, Italy
  • Painted colour verion of a Statue group identified as as the Laocoon described by Pliny as a masterpiece made by the sculptors of Rhodes. The Laocoon depicts a scene from the Trojan War in which Athena and Poseidon sent two great serpants to wrap themselves around Laocoon and his two sons to kill them. Circa 40-30BC, Pope Clement XIV coillection, Vatican Museum Rome, Italy,  grey art background
  • Painted colour verion of a Statue group identified as as the Laocoon described by Pliny as a masterpiece made by the sculptors of Rhodes. The Laocoon depicts a scene from the Trojan War in which Athena and Poseidon sent two great serpants to wrap themselves around Laocoon and his two sons to kill them. Circa 40-30BC, Pope Clement XIV coillection, Vatican Museum Rome, Italy,  grey art background
  • Painted colour verion of a Statue group identified as as the Laocoon described by Pliny as a masterpiece made by the sculptors of Rhodes. The Laocoon depicts a scene from the Trojan War in which Athena and Poseidon sent two great serpants to wrap themselves around Laocoon and his two sons to kill them. Circa 40-30BC, Pope Clement XIV coillection, Vatican Museum Rome, Italy,  grey art background
  • Painted colour verion of a Statue group identified as as the Laocoon described by Pliny as a masterpiece made by the sculptors of Rhodes. The Laocoon depicts a scene from the Trojan War in which Athena and Poseidon sent two great serpants to wrap themselves around Laocoon and his two sons to kill them. Circa 40-30BC, Pope Clement XIV coillection, Vatican Museum Rome, Italy,  grey art background
  • Painted colour verion of a Nymph with a shell ( Nymphe a la coquille ) a 1st century marble statue from Italy which was part of the Borghese collection . Louvre Museum, Paris Cat No MR 309. <br />
The Nymph with a shell statue was much admired in the 17th century and influenced such art its as Velasquez. The statue symbolises a carefree childhood and the fact that terracotta versions have been found in tombs suggests that the statue was associated with the injustice of death or of a rebirth.
  • Painted colour verion of a Nymph with a shell ( Nymphe a la coquille ) a 1st century marble statue from Italy which was part of the Borghese collection . Louvre Museum, Paris Cat No MR 309. <br />
The Nymph with a shell statue was much admired in the 17th century and influenced such art its as Velasquez. The statue symbolises a carefree childhood and the fact that terracotta versions have been found in tombs suggests that the statue was associated with the injustice of death or of a rebirth.
  • Painted colour verion of a Nymph with a shell ( Nymphe a la coquille ) a 1st century marble statue from Italy which was part of the Borghese collection . Louvre Museum, Paris Cat No MR 309. <br />
The Nymph with a shell statue was much admired in the 17th century and influenced such art its as Velasquez. The statue symbolises a carefree childhood and the fact that terracotta versions have been found in tombs suggests that the statue was associated with the injustice of death or of a rebirth.
  • Painted colour verion of a Nymph with a shell ( Nymphe a la coquille ) a 1st century marble statue from Italy which was part of the Borghese collection . Louvre Museum, Paris Cat No MR 309. <br />
The Nymph with a shell statue was much admired in the 17th century and influenced such art its as Velasquez. The statue symbolises a carefree childhood and the fact that terracotta versions have been found in tombs suggests that the statue was associated with the injustice of death or of a rebirth.
  • Painted colour verion of Artemis and a deer, known as "Diana of Versailles”, a 1st - 2nd century Roman statue in marble probably from Italy.  Artemis, Diana to the Romans, is goddess of the hunt, is accompanied by a deer.  The Diana of Versailles, similar to other Roman replicas was found in Libya or Turkey and was copied from a lost Greek bronze original attributed to Leochares, c. 325 BC .  First the statue was at Fontainbleau then the Louvre ancient hall and finally it went to Versailles. From the collection of Louis XIV, Pope Paul IV and Henry II (1556) . Inv MR 152 ( or Ma 589), Louvre Museum Paris
  • Painted colour verion of Artemis and a deer, known as "Diana of Versailles”, a 1st - 2nd century Roman statue in marble probably from Italy.  Artemis, Diana to the Romans, is goddess of the hunt, is accompanied by a deer.  The Diana of Versailles, similar to other Roman replicas was found in Libya or Turkey and was copied from a lost Greek bronze original attributed to Leochares, c. 325 BC .  First the statue was at Fontainbleau then the Louvre ancient hall and finally it went to Versailles. From the collection of Louis XIV, Pope Paul IV and Henry II (1556) . Inv MR 152 ( or Ma 589), Louvre Museum Paris
  • Painted colour verion of Artemis and a deer, known as "Diana of Versailles”, a 1st - 2nd century Roman statue in marble probably from Italy.  Artemis, Diana to the Romans, is goddess of the hunt, is accompanied by a deer.  The Diana of Versailles, similar to other Roman replicas was found in Libya or Turkey and was copied from a lost Greek bronze original attributed to Leochares, c. 325 BC .  First the statue was at Fontainbleau then the Louvre ancient hall and finally it went to Versailles. From the collection of Louis XIV, Pope Paul IV and Henry II (1556) . Inv MR 152 ( or Ma 589), Louvre Museum Paris
  • Painted colour verion of Artemis and a deer, known as "Diana of Versailles”, a 1st - 2nd century Roman statue in marble probably from Italy.  Artemis, Diana to the Romans, is goddess of the hunt, is accompanied by a deer.  The Diana of Versailles, similar to other Roman replicas was found in Libya or Turkey and was copied from a lost Greek bronze original attributed to Leochares, c. 325 BC .  First the statue was at Fontainbleau then the Louvre ancient hall and finally it went to Versailles. From the collection of Louis XIV, Pope Paul IV and Henry II (1556) . Inv MR 152 ( or Ma 589), Louvre Museum Paris
  • Painted colour verion of 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 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 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 panels of the Martyrdom of Saint Catherine painted in 1524 by Hans Gieng of Fribourg.  From the church of Ependes near Fribourg, Switzerland. Inv RF 4721 The Louvre Museum, Paris.
  • Painted panels of the Martyrdom of Saint Catherine painted in 1524 by Hans Gieng of Fribourg.  From the church of Ependes near Fribourg, Switzerland. Inv RF 4721 The Louvre Museum, Paris.
  • Altar of St. Maria de Taull<br />
<br />
1200s repainted in 1579. Tempera on wood with carvings from the church of Santa Maria in Snowshoe, Vall de Boi, High Ribagorca, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3904<br />
<br />
Thirteenth century Romanesque carved and painted altar front with Christ Pantocrator in a Mandorla flanked by the 12 Apostles.  Carved altar frontals were not rare in Romanesque. Generally the characters were sculpted separately and then added to the front surface. The high quality of carving indicates the presence of a sculptures hand. The sharpness of forms to make stereotypical costumes seem versed in the work of stone sculpture.
  • Altar of St. Maria de Taull<br />
<br />
1200s repainted in 1579. Tempera on wood with carvings from the church of Santa Maria in Snowshoe, Vall de Boi, High Ribagorca, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3904<br />
<br />
Thirteenth century Romanesque carved and painted altar front with Christ Pantocrator in a Mandorla flanked by the 12 Apostles.  Carved altar frontals were not rare in Romanesque. Generally the characters were sculpted separately and then added to the front surface. The high quality of carving indicates the presence of a sculptures hand. The sharpness of forms to make stereotypical costumes seem versed in the work of stone sculpture.
  • Altar of St. Maria de Taull<br />
<br />
1200s repainted in 1579. Tempera on wood with carvings from the church of Santa Maria in Snowshoe, Vall de Boi, High Ribagorca, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3904<br />
<br />
Thirteenth century Romanesque carved and painted altar front with Christ Pantocrator in a Mandorla flanked by the 12 Apostles.  Carved altar frontals were not rare in Romanesque. Generally the characters were sculpted separately and then added to the front surface. The high quality of carving indicates the presence of a sculptures hand. The sharpness of forms to make stereotypical costumes seem versed in the work of stone sculpture.
  • Altar of St. Maria de Taull<br />
<br />
1200s repainted in 1579. Tempera on wood with carvings from the church of Santa Maria in Snowshoe, Vall de Boi, High Ribagorca, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3904<br />
<br />
Thirteenth century Romanesque carved and painted altar front with Christ Pantocrator in a Mandorla flanked by the 12 Apostles.  Carved altar frontals were not rare in Romanesque. Generally the characters were sculpted separately and then added to the front surface. The high quality of carving indicates the presence of a sculptures hand. The sharpness of forms to make stereotypical costumes seem versed in the work of stone sculpture.
  • Painted Gothic gilded wooden statue altarpiece of Saint Catherine, circa 1520-1525 by Niklaus Weckmann from Ulm, Germany. The young Christian martyr is represented with his usual attributes, crown, book, wheel, sword, which make reference to her legendary life and her martyrdom. The bas-relief of Saint Catherine was originally part of an altarpiece. The treatment  and refined painted facial highlights executed the prettiness of the saint. The style is typical of  Niklaus Weckmann, one great masters of late Gothic Swabian art . Inv RF 2207.6,  The Louvre Museum, Paris.
  • Painted wood sculpture of Saint Roch, circa 1510-1515  from Carinthie, Austria. Inv RF  4514,  The Louvre Museum, Paris.
  • Painted walnut sculpture of the decent from the Cross, circa 1470-1490 possibly from Antwerp or the Brabant region of Belgium.  Inv RF 4696,  The Louvre Museum, Paris.
  • Painted wooden relief sculptured altarpiece of two Popes, a  Cardinal, a Bishop a cannon and 7 priests praying made in 1505 by Daniel Mauch from Ulm. Inv RF 2805,  The Louvre Museum, Paris.
  • Altar of St. Maria de Taull<br />
<br />
1200s repainted in 1579. Tempera on wood with carvings from the church of Santa Maria in Snowshoe, Vall de Boi, High Ribagorca, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3904<br />
<br />
Thirteenth century Romanesque carved and painted altar front with Christ Pantocrator in a Mandorla flanked by the 12 Apostles.  Carved altar frontals were not rare in Romanesque. Generally the characters were sculpted separately and then added to the front surface. The high quality of carving indicates the presence of a sculptures hand. The sharpness of forms to make stereotypical costumes seem versed in the work of stone sculpture.
  • Altar of St. Maria de Taull<br />
<br />
1200s repainted in 1579. Tempera on wood with carvings from the church of Santa Maria in Snowshoe, Vall de Boi, High Ribagorca, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3904<br />
<br />
Thirteenth century Romanesque carved and painted altar front with Christ Pantocrator in a Mandorla flanked by the 12 Apostles.  Carved altar frontals were not rare in Romanesque. Generally the characters were sculpted separately and then added to the front surface. The high quality of carving indicates the presence of a sculptures hand. The sharpness of forms to make stereotypical costumes seem versed in the work of stone sculpture.
  • Altar of St. Maria de Taull<br />
<br />
1200s repainted in 1579. Tempera on wood with carvings from the church of Santa Maria in Snowshoe, Vall de Boi, High Ribagorca, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3904<br />
<br />
Thirteenth century Romanesque carved and painted altar front with Christ Pantocrator in a Mandorla flanked by the 12 Apostles.  Carved altar frontals were not rare in Romanesque. Generally the characters were sculpted separately and then added to the front surface. The high quality of carving indicates the presence of a sculptures hand. The sharpness of forms to make stereotypical costumes seem versed in the work of stone sculpture.
  • Altar of St. Maria de Taull<br />
<br />
1200s repainted in 1579. Tempera on wood with carvings from the church of Santa Maria in Snowshoe, Vall de Boi, High Ribagorca, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3904<br />
<br />
Thirteenth century Romanesque carved and painted altar front with Christ Pantocrator in a Mandorla flanked by the 12 Apostles.  Carved altar frontals were not rare in Romanesque. Generally the characters were sculpted separately and then added to the front surface. The high quality of carving indicates the presence of a sculptures hand. The sharpness of forms to make stereotypical costumes seem versed in the work of stone sculpture.
  • Altar of St. Maria de Taull<br />
<br />
1200s repainted in 1579. Tempera on wood with carvings from the church of Santa Maria in Snowshoe, Vall de Boi, High Ribagorca, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3904<br />
<br />
Thirteenth century Romanesque carved and painted altar front with Christ Pantocrator in a Mandorla flanked by the 12 Apostles.  Carved altar frontals were not rare in Romanesque. Generally the characters were sculpted separately and then added to the front surface. The high quality of carving indicates the presence of a sculptures hand. The sharpness of forms to make stereotypical costumes seem versed in the work of stone sculpture.
  • Painted vaulted ceiling of the Cattedrale di San Martino,  Duomo of Lucca, Tunscany, Italy,
  • Painted vaulted ceiling of the Cattedrale di San Martino,  Duomo of Lucca, Tunscany, Italy,
  • Painted relief panel of the Annonciation of the Virgin, made at the start of the 16th century possibly in the Tyrol, Austria.  Inv 2352 The Louvre Museum, Paris.
  • Painted oak relief of three soldiers and two men in a rocky landscape below the walls of Jerusalem, from Antwerp circa 1510-1515. This is a panel from the Passion.  Inv RF  297,  The Louvre Museum, Paris.
  • Painted plaster statue of Saint Mary Magdalene, circa 1515-1520, suspended from the vault of the church of St. Mary Magdalene Dominican convent of Augsburg. Inspired by an engraving of Albrecht Durer which depicted Mary Magdalene nude. Inv RF 1338,  The Louvre Museum, Paris.
  • Painted plaster statue of Saint Mary Magdalene, circa 1515-1520, suspended from the vault of the church of St. Mary Magdalene Dominican convent of Augsburg. Inspired by an engraving of Albrecht Durer which depicted Mary Magdalene nude. Inv RF 1338,  The Louvre Museum, Paris.
  • Painted plaster statue of Saint Mary Magdalene, circa 1515-1520, suspended from the vault of the church of St. Mary Magdalene Dominican convent of Augsburg. Inspired by an engraving of Albrecht Durer which depicted Mary Magdalene nude. Inv RF 1338,  The Louvre Museum, Paris.
  • Painted stucco bust of a female possibly the Virgin of the Annonciation or Saint Catherine of Sienna. made in Florence around 1429- 1484 from Papiano, Palagio Fiorentino.  Inv  The Louvre Museum, Paris.
  • Painted vaulted ceiling of the Cattedrale di San Martino,  Duomo of Lucca, Tunscany, Italy,
  • Painted marble bust of Ferdinand of Aragon, King of Naples (1423-1494) from the “Porta Salvatore” Sulmona, Italy. Variously  attributed to Pietro do Milano (around 1435-1473) Francesco Laurana (circa 1430-1502) and Domenico Gagini (quote from 1448-492).  Inv RF 745, The Louvre Museum, Paris.
  • Painted alabaster statue of the Virgin of the annunciation, made around 1495 by Tilman Riemenschneider of Heiligenstadt im Eichsfeld, Germany The statue would have originally bee accompanied by another of the  Gabriel and both would have formed part of an altarpiece. Inv RF 1384,  The Louvre Museum, Paris.
  • Painted Gothic gilded wooden statue altarpiece of Saint Catherine, circa 1520-1525 by Niklaus Weckmann from Ulm, Germany. The young Christian martyr is represented with his usual attributes, crown, book, wheel, sword, which make reference to her legendary life and her martyrdom. The bas-relief of Saint Catherine was originally part of an altarpiece. The treatment  and refined painted facial highlights executed the prettiness of the saint. The style is typical of  Niklaus Weckmann, one great masters of late Gothic Swabian art . Inv RF 2207.6,  The Louvre Museum, Paris.
  • Heyl Statue of Aphrodite, Greek goddess of love. 2nd century terracotta from the Heyl collection. This statuette is one of the most beautiful examples of ancient terracotta statues in existence. The close fitting robe or the goddess of love has slipped from her shoulders, her raised left leg perhaps stood on a pillar. The front of the figure, which was shaped in a mould, was carved using a modelling scraper and finally painted. Altes Museum Berlin
  • Heyl Statue of Aphrodite, Greek goddess of love. 2nd century terracotta from the Heyl collection. This statuette is one of the most beautiful examples of ancient terracotta statues in existence. The close fitting robe or the goddess of love has slipped from her shoulders, her raised left leg perhaps stood on a pillar. The front of the figure, which was shaped in a mould, was carved using a modelling scraper and finally painted. Altes Museum Berlin
  • Heyl Statue of Aphrodite, Greek goddess of love. 2nd century terracotta from the Heyl collection. This statuette is one of the most beautiful examples of ancient terracotta statues in existence. The close fitting robe or the goddess of love has slipped from her shoulders, her raised left leg perhaps stood on a pillar. The front of the figure, which was shaped in a mould, was carved using a modelling scraper and finally painted. Altes Museum Berlin
  • Heyl Statue of Aphrodite, Greek goddess of love. 2nd century terracotta from the Heyl collection. This statuette is one of the most beautiful examples of ancient terracotta statues in existence. The close fitting robe or the goddess of love has slipped from her shoulders, her raised left leg perhaps stood on a pillar. The front of the figure, which was shaped in a mould, was carved using a modelling scraper and finally painted. Altes Museum Berlin
  • Heyl Statue of Aphrodite, Greek goddess of love. 2nd century terracotta from the Heyl collection. This statuette is one of the most beautiful examples of ancient terracotta statues in existence. The close fitting robe or the goddess of love has slipped from her shoulders, her raised left leg perhaps stood on a pillar. The front of the figure, which was shaped in a mould, was carved using a modelling scraper and finally painted. Altes Museum Berlin
  • Heyl Statue of Aphrodite, Greek goddess of love. 2nd century terracotta from the Heyl collection. This statuette is one of the most beautiful examples of ancient terracotta statues in existence. The close fitting robe or the goddess of love has slipped from her shoulders, her raised left leg perhaps stood on a pillar. The front of the figure, which was shaped in a mould, was carved using a modelling scraper and finally painted. Altes Museum Berlin
  • Heyl Statue of Aphrodite, Greek goddess of love. 2nd century terracotta from the Heyl collection. This statuette is one of the most beautiful examples of ancient terracotta statues in existence. The close fitting robe or the goddess of love has slipped from her shoulders, her raised left leg perhaps stood on a pillar. The front of the figure, which was shaped in a mould, was carved using a modelling scraper and finally painted. Altes Museum Berlin
  • Heyl Statue of Aphrodite, Greek goddess of love. 2nd century terracotta from the Heyl collection. This statuette is one of the most beautiful examples of ancient terracotta statues in existence. The close fitting robe or the goddess of love has slipped from her shoulders, her raised left leg perhaps stood on a pillar. The front of the figure, which was shaped in a mould, was carved using a modelling scraper and finally painted. Altes Museum Berlin
  • Painted wooden relief sculptured altarpiece of two Popes, a  Cardinal, a Bishop a cannon and 7 priests praying made in 1505 by Daniel Mauch from Ulm. Inv RF 2805,  The Louvre Museum, Paris.
  • Painted walnut sculpture of the decent from the Cross, circa 1470-1490 possibly from Antwerp or the Brabant region of Belgium.  Inv RF 4696,  The Louvre Museum, Paris.
  • Painted Gothic wooden Fourteen Intercessors altarpiece made at the end of the 15th century in Franconia.  The panel depict 14 saints in total. Inv RF 2531,  The Louvre Museum, Paris.
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • Painted Gothic wooden Fourteen Intercessors altarpiece made at the end of the 15th century in Franconia.  The panel depict 14 saints in total. Inv RF 2531,  The Louvre Museum, Paris.
  • Painted oak relief of three soldiers and two men in a rocky landscape below the walls of Jerusalem, from Antwerp circa 1510-1515. This is a panel from the Passion.  Inv RF  297,  The Louvre Museum, Paris.
  • North Porch, Central Portal, left Jambs- General View c. 1194-1230. Cathedral of Chartres, France . Gothic statues of figures, from the left.1) the Old-Testament Priest/King Melchisedech holding a cup..2) Abraham sacrificing Isaac.3) Moses with the brazen serpent and the tablets of the Law.4) Samuel, sacrificing a lamb.5) King David.This portal was cleaned in the 1990's. The cleaning uncovered the yellowish sizing material that at one time served as a base for the paint and gilding which once decorated the figures.. A UNESCO World Heritage Site. .
  • Medieval elephant ivory plaque with traces of paint made in Italy in the 13th or start of the 14th century.  The crucifixion is a rare example of a Gothic piece being inspired by 11th century Romanesque works.  inv 7268, The Louvre Museum, Paris.
  • "Pan & Goat" Roman Mythical erotic sculpture from Pompeii. Naples Archaeological inv no: 27709
  • Colouful sculpture of female african coloured with paints
  • A satyr caressing a maiden a Roman erotic fresco painting from Pompeii 1st cent AD , from the Casa di L Cecilio Giocondo, inv no 110590 , Secret Museum or Secret Cabinet, Naples Archaeological Museum
  • A satyr caressing a maiden a Roman erotic fresco painting from Pompeii 1st cent AD , from the Casa di L Cecilio Giocondo, inv no 110590 , Secret Museum or Secret Cabinet, Naples Archaeological Museum
  • Satyr surprising a maiden, a Roman erotic fresco painting from Pompeii, 50-79 AD , inv no 27693 , Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • Polyphemus caressing Galatea, a Roman erotic fresco painting from Pompeii, 50-79 AD , from the Casa dei Capitelli colorati, inv no 27687 , Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • Mars caressing Venus  a Roman erotic fresco painting from Pompeii 1st cent AD , from the Casa del Meleagro, inv no 9250 , Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • A Roman erotic fresco painting from Pompeii form a private house venereum, a room for sexual activities, 50-79 AD , , inv no 27696 , Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • Polyphemus caressing Galatea, a Roman erotic fresco painting from Pompeii, 50-79 AD , from the Casa dei Capitelli colorati, inv no 27687 , Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • Satyr caressing Hermaphrodite, a Roman erotic fresco painting from Pompeii, 50-79 AD , from the tablium of the Casa di Epidio Sabino, inv no 27875 ,Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • Satyr caressing Hermaphrodite, a Roman erotic fresco painting from Pompeii, 50-79 AD , from the tablium of the Casa di Epidio Sabino, inv no 27875 ,Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • Satyr being rejected by Hermaphrodite, a Roman erotic fresco painting from Pompeii, 50-79 AD , inv no 110878 , Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • A Roman erotic fresco painting from Pompeii form the venereum, a room for sexual activities, of Casa di Cecilio Giocondo 50-79 AD  , inv no 10569 , Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • A satyr caressing a maiden a Roman erotic fresco painting from Pompeii 1st cent AD , from the Casa di L Cecilio Giocondo, inv no 110590 , Secret Museum or Secret Cabinet, Naples Archaeological Museum
  • Satyr being rejected by Hermaphrodite, a Roman erotic fresco painting from Pompeii, 50-79 AD , inv no 110878 , Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • Pan and  Hermaphrodite, a Roman erotic fresco painting from Pompeii, 50-79 AD , inv no 27700 , Naples National Secret Museum or Secret Cabinet, Archaeological Museum
  • Satyr caressing Hermaphrodite, a Roman erotic fresco painting from Pompeii, 50-79 AD , from the tablium of the Casa di Epidio Sabino, inv no 27875 ,Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • Roman erotic fresco painting of Hermaphrodite from Heraculeum, 1-50 AD , inv no 9224 , Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • Mars caressing Venus  a Roman erotic fresco painting from Pompeii 1st cent AD , from the Casa del Meleagro, inv no 9250 , Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • Roman bust of Greek philosopher Aristolte. 1st - 2nd century AD from Italy made of Pentilic Marble from Athens Greece. Aristotle lived around 384-322 BC and became the tutor of Alexander The Great. This bust was copied from a lost Greek bronze original by Lysippe (370-300BC) , sculptor to Alexander The Great. Traces of the original paint can be seen on the beard. From the Borghese collection Inv Mr or Ma 80 ,  Louvre Museum, Paris.
  • Roman bust of Greek philosopher Aristolte. 1st - 2nd century AD from Italy made of Pentilic Marble from Athens Greece. Aristotle lived around 384-322 BC and became the tutor of Alexander The Great. This bust was copied from a lost Greek bronze original by Lysippe (370-300BC) , sculptor to Alexander The Great. Traces of the original paint can be seen on the beard. From the Borghese collection Inv Mr or Ma 80 ,  Louvre Museum, Paris.
  • Roman bust of Greek philosopher Aristolte. 1st - 2nd century AD from Italy made of Pentilic Marble from Athens Greece. Aristotle lived around 384-322 BC and became the tutor of Alexander The Great. This bust was copied from a lost Greek bronze original by Lysippe (370-300BC) , sculptor to Alexander The Great. Traces of the original paint can be seen on the beard. From the Borghese collection Inv Mr or Ma 80 ,  Louvre Museum, Paris.
  • Roman bust of Greek philosopher Aristolte. 1st - 2nd century AD from Italy made of Pentilic Marble from Athens Greece. Aristotle lived around 384-322 BC and became the tutor of Alexander The Great. This bust was copied from a lost Greek bronze original by Lysippe (370-300BC) , sculptor to Alexander The Great. Traces of the original paint can be seen on the beard. From the Borghese collection Inv Mr or Ma 80 ,  Louvre Museum, Paris.
  • Roman bust of Greek philosopher Aristolte. 1st - 2nd century AD from Italy made of Pentilic Marble from Athens Greece. Aristotle lived around 384-322 BC and became the tutor of Alexander The Great. This bust was copied from a lost Greek bronze original by Lysippe (370-300BC) , sculptor to Alexander The Great. Traces of the original paint can be seen on the beard. From the Borghese collection Inv Mr or Ma 80 ,  Louvre Museum, Paris.
  • Roman bust of Greek philosopher Aristolte. 1st - 2nd century AD from Italy made of Pentilic Marble from Athens Greece. Aristotle lived around 384-322 BC and became the tutor of Alexander The Great. This bust was copied from a lost Greek bronze original by Lysippe (370-300BC) , sculptor to Alexander The Great. Traces of the original paint can be seen on the beard. From the Borghese collection Inv Mr or Ma 80 ,  Louvre Museum, Paris.
  • Roman bust of Greek philosopher Aristolte. 1st - 2nd century AD from Italy made of Pentilic Marble from Athens Greece. Aristotle lived around 384-322 BC and became the tutor of Alexander The Great. This bust was copied from a lost Greek bronze original by Lysippe (370-300BC) , sculptor to Alexander The Great. Traces of the original paint can be seen on the beard. From the Borghese collection Inv Mr or Ma 80 ,  Louvre Museum, Paris.
  • Roman bust of Greek philosopher Aristolte. 1st - 2nd century AD from Italy made of Pentilic Marble from Athens Greece. Aristotle lived around 384-322 BC and became the tutor of Alexander The Great. This bust was copied from a lost Greek bronze original by Lysippe (370-300BC) , sculptor to Alexander The Great. Traces of the original paint can be seen on the beard. From the Borghese collection Inv Mr or Ma 80 ,  Louvre Museum, Paris.
  • Roman bust of Greek philosopher Aristolte. 1st - 2nd century AD from Italy made of Pentilic Marble from Athens Greece. Aristotle lived around 384-322 BC and became the tutor of Alexander The Great. This bust was copied from a lost Greek bronze original by Lysippe (370-300BC) , sculptor to Alexander The Great. Traces of the original paint can be seen on the beard. From the Borghese collection Inv Mr or Ma 80 ,  Louvre Museum, Paris.
  • Roman bust of Greek philosopher Aristolte. 1st - 2nd century AD from Italy made of Pentilic Marble from Athens Greece. Aristotle lived around 384-322 BC and became the tutor of Alexander The Great. This bust was copied from a lost Greek bronze original by Lysippe (370-300BC) , sculptor to Alexander The Great. Traces of the original paint can be seen on the beard. From the Borghese collection Inv Mr or Ma 80 ,  Louvre Museum, Paris.
  • Roanesque relief sculpture details on the 11th centruy portico of the Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Roanesque relief sculpture details on the 11th centruy portico of the Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Roanesque relief sculpture details on the 11th centruy portico of the Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Roanesque relief sculpture details on the 11th centruy portico of the Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Roanesque relief sculpture details on the 11th centruy portico of the Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Roanesque relief sculpture details on the 11th centruy portico of the Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Roanesque relief sculpture details on the 11th centruy portico of the Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Roanesque relief sculpture details on the 11th centruy portico of the Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Roanesque relief sculpture details on the 11th centruy portico of the Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Roanesque relief sculpture details on the 11th centruy portico of the Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Roanesque relief sculpture details on the 11th centruy portico of the Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Roanesque relief sculpture details on the 11th centruy portico of the Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Roanesque relief sculpture details on the 11th centruy portico of the Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Roanesque relief sculpture details on the 11th centruy portico of the Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Roanesque relief sculpture details on the 11th centruy portico of the Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • A unique plaster head of a women, possibly a goddess of sphinx, one of the few examples of Mycenaean plater art. The severe expression is excentualted by red and black paint and the small hair curls fall from below a polos 9 a cylindrical cap). From one of the cult areas of the acropolis of  Mycenae, Greece. 13th century BC, cat no: 4575,  National Archaeological Museum, Athens.
  • A unique plaster head of a women, possibly a goddess of sphinx, one of the few examples of Mycenaean plater art. The severe expression is excentualted by red and black paint and the small hair curls fall from below a polos 9 a cylindrical cap). From one of the cult areas of the acropolis of  Mycenae, Greece. 13th century BC, cat no: 4575,  National Archaeological Museum, Athens.
  • A unique plaster head of a women, possibly a goddess of sphinx, one of the few examples of Mycenaean plater art. The severe expression is excentualted by red and black paint and the small hair curls fall from below a polos 9 a cylindrical cap). From one of the cult areas of the acropolis of  Mycenae, Greece. 13th century BC, cat no: 4575,  National Archaeological Museum, Athens.
  • A unique plaster head of a women, possibly a goddess of sphinx, one of the few examples of Mycenaean plaster art. The severe expression is excentualted by red and black paint and the small hair curls fall from below a polos 9 a cylindrical cap). From one of the cult areas of the acropolis of  Mycenae, Greece. 13th century BC, cat no: 4575,  National Archaeological Museum, Athens.
  • A unique plaster head of a women, possibly a goddess of sphinx, one of the few examples of Mycenaean plater art. The severe expression is excentualted by red and black paint and the small hair curls fall from below a polos 9 a cylindrical cap). From one of the cult areas of the acropolis of  Mycenae, Greece. 13th century BC, cat no: 4575,  National Archaeological Museum, Athens.
  • Berber Arabesque painted wood panel of the Marrakesh museum in the Dar Menebhi Palace, Marrakesh, Morocco
  • Berber Arabesque Morcabe painted panels of the Marrakesh museum in the Dar Menebhi Palace, Marrakesh, Morocco
  • Berber Arabesque decorative Zellige tiles and painted wood ceiling of Bou Ahmed's Harem. Bahia Palace, Marrakesh, Morroco
  • Berber Arabesque painted Morabe platerwork architectural details from the Petite Court, Bahia Palace, Marrakesh, Morroco
  • Berber Arabesque painted Morabe platerwork architectural details from the Petite Court, Bahia Palace, Marrakesh, Morroco
  • Berber Arabesque Mocarabe plasterwork pamnels and  Muqarnas capitals and painted wood roof.The Petite Court, Bahia Palace, Marrakesh, Morroco
  • Berber Arabesque Mocarabe plasterwork pamnels and  Muqarnas capitals and painted wood roof.The Petite Court, Bahia Palace, Marrakesh, Morroco
  • Berber arabesque painted wood ceiling and Morcabe platerwork door surrounds.The Petite Court, Bahia Palace, Marrakesh, Morroco
  • Berber Arabesque painted mocarabe plasterwork  of the Marrakesh museum in the Dar Menebhi Palace, Marrakesh, Morocco
  • Berber Arabesque Morcabe painted panels of the Marrakesh museum in the Dar Menebhi Palace, Marrakesh, Morocco
  • Berber Arabesque decorative Zellige tiles and painted wood ceiling of Bou Ahmed's Harem. Bahia Palace, Marrakesh, Morroco
  • Berber Arabesque decorative Zellige tiles and painted wood ceiling of Bou Ahmed's Harem. Bahia Palace, Marrakesh, Morroco
  • Berber Arabesque decorative Zellige tiles and painted wood ceiling of Bou Ahmed's Harem. Bahia Palace, Marrakesh, Morroco
  • Berber Arabesque decorative Zellige tiles and painted wood ceiling of Bou Ahmed's Harem. Bahia Palace, Marrakesh, Morroco
  • Berber Arabesque painted Morabe platerwork architectural details from the Petite Court, Bahia Palace, Marrakesh, Morroco
  • Berber Arabesque painted Morabe platerwork architectural details from the Petite Court, Bahia Palace, Marrakesh, Morroco
  • Berber Arabesque painted Morabe platerwork architectural details from the Petite Court, Bahia Palace, Marrakesh, Morroco
  • Berber Arabesque painted Morabe platerwork architectural details from the Petite Court, Bahia Palace, Marrakesh, Morroco
  • Berber Arabesque painted Morabe platerwork architectural details from the Petite Court, Bahia Palace, Marrakesh, Morroco
  • Berber Arabesque painted Morabe platerwork architectural details from the Petite Court, Bahia Palace, Marrakesh, Morroco
  • Berber Arabesque painted Morabe platerwork architectural details from the Petite Court, Bahia Palace, Marrakesh, Morroco
  • Berber Arabesque painted Morabe platerwork architectural details from the Petite Court, Bahia Palace, Marrakesh, Morroco
  • Berber Arabesque painted Morabe platerwork architectural details from the Petite Court, Bahia Palace, Marrakesh, Morroco
  • Berber Arabesque painted Morabe platerwork architectural details from the Petite Court, Bahia Palace, Marrakesh, Morroco
  • Berber Arabesque painted Morabe platerwork architectural details from the Petite Court, Bahia Palace, Marrakesh, Morroco
  • Berber Arabesque painted Morabe platerwork architectural details from the Petite Court, Bahia Palace, Marrakesh, Morroco
  • Berber Arabesque painted Morabe platerwork architectural details from the Petite Court, Bahia Palace, Marrakesh, Morroco
  • Berber Arabesque Mocarabe plasterwork pamnels and  Muqarnas capitals and painted wood roof.The Petite Court, Bahia Palace, Marrakesh, Morroco

FunkyStock Picture Library Resource

Picture The Past

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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.

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

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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.

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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.

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