• 1 cent AD Roman Erotic  Mythical fresco from a house in Pompeii. Naples Archaological Museum inv no: 110590
  • 1 cent AD Roman Erotic  Mythical fresco  from a house in Pompeii. Naples Archaological Museum  inv no: 27697
  • 1 cent AD Roman Mythical Erotic  fresco from a house in Pompeii. Naples Archaological Museum inv no: 110590
  • 1 cent AD Roman Erotic fresco depicting Pan and Hermaphrodite, Pompeii (VI, 9, 6,) Casa die Dioscuri, inv 27700, 1-50 AD, Naples Archaological Museum, Italy
  • 1 cent AD Roman Erotic Mosaic from a house in Pompeii. Naples Archaological Museum
  • 1 cent AD Roman Erotic Mosaic from a house in Pompeii. Naples Archaological Museum
  • 1 cent AD Roman Erotic Mosaic from a house in Pompeii. Naples Archaological Museum
  • "Pan & Goat" Roman Mythical erotic sculpture from Pompeii. Naples Archaeological inv no: 27709
  • Workshop Banner showing Mercury with a massive phalus. Erotic Fresco from Pompeii, Naples Archaeological Museum 1st cent AD
  • Roman fresco wall painting of Ariadne fast asleep on a bed of seaweed does not realise that Theseus is about to abandon her and sailaway on a ship to Athens, Pompeii House of colored Capitals, VII,31-51, inv 9052 , Naples National Archaeological Museum
  • Roman fresco of the divine lovers Venus and Mars, Naples National Archaeological Museum , one of the best paintings excavated from Pompeii, from the house of Venus and Mars (VII 9 47), inv 9248,
  • Roman fresco of the divine lovers Venus and Mars, Naples National Archaeological Museum , one of the best paintings excavated from Pompeii, from the house of Venus and Mars (VII 9 47), inv 9248,
  • Roman fresco  portrait of a baker, Terentius, and his wife in the pose of intellectuals, Naples National Archaeological Museum , their expressions capture the sense of a real moment that connects with the viewer in a direct realistic way , Pompeii VII 2,6 , inv 9058 ,
  • Roman fresco  portrait of a baker, Terentius, and his wife in the pose of intellectuals, Naples National Archaeological Museum , their expressions capture the sense of a real moment that connects with the viewer in a direct realistic way , Pompeii VII 2,6 , inv 9058 ,
  • Roman fresco  portrait of a baker, Terentius, and his wife in the pose of intellectuals, Naples National Archaeological Museum , their expressions capture the sense of a real moment that connects with the viewer in a direct realistic way , Pompeii VII 2,6 , inv 9058 ,
  • Roman fresco  portrait of a baker, Terentius, and his wife in the pose of intellectuals, Naples National Archaeological Museum , their expressions capture the sense of a real moment that connects with the viewer in a direct realistic way , Pompeii VII 2,6 , inv 9058 ,
  • Detail of the Roman fresco wall painting of all the characters in the story of Admetus who, aided by Apollo made the Fates agree not to take Admetus on his 'death day' if he could find someone else to replace him, his wife, Alcestis, dies instead of Admetus but as she decends into the Underworld he discovers that he no longer wants to live without her, Pompeii House of the Tragic Poet, inv 9026, Naples National Archaeological Museum, grey background
  • Detail of the Roman fresco wall painting of all the characters in the story of Admetus who, aided by Apollo made the Fates agree not to take Admetus on his 'death day' if he could find someone else to replace him, his wife, Alcestis, dies instead of Admetus but as she decends into the Underworld he discovers that he no longer wants to live without her, Pompeii House of the Tragic Poet, inv 9026, Naples National Archaeological Museum, black background
  • Detail of the Roman fresco wall painting of all the characters in the story of Admetus who, aided by Apollo made the Fates agree not to take Admetus on his 'death day' if he could find someone else to replace him, his wife, Alcestis, dies instead of Admetus but as she decends into the Underworld he discovers that he no longer wants to live without her, Pompeii House of the Tragic Poet, inv 9026, Naples National Archaeological Museum, art background
  • Roman Nero Period fresco wall painting of Perseus and Andromeda, from a house in the Insula Occidentalis at Pompeii , inv 9058 , Naples National Archaeological Museum , black background
  • Roman Nero Period fresco wall painting of Perseus and Andromeda, from a house in the Insula Occidentalis at Pompeii , inv 9058 , Naples National Archaeological Museum
  • Roman Nero Period fresco wall painting of Perseus and Andromeda, from a house in the Insula Occidentalis at Pompeii , inv 9058 , Naples National Archaeological Museum
  • Roman fresco wall painting of Pirithous with Hippodamia at a wedding who revieving homage from a centaur, the wedding degenerated into a fight after centaurs kidnapped the Lapith women and Theseus had to intervene to calm the situation, Pompeii , inv 9044 , Naples National Archaeological Museum
  • Roman fresco wall painting of Pirithous with Hippodamia at a wedding who revieving homage from a centaur, the wedding degenerated into a fight after centaurs kidnapped the Lapith women and Theseus had to intervene to calm the situation, Pompeii , inv 9044 , Naples National Archaeological Museum
  • Roman fresco wall painting of Ariadne fast asleep on a bed of seaweed does not realise that Theseus is about to abandon her and sailaway on a ship to Athens, Pompeii House of colored Capitals, VII,31-51, inv 9052 , Naples National Archaeological Museum
  • Roman fresco wall painting of the divine lovers Venus and Mars, one of the best paintings excavated from Pompeii, from the house of Venus and Mars (VII 9 47), inv 9248, Naples National Archaeological Museum
  • Detail of the Roman fresco wall painting of all the characters in the story of Admetus who, aided by Apollo made the Fates agree not to take Admetus on his 'death day' if he could find someone else to replace him, his wife, Alcestis, dies instead of Admetus but as she decends into the Underworld he discovers that he no longer wants to live without her, Pompeii House of the Tragic Poet , inv 9026, Naples National Archaeological Museum, white background
  • Detail of the Roman fresco wall painting of all the characters in the story of Admetus who, aided by Apollo made the Fates agree not to take Admetus on his 'death day' if he could find someone else to replace him, his wife, Alcestis, dies instead of Admetus but as she decends into the Underworld he discovers that he no longer wants to live without her, Pompeii House of the Tragic Poet, inv 9026, Naples National Archaeological Museum, grey art background
  • Detail of the Roman fresco wall painting of a Dionysus accompanied by Silenius and two cupids finds Ariadne in a deep sleep, he takes her to Olympus and marries her so giving her immortality ,Pompeii House of the Tragic Poet, inv 9271, Naples National Archaeological Museum,
  • Detail of the Roman fresco wall painting of a young man resting from the  triclinium,  a formal dining room, of the Villa Arianna (Adriana), Stabiae (Stabia) near Pompeii , inv 9093, Naples National Archaeological Museum,  art background
  • Roman fresco wall painting from the Sacrarium of the Temple of Isis in Pompeii depicting the Egyptian god Bes, God of war but also childbirth and the home, and was associated with sexuality, humour, music and dancing, North wall of Sacrarium, Naples National Archaeological Museum , inv 1.72 , Naples National Archaeological Museum , grey background
  • Roman fresco wall painting from the Sacrarium of the Temple of Isis in Pompeii depicting the Egyptian god Bes, God of war but also childbirth and the home, and was associated with sexuality, humour, music and dancing, North wall of Sacrarium, Naples National Archaeological Museum , inv 1.72 , Naples National Archaeological Museum , art background
  • Roman fresco wall painting from the Sacrarium of the Temple of Isis in Pompeii depicting the Egyptian god Bes, God of war but also childbirth and the home, and was associated with sexuality, humour, music and dancing, North wall of Sacrarium, Naples National Archaeological Museum , inv 1.72 , Naples National Archaeological Museum , grey art background
  • Roman Nero Period fresco wall painting of Perseus and Andromeda, from a house in the Insula Occidentalis at Pompeii , inv 9058 , Naples National Archaeological Museum , grey background
  • Roman Nero Period fresco wall painting of Perseus and Andromeda, from a house in the Insula Occidentalis at Pompeii , inv 9058 , Naples National Archaeological Museum , white background
  • Roman Nero Period fresco wall painting of Perseus and Andromeda, from a house in the Insula Occidentalis at Pompeii , inv 9058 , Naples National Archaeological Museum
  • Roman fresco wall painting portrait of a baker, Terentius, and his wife in the pose of intellectuals, their expressions capture the sense of a real moment that connects with the viewer in a direct realistic way , Pompeii VII 2,6 , inv 9058 , Naples National Archaeological Museum
  • Roman fresco wall painting portrait of a baker, Terentius, and his wife in the pose of intellectuals, their expressions capture the sense of a real moment that connects with the viewer in a direct realistic way , Pompeii VII 2,6 , inv 9058 , Naples National Archaeological Museum
  • Roman fresco wall painting of Dionysus who, with the aid of a cupid, discovers Ariadne in a deep sleep at the foot of Hypnos, Pompeii VI 14,30, inv 111210, Naples National Archaeological Museum
  • Roman Erotic Fresco from Pompeii, 1st cent AD , workshop Banner showing Mercury with a massive phalus , Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • Roman Erotic Fresco from Pompeii depicting  sexual activities,  Naples National Archaeological Museum - 1st cent AD , inv no: 27697
  • Roman Erotic Fresco from Pompeii depicting  a Satyr surprising a maiden,  Naples National Archaeological Museum - 50-79 AD , inv no 27693 ,
  • A Roman erotic fresco painting from Pompeii depicting Pan and  Hermaphrodite,  Naples National Archaeological, 50-79 AD , inv no 27700 , Naples National Secret Museum or Secret Cabinet,
  • Roman Erotic Fresco from Pompeii depicting  sexual activities,  Naples National Archaeological Museum - from a private house venereum, 50-79 AD , , inv no 27696 ,
  • Roman Erotic Fresco from Pompeii depicting  sexual activities,  Naples National Archaeological Museum - from a private house venereum, 50-79 AD , , inv no 27696 ,
  • A Roman erotic fresco painting from Pompeii,  Naples National Archaeological, 1st cent AD ,  Secret Museum or Secret Cabinet,
  • A Roman erotic fresco painting from Pompeii,  Naples National Archaeological, 1st cent AD ,  Secret Museum or Secret Cabinet,
  • A Roman erotic fresco painting from Pompeii depicting satyr caressing a maiden,  Naples National Archaeological, 1st cent AD , from the Casa di L Cecilio Giocondo, inv no 110590 , Secret Museum or Secret Cabinet,
  • A Roman erotic fresco painting from Pompeii depicting satyr caressing a maiden,  Naples National Archaeological, 1st cent AD , from the Casa di L Cecilio Giocondo, inv no 110590 , Secret Museum or Secret Cabinet,
  • A Roman erotic fresco painting from Pompeii depicting Satyr caressing Hermaphrodite,  Naples National Archaeological  from the tablium of the Casa di Epidio Sabino, inv no 27875 , Secret Museum or Secret Cabinet,
  • A Roman erotic fresco painting from Pompeii depicting Satyr caressing Hermaphrodite,  Naples National Archaeological  from the tablium of the Casa di Epidio Sabino, inv no 27875 , Secret Museum or Secret Cabinet,
  • A Roman erotic fresco painting from Pompeii,  Naples National Archaeological Museum , form the venereum, a room for sexual activities, of Casa di Cecilio Giocondo 50-79 AD  , inv no 10569 , Secret Museum or Secret Cabinet,
  • Roman Erotic Fresco from Pompeii depicting  a man & woman having sex Naples National Archaeological Museum - 1st century AD
  • Roman Erotic Fresco from Pompeii depicting  a man & woman having sex Naples National Archaeological Museum - 1st century AD
  • Roman Erotic Fresco from Pompeii depicting  sexual activities,  Naples National Archaeological Museum - 1st cent AD , inv no: 27697
  • Roman Erotic Fresco from Pompeii depicting  sexual activities,  Naples National Archaeological Museum - 1st cent AD , inv no: 27697
  • Roman Nero Period fresco wall painting of Perseus and Andromeda, Naples National Archaeological Museum, from a house in the Insula Occidentalis at Pompeii , inv 9058 ,
  • Roman Nero Period fresco wall painting of Perseus and Andromeda, Naples National Archaeological Museum, from a house in the Insula Occidentalis at Pompeii , inv 9058 ,
  • Pompeii Roman Erotic Fresco of Mercury with a massive phalus rom Naples National Archaeological Museum, 1st cent AD , workshop Banner
  • Roman Erotic Fresco from Pompeii depicting Mars caressing Venus, Naples National Archaeological Museum - 1st century AD
  • Roman Erotic Fresco from Pompeii depicting  a man & woman having sex Naples National Archaeological Museum - 1st century AD
  • Pompeii Roman Erotic Fresco of Mercury with a massive phalus rom Naples National Archaeological Museum, 1st cent AD , workshop Banner
  • A Roman erotic fresco painting from Pompeii depicting Pan and  Hermaphrodite,  Naples National Archaeological, 50-79 AD , inv no 27700 , Naples National Secret Museum or Secret Cabinet,
  • A Roman erotic fresco painting from Pompeii depicting satyr caressing a maiden,  Naples National Archaeological, 1st cent AD , from the Casa di L Cecilio Giocondo, inv no 110590 , Secret Museum or Secret Cabinet,
  • A Roman erotic fresco painting from Pompeii depicting Satyr caressing Hermaphrodite,  Naples National Archaeological  from the tablium of the Casa di Epidio Sabino, inv no 27875 , Secret Museum or Secret Cabinet,
  • A Roman erotic fresco painting from Pompeii,  Naples National Archaeological Museum , form the venereum, a room for sexual activities, of Casa di Cecilio Giocondo 50-79 AD  , inv no 10569 , Secret Museum or Secret Cabinet,
  • A Roman erotic fresco painting from Pompeii,  Naples National Archaeological Museum , form the venereum, a room for sexual activities, of Casa di Cecilio Giocondo 50-79 AD  , inv no 10569 , Secret Museum or Secret Cabinet,
  • A Roman erotic fresco painting from Pompeii,  Naples National Archaeological Museum , form the venereum, a room for sexual activities, of Casa di Cecilio Giocondo 50-79 AD  , inv no 10569 , Secret Museum or Secret Cabinet,
  • A Roman erotic fresco painting from Pompeii,  Naples National Archaeological Museum , form the venereum, a room for sexual activities, of Casa di Cecilio Giocondo 50-79 AD  , inv no 10569 , Secret Museum or Secret Cabinet,
  • A Roman erotic fresco painting from Pompeii,  Naples National Archaeological Museum , form the venereum, a room for sexual activities, of Casa di Cecilio Giocondo 50-79 AD  , inv no 10569 , Secret Museum or Secret Cabinet,
  • Roman Erotic Fresco from Pompeii depicting  sexual activities,  Naples National Archaeological Museum - from a private house venereum, 50-79 AD , , inv no 27696 ,
  • Roman Erotic Fresco from Pompeii depicting  sexual activities,  Naples National Archaeological Museum - from a private house venereum, 50-79 AD , , inv no 27696 ,
  • Pompeii Roman Erotic Fresco of Mercury with a massive phalus rom Naples National Archaeological Museum, 1st cent AD , workshop Banner
  • Roman Erotic Fresco from Pompeii depicting Mars caressing Venus, Naples National Archaeological Museum - 1st century AD
  • Roman Erotic Fresco from Pompeii depicting Satyr being rejected by Hermaphrodite, Naples National Archaeological Museum - 50-79 AD , inv no 110878 , Secret Museum or Secret Cabinet
  • Roman Erotic Fresco from Pompeii depicting Satyr being rejected by Hermaphrodite, Naples National Archaeological Museum - 50-79 AD , inv no 110878 , Secret Museum or Secret Cabinet
  • Roman Erotic Fresco from Pompeii depicting Mars caressing Venus, Naples National Archaeological Museum - 1st century AD
  • Pompeii Roman Erotic Fresco of Mercury with a massive phalus rom Naples National Archaeological Museum, 1st cent AD , workshop Banner
  • Pompeii Roman Erotic Fresco of Mercury with a massive phalus rom Naples National Archaeological Museum, 1st cent AD , workshop Banner
  • Roman Erotic Fresco from Pompeii depicting  sexual activities,  Naples National Archaeological Museum - 1st cent AD , inv no: 27697
  • Roman Erotic Fresco from Pompeii depicting  a Satyr surprising a maiden,  Naples National Archaeological Museum - 50-79 AD , inv no 27693 ,
  • Roman Erotic Fresco from Pompeii depicting  sexual activities,  Naples National Archaeological Museum - from a private house venereum, 50-79 AD , , inv no 27696 ,
  • Roman Erotic Fresco from Pompeii depicting  sexual activities,  Naples National Archaeological Museum - from a private house venereum, 50-79 AD , , inv no 27696 ,
  • Roman Erotic Fresco from Pompeii depicting Mars caressing Venus, Naples National Archaeological Museum - 1st century AD
  • Pompeii Roman Erotic Fresco of Mercury with a massive phalus rom Naples National Archaeological Museum, 1st cent AD , workshop Banner
  • Interior Byzantine Romanesque style Christian frescoes of biblical scenes, Santissima Trinita di Saccargia, consecrated 1116 AD, Codrongianos, Sardinia.
  • Interior Byzantine Romanesque style Christian frescoes of scens from the life of Christ, Santissima Trinita di Saccargia, consecrated 1116 AD, Codrongianos, Sardinia. Panorama
  • Central aisle looking towards the Byzantine Romanesque style Christian frescoes above the altar, Santissima Trinita di Saccargia, consecrated 1116 AD, Codrongianos, Sardinia.
  • Interior Byzantine Romanesque style Christian frescoes of biblical scenes, Santissima Trinita di Saccargia, consecrated 1116 AD, Codrongianos, Sardinia.
  • Interior Byzantine Romanesque style Christian frescoes of biblical scenes, Santissima Trinita di Saccargia, consecrated 1116 AD, Codrongianos, Sardinia.
  • Interior Byzantine Romanesque style Christian frescoes of biblical scenes, Santissima Trinita di Saccargia, consecrated 1116 AD, Codrongianos, Sardinia.
  • Interior Byzantine Romanesque style Christian frescoes of the central apse with Christ Pantocrator (in majesty) in a maodorla, Santissima Trinita di Saccargia, consecrated 1116 AD, Codrongianos, Sardinia.
  • Interior Byzantine Romanesque style Christian frescoes of the central apse with Christ Pantocrator (in majesty) in a maodorla, Santissima Trinita di Saccargia, consecrated 1116 AD, Codrongianos, Sardinia.
  • Interior Byzantine Romanesque style Christian frescoes of the central apse with Christ Pantocrator (in majesty) in a maodorla, Santissima Trinita di Saccargia, consecrated 1116 AD, Codrongianos, Sardinia.
  • Interior Byzantine Romanesque style Christian frescoes of the central apse with Christ Pantocrator (in majesty) in a maodorla, Santissima Trinita di Saccargia, consecrated 1116 AD, Codrongianos, Sardinia.
  • Interior Byzantine Romanesque style Christian frescoes of biblical scenes, Santissima Trinita di Saccargia, consecrated 1116 AD, Codrongianos, Sardinia.
  • Interior Byzantine Romanesque style Christian frescoes of the central apse with Christ Pantocrator (in majesty) in a maodorla, Santissima Trinita di Saccargia, consecrated 1116 AD, Codrongianos, Sardinia.
  • Interior Byzantine Romanesque style Christian frescoes of the central apse with Christ Pantocrator (in majesty) in a maodorla, Santissima Trinita di Saccargia, consecrated 1116 AD, Codrongianos, Sardinia.
  • Interior Byzantine Romanesque style Christian frescoes of the central apse with Christ Pantocrator (in majesty) in a maodorla, Santissima Trinita di Saccargia, consecrated 1116 AD, Codrongianos, Sardinia.
  • Early Renaissance frescoes by Vitale da Bologna (1309 — 1369) of Christ Pantocrator (in majesty), pinted in the Byzantine style of Christ appearing in a madorla or eye. Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Early Renaissance frescoes by Vitale da Bologna (1309 — 1369) of Christ Pantocrator (in majesty), pinted in the Byzantine style of Christ appearing in a madorla or eye. Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Early Renaissance frescoes by Vitale da Bologna (1309 — 1369) of Christ Pantocrator (in majesty), pinted in the Byzantine style of Christ appearing in a madorla or eye. Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Early Renaissance frescoes by Vitale da Bologna (1309 — 1369) of Christ Pantocrator (in majesty), pinted in the Byzantine style of Christ appearing in a madorla or eye. Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Early Renaissance frescoes by Vitale da Bologna (1309 — 1369) of Christ Pantocrator (in majesty), pinted in the Byzantine style of Christ appearing in a madorla or eye. Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Early Renaissance frescoes by Vitale da Bologna (1309 — 1369) of Christ Pantocrator (in majesty), pinted in the Byzantine style of Christ appearing in a madorla or eye. Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Early Renaissance frescoes by Vitale da Bologna (1309 — 1369) of Christ Pantocrator (in majesty), pinted in the Byzantine style of Christ appearing in a madorla or eye. Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Early Renaissance frescoes by Vitale da Bologna (1309 — 1369) of Christ Pantocrator (in majesty), pinted in the Byzantine style of Christ appearing in a madorla or eye. Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Early Renaissance frescoes by Vitale da Bologna (1309 — 1369) of Christ Pantocrator (in majesty), pinted in the Byzantine style of Christ appearing in a madorla or eye. Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Early Renaissance frescoes by Vitale da Bologna (1309 — 1369) of Christ Pantocrator (in majesty), pinted in the Byzantine style of Christ appearing in a madorla or eye. Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Early Renaissance frescoes by Vitale da Bologna (1309 — 1369) of Christ Pantocrator (in majesty), pinted in the Byzantine style of Christ appearing in a madorla or eye. Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Early Renaissance frescoes by Vitale da Bologna (1309 — 1369) of Christ Pantocrator (in majesty), pinted in the Byzantine style of Christ appearing in a madorla or eye. Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Early Renaissance frescoes by Vitale da Bologna (1309 — 1369) of Christ Pantocrator (in majesty), pinted in the Byzantine style of Christ appearing in a madorla or eye. Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Early Renaissance frescoes by Vitale da Bologna (1309 — 1369) of Christ Pantocrator (in majesty), pinted in the Byzantine style of Christ appearing in a madorla or eye. Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Early Renaissance frescoes by Vitale da Bologna (1309 — 1369) of Christ Pantocrator (in majesty), pinted in the Byzantine style of Christ appearing in a madorla or eye. Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Early Renaissance frescoes by Vitale da Bologna (1309 — 1369) of Christ Pantocrator (in majesty), pinted in the Byzantine style of Christ appearing in a madorla or eye. Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Early Renaissance frescoes by Vitale da Bologna (1309 — 1369) of Christ Pantocrator (in majesty), pinted in the Byzantine style of Christ appearing in a madorla or eye. Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Interior Byzantine Romanesque style Christian frescoes, Santissima Trinita di Saccargia, consecrated 1116 AD, Codrongianos, Sardinia.
  • Interior Byzantine Romanesque style Christian frescoes, Santissima Trinita di Saccargia, consecrated 1116 AD, Codrongianos, Sardinia.
  • Mredieval Gothic frescoes in San Miniato al Monte (St. Minias on the Mountain) basilica , Florence, Italy.
  • Mredieval Gothic frescoes in San Miniato al Monte (St. Minias on the Mountain) basilica , Florence, Italy.
  • Mredieval Gothic frescoes in San Miniato al Monte (St. Minias on the Mountain) basilica , Florence, Italy.
  • Frescoes of the Sacristy depicting the life of Saint Benedict dating from 1387 and commissioned by Benedetto degli Alberti  .San Miniato al Monte (St. Minias on the Mountain) basilica , Florence, Italy.
  • Frescoes of the Sacristy depicting the life of Saint Benedict dating from 1387 and commissioned by Benedetto degli Alberti  .San Miniato al Monte (St. Minias on the Mountain) basilica , Florence, Italy.
  • Frescoes of the Sacristy depicting the life of Saint Benedict dating from 1387 and commissioned by Benedetto degli Alberti  .San Miniato al Monte (St. Minias on the Mountain) basilica , Florence, Italy.
  • Frescoes of the Sacristy depicting the life of Saint Benedict dating from 1387 and commissioned by Benedetto degli Alberti  .San Miniato al Monte (St. Minias on the Mountain) basilica , Florence, Italy.
  • Frescoes of the Sacristy depicting the life of Saint Benedict dating from 1387 and commissioned by Benedetto degli Alberti  .San Miniato al Monte (St. Minias on the Mountain) basilica , Florence, Italy.
  • Detail of the Roman fresco wall painting of a young man resting from the  triclinium,  a formal dining room, of the Villa Arianna (Adriana), Stabiae (Stabia) near Pompeii , inv 9093, Naples National Archaeological Museum, grey background
  • Roman fresco wall painting of a Nereid lying on a sea horse  from the  triclinium,  a formal dining room, of the Villa Arianna (Adriana), Stabiae (Stabia) near Pompeii , inv 8859, Naples National Archaeological Museum
  • Roman fresco wall painting of a women thinking from the Villa Arianna (Adriana), Stabiae (Stabia) near Pompeii , inv 9097, Naples National Archaeological Museum , grey art background
  • Detail of the Roman fresco wall painting of a young man resting from the  triclinium,  a formal dining room, of the Villa Arianna (Adriana), Stabiae (Stabia) near Pompeii , inv 9093, Naples National Archaeological Museum, white background
  • Detail of the Roman fresco wall painting of a young man resting from the  triclinium,  a formal dining room, of the Villa Arianna (Adriana), Stabiae (Stabia) near Pompeii , inv 9093, Naples National Archaeological Museum, black background
  • Detail of the Roman fresco wall painting of a young man resting from the  triclinium,  a formal dining room, of the Villa Arriana (Adriana), Stabiae (Stabia) near Pompeii , inv 9093, Naples National Archaeological Museum, grey art background
  • Detail of the Roman fresco wall painting of a Discus thrower from the  triclinium,  a formal dining room, of the Villa Arriana (Adriana), Stabiae (Stabia) near Pompeii , inv 9053, Naples National Archaeological Museum
  • Detail of the Roman fresco wall painting of a Nereid lying on a sea panther  from the  triclinium,  a formal dining room, of the Villa Arianna (Adriana), Stabiae (Stabia) near Pompeii , inv 8870, Naples National Archaeological Museum
  • Roman fresco wall painting of a women thinking from the Villa Arianna (Adriana), Stabiae (Stabia) near Pompeii , inv 9097, Naples National Archaeological Museum , art background
  • Detail of the Roman fresco wall painting of a women thinking from the Villa Arianna (Adriana), Stabiae (Stabia) near Pompeii , inv 9097, Naples National Archaeological Museum ,
  • Roman fresco wall painting of a women thinking from the Villa Arianna (Adriana), Stabiae (Stabia) near Pompeii , inv 9097, Naples National Archaeological Museum , black background
  • Roman fresco wall painting of a women thinking from the Villa Arianna (Adriana), Stabiae (Stabia) near Pompeii , inv 9097, Naples National Archaeological Museum , white background
  • Roman fresco wall painting of a women thinking from the Villa Arianna (Adriana), Stabiae (Stabia) near Pompeii , inv 9097, Naples National Archaeological Museum , grey background
  • Roman fresco wall painting from the Sacrarium of the Temple of Isis in Pompeii depicting the Egyptian god Bes, God of war but also childbirth and the home, and was associated with sexuality, humour, music and dancing, North wall of Sacrarium, Naples National Archaeological Museum , inv 1.72 , Naples National Archaeological Museum , white background
  • Roman fresco wall painting from the Sacrarium of the Temple of Isis in Pompeii depicting the Egyptian god Bes, God of war but also childbirth and the home, and was associated with sexuality, humour, music and dancing, North wall of Sacrarium, Naples National Archaeological Museum , inv 1.72 , Naples National Archaeological Museum black background
  • 11th cetury Romanesque campinal, one of the finest left standing, of the Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Roanesque relief sculpture details on the 11th centruy portico of the Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Roanesque relief sculpture details on the 11th centruy portico of the Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Roanesque relief sculpture details on the 11th centruy portico of the Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Roanesque relief sculpture details on the 11th centruy portico of the Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Roanesque relief sculpture details on the 11th centruy portico of the Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Roanesque relief sculpture details on the 11th centruy portico of the Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Roanesque relief sculpture details on the 11th centruy portico of the Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Roanesque relief sculpture details on the 11th centruy portico of the Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Roanesque relief sculpture details on the 11th centruy portico of the Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • 11th cetury Romanesque campinal, one of the finest left standing, of the Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • 11th century Romanesque portico of the Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Roanesque relief sculpture details on the 11th centruy portico of the Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Roanesque relief sculpture details on the 11th centruy portico of the Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Roanesque relief sculpture details on the 11th centruy portico of the Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Roanesque relief sculpture details on the 11th centruy portico of the Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Roanesque relief sculpture details on the 11th centruy portico of the Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Roanesque relief sculpture details on the 11th centruy portico of the Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Reconstruction of  the inside of the Greek Tomb of  the Diver  [La Tomba del Truffatore] from the Greek city of Poseidonia which became Roman Paestum. .   The rear panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables on which goblets have been placed.  The abondon experienced at the Synposium was one way in which the dead could access the next world .  The fresco on the lid of the tomb and shows a  diving from a column into water. The column represents the border of thye known world and therefore the limit of man's knowledge.  The dive represents the passage form this world to the next. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Greek Fresco on the inside of Tomb of  the Diver  [La Tomba del Truffatore] from the Greek city of Poseidonia which became Roman Paestum. This panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables.  The men on the couches are playing the song of Eros the liar and the flute to distract the deceased from worldly thoughts so he can enter the next world. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Roman fresco from Zeugma. 2nd - 3rd century AD.  Zeugma Mosaic Museum, Gaziantep, Turkey.
  • Roman fresco from Zeugma. 2nd - 3rd century AD.  Zeugma Mosaic Museum, Gaziantep, Turkey.
  • Roman Frescos of Pompei arhaeological site.
  • Roman Frescos of Pompei arhaeological site.
  • Roman Frescos of Pompei arhaeological site.
  • Greek Fresco on the inside of Tomb of  the Diver  [La Tomba del Truffatore] from the Greek city of Poseidonia which became Roman Paestum. This panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables.  The men on the couches are playing the song of Eros the liar and the flute to distract the deceased from worldly thoughts so he can enter the next world. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Greek Fresco on the inside of Tomb of  the Diver  [La Tomba del Truffatore] from the Greek city of Poseidonia which became Roman Paestum. This panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables.  The men on the couches are playing the song of Eros the liar and the flute to distract the deceased from worldly thoughts so he can enter the next world. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Reconstruction of  the inside of the Greek Tomb of  the Diver  [La Tomba del Truffatore] from the Greek city of Poseidonia which became Roman Paestum. .   The rear panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables on which goblets have been placed.  The abondon experienced at the Synposium was one way in which the dead could access the next world .  The fresco on the lid of the tomb and shows a  diving from a column into water. The column represents the border of thye known world and therefore the limit of man's knowledge.  The dive represents the passage form this world to the next. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Greek Fresco on the inside of Tomb of  the Diver  [La Tomba del Truffatore] from the Greek city of Poseidonia which became Roman Paestum. This panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables.  The men on the couches are playing the song of Eros the liar and the flute to distract the deceased from worldly thoughts so he can enter the next world. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Reconstruction of  the inside of the Greek Tomb of  the Diver  [La Tomba del Truffatore] from the Greek city of Poseidonia which became Roman Paestum. .   The rear panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables on which goblets have been placed.  The abondon experienced at the Synposium was one way in which the dead could access the next world .  The fresco on the lid of the tomb and shows a  diving from a column into water. The column represents the border of thye known world and therefore the limit of man's knowledge.  The dive represents the passage form this world to the next. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Reconstruction of  the inside of the Greek Tomb of  the Diver  [La Tomba del Truffatore] from the Greek city of Poseidonia which became Roman Paestum. .   The rear panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables on which goblets have been placed.  The abondon experienced at the Synposium was one way in which the dead could access the next world .  The fresco on the lid of the tomb and shows a  diving from a column into water. The column represents the border of thye known world and therefore the limit of man's knowledge.  The dive represents the passage form this world to the next. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Roman Erotic Fresco from Pompeii, 1st cent AD , workshop Banner showing Mercury with a massive phalus , Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • 1 cent AD Roman Erotic  fresco depicting Mars and Venus  Pompeii (VI, 9, 2,) Casa die Meleagro, inv 9250, 1st century AD, Naples Archaological Museum , Italy
  • 1 cent AD Roman Erotic  fresco depicting Mars and Venus  Pompeii (VI, 9, 2,) Casa die Meleagro, inv 9250, 1st century AD, Naples Archaological Museum , Italy
  • 1 cent AD Roman Erotic fresco depicting Pan and Hermaphrodite, Pompeii (VI, 9, 6,) Casa die Dioscuri, inv 27700, 1-50 AD, Naples Archaological Museum, Italy
  • 1 cent AD Roman Erotic fresco depicting Pan and Hermaphrodite, Pompeii (VI, 9, 6,) Casa die Dioscuri, inv 27700, 1-50 AD, Naples Archaological Museum, Italy
  • 1 cent AD Roman Erotic  fresco from a house in Pompeii. Naples Archaological Museum
  • 1 cent AD Roman Erotic  fresco from a house in Pompeii. Naples Archaological Museum
  • The 11th century Roman Byzantine Church of the Holy Saviour in Chora and its Anastasis fresco of the parecclesion chapel. Christ is depicted saving Adam and Eve by reurecting them from their sarcophagi. Endowed between 1315-1321 by the powerful Byzantine statesman and humanist  Theodore Metochites. Kariye Museum  Istanbul
  • The 11th century Roman Byzantine Church of the Holy Saviour in Chora and its Anastasis fresco of the parecclesion chapel Endowed between 1315-1321 by the powerful Byzantine statesman and humanist  Theodore Metochites. Kariye Museum  Istanbul
  • 1 cent AD Roman Erotic Mosaic from a house in Pompeii. Naples Archaological Museum
  • 1 cent AD Roman Erotic Mosaic from a house in Pompeii. Naples Archaological Museum
  • Fresco of the Last Judgement on the inside of the Dome by Vasari, begun in 1568, and completed by Federico Zuccaro in 1579. Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ).  Built between 1293 & 1436. Italy
  • Fresco of the Last Judgement on the inside of the Dome by Vasari, begun in 1568, and completed by Federico Zuccaro in 1579. Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ).  Built between 1293 & 1436. Italy
  • Fresco of the Last Judgement on the inside of the Dome by Vasari, begun in 1568, and completed by Federico Zuccaro in 1579. Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ).  Built between 1293 & 1436. Italy
  • Fresco of the Last Judgement on the inside of the Dome by Vasari, begun in 1568, and completed by Federico Zuccaro in 1579. Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ).  Built between 1293 & 1436. Italy
  • Fresco of the Last Judgement on the inside of the Dome by Vasari, begun in 1568, and completed by Federico Zuccaro in 1579. Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ).  Built between 1293 & 1436. Italy
  • Fresco on the Upper part of the Papal Basilica of St Francis of Assisi, ( Basilica Papale di San Francesco ) Assisi, Italy
  • The Thermopolium of Lucius Vetutius Placidus on the Via del Abbondante, with the serving counter with holes that contained amphora of food for sale. The Thermopolium was an eating & drinking house. The painting depicts at the centre the God of the patron and on either side are the lars or protectors of the house, Mercury , God of Commerce & Dionysus, God of wine.
  • The Thermopolium of Lucius Vetutius Placidus on the Via del Abbondante, with the serving counter with holes that contained amphora of food for sale. The Thermopolium was an eating & drinking house. The painting depicts at the centre the God of the patron and on either side are the lars or protectors of the house, Mercury , God of Commerce & Dionysus, God of wine.
  • The Thermopolium of Lucius Vetutius Placidus on the Via del Abbondante, with the serving counter with holes that contained amphora of food for sale. The Thermopolium was an eating & drinking house. The painting depicts at the centre the God of the patron and on either side are the lars or protectors of the house, Mercury , God of Commerce & Dionysus, God of wine.
  • Pictures & images of the interior frescoes of the  Comlekci Church,  10th century, the Vadisi Monastery Valley, "Manastır Vadisi”,  of the Ihlara Valley, Guzelyurt , Aksaray Province, Turkey.<br />
<br />
Comlekci Church is a Roman Byzantine church dating from the 10th century. the south section of the roof frescoes depict the Evangel, Christmas and the adoration of the magi. The northern panel frescoes depict Christ and the Cross.
  • Pictures & images of the interior frescoes of the  Comlekci Church,  10th century, the Vadisi Monastery Valley, "Manastır Vadisi”,  of the Ihlara Valley, Guzelyurt , Aksaray Province, Turkey.<br />
<br />
Comlekci Church is a Roman Byzantine church dating from the 10th century. the south section of the roof frescoes depict the Evangel, Christmas and the adoration of the magi. The northern panel frescoes depict Christ and the Cross.
  • Pictures & images of the interior frescoes of the  Comlekci Church,  10th century, the Vadisi Monastery Valley, "Manastır Vadisi”,  of the Ihlara Valley, Guzelyurt , Aksaray Province, Turkey.<br />
<br />
Comlekci Church is a Roman Byzantine church dating from the 10th century. the south section of the roof frescoes depict the Evangel, Christmas and the adoration of the magi. The northern panel frescoes depict Christ and the Cross.
  • Pictures & images of the interior frescoes of the  Comlekci Church,  10th century, the Vadisi Monastery Valley, "Manastır Vadisi”,  of the Ihlara Valley, Guzelyurt , Aksaray Province, Turkey.<br />
<br />
Comlekci Church is a Roman Byzantine church dating from the 10th century. the south section of the roof frescoes depict the Evangel, Christmas and the adoration of the magi. The northern panel frescoes depict Christ and the Cross.
  • Pictures & images of the interior frescoes of the  Comlekci Church,  10th century, the Vadisi Monastery Valley, "Manastır Vadisi”,  of the Ihlara Valley, Guzelyurt , Aksaray Province, Turkey.<br />
<br />
Comlekci Church is a Roman Byzantine church dating from the 10th century. the south section of the roof frescoes depict the Evangel, Christmas and the adoration of the magi. The northern panel frescoes depict Christ and the Cross.
  • Pictures & images of the interior frescoes of the  Comlekci Church,  10th century, the Vadisi Monastery Valley, "Manastır Vadisi”,  of the Ihlara Valley, Guzelyurt , Aksaray Province, Turkey.<br />
<br />
Comlekci Church is a Roman Byzantine church dating from the 10th century. the south section of the roof frescoes depict the Evangel, Christmas and the adoration of the magi. The northern panel frescoes depict Christ and the Cross.
  • Pictures & images of the interior frescoes of the  Comlekci Church,  10th century, the Vadisi Monastery Valley, "Manastır Vadisi”,  of the Ihlara Valley, Guzelyurt , Aksaray Province, Turkey.<br />
<br />
Comlekci Church is a Roman Byzantine church dating from the 10th century. the south section of the roof frescoes depict the Evangel, Christmas and the adoration of the magi. The northern panel frescoes depict Christ and the Cross.
  • Pictures & images of the interior frescoes of the  Comlekci Church,  10th century, the Vadisi Monastery Valley, "Manastır Vadisi”,  of the Ihlara Valley, Guzelyurt , Aksaray Province, Turkey.<br />
<br />
Comlekci Church is a Roman Byzantine church dating from the 10th century. the south section of the roof frescoes depict the Evangel, Christmas and the adoration of the magi. The northern panel frescoes depict Christ and the Cross.
  • Pictures & images of the interior frescoes of the  Comlekci Church,  10th century, the Vadisi Monastery Valley, "Manastır Vadisi”,  of the Ihlara Valley, Guzelyurt , Aksaray Province, Turkey.<br />
<br />
Comlekci Church is a Roman Byzantine church dating from the 10th century. the south section of the roof frescoes depict the Evangel, Christmas and the adoration of the magi. The northern panel frescoes depict Christ and the Cross.
  • Pictures & images of the interior frescoes of the  Comlekci Church,  10th century, the Vadisi Monastery Valley, "Manastır Vadisi”,  of the Ihlara Valley, Guzelyurt , Aksaray Province, Turkey.<br />
<br />
Comlekci Church is a Roman Byzantine church dating from the 10th century. the south section of the roof frescoes depict the Evangel, Christmas and the adoration of the magi. The northern panel frescoes depict Christ and the Cross.
  • Pictures & images of the interior frescoes of the  Comlekci Church,  10th century, the Vadisi Monastery Valley, "Manastır Vadisi”,  of the Ihlara Valley, Guzelyurt , Aksaray Province, Turkey.<br />
<br />
Comlekci Church is a Roman Byzantine church dating from the 10th century. the south section of the roof frescoes depict the Evangel, Christmas and the adoration of the magi. The northern panel frescoes depict Christ and the Cross.
  • Pictures & images of the interior frescoes of the  Comlekci Church,  10th century, the Vadisi Monastery Valley, "Manastır Vadisi”,  of the Ihlara Valley, Guzelyurt , Aksaray Province, Turkey.<br />
<br />
Comlekci Church is a Roman Byzantine church dating from the 10th century. the south section of the roof frescoes depict the Evangel, Christmas and the adoration of the magi. The northern panel frescoes depict Christ and the Cross.
  • Pictures & images of the interior frescoes of the  Comlekci Church,  10th century, the Vadisi Monastery Valley, "Manastır Vadisi”,  of the Ihlara Valley, Guzelyurt , Aksaray Province, Turkey.<br />
<br />
Comlekci Church is a Roman Byzantine church dating from the 10th century. the south section of the roof frescoes depict the Evangel, Christmas and the adoration of the magi. The northern panel frescoes depict Christ and the Cross.
  • Pictures & images of the interior frescoes of the  Comlekci Church,  10th century, the Vadisi Monastery Valley, "Manastır Vadisi”,  of the Ihlara Valley, Guzelyurt , Aksaray Province, Turkey.<br />
<br />
Comlekci Church is a Roman Byzantine church dating from the 10th century. the south section of the roof frescoes depict the Evangel, Christmas and the adoration of the magi. The northern panel frescoes depict Christ and the Cross.
  • Pictures & images of the interior frescoes of the  Comlekci Church,  10th century, the Vadisi Monastery Valley, "Manastır Vadisi”,  of the Ihlara Valley, Guzelyurt , Aksaray Province, Turkey.<br />
<br />
Comlekci Church is a Roman Byzantine church dating from the 10th century. the south section of the roof frescoes depict the Evangel, Christmas and the adoration of the magi. The northern panel frescoes depict Christ and the Cross.
  • Pictures & images of the interior frescoes of the  Comlekci Church,  10th century, the Vadisi Monastery Valley, "Manastır Vadisi”,  of the Ihlara Valley, Guzelyurt , Aksaray Province, Turkey.<br />
<br />
Comlekci Church is a Roman Byzantine church dating from the 10th century. the south section of the roof frescoes depict the Evangel, Christmas and the adoration of the magi. The northern panel frescoes depict Christ and the Cross.
  • Pictures & images of the interior frescoes of the  Comlekci Church,  10th century, the Vadisi Monastery Valley, "Manastır Vadisi”,  of the Ihlara Valley, Guzelyurt , Aksaray Province, Turkey.<br />
<br />
Comlekci Church is a Roman Byzantine church dating from the 10th century. the south section of the roof frescoes depict the Evangel, Christmas and the adoration of the magi. The northern panel frescoes depict Christ and the Cross.
  • Pictures & images of the interior frescoes of the  Comlekci Church,  10th century, the Vadisi Monastery Valley, "Manastır Vadisi”,  of the Ihlara Valley, Guzelyurt , Aksaray Province, Turkey.<br />
<br />
Comlekci Church is a Roman Byzantine church dating from the 10th century. the south section of the roof frescoes depict the Evangel, Christmas and the adoration of the magi. The northern panel frescoes depict Christ and the Cross.
  • Pictures & images of the interior frescoes of the  Comlekci Church,  10th century, the Vadisi Monastery Valley, "Manastır Vadisi”,  of the Ihlara Valley, Guzelyurt , Aksaray Province, Turkey.<br />
<br />
Comlekci Church is a Roman Byzantine church dating from the 10th century. the south section of the roof frescoes depict the Evangel, Christmas and the adoration of the magi. The northern panel frescoes depict Christ and the Cross.
  • Pictures & images of the interior frescoes of the  Comlekci Church,  10th century, the Vadisi Monastery Valley, "Manastır Vadisi”,  of the Ihlara Valley, Guzelyurt , Aksaray Province, Turkey.<br />
<br />
Comlekci Church is a Roman Byzantine church dating from the 10th century. the south section of the roof frescoes depict the Evangel, Christmas and the adoration of the magi. The northern panel frescoes depict Christ and the Cross.
  • Pictures & images of the interior frescoes of the  Comlekci Church,  10th century, the Vadisi Monastery Valley, "Manastır Vadisi”,  of the Ihlara Valley, Guzelyurt , Aksaray Province, Turkey.<br />
<br />
Comlekci Church is a Roman Byzantine church dating from the 10th century. the south section of the roof frescoes depict the Evangel, Christmas and the adoration of the magi. The northern panel frescoes depict Christ and the Cross.
  • Pictures & images of the interior frescoes of the  Comlekci Church,  10th century, the Vadisi Monastery Valley, "Manastır Vadisi”,  of the Ihlara Valley, Guzelyurt , Aksaray Province, Turkey.<br />
<br />
Comlekci Church is a Roman Byzantine church dating from the 10th century. the south section of the roof frescoes depict the Evangel, Christmas and the adoration of the magi. The northern panel frescoes depict Christ and the Cross.
  • Pictures & images of the interior font of the  Comlekci Church,  10th century, the Vadisi Monastery Valley, "Manastır Vadisi”,  of the Ihlara Valley, Guzelyurt , Aksaray Province, Turkey.<br />
<br />
Comlekci Church is a Roman Byzantine church dating from the 10th century. the south section of the roof frescoes depict the Evangel, Christmas and the adoration of the magi. The northern panel frescoes depict Christ and the Cross.
  • Pictures & images of the interior font of the  Comlekci Church,  10th century, the Vadisi Monastery Valley, "Manastır Vadisi”,  of the Ihlara Valley, Guzelyurt , Aksaray Province, Turkey.<br />
<br />
Comlekci Church is a Roman Byzantine church dating from the 10th century. the south section of the roof frescoes depict the Evangel, Christmas and the adoration of the magi. The northern panel frescoes depict Christ and the Cross.
  • Pictures & images of the exterior of the Comlekci Church,  10th century, the Vadisi Monastery Valley, "Manastır Vadisi”,  of the Ihlara Valley, Guzelyurt , Aksaray Province, Turkey.<br />
<br />
Comlekci Church is a Roman Byzantine church dating from the 10th century. the south section of the roof frescoes depict the Evangel, Christmas and the adoration of the magi. The northern panel frescoes depict Christ and the Cross.
  • Pictures & images of the exterior of the Comlekci Church,  10th century, the Vadisi Monastery Valley, "Manastır Vadisi”,  of the Ihlara Valley, Guzelyurt , Aksaray Province, Turkey.<br />
<br />
Comlekci Church is a Roman Byzantine church dating from the 10th century. the south section of the roof frescoes depict the Evangel, Christmas and the adoration of the magi. The northern panel frescoes depict Christ and the Cross.
  • Pictures & images of the exterior of the Comlekci Church,  10th century, the Vadisi Monastery Valley, "Manastır Vadisi”,  of the Ihlara Valley, Guzelyurt , Aksaray Province, Turkey.<br />
<br />
Comlekci Church is a Roman Byzantine church dating from the 10th century. the south section of the roof frescoes depict the Evangel, Christmas and the adoration of the magi. The northern panel frescoes depict Christ and the Cross.
  • Pictures & images of the exterior of the Comlekci Church,  10th century, the Vadisi Monastery Valley, "Manastır Vadisi”,  of the Ihlara Valley, Guzelyurt , Aksaray Province, Turkey.<br />
<br />
Comlekci Church is a Roman Byzantine church dating from the 10th century. the south section of the roof frescoes depict the Evangel, Christmas and the adoration of the magi. The northern panel frescoes depict Christ and the Cross.
  • Pictures & images of the exterior of the Comlekci Church,  10th century, the Vadisi Monastery Valley, "Manastır Vadisi”,  of the Ihlara Valley, Guzelyurt , Aksaray Province, Turkey.<br />
<br />
Comlekci Church is a Roman Byzantine church dating from the 10th century. the south section of the roof frescoes depict the Evangel, Christmas and the adoration of the magi. The northern panel frescoes depict Christ and the Cross.
  • 13th century Byzantine Roman style frescoes of the apostles on the apse wall of the Romanesque Basilica Church of Santa Maria Maggiore, Tuscania
  • 13th century Byzantine Roman style frescoes of the apostles on the apse wall of the Romanesque Basilica Church of Santa Maria Maggiore, Tuscania
  • The 11th century Roman Byzantine Church of the Holy Saviour in Chora and its Anastasis fresco of the parecclesion chapel. Christ is depicted saving Adam and Eve by reurecting them from their sarcophagi. Endowed between 1315-1321 by the powerful Byzantine statesman and humanist  Theodore Metochites. Kariye Museum  Istanbul
  • The 11th century Roman Byzantine Church of the Holy Saviour in Chora and its Anastasis fresco of the parecclesion chapel. Christ is depicted saving Adam and Eve by reurecting them from their sarcophagi. Endowed between 1315-1321 by the powerful Byzantine statesman and humanist  Theodore Metochites. Kariye Museum  Istanbul
  • The 11th century Roman Byzantine Church of the Holy Saviour in Chora and a fresco of the Virgin Mary and Jesus in the parecclesion chapel Endowed between 1315-1321 by the powerful Byzantine statesman and humanist  Theodore Metochites. Kariye Museum  Istanbul
  • The 11th century Roman Byzantine Church of the Holy Saviour in Chora and its Anastasis fresco of the parecclesion chapel. Christ is depicted saving Adam and Eve by reurecting them from their sarcophagi. Endowed between 1315-1321 by the powerful Byzantine statesman and humanist  Theodore Metochites. Kariye Museum  Istanbul
  • The 11th century Roman Byzantine Church of the Holy Saviour in Chora and the fresco in the dome of the parecclesion of the Virgin Mary and twelve angels .Endowed between 1315-1321 by the powerful Byzantine statesman and humanist  Theodore Metochites. Kariye Museum  Istanbul
  • The 11th century Roman Byzantine Church of the Holy Saviour in Chora and a fresco of an angel in the parecclesion chapel Endowed between 1315-1321 by the powerful Byzantine statesman and humanist  Theodore Metochites. Kariye Museum  Istanbul
  • The 11th century Roman Byzantine Church of the Holy Saviour in Chora and a fresco of a saint in parecclesion chapel Endowed between 1315-1321 by the powerful Byzantine statesman and humanist  Theodore Metochites. Kariye Museum  Istanbul
  • The 11th century Roman Byzantine Church of the Holy Saviour in Chora and its Anastasis fresco of Jesus Christ in the parecclesion chapel Endowed between 1315-1321 by the powerful Byzantine statesman and humanist  Theodore Metochites. Kariye Museum  Istanbul
  • The 11th century Roman Byzantine Church of the Holy Saviour in Chora and its Anastasis fresco of the parecclesion chapel Endowed between 1315-1321 by the powerful Byzantine statesman and humanist  Theodore Metochites. Kariye Museum  Istanbul
  • The 11th century Roman Byzantine Church of the Holy Saviour in Chora and its Anastasis fresco of the parecclesion chapel. Christ is depicted saving  Eve by reurecting them from their sarcophagi. Endowed between 1315-1321 by the powerful Byzantine statesman and humanist  Theodore Metochites. Kariye Museum  Istanbul

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