• Eastern Roman Byzantine walk in baptismal font from the 6th century AD Parish Church of Demna near Kalibia, Cape Bon, Tunisia. <br />
<br />
The baptismal font was removed from the church and restored in the Bardo Museum Tunis in 1955. <br />
<br />
The mosaic iconographic decorations represent the salvation of the neophyte, newcomer, who by being baptised is admitted into the Church of Christ whilst being illuminated by faith, represented the mosaic lit candle illustrations.<br />
<br />
The P with a cross through it is the Chi Rho, a Christian symbol which represent the first two letters of Jesus Christ's name in Greek. The Christogram also has the Greek letters Alpha and Omega which represent the passage from the book of revelations: “I am the Alpha and Omega" Chapter 1 verse 8, which is clarified by "the beginning and the end" (Revelation 21:6, 22:13). <br />
<br />
In these type of baptismal fonts those being baptised would have been fully immersed in water as John the Baptist immersed Jesus. <br />
<br />
The font was paid for by donation by Iuliana and Aquinius who dedicated the font to St Cyprian, the martyed Bishop of Carthage, circa 258,  and the author of a treatise on baptism rites<br />
<br />
The Bardo Museum Tunis
  • Eastern Roman Byzantine walk in baptismal font from the 6th century AD Parish Church of Demna near Kalibia, Cape Bon, Tunisia. <br />
<br />
The baptismal font was removed from the church and restored in the Bardo Museum Tunis in 1955. <br />
<br />
The mosaic iconographic decorations represent the salvation of the neophyte, newcomer, who by being baptised is admitted into the Church of Christ whilst being illuminated by faith, represented the mosaic lit candle illustrations.<br />
<br />
The P with a cross through it is the Chi Rho, a Christian symbol which represent the first two letters of Jesus Christ's name in Greek. The Christogram also has the Greek letters Alpha and Omega which represent the passage from the book of revelations: “I am the Alpha and Omega" Chapter 1 verse 8, which is clarified by "the beginning and the end" (Revelation 21:6, 22:13). <br />
<br />
In these type of baptismal fonts those being baptised would have been fully immersed in water as John the Baptist immersed Jesus. <br />
<br />
The font was paid for by donation by Iuliana and Aquinius who dedicated the font to St Cyprian, the martyed Bishop of Carthage, circa 258,  and the author of a treatise on baptism rites<br />
<br />
The Bardo Museum Tunis
  • Eastern Roman Byzantine walk in baptismal font from the 6th century AD Parish Church of Demna near Kalibia, Cape Bon, Tunisia. <br />
<br />
The baptismal font was removed from the church and restored in the Bardo Museum Tunis in 1955. <br />
<br />
The mosaic iconographic decorations represent the salvation of the neophyte, newcomer, who by being baptised is admitted into the Church of Christ whilst being illuminated by faith, represented the mosaic lit candle illustrations.<br />
<br />
The P with a cross through it is the Chi Rho, a Christian symbol which represent the first two letters of Jesus Christ's name in Greek. The Christogram also has the Greek letters Alpha and Omega which represent the passage from the book of revelations: “I am the Alpha and Omega" Chapter 1 verse 8, which is clarified by "the beginning and the end" (Revelation 21:6, 22:13). <br />
<br />
In these type of baptismal fonts those being baptised would have been fully immersed in water as John the Baptist immersed Jesus. <br />
<br />
The font was paid for by donation by Iuliana and Aquinius who dedicated the font to St Cyprian, the martyed Bishop of Carthage, circa 258,  and the author of a treatise on baptism rites<br />
<br />
The Bardo Museum Tunis
  • Eastern Roman Byzantine walk in baptismal font from the 6th century AD Parish Church of Demna near Kalibia, Cape Bon, Tunisia. <br />
<br />
The baptismal font was removed from the church and restored in the Bardo Museum Tunis in 1955. <br />
<br />
The mosaic iconographic decorations represent the salvation of the neophyte, newcomer, who by being baptised is admitted into the Church of Christ whilst being illuminated by faith, represented the mosaic lit candle illustrations.<br />
<br />
The P with a cross through it is the Chi Rho, a Christian symbol which represent the first two letters of Jesus Christ's name in Greek. The Christogram also has the Greek letters Alpha and Omega which represent the passage from the book of revelations: “I am the Alpha and Omega" Chapter 1 verse 8, which is clarified by "the beginning and the end" (Revelation 21:6, 22:13). <br />
<br />
In these type of baptismal fonts those being baptised would have been fully immersed in water as John the Baptist immersed Jesus. <br />
<br />
The font was paid for by donation by Iuliana and Aquinius who dedicated the font to St Cyprian, the martyed Bishop of Carthage, circa 258,  and the author of a treatise on baptism rites<br />
<br />
The Bardo Museum Tunis
  • 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
  • The Christian Eastern Roman Byzantine memorial funerary mosaic of a father and daughter, the father is sitting at a bankers desk. Thabarca, Tabarks, 5th Century AD, Bardo Museum, Tunis.
  • The Christian Eastern Roman Byzantine memorial funerary mosaic of a father and daughter, the father is sitting at a bankers desk. Thabarca, Tabarks, 5th Century AD, Bardo Museum, Tunis. White background
  • The Christian Eastern Roman Byzantine memorial funerary mosaic of a father and daughter, the father is sitting at a bankers desk. Thabarca, Tabarks, 5th Century AD, Bardo Museum, Tunis. Grey background
  • The Christian Eastern Roman Byzantine memorial funerary mosaic of a father and daughter, the father is sitting at a bankers desk. Thabarca, Tabarks, 5th Century AD, Bardo Museum, Tunis. Black background
  • The Christian Eastern Roman Byzantine memorial funerary mosaic of an un-named man described as gentle and depicted with a bushel used to measure grain from the public grain warehouse. On its side is teh Chi Rho symbols used by early Christians to represent Christ.  Thabarca, Tabarks, 5th Century AD, Bardo Museum, Tunis, Tunisia
  • The Christian Eastern Roman Byzantine memorial funerary mosaic of an un-named man described as gentle and depicted with a bushel used to measure grain from the public grain warehouse. On its side is teh Chi Rho symbols used by early Christians to represent Christ.  Thabarca, Tabarks, 5th Century AD, Bardo Museum, Tunis, Tunisia
  • The Christian Eastern Roman Byzantine memorial funerary mosaic for Felicitas and Victoria. <br />
<br />
A mosaic depiction of a female decorates the grave of  Felicitas and Victoria which bears their inscription and that they departed in peace. Lit candles representing eturnal life and birds are also depicted on the funerary panel.<br />
<br />
5th century AD from the western necropolis of Thabraca, Tabarka, Tunisia, Bardo Museum, Tunis, Tunisia
  • The Christian Eastern Roman Byzantine memorial funerary mosaic of an un-named man described as gentle and depicted with a bushel used to measure grain from the public grain warehouse. On its side is teh Chi Rho symbols used by early Christians to represent Christ.  Thabarca, Tabarks, 5th Century AD, Bardo Museum, Tunis, Tunisia. Grey background
  • The Christian Eastern Roman Byzantine memorial funerary mosaic of an un-named man described as gentle and depicted with a bushel used to measure grain from the public grain warehouse. On its side is teh Chi Rho symbols used by early Christians to represent Christ.  Thabarca, Tabarks, 5th Century AD, Bardo Museum, Tunis, Tunisia
  • The Christian Eastern Roman Byzantine memorial funerary mosaic for Felicitas and Victoria. <br />
<br />
A mosaic depiction of a female decorates the grave of  Felicitas and Victoria which bears their inscription and that they departed in peace. Lit candles representing eturnal life and birds are also depicted on the funerary panel.<br />
<br />
5th century AD from the western necropolis of Thabraca, Tabarka, Tunisia, Bardo Museum, Tunis, Tunisia. White background
  • The Christian Eastern Roman Byzantine memorial funerary mosaic of an un-named man described as gentle and depicted with a bushel used to measure grain from the public grain warehouse. On its side is teh Chi Rho symbols used by early Christians to represent Christ.  Thabarca, Tabarks, 5th Century AD, Bardo Museum, Tunis, Tunisia. Black background
  • The Christian Eastern Roman Byzantine memorial funerary mosaic for Felicitas and Victoria. <br />
<br />
A mosaic depiction of a female decorates the grave of  Felicitas and Victoria which bears their inscription and that they departed in peace. Lit candles representing eturnal life and birds are also depicted on the funerary panel.<br />
<br />
5th century AD from the western necropolis of Thabraca, Tabarka, Tunisia, Bardo Museum, Tunis, Tunisia
  • The Christian Eastern Roman Byzantine memorial funerary mosaic for Felicitas and Victoria. <br />
<br />
A mosaic depiction of a female decorates the grave of  Felicitas and Victoria which bears their inscription and that they departed in peace. Lit candles representing eturnal life and birds are also depicted on the funerary panel.<br />
<br />
5th century AD from the western necropolis of Thabraca, Tabarka, Tunisia, Bardo Museum, Tunis, Tunisia. Black background
  • The Christian Eastern Roman Byzantine memorial funerary mosaic for Crescentia. <br />
Above the funerary portrait of Crescentia are the words: ‘Crescentia, innocent and in Peace’. Crescentia is dressed in a dalmatic, a long wide-sleeved tunic, with a belt around the waiste and a neclace around her neck. Lit candles represent eternal life. 5th century AD from the western necropolis of Thabraca, Tabarka, Tunisia, Bardo Museum, Tunis, Tunisia
  • The Christian Eastern Roman Byzantine memorial funerary mosaic for Crescentia. <br />
Above the funerary portrait of Crescentia are the words: ‘Crescentia, innocent and in Peace’. Crescentia is dressed in a dalmatic, a long wide-sleeved tunic, with a belt around the waiste and a neclace around her neck. Lit candles represent eternal life. 5th century AD from the western necropolis of Thabraca, Tabarka, Tunisia, Bardo Museum, Tunis, Tunisia. White background
  • The Christian Eastern Roman Byzantine memorial funerary mosaic for Crescentia. <br />
Above the funerary portrait of Crescentia are the words: ‘Crescentia, innocent and in Peace’. Crescentia is dressed in a dalmatic, a long wide-sleeved tunic, with a belt around the waiste and a neclace around her neck. Lit candles represent eternal life. 5th century AD from the western necropolis of Thabraca, Tabarka, Tunisia, Bardo Museum, Tunis, Tunisia. Grey background
  • The Christian Eastern Roman Byzantine memorial funerary mosaic for Crescentia. <br />
Above the funerary portrait of Crescentia are the words: ‘Crescentia, innocent and in Peace’. Crescentia is dressed in a dalmatic, a long wide-sleeved tunic, with a belt around the waiste and a neclace around her neck. Lit candles represent eternal life. 5th century AD from the western necropolis of Thabraca, Tabarka, Tunisia, Bardo Museum, Tunis, Tunisia. Black background
  • 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
  • Geometric Roman mosaics, Eastern Mediterranean, 4th century AD. 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 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 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
  • The exterior of the 6th century Byzantine (Eastern Roman) Hagia Sophia ( Ayasofya ) built by Emperor Justinian. The size of the dome was un-surpassed until the 16th century, Istanbul, Turkey
  • The exterior of the 6th century Byzantine (Eastern Roman) Hagia Sophia ( Ayasofya ) built by Emperor Justinian. The size of the dome was un-surpassed until the 16th century, Istanbul, Turkey
  • The exterior of the 6th century Byzantine (Eastern Roman) Hagia Sophia ( Ayasofya ) built by Emperor Justinian. The size of the dome was un-surpassed until the 16th century, Istanbul, Turkey
  • The exterior of the 6th century Byzantine (Eastern Roman) Hagia Sophia ( Ayasofya ) built by Emperor Justinian. The size of the dome was un-surpassed until the 16th century, Istanbul, Turkey
  • The exterior of the 6th century Byzantine (Eastern Roman) Hagia Sophia ( Ayasofya ) built by Emperor Justinian. The size of the dome was un-surpassed until the 16th century, Istanbul, Turkey
  • The exterior of the 6th century Byzantine (Eastern Roman) Hagia Sophia ( Ayasofya ) built by Emperor Justinian. The size of the dome was un-surpassed until the 16th century, Istanbul, Turkey
  • The exterior of the 6th century Byzantine (Eastern Roman) Hagia Sophia ( Ayasofya ) built by Emperor Justinian. The size of the dome was un-surpassed until the 16th century, Istanbul, Turkey
  • The exterior of the 6th century Byzantine (Eastern Roman) Hagia Sophia ( Ayasofya ) built by Emperor Justinian. The size of the dome was un-surpassed until the 16th century, Istanbul, Turkey
  • The exterior of the 6th century Byzantine (Eastern Roman) Hagia Sophia ( Ayasofya ) at sunset, built by Emperor Justinian. The size of the dome was un-surpassed until the 16th century, Istanbul, Turkey
  • The exterior of the 6th century Byzantine (Eastern Roman) Hagia Sophia ( Ayasofya ) at sunset, built by Emperor Justinian. The size of the dome was un-surpassed until the 16th century, Istanbul, Turkey
  • The exterior of the 6th century Byzantine (Eastern Roman) Hagia Sophia ( Ayasofya ) built by Emperor Justinian. The size of the dome was un-surpassed until the 16th century, Istanbul, Turkey
  • The Christian memorial funerary mosaic for Natalica the inscription reading: ‘(our) beloved daughter Natalica lived 10 years 8 months 21 days, rested the 8th Ides of October (23rd) ’.<br />
<br />
The panel is decorated with a crescent laurel leaves against a black background and a cross encircling the head of a depiction of Natalica. She is wearing earnings and is dressed in a dalmatic, a long wide-sleeved tunic, which is decorated with black clavi, stripes, and embroidered sleeves. A belt and buckle with cabochons, shaped and polished gem stones, hold the tunic tight at the waste.  Either side of t Natalica are two lit candles, the symbols of eternity.<br />
<br />
5th century Eastern Byzantine Roman mosaic from the funerary enclosure which is in the Northwest enclosure of the Acholla site, Tunisia. Bardo Museum, Tunis, Tunisia. White background
  • The Christian memorial funerary mosaic of Matziceus, a Libyan, with the inscription reading: ‘the faithful Matziceus lived in peace for 42 years, rested (died) on the fifteenth of the calends of June’.<br />
<br />
The panel is decorated with vines which grow out of a cantharus, a Greek style drinking cup, which represents the fountain of life.<br />
<br />
5th century Eastern Byzantine Roman mosaic from the Parish church of Demna, left AisleBardo Museum, Tunis, Tunisia. White background
  • The Christian memorial funerary mosaic of Matziceus, a Libyan, with the inscription reading: ‘the faithful Matziceus lived in peace for 42 years, rested (died) on the fifteenth of the calends of June’.<br />
<br />
The panel is decorated with vines which grow out of a cantharus, a Greek style drinking cup, which represents the fountain of life.<br />
<br />
5th century Eastern Byzantine Roman mosaic from the Parish church of Demna, left AisleBardo Museum, Tunis, Tunisia
  • The Christian memorial funerary mosaic for Natalica the inscription reading: ‘(our) beloved daughter Natalica lived 10 years 8 months 21 days, rested the 8th Ides of October (23rd) ’.<br />
<br />
The panel is decorated with a crescent laurel leaves against a black background and a cross encircling the head of a depiction of Natalica. She is wearing earnings and is dressed in a dalmatic, a long wide-sleeved tunic, which is decorated with black clavi, stripes, and embroidered sleeves. A belt and buckle with cabochons, shaped and polished gem stones, hold the tunic tight at the waste.  Either side of t Natalica are two lit candles, the symbols of eternity.<br />
<br />
5th century Eastern Byzantine Roman mosaic from the funerary enclosure which is in the Northwest enclosure of the Acholla site, Tunisia. Bardo Museum, Tunis, Tunisia
  • The Christian memorial funerary mosaic for Natalica the inscription reading: ‘(our) beloved daughter Natalica lived 10 years 8 months 21 days, rested the 8th Ides of October (23rd) ’.<br />
<br />
The panel is decorated with a crescent laurel leaves against a black background and a cross encircling the head of a depiction of Natalica. She is wearing earnings and is dressed in a dalmatic, a long wide-sleeved tunic, which is decorated with black clavi, stripes, and embroidered sleeves. A belt and buckle with cabochons, shaped and polished gem stones, hold the tunic tight at the waste.  Either side of t Natalica are two lit candles, the symbols of eternity.<br />
<br />
5th century Eastern Byzantine Roman mosaic from the funerary enclosure which is in the Northwest enclosure of the Acholla site, Tunisia. Bardo Museum, Tunis, Tunisia. Grey background
  • The Christian memorial funerary mosaic for Natalica the inscription reading: ‘(our) beloved daughter Natalica lived 10 years 8 months 21 days, rested the 8th Ides of October (23rd) ’.<br />
<br />
The panel is decorated with a crescent laurel leaves against a black background and a cross encircling the head of a depiction of Natalica. She is wearing earnings and is dressed in a dalmatic, a long wide-sleeved tunic, which is decorated with black clavi, stripes, and embroidered sleeves. A belt and buckle with cabochons, shaped and polished gem stones, hold the tunic tight at the waste.  Either side of t Natalica are two lit candles, the symbols of eternity.<br />
<br />
5th century Eastern Byzantine Roman mosaic from the funerary enclosure which is in the Northwest enclosure of the Acholla site, Tunisia. Bardo Museum, Tunis, Tunisia. Black background
  • The Christian memorial funerary mosaic of Matziceus, a Libyan, with the inscription reading: ‘the faithful Matziceus lived in peace for 42 years, rested (died) on the fifteenth of the calends of June’.<br />
<br />
The panel is decorated with vines which grow out of a cantharus, a Greek style drinking cup, which represents the fountain of life.<br />
<br />
5th century Eastern Byzantine Roman mosaic from the Parish church of Demna, left AisleBardo Museum, Tunis, Tunisia. Grey background
  • The Christian memorial funerary mosaic of Matziceus, a Libyan, with the inscription reading: ‘the faithful Matziceus lived in peace for 42 years, rested (died) on the fifteenth of the calends of June’.<br />
<br />
The panel is decorated with vines which grow out of a cantharus, a Greek style drinking cup, which represents the fountain of life.<br />
<br />
5th century Eastern Byzantine Roman mosaic from the Parish church of Demna, left AisleBardo Museum, Tunis, Tunisia. Black background
  • North African Christian mosaic fragment from the ambulatory, cloister,  of the pilgrimage church of Bir Ftouha, Cathage, Tunisia. The geometric mosaic deign is mad up of intersecting circlular medalions that enclose depictions of birds, roses and baskets. Eastern Roman Byzantine Era, Bardo Museum, Tunis
  • Roman Sarcophagus with detailed relief sculptured panels with battle scenes. This large sarcophagus which was found in 1931 near the Tiburtina, in the eastern suburbs of the ancient city, shows on its front a symbolic battle, staged on two levels. This composition focuses on the progress of the Roman horseman, depicted in the guise of a universal victor, in a melee of soldiers, spears and horses; the Romans are delivering savage blows, devastating their enemies. The bloody scenes are framed by two pairs of enslaved barbarians, whose afflicted demeanour expresses the suffering which comes to those who rebel against the dominion of Rome. The dramatic animation of the combat emphasised by the deep chiaroscuro obtained by a skilful feat of carving. The low relief on the sides of the sarcophagus shows events subsequent to the encounter; on one side barbarian prisoners cross the river on the other chiefs submit to the Roman officials. The freeze on the lid, between two corner masks, celebrates the dead man and his wife, presented in the centre is the act of ‘dextarum iunctio’; on the left, the women exercises her ‘virtue’ in the house, educating her children; on the right, the, after his warlike activities, receives his 'clementia'. The faces of the principle characters remain incomplete, awaiting the carving of the features of the dead people. The decoration of the sarcophagus, inspired by many scenes on the Antonine Column, can be dated to around 180AD. The military insignia represented on the upper edge of the casket - the eagle of the Legio III Flavia and the boar of the Legio I Itlaica - enable us perhaps to identify the dead man as Aurelius Iulius Pompilius, an official of Marcus Aurelius in command of two cavalry squadron on detachment to those two legions during the war against Marcomanni (1720-175AD). National Roman Museum, Rome, Italy
  • Roman Sarcophagus with detailed relief sculptured panels with battle scenes. This large sarcophagus which was found in 1931 near the Tiburtina, in the eastern suburbs of the ancient city, shows on its front a symbolic battle, staged on two levels. This composition focuses on the progress of the Roman horseman, depicted in the guise of a universal victor, in a melee of soldiers, spears and horses; the Romans are delivering savage blows, devastating their enemies. The bloody scenes are framed by two pairs of enslaved barbarians, whose afflicted demeanour expresses the suffering which comes to those who rebel against the dominion of Rome. The dramatic animation of the combat emphasised by the deep chiaroscuro obtained by a skilful feat of carving. The low relief on the sides of the sarcophagus shows events subsequent to the encounter; on one side barbarian prisoners cross the river on the other chiefs submit to the Roman officials. The freeze on the lid, between two corner masks, celebrates the dead man and his wife, presented in the centre is the act of ‘dextarum iunctio’; on the left, the women exercises her ‘virtue’ in the house, educating her children; on the right, the, after his warlike activities, receives his 'clementia'. The faces of the principle characters remain incomplete, awaiting the carving of the features of the dead people. The decoration of the sarcophagus, inspired by many scenes on the Antonine Column, can be dated to around 180AD. The military insignia represented on the upper edge of the casket - the eagle of the Legio III Flavia and the boar of the Legio I Itlaica - enable us perhaps to identify the dead man as Aurelius Iulius Pompilius, an official of Marcus Aurelius in command of two cavalry squadron on detachment to those two legions during the war against Marcomanni (1720-175AD). National Roman Museum, Rome, Italy
  • Roman Sarcophagus with detailed relief sculptured panels with battle scenes. This large sarcophagus which was found in 1931 near the Tiburtina, in the eastern suburbs of the ancient city, shows on its front a symbolic battle, staged on two levels. This composition focuses on the progress of the Roman horseman, depicted in the guise of a universal victor, in a melee of soldiers, spears and horses; the Romans are delivering savage blows, devastating their enemies. The bloody scenes are framed by two pairs of enslaved barbarians, whose afflicted demeanour expresses the suffering which comes to those who rebel against the dominion of Rome. The dramatic animation of the combat emphasised by the deep chiaroscuro obtained by a skilful feat of carving. The low relief on the sides of the sarcophagus shows events subsequent to the encounter; on one side barbarian prisoners cross the river on the other chiefs submit to the Roman officials. The freeze on the lid, between two corner masks, celebrates the dead man and his wife, presented in the centre is the act of ‘dextarum iunctio’; on the left, the women exercises her ‘virtue’ in the house, educating her children; on the right, the, after his warlike activities, receives his 'clementia'. The faces of the principle characters remain incomplete, awaiting the carving of the features of the dead people. The decoration of the sarcophagus, inspired by many scenes on the Antonine Column, can be dated to around 180AD. The military insignia represented on the upper edge of the casket - the eagle of the Legio III Flavia and the boar of the Legio I Itlaica - enable us perhaps to identify the dead man as Aurelius Iulius Pompilius, an official of Marcus Aurelius in command of two cavalry squadron on detachment to those two legions during the war against Marcomanni (1720-175AD). National Roman Museum, Rome, Italy
  • Roman Sarcophagus with detailed relief sculptured panels with battle scenes. This large sarcophagus which was found in 1931 near the Tiburtina, in the eastern suburbs of the ancient city, shows on its front a symbolic battle, staged on two levels. This composition focuses on the progress of the Roman horseman, depicted in the guise of a universal victor, in a melee of soldiers, spears and horses; the Romans are delivering savage blows, devastating their enemies. The bloody scenes are framed by two pairs of enslaved barbarians, whose afflicted demeanour expresses the suffering which comes to those who rebel against the dominion of Rome. The dramatic animation of the combat emphasised by the deep chiaroscuro obtained by a skilful feat of carving. The low relief on the sides of the sarcophagus shows events subsequent to the encounter; on one side barbarian prisoners cross the river on the other chiefs submit to the Roman officials. The freeze on the lid, between two corner masks, celebrates the dead man and his wife, presented in the centre is the act of ‘dextarum iunctio’; on the left, the women exercises her ‘virtue’ in the house, educating her children; on the right, the, after his warlike activities, receives his 'clementia'. The faces of the principle characters remain incomplete, awaiting the carving of the features of the dead people. The decoration of the sarcophagus, inspired by many scenes on the Antonine Column, can be dated to around 180AD. The military insignia represented on the upper edge of the casket - the eagle of the Legio III Flavia and the boar of the Legio I Itlaica - enable us perhaps to identify the dead man as Aurelius Iulius Pompilius, an official of Marcus Aurelius in command of two cavalry squadron on detachment to those two legions during the war against Marcomanni (1720-175AD). National Roman Museum, Rome, Italy
  • Roman Sarcophagus with detailed relief sculptured panels with battle scenes. This large sarcophagus which was found in 1931 near the Tiburtina, in the eastern suburbs of the ancient city, shows on its front a symbolic battle, staged on two levels. This composition focuses on the progress of the Roman horseman, depicted in the guise of a universal victor, in a melee of soldiers, spears and horses; the Romans are delivering savage blows, devastating their enemies. The bloody scenes are framed by two pairs of enslaved barbarians, whose afflicted demeanour expresses the suffering which comes to those who rebel against the dominion of Rome. The dramatic animation of the combat emphasised by the deep chiaroscuro obtained by a skilful feat of carving. The low relief on the sides of the sarcophagus shows events subsequent to the encounter; on one side barbarian prisoners cross the river on the other chiefs submit to the Roman officials. The freeze on the lid, between two corner masks, celebrates the dead man and his wife, presented in the centre is the act of ‘dextarum iunctio’; on the left, the women exercises her ‘virtue’ in the house, educating her children; on the right, the, after his warlike activities, receives his 'clementia'. The faces of the principle characters remain incomplete, awaiting the carving of the features of the dead people. The decoration of the sarcophagus, inspired by many scenes on the Antonine Column, can be dated to around 180AD. The military insignia represented on the upper edge of the casket - the eagle of the Legio III Flavia and the boar of the Legio I Itlaica - enable us perhaps to identify the dead man as Aurelius Iulius Pompilius, an official of Marcus Aurelius in command of two cavalry squadron on detachment to those two legions during the war against Marcomanni (1720-175AD). National Roman Museum, Rome, Italy
  • Roman Sarcophagus with detailed relief sculptured panels with battle scenes. This large sarcophagus which was found in 1931 near the Tiburtina, in the eastern suburbs of the ancient city, shows on its front a symbolic battle, staged on two levels. This composition focuses on the progress of the Roman horseman, depicted in the guise of a universal victor, in a melee of soldiers, spears and horses; the Romans are delivering savage blows, devastating their enemies. The bloody scenes are framed by two pairs of enslaved barbarians, whose afflicted demeanour expresses the suffering which comes to those who rebel against the dominion of Rome. The dramatic animation of the combat emphasised by the deep chiaroscuro obtained by a skilful feat of carving. The low relief on the sides of the sarcophagus shows events subsequent to the encounter; on one side barbarian prisoners cross the river on the other chiefs submit to the Roman officials. The freeze on the lid, between two corner masks, celebrates the dead man and his wife, presented in the centre is the act of ‘dextarum iunctio’; on the left, the women exercises her ‘virtue’ in the house, educating her children; on the right, the, after his warlike activities, receives his 'clementia'. The faces of the principle characters remain incomplete, awaiting the carving of the features of the dead people. The decoration of the sarcophagus, inspired by many scenes on the Antonine Column, can be dated to around 180AD. The military insignia represented on the upper edge of the casket - the eagle of the Legio III Flavia and the boar of the Legio I Itlaica - enable us perhaps to identify the dead man as Aurelius Iulius Pompilius, an official of Marcus Aurelius in command of two cavalry squadron on detachment to those two legions during the war against Marcomanni (1720-175AD). National Roman Museum, Rome, Italy
  • Roman Sarcophagus with detailed relief sculptured panels with battle scenes. This large sarcophagus which was found in 1931 near the Tiburtina, in the eastern suburbs of the ancient city, shows on its front a symbolic battle, staged on two levels. This composition focuses on the progress of the Roman horseman, depicted in the guise of a universal victor, in a melee of soldiers, spears and horses; the Romans are delivering savage blows, devastating their enemies. The bloody scenes are framed by two pairs of enslaved barbarians, whose afflicted demeanour expresses the suffering which comes to those who rebel against the dominion of Rome. The dramatic animation of the combat emphasised by the deep chiaroscuro obtained by a skilful feat of carving. The low relief on the sides of the sarcophagus shows events subsequent to the encounter; on one side barbarian prisoners cross the river on the other chiefs submit to the Roman officials. The freeze on the lid, between two corner masks, celebrates the dead man and his wife, presented in the centre is the act of ‘dextarum iunctio’; on the left, the women exercises her ‘virtue’ in the house, educating her children; on the right, the, after his warlike activities, receives his 'clementia'. The faces of the principle characters remain incomplete, awaiting the carving of the features of the dead people. The decoration of the sarcophagus, inspired by many scenes on the Antonine Column, can be dated to around 180AD. The military insignia represented on the upper edge of the casket - the eagle of the Legio III Flavia and the boar of the Legio I Itlaica - enable us perhaps to identify the dead man as Aurelius Iulius Pompilius, an official of Marcus Aurelius in command of two cavalry squadron on detachment to those two legions during the war against Marcomanni (1720-175AD). National Roman Museum, Rome, Italy
  • Roman relief panel showing a Barbarian, circa 98-117 AD from the Palace of Montecitorio, Rome. This  relief panel is part of a larger work. It represents a battle and the figure can be identified as a barbarian by his eastern style tunic and thick beard. Judging by the quality of the execution, the relief must have belonged to an important public monument situated in the area of the Campus Martius .  Inv 39163, National Roman Museum, Rome.
  • Roman portrait bust of a young charioteer from the age of Domitian, 81-96AD. This statue of a young charioteer, with Oriental eastern Mediterranean features, is wearing a tunic stopped on the right shoulder by a flattened circular fibula (clasp). The hairstyle, with its ’S’ shaped curls, was made artificially with an iron (calamistrum). This style was inspired by official portrayts of a young Domitian, who emulated Neronian style during the last years of his reign. The bust was rounded to be inserted onto a modern pillar. . Inv 276, The National Roman Museum, Rome, Italy
  • Photo of Roman relief sculpture, Aphrodisias, Turkey, Images of Roman art bas reliefs.  Nero supports a slumping naked Armenia. She wears a soft eastern hat.
  • Photo of Roman relief sculpture, Aphrodisias, Turkey, Images of Roman art bas reliefs.  Nero supports a slumping naked Armenia. She wears a soft eastern hat.
  • A tiger hunting from the 3rd century Roman mosaic villa floor from Lod, near Tel Aviv, Israel. The Roman floor mosaic of Lod is the largest and best preserved mosaic floor from the levant region along the eastern Mediterranean coast. It is unclear whether the owners were Jewish, Christian or pagan but either way they would have been wealthy to own such a magnificent floor. The Shelby White and Leon Levy Lod Mosaic Centre, Lod, Israel.
  • African animals and fish from the 3rd century Roman mosaic villa floor from Lod, near Tel Aviv, Israel. The Roman floor mosaic of Lod is the largest and best preserved mosaic floor from the levant region along the eastern Mediterranean coast. It is unclear whether the owners were Jewish, Christian or pagan but either way they would have been wealthy to own such a magnificent floor. The Shelby White and Leon Levy Lod Mosaic Centre, Lod, Israel.
  • African animals and fish from the 3rd century Roman mosaic villa floor from Lod, near Tel Aviv, Israel. The Roman floor mosaic of Lod is the largest and best preserved mosaic floor from the levant region along the eastern Mediterranean coast. It is unclear whether the owners were Jewish, Christian or pagan but either way they would have been wealthy to own such a magnificent floor. The Shelby White and Leon Levy Lod Mosaic Centre, Lod, Israel.
  • Fish from the 3rd century Roman mosaic villa floor from Lod, near Tel Aviv, Israel. The Roman floor mosaic of Lod is the largest and best preserved mosaic floor from the levant region along the eastern Mediterranean coast. It is unclear whether the owners were Jewish, Christian or pagan but either way they would have been wealthy to own such a magnificent floor. The Shelby White and Leon Levy Lod Mosaic Centre, Lod, Israel.
  • Roman relief sculpture, Aphrodisias, Turkey, Images of Roman art bas reliefs.  Nero supports a slumping naked Armenia. She wears a soft eastern hat.
  • African animals and fish from the 3rd century Roman mosaic villa floor from Lod, near Tel Aviv, Israel. The Roman floor mosaic of Lod is the largest and best preserved mosaic floor from the levant region along the eastern Mediterranean coast. It is unclear whether the owners were Jewish, Christian or pagan but either way they would have been wealthy to own such a magnificent floor. The Shelby White and Leon Levy Lod Mosaic Centre, Lod, Israel.
  • A tiger hunting from the 3rd century Roman mosaic villa floor from Lod, near Tel Aviv, Israel. The Roman floor mosaic of Lod is the largest and best preserved mosaic floor from the levant region along the eastern Mediterranean coast. It is unclear whether the owners were Jewish, Christian or pagan but either way they would have been wealthy to own such a magnificent floor. The Shelby White and Leon Levy Lod Mosaic Centre, Lod, Israel.
  • African animals and fish from the 3rd century Roman mosaic villa floor from Lod, near Tel Aviv, Israel. The Roman floor mosaic of Lod is the largest and best preserved mosaic floor from the levant region along the eastern Mediterranean coast. It is unclear whether the owners were Jewish, Christian or pagan but either way they would have been wealthy to own such a magnificent floor. The Shelby White and Leon Levy Lod Mosaic Centre, Lod, Israel.
  • Fish eating a serpant from the 3rd century Roman mosaic villa floor from Lod, near Tel Aviv, Israel. The Roman floor mosaic of Lod is the largest and best preserved mosaic floor from the levant region along the eastern Mediterranean coast. It is unclear whether the owners were Jewish, Christian or pagan but either way they would have been wealthy to own such a magnificent floor. The Shelby White and Leon Levy Lod Mosaic Centre, Lod, Israel.
  • African animals and fish from the 3rd century Roman mosaic villa floor from Lod, near Tel Aviv, Israel. The Roman floor mosaic of Lod is the largest and best preserved mosaic floor from the levant region along the eastern Mediterranean coast. It is unclear whether the owners were Jewish, Christian or pagan but either way they would have been wealthy to own such a magnificent floor. The Shelby White and Leon Levy Lod Mosaic Centre, Lod, Israel.
  • A bird from the 3rd century Roman mosaic villa floor from Lod, near Tel Aviv, Israel. The Roman floor mosaic of Lod is the largest and best preserved mosaic floor from the levant region along the eastern Mediterranean coast. It is unclear whether the owners were Jewish, Christian or pagan but either way they would have been wealthy to own such a magnificent floor. The Shelby White and Leon Levy Lod Mosaic Centre, Lod, Israel.
  • African animals and fish from the 3rd century Roman mosaic villa floor from Lod, near Tel Aviv, Israel. The Roman floor mosaic of Lod is the largest and best preserved mosaic floor from the levant region along the eastern Mediterranean coast. It is unclear whether the owners were Jewish, Christian or pagan but either way they would have been wealthy to own such a magnificent floor. The Shelby White and Leon Levy Lod Mosaic Centre, Lod, Israel.
  • Fish from the 3rd century Roman mosaic villa floor from Lod, near Tel Aviv, Israel. The Roman floor mosaic of Lod is the largest and best preserved mosaic floor from the levant region along the eastern Mediterranean coast. It is unclear whether the owners were Jewish, Christian or pagan but either way they would have been wealthy to own such a magnificent floor. The Shelby White and Leon Levy Lod Mosaic Centre, Lod, Israel.
  • A lion hunting from the 3rd century Roman mosaic villa floor from Lod, near Tel Aviv, Israel. The Roman floor mosaic of Lod is the largest and best preserved mosaic floor from the levant region along the eastern Mediterranean coast. It is unclear whether the owners were Jewish, Christian or pagan but either way they would have been wealthy to own such a magnificent floor. The Shelby White and Leon Levy Lod Mosaic Centre, Lod, Israel.
  • A bird from the 3rd century Roman mosaic villa floor from Lod, near Tel Aviv, Israel. The Roman floor mosaic of Lod is the largest and best preserved mosaic floor from the levant region along the eastern Mediterranean coast. It is unclear whether the owners were Jewish, Christian or pagan but either way they would have been wealthy to own such a magnificent floor. The Shelby White and Leon Levy Lod Mosaic Centre, Lod, Israel.
  • African animals and fish from the 3rd century Roman mosaic villa floor from Lod, near Tel Aviv, Israel. The Roman floor mosaic of Lod is the largest and best preserved mosaic floor from the levant region along the eastern Mediterranean coast. It is unclear whether the owners were Jewish, Christian or pagan but either way they would have been wealthy to own such a magnificent floor. The Shelby White and Leon Levy Lod Mosaic Centre, Lod, Israel.
  • African animals and fish from the 3rd century Roman mosaic villa floor from Lod, near Tel Aviv, Israel. The Roman floor mosaic of Lod is the largest and best preserved mosaic floor from the levant region along the eastern Mediterranean coast. It is unclear whether the owners were Jewish, Christian or pagan but either way they would have been wealthy to own such a magnificent floor. The Shelby White and Leon Levy Lod Mosaic Centre, Lod, Israel.
  • A lion hunting from the 3rd century Roman mosaic villa floor from Lod, near Tel Aviv, Israel. The Roman floor mosaic of Lod is the largest and best preserved mosaic floor from the levant region along the eastern Mediterranean coast. It is unclear whether the owners were Jewish, Christian or pagan but either way they would have been wealthy to own such a magnificent floor. The Shelby White and Leon Levy Lod Mosaic Centre, Lod, Israel.
  • African animals and fish from the 3rd century Roman mosaic villa floor from Lod, near Tel Aviv, Israel. The Roman floor mosaic of Lod is the largest and best preserved mosaic floor from the levant region along the eastern Mediterranean coast. It is unclear whether the owners were Jewish, Christian or pagan but either way they would have been wealthy to own such a magnificent floor. The Shelby White and Leon Levy Lod Mosaic Centre, Lod, Israel.
  • African animals and fish from the 3rd century Roman mosaic villa floor from Lod, near Tel Aviv, Israel. The Roman floor mosaic of Lod is the largest and best preserved mosaic floor from the levant region along the eastern Mediterranean coast. It is unclear whether the owners were Jewish, Christian or pagan but either way they would have been wealthy to own such a magnificent floor. The Shelby White and Leon Levy Lod Mosaic Centre, Lod, Israel.
  • Hunting scene with a hare and dog from the 3rd century Roman mosaic villa floor from Lod, near Tel Aviv, Israel. The Roman floor mosaic of Lod is the largest and best preserved mosaic floor from the levant region along the eastern Mediterranean coast. It is unclear whether the owners were Jewish, Christian or pagan but either way they would have been wealthy to own such a magnificent floor. The Shelby White and Leon Levy Lod Mosaic Centre, Lod, Israel.
  • African animals and fish from the 3rd century Roman mosaic villa floor from Lod, near Tel Aviv, Israel. The Roman floor mosaic of Lod is the largest and best preserved mosaic floor from the levant region along the eastern Mediterranean coast. It is unclear whether the owners were Jewish, Christian or pagan but either way they would have been wealthy to own such a magnificent floor. The Shelby White and Leon Levy Lod Mosaic Centre, Lod, Israel.
  • African animals and fish from the 3rd century Roman mosaic villa floor from Lod, near Tel Aviv, Israel. The Roman floor mosaic of Lod is the largest and best preserved mosaic floor from the levant region along the eastern Mediterranean coast. It is unclear whether the owners were Jewish, Christian or pagan but either way they would have been wealthy to own such a magnificent floor. The Shelby White and Leon Levy Lod Mosaic Centre, Lod, Israel.
  • African animals and fish from the 3rd century Roman mosaic villa floor from Lod, near Tel Aviv, Israel. The Roman floor mosaic of Lod is the largest and best preserved mosaic floor from the levant region along the eastern Mediterranean coast. It is unclear whether the owners were Jewish, Christian or pagan but either way they would have been wealthy to own such a magnificent floor. The Shelby White and Leon Levy Lod Mosaic Centre, Lod, Israel.
  • Fish from the 3rd century Roman mosaic villa floor from Lod, near Tel Aviv, Israel. The Roman floor mosaic of Lod is the largest and best preserved mosaic floor from the levant region along the eastern Mediterranean coast. It is unclear whether the owners were Jewish, Christian or pagan but either way they would have been wealthy to own such a magnificent floor. The Shelby White and Leon Levy Lod Mosaic Centre, Lod, Israel.
  • Hunting scene with a hare and dog from the 3rd century Roman mosaic villa floor from Lod, near Tel Aviv, Israel. The Roman floor mosaic of Lod is the largest and best preserved mosaic floor from the levant region along the eastern Mediterranean coast. It is unclear whether the owners were Jewish, Christian or pagan but either way they would have been wealthy to own such a magnificent floor. The Shelby White and Leon Levy Lod Mosaic Centre, Lod, Israel.Israel.
  • Fish from the 3rd century Roman mosaic villa floor from Lod, near Tel Aviv, Israel. The Roman floor mosaic of Lod is the largest and best preserved mosaic floor from the levant region along the eastern Mediterranean coast. It is unclear whether the owners were Jewish, Christian or pagan but either way they would have been wealthy to own such a magnificent floor. The Shelby White and Leon Levy Lod Mosaic Centre, Lod, Israel.
  • African animals and fish from the 3rd century Roman mosaic villa floor from Lod, near Tel Aviv, Israel. The Roman floor mosaic of Lod is the largest and best preserved mosaic floor from the levant region along the eastern Mediterranean coast. It is unclear whether the owners were Jewish, Christian or pagan but either way they would have been wealthy to own such a magnificent floor. The Shelby White and Leon Levy Lod Mosaic Centre, Lod, Israel.
  • Fish from the 3rd century Roman mosaic villa floor from Lod, near Tel Aviv, Israel. The Roman floor mosaic of Lod is the largest and best preserved mosaic floor from the levant region along the eastern Mediterranean coast. It is unclear whether the owners were Jewish, Christian or pagan but either way they would have been wealthy to own such a magnificent floor. The Shelby White and Leon Levy Lod Mosaic Centre, Lod, Israel.
  • Fish from the 3rd century Roman mosaic villa floor from Lod, near Tel Aviv, Israel. The Roman floor mosaic of Lod is the largest and best preserved mosaic floor from the levant region along the eastern Mediterranean coast. It is unclear whether the owners were Jewish, Christian or pagan but either way they would have been wealthy to own such a magnificent floor. The Shelby White and Leon Levy Lod Mosaic Centre, Lod, Israel.
  • Fish from the 3rd century Roman mosaic villa floor from Lod, near Tel Aviv, Israel. The Roman floor mosaic of Lod is the largest and best preserved mosaic floor from the levant region along the eastern Mediterranean coast. It is unclear whether the owners were Jewish, Christian or pagan but either way they would have been wealthy to own such a magnificent floor. The Shelby White and Leon Levy Lod Mosaic Centre, Lod, Israel.
  • Fish from the 3rd century Roman mosaic villa floor from Lod, near Tel Aviv, Israel. The Roman floor mosaic of Lod is the largest and best preserved mosaic floor from the levant region along the eastern Mediterranean coast. It is unclear whether the owners were Jewish, Christian or pagan but either way they would have been wealthy to own such a magnificent floor. The Shelby White and Leon Levy Lod Mosaic Centre, Lod, Israel.
  • Fish from the 3rd century Roman mosaic villa floor from Lod, near Tel Aviv, Israel. The Roman floor mosaic of Lod is the largest and best preserved mosaic floor from the levant region along the eastern Mediterranean coast. It is unclear whether the owners were Jewish, Christian or pagan but either way they would have been wealthy to own such a magnificent floor. The Shelby White and Leon Levy Lod Mosaic Centre, Lod, Israel.
  • Fish from the 3rd century Roman mosaic villa floor from Lod, near Tel Aviv, Israel. The Roman floor mosaic of Lod is the largest and best preserved mosaic floor from the levant region along the eastern Mediterranean coast. It is unclear whether the owners were Jewish, Christian or pagan but either way they would have been wealthy to own such a magnificent floor. The Shelby White and Leon Levy Lod Mosaic Centre, Lod, Israel.
  • Fish from the 3rd century Roman mosaic villa floor from Lod, near Tel Aviv, Israel. The Roman floor mosaic of Lod is the largest and best preserved mosaic floor from the levant region along the eastern Mediterranean coast. It is unclear whether the owners were Jewish, Christian or pagan but either way they would have been wealthy to own such a magnificent floor. The Shelby White and Leon Levy Lod Mosaic Centre, Lod, Israel.
  • African animals and fish from the 3rd century Roman mosaic villa floor from Lod, near Tel Aviv, Israel. The Roman floor mosaic of Lod is the largest and best preserved mosaic floor from the levant region along the eastern Mediterranean coast. It is unclear whether the owners were Jewish, Christian or pagan but either way they would have been wealthy to own such a magnificent floor. The Shelby White and Leon Levy Lod Mosaic Centre, Lod, Israel.
  • African animals and fish from the 3rd century Roman mosaic villa floor from Lod, near Tel Aviv, Israel. The Roman floor mosaic of Lod is the largest and best preserved mosaic floor from the levant region along the eastern Mediterranean coast. It is unclear whether the owners were Jewish, Christian or pagan but either way they would have been wealthy to own such a magnificent floor. The Shelby White and Leon Levy Lod Mosaic Centre, Lod, Israel.
  • African animals and fish from the 3rd century Roman mosaic villa floor from Lod, near Tel Aviv, Israel. The Roman floor mosaic of Lod is the largest and best preserved mosaic floor from the levant region along the eastern Mediterranean coast. It is unclear whether the owners were Jewish, Christian or pagan but either way they would have been wealthy to own such a magnificent floor. The Shelby White and Leon Levy Lod Mosaic Centre, Lod, Israel.
  • African animals and fish from the 3rd century Roman mosaic villa floor from Lod, near Tel Aviv, Israel. The Roman floor mosaic of Lod is the largest and best preserved mosaic floor from the levant region along the eastern Mediterranean coast. It is unclear whether the owners were Jewish, Christian or pagan but either way they would have been wealthy to own such a magnificent floor. The Shelby White and Leon Levy Lod Mosaic Centre, Lod, Israel.
  • African animals and fish from the 3rd century Roman mosaic villa floor from Lod, near Tel Aviv, Israel. The Roman floor mosaic of Lod is the largest and best preserved mosaic floor from the levant region along the eastern Mediterranean coast. It is unclear whether the owners were Jewish, Christian or pagan but either way they would have been wealthy to own such a magnificent floor. The Shelby White and Leon Levy Lod Mosaic Centre, Lod, Israel.
  • African animals and fish from the 3rd century Roman mosaic villa floor from Lod, near Tel Aviv, Israel. The Roman floor mosaic of Lod is the largest and best preserved mosaic floor from the levant region along the eastern Mediterranean coast. It is unclear whether the owners were Jewish, Christian or pagan but either way they would have been wealthy to own such a magnificent floor. The Shelby White and Leon Levy Lod Mosaic Centre, Lod, Israel.
  • African animals and fish from the 3rd century Roman mosaic villa floor from Lod, near Tel Aviv, Israel. The Roman floor mosaic of Lod is the largest and best preserved mosaic floor from the levant region along the eastern Mediterranean coast. It is unclear whether the owners were Jewish, Christian or pagan but either way they would have been wealthy to own such a magnificent floor. The Shelby White and Leon Levy Lod Mosaic Centre, Lod, Israel.
  • African animals and fish from the 3rd century Roman mosaic villa floor from Lod, near Tel Aviv, Israel. The Roman floor mosaic of Lod is the largest and best preserved mosaic floor from the levant region along the eastern Mediterranean coast. It is unclear whether the owners were Jewish, Christian or pagan but either way they would have been wealthy to own such a magnificent floor. The Shelby White and Leon Levy Lod Mosaic Centre, Lod, Israel.
  • African animals and fish from the 3rd century Roman mosaic villa floor from Lod, near Tel Aviv, Israel. The Roman floor mosaic of Lod is the largest and best preserved mosaic floor from the levant region along the eastern Mediterranean coast. It is unclear whether the owners were Jewish, Christian or pagan but either way they would have been wealthy to own such a magnificent floor. The Shelby White and Leon Levy Lod Mosaic Centre, Lod, Israel.
  • African animals and fish from the 3rd century Roman mosaic villa floor from Lod, near Tel Aviv, Israel. The Roman floor mosaic of Lod is the largest and best preserved mosaic floor from the levant region along the eastern Mediterranean coast. It is unclear whether the owners were Jewish, Christian or pagan but either way they would have been wealthy to own such a magnificent floor. The Shelby White and Leon Levy Lod Mosaic Centre, Lod, Israel.
  • African animals and fish from the 3rd century Roman mosaic villa floor from Lod, near Tel Aviv, Israel. The Roman floor mosaic of Lod is the largest and best preserved mosaic floor from the levant region along the eastern Mediterranean coast. It is unclear whether the owners were Jewish, Christian or pagan but either way they would have been wealthy to own such a magnificent floor. The Shelby White and Leon Levy Lod Mosaic Centre, Lod, Israel.
  • African animals and fish from the 3rd century Roman mosaic villa floor from Lod, near Tel Aviv, Israel. The Roman floor mosaic of Lod is the largest and best preserved mosaic floor from the levant region along the eastern Mediterranean coast. It is unclear whether the owners were Jewish, Christian or pagan but either way they would have been wealthy to own such a magnificent floor. The Shelby White and Leon Levy Lod Mosaic Centre, Lod, Israel.
  • African animals and fish from the 3rd century Roman mosaic villa floor from Lod, near Tel Aviv, Israel. The Roman floor mosaic of Lod is the largest and best preserved mosaic floor from the levant region along the eastern Mediterranean coast. It is unclear whether the owners were Jewish, Christian or pagan but either way they would have been wealthy to own such a magnificent floor. The Shelby White and Leon Levy Lod Mosaic Centre, Lod, Israel.
  • Roman relief sculpture, Aphrodisias, Turkey, Images of Roman art bas reliefs.  Nero supports a slumping naked Armenia. She wears a soft eastern hat.
  • Fifth Century Christian Eastern Roman Byzantine  funerary mosaic from Mezghani Christian necropolis mounds in the Roman province of Africa Proconsularis , (Tunisian Sfax) dedicated to Priscianus. Above the memorial text is the Constantinian monogram depicting the Christian Chi-Rho symbol used by the Roman emperor Constantine I as part of his military standard (vexillum). The layout of the mosaic is typical of those excavated in the Sfax region from this period.<br />
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The Bardo National Museum, Tunis, Tunisia.   Against a grey background.
  • Fifth century Eastern Roman Byzantine  Christian funerary mosaic from Leptis Minus-Lemto in the Roman province of Africa Proconsularis , (Tunisian Sehel Region) dedicated to Cresconius, depicting the Christian Chi-Rho symbol used by the Roman emperor Constantine I as part of his military standard (vexillum). <br />
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The Bardo National Museum, Tunis, Tunisia.
  • Fifth Century Christian Eastern Roman Byzantine  funerary mosaic from Mezghani Christian necropolis mounds in the Roman province of Africa Proconsularis , (Tunisian Sfax) dedicated to Priscianus. Above the memorial text is the Constantinian monogram depicting the Christian Chi-Rho symbol used by the Roman emperor Constantine I as part of his military standard (vexillum). The layout of the mosaic is typical of those excavated in the Sfax region from this period.<br />
<br />
The Bardo National Museum, Tunis, Tunisia.  Against a white background.
  • Fifth Century Christian Eastern Roman Byzantine  funerary mosaic from Mezghani Christian necropolis mounds in the Roman province of Africa Proconsularis , (Tunisian Sfax) dedicated to Priscianus. Above the memorial text is the Constantinian monogram depicting the Christian Chi-Rho symbol used by the Roman emperor Constantine I as part of his military standard (vexillum). The layout of the mosaic is typical of those excavated in the Sfax region from this period.<br />
<br />
The Bardo National Museum, Tunis, Tunisia.  Against a black background.
  • Fifth Century Christian Eastern Roman Byzantine  funerary mosaic from Mezghani Christian necropolis mounds in the Roman province of Africa Proconsularis , (Tunisian Sfax) dedicated to Priscianus. Above the memorial text is the Constantinian monogram depicting the Christian Chi-Rho symbol used by the Roman emperor Constantine I as part of his military standard (vexillum). The layout of the mosaic is typical of those excavated in the Sfax region from this period.<br />
<br />
The Bardo National Museum, Tunis, Tunisia.
  • Fifth Century Christian Eastern Roman Byzantine  funerary mosaic from Mezghani Christian necropolis mounds in the Roman province of Africa Proconsularis , (Tunisian Sfax) dedicated to Priscianus. Above the memorial text is the Constantinian monogram depicting the Christian Chi-Rho symbol used by the Roman emperor Constantine I as part of his military standard (vexillum). The layout of the mosaic is typical of those excavated in the Sfax region from this period.<br />
<br />
The Bardo National Museum, Tunis, Tunisia. Against a grey art background.
  • Fifth century Eastern Roman Byzantine  Christian funerary mosaic from Leptis Minus-Lemto in the Roman province of Africa Proconsularis , (Tunisian Sehel Region) dedicated to Cresconius, depicting the Christian Chi-Rho symbol used by the Roman emperor Constantine I as part of his military standard (vexillum). <br />
<br />
The Bardo National Museum, Tunis, Tunisia.  Against a black background.
  • Fifth century Eastern Roman Byzantine  Christian funerary mosaic from Leptis Minus-Lemto in the Roman province of Africa Proconsularis , (Tunisian Sehel Region) dedicated to Cresconius, depicting the Christian Chi-Rho symbol used by the Roman emperor Constantine I as part of his military standard (vexillum). <br />
<br />
The Bardo National Museum, Tunis, Tunisia.
  • 5th century AD Eastern Roman Byzantine  Christian  funerary mosaic of Crescentia from Tharbarka western Necropolis in the Roman province of Africa Proconsularis, present day Tunisia. The funerary portrait depicts a young girl, Crescentia, dressed in a dalmatic tunic with vertical stripes, pulled in at the waist by a belt , with a necklace around her neck. Today the dalmatic is a long wide-sleeved tunic, which still serves as a liturgical vestment in the Roman Catholic church. To the right side of Crescentia is a lit candle which symbolises eternal faith. <br />
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The Bardo National Museum Tunis, Tunisia
  • Early seventh Century Christian Eastern Roman Byzantine  commemoration mosaic from the baptistery of a rural church in Wadi Arremal, present day Zaghouan Region of Tunisia. The Bardo National Museum, Tunis, Tunisia.<br />
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The mosaic shows workers construction the early christian church the mosaic commemorates. The mosaic can be regarded as being late Roman of early Byzantine Roman as the area came under the rule of Constantinople during this period
  • Fifth century AD Eastern Roman Byzantine  Christian  funerary mosaic of of a little girl The fragmentary inscription is at the top: (name of the deceased) who lived 4 years 11 months, 3 days 7 hours. The deceased is featured in a praying attitude, wearing an embroidered dalmatic. A monogrammed cross and a lit candle accompany the funerary idealised portrait. <br />
Christian necropolis of the Mezghani mounds in the Roman province of Africa Proconsularis  (present day Sfax, Tunisia) Fifth c. A.D. <br />
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<br />
The Bardo National Museum Tunis, Tunisia.  Against a white background.
  • Fifth century AD Eastern Roman Byzantine  Christian  funerary mosaic of of a little girl The fragmentary inscription is at the top: (name of the deceased) who lived 4 years 11 months, 3 days 7 hours. The deceased is featured in a praying attitude, wearing an embroidered dalmatic. A monogrammed cross and a lit candle accompany the funerary idealised portrait. <br />
Christian necropolis of the Mezghani mounds in the Roman province of Africa Proconsularis  (present day Sfax, Tunisia) Fifth c. A.D. <br />
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<br />
The Bardo National Museum Tunis, Tunisia
  • Fifth century AD Eastern Roman Byzantine  Christian  funerary mosaic of of a little girl The fragmentary inscription is at the top: (name of the deceased) who lived 4 years 11 months, 3 days 7 hours. The deceased is featured in a praying attitude, wearing an embroidered dalmatic. A monogrammed cross and a lit candle accompany the funerary idealised portrait. <br />
Christian necropolis of the Mezghani mounds in the Roman province of Africa Proconsularis  (present day Sfax, Tunisia) Fifth c. A.D. <br />
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<br />
The Bardo National Museum Tunis, Tunisia. Against a grey art background.
  • 5th century Eastern Roman Byzantine  funerary mosaic from Tarbaka in the Roman province of Africa Proconsularis , present day Tunisia, with a crown at the top probably a Christogram  (Latin Monogramma Christi ) is a monogram used as an abbreviation for the name of Jesus Christ, with a figure below and a latin text for the deceased " Covuldeus in peace". Either side of the figure are a lit candle which symbolises eternal faith. The Bardo National Museum, Tunis Tunisia.<br />
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Christian burial grounds The ingenuity and expertise of mosaic schools, particularly those operating in Proconsular Africa and By-zacena, led to the dissemination of a mosaic trend which was very well tailored to the needs of a Christian clientele, who was authorised by the Church to use the basilica area and its ancillaries for burial, particularly in the sacred spaces such as the baptistery and the choir.
  • Detail of a fifth century AD Eastern Roman Byzantine  Christian  funerary mosaic of of a little girl The fragmentary inscription is at the top: (name of the deceased) who lived 4 years 11 months, 3 days 7 hours. The deceased is featured in a praying attitude, wearing an embroidered dalmatic. A monogrammed cross and a lit candle accompany the funerary idealised portrait. <br />
Christian necropolis of the Mezghani mounds in the Roman province of Africa Proconsularis  (present day Sfax, Tunisia) Fifth c. A.D. <br />
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The Bardo National Museum Tunis, Tunisia
  • Fifth century AD Eastern Roman Byzantine  Christian  funerary mosaic of of a little girl The fragmentary inscription is at the top: (name of the deceased) who lived 4 years 11 months, 3 days 7 hours. The deceased is featured in a praying attitude, wearing an embroidered dalmatic. A monogrammed cross and a lit candle accompany the funerary idealised portrait. <br />
Christian necropolis of the Mezghani mounds in the Roman province of Africa Proconsularis  (present day Sfax, Tunisia) Fifth c. A.D. <br />
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The Bardo National Museum Tunis, Tunisia.  Against a black background.
  • 5th century Eastern Roman Byzantine   funerary mosaic from Tarbaka in the Roman province of Africa Proconsularis , present day Tunisia, with a crown at the top probably a Christogram  (Latin Monogramma Christi ) is a monogram used as an abbreviation for the name of Jesus Christ, with a figure below and a latin text for the deceased " Covuldeus in peace". Either side of the figure are a lit candle which symbolises eternal faith. The Bardo National Museum, Tunis Tunisia.  Against a white background.<br />
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Christian burial grounds The ingenuity and expertise of mosaic schools, particularly those operating in Proconsular Africa and By-zacena, led to the dissemination of a mosaic trend which was very well tailored to the needs of a Christian clientele, who was authorised by the Church to use the basilica area and its ancillaries for burial, particularly in the sacred spaces such as the baptistery and the choir.
  • 5th century Eastern Roman Byzantine  funerary mosaic from Tarbaka in the Roman province of Africa Proconsularis , present day Tunisia, with a crown at the top probably a Christogram  (Latin Monogramma Christi ) is a monogram used as an abbreviation for the name of Jesus Christ, with a figure below and a latin text for the deceased " Covuldeus in peace". Either side of the figure are a lit candle which symbolises eternal faith. The Bardo National Museum, Tunis Tunisia.<br />
<br />
Christian burial grounds The ingenuity and expertise of mosaic schools, particularly those operating in Proconsular Africa and By-zacena, led to the dissemination of a mosaic trend which was very well tailored to the needs of a Christian clientele, who was authorised by the Church to use the basilica area and its ancillaries for burial, particularly in the sacred spaces such as the baptistery and the choir.
  • 5th century Eastern Roman Byzantine  funerary mosaic from Tarbaka in the Roman province of Africa Proconsularis , present day Tunisia, with a crown at the top probably a Christogram  (Latin Monogramma Christi ) is a monogram used as an abbreviation for the name of Jesus Christ, with a figure below and a latin text for the deceased " Covuldeus in peace". Either side of the figure are a lit candle which symbolises eternal faith. The Bardo National Museum, Tunis Tunisia.   Against a grey background.<br />
<br />
Christian burial grounds The ingenuity and expertise of mosaic schools, particularly those operating in Proconsular Africa and By-zacena, led to the dissemination of a mosaic trend which was very well tailored to the needs of a Christian clientele, who was authorised by the Church to use the basilica area and its ancillaries for burial, particularly in the sacred spaces such as the baptistery and the choir.
  • 5th century Eastern Roman Byzantine  funerary mosaic from Tarbaka in the Roman province of Africa Proconsularis , present day Tunisia, with a crown at the top probably a Christogram  (Latin Monogramma Christi ) is a monogram used as an abbreviation for the name of Jesus Christ, with a figure below and a latin text for the deceased " Covuldeus in peace". Either side of the figure are a lit candle which symbolises eternal faith. The Bardo National Museum, Tunis Tunisia. Against a grey art background.<br />
<br />
Christian burial grounds The ingenuity and expertise of mosaic schools, particularly those operating in Proconsular Africa and By-zacena, led to the dissemination of a mosaic trend which was very well tailored to the needs of a Christian clientele, who was authorised by the Church to use the basilica area and its ancillaries for burial, particularly in the sacred spaces such as the baptistery and the choir.
  • Fifth century Eastern Roman Byzantine  Christian funerary mosaic dedicated to Leontia.  The Constantinian monogram depicting the Christian Chi-Rho symbol used by the Roman emperor Constantine I as part of his military standard (vexillum).  The inscription in the cartouche reads " Leontia in peace and harmony with God, entered into eternal life on the Sixth Ides of October". Two birds and cut Roses occupy the rest of the mosaic. <br />
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Excavated from Demna Parish Church ruins between the 4th and 5th columns of the right aisle. The Bardo National Museum, Tunis, Tunisia.  Against a white background.
  • Fifth century Eastern Roman Byzantine  Christian funerary mosaic dedicated to Leontia.  The Constantinian monogram depicting the Christian Chi-Rho symbol used by the Roman emperor Constantine I as part of his military standard (vexillum).  The inscription in the cartouche reads " Leontia in peace and harmony with God, entered into eternal life on the Sixth Ides of October". Two birds and cut Roses occupy the rest of the mosaic. <br />
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Excavated from Demna Parish Church ruins between the 4th and 5th columns of the right aisle. The Bardo National Museum, Tunis, Tunisia.  Against a black background.
  • Fifth century Eastern Roman Byzantine  Christian funerary mosaic dedicated to Leontia.  The Constantinian monogram depicting the Christian Chi-Rho symbol used by the Roman emperor Constantine I as part of his military standard (vexillum).  <br />
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Excavated from Demna Parish Church ruins between the 4th and 5th columns of the right aisle. The Bardo National Museum, Tunis, Tunisia.
  • Fifth century Eastern Roman Byzantine  Christian funerary mosaic dedicated to Leontia.  The Constantinian monogram depicting the Christian Chi-Rho symbol used by the Roman emperor Constantine I as part of his military standard (vexillum).  The inscription in the cartouche reads " Leontia in peace and harmony with God, entered into eternal life on the Sixth Ides of October". Two birds and cut Roses occupy the rest of the mosaic. <br />
<br />
Excavated from Demna Parish Church ruins between the 4th and 5th columns of the right aisle. The Bardo National Museum, Tunis, Tunisia.
  • Fifth century Eastern Roman Byzantine  Christian funerary mosaic dedicated to Leontia.  The Constantinian monogram depicting the Christian Chi-Rho symbol used by the Roman emperor Constantine I as part of his military standard (vexillum).  The inscription in the cartouche reads " Leontia in peace and harmony with God, entered into eternal life on the Sixth Ides of October". Two birds and cut Roses occupy the rest of the mosaic. <br />
<br />
Excavated from Demna Parish Church ruins between the 4th and 5th columns of the right aisle. The Bardo National Museum, Tunis, Tunisia.
  • Fifth century Eastern Roman Byzantine  Christian funerary mosaic dedicated to Leontia.  The Constantinian monogram depicting the Christian Chi-Rho symbol used by the Roman emperor Constantine I as part of his military standard (vexillum).  The inscription in the cartouche reads " Leontia in peace and harmony with God, entered into eternal life on the Sixth Ides of October". Two birds and cut Roses occupy the rest of the mosaic. <br />
<br />
Excavated from Demna Parish Church ruins between the 4th and 5th columns of the right aisle. The Bardo National Museum, Tunis, Tunisia. Against a grey art background.
  • 6th century Eastern Roman Byzantine  Christian mosaic of the mosaic of the Most Holy Sepulchre and the memorial of Golgotha in Jerusalem .<br />
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In the foreground is the dome of Golgotha, erected at the site of the crucifixion ofJesus Christ, from where  the four rivers of Paradise flow: the Geon = Gihon, the Fison = Pishon, the Tigris and Euphrates, symbolically referring to the Word (the four gospels). Sheep, representing the faithfuls, are drinking from the rivers. In the background are depictions of the the Holy Sepulchre with its door ajar, and two other buildings, symbolising Bethlehem and Jerusalem. <br />
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From the threshold of the martyrdom erected in honour of Jesus Christ at the church of Iunca - Younga (in present the day region of Mahres in Tunisia). The Bardo National Museum, Tunis, Tunisia.  Against a black background.
  • 6th century Eastern Roman Byzantine  Christian mosaic of the mosaic of the Most Holy Sepulchre and the memorial of Golgotha in Jerusalem .<br />
<br />
In the foreground is the dome of Golgotha, erected at the site of the crucifixion ofJesus Christ, from where  the four rivers of Paradise flow: the Geon = Gihon, the Fison = Pishon, the Tigris and Euphrates, symbolically referring to the Word (the four gospels). Sheep, representing the faithfuls, are drinking from the rivers. In the background are depictions of the the Holy Sepulchre with its door ajar, and two other buildings, symbolising Bethlehem and Jerusalem. <br />
<br />
From the threshold of the martyrdom erected in honour of Jesus Christ at the church of Iunca - Younga (in present the day region of Mahres in Tunisia). The Bardo National Museum, Tunis, Tunisia.  Against a white background.
  • 6th century Eastern Roman Byzantine  Christian mosaic of the mosaic of the Most Holy Sepulchre and the memorial of Golgotha in Jerusalem .<br />
<br />
In the foreground is the dome of Golgotha, erected at the site of the crucifixion ofJesus Christ, from where  the four rivers of Paradise flow: the Geon = Gihon, the Fison = Pishon, the Tigris and Euphrates, symbolically referring to the Word (the four gospels). Sheep, representing the faithfuls, are drinking from the rivers. In the background are depictions of the the Holy Sepulchre with its door ajar, and two other buildings, symbolising Bethlehem and Jerusalem. <br />
<br />
From the threshold of the martyrdom erected in honour of Jesus Christ at the church of Iunca - Younga (in present the day region of Mahres in Tunisia). The Bardo National Museum, Tunis, Tunisia.
  • 6th century Eastern Roman Byzantine  Christian mosaic of the mosaic of the Most Holy Sepulchre and the memorial of Golgotha in Jerusalem .<br />
<br />
In the foreground is the dome of Golgotha, erected at the site of the crucifixion ofJesus Christ, from where  the four rivers of Paradise flow: the Geon = Gihon, the Fison = Pishon, the Tigris and Euphrates, symbolically referring to the Word (the four gospels). Sheep, representing the faithfuls, are drinking from the rivers. In the background are depictions of the the Holy Sepulchre with its door ajar, and two other buildings, symbolising Bethlehem and Jerusalem. <br />
<br />
From the threshold of the martyrdom erected in honour of Jesus Christ at the church of Iunca - Younga (in present the day region of Mahres in Tunisia). The Bardo National Museum, Tunis, Tunisia. Against a grey art background.
  • Fifth century AD Eastern Roman Byzantine  Christian funerary mosaic of two adults and a young child. <br />
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Acanthus scrollwork bearing the fruits of the vine and full of birds (border). The epitaph, set into a centred laurel wreath, reads : Constantia in peace. has lived 55 years, died on the 8th of the Ides of August (August 23); Gaudiosa in peace has lived 22 years, died on the Third ides of May (may 18) The epitaph of the child, who died without being baptised and was buried with the two adult deceased, runs at the bottom of the panel : (P)alatinus, innocent, peaceful, departed on the Fifth ides of April. <br />
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From Demna pariah church, near the hallway connecting the vestibule to the choir. The Bardo National Museum, Tunis, Tunisia.  Against a black background.
  • Fifth century AD Eastern Roman Byzantine  Christian funerary mosaic of two adults and a young child. <br />
<br />
Acanthus scrollwork bearing the fruits of the vine and full of birds (border). The epitaph, set into a centred laurel wreath, reads : Constantia in peace. has lived 55 years, died on the 8th of the Ides of August (August 23); Gaudiosa in peace has lived 22 years, died on the Third ides of May (may 18) The epitaph of the child, who died without being baptised and was buried with the two adult deceased, runs at the bottom of the panel : (P)alatinus, innocent, peaceful, departed on the Fifth ides of April. <br />
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From Demna pariah church, near the hallway connecting the vestibule to the choir. The Bardo National Museum, Tunis, Tunisia
  • Fifth century AD Eastern Roman Byzantine  Christian funerary mosaic of two adults and a young child. <br />
<br />
Acanthus scrollwork bearing the fruits of the vine and full of birds (border). The epitaph, set into a centred laurel wreath, reads : Constantia in peace. has lived 55 years, died on the 8th of the Ides of August (August 23); Gaudiosa in peace has lived 22 years, died on the Third ides of May (may 18) The epitaph of the child, who died without being baptised and was buried with the two adult deceased, runs at the bottom of the panel : (P)alatinus, innocent, peaceful, departed on the Fifth ides of April. <br />
<br />
From Demna pariah church, near the hallway connecting the vestibule to the choir. The Bardo National Museum, Tunis, Tunisia.   Against a grey background.
  • Fifth century Eastern Roman Byzantine  Christian terracotta candle holder for 12 candles from a church in Africa Proconsularis , present day Tunisia. The Bardo National Museum, Tunis, Tunisia.  Against a white background.
  • Fifth century Eastern Roman Byzantine  Christian terracotta candle holder for 12 candles from a church in Africa Proconsularis , present day Tunisia. The Bardo National Museum, Tunis, Tunisia.   Against a grey background.
  • Fifth century Eastern Roman Byzantine  Christian terracotta candle holder for 12 candles from a church in Africa Proconsularis , present day Tunisia. The Bardo National Museum, Tunis, Tunisia.  Against a black background.
  • Fifth century Eastern Roman Byzantine  Christian terracotta candle holder for 12 candles from a church in Africa Proconsularis , present day Tunisia. The Bardo National Museum, Tunis, Tunisia. Against a grey art background.
  • 6th century Eastern Roman Byzantine  Christian mosaic of the mosaic of the Most Holy Sepulchre and the memorial of Golgotha in Jerusalem .<br />
<br />
In the foreground is the dome of Golgotha, erected at the site of the crucifixion ofJesus Christ, from where  the four rivers of Paradise flow: the Geon = Gihon, the Fison = Pishon, the Tigris and Euphrates, symbolically referring to the Word (the four gospels). Sheep, representing the faithfuls, are drinking from the rivers. In the background are depictions of the the Holy Sepulchre with its door ajar, and two other buildings, symbolising Bethlehem and Jerusalem. <br />
<br />
From the threshold of the martyrdom erected in honour of Jesus Christ at the church of Iunca - Younga (in present the day region of Mahres in Tunisia). The Bardo National Museum, Tunis, Tunisia.   Against a grey background.
  • Fifth century AD Eastern Roman Byzantine  Christian funerary mosaic of two adults and a young child. <br />
<br />
Acanthus scrollwork bearing the fruits of the vine and full of birds (border). The epitaph, set into a centred laurel wreath, reads : Constantia in peace. has lived 55 years, died on the 8th of the Ides of August (August 23); Gaudiosa in peace has lived 22 years, died on the Third ides of May (may 18) The epitaph of the child, who died without being baptised and was buried with the two adult deceased, runs at the bottom of the panel : (P)alatinus, innocent, peaceful, departed on the Fifth ides of April. <br />
<br />
From Demna pariah church, near the hallway connecting the vestibule to the choir. The Bardo National Museum, Tunis, Tunisia.  Against a white background.
  • Detail of  a fifth century AD Eastern Roman Byzantine  Christian funerary mosaic of two adults and a young child. <br />
<br />
Acanthus scrollwork bearing the fruits of the vine and full of birds (border). The epitaph, set into a centred laurel wreath, reads : Constantia in peace. has lived 55 years, died on the 8th of the Ides of August (August 23); Gaudiosa in peace has lived 22 years, died on the Third ides of May (may 18) The epitaph of the child, who died without being baptised and was buried with the two adult deceased, runs at the bottom of the panel : (P)alatinus, innocent, peaceful, departed on the Fifth ides of April. <br />
<br />
From Demna pariah church, near the hallway connecting the vestibule to the choir. The Bardo National Museum, Tunis, Tunisia
  • Fifth century AD Eastern Roman Byzantine  Christian funerary mosaic of two adults and a young child. <br />
<br />
Acanthus scrollwork bearing the fruits of the vine and full of birds (border). The epitaph, set into a centred laurel wreath, reads : Constantia in peace. has lived 55 years, died on the 8th of the Ides of August (August 23); Gaudiosa in peace has lived 22 years, died on the Third ides of May (may 18) The epitaph of the child, who died without being baptised and was buried with the two adult deceased, runs at the bottom of the panel : (P)alatinus, innocent, peaceful, departed on the Fifth ides of April. <br />
<br />
From Demna pariah church, near the hallway connecting the vestibule to the choir. The Bardo National Museum, Tunis, Tunisia. Against a grey art background.
  • Fifth century Eastern Roman Byzantine  Christian terracotta candle holder for 12 candles from a church in Africa Proconsularis , present day Tunisia. The Bardo National Museum, Tunis, Tunisia.
  • 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
  • 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
  • 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
  • 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
  • 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 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 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 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 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 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 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 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 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
  • South wall mosaics depicting the bibliacl story of Noah in the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • South wall mosaics depicting the bibliacl story of Noah in the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • North wall mosaics depicting scenes from the Bible in the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • South wall mosaics depicting the bibliacl story of Noah in the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • North wall mosaics depicting scenes from the Bible in the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • North wall mosaics depicting scenes from the Bible in the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • North wall mosaics depicting scenes from the Bible in the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • Mosaics of the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • South wall mosaics depicting the bibliacl story of Noah in the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • South wall mosaics depicting the bibliacl story of Noah in the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • North wall mosaics depicting scenes from the Bible in the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • North wall mosaics depicting scenes from the Bible in the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • North wall mosaics depicting scenes from the Bible in the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • North wall mosaics depicting Abraham about to sacrifice Isaac in the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • South wall mosaics depicting the bibliacl story of Noah in the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • South wall mosaics depicting the bibliacl story of Noah in the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • South wall mosaics depicting the bibliacl story of Noah in the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • South wall mosaics depicting the bibliacl story of Noah in the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • South wall mosaics depicting the bibliacl story of Noah in the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • Christ Pantocrator mosaics of the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • Christ Pantocrator mosaics of the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • Christ Pantocrator mosaics of the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • Christ Pantocrator mosaics of the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • Christ Pantocrator mosaics of the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • North wall mosaics depicting scenes from the Bible in the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • North wall mosaics depicting scenes from the Bible in the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • Christ Pantocrator mosaics of the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • Christ Pantocrator mosaics of the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • South wall mosaics depicting the bibliacl story of Noah in the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • South wall mosaics depicting the bibliacl story of Noah in the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • South wall mosaics depicting the bibliacl story of Noah in the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • North wall mosaics depicting the building of the tower of Babel in the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • North wall mosaics depicting scenes from the Bible in the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • North wall mosaics depicting scenes from the Bible in the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • North wall mosaics depicting scenes from the Bible in the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • North wall mosaics depicting scenes from the Bible in the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • Decorative roof beams of the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • North wall mosaics depicting scenes from the Bible in the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • North wall mosaics depicting scenes from the Bible in the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • North wall mosaics depicting scenes from the Bible in the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • North wall mosaics depicting scenes from the Bible in the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • North wall mosaics depicting scenes from the Bible in the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • North wall mosaics depicting the building of the tower of Babel in the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • South wall mosaics depicting the bibliacl story of Noah in the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • South wall mosaics depicting the bibliacl story of Noah in the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • South wall mosaics depicting the bibliacl story of Noah in the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • South wall mosaics depicting the bibliacl story of Noah in the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • Christ Pantocrator mosaics of the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • Christ Pantocrator mosaics of the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • Christ Pantocrator mosaics of the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • Christ Pantocrator mosaics of the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • Christ Pantocrator mosaics of the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • Christ Pantocrator mosaics of the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • Christ Pantocrator mosaics of the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • Christ Pantocrator mosaics of the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • Christ Pantocrator mosaics of the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • Christ Pantocrator mosaics of the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • Byzantine mosaics in the Cathedral of Monreale - Noah letting the animals out - Palermo - Sicily Pictures, photos, images & fotos photography
  • Byzantine mosaics in the Cathedral of Monreale - Palermo - Sicily Pictures, photos, images & fotos photography
  • Byzantine mosaics in the Cathedral of Monreale- Building the Tower of Babel  - Palermo - Sicily Pictures, photos, images & fotos photography
  • Byzantine mosaics in the Cathedral of Monreale- Jacob steals the blessing of his father intended for Esau- Palermo - Sicily Pictures, photos, images & fotos photography
  • Byzantine mosaics of Jesus Christ in the Cathedral of Monreale - Palermo - Sicily Pictures, photos, images & fotos photography
  • Byzantine mosaics depicting scenes from the Bible in the Cathedral of Monreale - Palermo - Sicily Pictures, photos, images & fotos photography
  • Byzantine mosaics depicting scenes from the Bible in the Cathedral of Monreale - Palermo - Sicily Pictures, photos, images & fotos photography
  • Byzantine mosaics of Jesus Christ in the Cathedral of Monreale - Palermo - Sicily Pictures, photos, images & fotos photography
  • Main Isle and altar wioth Byzantine mosaics  in the Cathedral of Monreale - Palermo - Sicily Pictures, photos, images & fotos photography
  • South wall mosaics depicting the bibliacl story of Noah in the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • North wall mosaics depicting the building of the tower of Babel in the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • South wall mosaics depicting the bibliacl story of Noah in the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • North wall mosaics depicting scenes from the Bible in the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • North wall mosaics depicting scenes from the Bible in the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • North wall mosaics depicting scenes from the Bible in the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • North wall mosaics depicting scenes from the Bible in the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • North wall mosaics depicting scenes from the Bible in the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • North wall mosaics depicting scenes from the Bible in the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • North wall mosaics depicting scenes from the Bible in the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • North wall mosaics depicting scenes from the Bible in the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • North wall mosaics depicting scenes from the Bible in the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • North wall mosaics depicting scenes from the Bible in the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • Decorative roof beams of the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • Mosaics of the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • South wall mosaics depicting the bibliacl story of Noah in the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • South wall mosaics depicting the bibliacl story of Noah in the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • Mosaics of the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • North wall mosaics depicting scenes from the Bible in the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • North wall mosaics depicting scenes from the Bible in the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • North wall mosaics depicting scenes from the Bible in the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.
  • North wall mosaics depicting scenes from the Bible in the Norman-Byzantine medieval cathedral  of Monreale,  province of Palermo, Sicily, Italy.

FunkyStock Picture Library Resource

Picture The Past

ABOUT

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

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

COUNTRIES

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

VIEW COUNTRIES INDEX....

HISTORICAL

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

EXPLORE HISTORICAL PLACES...

MUSEUMS

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

SEE MUESEUM ANTIQUITIES....