• 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 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.
  • 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 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.  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 />
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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.   Against a grey 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 />
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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.
  • 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 />
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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 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 />
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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 grey 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 />
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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.
  • 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 />
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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 grey art 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 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 />
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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 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.
  • Worker with a column on a horse cart, a detail from an early seventh Century Christian 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
  • Early seventh Century Christian 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.  Against a white background.<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
  • Early seventh Century Christian 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.   Against a grey background.<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
  • Early seventh Century Christian 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. Against a grey art background.<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
  • 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 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.
  • Sixth century Eastern Roman Byzantine  Christian walk in Baptismal font made from marble. The Bardo National Museum, Tunis, Tunisia
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Christ changing Water into wine - Produced in Byzacena -  present day Tunisia. <br />
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These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
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The Bardo National Museum Tunis, Tunisia.  Against a black background.
  • 6th-7th Century v Christian Terracotta tiles depicting Christ changing Water into wine - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Christ changing Water into wine - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia. Against a grey art background.
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Abraham about to offer his son Isaac as a sacrifice<br />
  - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia.  Against a black background.
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Abraham about to offer his son Isaac as a sacrifice<br />
  - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia.   Against a grey background.
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Abraham about to offer his son Isaac as a sacrifice<br />
  - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Abraham about to offer his son Isaac as a sacrifice<br />
  - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia. Against a grey art background.
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Adam & Eve with a serpent wrapped around a tree between them - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia.  Against a black background.
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Adam & Eve with a serpent wrapped around a tree between them - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia.   Against a grey background.
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Adam & Eve with a serpent wrapped around a tree between them - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting a stag - Produced in Byzacena -  present day Tunisia. <br />
<br />
The stag is a traditional Christian symbol for Christ, Who tramples and destroys the Devil. In the Medieval bestiaries the stag as an enemy of snakes. It was believed that stags was believed to chase snakes into their holes or rock crevices, driving them out by flooding the hole with the breath or water from its mouth, and eating them. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia.  Against a white background.
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting a stag - Produced in Byzacena -  present day Tunisia. <br />
<br />
The stag is a traditional Christian symbol for Christ, Who tramples and destroys the Devil. In the Medieval bestiaries the stag as an enemy of snakes. It was believed that stags was believed to chase snakes into their holes or rock crevices, driving them out by flooding the hole with the breath or water from its mouth, and eating them. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia.  Against a black background.
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting two Peacocks - Produced in Byzacena -  present day Tunisia. <br />
<br />
<br />
The patterns of peacock tails contain round decorations. These were seen to be the symbolic eyes of omnipotence and often ascribed to the Archangel Michael. The peacock’s feather is sometimes associated with St. Barbara Also, The peacock, (due to an ancient myth that Peacock flesh did not decay), is seen as a symbol of immortality.<br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia.  Against a black background.
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting two Peacocks - Produced in Byzacena -  present day Tunisia. <br />
<br />
<br />
The patterns of peacock tails contain round decorations. These were seen to be the symbolic eyes of omnipotence and often ascribed to the Archangel Michael. The peacock’s feather is sometimes associated with St. Barbara Also, The peacock, (due to an ancient myth that Peacock flesh did not decay), is seen as a symbol of immortality.<br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia. Against a grey art background.
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting two Peacocks - Produced in Byzacena -  present day Tunisia. <br />
<br />
<br />
The patterns of peacock tails contain round decorations. These were seen to be the symbolic eyes of omnipotence and often ascribed to the Archangel Michael. The peacock’s feather is sometimes associated with St. Barbara Also, The peacock, (due to an ancient myth that Peacock flesh did not decay), is seen as a symbol of immortality.<br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting a bird - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia.   Against a grey background.
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting a stag - Produced in Byzacena -  present day Tunisia. <br />
<br />
The stag is a traditional Christian symbol for Christ, Who tramples and destroys the Devil. In the Medieval bestiaries the stag as an enemy of snakes. It was believed that stags was believed to chase snakes into their holes or rock crevices, driving them out by flooding the hole with the breath or water from its mouth, and eating them. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia.  Against a black background.
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting a stag - Produced in Byzacena -  present day Tunisia. <br />
<br />
The stag is a traditional Christian symbol for Christ, Who tramples and destroys the Devil. In the Medieval bestiaries the stag as an enemy of snakes. It was believed that stags was believed to chase snakes into their holes or rock crevices, driving them out by flooding the hole with the breath or water from its mouth, and eating them. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia.   Against a grey background.
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting a stag - Produced in Byzacena -  present day Tunisia. <br />
<br />
The stag is a traditional Christian symbol for Christ, Who tramples and destroys the Devil. In the Medieval bestiaries the stag as an enemy of snakes. It was believed that stags was believed to chase snakes into their holes or rock crevices, driving them out by flooding the hole with the breath or water from its mouth, and eating them. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting a stag - Produced in Byzacena -  present day Tunisia. <br />
<br />
The stag is a traditional Christian symbol for Christ, Who tramples and destroys the Devil. In the Medieval bestiaries the stag as an enemy of snakes. It was believed that stags was believed to chase snakes into their holes or rock crevices, driving them out by flooding the hole with the breath or water from its mouth, and eating them. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia. Against a grey art background.
  • Detail of a 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Christ - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia. Against a grey art background.
  • Detail of a 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Christ changing Water into wine - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia.  Against a white background.
  • Detail of a 6th-7th Century Eastern Roman Byzantine Christian Terracotta tiles depicting Christ changing Water into wine - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Christ - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia.  Against a black background.
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Christ - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Christ - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia. Against a grey art background.
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Christ changing Water into wine - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional atti-tudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia. v
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Christ changing Water into wine - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional atti-tudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia.  Against a white background.
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting Christ changing Water into wine - Produced in Byzacena -  present day Tunisia. <br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional atti-tudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia
  • Roman staue of Lucius Verus with the idealised body of Diomedes, AD 160-170, inv 6095, Naples National Archaeological Museum, black background
  • Roman staue of Lucius Verus with the idealised body of Diomedes, AD 160-170, inv 6095, Naples National Archaeological Museum, grey background
  • Roman Bronze sculpture of Silenus from atrium of the Villa of the Papyri in Herculaneum, Museum of Archaeology, Italy, white background
  • Roman Bronze sculpture of Silenus from atrium of the Villa of the Papyri in Herculaneum, Museum of Archaeology, Italy, grey background
  • 2nd - 1st century BC Roman marble sculpture of Aphrodite (Venus), ‘Marine Venus' Type with a dolphin, copied from a Hellanistic Greek original,  inv 6296, Museum of Archaeology, Italy, grey background
  • Roman Bronze sculpture of Silenus from atrium of the Villa of the Papyri in Herculaneum, Museum of Archaeology, Italy, grey art background
  • Roman bronze staue of Augustus Ceasar as Pontifex Maximus, late first century B.C, Naples National Archaeological Museum, black background
  • Roman bronze staue of Augustus Ceasar as Pontifex Maximus, late first century B.C, Naples National Archaeological Museum, grey background
  • Full length frontal view of Roman bronze staue of Augustus Ceasar as Pontifex Maximus, late first century B.C, Naples National Archaeological Museum
  • Full length frontal view of 2nd - 1st century BC Roman marble sculpture of Aphrodite (Venus), ‘Marine Venus' Type with a dolphin, copied from a Hellanistic Greek original,  inv 6296, Museum of Archaeology, Italy
  • Roman bronze staue of Augustus Ceasar as Pontifex Maximus, late first century B.C, Naples National Archaeological Museum, grey art background
  • 2nd - 1st century BC Roman marble sculpture of Aphrodite (Venus), ‘Marine Venus' Type with a dolphin, copied from a Hellanistic Greek original,  inv 6296, Museum of Archaeology, Italy, black background
  • Full length frontal view of 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline' Type, copied from a Hellanistic Greek original,  inv 6296, Museum of Archaeology, Italy
  • 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline' Type, copied from a Hellanistic Greek original,  inv 6296, Museum of Archaeology, Italy, black background
  • 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline' Type, copied from a Hellanistic Greek original,  inv 6296, Museum of Archaeology, Italy, white background
  • 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Hellanistic Greek original,  inv 6238, Museum of Archaeology, Italy, white background
  • 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Hellanistic Greek original,  inv 6238, Museum of Archaeology, Italy, grey art background
  • 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Hellanistic Greek original,  inv 6238, Museum of Archaeology, Italy, black background
  • 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Hellanistic Greek original,  inv 6238, Museum of Archaeology, Italy, grey art background
  • 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Hellanistic Greek original,  inv 6238, Museum of Archaeology, Italy, white background
  • 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Hellanistic Greek original,  inv 6238, Museum of Archaeology, Italy, grey background
  • 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Hellanistic Greek original,  inv 6238, Museum of Archaeology, Italy, black background
  • 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Hellanistic Greek original,  inv 6238, Museum of Archaeology, Italy, white background
  • 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Hellanistic Greek original,  inv 6238, Museum of Archaeology, Italy, grey background
  • 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Hellanistic Greek original,  inv 6238, Museum of Archaeology, Italy
  • 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Hellanistic Greek original,  inv 6238, Museum of Archaeology, Italy, grey art background
  • Roman statue of goddes Athena from the tablinum of the Villa of the Papyri in Herculaneum, Museum of Archaeology, Italy, white background
  • Roman statue of goddes Athena from the tablinum of the Villa of the Papyri in Herculaneum, Museum of Archaeology, Italy
  • Roman colossal seated staue of Augustus Caesar, white marble, late first century B.C, inv 6040, Naples National Archaeological Museum, white background
  • Roman colossal seated staue of Augustus Caesar, white marble, late first century B.C, inv 6040, Naples National Archaeological Museum, grey background
  • Roman colossal seated staue of Augustus Caesar, white marble, late first century B.C, inv 6040, Naples National Archaeological Museum
  • Roman Bronze sculpture bust known as 'Sylla" from the tablinium of the Villa of the Papyri in Herculaneum, Museum of Archaeology, Italy, white background
  • Roman Bronze sculpture bust known as 'Sylla" from the tablinum of the Villa of the Papyri in Herculaneum, Museum of Archaeology, Italy, black background
  • End of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy, grey background
  • End of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy, black background
  • End of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • End of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy, grey art background
  • End of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy, grey art background
  • End of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • End of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy, black background
  • Full length view of end of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy
  • End of 2nd century beginning of 3rd century AD Roman marble sculpture of Hercules at rest copied from the second half of the 4th century BC Hellanistic Greek original,  inv 6001, Farnese Collection, Museum of Archaeology, Italy, grey background
  • Roman geometric floor mosaic with roses and flowers, from the Pietra Papa area near the Flavian Gate, Rome. 125-150 BC. National Roman Museum, Rome, Italy
  • Roman geometric floor mosaic  from the Villa of Castel di Guido, Rome. 1st century AD. National Roman Museum, Rome, Italy
  • Roman geometric floor mosaic  from the Villa of Castel di Guido, Rome. 1st century AD. National Roman Museum, Rome, Italy
  • Black and white floor mosaic showing the marine or sea thiasos depicting Poseidon and his retinue.. From the area between the Milvian Bridge and  l'Acqua Acetosa in the locality Tor di Quinto. End of 2nd century AD. National Roman Museum, Rome, Italy
  • Black and white floor mosaic showing the marine or sea thiasos depicting Poseidon and his retinue.. From the area between the Milvian Bridge and  l'Acqua Acetosa in the locality Tor di Quinto. End of 2nd century AD. National Roman Museum, Rome, Italy
  • Roman geometric floor mosaic  from the Villa of Castel di Guido, Rome. 1st century AD. National Roman Museum, Rome, Italy
  • Roman geometric floor mosaic with roses and flowers, from the Pietra Papa area near the Flavian Gate, Rome. 125-150 BC. National Roman Museum, Rome, Italy
  • Geometric Roman floor mosaic. From the  Grotte Celoni area of the via Casilina, Rome. End of 1st and beginning of 2nd century AD. National Roman Museum, Rome, Italy
  • Black and white floor mosaic showing the marine or sea thiasos depicting Poseidon and his retinue.. From the area between the Milvian Bridge and  l'Acqua Acetosa in the locality Tor di Quinto. End of 2nd century AD. National Roman Museum, Rome, Italy
  • Roman geometric floor mosaic with roses and flowers, from the Pietra Papa area near the Flavian Gate, Rome. 125-150 BC. National Roman Museum, Rome, Italy
  • Roman geometric floor mosaic with swastikas. From the Roman villa near Botte, Rome. 1st century BC . National Roman Museum, Rome, Italy
  • Roman  floor mosaic . National Roman Museum, Rome, Italy
  • Black and white floor mosaic showing the marine or sea thiasos depicting Poseidon and his retinue.. From the area between the Milvian Bridge and  l'Acqua Acetosa in the locality Tor di Quinto. End of 2nd century AD. National Roman Museum, Rome, Italy
  • Black and white floor mosaic showing the marine or sea thiasos depicting Poseidon and his retinue.. From the area between the Milvian Bridge and  l'Acqua Acetosa in the locality Tor di Quinto. End of 2nd century AD. National Roman Museum, Rome, Italy
  • Black and white floor mosaic showing the marine or sea thiasos depicting Poseidon and his retinue.. From the area between the Milvian Bridge and  l'Acqua Acetosa in the locality Tor di Quinto. End of 2nd century AD. National Roman Museum, Rome, Italy
  • Roman marble sculpture of Aphrodite (Venus) of the Venus Felix Type , copied from a  2nd to 1st century BC Hellanistic Greek original, inv 6300, Naples Museum of Archaeology, Italy
  • Roman marble sculpture of Aphrodite (Venus) of the Venus Felix Type , copied from a  2nd to 1st century BC Hellanistic Greek original, inv 6300, Naples Museum of Archaeology, Italy
  • Roman marble sculpture of Aphrodite (Venus) of the Venus Felix Type , copied from a  2nd to 1st century BC Hellanistic Greek original, inv 6300, Naples Museum of Archaeology, Italy
  • Roman marble sculpture of Aphrodite (Venus) of the Venus Felix Type , copied from a  2nd to 1st century BC Hellanistic Greek original, inv 6300 Farnese Collection, Naples Museum of Archaeology, Italy
  • 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Bronze Hellanistic original from the mid 3rd century BC  attributed to the Greek sculptor Doldalsas of Bethynia,  inv 6283 Farnese Collection, Naples  Museum of Archaeology, Italy
  • 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Hellanistic Greek original,  inv 6238  Farnese Collection, Naples Museum of Archaeology, Italy
  • 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Bronze Hellanistic original from the mid 3rd century BC  attributed to the Greek sculptor Doldalsas of Bethynia,  inv 6283  Farnese Collection, Naples  Museum of Archaeology, Italy
  • 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Bronze Hellanistic original from the mid 3rd century BC  attributed to the Greek sculptor Doldalsas of Bethynia,  inv 6293, Farnese Collection - Naples Museum of Archaeology, Italy
  • 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Hellanistic Greek original,  inv 6238 Farnese Collection, Naples  Museum of Archaeology, Italy
  • 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Hellanistic Greek original,  inv 6283 - Farnese Collection, Naples Museum of Archaeology, Italy
  • 2nd century AD Roman marble sculpture of Aphrodite (Venus), ‘Dresden Capitoline Type, copied from a Hellanistic Greek original,  inv 6238 Farnese Collection, Naples  Museum of Archaeology, Italy
  • 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.
  • 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.
  • 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.
  • 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.
  • 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.
  • 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.
  • 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.
  • Roman floor mosaic of a tragic actors mask from the  Villa de Ruffinella, Tusculum. End of 1st and beginning of 2nd century AD. National Roman Museum, Rome, Italy
  • Geometric Roman floor mosaic. From the  Grotte Celoni area of the via Casilina, Rome. End of 1st and beginning of 2nd century AD. National Roman Museum, Rome, Italy
  • Roman mosaic with cat and ducks. From the Roman villa on Via Ardeatina, next to Cecchignola, Rome. This Roman mosaic floor panel represents a cat trying to catch a bird in flight and two ducks, one of which is holding a lotus flower in its beak. The style is similar to Hellenistic paintings. The mosaic was found in the triclinium of a Roman villa dating from the first quarter of the 1st century AD and features a central panel using a style known as “opus Vermiculatum” or small tiles to give a greater detail to the mosaic. inv 124137 National Roman Museum, Rome, Italy
  • Floor mosaic with satyr heads and pan.  From a Roman villa which probably belonged to Marcus Aurelius and Lucius Verus. Genazzano. Circo 138-192 AD. National Roman Museum, Rome, Italy
  • Floor mosaic with Dionysus and satyrs at the center within laurel wreath. From the villa of Farnese at S.Giacomo in Settimiana, Rome. 2nd century AD. National Roman Museum, Rome, Italy
  • Roman floor mosaic with birds and floral decorations.  From via Imperale, now Columbus, near the Porta Ardeatina, Rome. 3rd century AD. National Roman Museum, Rome, Italy
  • Roman floor mosaic with birds and floral decorations.  From via Imperale, now Columbus, near the Porta Ardeatina, Rome. 3rd century AD. National Roman Museum, Rome, Italy
  • Roman mosaic of a bust of Dionysus from the Via Flaminia, Rome. 3rd century AD. National Roman Museum, Rome, Italy
  • 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 geometric floor mosaic depicting horsemen and their horses from the Circus  from  a room of a villa  in the locality Baccano near the Via Cassia, Rome. Beginning of the 3rd century AD. National Roman Museum, Rome, Italy
  • Roman geometric floor mosaic depicting horsemen and their horses from the Circus  from  a room of a villa  in the locality Baccano near the Via Cassia, Rome. Beginning of the 3rd century AD. National Roman Museum, Rome, Italy
  • Roman geometric floor mosaic depicting horsemen and their horses from the Circus  from  a room of a villa  in the locality Baccano near the Via Cassia, Rome. Beginning of the 3rd century AD. National Roman Museum, Rome, Italy
  • Roman geometric floor mosaic depicting horsemen and their horses from the Circus  from  a room of a villa  in the locality Baccano near the Via Cassia, Rome. Beginning of the 3rd century AD. National Roman Museum, Rome, Italy
  • Roman geometric floor mosaic depicting Green Faction Charioteer and his horse from the Circus  from  a room of a villa  in the locality Baccano near the Via Cassia, Rome. Beginning of the 3rd century AD. National Roman Museum, Rome, Italy
  • Roman mosaic of a Phoenix, From Daphne, a suburb of Antioch, Antakya, Turkey, 6th century AD. Marble blocks and glass paste cubes. The phoenix is a mythical bird associated with the sun. A phoenix obtains new life by arising from the ashes of its predecessor. The phoenix was subsequently adopted as a symbol in Early Christianity.In the mosaic it is perched rock above a background of rose buds and is bordered by a pair of facing rams. inv 3342, restored in 1936 by the Louvre Museum, Paris
  • Roman mosaic of a Phoenix, From Daphne, a suburb of Antioch, Antakya, Turkey, 6th century AD. Marble blocks and glass paste cubes. The phoenix is a mythical bird associated with the sun. A phoenix obtains new life by arising from the ashes of its predecessor. The phoenix was subsequently adopted as a symbol in Early Christianity.In the mosaic it is perched rock above a background of rose buds and is bordered by a pair of facing rams. inv 3342, restored in 1936 by the Louvre Museum, Paris
  • Roman geometric floor mosaic depicting horsemen and their horses from the Circus  from  a room of a villa  in the locality Baccano near the Via Cassia, Rome. Beginning of the 3rd century AD. National Roman Museum, Rome, Italy
  • Roman geometric floor mosaic depicting horsemen and their horses from the Circus  from  a room of a villa  in the locality Baccano near the Via Cassia, Rome. Beginning of the 3rd century AD. National Roman Museum, Rome, Italy
  • Roman mosaic of a Phoenix, From Daphne, a suburb of Antioch, Antakya, Turkey, 6th century AD. Marble blocks and glass paste cubes. The phoenix is a mythical bird associated with the sun. A phoenix obtains new life by arising from the ashes of its predecessor. The phoenix was subsequently adopted as a symbol in Early Christianity.In the mosaic it is perched rock above a background of rose buds and is bordered by a pair of facing rams. inv 3342, restored in 1936 by the Louvre Museum, Paris
  • Roman mosaic of a Phoenix, From Daphne, a suburb of Antioch, Antakya, Turkey, 6th century AD. Marble blocks and glass paste cubes. The phoenix is a mythical bird associated with the sun. A phoenix obtains new life by arising from the ashes of its predecessor. The phoenix was subsequently adopted as a symbol in Early Christianity.In the mosaic it is perched rock above a background of rose buds and is bordered by a pair of facing rams. inv 3342, restored in 1936 by the Louvre Museum, Paris
  • Roman geometric floor mosaic depicting Green Faction Charioteer and his horse from the Circus  from  a room of a villa  in the locality Baccano near the Via Cassia, Rome. Beginning of the 3rd century AD. National Roman Museum, Rome, Italy
  • Roman geometric floor mosaic depicting horsemen and their horses from the Circus  from  a room of a villa  in the locality Baccano near the Via Cassia, Rome. Beginning of the 3rd century AD. National Roman Museum, Rome, Italy
  • Roman geometric floor mosaic depicting horsemen and their horses from the Circus  from  a room of a villa  in the locality Baccano near the Via Cassia, Rome. Beginning of the 3rd century AD. National Roman Museum, Rome, Italy
  • 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 geometric floor mosaic depicting Blue Faction Charioteer and his horse from the Circus  from  a room of a villa  in the locality Baccano near the Via Cassia, Rome. Beginning of the 3rd century AD. National Roman Museum, Rome, Italy
  • Roman mosaic of an early Christian Basilica from the Eastern Mediterranean, late 5th century AD. Marble blocks, limestone, sandstone and terracotta. The church has three naves and is represented in a 'flattened Perspective’ as can be seen by the facade and along sides forming a straight continuous line. The side wall is deliberately open to make the interior visible . Inv 3677, Louvre Museum, Paris
  • Roman mosaic of a Young boy playing with snakes, possibly an early Christian mosaic. Syria or Lebanon, 5th century AD. Cubes of marble and limestone. Dressed in a long tunic, the child playing with two snakes could be illustrating a passage from the Book of Isai (11.6 to 8). This fragmented mosaic panel once continued in upper part, as indicated by the animal hoofs, and to the right of the mosaic are remains of a Greek inscription. inv 5094. Louvre Museum, Paris
  • Roman geometric floor mosaic with diminutional cube designs, from a Roman villa near Casale de S.Basilio near Via Nomentana, Rome. 1st century BC. National Roman Museum, Rome, Italy
  • Roman geometric floor mosaic with diminutional cube designs, from a Roman villa near Casale de S.Basilio near Via Nomentana, Rome. 1st century BC. National Roman Museum, Rome, Italy
  • Roman mosaic of a Young boy playing with snakes, possibly an early Christian mosaic. Syria or Lebanon, 5th century AD. Cubes of marble and limestone. Dressed in a long tunic, the child playing with two snakes could be illustrating a passage from the Book of Isai (11.6 to 8). This fragmented mosaic panel once continued in upper part, as indicated by the animal hoofs, and to the right of the mosaic are remains of a Greek inscription. inv 5094. Louvre Museum, Paris
  • Roman floor mosaic with birds and floral decorations.  From via Imperale, now Columbus, near the Porta Ardeatina, Rome. 3rd century AD. National Roman Museum, Rome, Italy
  • Roman mosaic of a Young boy playing with snakes, possibly an early Christian mosaic. Syria or Lebanon, 5th century AD. Cubes of marble and limestone. Dressed in a long tunic, the child playing with two snakes could be illustrating a passage from the Book of Isai (11.6 to 8). This fragmented mosaic panel once continued in upper part, as indicated by the animal hoofs, and to the right of the mosaic are remains of a Greek inscription. inv 5094. Louvre Museum, Paris
  • Roman floor mosaic with birds and floral decorations.  From via Imperale, now Columbus, near the Porta Ardeatina, Rome. 3rd century AD. National Roman Museum, Rome, Italy
  • Roman mosaic of a Young boy playing with snakes, possibly an early Christian mosaic. Syria or Lebanon, 5th century AD. Cubes of marble and limestone. Dressed in a long tunic, the child playing with two snakes could be illustrating a passage from the Book of Isai (11.6 to 8). This fragmented mosaic panel once continued in upper part, as indicated by the animal hoofs, and to the right of the mosaic are remains of a Greek inscription. inv 5094. Louvre Museum, Paris
  • Eastern Mediterranean Roman mosaics of Animals, late 5th - 6th century. Marble cubes, and limestone. Three animals are in the race, a dog, a lion and a pheasant. They belonged perhaps to a hunting scene which was a popular floor decoration in houses or they may illustrate the biblical theme of 'Peace of animals', found on the floors of the churches of the Eastern Roman provinces. inv 3672, Louvre Museum, Paris
  • 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 bust of Dionysus from the Via Flaminia, Rome. 3rd century AD. National Roman Museum, Rome, Italy
  • 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 floor mosaic from the  Villa de Ruffinella, Tusculum. End of 1st and beginning of 2nd century AD. National Roman Museum, Rome, Italy
  • Female Portrait (Antioch, Antakya, Turkey), 1st half of 3rd century AD. Marble cubes, limestone and glass. The mosaic bust of a female with a billowing sail that surrounds her head that it could represent the wind. The mosaic decorated the entrance of a dining room and was once flanked it with now lost representations of the marine deities Thalassa and Okeanosinv 3460, Louvre Museum, Paris
  • Birds around a  vase From Daphne, a suburb of Antioch, Antakya, Turkey, 1st half of 3rd century AD. Marble cubes, limestone and glass. A border of geometric perspective cubes surround a scene with one bird sitting on the vase of Daphne whilst the other surround it. The naturalistic skill of the Roman Antioch mosaic artists is so good that it is possible to tell the species of each bird. inv 3461, Louvre Museum, Paris
  • Roman floor mosaic from the  Villa de Ruffinella, Tusculum. End of 1st and beginning of 2nd century AD. National Roman Museum, Rome, Italy
  • Roman floor mosaic  depicting the struggle between Dionysus and the Indians. From the  Villa de Ruffinella, Tusculum. 4th century AD. National Roman Museum, Rome, Italy
  • Roman floor mosaic  depicting the struggle between Dionysus and the Indians. From the  Villa de Ruffinella, Tusculum. 4th century AD. National Roman Museum, Rome, Italy
  • Roman floor mosaic  depicting the struggle between Dionysus and the Indians. From the  Villa de Ruffinella, Tusculum. 4th century AD. National Roman Museum, Rome, Italy
  • Birds around a  vase From Daphne, a suburb of Antioch, Antakya, Turkey, 1st half of 3rd century AD. Marble cubes, limestone and glass. A border of geometric perspective cubes surround a scene with one bird sitting on the vase of Daphne whilst the other surround it. The naturalistic skill of the Roman Antioch mosaic artists is so good that it is possible to tell the species of each bird. inv 3461, Louvre Museum, Paris
  • Roman mosaic floor panes depicting the  seasons. From Capannelle area of the Via Appia Nova, Rome. 4th to 5th century AD. National Roman Museum, Rome, Italy
  • Roman  geometric floor mosaic  with a bust at its centre. From the Forte Prenestino area of Rome. 3rd century AD. National Roman Museum, Rome, Italy
  • Roman  geometric floor mosaic  with a bust at its centre. From the Forte Prenestino area of Rome. 3rd century AD. National Roman Museum, Rome, Italy
  • Roman marble sculpture of Archemedes III from the rectangular peristyle of the Villa of the Papyri in Herculaneum, Naples Museum of Archaeology, Italy
  • Roman marble sculpture of Archemedes III from the rectangular peristyle of the Villa of the Papyri in Herculaneum, Naples Museum of Archaeology, Italy
  • 2nd century AD Roman marble sculptured head known as The Farnese Dionysus,  a Roman copy of a  Hellenistic Geek original, inv 6034, Naples Museum of Archaeology, Italy
  • Roman Relief panal from the Museum of Archaeology, Italy
  • Roman Relief panel of Greek Alcibiades and the prostitute Etere. Inv 6688 - Farnese collection, Naples Museum of Archaeology, Italy
  • Roman Relief panal from the Naples Museum of Archaeology, Italy
  • Roman marble sculptured relief with cupids about to sacrifice bulls, from the Temple of Venus Genetrix in the Forum of Caesar Rome 30 AD , inv 6718 Farnese Collection, Naples Archaeological Museum
  • Roman marble sculptured relief with cupids about to sacrifice bulls, from the Temple of Venus Genetrix in the Forum of Caesar Rome 30 AD , inv 6718 Farnese Collection, Naples Archaeological Museum
  • Roman marble sculptured relief with cupids about to sacrifice bulls, from the Temple of Venus Genetrix in the Forum of Caesar Rome 30 AD , inv 6718 Farnese Collection, Naples Archaeological Museum
  • Roman marble sculptured relief with cupids about to sacrifice bulls, from the Temple of Venus Genetrix in the Forum of Caesar Rome 30 AD , inv 6718 Farnese Collection, Naples Archaeological Museum
  • Roman marble sculptured relief with cupids about to sacrifice bulls, from the Temple of Venus Genetrix in the Forum of Caesar Rome 30 AD , inv 6718 Farnese Collection, Naples Archaeological Museum
  • Roman marble sculpture bust of an Tiberius, 30 AD , inv 6052, Museum of Archaeology, Italy
  • Roman marble sculpture bust of an Tiberius, 30 AD , inv 6052, Museum of Archaeology, Italy
  • Roman marble sculpture bust of an Tiberius, 30 AD , inv 6052, Museum of Archaeology, Italy
  • Roman marble sculpture bust of an Tiberius, 30 AD , inv 6052, Museum of Archaeology, Italy
  • Roman marble sculpture bust of an Tiberius, 30 AD , inv 6052 Farnese Collection, Naples Museum of Archaeology, Italy
  • Roman marble sculpture of Faun, a 2nd century AD copy from an original of a late 2nd - 1st century BC late Hellanistic Greek original, inv 6332  Farnese Collection, Naples Museum of Archaeology, Italy
  • Roman marble sculpture of Faun, a 2nd century AD copy from an original of a late 2nd - 1st century BC late Hellanistic Greek original, inv 6332 Farnes Collection Naples Museum of Archaeology, Italy
  • Roman marble sculpture of Faun, a 2nd century AD copy from an original of a late 2nd - 1st century BC late Hellanistic Greek original, inv 6332Farnese Collection, Naples Museum of Archaeology, Italy
  • Roman marble sculpture known as the ‘Flora Maggiore’ , a 2nd century AD, inv no 5978 Farnese Collection, Naples   Museum of Archaeology, Italy
  • Roman marble sculpture known as the ‘Flora Maggiore’ , a 2nd century AD, inv no 5978 Farnese Collection, Naples   Museum of Archaeology, Italy
  • Roman marble sculpture known as the ‘Flora Maggiore’ , a 2nd century AD, inv no 5978 Farnese Collection, Naples   Museum of Archaeology, Italy
  • Roman marble sculpture known as the ‘Flora Maggiore’ , a 2nd century AD, inv no 5978 Farnese Collection, Naples   Museum of Archaeology, Italy
  • Roman marble sculpture known as the ‘Flora Maggiore’ , a 2nd century AD, inv no 6409 Farnese Collection, Naples  Museum of Archaeology, Italy
  • Roman marble sculpture known as the ‘Flora Maggiore’ , a 2nd century AD, inv no 6409 Farnese Collection, Naples  Museum of Archaeology, Italy
  • Roman marble sculpture of Ganymede with an eagle, a 2nd century AD copy from an original 2nd century BC late Hellanistic Greek original, inv 6405, Naples Museum of Archaeology, Italy
  • Roman marble sculpture of Ganymede with an eagle, a 2nd century AD copy from an original 2nd century BC late Hellanistic Greek original, inv 6405, Naples Museum of Archaeology, Italy
  • Roman marble sculpture of Ganymede with an eagle, a 2nd century AD copy from an original 2nd century BC late Hellanistic Greek original, inv 6405, Naples  Museum of Archaeology, Italy
  • Roman marble sculpture of Ganymede with an eagle, a 2nd century AD copy from an original 2nd century BC late Hellanistic Greek original, inv 6405, Naples Museum of Archaeology, Italy
  • Roman marble sculpture of a warrior on horseback, a 2nd century AD copy from an original 2nd century BC Hellanistic Greek original, inv 6405 Farnese Collection, Naples  Museum of Archaeology, Italy
  • Roman marble sculpture of a warrior on horseback, a 2nd century AD copy from an original 2nd century BC Hellanistic Greek original, inv 6405 Farnese Collection, Naples  Museum of Archaeology, Italy
  • Roman marble sculpture of a warrior on horseback, a 2nd century AD copy from an original 2nd century BC Hellanistic Greek original, inv  6405 Farnese Collection, Naples Museum of Archaeology, Italy
  • Roman marble sculpture of a warrior on horseback, a 2nd century AD copy from an original 2nd century BC Hellanistic Greek original, inv 6405  Farnese Collection, Naples  Museum of Archaeology, Italy
  • Roman marble sculpture of a warrior on horseback, a 2nd century AD copy from an original 2nd century BC Hellanistic Greek original, inv 6405 Farnese Collection, Naples Museum of Archaeology, Italy
  • Roman marble sculpture of an Amazon on horseback, a 2nd century AD copy from an original 2nd century BC Hellanistic Greek original, inv 6407 Farnese Collection, Naples Museum of Archaeology, Italy
  • Roman marble sculpture of a warrior on horseback, a 2nd century AD copy from an original 2nd century BC Hellanistic Greek original, inv 6405 Farnese Collection, Naples  Museum of Archaeology, Italy
  • Roman marble sculpture of an Amazon on horseback, a 2nd century AD copy from an original 2nd century BC Hellanistic Greek original, inv 6407 Farnese Collection, Naples Museum of Archaeology, Italy
  • Roman marble sculpture of an Amazon on horseback, a 2nd century AD copy from an original 2nd century BC Hellanistic Greek original, inv 6407 Farnese Collection, Naples Naples Museum of Archaeology, Italy
  • Roman marble sculpture bust of Lucius Verus with the body of Diomedes, Cuma Munich Type, 160-170 AD, inv 6095 Farnese collection, Naples Museum of Archaeology, Italy
  • Roman marble sculpture with an unrelated head  of Lucius Verus, body 50-75 AD head 160-169 AD, inv 6081 - Farnese Collection, Naples Museum of Archaeology, Italy
  • Roman marble sculpture of Athena from the tabling of the Villa of the Papyri in Herculaneum, Naples Museum of Archaeology, Italy
  • Roman marble sculpture of Athena from the tabling of the Villa of the Papyri in Herculaneum, Naples Museum of Archaeology, Italy
  • Roman marble sculpture of Athena from the tabling of the Villa of the Papyri in Herculaneum, Naples Museum of Archaeology, Italy
  • Roman marble sculpture bust of an unkown women, Late Trajan period 98-117 AD , inv 6074 Farnese Collection, Naples  Museum of Archaeology, Italy
  • Roman marble sculpture bust of an unkown women, Late Trajan period 110-117 AD , inv 6074 Farnese Collection, Naples Museum of Archaeology, Italy
  • Roman marble sculpture bust of an unkown women, Late Trajan period 110-117 AD , inv 6074 Farnese Collection, Naples  Museum of Archaeology, Italy
  • Roman marble sculpture bust of an unkown women, Late Trajan period 110-117 AD , inv 6074 Farnese Collection, Naples  Museum of Archaeology, Italy
  • Roman marble sculpture bust of Sophocles, Farnese Type, 1st century AD copy from an original 4th century BC Hellanistic Greek original, inv 6413, Museum of Archaeology, Italy

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