• Picture of the ancient Roman Aqueduct of the Pont du Gard which crosses the River Gardon near Vers-Pon-du-Gard, France. Part of the 50 km long aqueduct that served the Roman town of Nemausus (Nimes) its 3 tiers of arches stand 48 m high (160 ft). A UNESCO World Heritage Site.
  • Picture of the ancient Roman Aqueduct of the Pont du Gard which crosses the River Gardon near Vers-Pon-du-Gard, France. Part of the 50 km long aqueduct that served the Roman town of Nemausus (Nimes) its 3 tiers of arches stand 48 m high (160 ft). A UNESCO World Heritage Site.
  • Picture at nightime of the ancient Roman Aqueduct of the Pont du Gard which crosses the River Gardon near Vers-Pon-du-Gard, France. Part of the 50 km long aqueduct that served the Roman town of Nemausus (Nimes) its 3 tiers of arches stand 48 m high (160 ft). A UNESCO World Heritage Site.
  • Picture of the ancient Roman Aqueduct of the Pont du Gard which crosses the River Gardon near Vers-Pon-du-Gard, France. Part of the 50 km long aqueduct that served the Roman town of Nemausus (Nimes) its 3 tiers of arches stand 48 m high (160 ft). A UNESCO World Heritage Site.
  • Picture of the ancient Roman Aqueduct of the Pont du Gard which crosses the River Gardon near Vers-Pon-du-Gard, France. Part of the 50 km long aqueduct that served the Roman town of Nemausus (Nimes) its 3 tiers of arches stand 48 m high (160 ft). A UNESCO World Heritage Site.
  • Picture of the ancient Roman Aqueduct of the Pont du Gard which crosses the River Gardon near Vers-Pon-du-Gard, France. Part of the 50 km long aqueduct that served the Roman town of Nemausus (Nimes) its 3 tiers of arches stand 48 m high (160 ft). A UNESCO World Heritage Site.
  • Picture of the ancient Roman Aqueduct of the Pont du Gard which crosses the River Gardon near Vers-Pon-du-Gard, France. Part of the 50 km long aqueduct that served the Roman town of Nemausus (Nimes) its 3 tiers of arches stand 48 m high (160 ft). A UNESCO World Heritage Site.
  • Picture of the water tunnel of the ancient Roman Aqueduct of the Pont du Gard which crosses the River Gardon near Vers-Pon-du-Gard, France. Part of the 50 km long aqueduct that served the Roman town of Nemausus (Nimes) its 3 tiers of arches stand 48 m high (160 ft). A UNESCO World Heritage Site.
  • Picture of the ancient Roman Aqueduct of the Pont du Gard which crosses the River Gardon near Vers-Pon-du-Gard, France. Part of the 50 km long aqueduct that served the Roman town of Nemausus (Nimes) its 3 tiers of arches stand 48 m high (160 ft). A UNESCO World Heritage Site.
  • Picture of the ancient Roman Aqueduct of the Pont du Gard which crosses the River Gardon near Vers-Pon-du-Gard, France. Part of the 50 km long aqueduct that served the Roman town of Nemausus (Nimes) its 3 tiers of arches stand 48 m high (160 ft). A UNESCO World Heritage Site.
  • Picture of the ancient Roman Aqueduct of the Pont du Gard which crosses the River Gardon near Vers-Pon-du-Gard, France. Part of the 50 km long aqueduct that served the Roman town of Nemausus (Nimes) its 3 tiers of arches stand 48 m high (160 ft). A UNESCO World Heritage Site.
  • Picture of the ancient Roman Aqueduct of the Pont du Gard which crosses the River Gardon near Vers-Pon-du-Gard, France. Part of the 50 km long aqueduct that served the Roman town of Nemausus (Nimes) its 3 tiers of arches stand 48 m high (160 ft). A UNESCO World Heritage Site.
  • Picture of the ancient Roman Aqueduct of the Pont du Gard which crosses the River Gardon near Vers-Pon-du-Gard, France. Part of the 50 km long aqueduct that served the Roman town of Nemausus (Nimes) its 3 tiers of arches stand 48 m high (160 ft). A UNESCO World Heritage Site.
  • Picture of the ancient Roman Aqueduct of the Pont du Gard which crosses the River Gardon near Vers-Pon-du-Gard, France. Part of the 50 km long aqueduct that served the Roman town of Nemausus (Nimes) its 3 tiers of arches stand 48 m high (160 ft). A UNESCO World Heritage Site.
  • Picture of the ancient Roman Aqueduct of the Pont du Gard which crosses the River Gardon near Vers-Pon-du-Gard, France. Part of the 50 km long aqueduct that served the Roman town of Nemausus (Nimes) its 3 tiers of arches stand 48 m high (160 ft). A UNESCO World Heritage Site.
  • Picture of the ancient Roman Aqueduct of the Pont du Gard which crosses the River Gardon near Vers-Pon-du-Gard, France. Part of the 50 km long aqueduct that served the Roman town of Nemausus (Nimes) its 3 tiers of arches stand 48 m high (160 ft). A UNESCO World Heritage Site.
  • Picture of the ancient Roman Aqueduct of the Pont du Gard which crosses the River Gardon near Vers-Pon-du-Gard, France. Part of the 50 km long aqueduct that served the Roman town of Nemausus (Nimes) its 3 tiers of arches stand 48 m high (160 ft). A UNESCO World Heritage Site.
  • Picture of the ancient Roman Aqueduct of the Pont du Gard which crosses the River Gardon near Vers-Pon-du-Gard, France. Part of the 50 km long aqueduct that served the Roman town of Nemausus (Nimes) its 3 tiers of arches stand 48 m high (160 ft). A UNESCO World Heritage Site.
  • Picture of the ancient Roman Aqueduct of the Pont du Gard which crosses the River Gardon near Vers-Pon-du-Gard, France. Part of the 50 km long aqueduct that served the Roman town of Nemausus (Nimes) its 3 tiers of arches stand 48 m high (160 ft). A UNESCO World Heritage Site.
  • Blue domed Narrow street of Pyros, Santorini, Greece
  • The Arch of Tiberius at the entrance to the Forum of Pompeii.
  • The Arch of Tiberius at the entrance to the Forum of Pompeii.
  • The Arch of Tiberius at the entrance to the Forum of Pompeii.
  • Detail from The Arch Of Constantine . Rome
  • The Arch of Caracalla, built in 217 by the city's governor, Marcus Aurelius Sebastenus, to honour the emperor Caracalla and his mother Julia Domna.Volubilis Archaeological Site, near Meknes, Morocco
  • The Arch of Caracalla, built in 217 by the city's governor, Marcus Aurelius Sebastenus, to honour the emperor Caracalla and his mother Julia Domna.Volubilis Archaeological Site, near Meknes, Morocco
  • The Arch of Caracalla, built in 217 by the city's governor, Marcus Aurelius Sebastenus, to honour the emperor Caracalla and his mother Julia Domna.Volubilis Archaeological Site, near Meknes, Morocco
  • Detail from The Arch Of Constantine . Rome
  • Painted arch of the Romanesque of the Norman Church of St Mary's Kempley Gloucestershire, England, Europe
  • Painted arch of the Romanesque of the Norman Church of St Mary's Kempley Gloucestershire, England, Europe
  • Painted arch of the Romanesque of the Norman Church of St Mary's Kempley Gloucestershire, England, Europe
  • Ancient corbel arch tunnel under the acropolis of Tiryns (  or ) Mycenaean city archaeological site,  Peloponnesos, Greece. A UNESCO World Heritage Site
  • Ancient corbel arch tunnel under the acropolis of Tiryns (  or ) Mycenaean city archaeological site,  Peloponnesos, Greece. A UNESCO World Heritage Site
  • Ancient corbel arch tunnel under the acropolis of Tiryns (  or ) Mycenaean city archaeological site,  Peloponnesos, Greece. A UNESCO World Heritage Site
  • Ancient corbel arch tunnel under the acropolis of Tiryns (  or ) Mycenaean city archaeological site,  Peloponnesos, Greece. A UNESCO World Heritage Site
  • Ancient corbel arch tunnel under the acropolis of Tiryns (  or ) Mycenaean city archaeological site,  Peloponnesos, Greece. A UNESCO World Heritage Site
  • Ancient corbel arch tunnel under the acropolis of Tiryns (  or ) Mycenaean city archaeological site,  Peloponnesos, Greece. A UNESCO World Heritage Site
  • Ancient corbel arch tunnel under the acropolis of Tiryns (  or ) Mycenaean city archaeological site,  Peloponnesos, Greece. A UNESCO World Heritage Site
  • Ancient corbel arch tunnel under the acropolis of Tiryns (  or ) Mycenaean city archaeological site,  Peloponnesos, Greece. A UNESCO World Heritage Site
  • Ancient corbel arch gate in the walls of Tiryns (  or ) Mycenaean city archaeological site,  Peloponnesos, Greece. A UNESCO World Heritage Site
  • Ancient corbel arch gate in the walls of Tiryns (  or ) Mycenaean city archaeological site,  Peloponnesos, Greece. A UNESCO World Heritage Site
  • Ancient corbel arch gate in the walls of Tiryns (  or ) Mycenaean city archaeological site,  Peloponnesos, Greece. A UNESCO World Heritage Site
  • Tourists one in a wheelchair in the Jardin des Tuileries -Arch - Paris - France
  • Tourists one in a wheelchair in the Jardin des Tuileries -Arch - Paris - France
  • Paris - France -Jardin des Tuileries -Arch
  • Roman sculptural decorations  on  The Arch Of Constantine built to celebrate victory over Maxentius . Rome. Rome
  • fallen columns looking towards the Arch of Septimius Severus, The Forum Rome
  • Arch Of Titus, The Forum Rome
  • Roman sculptural decorations  on  The Arch Of Constantine built to celebrate victory over Maxentius . Rome. Rome
  • Roman sculptural decorations  on  The Arch Of Constantine built to celebrate victory over Maxentius . Rome. Rome
  • Roman sculptural decorations  on  The Arch Of Constantine built to celebrate victory over Maxentius . Rome. Rome
  • Roman sculptural decorations  on  The Arch Of Constantine built to celebrate victory over Maxentius . Rome. Rome
  • Modern sculpture by Jmenez Deredia next to The Arch Of Constantine . Rome
  • The Arch Of The Covenant Baroque Statue - ( Gy?r )  Gyor Hungary
  • Painted arch of the Romanesque of the Norman Church of St Mary's Kempley Gloucestershire, England, Europe
  • Ancient corbel arch tunnel under the acropolis of Tiryns (  or ) Mycenaean city archaeological site,  Peloponnesos, Greece. A UNESCO World Heritage Site
  • Arch Of Titus, The Forum Rome
  • Roman sculptural decorations  on  The Arch Of Constantine built to celebrate victory over Maxentius . Rome. Rome
  • Roman Temple of Apollo  Pompeii archaeological site, Italy
  • The Thermopolium of Lucius Vetutius Placidus on the Via del Abbondante, with the serving counter with holes that contained amphora of food for sale. The Thermopolium was an eating & drinking house. The painting depicts at the centre the God of the patron and on either side are the lars or protectors of the house, Mercury , God of Commerce & Dionysus, God of wine.
  • Doric & Corinthian columns of the Roman colonade in the Forum of Pompeii.
  • Roman Frescos of Pompei arhaeological site.
  • Roman Frescos of Pompei arhaeological site.
  • Roman Frescos of Pompei arhaeological site.
  • Stone dying baths of the Fullery of Stephanus on the Via del Abbondante, Pompeii. Fulleries were an important business in ancient Pompeii.  Fullers processed, dyed, and washed cloth. 
  • Fullery of Stephanus on the Via del Abbondante, Pompeii. Fulleries were an important business in ancient Pompeii.  Fullers processed, dyed, and washed cloth. 
  • The Thermopolium of Lucius Vetutius Placidus on the Via del Abbondante, with the serving counter with holes that contained amphora of food for sale. The Thermopolium was an eating & drinking house. The painting depicts at the centre the God of the patron and on either side are the lars or protectors of the house, Mercury , God of Commerce & Dionysus, God of wine.
  • The Thermopolium of Lucius Vetutius Placidus on the Via del Abbondante, with the serving counter with holes that contained amphora of food for sale. The Thermopolium was an eating & drinking house. The painting depicts at the centre the God of the patron and on either side are the lars or protectors of the house, Mercury , God of Commerce & Dionysus, God of wine.
  • Roman Temple of Apollo  Pompeii archaeological site, Italy
  • Well in the street of Pompeii archaeological site.
  • Street of Pompeii archaeological site.
  • Street of Pompeii archaeological site.
  • Cobbled street of Pompeii archaeological site.
  • Cobbled street of Pompeii archaeological site.
  • Cobbled street of Pompeii archaeological site.
  • Cobbled street of Pompeii archaeological site.
  • Doric & Corinthian columns of the Roman colonade in the Forum of Pompeii.
  • Doric & Corinthian columns of the Roman colonade in the Forum of Pompeii.
  • Doric & Corinthian columns of the Roman colonade in the Forum of Pompeii.
  • Doric & Corinthian columns of the Roman colonade in the Forum of Pompeii.
  • Doric & Corinthian columns of the Roman colonade in the Forum of Pompeii.
  • Doric & Corinthian columns of the Roman colonade in the Forum of Pompeii.
  • Doric & Corinthian columns of the Roman colonade in the Forum of Pompeii.
  • The Roman Columns of The Building of Eumachia, Pompeii. The inscription on lintel above the columns is to Concordia Augusta, wife of Emperor Augustus, from the priestess Eumachia the patron of the "fullones", an artisan association of dyers. The building was a prototype of medieval hostels were travelling merchant rented accommodation.
  • Doric & Corinthian columns of the Roman colonade in the Forum of Pompeii.
  • The Roman Columns of The Building of Eumachia, Pompeii. The inscription on lintel above the columns is to Concordia Augusta, wife of Emperor Augustus, from the priestess Eumachia the patron of the "fullones", an artisan association of dyers. The building was a prototype of medieval hostels were travelling merchant rented accommodation.
  • The Roman Columns of The Building of Eumachia, Pompeii. The inscription on lintel above the columns is to Concordia Augusta, wife of Emperor Augustus, from the priestess Eumachia the patron of the "fullones", an artisan association of dyers. The building was a prototype of medieval hostels were travelling merchant rented accommodation.
  • The Roman Columns of The Building of Eumachia, Pompeii. The inscription on lintel above the columns is to Concordia Augusta, wife of Emperor Augustus, from the priestess Eumachia the patron of the "fullones", an artisan association of dyers. The building was a prototype of medieval hostels were travelling merchant rented accommodation.
  • The Roman Columns of The Building of Eumachia, Pompeii. The inscription on lintel above the columns is to Concordia Augusta, wife of Emperor Augustus, from the priestess Eumachia the patron of the "fullones", an artisan association of dyers. The building was a prototype of medieval hostels were travelling merchant rented accommodation.
  • The Roman Columns of The Building of Eumachia, Pompeii. The inscription on lintel above the columns is to Concordia Augusta, wife of Emperor Augustus, from the priestess Eumachia the patron of the "fullones", an artisan association of dyers. The building was a prototype of medieval hostels were travelling merchant rented accommodation.
  • The Roman Corinthian Porticus, columns & tables of the money changers at the entrance of the Macellum in the Forum of Pompeii archaeological site, Italy.
  • The Roman Corinthian Porticus, columns & tables of the money changers at the entrance of the Macellum in the Forum of Pompeii archaeological site, Italy.
  • The Roman Corinthian Porticus, columns & tables of the money changers at the entrance of the Macellum in the Forum of Pompeii archaeological site, Italy.
  • The Roman Great Theatre of Pompeii. Seating up to 5000 spectators the theatre was originally built in Hellanistic time (200-150 B.C)
  • The Roman Great Theatre of Pompeii. Seating up to 5000 spectators the theatre was originally built in Hellanistic time (200-150 B.C)
  • The columns of the 2nd cent. B.C Roman Basilica of Pompeii which was the Roman courts of justice and the core of economic life in Pompeii.
  • The columns of the 2nd cent. B.C Roman Basilica of Pompeii which was the Roman courts of justice and the core of economic life in Pompeii.
  • The columns of the 2nd cent. B.C Roman Basilica of Pompeii which was the Roman courts of justice and the core of economic life in Pompeii.
  • The columns of the 2nd cent. B.C Roman Basilica of Pompeii which was the Roman courts of justice and the core of economic life in Pompeii.
  • Graffitti on buildings along the Via del Abbondante, Pompeii.
  • The columns of the 2nd cent. B.C Roman Basilica of Pompeii which was the Roman courts of justice and the core of economic life in Pompeii.
  • The Roman tombs & mausoleums on the street of Tombs in the Herculaneum cemetry, Pompeii
  • Roman road of Via Consolare , Pompeii, with a well and a surgeons house.
  • Peristyle of `Roman Villa of Pompeii
  • Peristyle of `Roman Villa of Pompeii
  • Graffitti on buildings along the Via del Abbondante, Pompeii.
  • Doric & Corinthian columns of the Roman colonade in the Forum of Pompeii.
  • Doric & Corinthian columns of the Roman colonade in the Forum of Pompeii.
  • Doric & Corinthian columns of the Roman colonade in the Forum of Pompeii.
  • The Roman Columns of The Building of Eumachia, Pompeii. The inscription on lintel above the columns is to Concordia Augusta, wife of Emperor Augustus, from the priestess Eumachia the patron of the "fullones", an artisan association of dyers. The building was a prototype of medieval hostels were travelling merchant rented accommodation.
  • The Roman Columns of The Building of Eumachia, Pompeii. The inscription on lintel above the columns is to Concordia Augusta, wife of Emperor Augustus, from the priestess Eumachia the patron of the "fullones", an artisan association of dyers. The building was a prototype of medieval hostels were travelling merchant rented accommodation.
  • The Roman Corinthian Porticus, columns & tables of the money changers at the entrance of the Macellum in the Forum of Pompeii archaeological site, Italy.
  • The Roman Corinthian Porticus, columns & tables of the money changers at the entrance of the Macellum in the Forum of Pompeii archaeological site, Italy.
  • The Roman Great Theatre of Pompeii. Seating up to 5000 spectators the theatre was originally built in Hellanistic time (200-150 B.C)
  • The Roman tombs & mausoleums on the street of Tombs in the Herculaneum cemetry, Pompeii
  • Graffitti on buildings along the Via del Abbondante, Pompeii.
  • Medieval Byzantine style mosaics of the side aisle arches,  Palatine Chapel, Cappella Palatina, Palermo, Italy
  • Medieval Byzantine style mosaics of the side aisle arches,  Palatine Chapel, Cappella Palatina, Palermo, Italy
  • Medieval Byzantine style mosaics of the side aisle arches,  Palatine Chapel, Cappella Palatina, Palermo, Italy
  • Medieval Byzantine style mosaics of the side aisle arches,  Palatine Chapel, Cappella Palatina, Palermo, Italy
  • Medieval Byzantine style mosaics of the side aisle arches,  Palatine Chapel, Cappella Palatina, Palermo, Italy
  • Medieval Byzantine style mosaics of the side aisle arches,  Palatine Chapel, Cappella Palatina, Palermo, Italy
  • Medieval Byzantine style mosaics of the side aisle arches,  Palatine Chapel, Cappella Palatina, Palermo, Italy
  • Medieval Byzantine style mosaics of the side aisle arches,  Palatine Chapel, Cappella Palatina, Palermo, Italy
  • Medieval Byzantine style mosaics of the side aisle arches,  Palatine Chapel, Cappella Palatina, Palermo, Italy
  • Medieval Byzantine style mosaics of the side aisle arches,  Palatine Chapel, Cappella Palatina, Palermo, Italy
  • Medieval Byzantine style mosaics of the side aisle arches,  Palatine Chapel, Cappella Palatina, Palermo, Italy
  • Pictures & images of Kalburlu (St. Epthemios) church, 9th century, the Vadisi Monastery Valley, "Manastır Vadisi”,  of the Ihlara Valley, Guzelyurt , Aksaray Province, Turkey.<br />
<br />
Kalburlu (St. Epthemios) church dates back to the 9th or 10th century. It is carved out of a single rock massive with rock columns holding up the roof of its church . The arches of Kalburlu (St. Epthemios) church have rich architectural decorated relif sculptures. The naves are connected by rounded arches & there is a baptismal font to the east of the main entrance.
  • Pictures & images of Kalburlu (St. Epthemios) church, 9th century, the Vadisi Monastery Valley, "Manastır Vadisi”,  of the Ihlara Valley, Guzelyurt , Aksaray Province, Turkey.<br />
<br />
Kalburlu (St. Epthemios) church dates back to the 9th or 10th century. It is carved out of a single rock massive with rock columns holding up the roof of its church . The arches of Kalburlu (St. Epthemios) church have rich architectural decorated relif sculptures. The naves are connected by rounded arches & there is a baptismal font to the east of the main entrance.
  • Pictures & images of Kalburlu (St. Epthemios) church, 9th century, the Vadisi Monastery Valley, "Manastır Vadisi”,  of the Ihlara Valley, Guzelyurt , Aksaray Province, Turkey.<br />
<br />
Kalburlu (St. Epthemios) church dates back to the 9th or 10th century. It is carved out of a single rock massive with rock columns holding up the roof of its church . The arches of Kalburlu (St. Epthemios) church have rich architectural decorated relif sculptures. The naves are connected by rounded arches & there is a baptismal font to the east of the main entrance.
  • Pictures & images of Kalburlu (St. Epthemios) church decorative sculptures, 9th century, the Vadisi Monastery Valley, "Manastır Vadisi”,  of the Ihlara Valley, Guzelyurt , Aksaray Province, Turkey.<br />
<br />
Kalburlu (St. Epthemios) church dates back to the 9th or 10th century. It is carved out of a single rock massive with rock columns holding up the roof of its church . The arches of Kalburlu (St. Epthemios) church have rich architectural decorated relif sculptures. The naves are connected by rounded arches & there is a baptismal font to the east of the main entrance.
  • Pictures & images of Kalburlu (St. Epthemios) church decorative sculptures, 9th century, the Vadisi Monastery Valley, "Manastır Vadisi”,  of the Ihlara Valley, Guzelyurt , Aksaray Province, Turkey.<br />
<br />
Kalburlu (St. Epthemios) church dates back to the 9th or 10th century. It is carved out of a single rock massive with rock columns holding up the roof of its church . The arches of Kalburlu (St. Epthemios) church have rich architectural decorated relif sculptures. The naves are connected by rounded arches & there is a baptismal font to the east of the main entrance.
  • Pictures & images of Kalburlu (St. Epthemios) church, 9th century, the Vadisi Monastery Valley, "Manastır Vadisi”,  of the Ihlara Valley, Guzelyurt , Aksaray Province, Turkey.<br />
<br />
Kalburlu (St. Epthemios) church dates back to the 9th or 10th century. It is carved out of a single rock massive with rock columns holding up the roof of its church . The arches of Kalburlu (St. Epthemios) church have rich architectural decorated relif sculptures. The naves are connected by rounded arches & there is a baptismal font to the east of the main entrance.
  • Pictures & images of Kalburlu (St. Epthemios) church, 9th century, the Vadisi Monastery Valley, "Manastır Vadisi”,  of the Ihlara Valley, Guzelyurt , Aksaray Province, Turkey.<br />
<br />
Kalburlu (St. Epthemios) church dates back to the 9th or 10th century. It is carved out of a single rock massive with rock columns holding up the roof of its church . The arches of Kalburlu (St. Epthemios) church have rich architectural decorated relif sculptures. The naves are connected by rounded arches & there is a baptismal font to the east of the main entrance.
  • Pictures & images of Kalburlu (St. Epthemios) church, 9th century, the Vadisi Monastery Valley, "Manastır Vadisi”,  of the Ihlara Valley, Guzelyurt , Aksaray Province, Turkey.<br />
<br />
Kalburlu (St. Epthemios) church dates back to the 9th or 10th century. It is carved out of a single rock massive with rock columns holding up the roof of its church . The arches of Kalburlu (St. Epthemios) church have rich architectural decorated relif sculptures. The naves are connected by rounded arches & there is a baptismal font to the east of the main entrance.
  • Pictures & images of Kalburlu (St. Epthemios) church, 9th century, the Vadisi Monastery Valley, "Manastır Vadisi”,  of the Ihlara Valley, Guzelyurt , Aksaray Province, Turkey.<br />
<br />
Kalburlu (St. Epthemios) church dates back to the 9th or 10th century. It is carved out of a single rock massive with rock columns holding up the roof of its church . The arches of Kalburlu (St. Epthemios) church have rich architectural decorated relif sculptures. The naves are connected by rounded arches & there is a baptismal font to the east of the main entrance.
  • Medieval Byzantine style mosaics of the side aisle arches,  Palatine Chapel, Cappella Palatina, Palermo, Italy
  • Medieval Byzantine style mosaics of the side aisle arches,  Palatine Chapel, Cappella Palatina, Palermo, Italy
  • Medieval Byzantine style mosaics of the side aisle arches,  Palatine Chapel, Cappella Palatina, Palermo, Italy
  • Medieval Byzantine style mosaics of the side aisle arches,  Palatine Chapel, Cappella Palatina, Palermo, Italy
  • Medieval Byzantine style mosaics of the side aisle arches,  Palatine Chapel, Cappella Palatina, Palermo, Italy
  • Medieval Byzantine style mosaics of the side aisle arches,  Palatine Chapel, Cappella Palatina, Palermo, Italy
  • Medieval Byzantine style mosaics of the side aisle arches,  Palatine Chapel, Cappella Palatina, Palermo, Italy
  • Medieval Byzantine style mosaics of the side aisle arches,  Palatine Chapel, Cappella Palatina, Palermo, Italy
  • Medieval Byzantine style mosaics of the side aisle arches,  Palatine Chapel, Cappella Palatina, Palermo, Italy
  • Medieval Byzantine style mosaics of the side aisle arches,  Palatine Chapel, Cappella Palatina, Palermo, Italy
  • Medieval Byzantine style mosaics of the side aisle arches,  Palatine Chapel, Cappella Palatina, Palermo, Italy
  • Romanesque arches and columns of the 12th century Romanesque Ferrara Duomo, Italy
  • Romanesque arches and columns of the 12th century Romanesque Ferrara Duomo, Italy
  • Interior The cathedral of Ani, Also known as Surp Asdvadzadzin (church of the Holy Mother of God), its construction was started in the year 989, under King Smbat II.  The Gothic clustered arches & pointed arches pre date the European Gothic and are thought to be an influence for Western European Gothic. Ani archaelogical site on the Ancient Silk Road , Kars , Anatolia, Turkey
  • Medieval Byzantine style mosaics of the side aisle arches,  Palatine Chapel, Cappella Palatina, Palermo, Italy
  • Medieval Byzantine style mosaics of the side aisle arches,  Palatine Chapel, Cappella Palatina, Palermo, Italy
  • Medieval Byzantine style mosaics of the side aisle arches,  Palatine Chapel, Cappella Palatina, Palermo, Italy
  • Medieval Byzantine style mosaics of the side aisle arches,  Palatine Chapel, Cappella Palatina, Palermo, Italy
  • Medieval Byzantine style mosaics of the side aisle arches,  Palatine Chapel, Cappella Palatina, Palermo, Italy
  • Medieval Byzantine style mosaics of the side aisle arches,  Palatine Chapel, Cappella Palatina, Palermo, Italy
  • Medieval Byzantine style mosaics of the side aisle arches,  Palatine Chapel, Cappella Palatina, Palermo, Italy
  • Medieval Byzantine style mosaics of the side aisle arches,  Palatine Chapel, Cappella Palatina, Palermo, Italy
  • Medieval Byzantine style mosaics of the side aisle arches,  Palatine Chapel, Cappella Palatina, Palermo, Italy
  • Medieval Byzantine style mosaics of the side aisle arches,  Palatine Chapel, Cappella Palatina, Palermo, Italy
  • Medieval Byzantine style mosaics of the side aisle arches,  Palatine Chapel, Cappella Palatina, Palermo, Italy
  • Medieval Byzantine style mosaics of the side aisle arches,  Palatine Chapel, Cappella Palatina, Palermo, Italy
  • Medieval Byzantine style mosaics of the side aisle arches,  Palatine Chapel, Cappella Palatina, Palermo, Italy
  • Medieval Byzantine style mosaics of the side aisle arches,  Palatine Chapel, Cappella Palatina, Palermo, Italy
  • Medieval Byzantine style mosaics of the side aisle arches,  Palatine Chapel, Cappella Palatina, Palermo, Italy
  • Medieval Byzantine style mosaics of the side aisle arches,  Palatine Chapel, Cappella Palatina, Palermo, Italy
  • Medieval Byzantine style mosaics of the side aisle arches,  Palatine Chapel, Cappella Palatina, Palermo, Italy
  • Medieval Byzantine style mosaics of the side aisle arches,  Palatine Chapel, Cappella Palatina, Palermo, Italy
  • Medieval Byzantine style mosaics of the side aisle arches,  Palatine Chapel, Cappella Palatina, Palermo, Italy
  • Pictures & images of Komurlu Church interior,  9th century, the Vadisi Monastery Valley, "Manastır Vadisi”,  of the Ihlara Valley, Guzelyurt , Aksaray Province, Turkey.<br />
<br />
Kalburlu (St. Epthemios) church dates back to the 9th or 10th century. It is carved out of a single rock massive with rock columns holding up the roof of its church . The arches of Kalburlu (St. Epthemios) church have rich architectural decorated relif sculptures. The naves are connected by rounded arches & there is a baptismal font to the east of the main entrance.
  • Pictures & images of Komurlu Church interior fresco of a Maltese Cross,  9th century, the Vadisi Monastery Valley, "Manastır Vadisi”,  of the Ihlara Valley, Guzelyurt , Aksaray Province, Turkey.<br />
<br />
Kalburlu (St. Epthemios) church dates back to the 9th or 10th century. It is carved out of a single rock massive with rock columns holding up the roof of its church . The arches of Kalburlu (St. Epthemios) church have rich architectural decorated relif sculptures. The naves are connected by rounded arches & there is a baptismal font to the east of the main entrance.
  • Pictures & images of Komurlu Church interior,  9th century, the Vadisi Monastery Valley, "Manastır Vadisi”,  of the Ihlara Valley, Guzelyurt , Aksaray Province, Turkey.<br />
<br />
Kalburlu (St. Epthemios) church dates back to the 9th or 10th century. It is carved out of a single rock massive with rock columns holding up the roof of its church . The arches of Kalburlu (St. Epthemios) church have rich architectural decorated relif sculptures. The naves are connected by rounded arches & there is a baptismal font to the east of the main entrance.
  • Pictures & images of Komurlu Church interior,  9th century, the Vadisi Monastery Valley, "Manastır Vadisi”,  of the Ihlara Valley, Guzelyurt , Aksaray Province, Turkey.<br />
<br />
Kalburlu (St. Epthemios) church dates back to the 9th or 10th century. It is carved out of a single rock massive with rock columns holding up the roof of its church . The arches of Kalburlu (St. Epthemios) church have rich architectural decorated relif sculptures. The naves are connected by rounded arches & there is a baptismal font to the east of the main entrance.
  • Pictures & images of Komurlu Church interior,  9th century, the Vadisi Monastery Valley, "Manastır Vadisi”,  of the Ihlara Valley, Guzelyurt , Aksaray Province, Turkey.<br />
<br />
Kalburlu (St. Epthemios) church dates back to the 9th or 10th century. It is carved out of a single rock massive with rock columns holding up the roof of its church . The arches of Kalburlu (St. Epthemios) church have rich architectural decorated relif sculptures. The naves are connected by rounded arches & there is a baptismal font to the east of the main entrance.
  • Pictures & images of Komurlu Church interior,  9th century, the Vadisi Monastery Valley, "Manastır Vadisi”,  of the Ihlara Valley, Guzelyurt , Aksaray Province, Turkey.<br />
<br />
Kalburlu (St. Epthemios) church dates back to the 9th or 10th century. It is carved out of a single rock massive with rock columns holding up the roof of its church . The arches of Kalburlu (St. Epthemios) church have rich architectural decorated relif sculptures. The naves are connected by rounded arches & there is a baptismal font to the east of the main entrance.
  • Pictures & images of Komurlu Church interior,  9th century, the Vadisi Monastery Valley, "Manastır Vadisi”,  of the Ihlara Valley, Guzelyurt , Aksaray Province, Turkey.<br />
<br />
Kalburlu (St. Epthemios) church dates back to the 9th or 10th century. It is carved out of a single rock massive with rock columns holding up the roof of its church . The arches of Kalburlu (St. Epthemios) church have rich architectural decorated relif sculptures. The naves are connected by rounded arches & there is a baptismal font to the east of the main entrance.
  • Pictures & images of Kalburlu (St. Epthemios) church, 9th century, the Vadisi Monastery Valley, "Manastır Vadisi”,  of the Ihlara Valley, Guzelyurt , Aksaray Province, Turkey.<br />
<br />
Kalburlu (St. Epthemios) church dates back to the 9th or 10th century. It is carved out of a single rock massive with rock columns holding up the roof of its church . The arches of Kalburlu (St. Epthemios) church have rich architectural decorated relif sculptures. The naves are connected by rounded arches & there is a baptismal font to the east of the main entrance.
  • Pictures & images of Kalburlu (St. Epthemios) church, 9th century, the Vadisi Monastery Valley, "Manastır Vadisi”,  of the Ihlara Valley, Guzelyurt , Aksaray Province, Turkey.<br />
<br />
Kalburlu (St. Epthemios) church dates back to the 9th or 10th century. It is carved out of a single rock massive with rock columns holding up the roof of its church . The arches of Kalburlu (St. Epthemios) church have rich architectural decorated relif sculptures. The naves are connected by rounded arches & there is a baptismal font to the east of the main entrance.
  • Pictures & images of Kalburlu (St. Epthemios) church interior, 9th century, the Vadisi Monastery Valley, "Manastır Vadisi”,  of the Ihlara Valley, Guzelyurt , Aksaray Province, Turkey.<br />
<br />
Kalburlu (St. Epthemios) church dates back to the 9th or 10th century. It is carved out of a single rock massive with rock columns holding up the roof of its church . The arches of Kalburlu (St. Epthemios) church have rich architectural decorated relif sculptures. The naves are connected by rounded arches & there is a baptismal font to the east of the main entrance.
  • Pictures & images of Kalburlu (St. Epthemios) church interior rosette sculpture, 9th century, the Vadisi Monastery Valley, "Manastır Vadisi”,  of the Ihlara Valley, Guzelyurt , Aksaray Province, Turkey.<br />
<br />
Kalburlu (St. Epthemios) church dates back to the 9th or 10th century. It is carved out of a single rock massive with rock columns holding up the roof of its church . The arches of Kalburlu (St. Epthemios) church have rich architectural decorated relif sculptures. The naves are connected by rounded arches & there is a baptismal font to the east of the main entrance.
  • Pictures & images of Kalburlu (St. Epthemios) church interior, 9th century, the Vadisi Monastery Valley, "Manastır Vadisi”,  of the Ihlara Valley, Guzelyurt , Aksaray Province, Turkey.<br />
<br />
Kalburlu (St. Epthemios) church dates back to the 9th or 10th century. It is carved out of a single rock massive with rock columns holding up the roof of its church . The arches of Kalburlu (St. Epthemios) church have rich architectural decorated relif sculptures. The naves are connected by rounded arches & there is a baptismal font to the east of the main entrance.
  • Pictures & images of Kalburlu (St. Epthemios) church interior, 9th century, the Vadisi Monastery Valley, "Manastır Vadisi”,  of the Ihlara Valley, Guzelyurt , Aksaray Province, Turkey.<br />
<br />
Kalburlu (St. Epthemios) church dates back to the 9th or 10th century. It is carved out of a single rock massive with rock columns holding up the roof of its church . The arches of Kalburlu (St. Epthemios) church have rich architectural decorated relif sculptures. The naves are connected by rounded arches & there is a baptismal font to the east of the main entrance.
  • Pictures & images of Kalburlu (St. Epthemios) church decorative sculptures, 9th century, the Vadisi Monastery Valley, "Manastır Vadisi”,  of the Ihlara Valley, Guzelyurt , Aksaray Province, Turkey.<br />
<br />
Kalburlu (St. Epthemios) church dates back to the 9th or 10th century. It is carved out of a single rock massive with rock columns holding up the roof of its church . The arches of Kalburlu (St. Epthemios) church have rich architectural decorated relif sculptures. The naves are connected by rounded arches & there is a baptismal font to the east of the main entrance.
  • Pictures & images of Kalburlu (St. Epthemios) church decorative sculptures, 9th century, the Vadisi Monastery Valley, "Manastır Vadisi”,  of the Ihlara Valley, Guzelyurt , Aksaray Province, Turkey.<br />
<br />
Kalburlu (St. Epthemios) church dates back to the 9th or 10th century. It is carved out of a single rock massive with rock columns holding up the roof of its church . The arches of Kalburlu (St. Epthemios) church have rich architectural decorated relif sculptures. The naves are connected by rounded arches & there is a baptismal font to the east of the main entrance.
  • Pictures & images of Kalburlu (St. Epthemios) church, 9th century, the Vadisi Monastery Valley, "Manastır Vadisi”,  of the Ihlara Valley, Guzelyurt , Aksaray Province, Turkey.<br />
<br />
Kalburlu (St. Epthemios) church dates back to the 9th or 10th century. It is carved out of a single rock massive with rock columns holding up the roof of its church . The arches of Kalburlu (St. Epthemios) church have rich architectural decorated relif sculptures. The naves are connected by rounded arches & there is a baptismal font to the east of the main entrance.
  • Pictures & images of Kalburlu (St. Epthemios) church decorative sculptures, 9th century, the Vadisi Monastery Valley, "Manastır Vadisi”,  of the Ihlara Valley, Guzelyurt , Aksaray Province, Turkey.<br />
<br />
Kalburlu (St. Epthemios) church dates back to the 9th or 10th century. It is carved out of a single rock massive with rock columns holding up the roof of its church . The arches of Kalburlu (St. Epthemios) church have rich architectural decorated relif sculptures. The naves are connected by rounded arches & there is a baptismal font to the east of the main entrance.
  • Pictures & images of Kalburlu (St. Epthemios) church, 9th century, the Vadisi Monastery Valley, "Manastır Vadisi”,  of the Ihlara Valley, Guzelyurt , Aksaray Province, Turkey.<br />
<br />
Kalburlu (St. Epthemios) church dates back to the 9th or 10th century. It is carved out of a single rock massive with rock columns holding up the roof of its church . The arches of Kalburlu (St. Epthemios) church have rich architectural decorated relif sculptures. The naves are connected by rounded arches & there is a baptismal font to the east of the main entrance.
  • Pictures & images of Kalburlu (St. Epthemios) church, 9th century, the Vadisi Monastery Valley, "Manastır Vadisi”,  of the Ihlara Valley, Guzelyurt , Aksaray Province, Turkey.<br />
<br />
Kalburlu (St. Epthemios) church dates back to the 9th or 10th century. It is carved out of a single rock massive with rock columns holding up the roof of its church . The arches of Kalburlu (St. Epthemios) church have rich architectural decorated relif sculptures. The naves are connected by rounded arches & there is a baptismal font to the east of the main entrance.
  • Pictures & images of Kalburlu (St. Epthemios) church, 9th century, the Vadisi Monastery Valley, "Manastır Vadisi”,  of the Ihlara Valley, Guzelyurt , Aksaray Province, Turkey.<br />
<br />
Kalburlu (St. Epthemios) church dates back to the 9th or 10th century. It is carved out of a single rock massive with rock columns holding up the roof of its church . The arches of Kalburlu (St. Epthemios) church have rich architectural decorated relif sculptures. The naves are connected by rounded arches & there is a baptismal font to the east of the main entrance.
  • Pictures & images of Kalburlu (St. Epthemios) church, 9th century, the Vadisi Monastery Valley, "Manastır Vadisi”,  of the Ihlara Valley, Guzelyurt , Aksaray Province, Turkey.<br />
<br />
Kalburlu (St. Epthemios) church dates back to the 9th or 10th century. It is carved out of a single rock massive with rock columns holding up the roof of its church . The arches of Kalburlu (St. Epthemios) church have rich architectural decorated relif sculptures. The naves are connected by rounded arches & there is a baptismal font to the east of the main entrance.
  • Medieval Byzantine style mosaics of the side aisle arches,  Palatine Chapel, Cappella Palatina, Palermo, Italy
  • Medieval Byzantine style mosaics of the side aisle arches,  Palatine Chapel, Cappella Palatina, Palermo, Italy
  • Medieval Byzantine style mosaics of the side aisle arches,  Palatine Chapel, Cappella Palatina, Palermo, Italy
  • Medieval Byzantine style mosaics of the side aisle arches,  Palatine Chapel, Cappella Palatina, Palermo, Italy
  • Medieval Byzantine style mosaics of the side aisle arches,  Palatine Chapel, Cappella Palatina, Palermo, Italy
  • Medieval Byzantine style mosaics of the side aisle arches,  Palatine Chapel, Cappella Palatina, Palermo, Italy
  • Medieval Byzantine style mosaics of the side aisle arches,  Palatine Chapel, Cappella Palatina, Palermo, Italy
  • Medieval Byzantine style mosaics of the side aisle arches,  Palatine Chapel, Cappella Palatina, Palermo, Italy
  • Medieval Byzantine style mosaics of the side aisle arches,  Palatine Chapel, Cappella Palatina, Palermo, Italy
  • Medieval Byzantine style mosaics of the side aisle arches,  Palatine Chapel, Cappella Palatina, Palermo, Italy
  • Medieval Byzantine style mosaics of the side aisle arches,  Palatine Chapel, Cappella Palatina, Palermo, Italy
  • Medieval Byzantine style mosaics of the side aisle arches,  Palatine Chapel, Cappella Palatina, Palermo, Italy
  • Medieval Byzantine style mosaics of the side aisle arches,  Palatine Chapel, Cappella Palatina, Palermo, Italy
  • Medieval Byzantine style mosaics of the side aisle arches,  Palatine Chapel, Cappella Palatina, Palermo, Italy
  • Medieval Byzantine style mosaics of the side aisle arches,  Palatine Chapel, Cappella Palatina, Palermo, Italy
  • Medieval Byzantine style mosaics of the side aisle arches,  Palatine Chapel, Cappella Palatina, Palermo, Italy
  • Medieval Byzantine style mosaics of the side aisle arches,  Palatine Chapel, Cappella Palatina, Palermo, Italy
  • Medieval Byzantine style mosaics of the side aisle arches,  Palatine Chapel, Cappella Palatina, Palermo, Italy
  • Medieval Byzantine style mosaics of the side aisle arches,  Palatine Chapel, Cappella Palatina, Palermo, Italy
  • Romanesque arches and columns of the 12th century Romanesque Ferrara Duomo, Italy
  • Cellar with romanesque arches at the Hellanistic Ionic Apollo Smintheion Sanctuary near Gulpinar Village Turkey. The Temple of Apollo is dedicated rather bizarrely to Apollo as a Slayer of Mice.
  • Interior The cathedral of Ani, Also known as Surp Asdvadzadzin (church of the Holy Mother of God), its construction was started in the year 989, under King Smbat II.  The Gothic clustered arches & pointed arches pre date the European Gothic and are thought to be an influence for Western European Gothic. Ani archaelogical site on the Ancient Silk Road , Kars , Anatolia, Turkey
  • Interior The cathedral of Ani, Also known as Surp Asdvadzadzin (church of the Holy Mother of God), its construction was started in the year 989, under King Smbat II.  The Gothic clustered arches & pointed arches pre date the European Gothic and are thought to be an influence for Western European Gothic. Ani archaelogical site on the Ancient Silk Road , Kars , Anatolia, Turkey
  • Picture of the ruins of the Byzantine Martyrion of St Philip church and healing centre. Hierapolis archaeological site near Pamukkale in Turkey.<br />
<br />
Martyrion of St Philip. This church with an octagonal core was built at the beginning of the 5th century on the summit of the hill. This is probably where, according to tradition, the Apostlie was martyred. The building has an eight-sided central room surmounted by a wooden cupola. From each of the eight sides of the central space there was access to a rectangular room through three arches supported by marble columns with capitals decorated with acanthus leaves The shape of the central room is a reference to the number eight which symbolists eternity. The church is situated inside a square composed of 28 rooms for housing pilgrims which were accessed from the outside. As in other Byzantine sanctuaries associated with heating powers (eg that of Saints Cosmas and Damian in Constantinople), in these rooms incubation rites were practised: during sleep, the Saint cured the sick and made prophecies concerning the future.
  • Roman fresco wall decorations of the Triclinium C, Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
In the center of the dining room was a table, with three couches (klinai in Greek, hence the name "triclinium") on which the diners reclined as they ate. The southern exposure of the room and its main color suggest it was meant to be used in the winter. The architect Vitruvius, writing in the 1st century after Christ, recommends a dark background that will absorb heat to make the rooms warmer in cold weather. The black color (atramentum), made from a mixture of charcoal and glue, was resistant to smoke from the fire and soot from the lamps. On the dark background delicate landscapes are painted in light colors: cityscapes with buildings, arches, and gateways, and rural scenes showing huts, animals, and rustic shrines. The lavish decoration is broken up by slender columns festooned with ivy. The capitals are crowned by graceful female figures (caryatids). A frieze at eye level has scenes in which the same figures keep reappearing: popular tales depicted in a lively fashion. The scenes of the frieze start with the rear of the right wall. Also on this wall, near the doorway. can be seen a restoration made in antiquity to close off another entrance. We can identify a part of the polychrome mosaic pavement of this room. with meanders and stacked cubes rendered in perspective. The modem arrangement does not reproduce the or final. but is intended to suggest the effect of the pavement in the room
  • Roman fresco wall decorations of the Triclinium C, Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
In the center of the dining room was a table, with three couches (klinai in Greek, hence the name "triclinium") on which the diners reclined as they ate. The southern exposure of the room and its main color suggest it was meant to be used in the winter. The architect Vitruvius, writing in the 1st century after Christ, recommends a dark background that will absorb heat to make the rooms warmer in cold weather. The black color (atramentum), made from a mixture of charcoal and glue, was resistant to smoke from the fire and soot from the lamps. On the dark background delicate landscapes are painted in light colors: cityscapes with buildings, arches, and gateways, and rural scenes showing huts, animals, and rustic shrines. The lavish decoration is broken up by slender columns festooned with ivy. The capitals are crowned by graceful female figures (caryatids). A frieze at eye level has scenes in which the same figures keep reappearing: popular tales depicted in a lively fashion. The scenes of the frieze start with the rear of the right wall. Also on this wall, near the doorway. can be seen a restoration made in antiquity to close off another entrance. We can identify a part of the polychrome mosaic pavement of this room. with meanders and stacked cubes rendered in perspective. The modem arrangement does not reproduce the or final. but is intended to suggest the effect of the pavement in the room
  • Roman fresco wall decorations of the Triclinium C, Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
In the center of the dining room was a table, with three couches (klinai in Greek, hence the name "triclinium") on which the diners reclined as they ate. The southern exposure of the room and its main color suggest it was meant to be used in the winter. The architect Vitruvius, writing in the 1st century after Christ, recommends a dark background that will absorb heat to make the rooms warmer in cold weather. The black color (atramentum), made from a mixture of charcoal and glue, was resistant to smoke from the fire and soot from the lamps. On the dark background delicate landscapes are painted in light colors: cityscapes with buildings, arches, and gateways, and rural scenes showing huts, animals, and rustic shrines. The lavish decoration is broken up by slender columns festooned with ivy. The capitals are crowned by graceful female figures (caryatids). A frieze at eye level has scenes in which the same figures keep reappearing: popular tales depicted in a lively fashion. The scenes of the frieze start with the rear of the right wall. Also on this wall, near the doorway. can be seen a restoration made in antiquity to close off another entrance. We can identify a part of the polychrome mosaic pavement of this room. with meanders and stacked cubes rendered in perspective. The modem arrangement does not reproduce the or final. but is intended to suggest the effect of the pavement in the room
  • Cellar with romanesque arches at the Hellanistic Ionic Apollo Smintheion Sanctuary near Gulpinar Village Turkey. The Temple of Apollo is dedicated rather bizarrely to Apollo as a Slayer of Mice.
  • Arabesque Mudjar plasterwork and arches of the 12th century Salón de Embajadores (Ambassadors' Hall or Throne Room). Alcazar of Seville, Seville, Spain
  • Arabesque Mudjar plasterwork and arches of the 12th century Salón de Embajadores (Ambassadors' Hall or Throne Room). Alcazar of Seville, Seville, Spain
  • Moorish Arabesque arches and undergrround walkways of the Medina. A UNESCO World Heritage Site .Meknes, Meknes-Tafilalet, Morocco.
  • Moorish Arabesque arches and undergrround walkways of the Medina. A UNESCO World Heritage Site .Meknes, Meknes-Tafilalet, Morocco.
  • Moorish Arabesque arches and undergrround walkways of the Medina. A UNESCO World Heritage Site .Meknes, Meknes-Tafilalet, Morocco.
  • Gothic arches of the great hall of Fountains Abbey , founded in 1132, is one of the largest and best preserved ruined Cistercian monasteries in England. The ruined monastery is a focal point of England's most important 18th century Water, the Studley Royal Water Garden which is a UNESCO World Heritage Site. Near Ripon, North Yorkshire, England
  • Ruined Armenian Gothic doorway. The Gothic  pointed arches in Ani pre date the European Gothic and are thought to be an influence for Western European Gothic. Ani archaelogical site on the Ancient Silk Road , Kars , Anatolia, Turkey
  • Rievaulx Abbey main aisle arches and windows. North Yorkshire, England
  • Rievaulx Abbey main aisle arches and windows. North Yorkshire, England
  • Rievaulx Abbey main aisle arches and windows. North Yorkshire, England
  • Rievaulx Abbey main aisle arches and windows. North Yorkshire, England
  • Rievaulx Abbey main aisle arches and windows. North Yorkshire, England
  • Rievaulx Abbey main aisle arches and windows. North Yorkshire, England
  • Rievaulx Abbey main aisle arches and windows. North Yorkshire, England
  • Rievaulx Abbey main aisle arches and windows. North Yorkshire, England
  • Rievaulx Abbey main aisle arches and windows. North Yorkshire, England
  • Rievaulx Abbey main aisle arches and windows. North Yorkshire, England
  • Rievaulx Abbey main aisle arches and windows. North Yorkshire, England
  • Picture of the ruins of the Byzantine Martyrion of St Philip church and healing centre. Hierapolis archaeological site near Pamukkale in Turkey.<br />
<br />
Martyrion of St Philip. This church with an octagonal core was built at the beginning of the 5th century on the summit of the hill. This is probably where, according to tradition, the Apostlie was martyred. The building has an eight-sided central room surmounted by a wooden cupola. From each of the eight sides of the central space there was access to a rectangular room through three arches supported by marble columns with capitals decorated with acanthus leaves The shape of the central room is a reference to the number eight which symbolists eternity. The church is situated inside a square composed of 28 rooms for housing pilgrims which were accessed from the outside. As in other Byzantine sanctuaries associated with heating powers (eg that of Saints Cosmas and Damian in Constantinople), in these rooms incubation rites were practised: during sleep, the Saint cured the sick and made prophecies concerning the future.
  • Picture of the ruins of the Byzantine Martyrion of St Philip church and healing centre. Hierapolis archaeological site near Pamukkale in Turkey.<br />
<br />
Martyrion of St Philip. This church with an octagonal core was built at the beginning of the 5th century on the summit of the hill. This is probably where, according to tradition, the Apostlie was martyred. The building has an eight-sided central room surmounted by a wooden cupola. From each of the eight sides of the central space there was access to a rectangular room through three arches supported by marble columns with capitals decorated with acanthus leaves The shape of the central room is a reference to the number eight which symbolists eternity. The church is situated inside a square composed of 28 rooms for housing pilgrims which were accessed from the outside. As in other Byzantine sanctuaries associated with heating powers (eg that of Saints Cosmas and Damian in Constantinople), in these rooms incubation rites were practised: during sleep, the Saint cured the sick and made prophecies concerning the future.
  • Picture of the ruins of the Byzantine Martyrion of St Philip church and healing centre. Hierapolis archaeological site near Pamukkale in Turkey.<br />
<br />
Martyrion of St Philip. This church with an octagonal core was built at the beginning of the 5th century on the summit of the hill. This is probably where, according to tradition, the Apostlie was martyred. The building has an eight-sided central room surmounted by a wooden cupola. From each of the eight sides of the central space there was access to a rectangular room through three arches supported by marble columns with capitals decorated with acanthus leaves The shape of the central room is a reference to the number eight which symbolists eternity. The church is situated inside a square composed of 28 rooms for housing pilgrims which were accessed from the outside. As in other Byzantine sanctuaries associated with heating powers (eg that of Saints Cosmas and Damian in Constantinople), in these rooms incubation rites were practised: during sleep, the Saint cured the sick and made prophecies concerning the future.
  • Picture of the ruins of the Byzantine Martyrion of St Philip church and healing centre. Hierapolis archaeological site near Pamukkale in Turkey.<br />
<br />
Martyrion of St Philip. This church with an octagonal core was built at the beginning of the 5th century on the summit of the hill. This is probably where, according to tradition, the Apostlie was martyred. The building has an eight-sided central room surmounted by a wooden cupola. From each of the eight sides of the central space there was access to a rectangular room through three arches supported by marble columns with capitals decorated with acanthus leaves The shape of the central room is a reference to the number eight which symbolists eternity. The church is situated inside a square composed of 28 rooms for housing pilgrims which were accessed from the outside. As in other Byzantine sanctuaries associated with heating powers (eg that of Saints Cosmas and Damian in Constantinople), in these rooms incubation rites were practised: during sleep, the Saint cured the sick and made prophecies concerning the future.
  • Roman fresco wall decorations of the Triclinium C, Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
In the center of the dining room was a table, with three couches (klinai in Greek, hence the name "triclinium") on which the diners reclined as they ate. The southern exposure of the room and its main color suggest it was meant to be used in the winter. The architect Vitruvius, writing in the 1st century after Christ, recommends a dark background that will absorb heat to make the rooms warmer in cold weather. The black color (atramentum), made from a mixture of charcoal and glue, was resistant to smoke from the fire and soot from the lamps. On the dark background delicate landscapes are painted in light colors: cityscapes with buildings, arches, and gateways, and rural scenes showing huts, animals, and rustic shrines. The lavish decoration is broken up by slender columns festooned with ivy. The capitals are crowned by graceful female figures (caryatids). A frieze at eye level has scenes in which the same figures keep reappearing: popular tales depicted in a lively fashion. The scenes of the frieze start with the rear of the right wall. Also on this wall, near the doorway. can be seen a restoration made in antiquity to close off another entrance. We can identify a part of the polychrome mosaic pavement of this room. with meanders and stacked cubes rendered in perspective. The modem arrangement does not reproduce the or final. but is intended to suggest the effect of the pavement in the room
  • Roman fresco wall decorations of the Triclinium C, Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
In the center of the dining room was a table, with three couches (klinai in Greek, hence the name "triclinium") on which the diners reclined as they ate. The southern exposure of the room and its main color suggest it was meant to be used in the winter. The architect Vitruvius, writing in the 1st century after Christ, recommends a dark background that will absorb heat to make the rooms warmer in cold weather. The black color (atramentum), made from a mixture of charcoal and glue, was resistant to smoke from the fire and soot from the lamps. On the dark background delicate landscapes are painted in light colors: cityscapes with buildings, arches, and gateways, and rural scenes showing huts, animals, and rustic shrines. The lavish decoration is broken up by slender columns festooned with ivy. The capitals are crowned by graceful female figures (caryatids). A frieze at eye level has scenes in which the same figures keep reappearing: popular tales depicted in a lively fashion. The scenes of the frieze start with the rear of the right wall. Also on this wall, near the doorway. can be seen a restoration made in antiquity to close off another entrance. We can identify a part of the polychrome mosaic pavement of this room. with meanders and stacked cubes rendered in perspective. The modem arrangement does not reproduce the or final. but is intended to suggest the effect of the pavement in the room
  • Roman fresco wall decorations of the Triclinium C, Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
In the center of the dining room was a table, with three couches (klinai in Greek, hence the name "triclinium") on which the diners reclined as they ate. The southern exposure of the room and its main color suggest it was meant to be used in the winter. The architect Vitruvius, writing in the 1st century after Christ, recommends a dark background that will absorb heat to make the rooms warmer in cold weather. The black color (atramentum), made from a mixture of charcoal and glue, was resistant to smoke from the fire and soot from the lamps. On the dark background delicate landscapes are painted in light colors: cityscapes with buildings, arches, and gateways, and rural scenes showing huts, animals, and rustic shrines. The lavish decoration is broken up by slender columns festooned with ivy. The capitals are crowned by graceful female figures (caryatids). A frieze at eye level has scenes in which the same figures keep reappearing: popular tales depicted in a lively fashion. The scenes of the frieze start with the rear of the right wall. Also on this wall, near the doorway. can be seen a restoration made in antiquity to close off another entrance. We can identify a part of the polychrome mosaic pavement of this room. with meanders and stacked cubes rendered in perspective. The modem arrangement does not reproduce the or final. but is intended to suggest the effect of the pavement in the room
  • Roman fresco wall decorations of the Triclinium C, Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
In the center of the dining room was a table, with three couches (klinai in Greek, hence the name "triclinium") on which the diners reclined as they ate. The southern exposure of the room and its main color suggest it was meant to be used in the winter. The architect Vitruvius, writing in the 1st century after Christ, recommends a dark background that will absorb heat to make the rooms warmer in cold weather. The black color (atramentum), made from a mixture of charcoal and glue, was resistant to smoke from the fire and soot from the lamps. On the dark background delicate landscapes are painted in light colors: cityscapes with buildings, arches, and gateways, and rural scenes showing huts, animals, and rustic shrines. The lavish decoration is broken up by slender columns festooned with ivy. The capitals are crowned by graceful female figures (caryatids). A frieze at eye level has scenes in which the same figures keep reappearing: popular tales depicted in a lively fashion. The scenes of the frieze start with the rear of the right wall. Also on this wall, near the doorway. can be seen a restoration made in antiquity to close off another entrance. We can identify a part of the polychrome mosaic pavement of this room. with meanders and stacked cubes rendered in perspective. The modem arrangement does not reproduce the or final. but is intended to suggest the effect of the pavement in the room
  • Roman fresco wall decorations of the Triclinium C, Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
In the center of the dining room was a table, with three couches (klinai in Greek, hence the name "triclinium") on which the diners reclined as they ate. The southern exposure of the room and its main color suggest it was meant to be used in the winter. The architect Vitruvius, writing in the 1st century after Christ, recommends a dark background that will absorb heat to make the rooms warmer in cold weather. The black color (atramentum), made from a mixture of charcoal and glue, was resistant to smoke from the fire and soot from the lamps. On the dark background delicate landscapes are painted in light colors: cityscapes with buildings, arches, and gateways, and rural scenes showing huts, animals, and rustic shrines. The lavish decoration is broken up by slender columns festooned with ivy. The capitals are crowned by graceful female figures (caryatids). A frieze at eye level has scenes in which the same figures keep reappearing: popular tales depicted in a lively fashion. The scenes of the frieze start with the rear of the right wall. Also on this wall, near the doorway. can be seen a restoration made in antiquity to close off another entrance. We can identify a part of the polychrome mosaic pavement of this room. with meanders and stacked cubes rendered in perspective. The modem arrangement does not reproduce the or final. but is intended to suggest the effect of the pavement in the room
  • Roman fresco wall decorations of the Triclinium C, Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
In the center of the dining room was a table, with three couches (klinai in Greek, hence the name "triclinium") on which the diners reclined as they ate. The southern exposure of the room and its main color suggest it was meant to be used in the winter. The architect Vitruvius, writing in the 1st century after Christ, recommends a dark background that will absorb heat to make the rooms warmer in cold weather. The black color (atramentum), made from a mixture of charcoal and glue, was resistant to smoke from the fire and soot from the lamps. On the dark background delicate landscapes are painted in light colors: cityscapes with buildings, arches, and gateways, and rural scenes showing huts, animals, and rustic shrines. The lavish decoration is broken up by slender columns festooned with ivy. The capitals are crowned by graceful female figures (caryatids). A frieze at eye level has scenes in which the same figures keep reappearing: popular tales depicted in a lively fashion. The scenes of the frieze start with the rear of the right wall. Also on this wall, near the doorway. can be seen a restoration made in antiquity to close off another entrance. We can identify a part of the polychrome mosaic pavement of this room. with meanders and stacked cubes rendered in perspective. The modem arrangement does not reproduce the or final. but is intended to suggest the effect of the pavement in the room
  • Roman fresco wall decorations of the Triclinium C, Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
In the center of the dining room was a table, with three couches (klinai in Greek, hence the name "triclinium") on which the diners reclined as they ate. The southern exposure of the room and its main color suggest it was meant to be used in the winter. The architect Vitruvius, writing in the 1st century after Christ, recommends a dark background that will absorb heat to make the rooms warmer in cold weather. The black color (atramentum), made from a mixture of charcoal and glue, was resistant to smoke from the fire and soot from the lamps. On the dark background delicate landscapes are painted in light colors: cityscapes with buildings, arches, and gateways, and rural scenes showing huts, animals, and rustic shrines. The lavish decoration is broken up by slender columns festooned with ivy. The capitals are crowned by graceful female figures (caryatids). A frieze at eye level has scenes in which the same figures keep reappearing: popular tales depicted in a lively fashion. The scenes of the frieze start with the rear of the right wall. Also on this wall, near the doorway. can be seen a restoration made in antiquity to close off another entrance. We can identify a part of the polychrome mosaic pavement of this room. with meanders and stacked cubes rendered in perspective. The modem arrangement does not reproduce the or final. but is intended to suggest the effect of the pavement in the room
  • Roman fresco wall decorations of the Triclinium C, Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
In the center of the dining room was a table, with three couches (klinai in Greek, hence the name "triclinium") on which the diners reclined as they ate. The southern exposure of the room and its main color suggest it was meant to be used in the winter. The architect Vitruvius, writing in the 1st century after Christ, recommends a dark background that will absorb heat to make the rooms warmer in cold weather. The black color (atramentum), made from a mixture of charcoal and glue, was resistant to smoke from the fire and soot from the lamps. On the dark background delicate landscapes are painted in light colors: cityscapes with buildings, arches, and gateways, and rural scenes showing huts, animals, and rustic shrines. The lavish decoration is broken up by slender columns festooned with ivy. The capitals are crowned by graceful female figures (caryatids). A frieze at eye level has scenes in which the same figures keep reappearing: popular tales depicted in a lively fashion. The scenes of the frieze start with the rear of the right wall. Also on this wall, near the doorway. can be seen a restoration made in antiquity to close off another entrance. We can identify a part of the polychrome mosaic pavement of this room. with meanders and stacked cubes rendered in perspective. The modem arrangement does not reproduce the or final. but is intended to suggest the effect of the pavement in the room
  • Picture of the ancient Roman Aqueduct of the Pont du Gard which crosses the River Gardon near Vers-Pon-du-Gard, France. Part of the 50 km long aqueduct that served the Roman town of Nemausus (Nimes) its 3 tiers of arches stand 48 m high (160 ft). A UNESCO World Heritage Site.
  • Picture of the ancient Roman Aqueduct of the Pont du Gard which crosses the River Gardon near Vers-Pon-du-Gard, France. Part of the 50 km long aqueduct that served the Roman town of Nemausus (Nimes) its 3 tiers of arches stand 48 m high (160 ft). A UNESCO World Heritage Site.

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